2025
Artist Lineup
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Mateo Galindo is a Chicano artist and curator whose work explores sonic agency, cultural resonance, and collective memory through sound, sculpture, and performance. As co-creator of Atomic Culture (est. 2015), he curates site-specific performances and installations that amplify Indigenous, Latinx, and underrepresented voices, fostering community dialogue through experimental art. Galindo runs Tierra y Que, an art gallery in Marfa, Texas, which hosts three annual exhibitions featuring local and international artists.
@3dcoyote
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Adam Hilton is a sound artist, new media artist and musician living in Austin, TX.
Throughout his career he has created a wide range of composed and live works for theatre, dance, context-responsive installations, electro-acoustic performances, bands, films and video games.
He is drawn to the confluence between deeply acoustic and electronic sound — his experience as a pianist, vocalist, and violinist have seamlessly bled into his practice with synthesizers and esoteric electronic instruments.
He loves exploring and inviting others to explore the friction between analog experiences and electronic abstraction, between traditional and experimental musical idioms, between expectations of an instrument and its output, between active performance and passive spectatorship.
He has created in collaboration with COTFG, NMASS, BLiPSWiTCH, SoundSpace at the Blanton, Collide Arts, Phonography Austin, and Salvage Vanguard Theater among many others. He also releases instrumental works under his own name and as AR8CH, and ran the label Accrue Cassettes.
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Aga will be preparing a special flash sheet for sonic rodeo and tattooing at Maintenant Marfa on Saturday Sep 13 from 4-8 pm.
Originally from Poland and currently based in Houston, TX, Aga brings a distinctive approach to tattooing, combining technical precision with artistic intuition. Her work is deeply influenced by the natural world and a lifelong connection to improvised music, resulting in designs that emphasize movement, texture, and form. She specializes in fine-line tattoos, intricate detailing, and custom freehand work.
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Phil Boyd (Modey Lemon, Hidden Twin) and Nick Terry met in Marfa, Texas and started collaborating in 2021, creating Air Field.
They released Air FieldVol. 1 in 2022, and created the soundtrack, working with Rob Mazurek, for David Fenster’s Neuro Osmosis film in 2023. Air Field Vol. 2 is their third album, and the first to be released by CIA records.
Theirs are sonic odes to the vast land and skyscapes of far West Texas.
Saturday evening’s Air Field set, at Maintenant, will launch the record release of Air Field Vol. 2 their third album, and the first to be released by CIA records.
Copies of the vinyl will be on hand for sale. Pre-orders and Digital downloads available at: https://www.cia-records.com
www.kimazuichinmoku.bandcamp.com
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Anastasia is a multimedia journalist from Dallas, Texas who believes in storytelling’s power to connect and heal.
I’ve always been interested in people. As the first-generation daughter of Greek immigrants, I grew up navigating multiple cultural worlds, acutely fascinated by what shapes who to view something some way. At age 7, my mom caught me interviewing the technicians at her nail salon with a notepad.
This same mom, a psychiatrist, would always remind me that psychology is the Greek word ψυχολογία, “the study of the soul.” The study of the soul, mind, perception—I was hooked. I received a B.A. in Psychology and Creative Writing and an M.A. in Data Analysis & Journalism from Stanford University.Stanford is where I first began integrating research with storytelling. Currently, I conduct research at the Stanford Muslim Mental Health and Islamic Psychology Lab under Dr. Rania Awaad.
My research interests shape my work: psychopathology, trauma, addiction, spirituality—the intersections of them all. I am particularly drawn to stories that offer new ways of understanding human resilience and connection.Anastasia and her collaborator, Héloïse Garry, will be documenting this year’s sonic rodeo.
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Britt Moseley is a multidisciplinary artist whose practice centers on sculpture, installation, and performance. Rooted in object-making and material play, his work explores the poetics of fragmentation, transformation, and storytelling through hand-built forms. Moseley often works with clay, found materials, and fabricated components, assembling sculptural environments that double as performative stages or vessels for sound and light.
With a background in steel sculpture, experimental puppetry, live video, and ceramic production, Moseley’s multimedia approach is process-driven and site-responsive. It is informed by collaboration, improvisation, and the tactile logic of sincerity.
He holds a BFA from Pratt Institute and an MFA from the University of Texas, Austin. His work has been exhibited at venues including the Visual Arts Center at the University of Texas, Hammer Museum, the Mattress Factory Museum, Jane Hartsook Gallery, Rochester Contemporary Art Center, Phipps Conservatory, and Three Four Three Four in Brooklyn. He has received support from the City Artist Corps, Wave Farm’s MAAF Grant, and residencies including the Institute for Electronic Arts and St. Ann’s Puppet Lab. He is currently based in Austin, TX.
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Courtney Mackedanz is an experimental dancemaker working in embodied research, expanded choreography, and multimedia installations. Their recent practice has been gravitating toward the quiet complexity of the pasture, exploring haptic methods of embodiment, nervous system attunement, and more-than-human or decentralized sensing strategies.
For sonic rodeo, Mackedanz will present their piece, Dead End Host, a dance for one body generated by the complex ecosystem of many beings; a method of experimental embodiment that expresses the speculative perspectives of multiple species they've crossed paths with since contracting Lyme Disease. The dance and accompanying sonic landscape considers notions of collaborative animism, speculative sensing, and both eco-erotic and eco-somatic porosities.
They are a 2025 Chicago Dancemakers Forum Lab Artist, a PIP Program Participant with the Institute for Postnatural Studies in Madrid and participant of ATLAS at Impulstanz in Vienna under the mentorship of Guy Cools. In 2024 they were a DanceWEB Scholar at Impulstanz in Vienna with mentor Isabel Lewis, and a finalist for the 2024 Artadia Award in Chicago. They've performed in the works of Alexandra Pirici, Ootobang Nkanga, and Tino Sehgal and have presented their own work through the frame of numerous residencies, exhibitions, and performances both nationally and internationally.
Mackedanz earned their BFA in Performance and Visual Critical Studies from the School of the Art Institute of Chicago. When not thinking about all this—they love to be outdoors, daydreaming in stillness, learning from plants, and spending time with their dog (Easy) and cat (Eclipse).
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CV Miller is a composer and multi-instrumentalist. His solo ambient music can be described as cinematic western soundscapes. Drawing from his experiences growing up on a ranch in the Texas Panhandle and living and working in Marfa for 15 years, his music reflects both the beauty and the dread of the West Texas landscape.
With over three-decades of playing live and recording, Miller has collaborated with and contributed to numerous avant-garde, country, and indie music projects including Helado Negro, Wye Oak, and Eleanor Friedberger, and most recently playing pedal steel on “5 Horas Menos” by Conociendo Rusia which won the Latin GRAMMY Award for Best Pop/Rock Song in 2024.
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Cuthwulf Eileen Myles (them/them, b. 1949) is a poet, writer and activist widely known for their practice of vernacular first-person writing across genres. They are the author of 25 books, including Chelsea Girls and a Working Life (poems). Since 2022 they have performed with Ryan Sawyer and Steve Gunn. They live in New York & in Marfa, TX.
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In performance piece albedo, evel shifts and unfolds sonic landscapes through a meditative improvisation on evolving and revolving themes.
evel (ɛvəl) is an experiment by Clara E Brill of Alpine, TX. Clara’s occupational experience spans music education, violin performance, and composition, scoring for theater, podcasts, installations, and film. Caring for three cats with partner Ian and creative collaborations with friends are Clara’s favorite pastimes. Current projects include ambient duo greenwood with Nick Gregg, multi-media Sediment Collective with Shea Carley and Sam Fullilove, a Satie-centric duo with classical guitarist Nick Hurt, and chaotic band Plastidip. -
hannah rubin is an LA-based interdisciplinary artist, writer, and somatic practitioner whose work explores the entangled relationships between body, language, and environment through the lens of queer ecology. Drawing on practices of experimental poetry, performance, and visual art, their work investigates how structures—both physical and social—shape collective and intimate experiences of grief, desire, and transformation.
Rooted in somatic awareness and ritual, Rubin’s projects and educational experiments often invite participants into states of deep listening, improvisation, and relational presence. Through community-based initiatives like sticky poetry club and their collaborative radio project mellow drama on dublab radio, they cultivate spaces for creative exchange that challenge normative ways of sensing, learning, and expressing.
Their work has been presented at Outlook Is___ Projects, Parallax Art Center, and The MAK Center for Art and Architecture, and supported by institutions including Tin House, High Desert Test Sites, Lambda Literary Foundation, the Center for Craft, and the Truman Capote Literary Trust.
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Héloïse Garry is a French filmmaker-composer, working at the crossroads of cinema, sound, and performance. Spanning electronic music, audiovisual installations, and sonic storytelling, her immersive works explore interactivity, cross-cultural connection, and the aesthetics of totality.
A Stanford CCRMA artist-in-residence at Gray Area SF, she has presented work at ICMC, NIME, NYCEMF, Audio Mostly, and ICAD. As a Yenching Scholar at Peking University, she researched the politics of Chinese independent cinema and the role of sound in Jia Zhangke’s films. She has collaborated with IRCAM, the Columbia Computer Music Center, and physicist Brian Greene on the sonification of the universe. Her work explores artistic, geographic, and linguistic borders, with a commitment to poetic expression and public dialogue. She creates between Paris, New York, and San Francisco.
Héloïse and her collaborator, Anastasia Sotiropoulos, will be documenting this year’s sonic rodeo.
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Phil Boyd (Hidden Twin) was born in the Appalachian city of Cumberland, Maryland, in 1979. As a singer, guitarist, and songwriter, Boyd went on to co-found the garage rock band Modey Lemon in 1999 with Paul Quattrone (now of Osees) while both were attending the University of Pittsburgh. Modey Lemon achieved some international success, signing to Birdman Records and Mute Records in 2003 and made several tours around the UK, Europe, Canada, and the US throughout the decade before disbanding in 2011. Boyd started releasing acoustic music recorded at home under the name Hidden Twin in 2006 while taking respite from the volume and physicality of Modey Lemon's tour schedule. He has continued to release music under this name, including the upcoming "Outlaws, Pirates, Bandits, and Heroes" album in Fall of 2025. He has lived in Marfa, Texas, since 2017 and is also a member of the band Air Field.
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Kim makes food, poetics, dance and community. With a MA in Critical and Visual Studies, and 10 years of making experimental kitchens and dance floors, Kim makes work motivated by love for the aliveness and of being with others- in complication, in miscommunication, in capitalism, in pleasure.
She is one of the organizers of sonic rodeo.
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Katherine Vaughn is a dancer and performance artist from Cleveland, Ohio whose practice involves site-related movement, embodied presence, vulnerability and collaboration with entities of all kinds. They help organize DIY art space Shedshows in Austin and are currently based in West Texas. Lately Katherine has been making dances with their mystical companion dog Saba in the field next to their house during sunset.
Website: www.katherine-vaughn.com
Mai Snow is a Trans/Non-binary artist born in Polevskoy, Russia. They split their time living and making work between Texas and New England. Their work focuses on beauty and complexities of queer sexuality, trans gender and the non-binary body. Snow received their MFA from University of Texas at Austin in 2020 and their BFA from Maine College of Art in 2013. They have shown their paintings throughout Texas, New England, and in various parts of the Midwest. Snow is the co-creater of a local DIY Gallery space, Shedshows, in Austin, Texas.
IG: @maisnowpaintings & @shedshows
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Liv Mershon is a musician, filmmaker, and member of the harsh-ambient duo nunn. She maintains a solo performance practice, co-organizes Sonic Rodeo, and collaborates with other musicians and artists whenever possible.
Mershon’s work is a pursuit of beauty, the grotesque, absurdity, emotional release, and connection. Her performances unfold as dreams do, drawing narrative toward spiritual integration with heavy tones and textures. She loves a seemingly pointless act that has profound effect, and all who gather for no reason beyond the experience itself.
Mershon believes that sound can be a deeply healing force where people can safely experience their most intense emotions. Her work is an offering of presence, where listeners can experience catharsis.
Mershon’s work is rooted in DIY, where things are allowed to be what they are- unmediated. She imagines horizontal economies where support comes through mutual aid and collective care. She is endlessly motivated to create and bring people together and will likely never stop.
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mark so works on the cusp of experimental music and poetics. Recent performances, installations, listening rooms, and streetwork have taken place in Los Angeles, Wonder Valley, Portland, New York, Toronto, Mexico City, Chicago, and Marfa, including ongoing collaborations with composer Manfred Werder and others. He scored The Trip, a road movie directed by poet Eileen Myles, and composed the third installment of artist Kathleen Johnson’s sci-fi odyssey Brainchild, performed at the Mars Desert Research Station in Utah.
Various scores and writing have appeared in Word Events, Walking from Scores, Peripheries Journal No. 5, The Open Space, and with poet Tim Johnson, Pathetic Literature. Marfa Book Co. published A Box of Wind, assembling nearly 300 scores from his Ashbery series. Recordings have been released on caduc, editions wandelweiser, winds measure, The Open Space, and his own death-spiral. He lives in and out of Los Angeles, where his Heliogabalus operas will be performed at The Box in November.
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A native of the coastal swamps of the Louisiana/Texas border, Michael’s childhood was filled with song from an early age. From church choirs, trumpet lessons through school, to picking up guitar at age 15 due to a lifelong love of Johnny Cash, and a boundless curiosity led to an ever expanding range of instruments and styles. The sultry sound of New Orleans jazz, the earnest storytelling of folk and country, plaintive moans of early blues slide guitar blended with a heavy touch of psychedelia have been a part of many different musical projects through the years.
First in the Southeast Texas region, where the sky burns angry from refineries and the land never quite dries after each hurricane. Then a second chapter in the Southwest. Albuquerque, New Mexico, a sheltered valley, where the Sandia mountains take on their namesake watermelon-hue at sunset. The Southwest asks for music to be made on it’s own terms, and Michael roamed that land, always with an instrument at hand to play to the natural echo chambers and blessed spots he found along his wanders. From Albuquerque to Far West Texas, he’s still working to keep his heart open to the muse of nature and it’s effects on the consciousness of humanity.
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Mo Eldridge is an interdisciplinary artist living in Marfa Texas tinkering with light, movement, & sound . writer & instructor . current works on view at Rule gallery & Maintenant in Marfa .
They are one of the organizers of sonic rodeo.
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SATURDAY 9/13 2:30PM at Maintenant Marfa, artist-composers Warren Realrider and Nathan Young will present a workshop and a new composition, Kitawîrisu’ (or The Gambler), a stochastic piece inspired by the chance operations of John Cage, the Fluxus artists, and John Zorn’s Cobra. Kitawîrisu’ incorporates extended compositional techniques, utilizing voice, phones, paper, and sticks, to generate sound through Asâru’—games of chance.
This workshop is open to all participants interested in exploring new compositional techniques. Participants will engage in the creative process by experimenting with chance-based composition, interacting with various sound-making objects, and contributing to the evolving structure of Kitawîrisu’. Through guided improvisation and collaborative exercises, they will gain insight into how Pawnee traditions intersect with contemporary experimental music, fostering a deeper understanding of stochastic composition and Indigenous approaches to sound.
Warren Realrider is a Pawnee/Crow multidisciplinary artist based in Tulsa, Oklahoma and is currently working on new projects as part of the Tulsa Artist Fellowship. While studying painting at the University of Oklahoma he began an exploration of sound, materials, and site as elements of his art practice. Warren created the Tick-Suck noise performance project in 2016 as sound became central to his practice.
He has since presented his solo works and performance collaborations in varied locations, from DTLA to S. Windham, VT and beyond. His works such as IIII Kitapâtu and Unassigned Data operate within the unclaimed spaces between contemporary N. American plains cycles, universe engagement, and untethered sound to create pointed, sonic structures of human/item/location interface.
Nathan Young is an experimental musician, improvisor and artist whose expanded practice includes drone, noise music and sound art. Young is the founder and curator of Tulsa Noise, Tulsa Noisefest and the Peyote Tapes record label. His music performances often explore the idioms of drone music and harsh noise and are characterized by heavy atmospherics and ecstatic intensity. Performing with a constantly evolving array of electronic and electro-acoustic instruments, Young uses extended and experimental techniques to create heavy and meditative drone compositions.
He has released over 60 + recordings on independent labels as Alms, Narco Alms, Ajilvsga, Postcommodity, Flora Morte and Spirit Plate. Nathan co-founded the artist collective Postcommodity (2006-2015) and holds an MFA in Music / Sound from Bard College’s Milton-Avery School of the Arts. Young is a PhD candidate in the University of Oklahoma’s innovative Native American Art History Doctoral program where his scholarship is focused on Indigenous Sonic Agency. Nathan is the 2024-2025 recipient of the Foundation for Contemporary Arts John Cage Award.
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Rachel Hulsey is an ambient noise musician, improvisational composer, and curator behind the groups Enemy Goddess and The Way Her Hair Falls, and the recording label Ritual Magnetics.
Will Adams is a guitarist based in Houston, TX whose work has appeared on Gnomonsong, Sub Pop, LAMC, Tall Texan, Domino, Impose, Haywain, Ecstatic Peace & Lance Rock recordings.
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Sarah Ruth is a diverse musician and artist – a multi-instrumentalist, she employs hammered dulcimer, harmonium, electroacoustic sound art, and extended vocal techniques. She performs frequently both solo and with multiple bands and improvisational ensembles in the North Texas area. She is a University of North Texas graduate where she focused on vocal studies and electroacoustic composition. She has also studied with Meredith Monk and members of her vocal ensemble. She enjoys varied collaborations and has worked as a sound artist for art and photography installations and an accompanist for modern dance.
She has performed with Damon Smith, Tatsuya Nakatani, Jaap Blonk, Liz Tonne, Sarah Gamblin, Rosemary Candelario, Susan kae Grant, Lisa Cameron, Tom Carter, Aaron Gonzalez, Lindsey Verrill and Thor Harris to list a few. She tours nationally and her recent albums have been released on Sawyer Spaces, Obsolete Media Objects, Balance Point Acoustics, Pour le Corps Music, and Linda Hand. Sarah curates the Joan of Bark concert series and label in Denton. She also hosts a radio program called Tiger D on KUZU LP broadcasting in Denton at 92.9 FM and streaming online at kuzu.fm, playing music and often featuring guest musicians to curate and discuss their playlists. She recently had a chapter titled “Community Building Through Collaboration,” published in Routledge‘s Art as Social Practice: Technologies for Change.
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Kevin Whitley, and Nick Terry (Marfa, TX) began collaborating in 2024, creating Signal Service. Whitely mines treasures from the vast depths of YouTube, dredging bits to weave sonic dreamscapes through pedal mastery, while Terry flies in and out with complimentary guitar road scrap finds and kill.
www.airfield1.bandcamp.com, www.kimazuichinmoku.bandcamp.com
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Tara Bhattacharya is an experimental musician, singer, performance artist, and filmmaker living and working in Austin, TX. She graduated with a degree in Art History and Asian-American studies from Hunter College, NY. Tara’s musical oeuvre encompasses a wide variety of different genres including improvisation, electronic compositions, chamber music, and Bengali folk songs. Her audiovisual practice reflects upon the sociopolitical ideas, attitudes, writings, film, and music from American and Japanese subcultures of the fifties, sixties, seventies, and eighties. She runs Antumbra Intermedia Events + Installations and Nothing is Sacred Presenta regularly curating experimental music events, sound installations, and film/video screenings in Austin, TX. Her struggles as a woman of color has factored into all her creative output throughout her life and in 2019, she founded Interference Fest: Women Making Noise, an audiovisual festival that incorporates poetry, sound art, video, and mind-body workshops. The emphasis of the festival is on the care, consideration, and concern of all underrepresented artists working today and providing a designated space for positive reinforcement, community, and self-expression. She has performed on KOOP Radio, KUTX, The Carpenter Hotel, Blanton Museum of Art, The Contemporary Austin, Salvage Vanguard Theater, The Volstead, Museum of Human Achievement, Alamo Drafthouse, Violet Crown Cinema, The Parish, Chess Club, Dadalab and Austin Film Society. Outside of Austin, TX, she has been invited to play at Cabaret Voltaire in Zurich, Switzerland, Secret Project Robot, NY Anthology Film Archives, NY, The Museum of Modern Art, NY, Rubber Gloves Rehearsal Room, Denton, TX and Mercury Project Contemporary Art Space in San Antonio, TX. She is currently in the process of organizing the sixth iteration of Interference Fest 2026. Tara is honored to participate in Sonic Rodeo, in Marfa, TX in 2025.
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Theo Krantz is an experimental musician, new media artist, and viola da gamba player living in Santa Fe, NM.
His music practice focuses on textural, emotive compositions built with tape machines, radios, string instruments, and synthesizers. He is especially drawn to the physicality of sound—its texture and materiality—and often works with outdated or unconventional technologies for the unique qualities they can impart on recordings.
In his new media work, he explores the role of broadcasting and transmission in the digital age. His interactive live streaming work is a satirical and maximalist interpretation of public access television and is deeply influenced by the plunderphonic movement’s questions around authorship and intellectual property.
Over the years, he has created and performed a range of live works—everything from dense audio-visual media collages to absurdist performance art. He also has collaborated with other artists on interactive sculptures and installations.
Beyond this, he runs the tape/net label cry like donna, edits otherworld, co-runs santa fe noise ordinance, does all the music for a visual novel, hosts a public radio show on 101.1 KSFR, and is an organizer for campbient, an annual field recording residency.
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Veronica Anne Salinas is an interdisciplinary artist, curator, educator, writer, and Deep Listener based between Chicago, IL and Southwest (US). She works at the intersections of art and creative research in sonic arts, ecology, text, video, spatial compositions, and performance.
Her interdisciplinary projects explore methods of attunement—to ecologies, to bodies, to memory, and to the unseen, noticing what often escapes attention: the slow, the quiet, the ephemeral. Her projects are drawn to edges—of environments, identities, systems—and to the poetic and political possibilities they hold.
She is a curator for Sonic Rodeo, a producer at Campbient, and serves on the board of the Midwest Society for Acoustic Ecology.
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Virginia L. Montgomery (VLM) is an award-winning experimental filmmaker and multimedia artist working across video, sound, and sculpture. She is based in Austin, TX and works internationally. VLM received her MFA from Yale University and her BFA from The University of Texas at Austin. She is known for her surreal, synthesia-esque artworks which unite elements from mysticism, science, and her own neurodivergent world.
VLM's artistic efforts are characterized by material experimentation, somatic sensitivity, and her unusual studio practice of hand-raising the moths and butterflies appearing in her films. VLM’s diverse artistic movements explore narratives of destruction, rebirth, and metamorphosis.
Virginia L. Montgomery has had solo presentations with New Museum (NY), Midnight Moment at Times Square Arts (NY), Tate Film at Tate Modern (United Kingdom), Museum Folkwang (Germany), George Eastman Museum (NY), Wright Lab at Yale University (CT), Lawndale Art Center (TX), Women & Their Work Gallery (TX), Hesse Flatow Gallery (NY), and Ivester Gallery (TX.) She has also exhibited in group exhibitions at institutions including SculptureCenter (NY), Ballroom Marfa (TX), Contemporary Austin (TX), The Hessel Museum at Bard College (NY), Blanton Museum (TX), Socrates Sculpture Park (NY), Blaffer Museum (TX), La Panacée-MoCo (France), Banff Centre (Canada), and Kunsthal Charlottenborg (Denmark), among others.
Website: www.helloVLM.com
Instagram @skinnyaliens
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[[ W. CREEVEs makes synthy-sounds, loose loops, busted beats and blabs into a microphone about personal BS. Casio induced cacophony meets subversive songster. Lo-Fi and low IQ. CREEVEs is what happens when a drummer is left alone in a synth-den for too many years with too much THC. THANK YOU FOR CREEVING™️ ]]
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Will Floyd is a broadcast engineer and artist working with sound and radio transmission in performance and installation. His practice explores the manipulation of communication signals, natural radio, and improvisation to create evolving sonic textures. Engaging with feedback systems and environmental interference, his work embraces chance and the unpredictable behavior of signals as compositional elements.
His installation work often unfolds over extended durations, using the broadcast format to evoke a sense of scale and deep time. Will studied at Oberlin Conservatory of Music and builds community radio stations with Prometheus Radio Project.
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Marfa, TX
archive - 2024
2024 Poster by No-No tes
past artists- 2024
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Molten Plains is a monthly series of adventurous sounds and further music experiences curated and organized by Ernesto Montiel and Sarah Ruth Alexander in Denton, TX. The series celebrates by hosting a larger scale 2-day festival in December.This will be a first iteration of the Molten Plains Ensemble organized by Ernesto and Sarah to include Miguel Espinel, Aaron Gonzalez, and Louise Fristensky.
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Phil Boyd, guitar, synths; Nick Terry guitar, lap steel, toys Marfa, Texas
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Andrew Stevens is a drummer and sound engineer from Texas whose free time is mostly spent cooking and playing banjo.
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Anne-F Jacques is a sound artist based in Montreal, Canada. She is interested in amplification, oblique interactions between materials and construction of various contraptions and idiosyncratic systems. Her particular focus is on low technology, trivial objects and unpolished sounds. She regularly realizes installations, performances and ephemeral interventions and gives workshops about domestic applicances hacking. She has worked amongst others with Tsonami Festival (Chile), Experimental Intermedia (New York), Ftarri (Tokyo), CTM (Berlin), Umbral (Mexico), Centrale for Contemporary Arts (Brussels), High Zero (Baltimore) and MEM (Bilbao).
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Kory Reeder is an American composer and performer whose music, drawing inspiration from the visual arts and political theory, is often introspective and atmospheric, investigating ideas of objectivity and immediacy, while exploring the social implications of musical interaction with pieces ranging from symphonic and chamber works to field recording, text scores and computer-assisted improvisations. Kory is from Nebraska and currently resides in Texas where he is an active performer and teacher. He received his PhD from the University of North Texas where he taught courses in composition, electronic music, rock music, music as politics, and vaporwave and directed the University’s Electronics Ensemble, and the Free Improv Ensemble. He is a former student of Antoine Beuger, Anthony Donofrio, Sungi Hong, Joseph Klein, Mikel Kuehn, Elainie Lillios, and Darleen Cowles Mitchel, and he holds a Bachelor of Music degree in composition from the University of Nebraska at Kearney, and a Master of Music in composition from Bowling Green State University.
Ryan Seward is a musician, composer, and artist living in Colorado Springs, Colorado. His work is situated within and across a number of forms, including composition, improvisation, installation, performance, phonography, photography, sculpture, and videography. Ryan holds the MA in Music from Wesleyan University, where he studied experimental music and composition with Ron Kuivila, Paula Matthusen, and Neely Bruce. He has also been mentored informally by composers Antoine Beuger, Michael Pisaro-Liu, and Emmanuelle Waeckerlé.
Andrew Weathers (1988) is a composer and improviser based in the Llano Estacado region of northwestern Texas. His work is equally concerned with the disjunction of duration and place, as well as improvisation’s prospect as a vessel of discovery and collective practice. His projects and performances span the idioms of field recording, prepared guitar, surrealist soundscape, and minimalist composition rooted in repetition and drone. Apart from his longtime commitment to collaboration alongside a wide swath of figures inhabiting the sonic underground, Weathers is founder and operator of Full Spectrum Records, which has continued to release the works of sundry sound artists and experimental musicians since its inception in 2008 in his home state of North Carolina. On top of frequent credits as a mixing and mastering engineer, he has also produced various projects for Other Minds Records and Rural Situationism.
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I am a percussionist, composer, and visual artist living in Los Angeles, CA. I am driven by an overwhelming synesthesia that finds me creating in between genres. My practice unfurls from improvisation with a traditional drumset, into theatrical and sculptural performance, installation, and video art, using found objects, colors, textiles, and organic materials. I play and incorporate all genres of music, recording and touring internationally. My creative research concerns abstract music notation composed for improvising ensembles.
As a classical percussionist, I was taught to play hundreds of instruments, implements, timbres, and techniques, inspiring my current work with new materials & the body. In my improvised solo performances, I curiously explore all parameters of a subject, to learn what it can do, unsettling expectations of logic and endurance. An inviting, perhaps tongue-in-cheek trope creates a platform for experimentation, often building into a surreal myth or ritual. The physicality of my practice will coalesce with acoustics and architecture, to uncover new, visceral relationships that echo and reimagine my formal music discipline.
For two decades, I have worked with alternative music notation, creating innovative and novel systems that encode and visualize the behaviors that comprise musicians’ improvisational vocabulary. I use digital design techniques to represent sonic trajectories, relational dynamics, and situationism in space. Once an exclusive transaction between composer and performer, this work has grown into site-specific, immersive paintings for an expanded audience.
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Corey Fogel (b 1977) is a composer, drummer, and artist based in Los Angeles. Fogel works across genres and mediums to explore many facets of improvisation. He approaches sound, textile, collaborators, gestures, and objects as viable materials for spontaneous, time-based experimental performance, often fusing sculpture, video, musical traditions, theatricality, and ritual.
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Even if you believe in god, you should probably still lock yr car
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Dirtee Clouds is Kevin Whitley, of noise rock band, CHERUBS, creating improvised ambient noisescapes that are sometimes beautiful and sometimes a beautiful mess. More like windchimes made of shiny trash than writing on mirrors with lipstick
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Eric Capper is a sound and sculpture artist from Queens, NY, presently working and living in Chicago where he teaches at Northwestern's engineering program.
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Henna Chou and Adam Hilton work compose and improvise works for theatre, dance, and site-specific installations, focusing on the codependence between bodies and sound, and how we interpret and react to that relationship.
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Henna Chou is a sound explorer with experiences living in Tucson, AZ; Overland Park, KS; Berkeley, CA; Ames, IA; Beijing, China; and Montpelier, VT. Chou enjoys participating in Austin’s creative community as a cellist, guitarist, keyboardist, and sound artist. Previous participations include work with COTFG, Salvage Vanguard Theater, Paper Chairs Theater, BLiPSWiTCH, Collide Arts, The Blanton Museum of Art, The Contemporary Austin, Blanton Museum of Art, New Music Co-Op, Stop Motion Orchestra, Go: Organic Orchestra, Phonography Austin, Golden Hornet, Heloise Gold and The Resonant Lung.
Adam Hilton is a musician, composer, performer and sound artist in Austin, TX. He has performed and created in association with NMASS, BLiPSWiTCH, SoundSpace, Collide Arts, COTFG, Phonography Austin, and Salvage Vanguard Theater. He sometimes releases music under his own name and as Linen Closet.
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Kim is an artist, chef, writer and dancer. She cares about sensation and poetics, systemic and creative thinking, somatic work. Kim seeks out collaborations that move across disciplines and modes of making / forms of knowing. Kim holds a Masters of Critical and Visual Theory from the Art Institute of Chicago. She is currently based in Chicago, IL.
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Through stylistic shifts, Mershon's work exists as a pursuit of beauty, emotional release, connection, and the absurd. In recent work, Mershon combines her current explorations into noise with the song-writing of her past and home videos from her youth. Inspired by the psychedelic experience of aging, Mershon combines these nostalgic and emergent practices in an attempt to witness her own changing but static self.
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Liv Mershon is a Chicago based multi-media artist and band member of nunn and Who is the Witness? (Jenny Pulse, Tim Kinsella, Whitney Johnson, Jon Mueller). Liv recorded and produced nunn's releases- distributed by Damien Records, Trouble in Mind Records, and Death Bed Tapes. She enjoys djing monthly for Beloved radio, co-curating Sahn Ecstatik at the California Clipper, improvising with other experimental musicians, live sound recording and producing for film, and co-organizing Tierras Sonidas.
Bad Psychic Bandcamp | Nunn Band Bandcamp | Instagram | Instagram (Nunn)
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I’m interested in historical definitions of silences and nothings held together in a delicate empiricism of the noticeable. How this works against the multiple, animal or sensate. In terms of thoughtlessness and forgetting. Like this sulfur smell in the air. At what point does sensation become exposure? Listening expands to include a chemical banality or a way of feeling around the dark. The motion of bone in fluid. A geophysicist defines the line between the seismic and its sound as a matter of philosophy. What is the wind? A minor key, or this humming under the threshold of nothing I am writing. Using the techne of the senses or recording devices to demarcate where and how listening fails.
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Megan Jeanne Gette approaches phonography (writing sound) through technologies of listening. She is author of Majority Reef (Inside the Castle Press, 2020), and several chapbooks. Her publications include Venti: a Journal of Air, Art and Aesthetics, Cleveland Review, Minor Literatures, Black Warrior Review, BAX: Best American Experimental Writing, and elsewhere. She has edited and written for many experimental art presses and journals, including the Visual and New Media Review at the Society for Cultural Anthropology’s Fieldsights, and is a member of the ethnographic sound art collective OS. She holds an MFA in poetry and a PhD in anthropology.
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Spirit Plate is the spiritual noise duo of Mateo Galindo and Nathan Young . Heavily influenced by and grounded in the tradition of spiritual/ free jazz and unhinged noise rock. Spirit Plate utilizes reciprocal feedback loops, electronics, prepared guitar, and drumming to create ecstatic noise improvisations that invoke sacred trance and drone traditions.
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Mateo Galindo is an artist, composer, curator, born in Carlsbad, New Mexico. Current projects: Atomic Culture, ¿Tierra y Que? art gallery, WRxMG, Zona Mutante.
Nathan Young is an artist, composer and scholar, born in Tahlequah, Oklahoma. Current projects: Waves of Dust, Tulsa Noise, Postcommodity, Ajilvsga.
Warren Realrider is an artist and composer born in Pawnee County, Oklahoma. Current projects: Tick-Suck, Waves Of Dust, WRxMG.
Warren Realrider is a Pawnee/Crow multidisciplinary artist based in Tulsa, Oklahoma and is currently creating as part of the Tulsa Artist Fellowship. While studying painting at the University of Oklahoma he began an exploration of sound, materials, and site as elements of his art practice. Warren created the Tick-Suck noise performance project in 2016 as sound became central to his practice. He has since presented his solo works and performance collaborations in varied locations, from DTLA to S. Windham, VT and beyond. His works such as IIII Kitapâtu and Unassigned Data work within the unclaimed spaces between contemporary n. american plains existence, universe engagement, and untethered sound to create pointed, sonic structures of human/item interface. Realrider works to play the tensions and time locations between objects, functions, and movements to create works constructed on the frameworks of noise art, improvisation, and experimental composition.
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Tara Bhattacharya is an experimental musician, singer, performance artist, and filmmaker living and working in Austin, TX. She graduated with a degree in Art History and Asian-American studies from Hunter College, NY. Tara’s musical oeuvre encompasses a wide variety of different genres including improvisation, electronic compositions, chamber music, and Bengali folk songs. Her audiovisual practice reflects upon the sociopolitical ideas, attitudes, writings, film, and music from American and Japanese subcultures of the fifties, sixties, seventies, and eighties. She runs Antumbra Intermedia Events + Installations, regularly curating experimental music events, sound installations, and film/video screenings in Austin, TX. Her struggles as a woman of color has factored into all her creative output throughout her life and in 2019, she founded Interference Fest: Women Making Noise, an audiovisual festival that incorporates poetry, sound art, video, and mind-body workshops. The emphasis of the festival is on the care, consideration, and concern of all underrepresented artists working today and providing a designated space for positive reinforcement, community, and self-expression. She has performed on KOOP Radio, KUTX, The Carpenter Hotel, Blanton Museum of Art, The Contemporary Austin, Salvage Vanguard Theater, The Volstead, Museum of Human Achievement, Alamo Drafthouse, Violet Crown Cinema, The Parish and Austin Film Society. Outside of Austin, TX, she has been invited to play at Cabaret Voltaire in Zurich, Switzerland, Secret Project Robot, NY Anthology Film Archives, NY, The Museum of Modern Art, Rubber Gloves Rehearsal Room, Denton, TX and Mercury Project Contemporary Art Space in San Antonio, TX. She is currently in the process of organizing the fourth and fifth iterations of Interference Fest 2023/2024.
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I am an Analogue Synth Player/ Experimental musician and have played in Austin over 10 years. I also organize experimental music events for Antumbra Intermedia Events and Installations as Nothing Is Sacred Presents.
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Heloise Gold was inducted into The Austin Arts Hall of Fame in 2015; and is known as one of Austin’s dance/performance art pioneers, endlessly creating work in Austin since the 1980’s. She highlights experimentation and collaboration in her pieces and infuses her deep sense of humanity, humor and vision into everything she creates. Her performance career traverses numerous paths beginning with early childhood appearances in NYC with the Bolshoi Ballet, to performing in Robert Wilson’s legendary opera The Life And Times Of Joseph Stalin to participating in many experimental happenings in NYC in the mid1970’s to dancing/touring with the Deborah Hay Dance Company (1980-1986). She began creating her own multi-disciplinary performances, being a key player in the performance works developed in Austin in the 80’s-2000’s. A generative artistic relationship beginning in the early 90’s with New Music pioneer Pauline Oliveros took Gold throughout Europe and the US; teaching and performing. She continues to create in Austin, collaborating with many of Austin’s current performance visionaries.
Website: heloisegold.com
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Tom Carter is an improvising musician working in the medium of rock, sound art and experimental music with the intent to erase the boundaries between genres by instigating unusual collaborations in non-traditional venues. His long-term collaborative project with musician, artist and poet Christina Carter, Charalambides, has recorded dozens of CDs, and he has released dozens more either solo or with various short-and-long-term collaborators. He currently resides in Houston, TX where he actively stages multimedia events solo and in tandem with a variety of local and international performers.
He is the co-founder (with Rachel Orosco) of Internal/ Eternal, a Houston-based arts collective, and a member of sound art collective Los Primis Horneados with Orosco, bio artist Aisen Caro Chacin, and itinerant mystic Nancy Douthey. His Three Lobed 2LP Long Time Underground was selected as the number-one experimental album of 2015 by Pitchfork.
Rachel Orosco is a multimedia artist, DJ and musician who divides her time between Houston, New York City, and Atlanta. Her projects with guitarist Tom Carter explore the intersection of light, improvised music, and the built environment. Orosco and Carter, as Internal/Eternal, have staged numerous collaborative events breaking down the separation between performer and audience, which have included a variety of readers, artists, and musicians including Joe McPhee, Loren Connors, Susan Alcorn, Maria Chavez, Charalambides, and David Dove.
As a visual artist, Orosco uses mirrors and light projections to expand perception beyond architectural boundaries, creating illusory realms without borders inside of confined spaces. She has performed frequently as a member of Houston guitarist Sandy Ewen’s freewheeling ensemble Lady Band (a rotating cast of female-identifying performers, sound artists, and musicians).
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My creative experimentation draws primarily on sound, new media, ecology, performance, and literary practices. My work engages with ideas of orientation, becoming, of in-process and evolving work/selves/technologies, feral sensualities, acoustic territories, amplifying the body/marginality, visual and sonic landscapes, spatial cultures, digital storytelling, walking practices, materiality, universal cosmic energy, vibrational healing, and radical and empathetic ways of listening with/to human and non-human entities as social practice. I’m interested in interrogating the sonic perspective, listening approaches, attention spans/dispatches, and working with communities to further understand ways of being.
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Veronica Anne Salinas (she/they) is a Tejana artist, educator, writer, and Deep Listener. Her creative research engages sound, landscape, geomancy, writing, anthropology, performance, the archive, and video. Her work in sound focuses on acoustic ecology, text scores, voice and language, listening practices, spatial audio, improvisation and performance, and sonic archiving. She holds an MFA in Sound from the School of the Art Institute of Chicago, is currently studying Deep Listening at the Center for Deep Listening at Rensselaer Polytechnic Institute, and serves on the board of directors for the Midwest Society for Acoustic Ecology.
Her work has been featured at the Bemis Center (Omaha, NE), Granite City Art and Design District (Granite City, IL), Co-Prosperity Sphere (Chicago, IL), New Music Gathering (Portland, OR), Museum of Contemporary Art Chicago (Chicago, IL), Elastic Arts (Chicago, IL), Empty Bottle (Chicago, IL), Omaha Under the Radar (Omaha, NE), Urban Arts Space (Columbus, OH), 2nd International Conference on Sonorities Research (II CIPS Sonoridades Fronteriças), the Midwest Society for Acoustic Ecology (MSAE), Noise Pulp Radio, Quarantine Concerts, No Nation Art Lab (Chicago, IL), MANA Contemporary (Chicago, IL), Flatland Gallery (Chicago, IL), Farmhouse Art Collective, Open Sheds (Chicago, IL), The Inter-University Program for Latino Research (IUPLR) Latino Arts Now! 2019 Conference, Experimental Sound Studio (Chicago, IL), Chicago Design Museum (Chicago, IL), Sullivan Galleries (Chicago, IL), Mudlark Theatre (New Orleans, LA), Box 13 (Houston, TX), Megapolis Audio Festival (Philadelphia, PA), Midtown Arts & Theatre Center Houston (Houston, TX), Lawndale Art Center (Houston, TX), Art League Houston (Houston, TX), Alabama Song (Houston, TX), Vermont Studio Center (Johnson, VT), Clamp Light Artist Studios & Gallery (San Antonio, TX), Artpace (San Antonio, TX), Sala Diaz (San Antonio, TX), Highwire Arts (San Antonio, TX), and Cities and Memory (UK).
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As a neurodivergent femme artist with autism and synesthesia, I experience the world a bit differently, perhaps like a bug. My world is a textured reality where I see sounds and hear colors. I'm an experimental filmmaker, sound designer, storyteller, and sculptor. Through my artwork, I show others how fluid multi-sensory experience is. And, I role-model to other neurodivergent folks what an art practice grounded resilience looks like. This is why in my artwork I work with iconic metamorphosing insects like moths and butterflies, as these winged-beauties both represent and embody the uncanny strength of transformation.
Metamorphosis and connection are the guiding forces behind my work. Artists like Guadalupe Maravilla, Hilma af Klimt, and Maya Deren, whose own art diverse art practices foreground the creation of dreamlike spaces for spiritual investigation, are creative inspirations for my work. I create eco-surrealist dreamworlds. Theories from ecofeminist Dr. Donna Haraway’s ‘When Species Meet,’ have taught me that there is considerable overlap between posthumanism, ecofeminism, and philosophical metaphysics. As Haraway reflects upon the ways our relationships with non-humans may impact our future, I am further inspired to continue my care-work and collaborations with moths and butterflies, both inside and outside of the studio.
Living life as a 21st century autistic, surrealist femme who has seen her own trials and tribulations, I sometimes feel like a bug: a strange being that is vulnerable yet incredibly resilient. And like a bug, I am often baffled by the violent, destructive, chaos of the human world. I believe most days other folks (neuroatypical or not) feel this way too. This double empathy that I have (both for the natural world and the experience of the outsider) crafts the quirky tenderness within my art. I use my art practice as a site for care-taking and space-making. My art practice is like a psychic cocoon: a playful, multi-layered, textured, and vibrating safe space for all gentle weirdos (bugs and outsider humans alike) to heal, experiment, and metamorphosize together.
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Virginia L. Montgomery (VLM) (b. Houston, lives and works between Austin & New York City) is a multimedia artist and naturalist working in video, sound, sculpture, and entomology. Her surrealist artworks conjure optimistic dreamscapes that unite elements from mysticism, science, and her own lived experience as a neurodivergent ASD1 individual with hearing-motion-synesthesia. Her artistic efforts are characterized by material experimentation, somatic sensitivities, and her unusual studio practice of hand-raising the luna moths and butterflies seen in her videos. Philosophically, VLM's artwork explores the metaphysical ecofeminist praxis of atomic consciousness, the radical notion that all consciousness arises in tandem with matter. VLM's witchy works gently revere the world with dreamlike wonder. VLM received her MFA at Yale University and her BFA at The University of Texas at Austin. She has had solo presentations with The Tate Modern (United Kingdom), New Museum (NY), Times Square Arts (NY), Museum Folkwang (Germany), Wright Lab at Yale University (CT), Women & Their Work (TX), The Lawndale Art Center (TX), False Flag (NY), and Hesse Flatow (NY). She has exhibited in group exhibitions at institutions including SculptureCenter (NY), La Panacée-MoCo (France), The Hessel Museum (NY), The Banff Centre (Canada), Socrates Sculpture Park (NY), The Blanton Museum (TX), The Contemporary Austin (TX) and Kunsthal Charlottenborg (Denmark), among others.
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Will Floyd is an artist and musician working with sound and radio transmission in performance and installation. His work focuses on environmental and electromagnetic signals, improvisation and participatory media practices. Will studied at Oberlin Conservatory of Music and builds community radio stations with Prometheus Radio Project.