Members List
All members names are listed alphabetically. To learn more about each member click on their name below. Please scroll down.
Bami Adedoyin, Brooklyn, NY
Mohd Fuad Arif, Malaysia
Megan Bisbee, Alfred, NY
Missy Carr, Washington, DC
Kristin Carroll, Boston, MA
Tony Conrad, Buffalo, NY
Kristin Carroll, Boston, MA
Tony Conrad, Buffalo, NY
Lara Davis, Providence, RI
Cindy DeFelice, Brockport, NY
Ghen Dennis, Buffalo, NY
Leigh Ann Francis, New Brunswick, NJ
Chifumi Fujisawa, Mosumoto, Japan
Amy Goldberg, Rochester, NY
Bethany Goldpaugh Brown, Kingston, NY
Virva Hepolampi, Helsinki, Finland
James Holland, Southbury, CT and Rochester, NY
Kelly Jacobson, Kansas City, MO
Akil Kirlew, Brooklyn, NY
Caroline Koebel, Buffalo, NY
Jennifer Little, Rochester, NY
Edna Madera, Rochester, NY
Darin Martin, Oakland, CA
Tammy McGovern, Buffalo, NY
Colleen Vera Melisz, Buffalo/Rochester, NY
Toni Mosley, Auckland, New Zealand
Tomoya Murazumi, Kanazawa City, Japan
Akane Nakamori, Kanazawa City, Japan
Stephanie Nolasco, New York, NY
Natasha Pachano, Costa Rica
Warren Peace, Jersey City, NJ
Anjanel Dawn Pinet, Rochester, NY
Mima Simic, Croatia
Joan E. Stoltman, Buffalo, NY
Diane Teramana, Kingston, NY
Angela Tessier Kanazawa City, Japan
Andy Tetzlaff, Kanazawa City, Japan
Matthew Underwood, Boston, MA
Adam Weekley, Buffalo, NY
wolfgrrrl sometimes billijo, Rochester, NY
Walter Wright, Lowell, MA
Ami Yamasaki, Kanazawa City, Japan
Ojima Yukari, Kanazawa City, Japan
Karen Y. Zhang, Beijing, China |
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Members List
Mary Edwards
Mary Edwards is a composer, lyricist, sound architect, and has an interdisciplinary practice informed by a reverent emotional association with space poetics, film, and nostalgia, central themes for her work which serve as a conduit for her musical expression and related media. She states, &ldquoMy intention,to encourage my audience to appreciate the relationship of music and sound as a means of enhancing their spatial experience, corresponds with my interest in personal narratives that fill the nuances of a collective history.” She generates needed &ldquovisual” details by creating texture and sensation &ldquothrough effective use of words, music, and sound” to create an alternative architecture and cinema for the ear.
Her work-in-progress, INTERNATIONAL INCIDENTAL, (inspired by the physical and liminal spaces of Eero Saarinen's 1962 TWA Flight Terminal) is a recording described by writer Katt Lissard as "an intriguing and important project which hopes to subversively acknowledge the role of humans in the way architecture functions (or doesn't) in our culture. Mary Edwards hopes to take space back for all of us, not through the seizure of property or the redefinition of place, but though the use of melody and phrasing and multi-aural overlay."
Other developments for 2008 include AIRPORTS, WOODLANDS, AND WOMBS: THE POETICS OF INTIMATE SPACES, a sound trilogy that draws on the relationship we have with temporality, where the anticipation of travel or movement often overshadows the destination. Each compositional subject shares the conflict of desire and uncertainty that seems to simultaneously haunt these types of spaces. UOVO, a series of ambient pieces, when played successively, creates a sound “ arc”, and when played randomly, provides individual narratives, representations of the phases of birth and regeneration; EXCHANGING/EPISTOLARY/GLANCES, a fictional sound portrait; REQUIEM FOR A PLAZA; and CORRIDOR 80, a response to how we negotiate the extremes of scrutiny in the name of airport security precautions.
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