Since 2012 Jordan has released over 18 records on renown electronic music labels, and regularly performs and DJs internationally. As co-founder of FlipMu, Jordan has explored interactive works for large-scale multitouch surfaces (such as the recent 4-story interactive cube for RedBull and Vita Motus), real-time data sonification, generative audio-visual systems, and musical interface design with open source aesthetics. Co-founding the Noise Index together with Owen Vallis and Jasmin Ruiz Blasco, an art and research platform which explores questions emerging from increased access to information and information saturation, he has exhibited installations and public artworks in New York, London, Paris, and Los Angeles.

In March 2013, Jordan received his PhD from the Victoria University of Wellington, New Zealand. His research investigated the affordances of applying multimodal analysis and machine learning to the domain of musical performance. Since then he has: worked as a research scientist at Twitter, developed large-scale multitouch technology for Nokia Research Labs, co-authored a popular book on the Arduino (Manning Publications), was awarded the Leonardo Fellowship, and has consulted on audio analysis, machine learning, and musical interactivity for high profile video games and audio technology companies. Jordan’s work has been featured online and in print, including Wired Magazine, Computer Arts Magazine, Make Magazine, XLR8R Magazine, The Creators Project, Processing.org, and Rhizome.org, to name a few. He has published dozens of technical papers in preeminent international publications, spanning the fields of music, art, human-computer interaction, cloud computing, and engineering.

Meason Wiley is a musician, multimedia artist and fabricator based out of New Mexico. He received both his BFA and MFA in Music Technology (MTIID Program) from California Institute of the Arts, mentored by Dr. Ajay Kapur, Michael Darling, and Trimpin. Meason is currently a mechanical/kinetic/sound artist and designer for the immersive art/entertainment company Meow Wolf. In the seven years prior to Meow Wolf, Meason was a Professor of Music Technology at Austin Community College (MBPT Program) where he taught visual programming, sound design, audio synthesis, and live electronic music performance courses. He was also the ACC Makerspace Coordinator, training students in electronics, computer programming, and digital fabrication. Additionally, he was the founder/creator of the ACC Digital Art + Technology Forum, a monthly lecture/performance series that brought innovative visiting artists and technologists from all over the world to share, engage, and inspire both ACC students and the greater Austin creative community.

His personal work centers around the exploration of imperceptibility in nature and natural phenomena through various creative processes, including mechanical/kinetic design, robotics, generative systems, data sonification, and physical computing. In addition to his own work, Meason has been involved with the KarmetiK collective/think tank since 2009, a group of artists and engineers seeking to explore and redefine the boundaries between music, the visual arts, and technology.

As a musician, he has toured the US extensively, and has also lectured and presented work at NIME, SXSW-Interactive, the SXSW-Music Festival, the DubSpot/Ableton Forum, Meow Wolf: House of Eternal Return, Church of the Friendly Ghost, NMASS Art Festival, Austin Film Festival, The HouseCore Horror Film Festival, Levitation Fest, Link & Pin Gallery, Radical Abacus (Santa Fe), The Vortex (Austin), The Salvage Vanguard (Austin), PehrSpace (Los Angeles), Automata Arts (Los Angeles), Temescal Art Center (Oakland), Base Experimental Arts Space (Seattle), Walt Disney REDCAT, Mesa Festival, CalArts, Louisiana State University, Carnegie Mellon University, University of San Diego, Texas State University, The University of Texas (Austin), and others. His work has been featured in numerous online and print publications, including ICMC, CMJ, NIME, Spin Magazine, Uncut Magazine, Rolling Stone, The LA Weekly, The LA Times, The Austin Chronicle, The Austin American Statesman, Create Digital Music, Synthwise, Synthtopia, Wired, and SXSW magazine.

In 2008, Owen graduated from the MTIID program at California Institute of the Arts, and is currently completing his Ph.D. in Sonic Arts at the New Zealand School of Music, Victoria University of Wellington. Over the past 10 years, Owen has worked as an engineer in studios around Nashville Tennessee and Los Angeles, built a recording facility from the ground up, produced and mixed records for other artists, had production work featured in major motion films, worked for leading ribbon microphone manufacturer Royer Labs, and developed multitouch interfaces for Nokia Research Labs. Owen’s work has been featured in Wired, Future Music, Pitchfork, XLR8R, Processing.org, computer arts magazine, and shown at events such as NASA’s Yuri’s Night, and Google I/O.

Manjinder received his Masters of Applied Science from the University of Victoria in 2007 in Electrical Engineering with a focus on computer music and interactive technology. Manjinder has collaborated with dancers, musicians, engineers and visual artists to realize performances in interactive art and music. Under his arsenal are technologies such as voice recognition, computer vision/audition, machine learning, data mining, and wearable sensors.

Currently Manjinder is the director of Limbic Media, a Canadian company that specializes in large scale interactive art and technology. He has also performed as a musician at a variety of festivals including the infamous Shambhala Music Festival with his live electro-brazilian dance project, Microbongo Sound System.

Jesse “Astroboy” Brown metamorphizes folk music with a 21st century tinge. Inventing a novel sound coined by the name of “AstroPhonics” he continues to see into the future and compose new music.

Satnam Minhas spent most of his early adolescence learning the tabla from his cousin and Uncle in order to accompany his father at local temples. From there he broke away from traditional sikhi kirtan and took to rock. After many years of teaching himself to play guitar, he played and performed with the World Symphonic Groove Orchestra and later with Karmetik Underground.