His music has been presented internationally at venues including Lincoln Center, India International Centre – Delhi, Sadler’s Wells – London, Palais Garnier – Paris, Grand Theatre de la Ville – Luxembourg, as well as numerous festivals, academic conferences and small clubs. Curtis recently completed a major residency project entitled “Motione,” in interactive dance and graphics with Choreographer Trisha Brown and Visual Artists Paul Kaiser, Marc Downey and Shelly Eshkar at the Arizona State University Arts Media and Engineering Program. He released a solo recording of live electronic performance on his extended string bass entitled “R!g,” available on the EMF label, a duo recording entitled “./swank” with Dan Trueman on the cycling 74 label, and a DVD with Pauline Oliveros and Tomie Hahn on the Deep Listening label. Curtis is a formal disciple (Shagird) of the sitar virtuoso Ustad Shahid Parvez Khan. He was recently named the “Ralph Samuelson Fellow” through the Asian Cultural Council, receiving a grant to study and collaborate with artists in India.

A compulsive music-maker, Charlie’s hip-hop pulses with organic rhythms combined with complex synthesis and audio processing while his IDM-influenced sounds evoke nostalgia through their pure melody and intricate rhythms. A multi-instrumenalist, Charlie regularly includes recordings of his own percussion and guitar performances in his tracks. Charlie’s attention to detail doesn’t stop with his studio tracks: his live performances brim with focused energy, engaging the audience with live electronic drumming, scratching, and multiple music interfaces. With influences all over the musical map, Charlie hopes to bridge the gap between his hip-hop influences and his more IDM influenced music. He is currently studying Music Technology in the MTIID program at the California Institute of The Arts with Martjin Zwartijes and Ajay Kapur. Charlie has two completed albums, hip-hop influenced “Freak Beat” and IDM influenced “Unknown” and is working on his third.

Growing up in New Mexico, Jim seeks to integrate the beauty of the region’s desolation and solitude into his work. Jim’s longtime fascination with sound synthesis led him to teach himself soldering in order to build a modular analog synthesizer. A desire to accompany his sonic experimentation with fitting visuals led him to explore pre-rendered and realtime music visualizations, often focusing on generative and pseudorandom techniques. A keen interest in electronic hardware has led Jim to build music synthesizers and interfaces that take advantage of the best that electronics of both today and yesteryear have to offer.

While Jim’s audiovisual explorations have taken him from 1960’s-era analog circuitry through modern digital signal processing techniques, he currently focuses on the marriage of his electronic and his visual experimentation. When not making music or rendering visuals, Jim works mostly on multimedia hardware development. Working with Charlie Burgin, he designed and built the Gemini synthesizer, a low-parts-count modular synthesizer with many self-designed and modified circuits. He also works with real-time audio processing on microcontrollers, microcontroller-based audiovisual interface design, and musical robotics. Together with Meason Wiley, Jim built the speaker arrays for the new KarmetiK Machine Orchestra.

Having completed his BFA in 2010, Jim is currently serving as a research and teaching assistant in the MTIID department at the California Institute of the Arts.

As a practicing artist, musician, and composer, her works have been shown throughout New Zealand, Australia, the United States, Europe, and Asia. Bridget’s work manifests in many ways including interface and instrument design, sound installations, composition, and sound sculpture. Her works often seek to explore the field where these mediums collide.

Bridget’s most recent project, speaker.motion, is a mechatronic loudspeaker with the ability to freely rotate and tilt the directionality of the loudspeaker, enabling dynamic manipulation of the spatial trajectories of sound in music performance. Prior to this, Bridget’s work focused on mobile app design, and interactive sound installations.  She continues to explore the capabilities of iOS applications for live music performance. In 2015 Bridget composed the soundtrack for feature film Small Is Beautiful: A Tiny House Film, which received worldwide recognition making it into the top 10 documentaries on iTunes.