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Alvin Lucier was educated at the Portsmouth Abbey School, Yale, Brandeis, and spent two years in Rome on a Fulbright Scholarship. From 1962 to 1970 he taught at Brandeis, where he conducted the Brandeis University Chamber Chorus. In 1966, along with Robert Ashley, David Behrman and Gordon Mumma, he co-founded the Sonic Arts Union. From 1968 to 2011 he taught at Wesleyan University where he was John Spencer Camp Professor of Music. Lucier lectures and performs extensively in Asia, Europe and The United States. He has collaborated with John Ashbury (Theme) and Robert Wilson (Skin, Meat, Bone). His recent sound installation, "6 Resonant Points Along a Curved Wall," accompanied Sol DeWitt's enormous sculpture, Curved Wall, in Graz, Austria, and in the Zilkha Gallery, Wesleyan University in January 2005.


Called by ArtForum "one of the great cellists," Charles Curtis has woven a unique career through the worlds of classical performance and musical experimentation. A student of Harvey Shapiro and Leonard Rose at Juilliard and the recipient of the Piatigorsky Prize, upon graduation Curtis was appointed to the faculty of Princeton University. Subsequently he was Principal Cellist of the NDR Symphony Orchestra in Hamburg, where he appeared as soloist with conductors such as Herbert Blomstedt, André Previn, Günter Wand, John Eliot Gardiner and Christoph Eschenbach. Curtis has been guest soloist with the San Francisco Symphony, Baltimore Symphony, National Symphony, Orchestre de la Suisse Romande, Janacek Philharmonic, Orquestra de la Maggio Musicale Florence, and orchestras in Brazil and Chile, among many others. For more than twenty years Curtis has been closely associated with avant-garde composer La Monte Young as a soloist and director of Young's Theatre of Eternal Music String Ensemble.



Jennifer Burris Staton is an independent curator and director of Athénée Press. Currently she is a guest curator for the Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art. Previous projects include exhibitions and screening programs at the Institute of Contemporary Art, University of Pennsylvania; Cantor Fitzgerald Gallery, Haverford College; Stedeljik Museum Bureau Amsterdam; Hanoi DOCLAB; and the University of Cambridge. Her writing has been included in Revista Código, Afterall, Bomb, The Journal of Aesthetics and Art Criticism, ART HAPS, Studies in French Cinema, and catalogues for the artists Godfried Donkor, Raphael Montañez Ortiz, Alexandra Navratil, and Brian Weil. She has degrees from the University of Cambridge (Ph.D. and M.Phil.), Princeton University (BA), and was previously a 2010‐2011 Helena Rubinstein Curatorial Fellow in the Whitney Independent Study Program.



Eliane Radigue was born in Paris, France. She studied electroacoustic music techniques at RTF under Pierre Shaeffer and Pierre Henry, later becoming Henry's assistant at the Studio Apsome. She has had residencies at the New York University School of the Arts, the University of Iowa, and the California Institute of the Arts. In 1975, Radigue became a disciple of Tibetan Buddhism. After four years of study, she began a large‐scale cycle of works based on the life of the 11th century Tibetan master Milarepa. Three recordings of this work ‐‐ "Songs of Milarepa," "Jetsun Mila," and "Mila's Journey Inspired By A Dream " ‐‐ have been released by Lovely Music. Radigue's music has been performed throughout Europe and the United States. She currently lives in France, where she continues to compose electronic music and to study the teachings of the Tibetan lamas. 


Ida Soulard is an art historian and Ph.D. student at l'ENS/PSL Research University. She is co‐director of Fieldwork: Marfa, an international research program run by les beaux‐arts de Nantes and HEADGenève. She cofounded in 2011 a series of seminars and workshops entitled The Matter of Contradiction (2011‐2013), is currently co‐writing a book with artist Fabien Giraud entitled The Marfa Stratum, and is a co‐founder of Glass Bead, a research platform and journal. She teaches at the Ecole des Beaux‐arts in Nantes.



Erik Deluca is a composer, sound artist, and sound studies scholar who is currently a Ph.D. candidate at the University of Virginia. His work explores the illusion of environmental music, the mediation of technology as it relates to sound in culture, listening methods used in science, and artistic approaches to fieldwork. Erik has researched the soundscape through the scope of acoustic ecology as an invited Artist‐in‐Residence in many national parks in North America and Alaska. He has lectured, performed, and exhibited at an eclectic mixture of international venues, including MASS MoCA, Society for Ethnomusicology, Bang on a Can, Art Basel, Issue Project Room, June in Buffalo, KM Music Conservatory in Chennai, and the International Computer Music Conference. In 2009, Erik released the album [in] on Everglade Records‐‐with forewords by Alvin Lucier and David Dunn.



Amanda Lucier, an independent photographer based in Portland, OR, graduated with a Master's degree in Photojournalism from the University of Missouri. She was a staff photographer at the Virginian‐Pilot in Norfolk, VA after internships at The Herald in Jasper, IN, and the Dallas Morning News in Dallas, TX. Amanda was twice a Rhodes scholarship finalist, Runner‐Up 2008 College Photographer of the Year, and Virginia News Photographer of the Year. She also placed first in POYi in the categories of Portrait and Feature Multimedia.


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