News and Media
TIMARA Goes to SEAMUS 2022
April 1, 2022
The TIMARA department was well-represented at this year's SEAMUS conference in Kalamazoo, Michigan. The Society for Electroacoustic Music in the US holds a conference each year featuring works by nationally renowned composers and juried pieces by students and professional composers. TIMARA tudents, faculty, and staff traveled to the conference to share multichannel compositions and multimedia performances. Junior Rachel Yee and visiting assistant professor Eli Stine shared ambisonic compositions. Yee's work, The Fragility of Humanity, was first written for TECH 203, a multichannel composition course taught by Stine. Stine's work, Where Water Meets Memory, features recordings of oyster reefs recorded by Stine at the Anheuser-Busch Coastal Research Center (Oyster, Virginia). Aresty performed 'Inkling,'' a mixed media composition featuring resin-embedded contact microphones with found objects.
Maya McCollum's work, Unbalanced, Disintegrating, is a multimedia performance featuring electric violin, stop-motion animation, a wearable sculpture, and projection mapping. The piece joined the long list of TIMARA students who have won the Allen Strange award for best student composition including Rachel Gibson, Hunter Brown, Mitchell Hermann, Eli Stine, and Ben Dorfan. To create the work, McCollum says, "I mined the USDA Forest Service archive, finding documentation from the past hundred years on natural and man made decay in the environment (bark eating beetles, tent caterpillars, fires, pollution etc). I enlarged this documentation into different forms of projected material- a large collage environment and a smaller projected quilt to be worn on my skirt. In this piece, I explore our constant struggle to rebalance the natural world, seeking to fix problems of which we are often a cause. I therefore attempt to synthesize myself into the animated collage environments, both by projecting on my physical form and by meshing the violin sounds, the sounds I am visibly producing, into the sonic space."
TIMARA Faculty Return to Wurtzel
March 25, 2022
In March 2022, TIMARA Faculty returned to the Wurtzel Theater for the first time since their 50th-anniversary celebration concert in March of 2020. The evening featured live electronics, a custom designed instrument, dance, ambisonic work, and fixed media compositions. Special guest sound artist Anya Yermokova also shared two film sound projects. The concert was a good reflection of the diverse creative practices of our faculty (and students!) and Cleveland Classical shared a nice feature about the work here
TIMARA students and Modern Music Guild Bring Guest Artists to Campus
December 20, 2021
TIMARA students are active curators of events on campus. One outlet for this work is the Modern Music Guild. MMG is a student group that brings contemporary composers and performers to campus to share their work. Last December, MMG brought the composer collective Pamplemousse to campus for a workshop and evening-length multimedia concert featuring student performers alongside the guest artists. TIMARA fifth-year Jack Hamill, a member of MMG reflected on the experience: "I was really struck by the elaborate and bizarre music videos for [their] works, which felt to me to be really imaginative, and lacked the kind of exhausting seriousness that exists in a lot of contemporary classical music. I was also really curious as to what a live performance of their work would be like, since they tend to opt for these separate video art versions of their work, rather than the usual fixed documentation."
Jack has been booking events for MMG since his junior year. "Learning how to intelligently navigate the booking process is a really valuable skill, both as a curator and an artist myself. With the pandemic, an extra layer of complexity was added, as different artists had different levels of comfortability with performing online, coming to campus, etc. So the fact that this actually even happened at all was really thrilling."
Working with Pamplemousse was a particular treat for Hamill: "I was blown away by how amazingly kind and approachable the members of the group were. Three of us (Beth Ann Jones, Sam Friedman and myself) had the incredible opportunity to rehearse and perform live with them. Students also had the opportunity to talk to all of the group members during their stay. I think we all learned a lot from doing that -- on topics ranging from the details of their artistic work to their experiences as composer/performers in the 21st century."
This was the first live concert Pamplemousse presented since the start of the pandemic. "It was awesome to provide an outlet for that to happen, and I could tell that the ensemble members were really happy to be performing again. I think that during these times where we all have to be a little more isolated from each other, it's especially important to push for these kinds of events."
TIMARA's Sonic Arts in Society Students Bring Music Technology into the Classroom
December 17, 2021
This fall, students in the Technology in Music and Related Arts department's "Sonic Arts in Society" course, taught by TIMARA Technical Director Abby Aresty, met several times with Mrs. Bronwen Fox's 7th grade choir class at Langston Middle School in Oberlin to explore how to use their voices, bodies, and new technologies to collectively compose a new piece of music. Students learned to record sounds with field recorders, perform Foley Art, use contact microphones to find and record hidden or soft sounds, made their own feedback instruments, and learned to use a drum machine and manipulate the sound of their voices in real time. They also experimented with a "Theremini," a special type of MIDI-compatible Theremin.
"I was incredibly proud of my students and impressed with Mrs. Fox's students throughout the entire process," Aresty said. "This was the first time my students and I had collaborated with Langston Middle School and with Mrs. Fox and her students. Thanks to Mrs. Fox's generosity with her classroom space and time, we were able to try a lot of really cool new technologies and experiment with a wide variety of activities." Benny Alexander, a first year student in the College, appreciated the opportunity to bring his passion for electronic music to the classroom: "The fact that we were working with electronic music with them was very special. Electronic music is a very central component of my life, and having the opportunity to show a class of 7th graders what is possible with electronic music was incredible. The students had a huge amount of energy, and though it was difficult to get them to focus at times, their incredible energy was what made the whole thing possible. I had a lot of fun, and I hope I can be a part of more projects like this in the future."
"Sonic Wave,"" a new piece of music--with a sports theme--composed with sounds and images created by the 7th graders, emerged from these workshops. The piece was premiered by the students at the middle school choir's winter concert. The piece featured live coding in the visual programming language Hydra, an animated graphic musical score, shadow puppets, live basketball, and some new electronic dance music composed in Ableton. The piece was structured as a series of vignettes of different sports scenes followed by a collaborative dance party. The piece also featured drawings, sounds, and a live performance with singing and body percussion by the choir students.
The week following the performance, Aresty's students had an opportunity to present their work to Arizona State University Professor Lauren Hayes. Hayes attended Aresty's class virtually to share a brief presentation of her own music technology education project, Sound, Music, Electronics, which brought music technology to around 900 8-12 year old students in Scotland in 2014 and 2015. "Professor Hayes' visit was just an incredible opportunity for my students to learn directly from an artist and educator who understood both the challenges and the rewards associated with putting together these types of workshops and developing the piece with the 7th graders. It was a great way to wrap up this segment of the class before the winter break."
What's next for Sonic Arts in Society? "We still have several weeks left in the semester and the students were most excited about putting on another performance, so keep an eye out for another new multimedia performance and interactive presentation in the coming weeks!"
Hear Stephan Haluska and Aaron Dilloway in Concert on Saturday, December 11
December 8, 2021
This Saturday, TIMARA faculty Aaron Dilloway and Stephan Haluska will combine musical forces to share an evening of exciting new experimental electroacoustic music. Haluska will kick off the concert with a solo improvisation for prepared harp with audio transducers and electronics. Next up, Dilloway will perform an improvisation for percussion and tape machines. After a brief intermission, Haluska and Dilloway will share the stage for a collaborative improvisation. The concert is not to be missed!
Please join us on Saturday, December 11, at the Birenbaum Innovation and Performance Space at 7:30 pm to hear Stephan and Aaron in concert!
November 18, 2021
On November 17th at the Birenbaum, TIMARA majors were invited to showcase their works in an Electrophonics concert. As the first Electrophonics since our March 2020 Exquisite Electrophonics event, this was a particularly special occasion for the TIMARA community. The concert featured new works by nine students, including Maya McCollum, Claire O'Brocta, David Skaggs, Gabriel Baskin, Michael Gaspari, Sage Liem, Tempest Baum, Brock Bierly, and Rachel Yee.The evening featured stereo and quadraphonic electroacoustic compositions, audiovisual experiments, and live improvisation.
Junior Maya McCollum kicked off the concert with her piece, Along a Petrified River. Maya's piece featured live improvisation on her wearable sculpture, modular processing, and animation. Maya describes the sculpture as,
a wearable map of a paddling journey through the Oswegatchie River and the Stillwater Reservoir in the Adirondacks. Items, frozen in resin, were collected from campsites along the way, and were chosen for their representations of these places of human/nature intersection at the moment of my visit. In her live improvisation, she aimed to
reanimate these places, creating imaginary textures reminiscent of the water, the pathway that brought [her] there.
In A Supermarket Tour for Elders, First-year David Skaggs shared a 10-minute pre-recorded improvisation to vintage supermarket footage on TIMARA's own Buchla 200 analog synthesizer. Sophomore Sage Liem experimented with quadraphonic sound in Emergence: (Destroyed/Rework) and senior Tempest Baum took inspiration from plunderphonics in revisiting material from their album, Midnight Depression to create a new work: Midnight Depression Revisited and Remixed: Halloween Computer Screen (An exercise in self-indulgent/self-destructive catharsis). Additional fixed media works by Gabe Baskin, Brock Bierly, Claire O'Brocta, and Michael Gaspari showcased the broad and diverse aesthetic world TIMARA majors explore in their creative practices. The concert concluded with a quadraphonic contemplation of the Fragility of Humanity by TIMARA junior Rachel Yee.
If you missed this concert, don't worry! We will showcase more new work by TIMARA students in the Spring semester Electrophonics concert.
Join TIMARA Alum Ben Bacon ('11) for Investigations of Gestural Cartography
November 10, 2021
Berlin-based artist and TIMARA alum Benjamin Bacon '11 is back in town to share a three-part workshop series, Gestural Cartography: Designing New Notations, with the TIMARA community. Bacon's work currently focuses on the creative application of information design techniques in music composition, choreography, and instrumental performance. He has presented his creative work and research at various institutions across the globe such as IRCAM, EMS Stockholm, CIRMMT, and STEIM in Amsterdam. Benjamin is an associate researcher of the Input Devices and Music Interaction Lab at McGill University as well as program lead of the Electronic Music Production and Performance department at the Catalyst Institute for Creative Arts and Technology in Berlin.
In this workshop series participants will explore how framing notation as a design problem can open up the door to a wide array of interdisciplinary tools for composition and even choreography. Lessons from fields such as information design, human computer interaction, gestural analysis, and multisensory perception offer pathways for creative exploration and the development of new techniques for visually representing a composition. While the workshops are structured to support each other, participants are invited to attend any combination of sessions.
The first workshop, held on Wednesday, November 3rd, afforded participants the opportunity to evaluate the challenges posed to traditional music notation by complex timbres, electronic instruments, and human perception and to consider the graphical limits of accurately representing how something should sound. First year TIMARA major Penina Biddle-Gottesman attended the first workshop and shared that she "learned an entirely new way to think about creating scores from a choreographic standpoint. It was engaging and inspiring!"
If you missed the first workshop, don't fret! You still have two more opportunities to learn from Bacon's work over the next two weeks. Find more information and sign up below!
Workshop 2: Information Design for the Creative Practitioner - Friday, November 12, 4:00-5:30pm: On a daily basis, we read from and interact with numerous information graphic schemes; from weather maps to instructional diagrams and health charts. How can we deconstruct these graphical tools and repurpose them for musical and choreographic composition?
Workshop 3: Mapping Gesture - Thursday, November 18, 7:00-8:30pm: In music technology, the act of connecting user interaction to expressive sounds is a key design process which threads the needle between art and engineering. As a result, various analytical frameworks for mapping gestures to technology have been developed. Can these same tools be used to develop new notations?
TIMARA Welcomes Artist Stephan Haluska to the Faculty
November 6, 2021
This fall, Stephan Haluska has joined the TIMARA faculty to teach a sound art course and private lessons. A harpist by training, Haluska pushes his instrument to new limits through his innovative approaches to improvisation and composition. He draws inspiration from the harp's unique textural, harmonic, percussive, kinetic, and visual qualities. Often focusing on unconventional harp techniques to expand his sound palette, Stephan plays the instrument with a collection of tools and assorted materials to prepare his harp and hardware and software electronics to further enhance the instrument.
Stephan has made a number of festival appearances, most notably International Harp Festival in 2016, NEOSonic Fest in 2017, and Can Triennial in 2018 and artist residencies, including Soaring Gardens in 2017.
In addition to his creative work, Stephan helps provide and promote opportunities for other like-minded artists as Managing Director for local music nonprofit, Cleveland Uncommon Sound Project (CUSP). CUSP is dedicated to strengthening the artistic engagement of the Northeast Ohio community by championing the creation and performance of new music.
Stephan received his MFA in Harp Performance with a concentration in Improvisation from Mills College in 2014, where he studied with Zeena Parkins, Roscoe Mitchell, Fred Frith, and Karen Gottlieb. In 2012, he received his BA in Music Composition and Theory from Bowling Green State University, where he studied with Dr. Elainie Lillios, Dr. Mikel Kuehn, Dr. Christopher Dietz, and Julie Buzzelli.
You can hear Stephan in action this Sunday, November 7 at 7 pm at the Praxis Fiber Workshop with composer and flutist Robert Dick, bassoonist Dana Jessen, and featuring electronics by Bob Drake. Find more information about the concert on Cleveland Classical or check out the Facebook event.
TIMARA Welcomes Artist Aaron Dilloway to the Faculty
October 21, 2021
This fall semester, TIMARA is very pleased to welcome visiting teacher of TIMARA Aaron Dilloway to the department. A longtime friend of the department, fellow Oberlinian, and proprietor of Oberlin's own Hanson Record store, Dilloway is an improviser and performer who works with 1/4" tape loops in 8-track cartridges as well as other obsolete electronic equipment. In his performance-based practice, he manipulates magnetic tape in real-time by feeding the loops sounds from his body, everyday objects, electronic sources, prepared tapes, field recordings, as well as the occasional actual instrument. Since 1994 he has run Hanson Records, a record label, mail-order service, and brick and mortar record store. In 1998 with instrument builder Nate Young he co-founded the industrial noise group Wolf Eyes, recording and touring extensively with them until leaving the band in 2005. Since then, he has performed at numerous international festivals including Tusk Festival (GB), Lausanne Underground Film and Music Festival (CH), CTE Festival (DE), San Francisco Electronic Music Festival (US) and been resident artist at Wave Farm (US), INA-GRM (FR), and Cafe Oto (GB). Dilloway is an avid collaborator working alongside many artists and musicians including Lucrecia Dalt, C. Lavender, Genesis P-Orridge, Victoria Shen, Robert Turman, John Wiese, and most recently with Kim Gordon and Bill Nace in Body/Dilloway/Head.
Aaron is starting out the semester with a pretty spectacular project: he is currently working with the Wave Farm and The John Cage Trust in staging a performance of John Cage's Rozart Mix at Bard College. Originally composed and premiered at Brandeis University in 1965, the entirety of the score for Rozart Mix consists of written correspondence between composers Alvin Lucier and John Cage regarding the premiere. The piece is written for magnetic tape and the tapes may contain any material, varying in length. The performance begins when the audience enters the space and concludes when the last audience member exits. (John Cage Trust).
On October 23, 2021, from 12 - 6 pm, in collaboration with tape players including Rosie Actor-Engel, Twig Harper, C. Lavender, Quintron, Robert Turman, and John Wiese, Aaron Dilloway will mount this installation at the John Cage Trust. Featuring a minimum of 88 tape loops and 12 reel-to-reel decks positioned in various rooms and on different floors of the John Cage Trust building. According to the organizers, in this iteration of Cage's work, "sound materials will be sourced from the over 100 volunteer programmers who contribute programming on Wave Farm's WGXC 90.7-FM. This event serves as a culminating celebration of WGXC's 10th Anniversary year."
Studio 3 Listening Sessions Return!
October 7, 2021
What does a TIMARA major do in their spare time? Well, if your name is Jack Hamill, you build a community around an incredible weekly ritual of listening to a broad, diverse collection of new music in the basement of Bibbins. Hamill, a 5th-year dual degree student in TIMARA and philosophy, has held over 130 listening sessions in TIMARA's Studio 3 -- our multichannel studio that boasts a 15-channel speaker array in addition to a stereo pair of monitors. Hamill says that,
[the listening sessions] initially began...as a space for myself and a small group of friends to immerse ourselves in experimental music that we felt was not being represented enough in the conservatory as a whole. Over time, the programming of the listening sessions has changed a bit, moving from a pretty Eurocentric contemporary classical focus to a much broader range of often very obscure experimental music from around the world.
One of the wonderful things about TIMARA students is the way they build connections all across the conservatory and the college. Jack points out:
Since the beginning, many people have come through to the listening sessions. There are a few regulars who come somewhat consistently, and for some of them I think that the listening sessions are basically a staple of their educational experience at Oberlin. For others, who might pop in with a friend out of curiosity, they can simply be a one-off opportunity to be introduced to something they have not experienced before. Everyone is welcome, and it is always really fun to have new people come through.
Several students have found the listening sessions to be a critical part of their musical growth here at Oberlin. Joshua Reiner, a fifth year student in composition and Comparative Literature has found that
the listening sessions have been one of the cornerstones of [their] musical education at Oberlin. In no other setting have I been exposed to so much great new music, so consistently, at such a wide range. Second year Orson Abram, a percussion and cinema studies dual degree student concurs:
Jack's listening sessions were pivotal to my growth as a musician and listener of music as a whole, especially in my first year of college. In a way, I felt a sense of belonging as these sessions also introduced me to others who are passionate about thinking deeply about avant-garde music. Finding these sessions are the unexpected but beloved surprise of my Oberlin career thus far. Hamish Robb, a fourth year in musical studies appreciates not only the curated listening experience but also the community,
Jack is so meticulous about what he picks and why. Often he scours the ends of the internet to find tracks, scores, and any info about the artists. It is always a great time, and it has been great for giving me a sense of community and friendship within experimental music.
So, what is on the menu at one of these sessions? According to Jack,
I really try to program some of the most avant-garde music that I can find, and what is amazing to me is that more often than not, the feedback is pretty positive! When people are together in the studio, the lights are off, and they are surrounded by a group of other people listening as carefully as they can, it is a really special, almost sacred kind of experience. And because of that, I think people tend to have more positive experiences with the music than they would if they were listening to it on their own with no context. At the same time, people sometimes do have very negative reactions as well, and that often leads to some very fun and interesting conversations. And sometimes, people will have a negative reaction to a piece, but then weeks later will tell me that they re-listened to it and loved it! All in all, it is really just about being introduced to something new.
Want to check it out yourself?
The listening sessions are every Friday night at 7PM in Studio 3, although this is subject to change, so contact Jack at email@example.com if you are interested and he will keep you in the loop!
And if you can't make it in person, you can always check out what Jack and co are listening to online at Jack's studio 3 listening blog which is updated before each listening.
June 22, 2021
Please join us in congratulating TIMARA 2021 alums Drew Smith and Max Kwadwo Addae for winning the TIMARA Founders Fund John Clough Prize and the TIMARA Founders Fund Olly Wilson Prize, respectively. Congratulations Drew and Max, and best wishes for the next steps in your journeys!
Taking a Shine to TIMARA
May 24, 2021
Vocalist and philosophy major Diana Gruber '22 crafted an innovative conservatory major -- and an alter ego to match. Read more about Diana here.
Join us for the Crafting Change Symposium
May 17, 2021
Next week marks the start of the Crafting Change Symposium, a month-long virtual event series that will provide a bird's eye view of how artists, technologists, educators, and makers of all stripes are using creativity to craft change in the classroom and beyond. The symposium is a month-long virtual event series featuring artist talks, presentations, panel discussions, concerts, and more.
TIMARA Technical Director Abby Aresty first conceived of the symposium back in 2019. And in fact, initially, the project was planned as two separate events: one event was planned as a weekend-long symposium exploring themes of diversity, equity, and inclusion in Science, Technology, Engineering, and Arts disciplines. A second 'micro maker series' was to investigate artists, designers, and technologists creating hybrid technologies that blend traditional craft and contemporary technologies.
When Covid hit, both event series were put on hold. "Since I first conceived of this project, it has transformed several times over before reaching its final form which we will all experience together over the course of the next month. And, from that initial spark, the symposium has developed in new exciting ways with the incredible collaboration of Oberlin students and alums including Rachel Gibson, Olivia Lu, Ben Cohen, Sarah Goodstein, Kiera Saltz, and Oli Bentley," said Aresty.
"TIMARA is known for its incredible capacity for interdisciplinary work and this symposium really tests the limits of what could be called a "related art," Aresty said. Featuring artists, musicians, computer scientists, curators, STEAM educators, science and art historians, and more, the series is sure to have something for everyone.
For more on the symposium, visit http://timara.oberlin.edu/craftingchange and subscribe to our email list to stay up to date with the latest event information!
Visiting TIMARA Professor Ami Dang
April 28, 2021
Visiting professor and TIMARA alum Ami Dang hasn't let the pandemic stop her from collaborating and performing. One small slice of positivity to come out of the past year has been the increasing opportunities to play virtual concerts and foster a music community online, and Dang has been working on a number of exciting projects to look forward to. On Thursday, April 29, Dang will perform via livestream as part of the Mission Creek Festival's virtual show DUOS . The festival will run for two days and feature both musicians and writers both performing and speaking about their work. Dang will be performing four works, two from her most recent full-length album Parted Plains, and two new, unreleased songs. DUOS pairs two artists together to have a conversation about their creative practice. She will be speaking with poet Donika Kelly about their individual processes and teaching.
Earlier this year, Dang was invited to participate in the series Imaginal Soundtracking, released through the record label Phantom Limb, in which artists are asked to re-score forgotten cinema works. Along with four other artists, she was given the task of reimagining the sound to the Japanese experimental stop-motion animated film "The Demon" (1972) by master puppeteer Kihachiro Kawamoto. All five interpretations of the film are compiled into an album which can be found here.
"Professionally, the pandemic has brought a whirlwind of ups and downs. I had more than forty performances in the US, Canada, and Europe and a residency in Belgium get canceled. But many silver linings emerged, including this opportunity to teach in the TIMARA program—which was a formative experience for me as a student that has proven to be a lasting influence—as well as a number of other exciting projects and gigs, like livestreams, sound design and other creative work. Re-scoring the on-screen version of the traditional Japanese folktale 'The Demon' was an interesting exercise as a composer and particularly exciting because I have been very influenced by folklore in previous work. The narrative and visual aesthetic of this harrowing story also prompted me to develop a sound palette that is dark and bittersweet through noisy textures and dissonant, wavering tonalities. I feel truly blessed for the opportunities that I’ve had in the past year, but I would be remiss not to check my privilege: these circumstances are truly a result of the great deal of privilege I have experienced throughout my life."
TIMARA Professor Aurie Hsu
April 19, 2021
This semester, TIMARA faculty member Aurie Hsu has been on sabbatical (she is very missed!), working on a number of creative projects. Hsu told us about one of those projects, Imprints:
"Imprints is a collection of trans-temporal storytelling performances that combine text, movement, projection mapping, wearable robotic instruments, and electronic sound. I retell my grandparents' experiences in Taiwan amidst hierarchical family structures, Chiang Kai-Shek's rise to power, and the fragility of wartime existence. Gut wrenching strife permeates these stories: my five year old grandfather abandoned by his mother, an inconsequential third wife, and the close call of my grandmother, pregnant with my mother, nearly boarding a train that was attacked by air raid. These stories portray perseverance, courage, and optimism, and have provided inspiration to me and multiple generations in my family. I will be working on the performance systems for Imprints, the pieces themselves, and soon after the system/pieces are finished, I hope to organize community workshops to facilitate multi-media storytelling using the Imprints performance systems I build. The first piece in the Imprints series will retell the story of my grandfather's abandonment and how he survived by earning small change herding ducks as a young child."
The Imprints performance system consists of two interconnected components: one for visuals and one for sound. The visual component is a lightweight wearable system for "winged" dancer and small portable projectors. This component will consist of a custom-built aluminum frame, two portable projectors, microcomputers to run the images and video wirelessly, and a costume that will serve as the projection "screen." This costume includes "ISIS" dance fan wings (an example appears in the video of Hsu's collaboration with Alice Blumenfeld, Shifting Reflections), which are collapsible and expandable and will serve as a dynamic surface for the video projection mapping. She is currently developing a prototype for this system with support from an Oberlin Conservatory Grant in Aid. The sonic component produces acoustic sound through wearable kinetic instruments made from vibration motors that are attached to the frame. The motors will resonate strings that will be mounted on the frame, similar to a harp construction. The dancer will control the projection image and the vibration motors with movement. When the dancer moves, the motors will sway and hit the strings, creating a combination of acoustic and mechanical sound. Stay tuned for future documentation of Imprints and the other projects that Aurie works on during her time away!
TIMARA at SEAMUS!
April 14, 2021
TIMARA students, faculty, and alums are frequent presenters and award winners in the annual Society for Electro-Acoustic Music in the U.S. (SEAMUS). For instance, TIMARA students have won the Allen Strange Award for Undergraduate composers 6 times since it was initiated in 2008, including most recently by Rachel Gibson in 2020 and Hunter Brown in 2017.
Due to the pandemic, this year's annual SEAMUS conference will be held remotely, but TIMARA students, faculty, and alums are no less involved. Special concerts and panels feature TIMARA past and present, including works by Alex Christie, Hunter Brown, and Rachel Gibson, professor Aurie Hsu in collaboration with former visiting professor of Dance, Alice Blumenfi, visiting professor Eli Stine in collaboration with Oberlin Conservatory faculty Dana Jessen, former visiting professor Joo Won Park, and technical director Abby Aresty.
In particular, under the supervision of TIMARA professor Tom Lopez, the Oberlin Synthesizer Ensemble solicited compositions from artists around the U.S. to perform on a featured concert during the symposium. Compositions make use of TIMARA's extensive collection of Vintage synths including the Arp 2600, Pittsburgh Modular synthesizers, Peter Blasser's Plumbutter synthesizer and many more. The four member ensemble has been communicated with composers and recording compositions in our analog synth studio for the past month.
TIMARA senior Drew Smith has been instrumental in organizing the event. Asked about their inspiration for the project, Drew said:
"I remembered seeing an iteration of the Oberlin Synth Ensemble with Margaret McCarthy and Natty Baker-Salisbury, back when they opened for an OINC show that I was playing in my freshman year. I got the idea of one day doing the group again, after finding out that it had happened in a few other past years as well. The group has functioned in a lot of different ways, but it has more recently been a group that improvises and plays music with TIMARA's synth collection. It seemed like a great opportunity to really jump headfirst into doing live performance with these instruments, which is a very unique but fun challenge to pull off, especially in a group. But it's also really fun to hear all the crazy things that happen when there's 3-4 synths playing at the same time."
Check out the schedule for more details here.
Recital Season is Upon Us!
April 6, 2021
With the flowers blooming and spring finally here, recital season is now upon us. What does a recital look like in the middle of a pandemic? In some ways, it is no different: the creativity and diversity that we have come to expect from TIMARA majors' is on full display in this year's lineup. Our majors have cooked up an incredible assortment of livestream events, album releases, and installations to rival any recital season.
The installations represent the only in-person events and these have all the necessary precautions: reservation systems, no outside community members, and masking, distancing, and cleaning protocols are in full effect.
For their recital, senior TIMARA major Hannah Sandoz is presenting "Spatial Anxieties." Of their recital, Sandoz says: "This senior recital reflects on my internal struggle in navigating external obstacles. Spatial Anxieties is a 4-channel interactive installation that sonically replicates these experiences."
Weather permitting, Sandoz's installation will take place in person in front of Hall Auditorium on May 2nd at 1pm. For more details, check out the Facebook event here.
Double degree student Sophie Shalit has a two-part senior recital, including an installation on April 15 and a performance late in the afternoon on May 2. Created in collaboration with 5th-year TIMARA major and double degree student Will Bertrand, the April 15 installation "Like a Circle Round the Sun" is a collaborative audio-visual installation combining shot footage, watercolor animation, sculpture, and multichannel sound. Like a Circle Round the Sun is about searching for stillness in the constant passage of time.
Shalit described their experience collaborating with Bertrand and preparing for this installation in the midst of a global pandemic: "We've worked really hard to make sure this recital could happen in person during covid - along with the already stressful artistic work and preparation, we've scheduled and rescheduled this event multiple times between several different campus buildings and organizations, and done a few different runs of the content in the meantime."
Shalit's second event -- a performance blending different musical styles alongside sounds the natural environment -- will be presented outdoors in person and streamed via Facebook live.
For more information about these and other upcoming events, please see the TIMARA events calendar.
Professor Eli Stine's VR Projects
April 5, 2021
Between teaching lessons and composing spatial audio, visiting professor Eli Stine is juggling several cutting edge collaborations this semester. The Republic of Dreams is an audio-visual experience centered around the text of Polish author Bruno Schulz, sponsored by the Adam Mickiewicz Institute. The initial phase of the project, including sonic experiences, a video, and a beautiful map illustrated by Polish illustrator Marta Lissowska, can be viewed online here. The next phase of the project, in progress and slated for completion in 2022, involves creating a gallery installation that will include a virtual reality experience, lounges to listen and sleep on, a goodie bag with sleep mask and ear plugs, and much more.
A second collaboration, The Infinite Library, is fully in virtual reality. Created in partnership with the Goethe Institute and two production teams, Daisy with Rider Productions and the Berlin based High Road Stories, The Infinite Library focuses on non-textual and decolonizing methods of exploring information. For example, telling the story of books through colorful and intricate illuminated manuscripts and the sound of book pages, or a particular place in the world via visual and sonic experiences of its indigenous flora and fauna. The project, scheduled to be released in 2023, will also link users around the world at different Goethe Institutes. The Infinite Library team includes the talents of Oberlin Conservatory Composition graduate, composer Ryan Lester '11, and Oberlin College graduate, director Mika Johnson '00. Stine is the sound designer for both projects.
Crafting Sound Lab
April 2, 2021
The Crafting Sound Lab (CSL), a TIMARA undergraduate research lab directed by TIMARA Technical Director Abby Aresty, kicked off the spring semester with several projects in full swing. During the first several weeks of the semester, members met weekly to learn about electronic textiles and craft-based synthesizers and to fabricate 20 custom synth kits to ship to Germany to participate in an international e-textile swatch book exchange. These "Orange Synthesizers" are one of several custom craft-based synthesizers developed by TIMARA alum Rachel Gibson ('20), Aresty, and CSL members for a remote iteration of the Girls Electronic Arts Retreat, a summer camp for 3-5th grade girls, first launched by Aresty in 2019. Gibson and Aresty have a forthcoming full paper on the camp in the proceedings of the international New Interfaces for Musical Expression conference being held in Shanghai and virtually this summer, 2021.
With the Orange Synths on their way to Germany, the lab has turned its attention back to the Gratitude Showers Challenge, a community-built sound installation thanking hospital workers for their work and personal sacrifices during the Covid-19 pandemic. The installation grew out of Aresty's spring Sonic Arts in Society spring 2020 course that had to transition to a fully remote class mid-semester. Aresty's students had been visiting a local hospital to collect words of gratitude before the pandemic; once the pandemic hit the U.S., outreach events became virtual. In particular, students visited a virtual children's choir to collect gratitude drops and CSL members created a virtual animation featuring the drops. We are finally assembling the umbrellas in preparation for deploying the full physical exhibit at the local hospital.
Several other projects are simultaneously underway. In particular, keep an eye out for the Crafting Change Symposiumthis spring, which will feature over 30 innovative artists and educators exploring the intersection of craft, creativity, and learning.
TIMARA Featured in Con Magazine!
February 4, 2021
During the 2019-2020 academic year, TIMARA celebrated 50 years of electronic music at Oberlin. In the fall, we hosted the Crafting Sound Symposium featuring bespoke, hand-crafted electronic musical instruments and the Kaleidosonic Music Festival featuring hundreds of musicians performing across genres in a one-of-a-kind evening-length event. Early in March 2020, our students performed in an Exquisite Electrophonics concert and TIMARA faculty presented their work in the Sound in the Round multichannel concert.
It was a busy year, but then most years are busy for TIMARA! To celebrate our important 50-year milestone, the history of the TIMARA department was captured in detail by Mike Telin '84 and Associate Director of Con Communications Erich Burnett in a Conservatory Magazine feature. You can learn more about the department's origins in the online version here. Or, discover the breadth of creative practice by taking a virtual stroll through the incredible online gallery of TIMARA concert posters here. These posters can be found hanging throughout the TIMARA studios to this day!
TIMARA Welcomes Visiting Faculty Ami Dang ('06)!
December 17, 2020
In Spring semester 2021, TIMARA is pleased to welcome back alumnus Amrita "Ami" Kaur Dang back to campus to join the department as visiting faculty. Dang is a South Asian-American, Sikh composer, music producer, vocalist and sitarist from Baltimore. Combining ideas from South Asian music with synthesizers, MIDI controllers, lighting design and gestural movement, her work invites the audience to reframe their assumptions about the colonial history of music, the arts, technology, and performance and its place in the contemporary musical landscape.
Dang studied voice and sitar in New Delhi and Maryland from a young age, and she also holds a bachelor's degree in Technology in Music and Related Arts from Oberlin College Conservatory of Music. She has performed throughout North America, Asia, and Europe and has released five solo albums. She collaborates with cellist Alexa Richardson as Raw Silk and is a member of new age/ambient group Galdre Visions. She has received two Individual Artist Awards from the Maryland State Arts Council, and she is a 2020 Baker Artist Award winner. Her work has received accolades from The Guardian, The Washington Post, Spin, and Pitchfork, to name a few.
We recently had the opportunity to ask Dang a few questions about the upcoming semester. Find our questions and her answers below!
What is it like to return to TIMARA as a professor after graduating from the department?
Teaching in a college environment is a bit of a shift for me because I didn't choose the academic path since I left Oberlin. But I have been actively involved in the arts community in Baltimore and have always enjoyed connecting with musicians and various artists about their work. I see this position as an extension of that side of myself--one that facilitates thought, creativity, conversation, and discovery. I have so many fond memories of my experiences as a TIMARA student and at Oberlin in general, and I'm excited to be a part of that experience along with the students I will teach.
What courses will you be teaching this semester?
Electroacoustic music and digital arts have been taught from a predominantly Western lens, and much of the literature about the field and media published in it have highlighted the achievements of white, cis-gendered male composers and pioneers. This narrative, however, doesn't paint an authentic picture about the field of sound from different cultural perspectives, and it completely omits many significant contributions by womxn, queer, and BIPOC artists. It also often omits the military history of sound technology and the people who create the tools and technologies that we use. We'll talk about that history, discuss why (or if it is at all) important to decolonize that narrative, and also examine the work of contemporary BIPOC and queer artists who use technology. Students will then be invited to create their own work drawing from their identity or personal experiences. (They may also choose to focus on historical political events or political affairs.) Critiques will focus on the conceptual, thematic, and technological aspects of the work, and we'll also discuss how to critique the use of identity and/or politics in the work without making assumptions about the artist's identity or experiences. It is crucial to recognize the difference between critiquing the work itself versus the cultural experiences or issues that we draw from in our work. I'd also like for students to complete writing exercises about their work that may lead to artist statements, press releases, sample grant narratives, etc. to prepare them to take this (potentially emotionally-charged) work into the "arts industrial complex" (for lack of a better term!). The class is meant to be a safe space, but everyone should recognize that it may incite emotional vulnerability and demand us to step outside of our comfort zones. I will also challenge the dominant narrative of the history of electroacoustic music as Western, white, cis-male field in the TECH 101 course.
What are you looking forward to about returning to Oberlin and teaching?
Wow! What don't I look forward to? Since March, I've mostly been cooped up in my house in Baltimore and had 40+ performances get canceled in the US, Canada, and Europe. I'm looking forward to interacting with you all and returning to campus and the town after a long absence. I'm excited to hear and experience what the TIMARA students are working on and to glean inspiration from you all. I think I will learn a lot from this semester!
December 16, 2020
Senior TIMARA major Oli Bentley will kick off the new year with a new gig! Bentley recently landed a part time internship with the audio plugin company McDSP.com. Bentley will be assisting with marketing, social media, and day-to-day operations as she wraps up her final semester at Oberlin this spring. In addition to being a full time student, Bentley has worn many different hats and held numerous campus jobs during her time at Oberlin. She has worked as a departmental studio, teaching, and research assistant, and has also worked for conservatory communications. Bentley's campus gigs have made use of her extensive experience in music technology and also her infamous design skills: Bentley was the artist behind the program cover for the 2019 Kaleidosonic Music Festival, and has assisted with multiple projects before and since.
Oli is such a talented, multifaceted artist and we are so lucky to have her in our department, said TIMARA Technical Director, Abby Aresty.
I have no doubt that the good folks at McDSP will be very pleased with Oli's talent, skill, and dedication.
For her part, Bentley is looking forward to tackling this next adventure:
I am really excited to be interning with McDSP. It is very lucky to have the opportunity to work with a company that I am so interested in, and I can't wait to get started! I'm so thankful for everything that I have learned here in TIMARA, I wouldn't be starting this job without it.
Join us for a Virtual Studio Tour!
October 22, 2020
Curious about the TIMARA department? If you would like an opportunity to talk to current TIMARA faculty and students and see the TIMARA studios (remotely) for yourself, please join us for a virtual studio tour on Sunday, November 1st or Thursday, November 12th from from 7-8 pm. Contact department chair Prof. Tom Lopez at tlopez [at] Oberlin [dot] edu to RSVP and receive Zoom meeting details.
Virtual Live Performances
October 19, 2020
Live music is an integral part of the Oberlin experience, especially for TIMARA students. In a typical school year, there are more concerts and liver performances on campus than there are days in the year. From composer concerts at the bike co-op, to five hour long music festivals in Finney Chapel, there is no shortage of performances to attend or be a part of at Oberlin. Maintaining that part of the campus culture has been a challenge, but students and staff have been working hard to find creative ways to bring music and art to the campus virtually, through Zoom and Livestreams.
On September 24th, the Cat in the Cream hosted a live streamed concert, in which viewers could tune in via Vimeo to see performers on stage at the Cat. TIMARA majors Drew Smith and Michael Gaspari both performed, Smith on guitar with the band Chroma Burst, and Gaspari on synthesizer, performing an improvised set,
I played a show with my group Chroma Burst at The Cat in the Cream along with fellow TIMARA student Michael Gaspari '22. Chroma Burst is mainly composer/guitarist Henry Nelson '21, myself and a rotating cast of our close friends and collaborators performing these weird improvised sets. Each one is a little different than the last, this time we had songwriter/composer Owen Frankel '22 playing bass with us for a rare entirely acoustic performance. It felt so good to be able to perform with other people, this is probably the longest time I have ever had in between performances and it felt just as fun as ever. It was weird playing in the Cat with no one in it, but it was also very comforting knowing people were watching out there and enjoying it. I think the fact that music can be made accessible right now and enjoyed in some sort of communal fashion, despite how hopeless things can feel around us, is really powerful and special. I am super grateful to everyone putting in the hard work to make sure things like this can happen. Also Michael's set was really incredible and we are super grateful to him for inviting us to play.
On performing a virtual live show, Gaspari said
I was super excited to have had the opportunity to perform a live show at the Cat. This was actually my first performance at that venue, but I would have never expected it to be physically empty. Obviously because of COVID-19, the space could not be filled with people, so it was instead a live-stream only. Luckily, the amazing people from Concert Sound told me how many people were on the stream before. It was around 30-40 people as far as I can remember. This was good for me to hear, because I did not feel like this was going to go unheard. The performance went really well for me and the amazing opening act with Drew, Henry, and Owen. I think the one thing that was not the same was the experience an audience member could have. I was one of the only ones that could hear myself and the opening set played on huge loudspeakers. At one point the subwoofers were shaking the whole place. That is the only aspect that really gets lost in a livestream, and sadly, it is one of the more important ones. I would still say that it was a success and a fun experience for sure. I would definitely do something like this again, and I hope more livestream concerts happen so we have some entertainment while we wait for the day we can experience in-person concerts again
Diana Gruber recently hosted an album release party on Zoom that featured live performances from all over, each performer in their own room or space.
I had the idea of throwing a virtual show to go along with the release of an EP I had been working on last spring. We decided to have a zoom meeting as well as a twitch livestream, so that it would be easy to watch it or to come participate and hang out. I thought it would be fun to have juxtaposing styles of music to go along with my mostly acoustic set, and we had everything from live techno to noise to DJ sets. One thing that really stood out to me about this show was a collaboration between myself and Phoebe in which she created a visual background with photographs I had scanned for my set, placing me in a magic mushroom world instead of just a normal background in a green screen room. It was a little stressful to juggle both playing live and running the livestream/party show atmosphere, but apparently people had a great time, and I am really happy I could facilitate that.
Other students have turned to social media to perform, using features such as Instagram and Facebook Live. Fifth year Sophie Shalit recently performed a set on Instagram live, saying
It feels more like filming a youtube video than performing at a show, but the option to get running commentary from your friends that you can look at afterwards is really cute.
Although the situation is less than ideal, TIMARA majors always find new ways to create and perform together. One thing this pandemic has certainly done for students and staff alike is require them to think outside of the box, which can lead to some new and exciting discoveries. We look forward to seeing how performing in the virtual realm will change the way we think about live music.
Photo Credit: Anokha Venugopal
TIMARA Students and Faculty Attend and Present at the New Interfaces for Musical Expression Conference
September 1, 2020
In July 2020, fifteen TIMARA majors and other Oberlin students joined TIMARA faculty Aurie Hsu and Technical Director Abby Aresty in attending the virtual New Interfaces for Musical Expression (NIME) conference 'together' remotely, from the comfort of their own homes. NIME is an annual, international conference that brings together artists, musicians, and music technologists from around the world to share their expertise and innovations. The conference began as a workshop hosted at the 2001 Human Factors in Computing Systems (CHI) conference and has since turned into an annual gathering held at research institutes around the world with different themes highlighted each year. The theme this year was accessibility in NIMEs.
TIMARA students and faculty gathered at the start of the conference to discuss the history of NIME and to share strategies and best practices for conference attendance. TIMARA-specific conference highlights this year included a performance of string song, a piece by Aurie Hsu in collaboration with instrument builder Kyle Hartzell, and the Crafting Sound Workshop: Accessible Interfaces for Education and Creation, co-led by Abby Aresty and Rachel Gibson ('20). Aresty and Gibson shared the STEAM toolkit they created together over the summer with help from members of Aresty's Crafting Sound Lab, a TIMARA-based undergraduate research group exploring hybrid technologies, multimodal storytelling, and STEAM education.
Over the course of the week, students attended workshops, paper sessions, and performances throughout the week and then debriefed at the end of the week. Asked about the experience, Hsu reflected: "TIMARA made the most of virtual NIME this summer. With workshops, performances, papers, demos, poster sessions, installations, and keynotes from all corners of the music technology and new interfaces design field, we got to interact with scholars, innovators, and artists from all over the world. It was very gratifying to see and hear Oberlin students asking insightful questions and participating in such varied and involved dialogue with our peers in music technology."
The Girls Electronic Arts Retreat goes remote!
August 1, 2020
Summer 2020 saw the second iteration of the Girls Electronic Art Retreat (GEAR), a day camp that introduces 3-5th girls to the wonderful world of Science, Technology, Engineering, Arts, and Math. Launched in 2019 as a 5-day hands-on summer camp hosted in the TIMARA studios, the camp gives kids an unparalleled opportunity to explore state-of-the art technology while fostering curiosity and creativity through hands-on activities. Led by TIMARA Technical Director Abby Aresty and taught in collaboration with TIMARA majors, the camp features unique creative projects designed by Aresty and members of the TIMARA-based Crafting Sound Lab to introduce kids in fun and exciting ways to important concepts in music, music technology, and electronics.
Like many programs, GEAR 2020 was an entirely virtual summer camp due to the Covid-19 pandemic. To limit screen time, we adapted our schedule and spread GEAR 2020 out over the course of a month, with Zoom meetings twice a week. The campers had access to a collaborative web document where they could share and comment on each other's work throughout the month. Each camper received a GEAR kit, equipped with electronic components, their very own GEAR zine, and all kinds of projects and crafts to complete. To support our 2020 cohort, the GEAR team also developed a special website with instructions for DIY projects, photos and video instructions.
Each week of camp had a different theme and later projects built on skills learned during earlier sessions. In the first week of camp, campers learned how to weed vinyl to create their own vinyl album cover, collected recordings to incorporate into a collaborative supersonic buffet, and helped with some sound design for a short stop-motion video. Each week also featured outdoor activities like a soundwalk and sonic hopscotch. In our second week, campers started to learn about electronics. We made squishy octopus circuits out of conductive play-doh and homemade insulating dough and made light-up paper circuits in the form of deep sea party cards. In weeks three and four, campers built several custom solderless circuits for which we used pre cut copper tape, vinyl, and foam, including a cyborg sonic socktopus, an apple amplifier, contact microphone, and 'styrophonium,' and an orange synth with a homemade screen-printed variable resistor.
Campers' parents and GEAR teachers alike had really lovely things to say about the GEAR experience. One of our camper's parents wrote: "[My child] was skeptical about this experience because I didn't really know how to explain it to her--we focus a lot on the art side of things, because that is what my degree is in. But once she experienced the first week of the camp, she was hooked. She felt *so confident* in herself when she got her circuit/amp together correctly (especially the Octosock one). She was so proud of that project that she took it up to her room with her when she went to bed so she could continue working on the terrarium. She loved all of the projects!" Oli Bentley, TIMARA senior wrote, "GEAR has definitely been a highlight of my time here at Oberlin. This was my second time as an instructor, and definitely my first time teaching people over Zoom. Abby and the rest of the instructors worked tirelessly to provide an exciting learning environment for the campers, all from their own home. It was so rewarding to see the campers discover things and be so motivated to try things on their own. I am really proud of the work all of us, but especially Abby, put into making the camp something special this year."
"I could not be more proud of our students and the GEAR campers," said Aresty. "From the research assistants who started building out projects and support materials back in February, to the teachers who hopped on Zoom to help kids build and troubleshoot circuits remotely, to the campers who showed up each session ready to learn and create, the hard work and creativity everyone put into this project helped to provide campers with a one-of-a-kind learning experience even in the midst of a global pandemic. TIMARA students and GEAR campers never cease to amaze and inspire me."
Thank you to Cycling '74, Troikatronix, and Avid!
May 27, 2020
The ongoing COVID-19 pandemic has left academic institutions across the world grappling with extraordinary challenges, and the TIMARA department is no exception. Transitioning from in-studio classes to remote learning presented a unique dilemma, given the amount of analog hardware and studio-specific gear used by TIMARA students. However, the resilience and ingenuity of our faculty and students ultimately allowed classes to be carried out through the duration of the Spring 2020 semester.
This rapid shift to online learning could not have taken place without the immense generosity of the various companies who make software utilized across TIMARA's coursework. TIMARA Technical Director and Lecturer Abby Aresty wrote
The entire TIMARA community is incredibly grateful to these companies for helping us provide tools for our students to continue their studies remotely during these unprecedented times. In recognition of their contributions, some TIMARA students have voiced thanks.
Max/MSP is a visual programming language maintained by Cycling '74. It is the subject of an entire TIMARA class required for majors (TECH 202) and a mainstay for projects and recitals across the department. Rising junior Claire O'Brocta said "I am extremely grateful for the free licenses provided by Cycling '74. Max was vital in helping me complete one of my TIMARA final projects, a patch that uses motion tracking to trigger sound and images. Completion of my project wouldn't have been possible without your generosity."
Isadora is a graphic programming environment created by Troikatronix. It is widely used amongst students for visual works. Cait Boblitt, rising junior, noted that "Being able to continue using and learning Isadora at home has been absolutely wonderful. A big project I'm working on is largely based in it and without your help, I wouldn't have been able to keep working on it and develop my love for the program. Leaving campus and the studios behind was difficult, but thanks to you guys, we were able to have access to something important to us and the ability to keep furthering our work."
ProTools is a digital audio workstation created by Avid, one which holds an informal distinction of being the "industry standard" for software of its kind. A great deal of compositional work for electroacoustic music takes place on ProTools across several TIMARA classes. 2020 graduate Kayla Reagan wrote that "Having access to Pro Tools this semester has been such a huge help. I was able to complete my undergraduate studies because of the generosity of Avid. I couldn't have done it without this software! Thank you for fostering learning!"
TIMARA Releases New Album!
May 5, 2020
The TIMARA department has teamed with Hanson Records to release a vinyl compilation entitled Electroacoustic Music at Oberlin Vol. 2. The LP features the work of eleven composers (nine students and two faculty members) showcasing the department's musical output in celebration of its 50th anniversary.
TIMARA department chair Tom Lopez oversaw the compilation's creation. He wrote,
Back in 2001, I produced a CD featuring Oberlin student composers. After four discs over the course of eight years, we switched to a DVD, which allowed us to include some of the really amazing video work TIMARA students were producing. We took a hiatus after that release in 2009, but within a few years we had run out of the discs (we give them to prospective students). By that point, it was clear that students were not engaging with CDs or DVDs. Most music was distributed online...except the resurgent interest in vinyl.
This resurgent interest in vinyl led Lopez to partner with a local authority on the format: Aaron Dilloway, the proprietor of Hanson Records and an experimental musician best known as a founding member of industrial noise group Wolf Eyes. Working with Dilloway, the department released its first vinyl compilation Electroacoustic Music at Oberlin in 2015. Lopez expressed gratitude for Dilloway's expertise and assistance, noting that the endeavor was "brand new territory for TIMARA and it helped tremendously that we had an invaluable collaborator right here in Oberlin. With Aaron's contacts and experience working with vinyl, the first disc was a huge success." After partnering again four years later, Electroacoustic Music at Oberlin Vol. 2 was released last fall in conjunction with a series of concerts celebrating the 50th anniversary of TIMARA's creation.
The compilation features an eclectic collection of work with pieces that veer outside of the academic electroacoustic approach, including multiple pieces with vocal performances. Piper Hill, a sixth-year TIMARA student, explained his choice to submit the piece Tiny Public Revelations, a
technically simpler composition.
[This piece]... focuses on having the voice sound intimate and small, to make it sound like thoughts someone is having while sitting outside. I focused on layering field recordings and small sounds of paper and pencil to help it sound like the situation and place I was in when I wrote it. Although I often work with heavier processing, I wanted to showcase something that could represent the side of TIMARA that doesn't rely on those more intense components of electroacoustic music.
Electroacoustic Music at Oberlin Vol. 2 will be given for free to prospective TIMARA students, and is available to the public through Hanson Records.
Please Stay Safe and Healthy...and Stay Tuned!
March 19, 2020
The studios are quite a bit quieter than normal these days. Like many campuses, Oberlin College and Conservatory made the difficult decision to move to remote learning for the remainder of the semester to keep our students, faculty, and staff safe during this global pandemic. While the TIMARA studios will be quiet for the rest of the semester, the TIMARA community will continue to thrive from a distance! Please stay tuned to hear what our students and faculty are up to -- whether near or far! In the meantime, please stay safe and healthy!
TIMARA Senior wins Prestigious Award
March 10, 2020
TIMARA has a long history of award-winning students. For example, TIMARA students have won the coveted Allen Strange Undergraduate award six times since it was first instantiated in 2008. The most recent student to join this illustrious group is Senior TIMARA and Percussion double major Rachel Gibson. Rachel won the award for her piece, "Skyscapes // The Night Shines for You," which she premiered in October 2019 at Oberlin's Crafting Sound Symposium, organized as part of the TIMARA Department's 50th anniversary celebrations. She performs the piece on her own custom-made musical instrument called IRIS, or Infra-Red Instrument of Stars. While SEAMUS had to be cancelled this year, Rachel will have the opportunity to perform her work and receive her award in person next year.
Rachel built IRIS while she was completing an NSF-funded Research Experience for Undergraduates over the summer of 2019 at Louisiana State University. Rachel shared that "IRIS would not have been possible if it weren't for the resources and the folks at Louisiana State University (Prof. Edgar Berdahl and Prof. Stephen Beck). They have their own "TIMARA" program called Experimental Music and Digital Media, which takes part in LSU's interdisciplinary research fellowship program through the National Science Foundation. They helped me build IRIS there, from start to finish. Then, being invited to perform in [Oberlin's] Crafting Sound Symposium pushed me to create the entire piece in a month! I'm grateful that even though SEAMUS was cancelled this year, they still acknowledged that I won the award and reserved a performance slot for this work next year."
The Celebration Continues!
March 9, 2020
On Saturday, March 7 and Sunday, March 8, 2020, TIMARA continued its 50th anniversary celebrations with concerts featuring student and faculty work. At 3 pm on Saturday, the department hosted an Exquisite Electrophonics concert in Fairchild Chapel. The concert included live performances by current TIMARA students and friends as well as a large-scale, department-wide collaborative fixed media composition following the exquisite corpse model. TIMARA Professor Aurie Hsu organized the event and she reflected on the experience: "The TIMARA community came together to create a fifteen-minute collective composition featuring twenty-eight mini-compositions that spanned a wide range of sound worlds. We had all heard bits and pieces of the materials but not as the whole combined composition until the concert, so that was an exciting and fun fifteen minutes. We hope to have more opportunities to make these types of collective pieces in the future."
On Sunday, TIMARA faculty continued the celebration with Sound in the Round, a concert in the new Wurtzel Theatre, featuring 24 channels of audio and a custom spatialization system designed by visiting TIMARA professor Eli Stine. Eli shared that, "Spatial audio technology allows for immersive experiences not possible with a traditional speaker setup. Through custom-built software I made, each of the faculty was able to express themselves using the system in different ways: through the projection of sound by performing using an interface, through spatial trajectories triggered live, and by routing the sound of live instruments through the system. The result was a concert that explored what experiencing 'Sound in the Round' is through many different artistic angles."
Winter Term Fosters Creativity on Campus and Off
February 1, 2020
TIMARA students kept busy over Winter Term with several different flavors of group and individual projects. Some students went home and took the month to tackle exciting projects -- from building a new instrument to making a home studio. Many students chose to stay on campus and partake in one of several TIMARA-related group projects hosted by faculty and alums. For example, department chair Tom Lopez hosted TIMARA alum Alex Christie for a PhotoSonic Workshop. Students learned to use arduino and DMX to create interactive tools for composing with sound and light. Senior Associate Dean and TIMARA professor Peter Swendsen helped to facilitate two group experiences, including a collaboration between TIMARA composers and the Groundworks Dance company and a film scoring intensive with alum and award-winning Hollywood composer Adam Cohen ('91). Technical Director Abby Aresty led five students from across the College in an exploration of Sonic Arts in Society, in preparation for a Spring Semester outreach course developed in collaboration with the University Hospital Elyria Medical Center. Every Winter Term is a bit different -- past years have included tours of New York City studios, month-long intensives in Banff, and much more. This year, the studios were bustling as students shared their creativity with one other. Technical Director Abby Aresty noted that, "The school is making an institution-wide effort to enhance Winter Term opportunities on campus, and you could really feel the excitement, energy, and enthusiasm in the studios. It is always fun to see our students cooking up new projects, collaborating, and supporting one another. I'm already looking forward to Winter Term 2021!"
TIMARA Alum Eli Stine Joins Department Faculty
January 1, 2020
Last semester, the TIMARA department welcomed Oberlin alumni Eli Stine as a Visiting Assistant Professor. After graduating from Oberlin in 2014 with degrees in Computer Science and TIMARA, Stine received his PhD and Masters degrees in Composition and Computer Technologies as a Jefferson Fellow at the University of Virginia. His work explores electroacoustic sound, multimedia technologies (often custom-built software, video projection, and multi-channel speaker systems), and collaboration between disciplines (artistic and otherwise). Festivals and conferences that have programmed Stine's work include ICMC, SEAMUS, NIME, CMMR, NYCEMF, the Third Practice, Studio 300, and Threshold festivals, CubeFest, the Muestra Internacional de Musica Electroacoustica, the International Sound Art Festival Berlin, the Workshop on Intelligent Music Interfaces for Listening and Creation, and the International Conference on Computational Intelligence in Music, Sound, Art and Design. An adept film sound designer, Stine's work has also been heard by over a million people in The Amerikans web series, and in his sound design for the virtual reality installation VRWandlung, a VR adaptation of Franz Kafka's Metamorphosis which is touring around the world.
In a research-artist statement addressing the experience of teaching in TIMARA, Stine noted that he was struck by the department's similarities to his time as a student alongside the changes in the decade since he matriculated, explaining that "The department is still full of a bright, diverse array of media-makers, ranging from experimental singer-songwriters to instrument builders to fixed media composers to film-makers to acoustic music-plus composers. The department still has the sense of community and shared interest in newness, experimentalism, and musical excellence that it had when I was a student. However, the involvement of TIMARA with the college through the new TIMARA cafe layout and makerspace, larger 100-level non-major courses, and TIMARA-faculty co-taught StudiOC courses has decidedly been enhanced, and is positioning TIMARA as the nucleus for some really fascinating multi-department, Con-College endeavours, and I'm very curious to see how this turns out in the next half-decade."
Thank You TIMARA Family and Friends for Your Support!
December 19, 2019
Dear TIMARA Alumni, Parents, Colleagues, and Friends,
A few days ago we successfully concluded the TIMARA Founder's Fund campaign. We raised over $53,000 to establish TIMARA's first endowed fund.
I want to express immense gratitude to everyone for their support, and especially Peter Flint ('92) whose matching gift of $25,000 helped inspire all of us to exceed the original campaign goal.
The TIMARA Founder's Fund celebrates the 50th anniversary of the first electronic and computer music courses taught at Oberlin. Every year, beginning this coming spring, we will reward two oustanding TIMARA students with the Olly Wilson and John Clough ('53) honorary awards. My colleagues and I are exceedingly grateful to embrace the generosity of the TIMARA community and we are thrilled to recognize the innovative and inspiring work of our students for years to come!
With sincere gratitude,
Tom Lopez ('89) TIMARA Chair
Aurie Hsu Performs at Fata Morgana
December 12, 2019
TIMARA Professor Aurie Hsu recently performed at Fata Morgana, a three day festival of music, film screenings, talks, and multimedia performances hosted at Indiana University-Purdue University Indianapolis. Named after a 1971 Werner Herzog film, the festival featured a wide variety of experimental film screenings and musical performances from pioneering experimental figures, including "cyborg" musician Onyx Ashanti, interdisciplinary artist CandyStations, flutist Margaret Lancaster, and percussionist Scott Deal.
Praising the "wonderful synergy" that characterized the weekend's performances, Hsu noted that she played a different set on each of the three nights. The pieces included CandyStations improvising interactive video. The other sets involved pieces with interactive dance and the EMMI robotic instruments and the premiere of a new collaboration with Steven Kemper for dance, ISIS wings, and amplified, processed motors on a toy harp.
TIMARA Presents: Kaleidosonic Music Festival!
November 4, 2019
On November 16th, the Kaleidosonic Music Festival will take place in Finney Chapel at 7:30 PM. Organized by Professor Thomas Lopez, this free event will feature a large number of Oberlin ensembles and musicians joining together for an extended single inter-woven performance. Some of the local groups involved include Oberlin Choristers, Northern Ohio Youth Orchestra (NOYO) musicians, the Oberlin College Black Musicians Guild, the Obertones acapella group, and many community members, faculty, and students from Oberlin College and Conservatory of Music. Lopez describes the roughly four-hour festival as "an exciting evening-length event with musicians representing a wide array of styles: Gospel, classical, rock and roll, jazz, early music, marching band, serious, funny, and avant-garde." He notes that "Over 250 musicians will perform in a single extended musical collage: Imagine a brass fanfare alongside taiko drumming, and then organ alongside bagpipes, and over 16 speakers surrounding the audience for a fully immersive sonic experience."
Colin Holter, the director of NOYO's Lab Group (a collaborative composing ensemble that is part of the Northern Ohio Youth Orchestra) expressed enthusiasm when speaking about the massive collaborative endeavor. Discussing Lab Group's role in the event, he explained that the ensemble "will contribute short interstitial pieces between larger works on the Kaleidosonic program. At the halfway point of the concert, we'll pass the baton to our remarkably inventive colleagues in OINC (Oberlin Improvisation and New Music Collective), with whom we've had a few energizing and fruitful combined rehearsals."
Holter sees the festival as a valuable musical experience for his students, continuing a rich history of collaboration between NOYO and the Oberlin Conservatory. "For Lab Group's middle and high-school musicians to showcase their work alongside that of so many distinguished musicians in celebration of TIMARA's fiftieth anniversary is a true honor. NOYO's partnership with the Oberlin Conservatory is almost as old as TIMARA itself; our ability to bring our unique and innovative programming to the young musicians of Lorain County and beyond depends on it. This evening of forward-looking music promises to galvanize our shared musical community as we reflect on the past and turn our ears toward the future. I'm tremendously proud that NOYO's Lab Group will be a part of it."
Marie Cox, Director of Cantate Music at the Oberlin Choristers, noted that the Kaleidosonic Music Festival presents a distinct and exciting departure from the normal context in which her ensemble performs. "The singers range between 5th and 9th grade, and this is something that they have never experienced before. It is quite unusual for us to be a part of this level of creativity. We are used to performing in a very formal setting, and for Kaleidosonic we are going to be part of a "rainstorm including lightning flashes, rain sounds, lighting effects, prepared umbrellas, etc. A very cool experience for our singers. Kaleidosonic is sure to open their eyes to experiencing music in a whole other dimension and I'm certain it will be an unforgettable experience!"
The show serves partly as a tribute to Professor Olly Wilson, who taught the first electronic music course in 1969 and recently passed away. It is also a general celebration of Oberlin's rich musical scene. Professor Lopez has drawn inspiration from specific performances he was involved in at Finney Chapel during his time as a student at Oberlin. While performing works by composers Sergei Kuriokhin and Pauline Oliveros, he witnessed large collages of sound involving several performers and various musical styles colliding; the Kaleidosonic Music Festival will see a continuation of that tradition in the same space.
The festival is free and open to the public, and music will commence at 7:30 PM. Audience members can come and go as they wish, and there will be 3 food trucks from 7-10 pm in the parking lot of Finney Chapel with pizza and bagel sandwiches.
September 30, 2019
TIMARA's 50th anniversary celebration begins next weekend with the Crafting Sound Symposium. On October 4th and 5th, a group of guest artists, local artists, and students will present their work in a series of panels and workshops, culminating in a performance on Saturday evening. Crafting Sound seeks to "turn a critical eye towards the technologies of sound...[and] examine unspoken and unquestioned value systems inherent in these technologies." The symposium will feature a variety of lo-fi and DIY alternatives to traditional musical technologies in an exploration of "how these alternatives might engage new audiences in creative sound-making practices."
The event kicks off with a 'Sonic Super Buffet," in the Birenbaum on October 4th at 7:30 PM, featuring a variety of homemade instruments. The next day (October 5th) there are two workshops by guest artists at 10 AM and 1 PM in the TIMARA studios (RSVP now as space is limited). At 4 PM, there will be a panel of guest artists discussing their use of technology in creative practice in the Cinema Studies black box theater above the Apollo. Rounding out the symposium, a concert will take place at 7:30 PM in the Birenbaum.
The event, co-organized by TIMARA Technical Director and Lecturer Abby Aresty and Instructional Technologist Kyle Hartzell, has been in the works since last spring when Aresty reached out to Hartzell about organizing the event together. As an Instructional Technologist with Oberlin's Cinema Studies and Studio Art Departments, Hartzell has worked extensively as a Sound Designer and has "embraced the history of the form in terms of making individual devices for creating sounds." Discussing the weekend's events, he expressed particular enthusiasm for Saturday's panel discussion, nothing that "it's going to bring up a lot of interesting questions about how people see their own work and how they came to their current practice via craft... in some cases it will be a learned craft from their past in others it will be a conscious decision to embrace a different mode of creating work."
Made possible through the generous financial support of TIMARA, the Center for Convergence (StudiOC) at Oberlin College, and by the Alumni Office at Oberlin College, each Crafting Sound event is free and open to the public. Guest artists Afroditi Psarra, Jess Rowland, Asha Tamirisa ('10), and Jimmy Kuehnle, and local artists include Kyle Hartzell, Eli Stine, Abby Aresty, Rachel Gibson, Drew Smith, Dirk Roosenburg, Max Addae, and Max Kramer will all be presenting their work.
September 17, 2019
2019 marks the 50th anniversary of the first electronic music class taught at Oberlin. The department has organized several performances and special events throughout the academic year to commemorate the historic milestone.
The Crafting Sound Symposium will mark the first of these events, taking place on October 4th and 5th. Co-organized by TIMARA Technical Director and Lecturer Abby Aresty and Educational Technologist Kyle Hartzell, Crafting Sound will feature a series of workshops and panels which have been made possible through the generous financial support of TIMARA, StudiOC, and the Alumni Office at Oberlin College.
Aresty notes that the department is "...excited to be hosting a diverse collection of artists whose creative practices engage sound through handicraft in a variety of different manners. We have packed a lot into a short time - we will host an interactive listening event, workshops, a panel discussion, a concert, and a reception. We are particularly pleased to be able to showcase some excellent works by Oberlin students alongside the featured projects presented by guest artists."
On November 16th, the Kaleidosonic Music Festival will take place in Finney Chapel. Organized by Professor Thomas Lopez, this event will feature a large number of Oberlin ensembles and musicians coming together for one collective performance. The show serves partly as a tribute to Professor Olly Wilson, who taught the first electronic music course in 1969 and recently passed away (a composition of his will be included). It is also a general celebration of Oberlin's rich musical scene. Lopez has drawn inspiration from specific performances he was involved in at Finney Chapel during his time as a student at Oberlin. While performing works by composers Sergei Kuriokhin and Pauline Oliveros, he witnessed large collages of sound involving several performers and various musical styles colliding; the Kaleidosonic Music Festival will see a continuation of that tradition in the same space.
Once the spring semester arrives, the events will continue. On March 7th, TIMARA will be hosting the Exquisite Electrophonics Concert of Student Works in Fairchild Chapel. TIMARA Professor Aurie Hsu writes that "this concert celebrates student works in diverse media, including electroacoustic composition, live electronics, video, sound art, and custom instruments for performance. Experience immersive exquisite electronics in Fairchild Chapel, a favorite venue for the TIMARA community."
The next day on March 8th, the department is hosting the Sound in the Round TIMARA Faculty Concert in Wurtzel Theater. Visiting Assistant Professor Eli Stine explains that "surround sound technology enables the construction of 360-degree-enveloping sound environments, the choreography of sound through spatialization, and the creation of immersive 'cinema for the ear' experiences. The Sound in the Round concert showcases works by TIMARA faculty that take advantage of this unique sound technology using a state-of-the-art speaker system in the Irene and Alan Wurtzel Theater. The history of spatial audio within the TIMARA studios dates back to 1989, when quadraphonic (four speaker) surround sound systems were installed in the studios. Last year  the studios were upgraded to a 15-speaker half-dome system, greatly increasing the potential for the creation of immersive soundscapes."
All of the events are free and open to the public, and the TIMARA Department encourages all to join in our 50th anniversary celebrations!
Find more TIMARA 50th events!
TIMARA Inaugurates GEAR
May 2, 2019
In just over a month, the TIMARA studios will host its first ever Girls Electronic Arts Retreat (GEAR). Led by Technical Director Abby Aresty, the Girls Electronic Arts Retreat (GEAR) is a 5-day day camp for local 3rd to 5th grade girls that fosters curiosity, creativity, and confidence through playful, collaborative projects that integrate science, technology, engineering, arts, and math. Aresty will be joined by a team of current TIMARA majors, graduating seniors, and other Oberlin College students. At GEAR, kids will make their own contact microphones to paint with sound, make their own paper speakers, and listen to hidden electromagnetic fields and much more!
Asked why she is launching GEAR, Aresty said, "according to a recent study, the perception that certain fields require an innate brilliance is enough to deter many women from pursuing careers in these fields. Another study found that girls as young as six years of age tend to believe that brilliance is a male trait. By the time they reach college, women in technical fields are often already at a disadvantage since their male peers have been immersed in the culture for years; without the right support system and peer group, it is easy for them to think that a career in technology is simply not for them. At GEAR, we are committed to helping girls build confidence in technology in a supportive environment through fun, hands-on activities."
The pilot session of GEAR has been made possible by generous funding from the Oberlin Conservatory Dean's office, the Oberlin College and Conservatory's grants office, the TIMARA Department at Oberlin Conservatory, the Bill Long Foundation, and OCA, with additional support from Oberlin Conservatory's summer programs and the Oberlin City Schools.
Registration ends May 22 - visit the website and sign up your child for GEAR! - KR
Josh Augustin interns at Columbia Records
April 22, 2019
Josh Augustin, a third year TIMARA and Cinema Studies major, has spent this past semester in New York City attending the New York Arts Program. The NY Arts Program is run by Ohio Wesleyan as part of the Associated Colleges of the Midwest (Oberlin is a member school). It's structured in 16 credits - 12 are for one or two internships in a creative field of your choice, and the other four are a weekly seminar with an advisor where you make, learn, and talk about art. "The music seminar was small this year, it was just me and one other student from Kalamazoo College, but we had a wonderful time making music together and discussing all things music-related with our advisor."
To fill the program's internship credits, Augustin is interning at Columbia Records in the Marketing Department. He says, "At a big label like Columbia, Marketing sort of functions as the glue that pulls together all the various departments as they work to promote the label's roster. They develop and execute campaigns and release strategies that involve a wide array of promotional pursuits and logistics, pulling all of these facets of the major-label system together into a precise and cohesive plan surrounding the release of a new single or album. These plans are executed over the course of several months. My favorite part of working at Columbia has been watching these campaigns play out in real time. I've watched artists like Solange, Hozier, Gesaffelstein, Lil Nas X, Vampire Weekend, and several others release new music during my internship. It's really impressive watching the coordinated efforts of Columbia's employees come to fruition."
Augustin speaks to how being in NYC for the semester has influenced him as an artist. "Musically speaking, it's left an indelible impact on my work. Most of the music I make, whether it's solo or with my friend Sam as Vansire, is a soundtrack to wherever I'm currently living or spending time. For most of my life, that's been southeastern Minnesota or Oberlin, both rural locations. The soundtrack to walking around Midtown at 6PM is obviously quite different from what I'd be spinning while driving through an uncrowded Rust Belt interstate. I don't think my compositional process has changed, but the geographic immediacies which inform the scenes and sensations I'm interested in depicting have shifted drastically."
Since geography plays such an important role in Augustin's music creation, being in New York has been a game-changer in his creative life. He speaks to what he misses about being in the more familiar and comfortable environment, of Oberlin: "In the most literal sense, I miss open rural spaces. Three and a half months spent trotting around the streets of New York has made me realize how much my understanding of the world around me is predicated upon plains, fields, and empty spaces. What I mean to say is that New York isn't really a creative “stasis” for me. It's an exciting and bustling place, somewhere I aspire to become a part of, but in my own personal narrative, it's a place that represents a culmination of the things I've learned and people I've met along the way. Which is very cool and exciting in its own way. On the other hand, Oberlin bears more similarity to where I grew up, and making music somewhere reminiscent of that time in my life sort of centers me in a creative capacity."
Sometimes a change in pace and surroundings can be invigorating. Augustin reflects on some of his biggest learning moments from his time in The Big Apple and beyond, "I think there's value in spending some time away from the places and people that you love. While challenging on occasion, the absence of locations and figures central to your life can help you more clearly determine why they're important to you, and how they've shaped you as an individual. So in that sense, I think I've learned to not shy away from opportunities which might seem onerous in their lack of normalcy. When I look back on my short time alive, the experiences in which I went for something outside of the norm have usually been the most memorable and meaningful. Life's fleeting as it is, so eh, you might as well give things a shot if you have the chance." - KR
TIMARA Offers SAW 2019
March 28, 2019
From June 16-22 this summer the TIMARA Department will host the Sonic Arts Workshop (SAW). The electronic music workshop, which has been offered for many decades, will continue this year with exciting recent facility upgrades. During summer 2017, the entire TIMARA studio complex was renovated, including the addition of two new studios. We are very happy in our new facilities and look forward to sharing them with SAW participants.
Dedicated to high school students ages 15 years and older, SAW provides broad exposure to the world of electroacoustic music and offers a variety of technical and creative resources. Topics will include field recording, real-time techniques, audio processing, and the repertoire of electronic music. The program is great for students headed towards conservatory studies, as well as those interested in experimenting with electronic and computer music. You can find more information, including the application, here (financial aid is available).
When I attended as a high-school student the program provided gave me a direction and a passion. I couldn't recommend anything else if you are interested in exploring sound as a medium of creation. - Will Johnson (see Will's work with Fawn featured on NPR's First Watch)
March 25, 2019
Swendsen Dance Collaborations
TIMARA Professor Peter Swendsen will present a handful of collaborative performances with choreographers over the month of March. Swendsen states, "collaborations with choreographers represent a large part of my creative work over the last twenty years, starting with projects I did as an undergrad at Oberlin. By now, I've made nearly 50 scores for dance, and working with dance is one of my very favorite things. This confluence of dance events in March is a fun combination of new projects and old, long-time collaborators and new ones."
The first performance took place on March 8th at the Kennedy Center's Millennium Stage. Swendsen shared his piece coldness and lightness, in collaboration with Ashley Thorndike. Swendsen speaks about his collaborative history with Thorndike, and his piece: "Ashley and I have been working together since 2003. Along with a third collaborator, Dinah Gray, we co-directed a small dance company in Charlottesville for several years, during which time we made many pieces together. A shorter version of coldness and lightness was first performed in Oberlin in 2009. We premiered the evening-length version in Washington DC in the fall of 2017, which led to this performance at the Kennedy Center. As Ashley says, this pieces is a portrait of the moment at which the ground cracks—a sudden destabilization of an icy landscape." You can find more information about coldness and lightness here.
On March 22nd, at 7 and 9pm, at the Pilgrim Church in Cleveland, Peter Swendsen, Dana Jessen and NYC-based Pam Tanowitz Dance will share five small dances for Cleveland. "The music for these pieces comes largely from Dana Jessen's album, Carve, which includes a piece Dana and I made together called Fireflies in Winter. Dana and I perform live with a combined cast of dancers from NYC-based Pam Tanowitz Dance and Cleveland-based The Movement Project in a beautiful old church in the Tremont neighborhood of Cleveland."
On March 22nd and 23rd, at The Theatre at Gibney (in NYC) Swendsen showcased his collaborative work LUNA. Swendsen speaks about LUNA and his collaborations: "David Shimotakahara and I made LUNA in 2013. It's one of four pieces I've made for GroundWorks, and last fall it was revived for a performance at Playhouse Square in Cleveland. There are many connections between GroundWorks and Gibney Dance in NYC, where the performance will take place. Chief among them is another long-time collaborator of mine, Amy Miller, who is the Senior Company Director and Gibney, and with whom I have performed there several times prior. LUNA explores the nature of desire and its deeply held and often opposing motivations. "These polarities developed into a series of physical relationships that reveal many facets in a cycle of experience," writes my collaborator, David Shimotakahara. "That cycle is like the moon, as primal and unknowable as it is familiar." - KR
March 8, 2019
(T)echs Machina Music Festival
The TIMARA (T)echs Machina Music Festival will be taking place March 13th-15th. The festival will serve as a celebration of electronic music and creative music technologies. The two concerts will be in The Birenbaum on the 14th and 15th, at 7:30pm, and will be free and open to the public.
The festival will feature special guests including renowned composer and scholar George Lewis(Columbia University), Onyx Ashanti, Akiko Hatakeyama, Eli Stine ('14), and Alex Christie ('09), and Steven Kemper. Performances also feature Beverly Acha, Contemporary Music and Improvisation faculty, Dana Jessen, and TIMARA faculty members, Peter Swendsen ('99), Tom Lopez ('89), Abby Aresty, and Aurie Hsu ('97).
The concerts will showcase exciting and innovative performances with electroacoustic music, interactive electronics, interactive scores, Ashanti's "sonomorphic" bodyware system, robotic instruments, sonic-visual ecosystems, and multi-channel digital instruments. For more information on the schedule and details of events, click here.
This event is organized with support from the TIMARA Department, Office of the Dean of the Oberlin Conservatory, Office of Oberlin Conservatory Professional Development, and the Alumni in Service to Oberlin College (ASOC) Fund. - KR
February 25, 2019
Students Present at NSEME
This year, TIMARA had four student participants in the National Student Electronic Music Event (NSEME), this year, held at the University of Virginia in Charlottesville. TIMARA majors Ian English, Will Bertrand, Drew Smith, and Helen He attended six concerts, and got the chance to present their work and experience the works of others. The accompanying picture has (l-r) Ian English, Will Bertrand, Drew Smith, and Eli Stine (class of 2014 and co-presenter of NSEME)
Second year TIMARA major Drew Smith presented their piece, written in TECH 201, Open Your Window, written using using a Ciat Lombard Plumbutter, an instrument made by Peter Blasser ('01), the ARP 2600, and guitar - processed using the Buchla 200. "The piece goes from pleasant and calm to really intense, and then there's a disillusion of intensity. This piece was fueled by anxiety that gave me trouble sleeping." - Drew
Helen He presented her installation Memories of Light, her final project from TIMARA's technical director Abby Aresty's sound installation class. "The installation consists of five box modules, each containing a light sensor and speaker. Lights are programmed to turn on and off at certain intervals, and the light sensor triggers sounds from Max MSP. Memories of Light was inspired by a cemetary, because people always associate cemeteries with words such as creepy and unsettling. I see them as a place where the dead live. They are the land of our ancestors." - Helen
Will Bertrand, third year TIMARA and physics major, presented Dregs-Magic, a collaborative audiovisual piece with Austin Covell, student at SMFA. "I did sound and Austin did animation, and all the sounds came from a recording session we did with pots and pans with the excitement of using a good contact mic for the first time. I assembled all the sound stuff, and then he did the animation/video to go along with it." - Will
Ian English, third year TIMARA major, showcased their piece Organism 2.5. "It is basically the culmination of about six months of recording sounds. The piece was originally mostly bells and electric organ. I got most of the percussive blip blop sounds by using sidechain compression, phase inversion, and gate. There are earlier incarnations of the piece that are much more ambient and less genius." - Ian
Bertrand reflects on his experience at NSEME: "Helen's installation was great, the concerts were all cool! Someone did a piece where they did a broadcast from a local radio station and then drove people around the perimeter of the broadcast area to hear it come in and out of focus. The highlight for me was the late-night show, where I saw Aaron Dilloway (owner of Oberlin's very own Hanson Records) give a really pummeling noise set to close out the conference."
December 20, 2018
Students Performing at Festivals
"Repressed Memory is a piece I wrote in my second semester of freshman year, and was my second piece for acoustic instruments and electronics. I wrote the piece in a very quick span of time, it was inspired largely by the experience of remembering a traumatic memory and attempting to relive it through sound as a sort of therapy. It's been performed twice: first at Oberlin, and recently at the SPLICE Festival at Bowling Green State University. Now having it selected for N_SEME, it's incredibly exciting to be able to hear it played again. It's also wonderful to see such a strong TIMARA presence at the event, I think it's really a testament to the program, having such a supportive environment from both students and faculty." - Drew Smith (TIMARA second-year Major)
"Electronic Music Midwest (EMM) 2018 took place at Lewis University from Thursday, Oct 11 to Saturday, Oct 13 and over the course of one weekend boasted 9 concerts with 61 pieces. Unfortunately, I was only able to make it to the last two concerts on Saturday, but that didn't stop it from being worthwhile. The curators of the program did a wonderful job at filling the concerts with a variety of quality pieces that were both interesting enough and different enough from each other to keep me awake through more than two hours of new music in the same evening--which is an achievement considering my attention span.
Aside from the music, what really surprised me was the warmth of the community that I found at EMM. I had never been to a new music festival before, so it was a very pleasant surprise just how invested everybody there was in everybody else's work. Even people who weren't able to make it to the concert my piece was in asked me about my work, exchanged contact information, and welcomed me into the community with open arms. I don't know what I was expecting to come out of the experience with, but the new friends I made were a great surprise. Many thanks to the conservatory dean's office for their financial support in letting me attend the event! - Tori Ervin (TIMARA fourth-year Major)
The Arts of Conflict Resolution
December 11, 2018
This Wednesday at 10 PM, a StudiOC production entitled Some Things Cosmic Are These will be performed in Warner Main Space. Created by the thirteen students who took "Mixed Media Collaborations" (TECH 360 taught by Tom Lopez) and "Somatic Approaches to Conflict Resolution" (DANC 347 taught by Holly Handman-Lopez), the upcoming performance is the culmination of a semester in which the students collaborated on new works across a wide range of artistic disciplines.
Second-year TIMARA student Claudia Hinsdale explained that in the class, “a group of artists - music, dance, writing, circus arts, theater, etc - collaborated on work, and learned how to resolve conflicts inside and outside of this work creatively. We all got a chance to work in various group sizes, time frames, and under many leadership structures. Over the course of the semester, we have all created a massive amount of material that has taken many different shapes.”
Piper Hill, a fifth-year TIMARA student noted that “This StudiOC class has catalyzed a huge shift in my creative process… all art is collaboration whether we're actively thinking about everyone who's helped us make what we make. Being forced to work together to churn out a ton of work with very quick turnaround has been very liberating. I now feel really great about making art with my friends. I am now able to make faster creative decisions, because worrying about whether it will be the right choice or not is not super productive.”
Regarding the performance, Hill stated “I don't want to say too much, but I will say that I've gotten the chance to design lighting and sound, compose, act, sing, play guitar, perform choreographed movements, wear a fancy vest, and be a part of something absolutely magical! Come see me get sculpted from silk, perform in a mediocre rock band, and ride a bus. Watch as we thirteen humans and beings alter the fate of the cosmos!”
Some Things Cosmic Are These is a free event, but seating is limited. The show begins at 10 PM in Warner Main Space this Wednesday. - JA
November 12, 2018
This Tuesday, TIMARA will hold a student recital in The Birenbaum at 8:00 PM. The concert is free and will feature works by six students (Claudia Hinsdale, Jack Hamill, Drew Smith, Daniel Markus, Sophie Shalit, and Piper Hill).
Hinsdale, a second year, will premiere a new composition entitled Phase Canon which draws inspiration from 15th century vocal works. Describing the piece, she explains that “live input processing and improvisational percussion contextualize and create a narrative for the predetermined structure of a 36 voice canon from the 15th century.” The piece will feature performances from percussionist Jeremy McCabe and alto saxophonist Noah Hellman.
Second year Drew Smith will also premiere a new piece, entitled Axiomatics. Describing the piece's inspiration, Smith explains “I wrote the code for the electronics in the program Supercollider, which contains both synthesized material that is triggered by the saxophonist, as well as live processing (running the saxophone to a set of guitar pedals and through a guitar amp). . . I've been really interested by the idea of speakers as instruments in electronic music, so having a speaker that's disconnected from the rest of the electronics with totally different sets of processing parameters was something I wanted to explore.” The piece will feature Gabe Heinemann on alto saxophone. - JA
TIMARA @ NIME 2018
October 19, 2018
TIMARA was represented this year at the New Interfaces for Musical Expression (NIME) conference at Virginia Tech in Blacksburg, VA from June 3-6. NIME is an international conference featuring research, demos, musicians, and performers specializing in cutting edge and forward-looking musical interface design from all over the world.
This year, third-year student Rachel Gibson presented a poster-demo of her research on The Textural Theremin Expander (TTE), which explores textures the theremin can produce when its sound is processed and manipulated through a Max/MSP patch and controlled via a MIDI pedalboard. Gibson worked with TIMARA Technical Director Abby Aresty on this project. Her work was met with great enthusiasm from conference participants.
NIME 2018 also included performances by Oberlin alums Hunter Brown (Percussion Performance/TIMARA, minor '17), Alex Christie (TIMARA/Composition '09), and Eli Stine (Computer Science/TIMARA '14). TIMARA faculty Aurie Hsu performed a collaborative piece with Rutgers professor, Steven Kemper, Why Should Our Bodies End at the Skin? for sensor-equipped belly dancer, robotic percussion, sound exciters, and live sound processing. Why Should Our Bodies End at the Skin? was commissione by the Ammerman Center for Arts and Technology for the 2018 Biennial Symposium. - AH
What I Didn't Say installation
October 10, 2018
On October 12th, TIMARA Technical Director and Lecturer Abby Aresty will lead the creation of an installation entitled What I Didn't Say. The collaborative sound installation is part of the Crafting Sound: Hidden Voices workshop for non-binary individuals and women in cisman-dominated STEAM fields. This event was created by Oberlin's Center for Learning, Education and Research (CLEAR) and the TIMARA department.
What I Didn't Say will consistent of a series of cards arranged on a single collective paper quilt. Each card will have an individual electromagnet made out of copper tape with a small recording and playback module. With the module, participants will record responses to the prompt “When x, what I didn't say was…” The final paper quilt will be hung in a quiet public space.
Aresty explains that “the installation puts the onus on visitors to seek out and actively listen to the experiences and thoughts of women in STEAM. Installation visitors are given equipment that allows them to find and hear the participants' recordings - entirely inaudible to the naked ear - transmitted through electromagnetic waves.”
The Hidden Voices workshop will take place October 12th from 4:30 - 7:30 PM in the Science Library. All non-binary and women students, faculty and employees working in cisman-dominated fields are welcome. The event includes free food, a panel and facilitated discussion, and a DIY electronics workshop. RSVP here. - JA
Students Learning Machine Learning
October 1, 2018
On October 1st, media artist Eunsu Kang will visit Technical Director and Lecturer Abby Aresty's TECH 350 class: Workshop in Media and Music Technology. Kang is Special Faculty at the Carnegie Mellon School of Computer Science, focusing on Machine Learning and Art. A three-time recipient of the Korean National Grant for Arts, she has presented research at ACM, ICMC, and ISEA. Her work, which focuses on “audiovisual spaces that interact with people,” has received praise internationally for its “seamless integration of arts disciplines and innovative techniques” (University of Akron Ohio).
Last September, Kang's solo exhibition “FACE” was shown at Youngstown State University. The installation featured machine learning neural networks which generated a series of faces after studying 200,000 real human faces. Described as “gorgeously diverse and intriguingly unique” by the Carnegie Mellon University School of Art, the project is just one example of the wide breadth of work created during her career.
Kang's TECH 350 visit will be at 7 PM on October 1st in the TIMARA recording studio. The class is open to anyone who wishes to attend. While at Oberlin, she will also visit Professor Cynthia Taylor's CSCI 313 class: Human Computer Interface. - JA
TIMARA visits Laurel School during Tinkering Week
May 23, 2018
The TIMARA Department recently visited a group of 6th grade students during their annual Tinkering Week at the Laurel School, a private all-girls school outside of Cleveland, OH. Laurel's Tinkering Week has become something of an annual tradition for TIMARA, as students and faculty have visited Laurel for the past 6 years to lead sound-related workshops, take students on soundwalks, and to teach students the basics of field recording. This year, TIMARA staff and faculty Abby Aresty and Aurie Hsu designed a new, hands-on, interdisciplinary workshop for Laurel, blending physics, technology, and sound into a fun-filled 90-minute adventure in making art with sound. TIMARA students Margaret McCarthy, Helen He, and Julia Mills joined Aurie and Abby in co-leading the workshop.
In the workshop, students and mentors used induction coils and amps to go on a scavenger hunt for invisible electromagnetic fields. We used magnets, electromagnets, and index card diaphragms to make their own microphones and speakers. Then, we built homemade contact microphones from piezo discs and used surface transducers to turn everyday objects into speakers. We wrapped up the day with a rousing improvisation to a frog-themed cartoon, using all of our homemade technologies as well as one of a kind instruments created by TIMARA friend Kyle Hartzell.
The Laurel students were enthusiastic and bonded immediately with their Oberlin mentors, asking wonderful questions such as "How do I study this in college?" and "Can you come back for seventh grade?" Reflecting on the experience, Aresty said, "It was so rewarding to see our students mentor these girls - they did an incredible job, and the Laurel students clearly got so much out of working with them. Who knows, maybe there were a few future TIMARA majors in the room?" Plans are already in the works for next year's tinkering week, scheduled for Fall 2018. - JA
Rainforest IV in new TIMARA Gallery
May 16, 2018
Under the guidance of Technical Director Abby Aresty, six students in TECH 301 (Sound Art Installations: Design and Construction) recently performed David Tudor's "Rainforest IV" as a class project. Tudor, a pianist, composer, and renowned figure in the new music community, created "Rainforest IV" during a 1973 workshop in New Hampshire. Born out of a 1968 piece entitled "Rainforest" (originally commissioned by choreographer Merce Cunningham), the part-performance part-installation is a compelling experiment in space and audience interaction. Composers find resonant objects to suspend in the performance space, and then use their own sonic materials to excite the objects.
In a video reflection, student Julia Mills noted, "My friends had a lot of fun in 'Rainforest IV' even though this kind of experimental installation is not usually their kind of bag... I know they had a really great experience. They knew I'd worked really hard on it, and I think that kind of motivated them to scope out every object and stay for quite a long time. It was very cool to see them interact and have fun with it."
The two hour installation and performance took place in TIMARA's recently renovated gallery space; attendees were encouraged to experience the installation at their own desired pace, wandering and interacting with the resonant objects along the way. - JA
Aurie Hsu tenure-track
April 25, 2018
This year, composer Aurie Hsu accepted a tenure-track position in the TIMARA department. Hsu taught as a visiting professor at Oberlin during the 2015 and 2016 academic years. Previously, she taught at the University of San Diego and the Mason Gross School of Arts at Rutgers University. Her hiring is an exciting milestone in the program's growth, marking the first time in department history in which there have been three tenure-track TIMARA professors (instead of two with one visiting professor).
Hsu, a prolific composer, pianist, and dancer, brings an impressive array of talents and knowledge to the department. Her compositional work has been performed by ensembles including the Da Capo Chamber Players, Relâche, NOW Ensemble, and the Talujon Percussion Quartet, with presentations seen at NIME, ICMC, SEAMUS, MOCO, SIGCHI, Pixelerations, Third Practice Festival, Acoustica 21, the Logos Tetrahedron Concert Hall (Belgium), the Cité International des Arts (France), and the TivoliVredenburg (The Netherlands). Hsu's compositions span acoustic, electroacoustic, and interactive realms.
This includes the development of the Remote electroAcoustic Kinesthetic Sensing (RAKS) system, a wireless sensor interface for belly dance designed in collaboration with composer Steven Kemper, which was utilized in her ICMA award-winning piece Shadows no. 5 (2010) and Why Should Our Bodies End at the Skin? (2018), an Ammerman Center for Arts and Technology commission.
Beyond her compositional work, Hsu is also an accomplished pianist. She frequently performs her own prepared piano pieces. The San Francisco Classical Voice has praised her playing as "incendiary" and as having "dazzled the audience." Hsu is also a skilled dancer; a former member of the Fire in the Belly Dance Co. (2005 - 2012), her interest in dance and composition often overlap in engaging studies of physical and musical gesture.
Hsu says "I am elated to join the Division of Contemporary Music faculty at the Oberlin Conservatory. I am excited for the opportunity to work alongside incredible my colleagues in TIMARA, Peter Swendsen, Tom Lopez, and Abby Aresty. I am constantly inspired by all of the students involved in TIMARA. Their creativity, dedication, and imagination is unparalleled. Oberlin was essential in shaping my own musical and creative life from my piano performance training to my interest in experimental and electronic music. It is an immense privilege to have the chance to teach and grow at Oberlin, which is so special to me." - JA
TIMARA Re-Launches SAW 2018
March 20, 2018
From June 16-23 this summer the TIMARA Department will host the Sonic Arts Workshop (SAW). The electronic music workshop, which has been offered for many decades, will relaunch this year after a skipping 2017 due to renovation work. Last summer, the entire TIMARA studio complex was renovated, including the addition of two new studios. Official announcements (with photos!) about the renovations will be posted here shortly. Needless to say, we are very excited about our facilities and look forward to sharing them with our SAW participants.
Dedicated to high school students ages 15 years and older, the SAW provides broad exposure to the world of electroacoustic music and offers a variety of technical and creative resources. Topics will include field recording, real-time techniques, audio processing, and discussion of electronic music repertoire. The program is great for students headed towards conservatory studies, as well as those interested in experimenting with electronic and computer music. You can find more information, including the application, here (financial aid is available).
When I attended as a high-school student the program provided gave me a direction and a passion. I couldn't recommend anything else if you are interested in exploring sound as a medium of creation. - Will Johnson
New TIMARA Technical Director
March 7, 2018
2017 saw the hiring of Abby Aresty as Technical Director and Lecturer for the TIMARA department. A renowned sound artist and composer, Aresty's work explores human relationships to the natural world and built environment through engaging sound experiments which "seek to provoke audience reflection on habitual listening practices in contemporary sonic environments."
Aresty's installations have been featured on NPR's All Things Considered, and praised by news outlets such as the Seattle Times and the Pittsburgh Post-Gazette. She's held fellowships at the Studio for Creative Inquiry at Carnegie Mellon University, Grinnell College, and the Acoustic Ecology Lab at Arizona State University's Herberger Institute of Design and the Arts.
Her hiring coincided with a major renovation of the TIMARA studios. In her arrival, she's played an integral role in the reorganization and updating of the studio spaces. The job of Technical Director and Lecturer was previously held by John Talbert, who retired in 2017 after nearly forty years in the role.
Aresty says "I met my first group of TIMARA students by chance at a winter residency at the Banff Center for the Arts in January 2013. They were a great bunch -- friendly, funny, creative, supportive and welcoming. When I visited TIMARA last Spring, I found this same wonderful sense of community among the students and the faculty here on campus. It's a privilege to be a part of such a wonderful creative community and I am grateful for my students and colleagues every single day." - JA
Premieres and Reunions at TIMARA Faculty Recital
February 22, 2018
On February 23rd, the TIMARA faculty will hold a performance of original works at 8 PM in Fairchild Chapel. The program features music by all four faculty members, including premieres of new compositions by Tom Lopez, Aurie Hsu, and Abby Aresty, with instrumentation ranging from live electronics to found objects, percussion instruments and prepared piano. This event marks Aresty's first performance as an official TIMARA faculty member since her hiring as Technical Director and Lecturer.
TIMARA Chair, Peter Swendsen, will reunite with bassoonist and Director of Conservatory Professional Development, Dana Jessen, to perform a collaborative piece from Jessen's album "Carve." The composition, entitled "Fireflies in Winter," has not been performed in Oberlin by the pair for two years. He notes that since then, Jessen has performed the composition across Europe and America, and that he looks forward to presenting it again on campus. - JA
Stephan Moore shares industry insights
February 16, 2018
The first week of classes was especially busy for the TIMARA Department this semester!
On February 8th, sound artist Stephan Moore visited a combined group of TECH 204 Performance Technology Workshop students and TECH 202 Real-time Techniques students to deliver a lecture about his work. Moore teaches at the Sound Arts and Industries program at the Northwestern School of Communication.
As a past president of the American Society for Acoustic Ecology and member of the Wingspace Design Collective, Moore has led a career of diverse sonic pursuits. From six years spent touring with the Merce Cunningham Dance Company (2004-2010) to curation of several art installations across the globe and collaborative engagements with popular artists such as Animal Collective (2010), his experience in the world of art, music, and composition made for a lecture of great insight to the TIMARA community. - JA
Eastman Presser returns
February 12, 2018
Oberlin alumnus and TIMARA graduate Eastman Presser ('14) will perform an original work entitled "Good Listener" tonight in Bibbins 237 at 8:30 PM. According to Presser, "Good Listener is one possible iteration of an ongoing practice that examines listening critically. It is an invitation to listen, in different ways, to different sounds, some of which might happen to be music. This partially improvised performance combines and borrows from live music, lectures, stand-up comedy, and installation to create an auditorium in which how we make meaning through listening is questioned."
Presser is currently studying Performance Practice as Research at the Royal Central School of Speech and Drama in London, in pursuit of a Master of Fine Arts degree. His visit to Oberlin included a lecture to the collective TIMARA studio and to the TECH 204 Performance Technology Workshop class. - JA
John Talbert retires
May 12, 2017
John Talbert began working at Oberlin during the summer of 1978 when the Ohio Scientific Instruments microcomputer was brand new. John has been instrumental in helping the TIMARA Department embrace every technological development since then: from reel-to-reel tape to MIDI and the DX7; from simple circuit design to Arduino programming and iOS apps; and everything in between. "That's what was so cool about the job," he says. "Every year it was a new job. Every year things changed."
Erich Burnett interviewed John recently, you can read more here.
You can also learn more about John's various projects on his personal site.
The photo above shows John in his studio circa 1989.
Hunter Brown wins Allen Strange Award
May 8, 2017
Hunter Brown '17 was awarded the Society for Electroacoustic Music in the United States' (SEAMUS) Allen Strange Award for "Best Composition by an Undergraduate Student" at the 2017. Brown's winning piece, "Bicorporal," is described in its program notes as "an interactive electroacoustic performance system that uses timbre and amplitude tracking to manipulate digital signal processing modules. This enables the performer to control all electronic components of the performance by simply playing the acoustic instruments." Brown's interests include free improvisation with percussion and electronics, audio-visual work, sound art, audio engineering, composition for dance, and machine learning. This summer Hunter will be working as a recording engineer at the Marlboro Music Festival and School, and in the fall he will be attending Dartmouth College to pursue a Master's Degree in Digital Musics. More information and works by Brown can be found on his website: www.hunterbrown.net.
Hunter appears in the photo above (on the right) receiving the award from Eli Fieldsteel at the SEAMUS Festival.
Sounds of TIMARA...Today!
April 19, 2017
Judy Jackson (18') is featured in this online article. She can't pick her favorite part of Oberlin Conservatory's TIMARA Department. She loves everything about it.
"I'm 100 percent adamant that it's the best major on campus," she says. "It's a really strong community with some really wonderful people. There's a good exchange of ideas that happens within the department."
March 3, 2017
The Talbertronics Festival is underway! Join us in our celebration of John Talbert and his nearly 4 decades of incredible work in the TIMARA Department. We are thrilled to have many guests on campus, including former faculty: Gary Lee Nelson, Lyn Goeringer and Joo Won Park; former students: Peter Blasser, Leif Shackelford, Travis Johns and Patrick Richardson.
We have a studio open house, two workshops, three lecture/demonstrations, and three concerts. The studios are buzzing today as folks set up their open house installations.
If you're nearby, please join us. If you're far away, drop John a message!
TIMARA releases vinyl
February 28, 2017"Electroacoustic Music at Oberlin" was just released by Hanson Records. It features music by current and recent TIMARA students and faculty: Lyn Goeringer, Mitchell Herrmann, Sarah Snider, Evan Zierk, Matt Omahan, Paulus Van Horne, Charlie Abbott, Tom Lopez & Stephen Sloan.
Judy Jackson performs on the Alles Machine
January 30, 2017The Alles Machine, also knows as the Bell Labs Digital Synthesizer, was built in the 1970's. This video recording features Laurie Spiegel in 1977.
In 1981, the instrument was donated to the TIMARA Department, although it was barely functioning and lay dormant till recently. TIMARA engineer, John Talbert, has repurposed the machine for future generations of TIMARA composers - thanks, John!
You can read more about John's creative technical work here: