Jonghoon Ahn
Jonghoon Ahn is a media artist and filmmaker whose work explores the boundary between reality and virtuality through immersive technology and experimental storytelling. Based in Los Angeles and South Korea, he combines live-action, 3D animation, and audience interaction to challenge narratives around identity, empathy, and digital presence. His work spans interactive installations, XR, and short films.
His recent work focuses on the emotional relationship between AI and humans. He explores how AI can understand, respond to, and even influence human emotions through artistic expression. In one project, he used AI to explore and express the subtle, complex relationship between a mother and daughter in Seonah’s family, reinterpreting their emotional connection through a digital lens. Through these experiments, he investigates the evolving dynamics between artificial intelligence and human sensitivity.
Collette Williams Alleyne
Collette Williams Alleyne has over a decade of experience in alternative and arts education. After starting with Opportunities for Learning as an Academic Recovery Teacher, she entered into the position of Area Curriculum Advisor followed by a promotion to Assistant Principal, Regional Supervisor, and Educational Programs Project Coach. In the past three years as Director of Instruction for Opportunities for Learning and Options for Youth, she established partnerships with local schools to offer summer programs to students to reduce the learning loss that occurs during summer months. Her goal was to provide experiences for stakeholders that would encourage success in school and life. She holds a Bachelor of Arts in Education with a Multiple Subject Credential from the University of New Orleans, a Master’s Degree in Educational Administration from Pepperdine University and a Clear California Administrative Credential. Before moving to California, Collette was an Instructor for New Orleans Center for Creative Arts, NOCCA|Riverfront, and Adjunct Instructor at Dillard University of New Orleans. She is an active member of Delta Sigma Theta Sorority, Inc. As an artist and artist educator, Collette has performed and co-directed various companies throughout Los Angeles and in her hometown of New Orleans. She is currently a member of the Duarte Unified Arts Taskforce and regularly participates in Arts and Education programming committees to provide input on the direction of arts resources available to local district students. She believes that all students should have the opportunity and tools to excel.
Anatola Araba
Recently named Forbes 30 Under 30 in Art, Anatola Araba is an artist, filmmaker, futurist, and founder of her studio, Reimagine Story Lab. Her films and multimedia creations have been exhibited at the MoMA in NYC, Lincoln Center, and Art Basel, and she recently made history when her art was sent to space on NASA’s first Moon mission since 1972. She has spoken internationally including at the United Nations, Afrotech, South by Southwest, and more. Raised in New York City, Anatola graduated from NYU’s Tisch School of the Arts. She is on a mission to reimagine the future, one story at a time.
Lyndon Barrois, Sr.
As a member of the AMPAS (Oscars) Visual Effects Branch, Lyndon Barrois boasts a 30-plus year career in art and animation distinguished by a practice that encompasses many facets of his field. While a master’s candidate at California Institute of the Arts, his early stop motion work won accolades for its unique and innovative procedure utilizing chewing gum wrappers as the medium of choice to create “sportraits” of historic athletic figures and events. Barrois continues use of this technique today, with the added component of shooting and editing his films entirely on the iPhone.
In 1990, after officials from the Ripley’s Believe It Or Not! Museums saw an NBC Today show segment highlighting Barrois’ wondrous work, Ripley’s curators purchased 15 original sculptures, and have since displayed his “sportraits” around the world.
In later years, Barrois has garnered additional film credits, directing an episode of The PJs, helping to shape the groundbreaking CGI visual effects of The Matrix trilogy, directing sequences in the Oscar-winning Happy Feet, and supervising the nuanced dinosaur performances in The Tree of Life. In addition, Barrois directed a massive team of animators for Alvin and the Chipmunks, vaulting the franchise into a billion-dollar phenomenon. He has been recognized by the Visual Effects Society Awards and nominated for his work on The Thing, as well as for his work as a captain and co-author in the VES industry guidebook.
In 2018, Barrois exhibited FútBallet, a miniature sculpture and animation installation at the Pérez Art Museum Miami, in a show titled The World’s Game: Fútbol and Contemporary Art. And his film Prizefighter debuted on the film festival circuit as an animated “sportrait,” recreating three pivotal days in the life of Jack Johnson, the first African American heavyweight champion of the world.
In 2019, Barrois’ animated profile of author Ta-Nehisi Coates for topic.com (@topicstories) was shortlisted for an Emmy Award. The year 2020 began with Barrois’ For ... Freedom, an animated short film commissioned by ForFreedoms.org, that premiered at the MOCA Geffen Contemporary Museum in Los Angeles.
Barrois has been affiliated with and/or served on the boards of numerous cultural institutions such as Santa Monica Museum of Art (now ICA LA), the William H. Johnson Foundation, YA/YA, Inc., LACMA, and MOCA Los Angeles. He serves as a commissioner for the Smithsonian’s National Portrait Gallery in Washington DC. He is also a member of the inclusion task force for the Academy of Motion Picture Arts and Sciences Museum.
Julie Bour
Julie Bour graduated from the Conservatoire National Supérieur de Paris, where she studied works of influential choreographers including Dominique Bagouet, Maguy Marin, Claude Brumachon, Carolyn Carlson, Jennifer Muller, Alwin Nikolais, and Viola Farber.
From 1994 to 2002, she performed with Ballet Preljocaj in France, earning the “Bessie Award” for Best Performance of the Year. She then joined the Inbal Pinto and Avshalom Pollak Dance Company in Tel-Aviv before performing in an Opera directed by Julie Taymor in the U.S.
Between 2007 and 2012, Julie was based in New York City, where she gained international acclaim for her choreography and co-founded The Flying Mammoth, a project that blends different art forms.
She has also assisted choreographer Angelin Preljocaj at top institutions like New York City Ballet, Ballet de Bordeaux, Teatro del Maggio, and Cedar Lake Contemporary Ballet. Julie has taught at renowned dance companies such as Rambert Ballet and LA Dance Project, and has also taught at Juilliard, Alvin Ailey Fordham School, Interlochen School of the Arts, Wayne State University, Iowa State University, Mason Gross School of the Arts, Joffrey Ballet School, University Paul Valery in Montpellier and Pôle Supérieur Rosella Hightower in Cannes.
In 2012, Julie moved to Los Angeles, where she expanded into film and music videos. Her choreography for the role of Isadora Duncan in “La Danseuse,” which was nominated at the Cannes Festival in 2016, featured artists Soko and Lily-Rose Depp. Since 2014, she has been a full-time faculty member at the California Institute of the Arts (CalArts), teaching contemporary technique, composition, improvisation, partnering, and interdisciplinary practices. She is currently the MFA in Choreography Program Director at CalArts.
Mike Bryant
Mike Bryant (he/him) is an educator, a biologist, and a statistician. His research on behavioral and evolutionary ecology has appeared in prominent science journals such as Science, Nature, American Naturalist, Ecology, PLoS, and Animal Behaviour. His education research has appeared in the Journal of Educational Psychology and in Art Documentation.
Mike transformed his interests in functional anatomy, animal behavior, life history evolution, population dynamics, and statistics into the development of 14 science and math courses. These include courses in environmental science, conservation, genetics, evolution, nutrition, data science and visualization, and the history of mathematics. His courses are interdisciplinary in focus and delivery. As an example, his course “Sex and Death” begins with the question of what life is, how this relates to modes of reproduction, and sexual behavior across the animal kingdom. Students then examine the evolution of the family, a subject that touches on Mike’s own research on post-reproductive lifespan in tropical fish (AKA “Menopause in Guppies”). Naturally, the course ends with the biology of death. Throughout the course, students consider genetic art, gender, and reproductive rights and technologies from biological, cultural, and societal perspectives.
Consistent with the experimental and interdisciplinary nature of CalArts, Mike has contributed his mathematical modeling skills to live performance (e.g., Grisha Coleman’s Echo::System project). Mike has modeled safe classroom transitions and occupancy during COVID-19. Currently, he is modeling the changes in a STEM versus a STEAM emphasis among California public high schools.
Katy Dammers
Katy Dammers (she/her) is the Deputy Director and Chief Curator, Performing Arts at REDCAT, CalArts’ center for the visual and performing arts in Los Angeles. Her curatorial practice presents, organizes, and contextualizes contemporary practice in performance commissions, exhibitions, festivals, site-specific installations, and publications. She has held past leadership positions at The Kitchen, FringeArts, and Jacob’s Pillow. Dammers has also worked as a creative administrator, and worked with choreographers Rashaun Mitchell + Silas Riener as General Manager from 2014-2022, in addition to organizing projects with Jennifer Monson, Donna Uchizono, and Tere O’Connor. A writing fellow at the National Center for Choreography Akron, her essays have been published in The Brooklyn Rail, Motor Dance Journal, and MOLD as well as edited volumes by University of Akron Press and Princeton University Press. Dammers was a member of the Inland Academy and holds degrees from Goldsmiths College and Princeton University.
Arne De Boever
Arne De Boever (PhD, Columbia University, 2009) teaches American Studies in the School of Critical Studies and the MA Aesthetics and Politics program at the California Institute of the Arts (USA), where he directed the MA Aesthetics and Politics program from 2011 until 2023.
Arne’s research focuses on the contemporary US novel in an internationalist frame. His writing and teaching take place at the crossroads of literary criticism and critical theory. At CalArts, Arne’s undergraduate courses have dealt with the novel after 9/11, the novel and the biopolitics of care, posthumanism, the relations between finance and fiction, vulnerability, unexceptional art, and silent music. His graduate courses have focused on the concept of sovereignty and more broadly the problematic of exceptionalism in both political and aesthetic theory.
Arne is the author of States of Exception in the Contemporary Novel (Continuum, 2012), Narrative Care (Bloomsbury, 2013), Plastic Sovereignties (Edinburgh UP, 2016), Finance Fictions (Fordham UP, 2018), Against Aesthetic Exceptionalism (U of Minnesota P, 2019), François Jullien’s Unexceptional Thought: A Critical Introduction (Rowman & Littlefield, 2020), and Being Vulnerable: Contemporary Political Thought (McGill-Queen’s UP, 2023). He is also the co-editor of Gilbert Simondon (Edinburgh UP, 2012) and The Psychopathologies of Cognitive Capitalism: Part 1 (Archive Books, 2013), and the editor of Bernard Stiegler: Amateur Philosophy (Duke UP, 2017). His book Post-Exceptionalism: Art After Political Theology will be published by Edinburgh University Press in 2025. With Michael Pisaro-Liu in CalArts’ School of Music, he is at work on a new book titled Silent Music: Towards a Philosophy of the Most Subtle Sound.
For over a decade, Arne was the editor of the Critical Theory/ Philosophy genre section of the Los Angeles Review of Books, where he remains editor-at-large. He is also a member of the boundary 2 editorial collective and an advisory editor for several other journals, including the Oxford Literary Review. His work has been widely quoted and reviewed in academic publications and has been referenced and reviewed in general audience publications such as T: The New York Times Style Magazine (special issue on the arts today), Ny Tid (Norway), Télérama (France), La Maleta de Portbou (Spain), and De Standaard (Belgium).
In addition to his teaching at CalArts, Arne has twice been a Visiting Professor in Comparative Literature as well as in Architecture and Urban Design at the University of California (Los Angeles). He has also been a Visiting Professor in the School of Experimental Art at the Central Academy of Fine Arts (Beijing), where he twice delivered the prestigious Leonardo Art, Science, and Technology lecture.
Douglas Goodwin
Douglas Goodwin is an artist, educator, and researcher exploring the intersections of computation, perception, and creative practice. At CalArts, he teaches courses such as Machine Learning for Artists, AI for Experimental Animation, Unconventional Computing, and Fuzzbox: Physics and Popular Distortion, where students build with code, data, and circuitry to create works that challenge disciplinary boundaries. His pedagogy emphasizes hands-on making, critical reflection, and technological literacy, encouraging students to engage emerging tools like generative AI and machine learning as both medium and subject. His own work spans computational photography, language systems, and ecological aesthetics, and has been exhibited at the Toronto International Film Festival, the MAK Museum in Vienna, and other venues internationally.
Lareese Hall
Lareese Hall is the Dean of Library and Information Resources (the Library) at CalArts. She has diverse professional experiences spanning academic libraries and archives, executive recruitment, adult education and literacy, community development, science education, urban design, and public art. Lareese approaches librarianship as a critical, social, and creative interdisciplinary practice and believes that libraries play a role in fostering curiosity and creating engaged and informed academic communities of lifelong learners, artists, makers, and activists. Lareese is a visual artist and fiction writer with interests in printmaking, paper engineering, architecture and design, book making, and publishing.
Alex Jacoby
Alex Jacoby (he/him) is the instructional technologist at CalArts where he specializes in integrating educational technology, digital humanities, and innovative pedagogical strategies to enhance learning outcomes. At CalArts, he leads institution-wide initiatives on integrating technologies like generative AI into arts education, with a focus on ethical implementation and equity. His work includes managing learning management systems, developing faculty training programs, and fostering interdepartmental collaboration.
Before joining CalArts, he was a Visiting Assistant Professor and lecturer at Loyola Marymount University and Colburn Conservatory. Using digital humanities tools including topic modeling, GIS, and TEI, his research explores how the familiar space of Southern California beaches were built and culturally constructed in the late 19th century. He received a Ph.D. from University of California, Irvine in History in 2017. Alex also has an MA in history from UC Irvine and a BA in history and political science from Macalester College.
Collin Bailey Jonkman
Collin Bailey Jonkman is a writer, educator, and the current English Language Learning Faculty Fellow and Interim Director of the Writing Center. She holds an MFA in Creative Writing from CalArts, and an MS in Communication Studies and a BA in Film and Video from Grand Valley State University. She is a winner of the Actors’ Theatre Living on the Edge Playwriting Festival. Her creative nonfiction has been published in Strip Mall Magazine and her performance work has been held at CalArts and the Division Avenue of the Arts Collective.
Gregory King
Gregory King is a culturally responsive educator, performance artist, activist, and movement maker who received his MFA in choreographic practice and theory from Southern Methodist University and his doctorate in interprofessional leadership from Kent State University. He has participated in the Horton Project in conjunction with the Library of Congress, and has performed with The Washington Ballet, Erick Hawkins Dance Company, New York Theatre Ballet, Donald Byrd /The Group, The Metropolitan Opera Ballet, New York City Opera, and Disney’s The Lion King on Broadway.
As a choreographer his works have been presented at The Joyce, Playhouse Square, and The Kennedy Center. He has served as dance faculty for Texas Ballet Theatre and Boston Ballet, as well as assistant professor of dance at Temple University, and Swarthmore College. Recently Mr. King was awarded tenure and promoted to associate professor at Kent State University, where he served as director of the Kent Dance Ensemble for 5 years. King is a dance writer for Dance Magazine, Jacob’s Pillow, Gibney, thINKingDANCE, The Philadelphia Dance Journal, CHOICE Review and Broad Street Review.
King’s activism work has been written about and reviewed nationally, with his response to the Dancing for Justice Philadelphia event being cited in the U. S. Department of Arts and Culture’s new resource guide, “Art Became the Oxygen.” He received over $13,000 to launch the Decolonizing Dance Writing; International Exchange Project, bringing together artists from Peru, Columbia, Sri Lanka, New Zealand, and Ghana, to share their practices, and discourse about teaching and learning dance through a non-
Western lens.
King is the recipient of numerous awards including Excellence in Teaching Awards, a Faculty Recognition Awards, the Outstanding Creative Contribution Award from the Division of Diversity, Equity and Inclusion at Kent State University, and has served as Provost Faculty Associate. In 2022, King served as Keynote speaker, leading conversations on institutional support for BIPoc faculty and students of color, at Indiana University, Virginia Commonwealth University, Montclair State University, and University of Auckland, New Zealand. In addition to having served on the dance review board for the Ohio Arts Council and National Endowment for the Arts, King was nominated for a Governor’s Award for the Arts in Ohio.
Tom Leeser
Tom Leeser is a digital media artist, educator, curator, and writer. He is Program Director of the Art and Technology Program and Director of the Center for Integrated Media at California Institute of the Arts (CalArts).
Tom received his BFA and MFA from the San Francisco Art Institute (SFAI). His film, video, online work, interactive installations, and public performances have been exhibited at Eyebeam, the Academy of Motion Picture Arts and Sciences, Machine Project, the Mount Wilson Observatory, MassMoca, The Santa Monica Museum of Art, The Fowler Museum, Redcat Theater, The Kitchen, The Millennium, Siggraph, and film and video festivals worldwide, with support from Art Matters, Creative Time, and the Daniel Langlois Foundation.
Recent projects include: Scream, A sound/performance project, at Navel, Anachronistic Anomalies, at The Echo Park Film Center, DryRun, a public art and sound/poetry project for the City of Santa Clarita, CA, History Refused to Die and The Futures Project at the Alabama Contemporary Center for the Arts and the Los Angeles Filmforum, Artist Resident for a Day at Machine Project, Radical Cosmologies at ISEA2012, Indirect Intention--A Home and Garden Intervention at the Museum of Jurassic Technology and the Center for Land Use Interpretation, Future Imaginary at the Ben Maltz Gallery of the Otis College of Art and Design, The Lament Project--An Evening at the Manual Archives, Underground Cinemamachine at Machine Project and Object Lessons for Gigantic Artspace in New York City.
Daniela Lieja Quintanar
Daniela Lieja Quintanar (she,her, hers) is Chief Curator and Deputy Director of Programs at the Roy and Edna Disney CalArts Theater (REDCAT). Her curatorial practice takes inspiration from communal life, spaces of political struggle, and collective forms of knowledge production. Lieja Quintanar served as Chief Curator and Director of Programming at Los Angeles Contemporary Exhibitions (LACE) (2016–2022). For REDCAT, she organized The Feminist Art Program (1970–75): Cycles of Collectivity and commissioned shows by Lisa Alvarado and Kameelah Janan Rasheed. For the Getty Initiative, PST Art 2024, she curated All Watched Over by Machine of Loving Grace for REDCAT, and Beatriz da Costa: (un)disciplinary tactics for LACE. She was awarded an Andy Warhol Foundation Curatorial Research Fellowship (2018) for Intergalactix: against isolation/contra el aislamiento (2021). Lieja Quintanar was on the curatorial team for the MexiCali Biennial (2018–19). Lieja Quintanar has published in several art magazines and journals such as the ULTRA-RED and Georgia journal. She edited the publication Beatriz da Costa: (un)disciplinary tactics recently published by MIT. She is part of the Los Angeles Tenants Union, collaborating with the East Side Local/Union de Vecinos (2015–ongoing).
Dongpu Ling
Dongpu Ling is an intermedia artist currently based in Los Angeles, California. She is working at the intersection of art and technology. Her artistic practice is deeply rooted in exploring the relationship between the physical and digital worlds, using interactive installations and performance art to bridge the gap between the two. By integrating machine intelligence into her works, she creates multidisciplinary relationships that challenge the boundaries of traditional media formats. Through her art, she aims to make the intangible tangible.
Dongpu’s work has been exhibited at many institutions, including the Scottsdale Museum of Contemporary Art, the Japanese American Cultural & Community Center, The College Book Art Association, Tin Flats, MAK Center for Art and Architecture, Coaxial Arts Foundation, and Santa Clarita City Hall.
In 2018, she obtained her B.F.A. in Intermedia Art from Arizona State University. She then received her M.F.A. in Art & Technology with a concentration in Integrated Media from the California Institute of the Arts in 2021. Dongpu Ling is currently a faculty member in the same program where she obtained her degree.
Violet Lopiccola
Violet Lopiccola has been dancing since age 2 at her mother’s studio in Michigan. As a sophomore she moved to California and began attending Orange County School of the Arts as a member of the Ballet & Contemporary Conservatory, and thrived creating & setting her own choreography on her peers. Over the years she has attended numerous intensives throughout the country and received several awards along the way. She is now in her first year at Calarts working towards her BFA in dance.
Christine Meinders
Christine Meinders is a social design technologist and researcher. Her research focuses on emerging technologies as well as theoretical and speculative approaches to the design of AI. She uses critical prototyping to develop collaborative, inclusive, and community-centered AI tools and examines social bias as a result of human intervention in the design of AI. Meinders is the founder of Feminist.AI (part of the non-profit Mutable Studio) and social technology tool poieto (patent pending). She teaches AI. Culture.& Creativity at the California Institute of the Arts and the California College of the Arts. Her practice explores ideas around knowing, algorithmic accountability, and how locations, popular culture, and technical and non-technical experts define the artificial intelligence / artificial life spectrum, with a focus on knowing. Her practice incorporates computational arts, critical theory, and crafting tools to design emerging technology.
Meinders holds an MFA in Media Design Practices from the ArtCenter College of Design and an MA in Clinical Psychology from Pepperdine University.
Ranu Mukherjee
Ranu Mukherjee was appointed dean of the largest of CalArts’ six schools of visual and performing arts in 2024. Before joining CalArts, she was a professor and chair of Film at California College of the Arts in San Francisco (CCA), where she also was on the faculty of the Graduate Fine Art Program, serving terms as chair and assistant chair. Before moving to California, she spent eight years on faculty in Visual Arts at Goldsmiths College, University of London.
CalArts’ history of radical pedagogy and visionary artwork has long been an influence on her. She finds the way the School of Film/Video holds together distinctive models and resources in an environment of personal choice, to support students’ vision and creation, endlessly inspiring--particularly in this moment when the critical role moving images play in the culture at large cannot be overstated.
As a multidisciplinary artist and filmmaker, Ranu works with animation and choreography, painting, textiles, installation, and performance. She connects questions around ecology, time, diaspora, and the experiences of women to the history of futurisms, speculative fiction, and ruptured colonial legacies. She also takes an ecology-based approach to pedagogy and leadership, informed by living questions and a focus on open dialogue, collective health, and artistic innovation.
Her extensive international exhibition and screening history includes projects at the 18th Street Arts Center, Santa Monica; de Young Museum, San Francisco; Natasha, Singapore Biennale 2022-2023, and Karachi Biennial (2019). She is represented by Gallery Wendi Norris, San Francisco/New York, which published her first monograph, Shadowtime, in 2021. Recent honors include an Artadia Award (2023) and a Lucas Visual Arts Fellowship (2019).
Her work is held in the permanent collections of the Asian Art Museum, San Francisco; de Young Museum, San Francisco; Escalette Collection at Chapman University, Orange, California; JP Morgan Chase Collection, New York; the Kadist Foundation, San Francisco and Paris; the Oakland Museum of California; the San Jose Museum of Art; and the San Francisco International Airport, among others. She is one of the co-creators of 0rphan Drift, an artist avatar making combined media works since their formation in London in 1994.
She serves on the boards of directors at the San Jose Museum of Art and Southern Exposure, and is the proud mother of teenage triplets.
Isabella Navarro
Isabella Navarro previously grew up from a competitive background and trained at studio 1 dance academy since the age of three. She then joined IAF at the age of thirteen years old and this is when she started becoming more familiar with a creative process and becoming an artist, and now she is a BFA 1 at CalArts for dance. She’s always been strongly passionate about dance, creating art, and the process that comes with it.
Junson Park
Junson Park is a Korean artist exploring the intersection of technology, music, and human psychology. With a background in Electronic Production and Design from Berklee College of Music and currently pursuing an MFA in Music Technology at CalArts, Park’s work focuses on how technology can mediate, distort, and enhance human perception and emotional experience. He investigates how artificial intelligence and algorithmic processes can reflect, reinterpret, or even shape psychological states and personal narratives through generative music, interactive systems, and real-time audiovisual performance.
João Ribas
João Ribas is Steven D. Lavine Executive Director and Vice President for Cultural Partnerships at the Roy and Edna Disney CalArts Theater (REDCAT). He was previously director of the Serralves Museum of Contemporary Art, Porto, where he also held the position of deputy director and senior curator (2014-2018); curator of the MIT List Visual Arts Center (2009-13); and curator, The Drawing Center, New York (2007-09).
He is the winner of four Association Internationale des Critiques d’Art (AICA) awards (2008-2011) and of the Emily Hall Tremaine Award (2010). His writing has been published in numerous publications, monographs, and magazines, and he has taught at Yale University, the Rhode Island School of Design, and the School of Visual Arts, New York, among other institutions. He was the curator of the 4th Ural Biennial in 2007, and the Portuguese Pavilion at the 58th Venice Biennale in 2019.
Primož Sukič
Slovenian guitarist, improviser, and composer Primož Sukič studied at the Academy of music in Ljubljana, at the Akademie für Tonkunst Darmstadt, and received his Masters degree in contemporary music performance at the HoGent conservatory Ghent in 20216. He is now a doctoral candidate at the California Institute of the Arts, where he also teaches guitar and composition lessons as Special Faculty.
Along with percussionist Ruben Orio he is a founding member of the Third Guy duo, where the two musicians constantly collaborate with other artists, and explore boundaries between improvisation, and composition as well as music and other artistic media. He is also a founding member of the group Replicant (Paris) which includes guitar, saxophone, and electronics. Their music blends contemporary written scores, improvisatory practices and rock.
His compositions are based on open form, interagency, and performer/composer practice, and feature works for solo electric guitar, electronics, group settings, and sound installations. He’s also exploring studio production techniques as means of composition.
As a performer his main interests are exploring and widening the possibilities of his instruments, both classical and electric guitar. Through improvised music practices, and constant collaborations he is trying to expand the guitar repertoire and is regularly presenting it on renowned festivals and concert venues around Europe, South America and United States such as Musica festival Strasbourg, Klangspuren festival Innsbruck, Cafe Oto, Spectrum NYC, Rhizome DC Washington, the Venice Biennale, Wiener Festwochen, Manifeste Paris, etc.
John Threat
John Lee is a world renowned computer hacker, a radical creative futurist, a writer/director, artist, professor. Co-founder of hacker/art space rip.space. Don’t look at Wikipedia just ask me.