| steve bradley | Andrew Hayleck | Soy Jones | Nautical Almanac | Ian Nagoski |
| Timothy Nohe | Catherine Pancake |
John Sturgeon |


Steve Bradley explores the boundaries of urban and suburban culture by collecting debris, sound and images from the consumed and littered global landscape. Bradley's work has been exhibited by the Kiasma, Museum of Contemporary Art, in an on-line web cast project, Sound Box 2.0. He has exhibited at the Washington Center for Photography, Washington, D.C. and Pulse Art in New York City. In 2000 he curated an audio CD for the Baltimore-based literary magazine, LINK for the Hysteria issue. This past year he was awarded a rivercommission from Hull Time Based Arts to create a new public art work called Reading the River, an interdisciplinary work that involves documenting and annotating debris found in the surrounding area of the River Hull Corridor, Hull, England from February to April, 2002. Since 1998, he has curated art@radio, a net.radio broadcast of sound art and experimental music.




Andrew Hayleck
(born 13 September in Washington D.C.) grew up in Hyattsville, MD. Education: experiments with self-built instruments to produce sound plays on reel-to-reel tape recorder; guitar playing in University of Maryland Jazz Band (directed by George Ross and then Chris Vidala); touring the U.S. several times as part of ska band The Skunks. Currently: member of Neil Feather's Aerotrain [invented instrument ensemble]; member of the Red Room Collective (since 2000) [co-organizer of the on-going, annual High Zero Festival of Experimental Music and weekly experimental music/film/performance series]; field recordings of bridges, radio towers, buildings, ships, crabs and aquatic life, fire, street lamps, ice; free improviser on gong/wire, former-guitar [set of instruments invented by Neil Feather], feedback electronics, computer.



Soy Jones
music is intent on aurally communicating change and desire. She has performed on C.Pancake's Hydrophones (invented water-based instruments), clavinet, and amplified/bowed gong. Frequent musical collaborators include Catherine Pancake, Andy Hayleck, Dan Breen. She lives and works in Baltimore City Maryland. "Without the slightest provocation...Soy Jones will play an untrained, slightly perturbed, deeply interior music as though her identity itself depended on it." -- Anonymous



Nautical Almanac
is the combination of two sensibilities in recombinant/circuit-bent electronics. James Twig Harper and Carly Ptakís invented instruments, derived from a combination of cast-off consumer junk and elaborate re-systemization using baroque, dream-like circuitry, are a separate genus of instrument from any other electronics. The resulting sounds, weighted with small, personal choices and aesthetic variations indicate that they are nearly a separate species from each other. Their performances are wild, pataphysical, hebephrenic, and above all, playful, by Ian Nagoski Harper and Ptak have released several recordings together, co-founded Tarantula Hill (a performance space, recording and art studio, and communal living situation in West Baltimore), and HereSee, a record label. Harperís recent solo disc on HereSee is Brain Wave; Ptakís is Prepare Yourself. http://www.heresee.com



Ian Nagoski makes electronic music by superimposing soundfields, most of them timbrally dense, derived from digital feedback, vibrating metal plates, and antique commercial recordings. In performance, he plays the interference among the sounds using only relative amplitude, equalization, and tape phase shift. "A melting iceberg in an electrified auditory ocean." John Berndt His recordings are Warm, Coursing Blood (1999,
Colorful Clouds for Acoustics, Philadelphia) and Violets for Your Furs (2002, edition, Atlanta). His collaborative sound-and-video works are Green and Dying (with Chris Rice, 1999), for Jason Glover (with Chris Rice, 2000), and Effortless Battle (with Catherine Pancake, 2002). He performs regularly as a duo with light artist Daniel Conrad.



Timothy Nohe
is an artist engaging traditional and electronic media in public life and public places. His recent work has been realized in site-specific sound, animation and video installations, scores for dance performances, Internet publications, and hypertext poetry. He currently is an Assistant Professor of Imaging and Digital Arts at the University of Maryland Baltimore County. Nohe also serves the community-based performance art group Fluid Movement as a board member, composer, and Internet designer.


Catherine Pancake
is one of a new breed of improvising musicians for whom the avant-garde serves as a practical technical base and inspiration. She is an autodidact percussionist and a sound artist using elemental forces (water, dry ice) seeking to approach musical possibilities of the sublime, extreme type; and also a prolific filmmaker and a central organizer of the Baltimore scene. She is a member of Neil Feather's Aerotrain and the Coltrane tribute group Music in the Key of Zero with saxophonist John Berndt (with whom she also created the sound-and-video piece Glaciers of Consciousness, which was presented at the FA3 Festival in Montreal last year and which is ìabout the opaque nature of reality, as expounded through sensual logic: specifically, the epistemological intensities of one incompatible world cracking through another.) She is also a filmmaker who is currently editing a documentary titled Mountaintop Removal about her native region of West Virginia, funded by the Maryland State Arts Council.


John Sturgeon
is an electronic media artist, utilizing video, installation, performance and interactive forms. His work has received continuing support, with major awards and fellowships including: three National Endowment for the Arts Individual Artists Fellowships, several NEA media arts and state supported production grants, a John Simon Guggenheim Fellowship and a Fulbright Scholar Abroad Fellowship. Since the early 1970's, Sturgeon consistently utilized emerging forms of electronic media to articulate a quest for a spiritual persona. His electronic adaptations of ritualistic practices question the role of electronic media in the process of self-creation/discovery and community formation, while creating a unique space for the contemplation of these issues.