David Dunn (MFA in New Media, Danube Univ., Austria) is a composer, musician, and audio engineer. As a composer, he primarily engages in site-specific interactions or research-oriented activities. Much of his work is focused upon the development of listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. Dunn is internationally known for his articulation of frameworks that combine the arts and sciences towards practical environmental activism and problem solving. Feature articles about his work have appeared in publications as diverse as The Atlantic, Science News, and The Wire. He has taught at several colleges and universities including San Diego State University, Drew University, College of Santa Fe, Transart Institute Berlin, Univ. of New Mexico, Dartmouth College, and most recently the Milton Avery Graduate School at Bard College. Currently he is Assistant Professor for Sound Art and Design in the Music Dept. of the University of California, Santa Cruz.
As a pioneer in the fields of acoustic ecology, bioacoustics, interspecies communication, and scientific sonification, he has composed a body of innovative and experimental musical work while contributing to projects as diverse as sensory enhancement of healthcare environments, intervention strategies for forest and agricultural pests, and reduction of sensory deprivation problems in captive animals. He has investigated, among other things, the inter-relationship between music and language and the ultrasonic world beyond human hearing. As a sound engineer, Dunn has been involved in a huge array of projects all over the world. He has invented microphones to record such phenomena as the sounds of bark beetles within trees, underwater invertebrates in freshwater ponds, and the ultrasonic communication of bats. He has also designed self-organizing autonomous sound systems for interaction between artificial and natural non-human systems. Underlying all his work is a common regard for music as a communicative channel with a living world.
He has been the recipient of over 30 awards and grants including the National Endowment for the Arts, Rockefeller Foundation, Ford Foundation, Langlois Foundation, McCune Foundation, Meet the Composer, Delle Foundation, Tides Foundation, New Mexico Arts Division, and the US Embassies to Argentina and Kyoto, Japan. In 2005, he received the prestigious Alpert Award for music, the Henry Cowell Award from the American Music Center in 2007, and most recently an Artist’s Award from the Foundation for Contemporary Arts, NYC for 2013. His compositions and soundscape recordings have appeared in over 500 international forums, concerts, broadcasts, and exhibitions. A translation of his writings into French (Extractions des Espaces Sauvages: Cybernetique de L’ecoute et Ecologie Acoustique. Textes 1981- 2008) was recently published (Van Dieren Éditeur, Collection Rip on/off, Paris, France, 2011). David Dunn has worked in a wide variety of audio media inclusive of traditional and experimental music, installations for public exhibitions, video and film soundtracks, radio broadcasts, and bioacoustic research.
Ramon Sena has over twenty years of experience as a recording engineer in classical, avant-garde, vocal, jazz and rock genre. He recorded and produced 3 albums for the avant-garde group Organhouse that received worldwide distribution. His production and recording values are influenced from some of the finest (classical) recording engineers by utilizing such techniques as the Decca Tree (created by Kenneth Wilkinson, Roy Wallace and Arthur Haddy) to the richly detailed binaural and omni-directional church & chapel recordings by Jean Pontefract and Alberto Paulin of Harmonia Mundi.
Ramon was the founder of a studio/warehouse in Fullerton California called Non-Dasein/Sherpa Studio that focused primarily on fostering experimental theater, music, film, performance art and poetry. Numerous performances and events took place at Non-Dasein that made the studio/warehouse a hub for contemporary performance in Southern California. From this studio and afterwards he produced and released many albums with distributors in the USA, France, Germany, Spain, Japan and Australia. As a composer of avant-garde music he received an NEA grant for the piece From A Desert (utilizing computer generated sounds and soprano) This work was performed by the mezzo-soprano Consuelo Sañudo who has performed and recorded for Harmonia Mundi and SONY. The work was premiered at The Center For Contemporary Arts in December, 1987.
He also has many years of experience customizing vintage tube and solid-state electronics, integrating them into the recording process and has had extensive experience working in high-end audio retail. Ramon is also a founding member of the Santa Fe Audiophile Society with many years of recording history production knowledge and a vast collection of rare Classical, Jazz and contemporary LP’s and digital formats.
Gustavo Matamoros is the artistic director of Subtropics, an experimental music and sound arts festival held in Miami since 1989. He has also been the director of the interdisciplinary Sound Arts Workshop since 1996. Gustavo has been working with sound in music, sound art and community design in Miami for nearly 30 years.
His work, including electroacoustic pieces, recorded sound portraits, sound installations, text, video and radiophonic works, all arise from the notion that sound is the audible evidence of change. He has received many awards and commissions from music, theater, visual and media art organizations and government agencies, as well as, significant support for his curatorial projects as artistic director of Subtropics Experimental Music and Sound Arts Festival, and of SFCA’s interdisciplinary Sound Arts Workshop. Recently he has implemented the unique Listening Gallery on Miami Beach’s famous Lincoln Boulevard, a continous multi-channel sound installation that provides exposure to newly commissioned sound works to, literally, millions of passerbys per year.
For the past three decades Matamoros has overseen the recording and audio production of hundreds of recording projects, live concerts, and radio broadcasts throughout southern Florida. Much of these recordings constitute one of the most vital and historically significant audio archives for vanguard music in North America.