Caterina Barbieri (Bologna, Italy) is a composer and performer of electroacoustic music. Mostly interested in modular synthesis, three-dimensional spatialisation and psychoacoustic aural sculpture, her music arises from a meditative approach to primary waveforms, microtonality and the polyrhythm of harmonics, on the boundary between drone, minimalism and techno in multichannel systems.
AMMA ATERIA is an audiovisual artist + electroacoustic composer/improviser based in San Francisco, CA. Born in Hong Kong, she gravitates to rhythms of construction sites, roaming traffic, inaudible conversations, and close-ranged airplanes. Natural and synthetic worlds are the polar opposites in her sonic practice. Her practice in sound consists of cross-modal synesthetic influences from the contemporary moment, as well as synopsis and identity assignments from geometric perspectives. With focus in the acoustic abilities of transparent materials such as glass and water, she takes concern with the density and optical condition of plexiglass and its relationship to the correlation and causation of light value as trigger. Jeanie- Aprille studied at Mills College with focus in music composition, electronic music, hardware instruments, and audio engineering. Her interests are slow-wave, new colour, irregular heartbeats, and sonic circuitry.
Manuella Blackburn is an electroacoustic music composer who specializes in acousmatic music creation. However, she also has composed for instruments and electronics, laptop ensemble improvisations, and music for dance.
She studied music at The University of Manchester (England, UK), followed by a Masters in Electroacoustic Composition with David Berezan. She became a member of Manchester Theatre in Sound (MANTIS) in 2006 and completed a PhD at The University of Manchester with Ricardo Climent in 2010.
Natasha Barrett (UK / Norway) is a freelance composer, performer (since 1998) and recently appointed as research fellow at the University of Oslo, Department of Musicology (2014). Her output spans instrumental and electroacoustic composition through to sound-art, sound-architectural installations and interactive projects. In addition to collaborating with performers, she often involves experimental designers and scientists in her work, which features an understanding of auditory perception and sound's spatio-musical potential in 3D. She holds masters and doctoral degrees in composition from the UK (1994/1998). Both degrees were funded by the Humanities Section of the British Academy.