Dr. Rachel O’ Dwyer (Editor in Chief)
Rachel O’Dwyer lectures in the School of Computer Science and Statistics in Trinity College Dublin.
She is facilitator of the Dublin Art and Technology Association (DATA 2.0), dedicated to showcasing the work of artists and technologists and providing a forum for the intersection of these disciplines www.data.ie. She has curated various panel discussions, workshops and exhibitions on subjects such as sound studies, network cultures and the digital commons within Dublin and internationally. She has published on audio culture and various aspects of technology studies and the political economy of communications, most recently in Fibreculture, Neural and Ephemera.
Dr. Linda O Keeffe (Editor)
Linda O Keeffe is a sound artist based in Lancaster, England. She has a BA in Fine Art from IADT and an MA in Fine Art Virtual Realities at The National College of Art and Design, Ireland in 2004. She received a Post Graduate Diploma in Media Studies in 2008 and a PhD from the Sociology Dept. at Maynooth University in 2013 exploring the ‘Co-construction of Post Industrial Soundscapes’. She is a tenured lecturer at the Lancaster Institute of Contemporary Art at Lancaster University. She lectures in sound studies and runs a postgraduate program in Social Methods within Arts Research Practice.
O Keeffe has exhibited in China the USA, Canada and Europe. Recent work include a commissioned solo exhibition for the Leitrim Sculpture Centre ‘Spaces of Sound and Radio Spaces’. Her work is predominantly sound based with a focus on installation and performance. She has created works for radio, dance and public installation projects. In 2010 she released an album with Farpointrecordings, Metamorphosis and Praxis. Her written publications include, ‘Thinking Through New Methodologies-Sounding out the city with teenagers’, published by the Qualitative Sociological Review 2015, ‘Memories of sound: socioeconomic, community and cultural soundscapes of Smithfield, Dublin from the 1950s’ forthcoming (2015) in the 2nd Ed. of the Auditory Culture Reader, and Sound is not a simulation: Methodologies for examining the experience of soundscapes, a book chapter published by IGI Global in ‘Game Sound Technology and Player Interaction: Concepts and Developments’.
In 2014 she was a recipient of the Irish Research Council’s New Foundations Award for research, she worked with older adults in the design of sound art using gesture based audio technologies. Along with numerous commissions and arts funding, both in Ireland and internationally, in 2007 she was awarded a two year Arts Bursary award from the Irish Arts Council in 2007.
She is also president of the Irish, Sound, Science and Technology Association www.issta.ie.
Dr. Rob Mackay
Rob Mackay is a composer, sound artist and performer. He gained a degree in Geology and Music at the University of Keele before going on to complete a Master’s and PhD in Electroacoustic Composition at Bangor University. He is a Senior Lecturer in Music at the University of Hull, where he is director of HEARO (Hull Electroacoustic Resonance Orchestra).
Recent projects have moved towards a cross-disciplinary approach, including geology, soundscape ecology, theatre, audiovisual installation work, and human-computer interaction. His work has been performed and exhibited in 18 countries (including several performances on BBC Radio 3, BBC Radio 1 and Radio France), and a number of his pieces have received international awards (Bourges, EAR, La Muse en Circuit). He has held composer residencies at Slovak Radio (Bratislava), La Muse en Circuit (Paris), the Tyrone Guthrie Arts Centre (Ireland), Habitación del Ruido (Mexico City), and CMMAS (Morelia).
Dr. Brian Bridges (Editor)
Brian Bridges is a composer, lecturer and electronic musician from Dublin. His creative work includes sound-based installations, audiovisual pieces and electroacoustic and acoustic composition. Since 2008, he has been a lecturer at the University of Ulster’s School of Creative Arts and Technologies in Derry, Northern Ireland. He is a member of the Spatial Music Collective, a group of Dublin-based composers dedicated to the composition and presentation of spatial music for instruments and electronics. His pieces have been programmed at festivals in the UK, Ireland, Denmark, Cuba, China and Ecuador and he is represented by the Contemporary Music Centre. www.brianbridges.net
Dr. Tony Doyle (Editor/Journal Manager)
Tony Doyle is an Irish composer/academic based in the UK. Formal studies include undergraduate classical and jazz performance and composition and a masters in music and media technologies. Doyle also recently completed an Irish Research Council funded PhD at the Digital Media Arts Research Centre (DMARC) University of Limerick. The research focused on spatial audio development and multichannel composition. He has also worked on spatial audio projects in the UK and is currently developing a postdoctoral research project with internationally recognised acousticians.
Doyle has performed in Ireland the UK, Holland, Chicago and Japan. He has studied contemporary composition techniques with Ensemble Modern in Japan (Funded by Culture Ireland) and the Irish Contemporary Composition Summer School (ConTempo String Quartet). He has lectured on media theory, media technology and film music studies in the Communication and Media studies departments in Dublin City University (DCU). Doyle is also a board member for the Irish, Sound, Science and Technology Association www.issta.ie.
Kate Carr (Editor)
Kate Carr is a sound artist from Sydney, Australia currently residing in Belfast. Her work explores our complex and contradictory relationship with the natural world and investigates the blurred boundaries between place, non-place, being and imagining. She runs the Flaming Pines experimental electronic music label, has released music in the USA, Hungary, France, Australia and the United Kingdom, and her work has been included in gallery based installation shows in Sydney, New York, London and Washington DC. Her most recent release is Overheard in Doi Saket, which is based on recordings taken during a residency in Thailand in 2013 and released via the Hungarian field recording imprint 3Leaves.