Notes on Contributors

Carlo Diaz is a musician, designer, and artistic researcher. He holds a Bachelor of Music in composition, interdisciplinary arts, and music technology from Northwestern University, a Master of Music in composition from the Conservatorium van Amsterdam, and a PhD through the docARTES programme of Leiden University and the Orpheus Instituut. He studied composition with Hans Thomalla, Jay Alan Yim, Patricia Alessandrini, Wim Henderickx, Willem Jeths, and Richard Ayres. His PhD research was supervised by Anna Scott and Richard Barrett. His music has been performed by artists including the Nieuw Ensemble, wild Up, Ensemble Linea, Ugly Pug, and the experimental baroque orchestra Stile Nu, which he founded in 2017. From 2013 to 2019, Carlo worked as a concert and festival producer for Rush Hour Concerts, Make Music Chicago, and the Chicago Philharmonic. Since 2019, Carlo has been a member of staff at The University of Chicago, first at the Chicago Center for Contemporary Theory and then at the Committee on Environment, Geography and Urbanization (CEGU) and the Urban Theory Lab. Since 2023 he has also taught music composition and audio technology as adjunct faculty at Harper College, and since 2024 he has taught design practice to CEGU students as a lecturer at The University of Chicago.

Mark Dyer is a composer and researcher working in new and experimental music. His work explores the entanglement between borrowed material and narrative. He received his PhD in music composition from the Royal Northern College of Music, UK, in 2021.

Pablo Galaz Salamanca is a composer, computer music designer, and music lecturer. He has received prizes and recognition for his work in Chile, Spain, France, Germany, Italy, Switzerland, and the UK. His music has been performed at festivals in Latin America, the United States, Australia, and Europe by renowned ensembles and musicians. He has been a composer in residence at Visby International Centre for Composers (Sweden), the Liszt School of Music Weimar (Germany), and the 6th International Forum for Young Composers organised by Ensemble Aleph (France). Between 2012 and 2014, he was an artist in residence at the Cité Internationale des Arts de Paris. Pablo studied classical guitar and composition at the University of Chile and holds a master’s degree in composition from the Paris Conservatory and a master’s degree in Musicology, Creation, Music, and Society from the Paris 8 University Saint-Denis. He also attended CURSUS 1 (Practical Training in Computer Music) and CURSUS 2 (Specialized Training in Composition, Research, and Music Technology) at IRCAM-Centre Pompidou. In 2022, Pablo was awarded a doctorate in composition from the University of Huddersfield. He is currently a lecturer in composition and analysis at the University of Southampton.

Bryn Harrison is a composer and Professor in Composition at the University of Huddersfield from where he obtained a doctorate in composition in 2007. He has developed a close working relationship with ensembles such as Plus Minus, Asamisimasa, Elision, Exaudi, Apartment House, Bozzini Quartet, and Wet Ink as well as with soloists such as Philip Thomas, Mark Knoop, and Aisha Orazbayeva. In addition, his pieces have been performed by ensembles such as Ensemble Recherche, Klangforum Wien, the London Sinfonietta, and the London Symphony Orchestra. As a composer, he has a long-held fascination with notions of musical time. In his twenties and early thirties, he developed an individual approach to dealing with time as a circular and repeating entity. Many of his subsequent works operate at a speed and density that cannot be easily or immediately apprehended; they gradually draw the listener into an experience of the passage of time. More recently, he has continued to work with cyclical structures in a series of compositions of long duration and his compositional research has focused upon the ways in which memory operates in music. His latest works consider the use of highly repetitive digital loops within the context of live instrumental settings. He has co-authored two books: Overcoming Form: Reflections on Immersive Listening, with Richard Glover (2013); and with Jennie Gottschalk and Richard Glover, Being Time: Case Studies in Musical Temporality (2018). Harrison is a recipient of the prestigious Paul Hamlyn Foundation Award for Composers.

Tim Ingold is Professor Emeritus of Social Anthropology at the University of Aberdeen. He has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology, and social organisation in the circumpolar North, on animals in human society, and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art, and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why It Matters (2018), Correspondences (2020), Imagining for Real (2022), and The Rise and Fall of Generation Now (2023). Ingold is a Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services to anthropology.

Already at the age of 14 João Carlos Santos had discovered his passion for old instruments and the historical sources describing their performance, under the guidance of flutist Fernando Lopes. Those studies sparked his interest not only in early music but also in general aesthetic ideas and the history of thought. Because of this, Santos decided to study philosophy after finishing high school, completing a bachelor’s degree at the University of Brasília in 2008. The same year, he started studies with Barthold Kuijken at the Royal Conservatory of The Hague, completing a bachelor’s and a master’s. Santos regularly performs music with many different ensembles ranging from the sixteenth century to the present day. Since 2012 at the Royal Conservatory of the Hague he has taught courses on performance practice, music theory, and philosophy.

Priya Satia is the Raymond A. Spruance Professor of International History and Professor of History at Stanford University, specialising in modern British and British Empire history. She is the award-winning author of three books: Spies in Arabia: The Great War and the Cultural Foundations of Britain’s Covert Empire in the Middle East (2008); Empire of Guns: The Violent Making of the Industrial Revolution (2018); and Time’s Monster: How History Makes History (2020). Satia’s work has also appeared in scholarly journals, such as The American Historical Review, Past and Present, Technology and Culture, Humanity, Annales, and History Workshop Journal. She often writes for mainstream media such as the Financial Times, The Washington Post, and Time Magazine, among others. Satia is currently working on a history of colonialism in Punjab.

Michael Shanks is Professor of Classics at Stanford Archaeology Center. His research interests include design history and research; archaeological theory; heritage studies and archaeologies of the contemporary past; the archaeology of Greco-Roman urbanism; and the regional archaeology of the English-Scottish borders.

“The most original compositional voice to emerge from Ireland in the past 20 years” (Irish Times) and “Wild girl of Darmstadt” (Frankfurter Rundschau), composer and performer Jennifer Walshe was born in Dublin, Ireland. Her music has been commissioned, broadcast, and performed all over the world. She has been the recipient of fellowships and prizes from the Foundation for Contemporary Arts, New York, the DAAD Berliner Künstlerprogramm, the Internationales Musikinstitut Darmstadt, and Akademie Schloss Solitude, among others. Recent projects include TIME TIME TIME, an opera written in collaboration with the philosopher Timothy Morton, and THE SITE OF AN INVESTIGATION, a thirty-minute epic for Walshe’s voice and orchestra, commissioned by the National Symphony Orchestra of Ireland. THE SITE has been performed by Walshe and the NSO, the BBC Scottish Symphony Orchestra, and the Lithuanian State Symphony Orchestra. Walshe has worked extensively with AI. ULTRACHUNK, made in collaboration with Memo Akten in 2018, features an AI-generated version of Walshe. A Late Anthology of Early Music Vol. 1: Ancient to Renaissance, her third solo album, released on Tetbind in 2020, uses AI to rework canonical works from early Western music history. A Late Anthology was chosen as an album of the year in The Irish Times, The Wire, and The Quietus. Walshe is currently Professor of Composition at the University of Oxford. Her work was profiled by Alex Ross in The New Yorker.

Independent composer/researcher Caroline Wilkins comes from a background of new music performance, composition, and theatre and has worked extensively on solo and collaborative productions in these fields. Her particular interest lies in creating new forms of presentation, whether in inter-medial sound theatre, sound poetry, or performance art. Current activities include conference presentations and academic publications.
Website: http://www.australianmusiccentre.com.au/artist/wilkins-caroline
Publisher: https://www.ricordi.com/de-DE/Composers/W/Wilkins-Caroline.aspx

James Wood is a musician and researcher concerned with music as an ontological and ecological tool. He has affiliations with the University of York and Leiden University. He has toured the world as a jazz musician, and lectures and runs musical masterclasses regularly throughout Europe. He is based in London and can be contacted at 93james.wood@gmail.com.