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large biographical statement 1475 words suitable for almost nothing Stephan Moore works at the forefront of the experimental audio world as a sound artist, composer, improviser, curator, software programmer, theatrical sound designer, loudspeaker builder, live sound engineer, and teacher. His creative work manifests as electronic studio compositions, improvised solo and ensemble performances, site-specific sound installation works, sound designs and scores for modern dance and theater performances, software for generating and processing audio signals, and the design of multi-channel sound systems for unusual circumstances. He builds Hemisphere loudspeakers, which are available through his company Isobel Audio, and is a freelance designer of audio performance and installation software for numerous artists and entities, corporate and non-. His creative and technical work has been presented continuously over the past 20 years across five continents. Moore's compositions and performances have been presented at a number of noted venues and festivals, including the Museum of Contemporary Art (Chicago), Issue Project Room (Brooklyn), The Stone (NYC), Roulette Intermedium's Mixology Festival (NYC), Tonic (NYC), Axiom Gallery (Boston), Deep Listening Space (Kingston, NY), La Sala Rossa (Montreal), Dance Theater Workshop (NYC), Chicago Cultural Center, AS220 (Providence), The Stone (NYC), Studio Soto (Boston), Silent Barn (NYC), Southpaw (NYC), P.S. 1 (NYC), Danspace (NYC), Joyce Soho (NYC), 92nd Street Y (NYC), The New Museum (NYC), Newport Opera House (Rhode Island), Grace Plaza (NYC), World Financial Center’s Wintergarden (NYC), Carre L'Art (Nimes, France), ffmup (Princeton, NJ), Enemy (Chicago), Royal T (LA), Reverse Gallery (NYC), Hong Kong Arts Center, EMPAC (Troy, NY), Disjecta (Portland, Oregon), The Chocolate Factory (NYC), Abrons Art Center (NYC), The Invisible Dog (NYC), the University of Arizona, Arizona State University, Berkelee College of Music in Valencia, Wesleyan University (Middletown, CT), Bucknell University, SUNY Stonybrook, Massachusetts College of Art, Ball State University (Muncie, IN), The University of Miami of Ohio, Yale University, Princeton University, the University of Kent (UK), Sundance Film Festival, ACM/Siggraph, New Interfaces for Musical Expresssion (NIME), World Psychedelic Forum (Basel), Gilmore International Piano Festival (Kalamazoo, MI), Brooklyn Botanic Garden, Look and Listen Festival (NYC), the Seoul International Computer Music Festival, the International Computer Music Conference (ICMC), the Society for Electro-Acoustic Music in the United States (SEAMUS), the Acoustical Society of America's semiannual meeting, the International Society for Electronic Arts, the World Forum for Acoustic Ecology Conference, Sonic Fragments, and the Burning Man Festival, among many others. Recordings of his work appear on the Deep Listening Catalog, Televaw Records, and Wowcool Records, as well as on several self-released titles. His sound installation work has been shown at Studio 10 Gallery (NYC), RAYGUN Projects (Toowoomba, Australia), The Invisible Dog (NYC), Experimental Sound Studio (Chicago), the Church of the Ascension (NYC), University of Caldas (Manizales, Colombia), Joensuu University (Koli, Finland), DC3 Gallery (Edmonton), Caramoor Center for Music and the Arts (NY), Granoff Center for the Arts at Brown University (Providence), Katonah Art Museum (NY), Diapason Gallery (NYC), Moebius (Boston), Wave Farm (NY), Connecticut College, Hunter College (NYC), Dartington School for the Arts (UK), Mandeville Gallery at Union College (Schenectady, NY), Deep Listening Space (NY), Maryland Institute College of Art, The Chocolate Factory (NYC), EMPAC (NY), the Daniel Art Center of Simon's Rock College (Great Barrington, Massachusetts), the Burning Man Festival, and the Buckminster Fuller Dome Home (Carbondale, Illinois). As an improviser and musician, he has performed with Christian Wolff, John Paul Jones, Pauline Oliveros, William Winant, David Behrman, Alex Waterman, Forbes Graham, Andy Hayleck, John King, Nic Collins (US), Nick Collins (UK), Keith Rowe, Takehisa Kosugi, Lee Ranaldo, Leila Bordreuil, Mark Cetilia, Ed Osborn, Scott Smallwood, Suzanne Thorpe, Michael Haleta, MV Carbon, Andrea Parkins, Zach Layton, Katherine Young, CabinFever, Troy Pohl, Curtis Bahn, David Linton, John Driscoll, Phil Edelstein, Matt Rogalsky, Matt Wellins, Hanna Brock, KG Price, Mikel Rouse, Maria Chavez, Newton Armstrong, Shelley Burgon, Seth Cluett, Ikue Mori, Kenta Nagai, Peter Bussigel, Caroline Park, Tim Rovinelli, Larry Polansky, Jesse Stiles, and Joan La Barbara. He has also collaborated in performance with video artists Benton-C Bainbridge, Jonathan Lee Marcus, Walter Wright, Madeleine Gallagher, skfl, Nancy Meli Walker, Captain Entropy, Fi$h 2000, RoseRose, and LMNOPF. His work has been supported most significantly through multiple grants from New Music USA, and, before that, Meet the Composer's Commissioning Music/USA Grant and the American Music Center's Live Music for Dance Grant and their Composer Assistance Program. Other support, in the form of grants, commissions, and/or residencies, has come from the National Endowment for the Arts, the Aaron Copland Fund for Music, the Enoch Foundation, HarvestWorks, EMPAC at Rensselaer Polytechnic Institute, Hunter College, the Mary Flagler Charitable Trust, the Experimental Television Center, Brooklyn College, Bennington College, Sugar Salon, the Maggie Allesee National Center for Choreography at Florida State University, Wave Farm, BRIC Arts Center, Gibney Dance Center, Abrons Art Center, Vermont Performance Lab, Southern Illinois University, Amherst College, Cape Breton University, the Lower Manhattan Cultural Council, the Granoff Center for the Arts, the Chocolate Factory, and mediaThe Foundation. Among his most significant ongoing collaborative relationships are the improvising electronic music group Evidence with sound artist Scott Smallwood since 2001, a string of collaborations with choreographer Yanira Castro and her company A Canary Torsi since 2005, and a curatorial post at the Caramoor Center for Music and the Arts since 2008, where he plans and executes annual exhibitions of outdoor sound art for their 90-acre campus. Moore is also a member of Composers Inside Electronics, the Nerve Tank theater collective, the advisory board of High Concept Labs in Chicago, and the editorial board of the Video Game Art Reader. He is a founding member of the Artistic Advisory Board of Issue Project Room, the noted Brooklyn venue for experimental music. From 2014-16 he served as the president of the American Society for Acoustic Ecology. From 2004 to 2010, Moore was the Music Coordinator of the Merce Cunningham Dance Company, where he worked with and often performed alongside noted musical figures such as Gavin Bryars, John Paul Jones, Sigur Ros, Sonic Youth, Christian Wolff, David Behrman, Annea Lockwood, John King, Emanuel Pimenta, Mikel Rouse, and Takehisa Kosugi, engineering and facilitating realizations of their scores at venues worldwide. He also oversaw the performances of repertory works by John Cage, David Tudor, Brian Eno, and Radiohead, among others. Other notable projects include: audio programming and sound design for Anthony McCall's Traveling Wave, several major software design projects for Pauline Oliveros, multichannel sound design for Animal Collective's Transverse Temporal Gyrus at the Guggenheim Museum, and various technical design projects for Laurie Anderson, TellArt, Earfilms, Bora Yoon, RMIT, John King, E.V. Day, Alex Waterman, The Beastie Boys, Ben Houge, Benton-C Bainbridge, Toni Dove, Maija Garcia, and Zeena Parkins. Moore's 20-year career as an educator ranges across the sound/music/art/technology continuum, including courses in music notation, recording technology, sound design for video and film, sound design for museums, sound design for audiology applications, multi-channel sound design, music composition, sound installation, contemporary performance practice, the 20th Century Avant-Garde, acoustics, and interactive media programming. He has served on the faculties of Peabody Conservatory, Maryland Institute College of Art, Rensselaer Polytechnic Institute, Simon's Rock College of Bard, the Massachusetts College of Art, and Northwestern University. He is a sought-after speaker on the subjects of sound art, electronic and experimental music, and acoustic ecology, recently delivering keynote addresses at the Exhibiting Sound Conference (University of Alberta, Edmonton) and the Sonic Environments Conference (Queensland Conservatorium, Brisbane), as well as a featured talk at the annual Third Coast Audio Festival (Chicago). His book, Sound Art: Concepts and Practice with co-author Thom Holmes, is under contract for publication by Routledge, with a release date in late 2018. Stephan Moore was born on February 3, 1973, in Cincinnati, Ohio, and raised in Marquette, Michigan, on the southern coast of Lake Superior. He graduated from Interlochen Arts Academy in 1991, focusing on vocal performance, and from Western Michigan University in 1996, where he trained in music composition with C. Curtis-Smith and Ramon Zupko while studying voice, creative writing, computer science, mathematics and audio engineering. During a three-year period in Baltimore, he taught at the Maryland Institute College of Art and the Peabody Conservatory while serving as the lead engineer for the National Public Radio-syndicated program SOUNDPRINT and as the webmaster for the loudspeaker manufacturer Polk Audio. In 2000, he moved to Troy, New York to study at Rensselaer Polytechnic Institute with Pauline Oliveros, Curtis Bahn, Nao Bustamante, Michael Century and Neil Rolnick, earning his MFA in Electronic Arts in 2003. During and after these studies, he worked as a freelance programmer and sound designer and taught at the Massachusetts College of Art and the Simon's Rock College of Bard, as well as Rensselaer. After concluding his work with Merce Cunningham, he returned to school and in 2015 received a Ph.D. in Computer Music and Multimedia Composition from Brown University. Currently based in Chicago, he is a lecturer in the Sound Arts and Industries program of the Department of Radio, Television, and Film at Northwestern University. |