array(22) { [“event_type”]=> array(1) { [0]=> object(WP_Term)#2624 (10) { [“term_id”]=> int(150) [“name”]=> string(11) “Performance” [“slug”]=> string(11) “performance” [“term_group”]=> int(0) [“term_taxonomy_id”]=> int(150) [“taxonomy”]=> string(10) “event-type” [“description”]=> string(0) “” [“parent”]=> int(0) [“count”]=> int(317) [“filter”]=> string(3) “raw” } } [“location”]=> string(17) “Governor’s Island” [“other_location_name”]=> string(0) “” [“address”]=> string(0) “” [“location_notes”]=> string(0) “” [“date”]=> string(8) “20230819” [“end_date”]=> string(0) “” [“time”]=> string(6) “1:00pm” [“end_time”]=> string(6) “4:00pm” [“time_notes”]=> string(0) “” [“artists”]=> string(42) “Jocelyn Ho, Margaret Schedel, Bryan Jacobs” [“secondary_artists”]=> string(0) “” [“listed_artists”]=> array(4) { [0]=> object(WP_Post)#2701 (24) { [“ID”]=> int(5656144) [“post_author”]=> string(1) “2” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(1534) “Jocelyn Ho’s artistic practice involves the exploration of the relationship between sound, bodily gesture, and culture, as well as the rethinking of the classical music genre through multimedia technologies, inter-disciplinarity, and audience interactivity. She directs inter-disciplinary performance projects involving collaborators from vastly different fields. Most recently, she is the artistic director and performer of the sold-out music-art-tech concert project Synaesthesia Playground, in which she leads fifteen composers, visual artists, technologists, and fashion designers from all around the world to create an interactive, multimedia experience. Ho is also a Steinway Artist, and her ground-breaking concert programs have taken her to venues including Radio France, the Sydney Opera House, Berlin’s Radialsystem V, Abrons Art Center, the Melbourne Recital Centre, New York Symphony Space, Spectrum NYC, and the Boston Isabella Gardner Museum. Ho’s compositions include multi-disciplinary collaborations as composer and sound artist with software developers and visual artists featured at the NYC Electroacoustic Music Festival, Stony Brook Faculty Art Exhibition, and the University of Florida Art Gallery. 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She has a diverse creative output with works spanning interactive multimedia operas, virtual reality experiences, sound art, video games, and compositions for a wide variety of classical instruments and custom controllers. She is internationally recognized for the creation and performance of ferociously interactive media. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data; she co-authored a paper published in Frontiers of Neuroscience on using familiar music to sonify the gaits of people with Parkinson’s Disease. She serves as a regional editor for Organised Sound and served as an editor for the open access journal Cogent Arts and Humanities. As an Associate Professor of Music with a core appointment in the Institute at Advanced Computational Science at Stony Brook University, she serves as the co-director of computer music and is the Chair of Art while teaching computer music composition at the Peabody Institute of the Johns Hopkins University. 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While working towards a DMA in music composition at the University of Cincinnati College Conservatory of Music, her interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She holds a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle. She is a joint author of Electronic Music and recently edited an issue of Organised Sound on the aesthetics of sonification. Her work has been supported by the Presser Foundation, Centro Mexicano para la Música y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra and the percussion ensemble Ictus. In 2009 she won the first Ruth Anderson Prize for her interactive installation Twenty Love Songs and a Song of Despair. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data. She sits on the boards of 60×60, the International Computer Music Association, and is a regional editor for Organised Sound. From 2009-2014 she helped run Devotion, a Williamsburg Gallery focused on the intersection of art, science, new media, and design. In 2010 she co-chaired the International Computer Music Conference, and in 2011 she co-chaired the Electro-Acoustic Music Studies Network Conference. She ran SUNY’s first Coursera Massive Open Online Course (MOOC), an introduction to computational arts. 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His pieces are often theatrical in nature, pitting blabber-mouthed fanciful showoffs against timid reluctants. The sounds are playfully organized and many times mimic patterns found in human dialogue. Hand-build electromechanical instruments controlled by microcontrollers bridge acoustic and electroacoutic sound worlds. These instruments live dual lives as time-based concert works and non-time-based gallery works. Jacobs, a Guggenheim Fellow, has been lucky enough to have his music and sound art presented at a number of festivals around the world. 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