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Sofy Yuditskaya is a site-specific media artist and educator working with sound, video, interactivity, projections, code, paper, and salvaged material. Her work focuses on techno-occult rituals, street performance, and participatory art. Sofy’s performances enact and reframe hegemonies, she works with materials that exemplify our deep entanglement with petro-culture and technology’s affect on consciousness. She has worked on projects at Eyebeam, 3LD, the Netherlands Institute voor Media Kunst, Steim, ARS Electronica, Games for Learning Institute, The Guggenheim (NYC), The National Mall and has taught at GAFFTA, MoMA, NYU, Srishti, and the Rubin Museum. She is a PhD Candidate in Audio-Visual Composition at NYU GSAS.

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Leiser) and Composition/New Music Theater (Mauricio Kagel) between 1976 and 1984. He lived in Vanarasi in 1979 (studying North Indian singing at Banares Hindu University), obtained a PhD in musicology, lived in Paris from 1991-92 (where he met Luc Ferrari), in New York from 1995–96 (The Tao of Voice method with S. Cheng), in Japan in 2001, and in Australia. From 1997-2010 he was Vice-President of DEGEM (German Society for Electroacoustic Music). His work encompasses installative sound sculptures, audio plays and electroacoustic compositions for 2–8/43 loudspeakers (Sound Dome at ZKM, Karlsruhe) up to 2704 loudspeakers for wave field synthesis (TU Berlin), live satellite/Internet/ sound performance, graphic notation and instrumental compositions. Concerts, Performances, Exhibitions, Lectures, Residencies and Grants lead him to Japan, Australia, US, China and widely in Europe. International Festivals: Knitting Factory New York 1995, EXPO 2000 World Exhibition Hannover, Donaueschinger Musiktage 1996/1999/2005/2016, ISCM World Music Days Switzerland 2004/Stuttgart2006/Sydney 2010, International Summercourse for New Music Darmstadt 2004/06/12 (+ Lecturer, Ultraschall Berlin 2008, Melbourne/Adelaide Festival 1997/2000/2015], Radiostations [WDR Studio Acoustic Art/SWR/HR/DLR/ DLF/ABC Radio Sydney/Kunstradio ORF Wien]. Grants [Kunststiftung/ Kultusministerium/ Filmstiftung NRW Düsseldorf, Japan Foundation Tokyo, ZKM Karlsruhe]. Prix/Awards: [Karl-Sczuka-Prix d’encouragement SWR 1997, German Soundart-Prix 2008 WDR Köln, Skulpturenmuseum Marl].Awards include the 1997 Karl Sczuka Advancement Award (SWR), 2008 German Sound Art Prize (WDR Cologne, Marl Sculpture Museum), 2015 3. 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He produces rapid-fire juxtapositions of radically contrastive and fascinating noises, with micropolyphonic timbres and textures, aggressive sonic eruptions, but also quiet pulses and barely audible sounds. Signal To Noise called his guitar works “…a killer tour de force of post-everything guitar damage”, All Music Guide recommended him: “…clearly one of the best experimental guitarists to come forward during the 1990s.” He currently plays an analog modular synthesizer built around chaotic behaviors, where small changes in the settings may yield widely diverging sonic and rhythmic changes, forcing the player to constantly rethink and rearrange music. Hans Tammen’s numerous projects include site-specific performances and collaborative efforts with dance, light, video, and theatre, utilizing technology from planetarium projectors to guitar robots and disklavier pianos. 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