Ray Brassier is Associate Professor of Philosophy at the American University of Beirut
Artist and writer. She has participated at Her Noise exhibition at South London Gallery (London), in a project that was looking at DIY practices of female and queers musicians and artist. Her work, among other things, explores the social relations that are being produced through collaborations and personal life, braking boundaries between the personal and the public. Hedditch has worked on the conceptual cover of the book Noise & Capitalism.
Writer, editor and penniless speculator based in London. He is a contributing editor to Mute, an online and quarterly print magazine. He is author of self-published pamphlets entitled The Lower Lea Valley as Fun Palace and Creative Prison and (with Tom Roberts) All Knees and Elbows of Susceptibility and Refusal. As well as co-editor of the book Noise & Capitalism.
Basque artist working with noise and improvisation. His work seeks to address the social and economic structures of experimental music production through live performance, recordings and writing. He is part of the groups: Sakada, Billy Bao and DEFLAG HEMORRHAGE/HAIEN KONTRA. Mattin has co-edited the book Noise & Capitalism.
Percussionist and founding member of the improvising group AMM, that has been actively playing and recording during the last 40 years. He also had played with a long list of musicians and organizes regular workshops on improvisation. Prévost is also responsible of Matchless recodings label and Copula imprint, where he had published two books: No Sound is Innocent and Minute Particulars.
I’m an improvised sound worker with a life-long engagement in critical theory which stems from my academic training in political philosophy. Since 1987 I have been a member of New Zealand’s most internationally-recognised noise improvisation group – the Dead C. I have also worked extensively as a label curator, event-organiser, networker and writer to build a diverse community of practice in New Zealand which is engaged in ‘sound work’. In particular I have achieved a great deal in establishing this community on the world stage. I am currently undertaking a PhD in sound in the School of Fine Arts, RMIT.
Musician and researcher. His music-making takes place in a conceptual approach of music. He is interested in the history of musical forms and the relationships between music and society. He is also PhD student in Aesthetics (University of Paris 1 – Panthéon-Sorbonne) : his research is on aesthetics of experimental music. He is lecturer in history and aesthetics of musics of 20th century at University of Lille (FLSH), and co-editor of the academic journal Volume ! (about popular musics).
Howard Slater is a London-based writer, researcher and trainee counsellor. His writing has appeared in Datacide, Noisegate, Resonance Magazine, Infopool, Break/Flow & Mute. Howard has lately been interested in developing the ‘War at the Membrane’ concept.
Csaba Toth received his Ph. D. from the University of Minnesota and is Professor and Chair of the History Department at Carlow University in Pittsburgh. Toth’s scholarly interests include the politics of sound, production of gender, urban history, and social movements. In addition to academic journals, Toth’s writings have been published by The M. I. T. Press, St. Martin’s Press, and the San Francisco Museum of Modern Art. He was a guest professor of American Studies in Japan (1998-2000 and 2008), lectured in Australia, Ukraine, Georgia, Germany, and Sweden, and has been the recipient of several major grants and awards (Fulbright Senior Lecturer, NEH, Newberry, George Soros Foundation, DAAD). At Carlow University, Toth co-teaches the seminar “Electronic Culture/Experimental Music.”
Ben Watson was born in 1956 and read John Berger in his teens. In 1972, a Kurt Schwitters exhibition at the Marlborough Gallery made him want to become an art critic. However, the utter uselessness of contemporary art (and its “critique”) made him instead pursue the freak rock of Frank Zappa, the arcane poetry of J.H. Prynne and the free improvisation of Paul Hession. These eccentric interests resulted in the books Frank Zappa: The Negative Dialectics of Poodle Play (Quartet, 1994); Art, Class and Cleavage (Quartet, 1998) and Derek Bailey & the Story of Free Improvisation (Verso, 2004). After seventeen years reviewing for The Wire, he failed to stop the rise of “avant” as a niche market, and resigned to bring up children instead. Today he broadcasts weekly on www.resonancefm.com (“Late Lunch With Out To Lunch”, 2pm UK time on Wednesdays, or search for “audio esemplasm” on www.archive.org) and runs the website www.militantesthetix.co.uk with Esther Leslie. The best noise he ever heard was the Sex Pistols on Christmas Eve 1977 at the Royal Links Pavilion in Cromer, closely followed by Ronald Shannon Jackson’s Decoding Society with Jef Lee Johnson (NOT Vernon Reid) on 26 November 1988.