Hug´s innovative musical-visual solo performances in distinctive locations and her interdisciplinary work have created an international furore. This musician of the extreme is constantly breaking new ground with her instrument and has reinvented the viola. Hug´s speciality is a blend of viola and vocals, which has given rise to her hybrid voice and a distinctive tonal language. Hug has recorded an extensive discography including three solo CDs, on international labels.

Hug lives in Zurich and on the road. Having completed her studies in fine arts and music, she received various awards and composition commissions. She has been “artist in residence” in London, Paris, Berlin, Cork capital of culture, Johannesburg and was “artiste étoile” at the Lucerne Festival 2011.

In the visual arena, as well as in a musical context, Hug´s sound-drawings: “Son-Icons” have found international recognition. In addition to international exhibitions, she is also fully active as a concert performer, soloist, composer and conductor of her own works and an improviser at major festivals in Europe, Africa, North America, Latin America and Canada. In spring 2017 Hug is artist in residence from Pro Helvetia in Shanghai and Hangzhou. 


Photo: Michael Sieber 







“Sonic landscapes…beyond imagination.” FREDERICK MARONGIS - MUSIC EXTREME BUENOS AIRES


“The range of sound and emotion at Hug’s disposal is operatic - this one represents Hug as a highly accomplished one-woman ensemble.” BILL MEYER - DUSTEDMAGAZIE- CHICAGO


“Charlotte Hug, a viola-player who applied much the same vigorously energy to the fiddle that Ornette Coleman once did” Q MAGAZINE


“With her viola and her beautiful siren’s voice, Hug unfolds riches of invention, sensuality, and wordless storytelling skills. “Anderwelten” vividly evokes marine soundscapes to the point where I started doubting that it was indeed performed without any electronics (yet it’s true). This is a mature work by an accomplished artist with astounding free improvising skills.”  FRACOIS COUTURE - MR. DELIRE  - ALL MUSIC GUIDE













à qui avec Gabriel is a Japanese accordionist and vocalist. "à qui," derived from her name, Aki, is the player, with Gabriel: her trusty accordion. à qui takes a different approach than the some of the avant-gardists, including Keiji Haino and Makoto Kawabata, who grace her albums— she gravitates toward stark, ethereal sounds and whispering melodies rather than imposing dissonance and chaos. Her stylistic palette is eclectic, drawing in shades of jaunty European folk music, the elegant minimalism of Erik Satie, and uniquely lighthearted melancholia. à qui punctuates her solo performance with meaningful silence, emphasizing the humility of the lone performer. Her debut album, Utsuho was released in 2001 on John Zorn’s Tzadik label. On her most recent solo album, 2010’sItsukushimi no Ame no naka de, (Musik Atlach) she flexibly moves between pop and avant-garde sensibilities with a focused, nostalgic energy. Her following albums on Musik Atlach have found her in collaboration with varied, complementary partners including the psychedelic rock trio Majutsu no Niwa on Fifth Works II, 2012, and Makoto Kawabata, leader of the legendary psychedelia unit Acid Mothers Temple, on Golden Tree (2012) and Ame no Tsurugi (2013). à qui also formed the trio Pneuma Hectopascal in 2004.







MacKinney has been a leading noise guitarist and historian in Australian sound culture. MacKinney is one third of noise/electronic band Taipan Tiger Girls with Ollie Olsen (synths) and Mat Watson (drums). They released their debut album, 1, in February 2015 on It Records, an improvised live recording. The release was a limited edition of 100 vinyl LPs which sold out in a week, and was also released on CD and download. The Music rated it highly, saying "Their highly recommended sound is a monster kosmische grind that writhes and hypnotises". Bob Fish of Cyclic Defrost Magazine described their track, "Motion" and how they "make long and beautiful walls of noise, intricate and psychedelic; delicate and tough."  The follow-up Taipan Tiger Girls album "2", was released in August 2016, also on It Records. "2" was recorded and mixed by Kalju Tonuma and received No. 1 Feature Record at PBS FM.


MacKinney’s solo guitar/organ noise project is Mystic Eyes, which was the became the subject of the film Mystic Eyes (2009) by Adam Spellicy, and which continues as a conduit for Lisa exploration of ‘constructive use of monotony’. As a historian MacKinney wrote a PhD on the Shangri-Las. Her academic background is situated in late medieval history, and has focussed on the relationship between devotional art, religious practice, and mysticism in England and Western Europe from 1300-1500. 













Keiko Higuchi is a voice performer working with and thru her voice and body. From the original position voice/body performance Keiko’s practice has expanded into further creative fields including photography, dance and writing (under the name of cleo k.). Recently Keiko has been focusing on performance projects various musicians and dancers.












Arkajolie is an experimental musician, free improviser and performer, working with extended voice, clarinet and other wind instruments. She has collaborated with experimental electronic and contemporary classical musicians such as Lars Akerlund, Caligine, William Lane, and Dennis Wong. Arkajolie integrates classical, martial arts, free improv, extended vocals, primeval, tribal and conceptual art elements in her performances.













Vanissa was born in Hong Kong and began her studies at the Hong Kong Baptist University in 2004, started out as a piano major and studied piano with Chinese composer Mr. Cui Shiguang. Vanissa composed a number of ensemble works in her undergraduate study and presented her first choral suite Tsunami in the honors project composition recital in 2007.  Vanissa then turned her focus towards electroacoustic music composition during her stay at Ball State University, Indiana, majoring in voice and music composition. Vanissa's composition teachers include Michael Pounds, Keith Kothman, Jody Nagel and Derek Johnson. Vanissa studied voice with Ms Katusha Tsui-Fraser and Dr. Mei Zhong and was the winner of the regional (Indiana) audition of the National Association of Teachers of Singing in US in 2008.

Vanissa returned to Hong Kong in 2010. Under the supervision of Dr Chrsitopher Keyes Vanissa is now a PhD candidate at the HKBU working on interactive electroacoustic music. Vanissa's pieces and installations have been premiered and exhibited internationally at various events and festivals including the 13th International Conference on New Interfaces for Musical Expression (Seoul, Korea), Society of Composers (SCI) Region VI Conference (Texas, US), University of Central Missouri New Music Festival (Missouri, US), the soundSCAPE festival (Italy), 2013 International Workshop on Computer Music and Audio Technology (Taipei) and Hong Kong Arts Festival.

Vanissa was granted the Fulbright Research Award and was sponsored to do a 10-month research at Louisiana Digital Media Center in 2014-15.













Cheuk Wing Nam is an interdisciplinary artist who devotes to develop her artwork with new concepts of mixing sound and other media with the modern computer technology.

She currently graduated from her Master Degree of Visual Arts (Studio Art and Extended Media) in Hong Kong Baptist University, which is specializing in new media installation and sound sculpture. With these concepts in mind, she interests to demonstrate the relationships between light and shadow, sound and space in her artwork.

She graduated from Bachelor of Business Administration in International Business (Japan) and minor in Marketing from City University of Hong Kong. Then she went on to pursue a High Diploma in Fashion and Clothing (Fashion Design stream) in Hong Kong Polytechnic University. She was the winner of JAL scholarship program in her Bachelor degree, which took her to Tokyo in order to experience Japanese culture extensively.

Recently, Cheuk has exhibited multiple works, including interactive installations, sound sculptures and sound installations in a variety of locales in Hong Kong. In addition, she performed as a DJ in some musical events. Cheuk has exhibited and performed in Oi!, XXX Gallery, 22 Degrees North, Connecting Spaces, floating projects, Hong Kong Baptist University and Zurich University of the Arts (ZHdK).

From her experience in Japan, she interests in exploring the interaction between natural science, ideasthesia and Japanese sound symbolism.













LAI, a young artist with industrial design background, is a graduate student in Department of New Media Art, Taipei National University of the Arts. Lai’s practice has stemmed from a focus on audiovisual works that examine the meaning of life.

Currently he is one of the curators for Lacking Sound Festival, and has curated the festival since 2013. Lacking Sound is Taiwan’s most renowned sound art performance festival. Now in its tenth year, the Lacking Sound Festival has supported over a hundred different sound art events since 2007. The Festival promotes sound art in Taiwan and actively works with sound artist groups from abroad.


Sound cloud: https://soundcloud.com/lai-tsung-yun?

Social media: https://www.facebook.com/LSF.Taiwan/















Cheng Yi-Ping aka Bettty Apple is a composer, DJ, and sound performance artist. who is at the forefront of a new wave of experimental sound art / Live art in Taipei, drawing upon performance art to and electronic music to create powerful works that have propelled her rapid rise in the island's art scene.

Born in 1986, She is deeply influenced by bedroom electronica and sub-culture. Apple came to sound composition from a background in theatre. She is an accomplished producer of electronic music and DJ but also works with noise and range of aberrant textures.

During the year of 2012, she launched the “Performance of Experimental Electronic Music” and “The art of live sound”, and was active as a pioneer of “Sound Farmers”, an organization, founded on September, devoting to popularizing electronic music, enters on her own senses, creating a system which belongs to individual senses and includes many dimensions of tone. During her live performance, she produces sound with her body, creating an unknown ambiguity with the speaker, thus, she conveys a sonic wave connection of implosion mystery.

2012 saw her support Merzbow at The Wall in Taipei, and do performances alongside Zbigniew Karkowski and EVOL, Scott Afford, Samin Son, Schneider ??, David Phillips, and KK Null.

Apple delivered her performance / sound piece "Love Sound" at the Lab in San Francisco/Berlin as part of a release event for White Fungus. She was also an artist in residence at Lacking Sound Festival in Taipei In 2013, in addition to her own performances, she curated a series of events exploring notions of sound in relation to femininity.













Born in Vancouver, Canada. Lives in Taipei, Taiwan.

I am interested in the synthesis between the senses, I often use my hearing to make visual decisions, use touch to make aural decisions, use sight to make textual decisions. My art process is metabolic, elements take time to respond to each other, forming new meanings in every stage of development. I intuitively work with found material and respond to their history and material nature. My art foundation is in abstract painting and choral music, these two art mediums deeply influence my cognitive process. 















Yi Lu is a sound artist, a project manager at Soundwatch Studio, and collaborator and assistant to Fujui Wang—a pioneer in Taiwan’s sound art scene. In 2015, Lu Yi and Fujui Wang established the Soundwatch Studio to promote the creation, exhibition, performance and workshopping of experimental audio art, both locally and internationally.She performs alongside Fujui using home-made electronic instruments, hypersonic directional speakers, and live visuals to create immersive sonic environments that transport audiences to places both familiar and unfamiliar. Past performances have seen the duo using their art to transform a variety of spaces—including museums, bars, basements—into entirely new locales. Recent performances include Digitopia Digital Art Festival Taipei 2015 and B!as 2015: Taiwan-Belgium Sound Art Exchange Project, etc.

Yi Lu has drawn on her previous experiences working in education to organise sound art workshops at several prestigious institutions, including The Taipei National University of the Arts, Museum of Contemporary Art Taipei, and the National Taiwan Science Education Center. Furthermore, since 2014 Yi Lu has regularly worked as an instructor for educational workshops in regional areas of Taiwan, as part of an ongoing project with The Shiner Foundation.













Academically trained in performance studies, Wang Jing received her Ph.D. from the School of Interdisciplinary Art at Ohio University.  Now she is an associate professor in the College of Media and International Culture at Zhejiang University.  Her bookSound and Affect: An Anthropology of China’s Sound Practice (Zhejiang University Press, 2015) explores the concepts of freedom, affect and sound through anthropological research on China’s sound culture.   She is published in academic journals including Leonardo, Leonardo Music Journal, Journal of Popular Music Studies and International Review of Qualitative Research.  Her current research focuses on sound studies, sensory studies, performance studies and anthropological methods. 


Artistically, Jing works with field-recordings, radio art and, recently, sound theater.  She is an active organizer of sound events and talks, and has organized more than 20 sound events in the city of Hangzhou from 2013 to 2015.  From 2013 to 2014, she served as the academic curator of the monthly year-long series “Savaka: Asia Experimental Music Currents” at Rockbund Art Museum, Shanghai.  In January 2015, she founded The Sound Lab at the College of Media and International Culture at Zhejiang University.


Wang Jing lives and works in Hangzhou.














Bai: experimental musician/sound art practitioner. Many genres and styles inform her works which include various instruments, hardware noise and strange little sounds. Nobody knows what she will do in her next performance (even herself); it all depends on what is flowing in her blood.













Koto player Yagi Michiyo has performed in a number of ensembles -- both traditional and experimental -- since the late 1980s. She began studying koto under Satomi Kurauchi at age six, and later, in 1985, enrolled in the Sawai Koto School. While there, Michiyo studied classical and contemporary koto, in addition to shamisen and traditional jiuta-style singing. Two years later, she toured England, Italy, Germany and Southeast Asia on a Japan Foundation Grant. 1988 found Michiyo performing in the Tadao Sawai Koto Ensemble, which recorded a CD, Koto, that year. The following year she was visiting professor of koto and Japanese traditional music at Wesleyan University.

As the ‘90s progressed, Michiyo performed in a growing number of line-ups including the Kazue Sawai Koto Ensemble, the Min-on Ensemble, and the shakuhachi-led trio, Cocoo (later called Kokoo), with whom she has toured North America, the former USSR and India. In 1993, Michiyo founded her first project, Mika, which was a duo with flutist Rie Shimizu. She also founded Koto Vortex, a koto quartet, and is a founding member of an experimental trio with Sachiko M and Haco called Hoahio.

In these various groups, Michiyo has performed at major creative music festivals around the globe, such as Canada’s FIMAV, the Vienna Festival, Sapporo’s NOW Music Festival, Tokyo’s Music Merge Festival and several appearances at NY’s Bang on a Can festival. Her first solo recording, Shizuku, was released on the NY label, Tzadik, in 1999.

















“they taught us all how to listen” The Age


The Amplified Elephants are an ensemble for sound artists produced by Footscray Community Arts Centre (FCAC) and JOLT since 2006 as part of the ArtLife program at the Footscray Community Arts Centre. In 2015, The Amplified Elephants performed in La La Lullaby at Federation Square (Lights in Winter Festival) and SELECT NATURALIS at Bendigo International Festival of Exploratory Music, as well as touring Asia with JOLT and performing in Tokyo, Hong Kong and Macau.

In partnership with JOLT, many Elephants’ projects have been presented internationally and in prominent Australian venues. Since 2007, these projects have been increasingly ambitious in scale, often featuring sonic technology:  MachiNATIONS International Tour (London, Edinburgh, Tokyo 2014), RE:EVOLITION (Melbourne Festival 2014), SELECT NATURALIS (BIFEM 2015), LA LA LULLABY (Federation Square 2015), SHHHH (Meat Market 2016).


The Amplified Elephants' sound is at times:

“Glitch, drone stuff” Daniel Munnery

“Noisy” Robyn McGarth

found sounds – “popping sounds” Sarah Ellis

“R2D2” Megan Hunter

“cars revving up the engines” Megan Hunter

“like getting on a train” Jay Euesden

“melodious” Teagan Connor

“chaotic and exploratory” Jude Bowman

“cinematic” James Hullick


















The BOLT Ensemble is a chamber music ensemble like no other in Australia. Where standard practice for chamber ensembles in Australia has been that the musicians in the ensemble ‘interpret’ a composition and commission composers to ‘author’ the composition, BOLT functions much more like a rock band or contemporary theatre company where the music is created/authored in-house by the members of the ensemble as led by BOLT artistic director James Hullick. In BOLT’s early development most of the authoring was by Hullick, but in today’s conception of BOLT, works are often created collectively and often without Hullick’s authorship. The most recent BOLT work WINDSPOKEN, was authored by BOLT’s Ensemble Leader, flautist Belinda Woods, and poet berni.m.janssen. Other common processes of authorship for BOLT are spontaneous collective improvisation; collectively devised structured improvisations; graphically scored compositions; notated composition etc.

Formed in 2004, BOLT has focused on delivering large-scale projects, working with collaborators across the arts, engaging with new technologies, and building future talent through various community arts activities. Collaborators have included: Berni Janssen (poet); Michael Kieran Harvey; Arcko Symphonic Ensemble; Richie Allen (robotics); Jonathan Duckworth (interactive sonic interfaces) etc. The ensemble has shared the bill with international acts ie: Yoshimio (The Boredoms); Merzbow; Phoenix Ensemble; Stelarc etc. — and in leading venues around the world, ie: SuperDeluxe (Tokyo); Café Otto (London); Gare du Nord (Switz.); Melbourne Recital Centre. BOLT has been a key ensemble in JOLT Arts Festivals and Tours in Tokyo; Hong Kong; Switzerland; and the UK since 2011.



Belinda Woods - Ensemble Leader/Flute

Hullick - Director/Piano/Guitar/Voice

Timothy Phillips - Conductor

Karen Heath - Clarinets

Gideon Brazil - Woodwinds

Adam Simmons - Woodwinds

Mary Doumany - Harp

Peter Neville - Percussion

Andrea Keeble - Violin

Zac Johnston - Violin

Phoebe Green - Viola


The Ensemble has recorded extensively with ABC Classic FM: The Arcko collaboration THESE COMPULSIVE BEHAVIOURS for the Melbourne Festival 2014 was broadcast by the ABC; the recent WINSPOKEN performance at The Meat Market (2016) will be podcast for International Women’s Day (2017).

Community Engagement projects have seen BOLT mentor musicians of The Amplified Elephants (musicians with intellectual disabilities), Australian National Academy of Music, and Noise Scavengers (youth sound artists from Northern Geelong). These projects have led to significant outcomes including the machine sound show The NIS with the Elephants, which toured UK and Tokyo in 2014.











Leah’s diverse work as a musician and performer spans the Australian and international performing arts scene. She is passionate about imagination, delight and pathos, and pursues the integration of visual and physical theatre in her work.

Leah is the Artistic Associate of Barking Spider Visual Theatre. She is co-founder of the Sound Collectors (percussion duo) and the Flying Tapirs (theatrical-music duo), and has been a member of Speak percussion since 2008. Leah has collaborated with numerous artists and organisations, including Chunky Move, Polyglot Theatre Company, the National Institute of Circus Arts, Strange Fruit, Synergy Percussion, Graeme Leak, Lee Ronaldo and the Nick Tsiavos Ensemble, and also appears regularly with the Melbourne Symphony Orchestra, Orchestra Victoria, Malaysian Philharmonic Orchestra and Auckland Philharmonia.


In 2009 she was awarded the Keith and Elisabeth Murdoch Travelling Fellowship (Music) to study with renowned improviser Fritz Hauser in Basel, Switzerland. She has also travelled to Senegal, Africa, for intensive study of the djembe and sabar drums with master drummer Aly N’Diaye Rose.


Leah is a sessional staff member at the Melbourne Conservatorium of Music, and also teaches at Melbourne Girls Grammar School and Camberwell Grammar School.









Esther has explored a range of creative pathways in her life, including photography, text art and sound art making. In the late 2000's Esther was a member of The Amplified Elephants, and has recorded and performed many works with the Elephants including touring to Tokyo in 2012 for the JOLT 2012 Festival Japan. Esther has performed in collaboration with many sound markers including Alan Courtis, Belinda Woods, Andrea Keeble, The BOLT Ensemble, James Hullick, Daniel Buess and many more. In recent years Esther has performed with the Elephants as a guest artist, sharing her time across her photography and text projects.



Photo: William Shiels.













Hailing from Sri Lanka, Nithi has a background in theatre which led him to pursue his love for abstract sound. Joining the Noise Scavengers in 2013, Nithi performed in Dark Light Mediations at the Geelong Courthouse as his first Scavengers show. Since then Nithi has gone from strength to strength, exploring new terrains in voice and found percussion in particular.












Tom Oakes, the weird and wonderful, is one of the founding members of the Noise Scavengers and, in fact, coined the name. Having worked with the Noise Scavengers since 2008, Tom has been involved with many other projects:  Midnight Harvest, SKAART, and various song writing activities.

Having finished school in 2010 Tom left the Noise Scavengers to get married and have a happy life. Predictably this didn’t end well. Now Tom is once again back in the fray with the Noise Scavengers using his own peculiar thoughts and talents to craft music and sounds that the world doesn’t know it’s ready for.







Ben works across sound and theatre projects. He has been a member of Noise Scavengers since its inception in 2008. Ben has worked with Back to Back’s Theatre of Speed since 2015, and performed with Theatre of Speed for the Geelong After Dark Festival. Through Noise Scavengers Ben has worked with artists such as The Amplified Elephants; Adam Simmons; Belinda Woods; James Hullick and Dave Brown. He has presented work at venues such as fortyfivedownstairs, Footscray Community Arts Centre, Federation Square and Geelong Courthouse Arts Centre.

Ben explores vocal and found percussion work — but also is heavily engaged in sonic media agendas.











In recent years, the D)-(D has been emerging as one of Australia's pre-eminent audiovisual arts duos. Recent noted projects have included RE:EVOLUTION (2014) with The Amplified Elephants and BOLT Ensembles; SELECT NATURALIS (2015) with The Amplified Elephants; and RESONANCE in the DOME (2016) at RMIT's DESIGN HUB Gallery.







Jonathan Duckworth is a Vice Chancellor's Research Fellow (2012-15), Senior Lecturer - Games and Director of Creative interventions, Art and Rehabilitative Technology lab [CiART] at RMIT University. His work specialises in digital media art, virtual reality, human computer interaction and design. Duckworth is a two-time recipient of an Aus Co Synapse grant which has enabled him to collaborate on two ARC Linkage projects with leading national and international researchers in Psychology and the Neuroscience of movement rehabilitation and learning. He has designed two interactive artworks called ELEMENTS (2006-) and RESONANCE (2012-) for movement rehabilitation of acquired brain injury at RMIT. ELEMENTS won the 2015 Premier’s Design Award, Best in Category for Digital Design Duckworth has exhibited at peer reviewed major national and international venues for creative work including Craft ACT, Canberra (2013), Melbourne Festival (2014), and Sónar+D Festival, Barcelona, 2015. The Resonance interactive tabletop artwork exhibited at Sónar+D attracted over 4,500 visitors and was nominated as one of the top 10 ideas to see at the festival by Spanish national media El Mundo.






)-(u||!c|<  is emerging as one of Australia's leading auditory creators. He is director of JOLT Arts and The Click Clack Project (a community sonic art organisation). 

)-(u||!c|<  was awarded an Australia Council for the Arts Creative Fellowship 2015 and a Michael Kieran Harvey Piano Scholar 2015-16. 










Noriko Tadano is an award-winning, virtuoso master of the Japanese shamisen (a 3-string, banjo-like instrument) and a traditional Japanese vocalist, who has performed all over the world. She has been playing shamisen since she was 6 years old and performs both as a soloist, as well as in collaborations. Noriko's ability and drive to cross over between traditional and modern Japanese music has recently seen her perform with renowned world musicians as well as traditional Japanese artists.

Noriko also performs traditional Japanese songs (Minyo) which depicts the life and feelings of 'older' Japan, centring on the themes of love, family and the close connection with nature. Noriko’s recent achievements include the ‘Head Judge’s Special Award’ at the National Japanese Shamisen Competition held in Hirosaki - Japan, a solo performance at the Sydney Opera House and a number of dynamic shows at the International WOMADelaide world music festival. She also performed on the popular Australian Broadcasting Corporation (ABC) music quiz TV show ‘Spicks and Specks’.

Noriko pioneered Australia’s first Shamisen group in 2005 and was recently an audience favourite and finalist on the ‘Australia’s Got Talent’ TV program. Noriko’s work has also featured in commercials, short films and international theatre productions.



Festival Performance at Lang Schwenninger Kulturnacht in Germany


Photo: Tim McNeilage, JOLT/Click Clack Monolithica Festiva 2012











Yoshimi Yokota (AKA Yoshimi P-We) is a Japanese musician best known for her role as the drummer in the Japanese rock band Boredoms.

Alongside her drum playing skills with the Boredoms, Yoshimio is vocalist for OOIOO and also plays trumpets, guitars and keyboards.

Born in Okayama, Japan, Yoshimio joined her first band, U.F.O. or Die, with Yamatsuka Eye in 1986. Since 1997, she led the all-female band OOIOO and continues to contribute to the current incarnation of Boredoms. Yoshimio has worked on a great number of other projects, most notably a raga band called Saicobaba, an ambient project called Yoshimio and Yuka, the tribal-drum-influenced OLAibi, and indie supergroup Free Kitten. She has appeared as a session player and vocalist on the Flaming Lips’ 2002 album, Yoshimi Battles the Pink Robots.

Yoshimio participated as drummer one in the Boredoms 77 Boadrum performance, which occurred on July 7, 2007, at the Empire-Fulton Ferry State Park in Brooklyn, New York.













Nat is a multi-instrumentalist, sound artist, composer and teacher from Melbourne, Australia. She works predominantly as a freelance artist and has been employed as a composer and performer in the fields of puppetry, theatre, film, animation, and dance. Nat’s work explores intersections between improvisation, chance and intention in the development of sound as a sculptural medium. Through the integration of electronic processing and sampling with acoustic instruments and sound recordings, she creates cumulative sound works that link consciousness and memory, allowing interaction between human and natural environments, and between audiences and performers.
Nat holds a PhD in music composition from the Victorian College of the Arts (University of Melbourne). The subject of this degree was Momentum, a cumulative recording and composition project incorporating a blog and online sound diary. Momentum utilised field recordings made over 400 days in 2012-13, sculpted into short, connected compositions and posted online each day to delve deeper into compositional processes and the capturing of time and place through sound in a very public way. Momentumwas created collaboratively, with more than 60 artists from around the world contributing sounds to the project. Momentum has been exhibited as an installation in galleries around Australia as well as in the US and New Zealand.
As a composer Nat has created original chamber music, durational sound art works, and composed and created sound design for theatre, dance, film, and live art, including for ITCH Productions, Jonathan Homsey Productions and The Stain.
Previous compositions for other artists include the work 'Cocoon', commissioned by the 3 Shades Black ensemble in 2012, for chamber ensemble with digital integration, a solo vibraphone work with digital accompaniment, 'With the Inside Where the Outside Should Be', for Erica Rasmussen, composed and premiered in 2014, and ‘Eclipse’, a chamber work commissioned for a series of interactive painting performances in Melbourne in 2014. The solo vibraphone work was subsequently performed at the New York City Electroacoustic Music Festival in 2015.
As a teaching artist Nat has been involved in projects with a number of community groups including the Asylum Seeker Resource Centre, Footscray Community Arts Centre, and Barking Spider Visual Theatre.
Nat performs regularly at venues around Melbourne and has also performed internationally, at the Percussive Arts Society’s Annual Convention in Indianapolis in 2011, and the Y2K International Live Looping Festival in Santa Cruz, California, in 2009 and 2011. She has released several solo recordings as well as with a number of local and international bands and artists including bassist Steve Uccello from California, Welsh guitarist David Cooper Orton, composers David Shea, James Hullick and James Rushford, Lapsteel artist Chris Rainier, Melbourne Afrobeat band Papa Chango and electro pop artist Emah Fox. Collaboration is key to much of Nat’s work, including previous and current partnerships with Speak Percussion, Jolt Arts and the Amplified Elephants, animator Christie Anditama, experimental filmmaker Dirk DeBruyn, and Adam Simmons’ Creative Music Ensemble. 












Kate Moore is an award winning composer of new music. She creates worlds of sound for acoustic and electroacoustic media and writes instrumental music, concert music, sound installations and more. Her interests lie in research with particular respect to the history and origin of music and musical instruments and the exploration of sonic architecture, acoustics and the physics and psychoacoustics of sound. Moore specialises in creating surprising performance scenarios that feature virtuosic instrumentalists and musicians set amidst unusual and alternative performance circumstances. Her work has been described as “a giant tsunami of sound” New York Times,  “a fascinating exercise in micro- and macro- rhythm” Sydney Morning Herald, “from the haze she creates, graceful, ambling melodies emerge and evaporate, and those give the music its allure.” New York Times, “her intent seems to be to create a dream, an alternative reality” UT San Diego.










Cat Hope’s music is conceptually driven, using mostly graphic scores, acoustic /electronic combinations and new score reading technologies. It often features aleatoric elements, drone, noise, glissandi and an ongoing fascination with low frequency sound. Her composed music ranges from works for laptop duet to orchestra, with a focus on chamber works. Her practice has been discussed in books such as Loading the Silence (Kouvaris, 2013), Women of Note (Appleby, 2012), Sounding Postmodernism (Bennett, 2011) as well as periodicals such as The Wire (UK, 2013), Limelight (Aus, 2012) and Neu Zeitschrift Fur Musik Shaft (Ger, 2012). Her works have been recorded for Australian, German and Austrian national radio. Cat’s first monograph CD comes out in September on Swiss label Hat[now]Art.












Louise Devenish is a percussionist whose practice incorporates performance, research and education. Key projects include co-directing The Sound Collectors duo, percussing for Speak Percussion (Vic) and electroacoustic sextet Decibel New Music (WA), and solo series Music for One Percussionist. She regularly performs throughout Australasia, Europe, North America and the UK; Tage für Neue Musik The Barbican’s Sound Unbound and Tongyeong International Music Festival. A passionate advocate of new and Australian music, Louise has commissioned over 45 works for percussion solo and ensembles. Louise is Head of Percussion at the University of Western Australia School of Music, where she also teaches world music and musicology, and lecturer for the acting and music departments at WA Academy of Performing Arts. She holds a Doctor of Musical Arts and her research in Australian music, composer-performer collaboration and contemporary music performance practice is published in Musicology Australia, Percussive Notes and PERCUSscene.


‘Hers is a percussion more akin to painting, fluid and textural, yet still rhythmic and bold and tactile.’ 

Lyndon Blue @ Cool Perth Nights regarding Electroacoustic Music for One Percussionist (2015)










Dave Brown has been involved in the Melbourne avant-garde, art rock/punk rock scene since the mid-seventies. The focus of his solo project “candlesnuffer” has increasingly centred on the development of composing techniques which meld opposing streams like conventional electroacoustic methods with noise and rock and also the development of a vocabulary of tiny acoustic sounds enlarged outside their normal context. He has continued to develop a vocabulary that runs the gamut from rock bassist through experimental guitarist to sound artist and has recently completed a PhD project researching the use of electroacoustic compositions in a public hospital Emergency Department.








Sarah Smith is a 23 year old student and feminist from the Geelong region. She is currently studying a postgraduate degree in Psychology, conducting research into attitudes towards menstruation. Her studies and her creative works have been highly influenced by an intersectional feminist perspective. This perspective endorses the concept that oppressive institutions such as racism, sexism and homophobia are all inter-connected and that being affected by one or more of these institutions of bigotry will shape what concerns and challenges a person may face as a result. Through Sarah's artistic vision she hopes to promote equality, by challenging the status quo and sharing her unique feminine perspective.









Connors (b.1962) is an Australian composer, vocalist, instrumentalist, performer, collaborator and teacher, working in the fields of contemporary music, improvisation and theatre. In 2015 Carolyn collaborated as a deviser/singer on a number of new works, including The Perfect Human; and travelled to Sichuan province in China to create In a Chengdu Teahouse for Chamber Made Opera. She performed in Domicile by Aviva Endean; and Suite Actuality by Ad Hoc Music Collective at the Ballarat Festival of Slow Music. Her solo works in 2015 include recordings and broadcasts by the ABC of 2 major vocal works, What comes after love?, and Pitcher. Hector and Susan, for voice and Google translate, weaves vocal extravaganza with translate technology, and was a LA15 commission which premiered at the National Gallery of Victoria for Capitalist Surrealism, Liquid Architecture 2015. Carolyn performed in Still Awake Still (2011-14), which premiered at the Victorian Arts Centre and toured USA extensively in 2014. Recognitions include The Age Melbourne Music Genre Award: Best experimental/avant garde act 2015; Artist in residence, La Trobe University; Mentor, VCA/Arts Victoria mentor program; Green Room Awards nomination; Best Female Performer, and JJJ Best Music Event, Melbourne Fringe Festival.











Text artist, creates with artists and people in communities. Words are at the heart. Books published include Xstatic, mangon and lake/vale. Texts have been published in print and online literary magazines and anthologies including: Cordite; Heat 12; Meanjin; La Traducterie. Australian Poets Today. (France); Poetry and Gender. UQP; She’s Fantastical, An Anthology of Australian Womens Non-Realist Fiction. She is known for her lively/evocative/invigorating/captivating/engaging/ performances. Her work has been presented and performed live at festivals and events, here and overseas, and on radio. Interdisciplinary collaborations with artists including: Warren Burt; Lawrence Harvey; Jodee Mundy, Carolyn Connors, Margaret Trail, James Hullick; have been presented and performed, amongst others: ABC Radio’s: Poetica, New Music Australia, Books and Writing; Aural Text 3 RRR; La Mama Poetica; EN RED 0. VII Symposium of Electroacoustic and Electronic Music (Spain); MIFA. Composer Chris Dench, has created libretti with berni’s words - ik(s)land(s) performed by Elision, in Brisbane, Los Angeles, and Berlin; and n (ich) t performed by Aphids Trio.










Jonathan Duckworth is a Vice Chancellor's Research Fellow (2012-15), Senior Lecturer - Games and Director of Creative interventions, Art and Rehabilitative Technology lab [CiART] at RMIT University. His work specialises in digital media art, virtual reality, human computer interaction and design. Duckworth is a two-time recipient of an Aus Co Synapse grant which has enabled him to collaborate on two ARC Linkage projects with leading national and international researchers in Psychology and the Neuroscience of movement rehabilitation and learning. He has designed two interactive artworks called ELEMENTS (2006-) and RESONANCE (2012-) for movement rehabilitation of acquired brain injury at RMIT. ELEMENTS won the 2015 Premier’s Design Award, Best in Category for Digital Design Duckworth has exhibited at peer reviewed major national and international venues for creative work including Craft ACT, Canberra (2013), Melbourne Festival (2014), and Sónar+D Festival, Barcelona, 2015. The Resonance interactive tabletop artwork exhibited at Sónar+D attracted over 4,500 visitors and was nominated as one of the top 10 ideas to see at the festival by Spanish national media El Mundo.











Set yourself free and venture into the wilds of the auditory outer reaches:

there you will find James Hullick enraptured in the silver of white noise.


)-(u||!c|<’s auditory creation practice is wide ranging. His arts career began in the form of solo pianist, vocalist and composer. He was taught by Felix Werder (Australia/Germany), James Tenney (USA), Warren Burt (Australia/USA) and briefly by Liza Lim (Australia). As a young man, he attended the Stockhausen Summer Classes and spent a short time at Luciano Berio’s Tempo Reale Studio in Florence. After spending his late teens and early 20s focusing on the study of composition and music-making, he then branched out into electronic sound making in his mid to late 20s before adding sound sculpture, installation art and music-making machinery to his creative activities in his early 30s, when his professional career ultimately arose.

)-(u||!c|<’s work is characterised by an unusual ability to use sound to engage in social issues, and an unusual versatility of aesthetic, which ranges from neo-Gothicism to more austere classically principled process-based perceptual works. His sonic works have been performed, exhibited and presented in Asia, North America and Europe for a variety of ensembles, electronic formats and installation formats. A number of )-(u||!c|<’s projects have been at the forefront of sonic art: real time scores (scores that update in real time via a computer), sk-eye like mind (2007), The NIS (2009); sound-making machines The Gotholin (2007), Swarmlings (2010); community arts projects The Click Clack Project (2010), to name just a few of the sonic terrains that )-(u||!c|< continues to embrace.

)-(u||!c|< has been working with The Amplified Elephants, an ensemble for sound makers with intellectual disabilities, since 2005. The Amplified Elephants, who according to one The Age review “taught us all how to listen”, are based at the Footscray Community Arts Centre, where James’ work within communities was first supported.

In 2002, )-(u||!c|< formed the BOLT Ensemble, a chamber ensemble that performs his work and is engaged in projects that James artistically directs.


Critics and arts thinkers have actively engaged with )-(u||!c|<’s works:

In 2008 in New York, James exhibited the INCUBATOR installations: black wigs, cold light and speaker sculptures. On the opening nights for these works (Pratt Institute; Gallery Sakiko)    )-(u||!c|< composed scores for cellist Will Martina while Martina was performing those same scores. “Truly mind-blowing” was the review. The feat was expanded to octet, when James 'live-composed' for the BOLT Ensemble in a Melbourne Festival (2014) event. The score was shredded in the performance as part of the piece.

When reviewing the 2014 sonic year The Age newspaper singled out THESE COMPULSIVE BEHAVIOURS (2014) — claiming that the 10 works for chamber orchestra and collaborating communities "stood out as an original, memorable, creative experience”.

John Davis, Director of the Australian Music Centre, describes )-(u||!c|< as “amongst the most outstanding composers of his generation”. Art critic, Ashley Crawford, summarized )-(u||!c|<’s aesthetic as "a decidedly fresh take on the Neo Gothic.” Owen McKern at 3PBS Radio talks of )-(u||!c|< in arresting terms as "creatively courageous" and a "composer of genius".

A “wild one in the Australian new sound scene” wrote a German critic, responding to )-(u||!c|<’s BRUCHLANDUNG chamber opera (2007-13), and that “the transparent psychology shocks as much as electrifies the listener”.


In 2008, )-(u||!c|< founded JOLT Sonic Arts Inc, an organisation dedicated to creating and presenting new cutting-edge works. In 2009, JOLT and the Footscray Community Arts Centre co-presented THE NIS – a large multimedia sonic art event combining artists from a range of communities. This project marked a maturation in )-(u||!c|<’s capacity to deliver large-scale events at high artistic and management levels. It also led to the formation of The Click Clack Project, a JOLT project that develops new work and presents events with artists emerging from various communities. Since that time, JOLT has presented JOLT festivals and tours in the UK, Europe and Asia.

)-(u||!c|< has completed a three-year Postdoctoral Fellowship (2012-2015) at the University of Melbourne. He was awarded an Australia Council Creative Australia Fellowship (2015) and received the Michael Kieran Harvey Piano Scholarship (2015-16).












Working with the double bass — an instrument that is known to produce sonorous deep tones — Wilmer Chan focuses instead on the brittle, peculiar timbre from his instrument that often requires physical tension to produce. He transforms the functional bass of the rhythm section into a supporter of textures, timbres – producing sounds that blends into the atmosphere. With reference to a wide array of extended techniques, he investigates the gradual transformation between different timbres and sounds through repetitions and variations of gestures. His performance is structured by playing movements that react with the materiality of the instrument. In Wilmer Chan's hands, the double bass thus develops into a living machine, an organic apparatus.










Graduated from City University of Hong Kong. Now lives and works in Hong Kong. Mainly working on audio-visual works, audio-visual performance and sound installation. Started in 2011, Vvzela has performed extensively at music festival and museums. In 2012, she was invited to participate in Frischzelle Festival and Dusseldorf Festival , Cologne and Dusseldorf. As Asia's only selected candidate, participated in “89+”program curated by Hans Ulrich Orbist and Simon Castets in 2013. Recently performed at Revolution Per Minute: Sound Art China Exhibition at Colgate University. 


Selected works include: "Anatomy",“Psycho: 6 Symptoms”. 








The Language Lab is a well-established sonic experimental team from Hong Kong. Core team members of the Language Lab are Mr. Koo Park-kin (Founder / Guitarist) and Mr. Tse Kam-po (Engineer / Percussionist).


The Language Lab believes that music is an in-born language and is convinced that a concert can be formed organically through the performance process without prior composition. They also perceive that different environments with particular visual and acoustic features can go hand in hand with high quality recordings of sonic experimentation / performance to create a unique experience to both the artists and the audience.


The Language Lab realizes the above beliefs by interweaving the immediate reenactment of present sonic experiment / performance in a speechless but communicative manner with live generated impromptu fragments of sound, generated from the unconventional use of musical instruments and audio equipment. Seemingly independent yet interlocking components, mixed with instant improvised sound fragments create a spontaneous dialogue, which reaches out and beyond any designated scores and lyrics.


Web Site:  https://www.facebook.com/thelanguagelab











When not designing, KWC spends time cutting loops and recording with his non-standard portable devices. KWC is one half of the electro-acoustic improvisation duo No One Pulse and co-founder of the experimental imprint Re-Records. When not making sounds, KWC spends time designing in CMYK or RGB and curating art projects occasionally.










Lau Chun Ho is a musician, educator, and street performer from Hong Kong. A proficient player of both Chinese instruments such as the erhu and pipa and indigenous instruments including the didgeridoo,asalato, Himalayan bowls, and mouth harp, Lau is known to blend traditional instrumentation with electronic synths and beats, creating music that is bold, experimental, and different.


In addition to performing solo, Lau is a big proponent for collaboration. Some of his past music endeavours include local hybrid progressive rock band Chock Ma, and tribal folk band Tuo Ling. Under the stage name HakGwai he has performed at Clockenflap 2014, Australia Day by the Australian Consulate-General, and Freespace Fest, to name a few.


His self-titled debut album "HakGwai" was released in 2014, and is a masterful blend of East and West, ancient and modern. "Spirituality and well-being" continues to be Lau's life mantra and motivation behind his craft.










Fiona Lee was born in Hong Kong, SAR China. To date, her artworks have been installation and performance based. She is interested in sound from nature, though also addicted to the noise of cities. Her recent performances and installations have focused on the relationship of sound frequency and electromagnetic fields. “delight”, a sound & light performance, has been performed in Taiwan, Korea, Macau and HK.











Born 1981 in Minneapolis, MN, grew up in Hong Kong, a guitarist and computer musician. Although he took some lessons at a younger age, he is essentially an autodidact. After spending years moving between rock and electronic music, his current focus is free improvisation and sound manipulation.


Currently Wong is based in Berlin and has performed in Germany, Hong Kong, China, USA, China and Poland. Besides solo his works, other projects Wong is involved in include: rock duo Meta Fog with Sascia Pellegrini patchworking pop culture montage; musical collective Stoic Strangers with Wilson Tsang plus other Hong Kong based musicians; and improvisational guitar/piano duo Se Noh Te with Eunice Martins.


Other musicians Wong has collaborated/performed with include: Nelson Hiu, Wilmer Ongsitco Chan, Simon Rose, Olaf Hochherz, Klaus Kürvers, Les Fong, Antti Virtaranta, Dennis Wong, Sherman Ho, Kimiyo Ogawa, Nicola Hein, Erika Sofia Sollo, Gabriel de Seta, Julia Reidy, Philippe Lemoine, Damir Bacikin, Christian Windfeld, and many more.


Audio:  https://soundcloud.com/ericszehonwong/










e:ch is an experimental guitar/electronics based project from Macao. The music revolves around drone, guitar noise & contemporary classical expressed across the 3 albums released to date since 2013.


Web site:  https://www.facebook.com/ech.macao/

Audio:  https://echmacao.bandcamp.com/










dj sniff is a musician, curator and producer in the field of experimental electronic arts and improvised music. His musical work builds upon a distinct practice that combines DJing, instrument design and free improvisation. Between 2007-2012, he was Artistic Director of STEIM, Studio of Electro-Instrumental Music Amsterdam. Currently, he is Co-Director of Ensembles Asia / Asian Music Network, and is based in Hong Kong. 










With first honour bachelors graduated from the Hong Kong Academy for performing arts Chin is one of the young guzheng virtuoso active in Hong Kong. Chin has been commissioned as a soloist with the Hong Kong Chinese Orchestra, the Hong Kong Academy for performing arts symphony Orchestra, United Kingdom Hull Sinfonietta, the Japan Tokyo Philharmonic Orchestra, the Israel Contemporary Player and other international professional orchestra. As a guzheng virtuoso Chin has performed with renowned composers, conductors, like Yan Huichang, He zhanhao, Richard Tsang, Christoph Campestrini, Patrick Souillot, Francois Xavier Roth and Zsolt Nagy,and so on.









Born in Harbin in 1979, Cao Shuying received her Bachelors and Masters degrees from Beijing University. She writes both poetry and prose. She currently resides in Hong Kong, where she edits City Magazine, a culture magazine. Her publications include the Poetry collections Puppet (2002), ZhuYu Suitcase (2005), Golden Snow (2013, Hong Kong, Kubrick Publications), as well as the prose collections Fake Teeth: Stories (2011, Hong Kong; 2012, China), Travelogue: A Summer in Umbria (2012, China), and a collection of fairy tales, Fishing with HUMI (2008, Taiwan). She is a past recipient of a Hong Kong Biennial Award for Chinese Literature 2012) a China Times Literature Award ( 2000, Taiwan),  and an Anne-Gao Poetry Prize (2008). Her poems have been published in numerous poetry magazines and have been collected in many anthologies, including Another Kind of Nation: An Anthology of Contemporary Chinese Poetry (Zhang Er and Chen Dongdong, eds, New Jersey: Talisman House Publishers, 2007).  She is fascinated by all kinds of poetry and has been exploring different modes of poetic expression. Lately she has been collaborating with some indie and experimental musicians in Hong Kong and China at her poetry recitations. She also recites her poems on the streets as a poetry busker along with her musician friends. In 2010 Brandeis University in Boston hosted an exhibition, Shuying Cao's Poetry Museum. She created some works especially for the exhibition.










Born 1984; graduated from the School of Creative Media, City University of Hong

Kong. Spending his early years in Mong Kok and growing up in West Kowloon; he

currently lives in Tai Po and is a sound collector.













Makino Takashi is an experimental filmmaker who lives and works in Tokyo. He creates and exhibits films that make full use of all film and video techniques, treating the image and the music as elements of equal importance. In 2001, after graduating from the Cinema Department of Nihon University College of Art, Makino moved to London to study music and lighting design at the atelier of the Brothers Quay. Makino continued to make films after returning to Japan and has held solo screenings regularly since 2004. He met Jim O’Rourke in 2005, which accelerated his filmmaking pace. His film, No is E won the Terayama Shuji Prize at the Image Forum Festival 2007. Makino was prominently featured at the International Film Festival Rotterdam 2008, where Elements of Nothing was nominated for the Tiger Award. Since then his films have been invited for screenings at more than 30 international film festivals and video art festivals. In 2009, still in cosmos won the Grand-Prix at the 25FPS International Experimental Film & Video Festival 2009.














As one of Japan's most unique voices of the cello, improvising musician Morishige Yasumune continues to collaborate with a wide array of dancers and musicians both in Japan and around the world. His improvisational approach looks to extend the cello's sonic possibilities, expanding the vocabulary of the instrument into rich unexplored territories. In addition to his improvisational work, he also composes his own vocal works, accompanying his voice with either cello or piano.

More recently he has been playing electric bass in Haino Keiji's band Fushitsusha.

In additional to his musical activities, Morishige is a notable photographer who published his first collection, entitled "photographs", in 2010.











Mary Doumany is a Victorian based composer, harpist, singer and lyricist.  She works in multiple genres both as player and composer including jazz, sound art, folk and popular music, collaborating with David Hirschfelder. Jeremy Alsop, Joe Cindamo, Doug de Vries and David Jones among others. This eclectic background is reflected in her recent compositions “The Butterfly and the Phoenix” and “Portraits of Four Australian Women” written for guitarist Karin Schaupp, works for Alice Giles’ Seven Harp Ensemble and collaborations with sound artists Ros Bandt and James Hullick. Mary has a passion for writing about subjects which resonate with the contemporary Australian community and pushing the boundaries of her instrument, the harp.













)-(u||!c|<  is emerging as one of Australia's leading auditory creators. He is director of JOLT Arts and The Click Clack Project (a community sonic art organisation). 

)-(u||!c|<  was awarded an Australia Council for the Arts Creative Fellowship 2015 and a Michael Kieran Harvey Piano Scholar 2015-16. 





















Improvising guitarist, turntablist and composer Otomo Yoshihide is one of the most prominent figures in experimental and avant-garde music of his generation. Born 1959 in Yokohama, Japan, Otomo was the son of an engineer, which led to an early interest in building electronic sound-generating devices and collages using open-reel tape recorders. During high school, Otomo performed in a local rock band before moving on to free jazz, influenced primarily by saxophonist Kaoru Abe and guitarist Masayuki Takayanagi. In university, he also became fascinated with folk music, and in 1981 traveled to Hainan, China to research the area's musical culture. 


Upon returning to Tokyo, Otomo became involved in the free improvisation scene in earnest, leading to the bands No Problem and ORT, and a duo with saxophonist Junji Hirose in the late 1980s. In 1990, Otomo joined bassist Kato Hideki's group Player Piano and also formed his own noise rock group, Ground Zero. A defiantly noisy amalgam of jazz, rock, and the avant-garde, the group shattered minds with five groundbreaking albums before disbanding in 1998. Other Otomo-helmed groups of the period included the Double Unit Orchestra, Mosquito Paper and Sampling Virus Project. After Ground Zero, he continued to branch out into a range of diverse projects, such as the minimal sine wave-based explorations of Filament and I.S.O., or a return to jazz with his New Jazz Quintet. 


A consummate collaborator, he continued to work with artists like Christian Marclay, Keith Rowe, John Zorn, Günter Müller, Jon Rose, Sachiko M, Akita Masami and Haino Keiji, among many others. In recent years, he has focused on his "Ensembles", a series of unique collaborative concerts and musical works.


In addition to his own groups and performance, he continues to make his mark as a highly versatile and in-demand composer for film and television, and has produced more than 70 movie soundtracks to date. He has received numerous awards for his scores, including the Japan Record Award in 2013.


His artistic pursuits have also gained prominence due to his community involvement, which include music workshops for handicapped children and his activities following the Great East Japan Earthquake, most notably PROJECT FUKUSHIMA!, for which he received a Minister of Education Award in 2012.













Active since the 1970s, Japanese improviser and singer-songwriter Haino Keiji remains a towering figure in contemporary experimental music. Born in 1952 in Chiba, Haino was first drawn to the theater by way of Antonin Artaud, but an encounter with The Doors stimulated him into playing music. Spurred by a deep interest in folk music from around the world, he studied and absorbed a wide range of traditions, particularly the early blues of Blind Lemon Jefferson and medieval European troubadour music. In the early 1970s, he joined the group Lost Aaraaf as a vocalist, while at the same time delving into home recording and teaching himself guitar and percussion. In 1978 he formed Fushitsusha, taking the hard rock sound at that time into utterly new, powerful and profound dimensions. To this day, Fushitsha remains an essential vehicle for his cathartic sound explorations, while his solo work and a long list of other collaborative projects (including Nijiumu, Aihiyo, Seijaku, Vajra, Sanhedrin, Nazoranai and Hardy Soul) showcase his diverse and uncompromising musical interests. A Haino Keiji performance is a masterclass in extremes; it's an excoriating experience that oftentimes takes unprepared concertgoers completely off their feet. 


His overwhelming presence on stage is proportional to his intensely prolific recorded output and live schedule, releasing close to 200 albums and performing upwards of 1500 shows worldwide to date. His long list of collaborators include the likes of Loren Connors, Barre Phillips, Derek Bailey, John Zorn, Lee Konitz, Joey Baron, Misha Mengelberg, Rashied Ali, Akita Masami, Peter Brötzmann, Kang Tae Hwan, Mikami Kan, Yoshizawa Motoharu, Yoshida Tatsuya, Kudo Tori, Jim O'Rourke, Otomo Yoshihide and many more.











Sin:Ned is an improviser, experimentalist and noise practitioner from Hong Kong. He is the co-founder of Re-Records, advisor of soundpocket, and core member of No One Pulse and After Doom. His focus on noise and sound signifies an implicit form of mysticism in search of direct and pure physical sonic experience through chaos, errors and the extremes. As an instrumentalist, he struggles to defy all existing rational and orthodox structures by pursuing a seemingly “meaningless, aimless and purpose-less” sonic existence. A veteran music critic, his writing has influenced a wide spectrum of experimental musicians and alternative music listeners both in Hong Kong and across China. With his prolific output as a sound artist and improviser, along with his Noise to Signal concert series, he is the main proponent of the Hong Kong underground experimental music scene. His collaborators include artists such as Zbigniew Karkowski, Yan Jun, Alfred 23 Harth, Otomo Yoshihide, dj sniff, Xper.Xr, Kazuhisa Uchihashi, Torturing Nurse, and many more.










Fusing club music shamanism and experimental turntablism with shapeshifting skill, L?K?O has forged a singular path into previously unknown worlds of sound. Concocted from seemingly infinite crates of obscurities, his eclectic sonic journeys have confounded some along the way, but his uncompromising style and visionary craftsmanship attracted a loyal following from the very beginning. His mixed tapes and CDs explore different musical themes each time, and many of them – including “Bed Making”, “Thai Village Classics” and “Strictly Rockers” – have become classics for collectors and have long since sold out. He has also extended the language of the turntable beyond the confines of the club, collaborating with artists in virtually every genre. In 2008, he started the unit Oigoru with Japanese tabla phenom U-Zhaan, releasing the album “Borshakaal Breaks” to much critical acclaim. In 2010, he gained international attention as a featured artist in the French documentary about Japan’s noise and avant-garde scene called “We Don’t Care About Music Anyway,” which was followed by a series of awe-inspiring shows during an international tour to support the film.


In Japan, L?K?O has repeatedly played the Dommune nightclub, which boasts the largest number of viewers worldwide for a Ustream channel dedicated to music. His 3-hour sets have drawn 5000-10000 viewers each time, all the while lifting his performances to near-legendary status.


As one of Japan’s leading DJs and turntablists, L?K?O continues to traverse genre-defying territories with quiet determination, and shows no sign of slowing down.












Visual artist Akiko Nakayama creates installations, live performance and photographic works dealing with energy cycles, movement and colors. Employing a wide range of techniques, her unique approach to live painting results in melting landscapes, kaleidoscopic patterns and surreal and saturated vistas. Working in collaboration with some of Japan's most distinctive improvising artists, including Keiji Haino, Akira Sakata and Hiromichi Sakamoto, she pursues what she titles 'alive painting', in which she aims to find the 'existence of life' in the act of creating out of nothingness.













Active since the early 1980s, shamisen player and vocalist Yumiko Tanaka is one of the few luminaries of traditional Japanese music who has also made a indelible impact on the world of contemporary music, theater and the avant-grade. In 2009, she became the general holder of Important Intangible Cultural Property as a member of Gidayu-bushi Preservation Society.

Tanaka's credits range from performing with orchestras, such as the St. Louis Symphony Orchestra, the New York Philharmonic and Tokyo Metropolitan Symphony Orchestra, to collaborating with pioneers in the world of jazz and experimental improvisation, including Elliott Sharp, Otomo Yoshihide, John Zorn, Sakata Akira, Haino Keiji, John Russell, Kazuhisa Uchihashi, Yoshida Tatsuya, Sabu Toyozumi, Aki Onda and conductor Butch Morris. 
As a soloist, Tanaka has toured ever corner of the globe, while also participating in many contemporary music groups, such as Pro Musica Nipponia, ITO and Otomo Yoshihide's band, Ground Zero. She has performed in several notable venues, including the Avery Fisher and Carnegie Halls, and has received accolades in the New York Times and awards to numerous to mention. 
Tanaka has a Master's degree in musicology from Tokyo University of Fine Arts and Music and is currently an associate professor at the Hyogo University of Teacher Education, lecturing on Japanese music history and teaching shamisen and koto to both undergraduate and graduate students.












“they taught us all how to listen” The Age


The Amplified Elephants are an ensemble for sound artists produced by Footscray Community Arts Centre (FCAC) and JOLT since 2006 as part of the ArtLife program at the Footscray Community Arts Centre. In 2015, The Amplified Elephants performed in La La Lullaby at Federation Square (Lights in Winter Festival) and SELECT NATURALIS at Bendigo International Festival of Exploratory Music, as well as touring Asia with JOLT and performing in Tokyo, Hong Kong and Macau.

In partnership with JOLT, many Elephants’ projects have been presented internationally and in prominent Australian venues. Since 2007, these projects have been increasingly ambitious in scale, often featuring sonic technology:  MachiNATIONS International Tour (London, Edinburgh, Tokyo 2014), RE:EVOLITION (Melbourne Festival 2014), SELECT NATURALIS (BIFEM 2015), LA LA LULLABY (Federation Square 2015), SHHHH (Meat Market 2016).


The Amplified Elephants' sound is at times:

“Glitch, drone stuff” Daniel Munnery

“Noisy” Robyn McGarth

found sounds – “popping sounds” Sarah Ellis

“R2D2” Megan Hunter

“cars revving up the engines” Megan Hunter

“like getting on a train” Jay Euesden

“melodious” Teagan Connor

“chaotic and exploratory” Jude Bowman

“cinematic” James Hullick

















An audio-visual duo comprised of Darren Moore and Brian O'Reilly, Black Zenith's work investigates the intersecting points between electronic music, improvisation and abstract moving images. Integral to their work is the use analog modular synthesizers that generate live visuals through the transformation of audio signals into images. 
They investigate the symbiotic relationship between sound and image, considering each element as of equal importance in the output. Black Zenith draws as much influence from noise and electroacoustic music traditions as they do from the foundations of abstract video art. 













Since 1999, visual artist Yohei Saito has been active with a bewildering array of video work, from his longstanding collaboration with dance group Baby Q, to handling big-screen visuals at major outdoor festivals, to his mind-bending speed collages with grind-metal karaokeist Maruosa. In recent years, he heads up V.I.I.M, a large-scale performance showcase for video work, remarkable for its sheer chutzpah. In addition to his growing profile internationally, he is also the go-to visual collaborator for bands like World's End Girlfriend and THE LEFTY in Japan. In 2014, he teamed up with Akita Masami (Merzbow) and Muneomi Senju (ex-Boredoms) as part of JOLT's Machinations Touring Festival. 













Legendary Japanese avant-garde vocalist Phew first gained notoriety as a member of the art punk band Aunt Sally in the 1970s, who were pushing the realms of no-wave motorik at a time where there were few contenders. In the 1980s and 1990s she collaborated with Ryuichi Sakamoto, Can, Anton Fier and the former members of DAF and Einstürzende Neubauten to create a body of work that has gone a long way to define this period of Japanese avant pop. Continuing her collaborative activity with the groups Novo Tono, Phew Unit, Big Picture (featuring the likes of Otomo Yoshihide, Seiichi Yamamoto and Masahiro Uemura) and Most, she has continued to push the boundaries of experimental punk rock well into this millenium. Her solo performances have likewise stayed ahead of the times, inspiring a new generation of listeners to discover her extraordinarily influential music for the first time.






Three members of The Amplified Elephants will be playing in Japan for the JOLT Extremities sonic festival:





(see bios below)


with guest Japanese artist


(click above to see bio)






“they taught us all how to listen” The Age


The Amplified Elephants are an ensemble for sound artists produced by Footscray Community Arts Centre (FCAC) and JOLT since 2006 as part of the ArtLife program at the Footscray Community Arts Centre. In 2015, The Amplified Elephants performed in La La Lullaby at Federation Square (Lights in Winter Festival) and SELECT NATURALIS at Bendigo International Festival of Exploratory Music, as well as touring Asia with JOLT and performing in Tokyo, Hong Kong and Macau.


In partnership with JOLT, many Elephants’ projects have been presented internationally and in prominent Australian venues. Since 2007, these projects have been increasingly ambitious in scale, often featuring sonic technology:  MachiNATIONS International Tour (London, Edinburgh, Tokyo 2014), RE:EVOLITION (Melbourne Festival 2014), SELECT NATURALIS (BIFEM 2015), LA LA LULLABY (Federation Square 2015), SHHHH (Meat Market 2016).







Daniel Bond: As well as articulating sonic landscapes through technology, traditional percussion and musical instruments, Daniel is very committed to the visual conceptualizing of music and creative ideas.






Esther Tuttenham: joined the AE in 2008 and has been a key player in the herculean mulitmedia shows that the Amplified Elephants have performed over the years. Highlighs have been working wth sound machines in THE NIS (2009) and creating sonic sondscapes in THE MOUNTAIN (2010). Esther writes poetry and works hard on her photographic pursuits at the Foostcray Community Arts Centre





Daniel Munnery: is the most recent AE member, with his first AE appearance being a part of the JOLT 2011 Concert Series that featured the AE. With brothers who also play music, Daniel focuses on sampling technology and creating dark sonic terrains.









JAMES HULLICK: Voice/Electronics


See below for individual musician biographies


with guest Swiss musician:

DANIEL BUESS: Percussion



The BOLT Ensemble is an Australian ensemble dedicated to performing the music and sonic art projects of James Hullick and is auspiced by JOLT Arts Inc. The ensemble was formed in 2004 and has worked extensively with technology and on community development projects. The full line-up of musicians for the ensemble changes from project to project, but core ensemble members include: Timothy Phillips (conductor) Peter Neville (percussion), Adam Simmons (sax and woodwinds), Martin Mackerras, (clarinet), Karen Heath (bass clarinet) Belinda Woods (flute), Andrea Keeble (violin), Jason Bunn (viola), Caerwen Martin (cello), Judith Hamann (cello) and Anita Hustas (double bass). Three of the ensemble's members are performed for the Terrains Swiss Australian Sonic Festival in 2011, with three guest artists from Switzerland joining the ensemble for that festival.

In 2009 BOLT presented THE NIS at fortyfivedownstairs – a multimedia extravaganza featuring professional and non-professional artists. In The NIS musicians worked robotic machinery and real time interactive video scores. The ensemble have performed in numermous shows and concerts since this time with their most recent project being the recording of several albums worth of material with the Australian national broadcaster's ABC Classic FM (2012). The first release from this recording project is The Heavens Spiral Flamingly, which is being released on the X-ALT Label (JOLT's in-house label) at the Extremities: Japanese/Australian Sonic Festival (Sep 2012).




Belinda has played a major role in supporting and enhancing the development of the local music scene. Through her role as artistic director of the ‘Make It Up Club’ improvised music series from 1993 – 2007 Belinda curated a weekly program of music that attracted a large number of interstate and overseas musicians, building a community of like-minded experimental sound artists. Belinda has also curated, promoted and managed many large scale events including Make It Up Club Festivals and multi-media events focused on improvised artforms, bringing attention to the Melbourne improvised music community.

As a performer Belinda extends her abilities towards the composed music of the 20th and 21st centuries, the structure and innovation of which she draws into her own improvising and composition. Her interests lie in the ritual of performance, the relationships that are developed between artists and performers in an industry focused on individuality and the forging of identity. Research into this area is being developed through her PhD Candidature at VCAM.

Belinda’s passion for music that is boundless, challenging and left of centre keeps her explorations alive. Her desire to create a form of music that is inspirational and exciting; building on the energy of creator and listener alike, transcending the unattainable, is the force that oils the machine!





http://www.youtube.com/watch?v=yHK_7iAgNiA (bohjass)

http://www.youtube.com/watch?v=p0XVVrXgn80   (sunwrae)





Mary Doumany is a cross-genre artist who incorporates influences from many styles and traditions to create her works. Trained as a classical harpist and composer, she regularly traverses the genres of jazz, contemporary and folk music. Mary's live solo performances feature her singing with the harp. Improvisation is her passion; it informs her approach to text writing and image making as much as it does her music: "To create, is to be free. For me, the act of creation is meditation in action". Renown as a composer, harpist and singer, Mary's extensive experience across many artforms and genres allows her to create unique and innovative works that encompass music, dramatic text and visual art.


Youtube: www.youtube.com/watch?v=mJUc76dptzo






Judith Hamann is a Melbourne-based musician whose main instrument is violoncello. Her performance practice stretches across various genres encompassing elements of improvised, art, experimental and popular music with a particular focus on the presentation of new or rarely performed works. Judith has undertaken lessons with cellists at the forefront of new music including Christian Wojtowicz, Charles Curtis, Severine Ballon and Kevin McFarland.

She has performed as either a soloist or a chamber musician for the Melbourne International Arts Festival (2005, 2006, 2007, 2011), Melbourne International Jazz Festival (2010. 2011), the Crossbows Festival (2012), the Adelaide Arts Festival (2012) Liquid Architecture Festival (2010) and The NOW Now Festival (2011, 2012). Judith has also toured new Australian music internationally with performance highlights including Soopa (Portugal), Logos Foundation (Belguim), Data (Marseilles), Café Oto (London), Ausland (Berlin), Cruce (Madrid), Steim (Amsterdam), Worm (Rotterdam), Cave 12 (Geneva) and Amann (Vienna) and the United States premiere of Natasha Anderson’s solo cello work written specifically for Judith at the Conrad Prebys Music Centre in California.

Judith has performed Australian premieres of works by Sofia Gudbaidulina, Liza Lim, Thomas Meadowcroft, Jaap Blonk, Robert Ashley, Morton Feldman, Jani Christou, Olga Neuwirth and Klaus Lang, as well as the world premieres of commissioned works by Anthony Pateras, David Chisholm, Natasha Anderson, Rohan Drape, Marco Fusinato, James Rushford, Kate Neal, Sean Baxter, Robert Dahm and Cat Hope. Judith has worked on projects with artists including Jon Rose, Oren Ambarchi, Anthea Caddy, Carolyn Connors, BOLT ensemble, Arcko Symphonic Project and ELISION. She is also a member of Golden Fur, Atticus, Grand Salvo and Francis Plagne band.














http://joltarts.org/tokyo | http://www.subvalent.com/cal-lyall


Born in Montreal, Cal studied classical composition and jazz performance in Quebec, eventually moving westward in Canada to teach music and perform. An interest in diverse musical forms led to intense travel and study throughout Southeast Asia and the Subcontinent, including lengthy visits to India, Pakistan and Iran. A visit to Japan in 1998 led to long-term residency in Tokyo, where he is currently active as a sound artist focusing on improvisation, folk music and urban noise.
Involved in the arts scene in Japan for over fifteen years, he has organized large-scale performances involving both Japanese and overseas artists, while also remaining a key member of a number of musical groups which have toured both locally and internationally. His musical activities are documented on over 30 albums he has both curated (including three full-length compilations released on medama records in Japan) and contributed to as a writer or musician. As a curator, he established the monthly Test Tone concert series in 2005 at Tokyo’s SuperDeluxe. Featuring over a thousand distinct artists over its 9 year run, it reached its 100th instalment in 2014. 
He also performs as a solo artist with a number of distinctive artists, such as Tetuzi Akiyama, Tim Olive, Che Chen, Chihei Hatakeyama, Kelly Churko, Toshio Kajiwara, Jean-François Laporte, Christophe Charles, Yoshio Machida, L?K?O, Pardon Kimura, Government Alpha and Chie Mukai, among others. With an active performance schedule in Japan and past tours through Thailand, Laos, Indonesia, China, Korea, Australia and the US, he also heads up the Subvalent record label and oversees the Tokyo Hub of JOLT Sonic Arts (Australia).







Toshio Kajiwara (musician) is a sound performance artist currently based in Tokyo, after 20 years in New York City. His obsessive interest in archiving obscure historical recordings first extended itself to a series of performances using phonograph players and magnetic tape machines in the early 1990s in New York. Later, he emerged as a touring and recording member of the Christian Marclay Trio. He has collaborated extensively with Tim Barnes, Peter Kowald, Shelley Hirsch, Marina Rosenfeld, Barry Weisblat, Larry 7, Margalida Garcia, and Okkyung Lee, among others. For five years Kajiwara and DJ Olive curated the Phonomena improvisation series at Tonic and operated a record label of the same name. He has released recordings on various labels, including Asphodel, Quakebasket, Antiopic, and Analogue Society.


VIDEO: http://www.youtube.com/watch?v=6zbsQzvoK-s






http://muneomisenju.com (Japanese)


Cutting his teeth playing with Boredoms a.k.a. V?redoms and PARA in Kansai, Muneomi Senju (drums, electronics) has since moved to Tokyo to continue exploring the possibilities of his instrument. As a solo player, Senju incorporates electronic triggers when playing, running them to sounds and sequences for a complex array of rhythm and texture. With a primal sensibility to his playing, the result is not unlike the conjoined bastard quadruplets of “tribal-fusion-techno-jazz” he's used to describe his music in the past.


As a collaborator, the list is long: Masami Akita (aka Merzbow), Arto Lindsay, UA, DJ Baku, Yukihiro Takahashi and Harry Hosono (YMO), Keigo Oyamada (aka Cornelius) and Otomo Yoshihide are just some of the artists he's been working with. He also continues to play drums in PARA (led by ex-Boredoms member Seiichi Yamamoto), Urichipangoon, Date Course Pentagon Royal Garden and Combopiano, as well as joining frequent one-off duo projects with Tatsuhisa Yamamoto and Berlin-based Iku Sakan.










A free improvising performer who uses 'no-input mixing board' to create electronic music, Toshimaru Nakamura (sound artist, musician) has been cultivating a unique world of tones from this unlikely instrument for over 15 years. He uses his mixing console as a live, interactive musical instrument, by connecting the input of the board to the output, then manipulating the resultant audio feedback. Nakamura's music has been described as "sounds ranging from piercing high tones andshimmering whistles to galumphing, crackle-spattered bass patterns."


Nakamura has recorded solo albums and has collaborated with Yoshihide Otomo, Keith Rowe, John Butcher, and Nicholas Bussmann among others. He has also collaborated with Taku Sugimoto, Tetuzi Akiyama, dancer Kim Ito, drummer Jason Kahn, and Sachiko M.


VIDEO: http://www.youtube.com/watch?v=dqfGbtqDVDk






http://evala.org | http://port-label.jp


Sound artist Evala (Hirohito Ebara) has been active in the Tokyo sound art scene since 2002, both in the background as a sound designer for TV commercials, films, company promotion videos, and sound installations, and as a composer/performer in his own right. He founded the label Port in 2004, and has collaborated with artists such as Keiichiro Shibuya (ATAK), Takashi Ikegami and Yoshihide Nakajima (studio loup), and currently works as a part-time lecturer at the Tokyo University of the Arts


Evala also performs and provides programming support for events with ATAK, and his first track to be released under the Evala moniker, "scrh.ov", was included as part of a compilation released on that label in 2003. He has since released three solo recordings from his own port imprint. These include “initial”, an album constructed from artificially edited field recordings, "ttm studies 08" which used complex systems theory in its construction, and "acoustic bend" which incorporates ?eld recordings in dense, innovatively phased spatial arrangements.


In addition to his own sound installations, Evala has also created 360-degree multichannel soundtracks for the performance pieces of Takao Kawaguchi (Dumb Type) and the Japanese performance group Grinder-Man, among others. Most recently, together with Keiichiro Shibuya, he presented the 24.4-channel 3D sound installation "for maria anechoic room version" at Tokyo's ICC and started performing as ATAK Dance Hall (a laptop duo with Shibuya). In addition to his many performances at high profile venues throughout Japan—including the prestigious YCAM—he has also appeared overseas, most notably at Berlin’s Club Transmediale in 2009.


VIDEO: http://vimeo.com/2980131






http://blog.ref-lab.com/ (Japanese)


Masayuki Kawai creates video works informed by radical visions of philosophy and politics, particularly from the standpoint of observation and criticism of informational societies. His work has garnered awards in a number of media art festivals and exhibitions, being shown in over 30 countries worldwide. His work can be found in the Queens Museum of Art (New York) and in the National Museum of Art (Osaka).


He is also a noted writer and curator, focusing on critical considerations of media, art and philosophy. He established the non-profit organization Videoart Center Tokyo in 2001 and served as the organizational head until 2004. At the invitation of the Jerusalem Foundation, he was artist-in-residence in at the Jerusalem Center for Performing Arts in Tel Aviv in 2004. In 2005, the Japanese government provided funding for a 2005 residence in New York City, and Kawai subsequently stayed there from 2006 to 2007 as a grantee of the Pola Art Foundation. Subsequent to his second New York residency, he was invited to Paris from 2008 to 2009 as part of Tokyo Wonder Site’s residency exchange program.


His most current work, created through feedback and the amplification of signals and noise from video editing machines, was recently shown alongside an Atsuko Tanaka retrospective at the Museum of Contemporary Art, Tokyo. Using a similar method when performing live, he and collaborator Ryota Hamasaki (visual artist) improvise with analogue video feedback, using some heavyweight editing gear to achieve their hallucinatory results. Weighing up to 100 kilograms, these equipment and effectors are used to transform flickering video signals into abstract rhythm and textures that are as intense as they are sublime.


VIDEO: http://www.youtube.com/user/masakawai1










Founder of Tokyo-based sound and art publishing concern mAtter, Yukitomo Hamasaki (composer, artist, independent curator) has been gaining international recognition for his phenomenal output as both a curator and an artist. Influenced by DJ culture at an early age, he became increasingly fascinated with the minutiae at play in both sound and space. This led to a deep interest in light, architecture and minimalism, particularly the complex patterns and collisions occurring in what he refers to as “micro spaces”. His compositions reveal a deep appreciation of harmonic structure, layering sounds in textures that seem to leave the listener suspended in time. Interspersed with irregular clicks, pops and beeps, the narrow interruptions reveal the careful attention to detail in the depth and dynamics of his music. In 2008 he released D+P, which upon hearing, Christophe Charles offered the following: “His music is possible to put into context within the sounds that surround us. In a sense, it could be called selfless music. It's like a clear window.” In 2012, following the Great East Japan Earthquake and informed by the subsequent nuclear issues, he released "the GARDEN" which aims to express the ironies of the the current situation through a new working method, similar to planting processes by gardeners.


Aside from his work as a composer, he conceives installation pieces, curates exhibitions, and works in graphic design; a range of formats (both print and sound) is being published through his own imprint since 2010.


VIDEO (with shotahirama)








Yudayajazz (video artist, musician, filmmaker and VJ) is an improvisor based in Tokyo who specializes in real-time audio/video manipulation that combines DJ and VJ performance with live sound textures. Yudayajazz has unleashed his unique blend of video and sound art at clubs, galleries and warehouses throughout Japan and has collaborated with the best of Japan’s avant-garde creative scene, such as Kazuo Imai, Takashi Ueno, DoraVideo and L?K?O.


By mixing audio and video from multiple sources and live feeds, Yudayajazz specifically crafts an intense multimedia experience in response to the particular performance space that is challenging and provocative. He performed at SuperDeluxe@Artspace in early 2010 as part of the 17th Biennale of Sydney.












Born in Tokyo 1947, Jun’ichi Okuyama is one of Japan’s seminal experimental filmmakers. He made his first films as a student at Tamagawa University’s Department of Fine Arts in the 1960s and has since remained constantly active, creating over 70 highly original experimental works over the last 45 years.

Okuyama was recognized internationally early on, with his first screening outside of Japan (the radical 1971 ‘disposable film’ entitled No Perforations) being awarded a Silver Hugo at the Chicago International Film Festival. His distinctively playful approach to the medium of film is widely admired and his most famous works are included in the collections of The Museum of Modern Art (New York), Anthology Film Archives (New York), Tokyo Metropolitan Museum of Photography (Tokyo) and universities worldwide. Okuyama performed at SuperDeluxe@Artspace in early 2010 as part of the 17th Biennale of Sydney.


Human Flicker (video): http://www.youtube.com/watch?v=llpV8SbgdE4

VIDEO: http://www.youtube.com/user/OkuJune










A consummute musician, Yamamoto Tatsuhisa (drums and metal) continues to take his inventive percussive work into uncharted territories. Yamamoto succeeds in combining dynamism, melodicism and polyrhythm, fusing overwhelming volume with delicate technique for a mercurial versatility that is at times awe-inspiring.
His improvised work takes him into wide ranging collaborations with artists such as Otomo Yoshihide, dj sniff, Jim O'Rourke, Keiji Haino, Akira Sakata, L?K?O, Gianni Gebbia, Ned Rothenberg, Alan Silva, and many others. He also plays in a number of high-profile bands in Japan including Natsumen, SSW (a duo with Eiko Ishibashi), First Meeting (an acoustic noise improv quartet with Natsuki Tamura, Satoko Fujii, and Kelly Churko), and joins regular projects with resplendent steel pan player Yoshio Machida. He has also performed on recordings with the Kahimi Karie band (featuring Otomo and O'Rourke) and the sound-processed minimal jazz trio Clinamen featuring Giovanni De Domenico and Arve Henriksen.

Otomo Yoshihide calls Yamamoto "one of the most exciting young drummers in Japan at the moment" which would explain why ears are starting to perk up not only in Japan, but around the world as well. His playing recently took him to London's Cafe Oto for a residency with Seb Rochford and Leafcutter John.


VIDEO: http://www.youtube.com/watch?v=ajHmkDitxfY









Yoko Higashino (art director, choreographer, and dancer) develops body-based performances that combine various dance elements to present an intense and unique worldview. As a solo artist she collaborates with a diverse range of challenging musicians, such as Keiji Haino, Masaya Nakahara and Toshio Kajiwara, and often appears in clubs, live houses, or galleries as “Kemumaki Yoko,” an unclassifiable avant-garde dancing body. She also holds dance classes and events at the BABY-Q Dance Lab. Higashino has won numerous awards including the Next Generation Choreographer prize, the Toyota Choreography Award 2004, Yokohama Prize for Brilliant Future in the group dancing category, Yokohama Solo×Duo Competition 2005, and the 2006 best new choreographer prize from the ON STAGE Newspaper Co.


BABY Q: http://www.youtube.com/watch?v=6zbsQzvoK-s










Darrin Verhagen primarily composes music and sound designs for contemporary dance, theatre, and installation (with occasional work for television and computer games). He has released over 20 albums of material, traversing a range of styles, and performs his audiovisual live shows locally and internationally. He was the founder and curator of Dorobo records, showcasing Australian sound art for 15 years. Darrin teaches “Sound Design” and “Technology, Composition & Perception” within the Sound department, School of Art, RMIT Darrin Verhagen’s research interests focus on the sonic codes of cinema (as informed by evolutionary biology and neuroaesthetics), as well as the exploration of score and sound design techniques outside of screen-based outcomes. Whilst his solo and musically ‘contemporary’ work explores the psychological effects of sonic extremity (delicate instability on one hand and electroacoustic blunt-force trauma on the other), his more traditional ‘musical’ material is reserved for contemporary dance, theatre where he often experiments in the grey areas between score and sound design 












A founding member of Tsk-Tsk-Tsk in the 1970s, and after a series of experimental short features in the 1980s, Philip Brophy (musician, composer, sound designer, filmmaker, writer) made his feature directorial debut with Body Melt in 1993. He has acted as composer and sound designer on most of his films, and numerous other shorts. He was also director of the Cinesonic International Conference on Film Scores & Sound Design and has edited 3 books from the conference.


Brophy continues to lecture and present on film sound and music internationally, specializing in horror, sex & exploitation, film sound & music and Japanese animation. He is widely published in all three areas, and his book 100 MODERN SOUNDTRACKS has been translated and published into Japanese. His most recent books are 100 ANIME and PRISCILLA.






Managing & Artistic Director

James Hullick



Owen Mckern


Associate Producer

Kristian Ireland


Project Manager

Belinda Woods



Jerome Haoust (volunteer and Board Member)










Owen McKern is an integral part of Melbourne’s music and arts communities.

Owen McKern has been both producer and presenter of Delivery every Sunday afternoon between 4:00 and 6:00pm on 3RRR FMsince 1998.  Delivery presents two hours of instrumental works from Australian artists.  For well over a decade Owen has passionately supported and nurtured Melbourne’s developing new-music community.  Delivery explores commonalities (musical, historical and cultural) between seemingly disparate works and artists.  From avant-garde experimentalism to richly beautiful acoustic works, Delivery ignores genre boundaries to find appropriate contexts for all musical aesthetics. Since 2007 Owen has held management positions with fine music radio station 3MBS FM, bringing to that station a far greater emphasis on current music practice, local content and exposure for artists working in areas of new media and hybrid arts practice.  During his time at 3MBS FMOwen created a range of live music and educational programs as well as subsidizing the recording of a number of new Australian works.

As well as his work with 3RRR FM and 3MBS, Owen has also presented programs on ABC Classic FM, including hosting the live national broadcast from the opening night of Liquid Architecture 6, Australia’s national festival of sound art.  Owen has utilized his broadcast time on ABC Classic FM to further his commitment to new Australian music. Through a four-year role with independent arts organization RMIT Union Arts Owen worked closely with the new media communities, including associations with Liquid Architecture, Arts Law Week and a range of presentations and exhibitions at RMIT Union’s First Site Gallery.

With visual artist Jason Maling, Owen co-presented and co-curated the sound series ‘A Poke in the Eye is a Good Distraction for a Ringing Ear’ at Conical Inc. art space in 2008. A graduate of RMIT University’s Media Studies program, Owen has produced and co-edited the 16mm film Budgie (St. Kilda Film Festival), programmed arts and cultural performances for the 2002 Maroondah Festival, and managed independent and experimental musical acts throughout the 1990’s (SEK, Oscillate).



Kristian Ireland's music has received performances across Europe, the U.S., Japan, and Australia, by leading ensembles including the Arditti Quartet, Neue Vocalsolisten Stuttgart, Ensemble SurPlus, Ensemble L'arsenale, Ensemble für Neue Musik Zürich, The Formalist Quartet, by noted interpreters Frank Cox, Chris Gross, Yasutaka Hemmi, Matt Ingalls, Graeme Jennings, Deborah Kayser, Yu Kobayashi, Josh Levine, Marshall McGuire, Geoffrey Morris, Peter Neville, Rikuya Terashima, Yasunori Yamaguchi, and by conductors James Avery, Erich Fackert, Warwick Stengards, and Shinji Moriguchi, among others. Kristian Ireland's music has featured at Agimus Venezia, Internationale Ferienkurse für Neue Musik Darmstadt, Nuova Musica a Treviso, Internationales Musikfestival Höfgen-Kaditzsch (Rochlitz), Centre Acanthes (France/Luxembourg), Sommerakademie Schloss Solitude, Asian Composers League Festival (Yokohama), Melbourne International Arts Festival, Chromas Association of New Music (Tuscany), Casa della Musica (Trieste), Grosspeter Garage (Basel), CCRMA (California), Hamiltonian Gallery (Washington), CalArts (Los Angeles), among other events and venues. Ireland was an Artist in Residence at La Napoule Art Foundation (France, 2011), The Banff Centre (Canada, 2009), Denkmalschmiede Höfgen (Germany, 2008), and a Japan Foundation Artist Fellow (Japan, 2003). He was a finalist in Der Staubachpreis Competition at the 2008 Darmstädter Ferienkurse für Neue Musik. Ireland holds a Doctorate and an M.A. in music composition from Stanford University, where he studied primarily with Brian Ferneyhough (doctoral supervisor). He attended Harvard University as a Visiting Scholar at the Department of Music through the 2009- 2010 academic year, studying with Chaya Czernowin. He also completed a Bachelor of Music in composition at the Victorian College of the Arts studying primarily with Chris Dench, and at Monash University (Melbourne). Ireland conducted research at the Archivio Luigi Nono (Venice), the Toho Gakuen School of Music (Tokyo), the Kyoto City University of the Arts (Kyoto), and with the Ensemble of the Kyoto Gagaku Association, at the Nishiki-tenmangu shrine (Kyoto). Ireland has given lecture and conference presentations at the Hochschule für Musik und Theater Felix Mendelssohn Bartholdy, Harvard University, UC Berkeley, USC (Los Angeles), the 2004 Symposium of the InternationalMusicological Society, and others. He worked often as a piano accompanist, and as a chamber and orchestral keyboardist, from 1991 to 2001. Kristian Ireland's music is published by Edition Gravis (Berlin, Germany) and recordings are available on the innova label (American Composers Forum).



Belinda joined JOLT in 2010 and with Hullick shares the large responsibility of keeping projects on time and to plan. Belinda has bought a wealth of skills to JOLT from her previous experience in managing a range of projects and ongoing performance nights such as the Make It Up Club. Belinda is a dymamic flautist and her skills in management of sonic events are significantly enhanced by her hands on knowledge of what artists need in order to deliver stellar outcomes.

Belinda Woods Bio

Belinda has played a major role in supporting and enhancing the development of the local music scene. Through her role as artistic director of the ‘Make It Up Club’ improvised music series from 1993 – 2007 Belinda curated a weekly program of music that attracted a large number of interstate and overseas musicians, building a community of like-minded experimental sound artists. Belinda has also curated, promoted and managed many large scale events including Make It Up Club Festivals and multi-media events focused on improvised artforms, bringing attention to the Melbourne improvised music community.

As a performer Belinda extends her abilities towards the composed music of the 20th and 21st centuries, the structure and innovation of which she draws into her own improvising and composition. Her interests lie in the ritual of performance, the relationships that are developed between artists and performers in an industy focused on individuality and the forging of indentity. Research into this area has just begun, inspired through works developed during her Master of Music studies at the VCA.

Belinda’s passion for music that is boundless, challenging and left of centre keeps her explorations alive. Her desire to create a form of music that is inspirational and exciting; building on the energy of creator and listener alike, transcending the unattainable, is the force that oils the machine!



Jerome Haoust is JOLT Treasurer and offers internet based communications support to JOLT in a volunteer capacity. We are deeply indebted to his commitment to JOLT and the sonic arts community.


Click here for info about Jerome on JOLT's Board Member page.




noise and sound art by Daniel Buess and James Hullick



Daniel Buess: Percussion, Electronics
James Hullick: No input mixing desks, Machines and Electronics

The Swiss/ Australian duo that is Buggatronic started in 2009 when  Daniel Buess and James Hullick joined forces in a cyclonic collision of sound. There is the signature of industrial noise in Buggatronic, but there is also a love of tightly timed formal design and aural  choreography in the work. Daniel Buess brings his percussion background to the duo, as well as an array of electronic gadgetry and memories of space rock out convulsions. James Hullick meets Buess head on with specially built robotic music machines and the grind of no-input mixing desks and sonic gadgets. Amidst the showers of amplified dynamism and hard walls of sound, Buggatronic also capture the delicate moments. And then the cochlea tsunami washes it all away.

Buggatronic is urban life amplified for the 21st century.

To hear some of Buggatronic's work click on the link below, which takes you Daniel Buess' website:



more about Daniel Buess:



more about James Hullick




(via James Hullick)

contact:  t: +61 431 678 164 e: click here to email



Urban Guild, Kyoto 2010 - pics by Sean Roe


Make It Up Club, Melbourne August 2009 - pics by Tim McNeilage




Steven Tran joined the Elephants in 2015. Tran is preparing for his first major performance with the Elephants in 2016, and has enjoyed developing his sonic abilities through a range of workshop projects with some of Australia’s leading musicians and sonic artists including: Nat Grant, Richard Allen, Andrea Keeble, Phoebe Green, Carmen Chan, Steve Richards and Miranda Hill. Tran expresses a love of sonic creativity through vocalisations and also through electronic music exploration. Tran often demonstrates his response to works in development through physical movement and dance.














Sutherland is a founding member of the Elephants and has performed many shows with the group since 2007. Career highlights for Sutherland have included touring the UK and Japan in 2014, and performing on the Punchathon Machine in a range of shows. Punchathon emphasises Sutherland’s love of physical performance and rock’n’roll theatricality. In Tokyo 2014 the Elephants and Sutherland performed on a bill with Merzbow and other leading Japanese sound artists. 2015 saw Sutherland tour to Bendigo for the show SELECT NATURALIS (BIFEM) and perform at Federation Square’s The Light in Winter Festival.
















Joining The Amplified Elephants in 2012, Munnery has quickly developed an oeuvre as an electronic laptop-based sound artist. Taught by sound artist Steve Richards (aka Cleaning Lady), Munnery has formed significant connections internationally through his work. Munnery toured Tokyo 2012/14/15, Hong Kong 2015, Macau 2015 and the UK in 2014. When in Tokyo for JOLT’s 2015 touring festival, Munnery collaborated with other Elephants and Tokyo-based sound artists Cal Lyall and Pardon Kimura in creating a series of recordings for upcoming release.













A founding member of The Amplified Elephants, it was McGrath who originally thought of the name for the group. McGrath is very focused on keyboard-based synthesizer performance. In 2015, McGrath toured with the Elephants to perform SELECT NATURALIS in the Bendigo International Festival of Exploratory Music, and performed in La La Lullaby with the Elephants at The Light in Winter Festival at Federation Square. McGrath has performed in two Melbourne Festivals, and has collaborated with several leading artists performing in many venues around Melbourne.













Kruljac is The Amplified Elephants’ resident graphic designer. Kruljac has created artwork for a number of CD releases for The Amplified Elephants, as well as contributing to the design of Elephants’ compositions. Kruljac’s interests lie in creation of sound, rather than performance of sound.














The prodigal artist; having been a founding member Hunter returned to The Amplified Elephants in 2015 after an extended break. Hunter is primarily a keyboard synthesizer artist, though her recent return to the ensemble has seen her exploring other instrumentalities. In 2015, Hunter performed in La La Lullaby at Federation Square for The Light in Winter Festival. A highlight for Hunter in 2015 was working on the many collaborative recordings and project developments with a range of invited artists. Nat Grant’s work particularly resonated with Hunter who, through Nat, found that working with iPad technology particularly suited her sonic language.














A founding member of The Amplified Elephants, Hofbauer has performed in all of the Elephants’ Melbourne-based shows since the Elephants first performed for the JOLT 2007 Concert Series at fortyfivedownstairs. Hofbauer is a multi-instrumentalist and vocalist, who explores irregular rhythmic patterns in her work. In 2015, Hofbauer performed in La La Lullaby with the Elephants at The Light in Winter Festival at Federation Square. A highlight of 2015 was recording and developing new work with Australian artists who undertook residencies with the Elephants: Nat Grant, Richie Allen, Andrea Keeble, Phoebe Green, Carmen Chan, Steve Richards and Miranda Hill.









Along with Robyn McGrath and Liz Hofbauer, Euesden is a founding member of The Amplified Elephants. Euesden’s practice is focused on minimalist sonic patterns, usually realising these ideas through synthesizers. Having performed in nearly all The Amplified Elephant projects since 2007, a career highlight for Euesden was the show THE NIS (2009, 2013), which involved performing on robotic music instruments and in collaboration with the BOLT Ensemble (a chamber orchestra). In that show, Euesden performed solo synthesizer sequences against an orchestral backdrop.














Sarah Ellis joined the Elephants in 2015. Ellis experienced her first development and professional performance through La La Lullaby for The Light in Winter Festival at Federation Square. Ellis has embraced a steep learning curve in 2015 through collaborations with a range of industry practitioners who recorded new works with The Amplified Elephants: Nat Grant, Richard Allen, Andrea Keeble, Phoebe Green, Carmen Chan, Steve Richards and Miranda Hill. Through this process, Ellis has found a voice through electronic and acoustic percussion. Ellis has enjoyed taking on the role of narrator in a recent project development.













Having joined The Amplified Elephants in 2013, Connor has rapidly developed her sonic talents locally and abroad. Connor’s work is informed by fantasy and science fiction aesthetics and ideas, which Connor realises through multi-instrumental and vocal means that emphasize found sound percussion and electronic synthesis. In 2015, Connor toured to Tokyo, Hong Kong and Macau with the show SELF SEEKERS, a project that highlighted her interest in the tactile nature of sonic performance. In Japan, Connor recorded with local artists Cal Lyall and Pardon Kimura, following on the back of performances in Bendigo (SELECT NATURALIS) and Melbourne (La La Lullaby).



















“Mainstream music was thrown out the window at the Valley Mill on Saturday. Talented young musicians from Geelong’s northern suburbs showcased some of their own creations in a sonic adventure titled THE DESERT.”  GEELONG ADVERTISER


Since their inception the Scavengers have developed their own take on sound art and experimental music, recorded a number of CDs and performed alongside musicians from The Click Clack Project. Industrial, experimental and unpredictable, Noise Scavengers can be terrifying or very Zen. Noise Scavengers performed at Sonic Flock in the Melbourne Festival 2013 alongside a divrse range of professional musicians, and most recently remounted THE DESERT — one of their earlier soundscapes for Geelong After Dark 2015 in a public toilet. Having originated as a workshop program that sought to engage marginalised young people in contemporary sound arts practice, Noise Scavengers has now consolidated into an ensemble of emerging sound artists, launching their careers on to the international stage through JOLT.

















Danny would be best known to the general public through his acting work on the ABC comedy series SUMMER HEIGHTS HIGH. Danny has applied his infectious screen presence to his sonic arts practice which is typified by playfulness, but also by his dynamic use of the body. He has particularly focused on found sound performance in recent times but also pursues dj-ing and electronic sound making. Danny has recently joined the AMPLIFIED ELEPHANTS and is performing in THE NIS with them.
Esther has recently joined the AMPLIFIED ELEPHANTS and has made quite an impact in a short period of time. Esther has a vibrant and physical performance style and real love of exploring unusual sounds as well as celebrating the joys of more conventional sounds also. Recently she has been working with percussion, found objects and the violin. Esther has performed with the AMPLIFIED ELEPHANTS in WIGGA CONCERT 2 and THE NIS.

Catherine has worked with the Amplified Elephants since the group began at the Footsrcay Community Arts Centre in 2006. Catherine has expanded her abilities from working in a minimalist aesthetic on keyboards to working more intensively with percussion and violin. One day Catherine's cheekiness will get her into trouble but for now the Amplified Elephants are particularly fond of her spontaneous air guitar sessions and her unashamed love of Shannon Noll. Catherine recently performed in JOLT's WIGGA CONCERT 2.


Stephen recently joined the Footscray Community Arts Centre's Amplified Elephants ensemble. He established himself within the ensemble as a conductor and as a synthesizer artist whose delicate touch is the envy of many a keyboard player. When not making sound, Stephen likes to explore new words in foreign languages. Stephen performed with the Amplified Elephants in concert 2 of JOLT's WIGGA project.


Enza's practice is marked by her ambition to be 'in the moment' when performing. Enza doesn't spend time planning her sonic adventures, but rather is keen  to see where her improvisations might take her and her audience. Enza is a founding member of the Amplified Elephants and has performed in all the JOLT shows that have included the Amplified Elephants: CRANKY ROBOTICS, INTERACTACON, SHIMMERSONG, THE NIS.



The key feature of Robyn's sound arts practice is her desire to learn more about sound, to ask why things are the ways they are and to seek to improve the way her creative self interfaces with other sound makers and audiences. As a founding member of the Amplified Elephants, Robyn has performed in all the JOLT events that have included that ensemble: CRANKY ROBOTICS, INTERACTACON, SHIMMERSONG, THE NIS.


Some of June's fondest memories are of playing music with her family in her younger days. Her love of community in music making perhaps explains why her most cherished aspect of the creative process is to play with others in ensembles. June is particularly fond of simple rhythms and likes to explore the infinite timbres of sound.



Jay is a founding member of the Amplified Elephants. He works with synthesizers and found objects as key aspects of his creative process. Jay is a great fan of the Carlton Football Club and has a rather uncanny ability to name the capital cities of the world.



Liz recently turned fabulous 50. She has spent six years with the Artlife Program at the Footscray Community Arts Centre. Liz is a founding member of the  Amplified Elephants (founded in 2006) with whom she has been able to explore the wonderful delights of sound and creativity. Liz loves to sing, loves parties  and fun times and is an avid supporter of the Carlton Football Club. Liz has performed in  several shows co-presented by FCAC and JOLT, including: CRANKY ROBOTICS, INTERACTACON, SHIMMERSONG, WIGGA CONCERT 2, THE NIS.








 "The Sunday evening performance at the North Melbourne Town Hall was presented in impressive 16 speaker surround sound, with the performers in the middle of the space and the audience divided into 2 blocks facing each other. James Hullick presented a composition for various instruments, vocalists and soundscape. The piece had a radiophonic feel, as acoustic instrumental explorations skittered around the room, accompanied by barely discernible voices, snippets of text floating to the surface above surging field recording atmospherics. This nicely crafted and spatialised piece took on an even more impressive dimension, when at the conclusion the stage curtain opened to reveal the musicians and actors who had in fact been performing live.”

Gail Priest, Realtime Magazine (regarding the work “the whiteness” 2005)




The BOLT Ensemble is a music and sound art ensemble dedicated to presenting projects artistically directed by James Hullick. There is a focus on working with techniques and ideas that exist outside mainstream music practices and there is a focus on working combining traditional music instruments with technology. Projects take the form of concerts, radio broadcasts, multimedia events, music theatre, gallery based installations, recordings and recordings. While BOLT does tend to work towards creating innovative projects, the act of being innovative for innovation's sake is something the ensemble has worked hard to avoid. Rather, the BOLT Ensemble is dedicated to providing audiences with listening and sensory experiences that pose questions, rather than answers, about culture, communities and the quest for better living.

The BOLT Ensemble was formed in 2004, before JOLT Arts Inc. had been created. The ensemble has never had a fixed line-up, fluidly changing depending on the demands of any given project. The ensemble can be as small as two players or as large as twenty. BOLT's founding members were Imelda Baligod and Will Martina and they formed the core of the ensemble during its early development before both Imelda and Will moved overseas - Imelda to London and Will to New York. Since that time the regular members of the ensemble have been Martin Mackerras, Adam Simmons and Peter Neville. Biographies of the various artists currently working with BOLT are given at the bottom of this page. 

BOLT performing in NEBULON at Bennets Lane. photos by: Warren Fithie




Listed below are projects undertaken by BOLT that currently remain in repertoire. Click on the links to read more about the events the projects have been involved in.

SHIMMERSONG (with the Footscray Community Arts Centre's AMPLIFIED ELEPHANTS)

for chamber orchestra, synthesizers and video (2007)


by Hullick for flute, clarinet, sax, viola, double bass, percussion and realtime score (2007)


by Hullick for flute, clarinet, sax, percussion and quadraphonic electronics (2007)


by Hullick for flute, clarinet, violin, cello, sax and realtime score (2005)


by Hullick for pre-recorded violins and cellos and CD players (2004)


by Hullick for violins (2004)


Upcoming 2009 projects for BOLT are:


a mutli-media/music theatre event for large chamber ensemble, sound artists, theatre performers, animations and 2D gaming sequences (2009)


a collection of compositions presented over 3 concerts developed by BOLT drawing on the chamber orchestra line-up (2009)




The BOLT ENSEMBLE are managed through JOLT Arts Inc. by:



click this link to contact page






Caerwen MartinMartin has been trained as a cellist both locally and abroad, and performs in a wide variety of groups from experimental to pop, jazz, contemporary and classical. She has written music for film, art films Artesian and Reception and a feature Lost and Found (Apra Nominated). Martin has written string arrangements for bands like Dan Brodie, Kram, Millionaire Souls, Lou Bennett and the Sweet Cheeks, Naked Raven, 67Special, Creech and Germany's Colourblind. She has toured extensively through Europe, the Balkans, Australia, South Africa and America with the David Chesworth ensemble, Geminiani Orchestra, Naked Raven, Skin String Quartet and Aphids. Currently Martin runs the Silo String Quartet - a contemporary/jazz string quartet that does a lot of new works by established and emerging composers.


Martin has appeared with BOLT in JOLT's 2007 SHIMMERSONG project and will again be performing with the BOLT Ensemble for THE NIS in 2009.



Tim PhillipsPercussionist / Conductor Timothy Phillips holds degrees from the Canberra School of Music and the Sate University of Music in Karlsruhe, Germany studying with Daryl Pratt and Professor Isao Nakamura respectively. As a performer Timothy appears with Orchestras, chamber ensembles and in solo shows and he has also created original music for DVA (mixed ability) Theatre, Ignition (NMIT) Theatre and Westside Circus. As a conductor Timothy is the founder of the Arcko Symphonic Project, which launched in 2008, he has also conducted premieres for Kate Neal, Dianne Peters and Daniel Salecich and has appeared at MIAF and on recordings for Move records.

Phillips appeared with BOLT in JOLT's 2007 NEBULON concert and will again be performing with the BOLT Ensemble for THE NIS in 2009.


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