Samantha Bennett
The Australian National University, Canberra, Australia

Samantha Bennett is Professor of Music and Associate Dean Higher Degree Research at the Australian National University, and Chair of the International Association for the Study of Popular Music (IASPM). Her research interests bridge music and science and technology studies, and focus on sound recording, music production, music technologies, and the analysis of technology and process in recorded popular music.
Samantha is the author, co-author, and co-editor of six books including her latest, Gear: Cultures of Audio and Music Technologies (The MIT Press, co-authored with Associate Professor Eliot Bates (CUNY)) and Secrets and Revelatory Discourse in Music and Audio Technology Culture (forthcoming from Cambridge University Press), and two further monographs - Modern Records, Maverick Methods: Technology and Process in Popular Music Record Production 1978-2000 (Bloomsbury Academic) and Peepshow, a 33 1/3 series edition on the album by Siouxsie and the Banshees (Bloomsbury Academic). She is also the co-editor of Critical Approaches to the Production of Music and Sound (Bloomsbury Academic) and Popular Music, Stars and Stardom (ANU Press). Samantha’s journal articles are published in Popular Music, Popular Music and Society, Convergence, The Journal of Popular Music Studies, and IASPM@journal and her technical papers are published in the Journal of the Audio Engineering Society.
In 2014, Samantha gave the biannual American Musicological Society Lecture at the Rock and Roll Hall of Fame and Museum Library and Archives where she also held a research fellowship in 2015. She is on the editorial board of the Cambridge Elements in Popular Music (CUP) series, and an advisory board member and editor of Bloomsbury Academic’s 33 1/3 series. Prior to her work in academia, Samantha worked extensively as an audio engineer in multiple London recording studios and is a former Director of the UK's Music Producer's Guild. She is an elected board member of the DDCA (Deans and Directors of the Creative Arts), and an active member of the Audio Engineering Society, the Society for Music Production Research, and a number of Working Class Academic and Leadership networks.

Pierre Saint-Germier
IRCAM Paris, France

Pierre Saint-Germier is a CNRS research fellow in philosophy, working in the Science and Technologies of Music and Sound Lab unit at IRCAM. With a dual specialization in logic and epistemology on the one hand, and in the philosophy of music on the other, he has conducted research on thought experiments, the logic of imagination, and musical improvisation. He coordinated the book Language, Evolution, and Mind (College Publications, 2018) and translated in French with Clément Canonne two volumes of writings on music by the American philosopher Jerrold Levinson (Essais de Philosophie de la Musique, Vrin, 2015; L'expérience musicale, Vrin, 2020). His current research program focuses on the philosophy of sound and music in the age of digital reproducibility. The aim is to use music and sound as a prism through which to study the consequences of the digital revolution and artificial intelligence on our contemporary condition. Parallel to his research, he likes to surround himself with piano keyboards and synthesizers. He participated in the summer program of the School for Improvisational Music in New York (2017).

Myriam Desainte-Catherine
Université de Bordeaux, France

Myriam Desainte-Catherine is Professor Emeritus of Computer Science at ENSEIRB-MATMECA at Bordeaux INP and researcher at LaBRI (Laboratoire Bordelais de Recherche en Informatique, Bordeaux computer research laboratory) and SCRIME (Studio de Création et de Recherche en Informatique et Musiques Expérimentales, Studio of Creation and Research in Computer Science and Experimental Music).Myriam Desainte-Catherine is Professor Emeritus of Computer Science at ENSEIRB-MATMECA at Bordeaux INP and researcher at LaBRI (Laboratoire Bordelais de Recherche en Informatique, Bordeaux computer research laboratory) and SCRIME (Studio de Création et de Recherche en Informatique et Musiques Expérimentales, Studio of Creation and Research in Computer Science and Experimental Music).
At the beginning of her career, she carried out her research in the field of bijective combinatorics. Then, she switched to computer music and sound processing to focus her research on musical creation. Her main subject of interest is the modelling of time and interaction for musical composition and performance. In particular, she has designed a hybrid model of time which forms the basis of the OSSIA-score software. More recently, she has been working on the modelling of interactive musical systems according to their temporal dimension, in particular the Metapiano and the MidifilePerformer. She is now interested in extending this model to the spatial and hierarchical dimensions.
Her research work has resulted in the creation of the Sound and Music Modelling group in the Image and Sound department of the LaBRI and the creation of the SCRIME (scrime.u-bordeaux.fr).
Until 2023, she was director of the SCRIME, which she founded with Christian Eloy, who was then professor of electroacoustic music composition at the Bordeaux Conservatoire. The SCRIME is now a research platform accredited by the University of Bordeaux and managed by a GIS (Groupement d'Intérêts Scientifique et Artistique, scientific and artistic interest group) composed of the University of Bordeaux, Bordeaux INP, the CNRS, Bordeaux City Council, the DRAC and the Regional Council. The SCRIME has been supported by the DGCA (géneral direction of artistique creation of the French Ministry of Culture) for over twenty years.
On a national level, she is one of the founding members of the AFIM (Association Francophone d'Informatique Musicale), of which she is co-president.
At the beginning of her career, she carried out her research in the field of bijective combinatorics. Then, she switched to computer music and sound processing to focus her research on musical creation. Her main subject of interest is the modelling of time and interaction for musical composition and performance. In particular, she has designed a hybrid model of time which forms the basis of the OSSIA-score software. More recently, she has been working on the modelling of interactive musical systems according to their temporal dimension, in particular the Metapiano and the MidifilePerformer. She is now interested in extending this model to the spatial and hierarchical dimensions.
Her research work has resulted in the creation of the Sound and Music Modelling group in the Image and Sound department of the LaBRI and the creation of the SCRIME (scrime.u-bordeaux.fr).
Until 2023, she was director of the SCRIME, which she founded with Christian Eloy, who was then professor of electroacoustic music composition at the Bordeaux Conservatoire. The SCRIME is now a research platform accredited by the University of Bordeaux and managed by a GIS (Groupement d'Intérêts Scientifique et Artistique, scientific and artistic interest group) composed of the University of Bordeaux, Bordeaux INP, the CNRS, Bordeaux City Council, the DRAC and the Regional Council. The SCRIME has been supported by the DGCA (géneral direction of artistique creation of the French Ministry of Culture) for over twenty years.
On a national level, she is one of the founding members of the AFIM (Association Francophone d'Informatique Musicale), of which she is co-president.

Steven Kemper
Oberlin Conservatory, Ohio, USA

Steven Kemper is a creative music technologist, instrument designer, and composer. As a creative music technologist Steven’s scholarship blends technical development, creative output, and humanistic inquiry. His approach focuses on developing technologies that enhance the connectivity between computer-based music and the physical world, and how we can view both cutting-edge and historical musical technologies through the lenses of anthropomorphism, embodiment, and the cyborg.
Research areas include musical robotics, instrument design, human-computer interaction, gesture, and musical expression. Steven’s most recent work consists of a series of vibration-motor actuated performance systems: the Tremolo-Harp, Lux Tremens, Manus Tremens, and Tremolo-Chimes. He is a co-founder of Expressive Machines Musical Instruments, a collective dedicated to creating and composing music for robotic instruments. He also co-developed the RAKS (Remote electroAcoustic Kinesthetic Sensing) System, a wireless sensor interface designed specifically for belly dancers with composer and dancer Aurie Hsu. Steven’s research has been presented at NIME, ICMC, and MOCO, and published in Leonardo, Leonardo Music Journal, Organised Sound, and Frontiers in Robotics and AI.
As a composer, Steven creates music for acoustic instruments, instruments and computers, musical robots, dance, and video. His compositions have been performed by the American Modern Ensemble, Boston Modern Orchestra Project, NOW ensemble, and the Grupo Sax-Ensemble. They have also been presented at numerous festivals worldwide, including ICMC, NIME, SEAMUS, SIGCHI, SMC, 12 Nights, Florida Electroacoustic Music Festival, Third Practice Festival, Pixilerations, American Composers Alliance Festival of American Music, and the Seoul International Computer Music Festival. Steven has received awards for his music from the Ammerman Center for Arts and Technology, Meet the Composer, the Danish Arts Council, and the International Computer Music Association. His first solo album of electroacoustic music, Mythical Spaces, was released by Ravello Records in 2018.
Steven received a B.A. in Music from Bowdoin College, M.M. in Music Composition from Bowling Green State University, and a Ph.D. in Composition and Computer Technologies from the University of Virginia. From 2013-2023 he was Assistant/Associate Professor of Music Technology and Composition at the Mason Gross School of the Arts at Rutgers University in New Jersey and served as Director of the Music Department from 2021-2023. Steven currently serves as Associate Professor of Computer Music and Digital Arts at the Oberlin Conservatory.

To be announced