"In 2016, Winant was awarded a large unrestricted grant from the Foundation of Contemporary Arts in recognition for his groundbreaking work as a contemporary percussionist. In 2014 he received a Grammy nomination for his recording of John Cage's historic solo work, 27' 10.554" for a percussionist, on Micro Fest Records.

He has collaborated with some of the most innovative and creative musicians of our time, including John Cage, Iannis Xenakis, Pierre Boulez, Frank Zappa, Keith Jarrett, Roscoe Mitchell, Anthony Braxton, Fred Frith, James Tenney, Terry Riley, Cecil Taylor, Gerry Hemingway, Mark Dresser, Barry Guy, Marilyn Crispell, George Lewis, Steve Reich and Musicians, Nexus, Charles Wuorinen, Jean-Philippe Collard, Frederic Rzewski, Ursula Oppens, Joan LaBarbara, Annea Lockwood, Danny Elfman/Oingo Boingo, Sonic Youth, Marc Ribot, Keith Rowe, Joey Barron, Bill Frisell, Yo-Yo Ma, Rova Saxophone Quartet, Lawrence "Butch" Morris, and the Kronos String Quartet.

He has recorded and toured worldwide with his own groups including ROOM, w/Chris Brown and Larry Ochs, CHALLENGE, w/Anthony Braxton and David Rosenboom, WAKE, w/Frank Gratkowski and Chris Brown, the ABEL/STEINBERG/WINANT TRIO, and the WILLIAM WINANT PERCUSSION GROUP.

He is principal percussionist with the San Francisco Contemporary Music Players, he has been closely associated with NYC composer John Zorn, and has made numerous recordings, and performed in many projects throughout the world with the composer. Starting in 1995 he has been the percussionist with the avant-rock band Mr. Bungle, has made two recordings ("Disco Volante" and "California" on Warner Brothers), and has toured throughout the world with this group. For many years he had worked with composer Lou Harrison, recording and premiering many of his works, and in March of 1997 he participated in the world premiere of Lou Harrison's quintet "Rhymes with Silver" featuring cellist Yo-Yo Ma and the Mark Morris Dance Group, and has toured the piece throughout the United States and Great Britain.

In the fall of 2011, he joined Mike Patton's Italian pop music project "Mondo Cane" which features a 12 piece band + string orchestra, and have recently completed tours of South America and Australia.

In the fall of 2003, celebrating the 50th anniversary of the Merce Cunningham Dance Company, Mr. Winant, along with composers Takehisa Kosugi and Christian Wolff, created music for a series of eight special "Events" staged by Merce Cunningham and Dancers at London's Turbine Hall at the Tate Modern. Winant continued to tour throughout Europe and the United States with the dance company until 2009

He has made over 200 recordings, covering a wide variety of genres, including music by Earle Brown, John Cage, Morton Feldman, Christian Wolff, John Zorn, Butch Morris, James Newton, Frank Gratkowski, Pauline Oliveros, Luc Ferrari, Karlheinz Stockhausen, Danny Elfman ("Batman Returns"), Siouxse and the Banshees, Secret Chiefs 3, ICP, Han Bennik, The Ex, White Out with Jim O'Rourke, Lou Reed, Thurston Moore, and Mike Patton.

[...]

Mr. Winant has premiered many new works written specifically for him, by such noted composers as John Cage, Christian Wolff, Lou Harrison, John Zorn, Zeena Parkins, Bun-Ching Lam, Barbara Monk Feldman, Hi-Kyung Kim, Roscoe Mitchell, Wendy Reid, Ralph Shapey, Peter Garland, Michael Byron, Paul Dresher, Alvin Curran, Frederic Rzewski, Chris Brown, David Rosenboom, Larry Polansky, Gordon Mumma, Alvin Lucier, Terry Riley, Fred Frith, Somei Satoh, and Wadada Leo Smith.

Mr. Winant has been featured as a guest artist with the Los Angeles Philharmonic (under the direction of Pierre Boulez), the San Francisco Symphony, and the Berkeley Symphony (Kent Nagano, director), as well as at Cabrillo Festival, Monterey Jazz Festival, SF Jazz Festival, Central Park Summerstage, Ravinia Festival, Salzburg Festival, Donaueschingen Festival, Victoriaville, Holland Festival, Edinburgh Festival, Ojai Festival, Sonar Festival, All Tomorrow's Parties, Taklos, Other Minds Festival, Lincoln Center, Melt Down Festival, Royal Festival Hall, Library of Congress, The Barbican, The Kennedy Center, Paris Opera, Disney Hall, Miller Theater Composer Portraits Series, Merkin Hall, Guggenheim Museum, and Brooklyn Academy of Music.

For ten years he was principal percussionist with the Cabrillo Festival Orchestra (Dennis Russell Davies, director), and timpanist with the Philharmonia Baroque Orchestra 1985-1988 (Nicholas McGegan, director).

He is a Visiting Lecturer at the University of California at Santa Cruz, and teaches at Mills College and the University of California at Berkeley. For eight years Mr. Winant was Artist-in-Residence at Mills College with the critically acclaimed Abel-Steinberg-Winant Trio. Formed in 1984, the ASW Trio has premiered over 25 new works for violin, piano, and percussion at major festivals and recitals throughout the world. Their recordings can be heard on the New Albion, Tzadik, and CRI/New World labels."

"Brett Carson explores the dynamic intersection of materials and the excavation of myth through his compositions, at once volatile and highly structured. Using architectural elements borrowed from composers such as Braxton, Cage, and Messiaen, and deriving inspiration from such fields as mysticism, science, and archaeology, his work aims toward the deconstruction of a musical reality, to be reassembled in a way that is fragmented though still recognizable.

A native of Georgia, Brett became active in Atlanta's experimental music scene while working in more conventional contexts, particularly as a jazz pianist. In 2012, he released two independent recordings with his group Alembic Circle. He moved to Oakland the same year, and is currently involved with his project Quattuor Elephantis in addition to several Bay Area groups including the Medium-Sized Band and Noertker's Moxie. As a performer he has worked with a wide variety of musicians, including Bill Baird, Nicolas Collins, George Lewis, Rent Romus, Wolter Wierbos, and William Winant. He holds an MA in Composition from Mills College, where he studied with Roscoe Mitchell, Zeena Parkins, Fred Frith, Les Stuck, Joan Jeanrenaud, and Robert Schwartz."

"Joan La Barbara's career as a composer/performer/soundartist/actor explores the human voice as a multi-faceted instrument expanding traditional boundaries in developing a unique vocabulary of experimental and extended vocal techniques: multiphonics, circular singing, ululation and glottal clicks that have become her "signature sounds, influencing several generations of composers and singers. Creating works for multiple voices, chamber ensembles, music theater, orchestra and interactive technology, her awards in the U.S. and Europe include: Foundation for Contemporary Arts John Cage Award (2016); NewMusicUSA Project Awards: "The Early Immersive Music of Joan La Barbara" and "Dreams of Water Beyod One's Depth"; Civitella Ranieri Fellowship (2013); Premio Internazionale "Demetrio Stratos" Per la sperimentazione musicale (2011); American Music Center's Letter of Distinction for her significant contributions to contemporary American Music (2008); Guggenheim Fellowship in Music Composition (2004); DAAD Artist-in-Residency in Berlin; 7 National Endowment for the Arts Fellowships in Music Composition, Opera/Music Theatre, Inter-Arts, Recording (2), Solo Recitalist and Visual Arts; ISCM International Jury Award; Akustische International Competition Award; Aaron Copland Fund for Music; Foundation for Contemporary Arts grants; Collaboration Award of NY Coalition of Professional Women in the Arts and Media Finalist; Meet The Composer, New Music USA and ASCAP Awards. Numerous commissions for concert, theatre and radioworks include: "in the dreamtime" and "Klangbild Köln" for WestDeutscher Rundfunk, Cologne; "Dragons on the Wall", a music score commissioned by Mary Flagler Cary Trust and "Calligraphy II/Shadows" for voice and Chinese instruments, both for Nai-Ni Chen Dance Company; choral work "to hear the wind roar" for Gregg Smith Singers, I Cantori and the Center for Contemporary Arts/Santa Fe; "Events in the Elsewhere" from "The Misfortune of the Immortals" , funded by Meet the Composer/Lila Wallace; "Awakenings" for chamber ensemble, from the University of Iowa Center for New Music; "l'albero dalle foglie azzurre" (tree of blue leaves) for solo oboe and tape, commissioned by The Saint Louis Symphony, "a trail of indeterminate light" for cellist who sings; "A Murmuration for Chibok" for Young Peoples Chorus of New York for Transient Glory choral project (2015-16), with text by Monique Truong. "73 Poems", her collaborative work with text artist Kenneth Goldsmith, was included in "The American Century Part II: SoundWorks" at The Whitney Museum of American Art. "Messa di Voce" , an interactive media work, in collaboration with Jaap Blonk, Golan Levin and Zachary Lieberman, premiered at Ars Electronica in Linz, Austria on September 7, 2003 and was awarded Honorary Mention in the 2004 Prix Ars Electronica. Live Music for Dance commissions include "Landscape over Zero" (2004-05 for Nai-Ni Chen Dance Company), "Fleeting Thoughts" (2005-06 for Jane Comfort & Company), and "Desert Myths/Isle of Dunes" (premiered at NJPAC April 29, 2006 featuring Ne(x)tworks and Nai-Ni Chen Dance Company). "Atmos" for flute and sonic atmosphere, commissioned by Meet The Composer/NYSFM, premiered March 2008 at Symphony Space, performed by Margaret Lancaster; recording released on "Io" , for New World Records in 2009. In 2007-08, La Barbara received a NYSCA Music Composition award to compose a new spoken word opera,/politial dance theatre work "An American Rendition" , in collaboration with choreographer/theater artist Jane Comfort, which premiered September 2008 at Duke Theatre, NYC. "Angels, Demons and Other Muses" placing the musicians of Ne(x)tworks within the audience, was presented on the Interpretations Series at Roulette in April 2010. "in solitude this fear is lived " , a sound painting for amplified voice, orchestra and "sonic atmosphere" inspired by the minimalist work of Agnes Martin, placed the musicians of the American Composers Orchestra around and in the audience, premiering in March 2011 at Carnegie's Zankel Hall. "Journeys and Observable Events, placing musicians and actors in the many rooms of Greenwich House Music School, and allowing each audience member to create an individual experience traveling through the building, premiered May 6, 2011. Phase One of "Storefront Diva" a new work for pianist Kathleen Supové in a theatrical environment, premiered at a pop-up store at 159 Bleecker in Greenwich Village on December 27, 2011; "Storefront Diva: a dreamscape" , the subsequent phase of this work premiered April 2013 as part of "Digital Debussy" project at The Flea Theater in Tribeca. La Barbara's new chamber ensemble work "Persistence of Memory" premiered at The Kitchen in December 2011; an expanded version with complementary film by Aleksandar Kostic, premiered at MaerzMusik in Berlin March 17, 2012, along with her new production of John Cage’s "Song Books" . "Parallel Dreams" , a collaborative performance project with pianist Kathleen Supové, filmmaker/director Aleksandar Kostic, costume & set designer Marija Plavsic and composer/performer Joan La Barbara, premiered June 2014 as part of Figment festival, on Governors Island, with funding from LMCC/MCAF and has been made into a short film. La Barbara is composing a new opera reflecting on the artistic process and sounds and visions within the mind, exploring the lives and works of Joseph Cornell and Virginia Woolf, "Dreams of Water Beyond One's Depth" , collaborating with librettist Monique Truong. [...]

"Multi-instrumentalist/composer/improviser, Zeena Parkins, pioneer of contemporary harp practice and performance, reimagines the instrument as a "sound machine of limitless capacity." Parkins has built three versions of her one-of-a-kind electric harp and has extended the language of the acoustic harp with the inventive use of unusual playing techniques, preparations, and layers of electronic processing.

Inspired and connected to visual arts, dance, film, and history, Zeena follows a unique path in creating her compositional works. Through blending and morphing of both real and imagined instruments, crafting, recombining, and layering mangled, sliced, massaged or possibly disengaged sounds, drawing from extra-musical sources for unusual scoring and formal constructions as well as utilizing multi-speaker environments, Zeena remains in process with sound as material and music, engaged in translations of sonic states in the concert hall, the black box theater, the dance studio, the recording studio, the classroom, the cinema, the skyscraper, the ocean and the gallery. Zeena has a particularly strong commitment to making scores for dance and continues to re-evaluate the nature and issues of the body's imprint on sound and sound/music's imprint on movement.

Parkins's compositions have been commissioned by NeXtWorks Ensemble, Merce Cunningham Dance Company, Roulette Intermedium, The Eclipse Quartet, William Winant, Bang on a Can, The Whitney Museum, The Tate Modern, Montalvo Arts Center, The Donaueschinger Musiktage and Sudwestrundfunk/SWR.

Parkins has released four solo records featuring her electric and acoustic harp playing and has released her compositions and band projects on six Tzadik recordings, with a new Tzadik CD with Ikue Mori and Phantom Orchard Orchestra, Trouble in Paradise, to be released in November 2012. As a sought-after collaborator Zeena has worked with: Fred Frith, Björk, Ikue Mori, Dame Evelyn Glennie, Maja Ratkje, Hild Sofie Tafjord, John Zorn, Butch Morris, Chris Cutler, Elliott Sharp, Nels Cline, Alex Cline, William Winant, Anthony Braxton, Pauline Oliveros, Yoko Ono, Christian Marclay, Matmos, Yasunao Tone, So Percussion, Bobby Previte, Carla Kilhstedt, Tin Hat, James Fei, Kim Gordon, Lee Renaldo and Thurston Moore.

Awards: The Foundation for Contemporary Arts Fellowship, NYFA Music Fellowship, Meet the Composer Commission, NYSCA Composer Commission, Multi-Arts Production Fund Grant, American Music Center, BAFTA award for best interactive media with visual artist Mandy McIntosh and sound artist Kaffe Matthews, Peter S. Reed Fellowship, Mary Flagler Cary Charitable Trust Commissions, Arts International, Prix Ars Electronica Honorary Mention for Phantom Orchard in the Digital Music category.

Curatorial: Guest curator for The Music Unlimited Festival in Wels, Austria, co-curator of the Movement Research Festival: Sidewinder, in NYC and curator for a month + a week of shows at The Stone in NYC

Residencies: Civitella Ranieri Foundation Fellowship, Oxford University, Harvestworks, Steim, Paf: Performing Arts Forum, Wooda Arts Residency, Montalvo Arts Center, RPI/iEAR and The Watermill Center.

Teaching: Zeena has given lectures at Oxford and Princeton Universities and has taught at the School of the Museum of Fine Arts in Boston, Bard and Mills College. Currently, Zeena is a Distinguished Visiting Professor, at Mills College Graduate Music Department."

"Born in Sierre, Switzerland in 1977. After studies at the conservatories in Geneva and Paris, moved to Lausanne in 2001 to work with improvised and contemporary music with various ensembles. In 2003 started an association for improvised music called Rue du Nord, and the following Festival Rue du Nord was inaugurated at the " Theatre du 2.21 " in Lausanne. Since then has worked with many musicians in different settings (Urs Leimgruber, Dragos Tara, Kim Myhr, Andrea Parkins, Jack Wright, Andrew Drury, Pierre Audétat, Peter Evans, Tom Blancarte, Tomas Korber, Jean Bordé, Jonas Kocher, Richard Jean, Lukatoyboy, Sébastien Roux, John Menoud, Benoît Moreau, Yannick Barman, Laurent Estoppey, Quentin Sirjacq, D'incise, ... ) but also in various contemporary music ensembles such as Ensemble Contrechamps, Vortex, Nouvel Ensemble Contemporain (NEC) where has worked with the amongst others composers Georges Aperghis, Helmut Lachenmann, Luc Ferrari, Barry Guy, Michael Jarrel, Eric Gaudibert, Dominique Lehmann."

"Born in Sydney in 1962, Tony is regarded as one of Australia's most creative and adventurous exports, with vast experience across the globe. He has been involved in a highly diverse array of projects. Apart from The Necks, he is probably best known as leader of hardcore/impro band PERIL.

Early in his musical life, after having graduated from the New South Wales Conservatorium of Music, he became very involved in the jazz scene in Australia, often touring with visiting international artists such as Vincent Herring, Clifford Jordan, Mickey Tucker, Branford Marsalis and Ernie Watts, as well as Australians Mark Simmonds, Paul Grabowsky, The catholics, Sandy Evans and Dale Barlow.

Following time spent in Japan, where he formed PERIL with Otomo Yoshihide and Kato Hideki, Tony moved to Europe, and has involved himself in many projects there, including the development of new "virtual" MIDI controllers at STEIM in Amsterdam.

Tony has played, toured or recorded with, among others, Jon Rose, Nicolas Collins, Tenko, John Zorn, Tom Cora, Phil Minton, Haino, Switchbox, The Machine for Making Sense, Ne Zhdall, The EX, Peter Brotzmann, Hans Reichel, The Little Red Spiders, Subrito Roy Chowdury, Clifford Jordan, Kletka Red, Han Bennink, Shelley Hirsch, Wayne Horvitz, Palinckx, and Ground Zero."

"Christian Kesten is a composer, director, sound and intermedia artist, vocalist and performer.

His artistic interest lies in the "in-between", the transitory, the spaces between music and action, music and language, music and sculpture. His work explores the interpenetration of sound and silence, of sound and space, with a focus on the physical activity of creating the sound, and the physicality of the sound itself. His compositions include instrumental, vocal, site-specific works and composed theatre. Kesten is a specialist in vocal experimentation and the performativity of music. He works with an expanded notion of music that integrates elements from performance art, conceptual art and contemporary dance.

Kesten received commissions by ensembles like Marinate Fish Impro Committee Beijing, Solistenensemble Kaleidoskop, Maulwerker, Konzert Minimal, Rue du Nord Lausanne, Ensemble Cercles Schweiz, Object Collection New York, AuditivVokal Dresden, Chorakademie Dortmund, WeSpoke London.

He realised full-length pieces in spaces like Radialsystem V Berlin, Schauspielhaus Wuppertal, Théâtre 2.21 Lausanne, Witte de With Center for Contemporary Arts, Gropius Bau Berlin, at festivals like MaerzMusik, MINU_festival for expanded music Kopenhagen, Labor Sonor Translating Spaces, MIKROTON Berne, Kunstfest Weimar, Ontological Experimental Series New York, Operadagen Rotterdam. He also created site-specific works for train stations, basements, and the three elevators of Museum for Modern Art MUMOK Vienna. Kesten delivered solo performances for voice, body, objects, video and audio/field recordings in Europe, North America, China and Japan.

He received awards and grants by the Berlin Cultural Senate, Ernst-von-Siemens-Musikstiftung, International Society of New Music, Kuenstlerhaus Lukas Ahrenshoop, Villa Aurora Los Angeles, Civitella Ranieri Italy, a.o.

His stage directions of new music theatre (Kagel, Schnebel, Cage, Tom Johnson, Makiko Nishikaze, Jacques Demierre, Steven Takasugi and others) have been presented at Akademie der Künste Berlin, Kleines Schauspielhaus Dresden, Theater Bielefeld, Podewil Berlin, Konzerthaus Berlin, Megaron Moussiki Athens, Festspielhaus Hellerau, Kings Place London, at the festivals MaerzMusik Berliner Festspiele, Huddersfield Contemporary Music Festival, Les Amplitudes Switzerland, Tage Théâtre Musical Zurich, Festival des Jardins Musicaux Switzerland and others.

He is a member of the ensemble Maulwerker and conceives the series maulwerker performing music, which investigates aspects of musical performativity as a consequence of an expanded notion of music: the compositional material is extended to the body, the space, the situation.

Since 2006 he has been co-curator of the Berlin series Labor Sonor for experimental music, film and performance, co-editor of the book "echtzeitmusik berlin. self-defining a scene" (2011) and artistic co-director of the Labor Sonor festivals "Translating Music" (2015), "Moving Music" (2016) and "Choreographing Sound" (2018).

Teaching assignments and guest lectures in Europe, Israel, China, North and South America."

"Magda Mayas, born 1979, is a pianist living in Berlin. Developing a vocabulary utilizing both the inside as well as the exterior parts of the piano, using preparations and objects, she explores textural, linear and fast moving sound collage.

Alongside the piano, Mayas has recently been performing on a Clavinet/Pianet, an electric piano from the 60s with strings and metal chimes, where she engages with noise and more visceral sound material, equally extending the instrumental sound palette using extended techniques and devices.Mayas performs internationally solo and in collaboration with a large number of musicians and composers.Current projects are "Spill", a duo with drummer Tony Buck, a duo with Christine Abdelnour (sax) and "Great Waitress", a trio with Monika Brooks (acc) and Laura Altman (cl).

She is currently undertaking Phd studies at the University of Gothenburg, Sweden and investigating extended instrumental techniques, spectral music and psychoacoustics in an improvised music context.

Since 2013 she has also been producing radio pieces for ABC Australia and Deutschlandradio Kultur and has released 20 CDS to date.

Magda Mayas has performed and toured in Europe, the USA, Australia, Mexico and Lebanon and collaborated with many leading figures in improvisation and composers such as John Butcher, Andy Moor, Zeena Parkins, Joelle Leandre, Paul Lovens, Ikue Mori, Phill Niblock, Peter Evans, Andrea Neumann and Axel Dörner. She has performed at festivals and exhibitions such as Maerz Musik (2012,2015), Documenta (2012) or the Berlin Biennale ( 2014)."

"A New York City native, Matthew Ostrowski has worked as a composer, performer and installation artist, exploring work with music, multimedia, video and theater. Using digital tools and formalist techniques to engage with quotidian materials - sonic, physical, and cultural - Ostrowski's work explores the liminal space between the virtual and phenomenological worlds. His work, which has been seen on six continents, ranges from live electronic performance to installations incorporating video, multichannel sound, and computer-controlled objects. He is a freelance developer of interactive technology for artists, and teaches at NYU and Columbia University.

Ostrowski's productions have been seen or performed on six continents, including the Wien Modern Festival, Transmediale and Maerz Musik in Berlin,the Kraków Audio Art Festival, Sonic Acts in Amsterdam, PS 1 and The Kitchen in New York , the Rencontres Internationales video festival in Madrid, and Yokohama's dis_locate Festival. He has received numerous awards, including a NYFA Fellowship for Computer Arts."

"Sébastien Roux (1977, Paris, France) is a French engineer and composer living in Paris.

After primary studies as an engineer, Roux collaborated with Institut de recherche et de coordination acoustique musique (Ircam) as a programmer for the Acoustique des salles team. Then, Roux followed the DEA teaching programme ATIAM (acoustics, signal processing and computing applied to music).

Since 2003, Roux is working at IRCAM as a musical assistant creating customized tools for composers using MAX/MSP. After performing music as a guitarist in various experimental outfits, he started composing music for radio and film, working with Marine Hugonnier, Jacques Perconte or Cedrick Eymenier."