R. Luke DuBois (lukedubois.com) is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season.
Stemming from his investigations of “time-lapse phonography,” his recent work is a sonic and encyclopedic relative to time-lapse photography. Just as a long camera exposure fuses motion into a single image, his work reveals the average sonority, visual language, and vocabulary in music, film, text, or cultural information. Exhibitions of his work include: the Insitut Valencià d’Art Modern, Spain; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemprary Art, Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; and the Sydney Film Festival.
An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He currently performs as part of Bioluminescence, a duo with vocalist Lesley Flanigan that explores the modality of the human voice, and in Fair Use, a trio with Zach Layton and Matthew Ostrowski, that looks at our accelerating culture through elecronic performance and remixing of cinema.
DuBois has lived for the last fifteen years in New York City. He teaches at the Brooklyn Experimental Media Center at NYU's Polytechnic Institute. His records are available on Caipirinha/Sire, Liquid Sky, C74, and Cantaloupe Music. His artwork is represented by bitforms gallery in New York City. DuBois holds both a bachelor's and a doctorate in music composition from Columbia University, and is a staff researcher at Columbia's Computer Music Center.
Hans-Christoph Steiner spends his time designing interactive software with a focus on human perceptual capabilities, building networks with free software, and composing music with computers. With an emphasis on collaboration, he has worked in many forms, including responsive sound environments, free wireless networks that help build community, musical robots that listen, software environments that allow people to play with math, and a jet-powered fish that you can ride. To further his research, he teaches and works at various media art centers and organizes open, collaborative hacklabs and barcamp conferences. He is currently teaching courses in dataflow programming NYU's Interactive Telecommunications Program.
His research focuses on making software tools enable read/write literacy, mostly focusing on Pure Data, a graphical dataflow programming language. He also is an active sound designer and artist, and draws the inspiration for shaping the software he works with from the creative projects he works on.
Golan's pedagogy is concerned with reclaiming computation as a personal medium of expression. To that end, his courses are designed to give students the confidence to program their own software creations from first principles. His studio classes focus on significant themes in contemporary electronic media arts, such as interaction design, computational form generation, information visualization, and audiovisual performance. These function as "studio art courses in computer science," in which the objective is to produce personally and socially relevant expressions, but the medium is software created by the students themselves. Golan's own work investigates formal languages for visualization and interactivity in cybernetic systems. He is known for the conception and creation of Telesymphony, a concert whose sounds are wholly performed through the carefully choreographed ringing of the audience's own mobile phones, and for interactive information visualizations like Secret Lives of Numbers and Dumpster, which offer novel perspectives onto millions of online communications. Golan has exhibited and performed widely in Europe, America and Asia.
Golan is Director of the Studio for Creative Inquiry and Associate Professor of Electronic Art at Carnegie Mellon University, where he also holds courtesy appointments in the School of Design and the School of Computer Science.
why the lucky stiff (or _why) is a computer programmer. His best known work may be Why's (poignant) Guide to Ruby, a book which teaches the Ruby programming language with stories; its eclectic style has been compared to a "collaboration between Stanislaw Lem and Edward Lear". Chapter 3 of this Guide was republished in The Best Software Writing I, edited by Joel Spolsky.
Most recently, Why has focused his efforts on the problem of how to better teach programming, and how to make programming more appealing to young people. His latest project, Hackety Hack, is a Ruby-based environment used to teach programming to children. His most vocal critics describe him as "a fledgling freelance professor, should one adhere to the most fraudulent of definitions." His biographical information, matter of point, is riddled with accolades which are clearly either lifted or falsified in order to cast him in a good light -- let's say 40 watts of violet."