Noon-7:30 p.m.   — Exhibits: The BYTE Gallery International Exhibition,

Fri. & Sat.     and five site-specific installations, open in various

                 locations, MFA First Floor and MFA Lower Level.


This installation bridges two generations of synthesis and audio processing.  An ARP 2600 generates a series of tones, triggered by an ARP 1601 Sequencer.  Its output is fed to a Macintosh computer running Max/MSP 5.  This program randomly generates from the analog sound source a granularly synthesized texture.  Random samples of ARP sounds are also captured and triggered by this program, reprocessed according to random procedures, and released.  An infrared motion sensor looks at the proximity of the observer(s) and adjusts the audio output to create a mix of ARP or Max/MSP. (Approaching the exhibit allows more and more digital processing to emerge in the mix.  The original analog sound source is heard if you are far enough away from the sensor.)  This creates an interactive, ever-­‐changing sonic texture. Visitors may also manipulate the installation sounds as well by interacting with the ARP 3620 keyboard controller.  The sEqual project is meant to engage the visitor in a historical dialogue with past and present electronic music technologies. 

========================================================================= sEqual  Installation by Brad Decker                   

(in Faculty Lounge)

“Direction” utilizes its own interactivity to challenge participants notions of interactive works and spatial relationships.  Participants hold a different perception of the work based on how they first experience it.


Open Source  Installation by Super Soul

(in Coleman Recital Hall)

Title:       Crib

Materials:   Video, wood, steel, video monitors, CPUs

Description: Crib sculpturally engages our use of fossil fuels for power.

Dimensions:  Approximately 8 feet wide by 5 feet deep by 10 feet 3” high

BYTE GALLERY INTERNATIONAL EXHIBITIONS feature works that are judged and selected by Transylvania University faculty for inclusion in the BYTE Gallery.  Professional artists, composers, and dramatists from around the world enter this competition.  These exhibits give Transylvania students an exclusive front row seat at the leading edge of international digital art and music scenes.

This exhibition, as part of the 2012 STUDIO 300 Festival presents thirty-four works submitted by professional composers and artists from across the globe, including the United States, the United Kingdom, Australia, France, Italy, Argentina, Korea, Poland, Ireland, India, and Germany.  These 34 works were selected from a pool of over 200 entries.

Artists and works for the BYTE Gallery are listed on its webpage, BYTE Gallery International Exhibition: FALL 2012


“Flux” was commissioned by percussionist Yi-Chia Chen from Arizona. The piece continues an ongoing interest of the composer in pursuit of musical continuity through a constant flow of energy throughout the piece. A big part of the electronic sound was derived from analysis/resynthesis and granular synthesis. The acoustic writing itself incorporates a lot of similar concepts and techniques to reflect the same processes used in the electronic part.

Mei-Fang Lin is currently an Assistant Professor in Composition at the Texas Tech University. She received her Ph.D. from the University of California at Berkeley and her M.A. from the University of Illinois at Urbana-Champaign where she also taught as Visiting Assistant Professor in Composition. Supported by the Frank Huntington Beebe Foundation and the George Ladd Paris Prize, she studied with composer Philippe Leroux in Paris during 2002-2005 and participated in the one-year computer music course “Cursus de Composition” at IRCAM in Paris in 2003-2004. Lin’s music has received awards, performances and broadcast internationally in over 25 countries.

Jonathan Sharp is an active performer and educator, presenting percussion clinics and master classes throughout the United States as well as performing internationally.  He has performed regularly with the Champaign-Urbana Symphony Orchestra, and Sinfonia Da Camera, as well as with Pink Martini, Matt Dusk, the Boston Pops, and the Lexington Philharmonic Orchestra.  Jonathan is currently a candidate for the Doctor of Musical Arts Degree in Percussion Performance at the University of Kentucky.  He holds a Master of Music degree from the University of Illinois at Urbana-Champaign and a Bachelor of Music degree from Morehead State University.  



For more information contact Timothy Polashek, director of the STUDIO 300 Festival, Transylvania University, 300 North Broadway, Lexington, KY 40508 USA


STUDIO 300 Digital Art and Music Festival, 2012

September 28 & 29, 2012

Lexington, Kentucky USA

Artists and Works

7:30-9:30 p.m.   — WAVE 1 Concert: featuring surround sound music,

Sept. 28, Fri.   interactive performance, and videomusic,

                 Haggin Auditorium, MFA


The word phyllotaxis means “leaf arrangement” in Greek.  It describes the phenomenon that plants seem to grow in patterns that make for the most efficient use of space.  In these patterns, the Fibonacci series, the Golden Ratio, and the Golden Angle (360°/Φ) are prominent, and this piece makes extensive use of these in the structuring of pitches and of time.

Phyllotaxis was composed for Kimberlee Goodman with the partial support of the Otterbein University Faculty Development Committee. The electronic sound is derived from earlier recordings of the flute part and from live processing of the flute, both of which are controlled from a Max/MSP patch.

Jennifer Bernard Merkowitz is Assistant Professor of Music Theory and Composition at Otterbein University in Westerville, OH.  She received her MM and DMA in Composition from the University of Cincinnati College-Conservatory of Music, and she holds a BA in Music and a BS in Computer Science from the University of Richmond.  She has taught at the College of William and Mary and Interlochen Arts Camp. A staunch proponent of interdisciplinary work, she frequently collaborates with choreographers, artists and scientists, and her music is influenced by everything from liturgical chant to basketball games.

Dr. Kimberlee Goodman has been on the faculty of Otterbein University in Westerville, Ohio since 2005. She has also taught a course at Ohio State entitled “Navigating a Career in Music” and has taught music appreciation courses for the LifeLong Learners Institute.  Dr. Goodman has presented lecture recitals at the College Music Society’s international conferences in Seoul (2011), Bangkok (2007), and at a CMS regional conference in Missoula, Montana (2008). Dr. Goodman was the guest artist for the Cleveland Flute Society’s Flute Day in 2012.  Dr. Goodman holds flute performance degrees from Arizona State (BM) and Ohio State (MM and DMA).


Sound Mirrors   Music by Larry Barnes; Larry Barnes, Piano

Sound Mirrors was commissioned by Victoria Neve, professor of piano at San Francisco State University, and first performed there. Subsequent performances include festivals at University of Memphis, Stanford University, University of Cincinnati Visiting Composer Series, Florida State University, SCI Region IV Festival, University of Louisville guest composers’ concert, Michigan State University, and numerous other venues. The former performance version for live digital delay was reconceived in 2012, and a version for piano and MAX/msp programming was constructed. The bows are constructed of 20-pound-test fishing line, strung across a four-foot length six to eight times, and cut to attach to the lid of the piano with poster putty to grab when needed. The piece is constructed with several canons, alternating with solo sections. When combined with delay, the resulting intermixing of keyboard and bowed sounds creates something of a keyboard orchestra.

Larry Barnes is currently Professor of Music and Bingham Fellow for Excellence in Teaching at Transylvania University. All of his music since 1986 has been composed on commission. He is the recipient of a NEA Composer Fellowship, two Kentucky Arts Council awards, and 30 ASCAP Awards. His music is published by Southern, Brazinmusicanta and SEE-SAW Music Corporations. In 2005 Barnes participated in the Workshop for Algorithmic Music Composition at the University of California at Santa Cruz. In 2008 he composed the original score for the film Euphoria, which took the Gold Award for Documentary at the Houston Film Festival. In August 2010 he toured Ecuador, presenting lectures, workshops and concerts of his music in four cities.


Disinformation Indistinguished  Music by Michael Wittgraf

Disinformation Indistinguished is inspired by the apparent total lack of ability by mainstream information outlets to make a distinction between credible information and uninformed opinion.  It is also inspired by the parallel lack of ability by information consumers as a group to do the same.  What exists is essentially a complex tapestry of fact and fiction, of wisdom and dogma, and of reason and unreason, all woven into one enormous fabric without pattern or shape.  As such, it is useless.

Michael Wittgraf (b. 1962) is Chair of the Music Department at the University of North Dakota.  His music has won numerous awards and has been performed in North America, Europe, and Australia.  He earned music degrees from Northwestern University and the University of Minnesota, and a degree in mathematics from Carleton College.


Beneath  Music and Video by Tohm Judson

beneath the milky white sky, it came

Tohm Judson received his PhD from the University of Iowa where he studied composition with David Gompper and Lawrence Fritts. He received his MM from the University of Florida where he studied with James Paul Sain, Paul Richards, and Budd Udell. His music has been performed in the UK, France, Italy, and throughout the United States, including the SEAMUS National Conference, SCI, Electronic Music Midwest, the Festival of New American Music and was a featured artist at the EMIT festival in Tampa, Florida. Dr. Judson has worked with many forms of interactive media including audio, video, installation, and dance, collaborating with artists such as K.T. Nelson of ODC San Francisco, Robert Dick, Holland Hopson, Owen Roberts, Christopher Cozier, Leo Morrissey, and Karloa Luttringhaus. He currently teaches at Winston Salem State University, North Carolina.


Benjamin Taylor  Music by Benjamin Taylor; Bryan Andrews, Double bass

11 p.m.-12:30 a.m.— WAVE 2 Concert: Late Night with Digital Al, Al’s Bar

Sept. 28, Fri.



Phyllotaxis  Music by Jennifer Bernard Merkowitz; Kimberlee Goodman, Flute


“Diving Bell - “Kalimba””  Music by David McDonnell & Jerod Sommerfeldt    

                           David McDonnell, saxophone and electronics

                           Jerod Sommerfeldt, laptop computer

Kalimba is a study in interaction between saxophone, laptop, and analog electronics. Based on the melodic patterns of the kalimba, it explores live improvisation within the spectral field of diatonicism and free jazz harmonies.

Diving Bell is the duo project of composers David McDonnell and Jerod

Sommerfeldt.  Their collaborations focus on spontaneous compositions

that highlight evolving dialogues between McDonnell's electronically

manipulated saxophone and Sommerfeldt's modular computer programs.

This fusing of analog and digital technology creates dense sonic

landscapes, which the two record in their studio and then refine and

edit into narrative structures.  Both are adjunct faculty at the

University of Dayton, teaching coursework in electronic music,

technology, and composition.


Bodywork  Music by Michael Sikora

This piece showcases my experimentation with dance genres and

different sampling techniques. I also experimented with variating rythms

to change the context and perspective of how a melody will sound to an


Michael Sikora has been playing music for over 10 years and

currently studies Music Technology and Mathematics at Bellarmine

University in Louisville, Kentucky. He loves studying the wide

range of possibilities that music encompasses. He can play the

clarinet, bass clarinet, guitar, piano, bass, and is constantly

expanding his repertoire.


The Lens  Music by Zach Bain-Selbo

Trance No. 1 is a piece emulating the Epic Trance sub-genre of electronic dance music. Key characteristics of trance, apart from tempo and use of specific drums, is the use of texture in motion. The piece's interest comes from interacting layers over a more static harmonic progression or layer. Throughout this piece, the kick drum is a constant drone in the background while the melody shifts from an original theme to a quote from Dvorak's New World Symphony and back again.

Caleb Ritchie is a musician, composer, and writer recently graduated from Transylvania University and currently living in Lexington, Kentucky. He composed the soundtrack for the short film Waterbody in 2011 and is excited to be involved with Rube's Cube , a web-series slotted to begin release at the end of 2012. He is currently working on an EP of pop music to release in the fall.


X-Rated Plaza  Music by Space Genetics

               Paul Scea & Eric Haltmeier, laptop computers & woodwinds

The work of Sun Ra and late-period Miles Davis show their influence in The X-Rated Plaza. Filtered analog synthesizer weaves its way around evolving electronic drums and melodic bass phrases. Swirling, distorted flute improvisation over droning organ pads shift the energy of the piece toward its close. This piece is included on the 2012 album Space Genetics Music Vol. 3.

Paul Scea is the Director of Jazz Studies at West Virginia University. He is a free-lance jazz, new music, and Rhythm and Blues performer on woodwinds, laptop, and Midi Wind Controller, and is active as a composer, arranger, clinician and adjudicator. His experience includes hundreds of performances with internationally known jazz and pop artists.

Eric Haltmeier the Director of Music at Pingree School in South Hamilton, MA and is an active performer on woodwinds, keyboards, and electronics. He has served on the faculty of Westminster Choir College of Rider University and taught in the NJ public schools for 15 years.


7:30-9:30 p.m.   —WAVE 3 Concert: featuring surround sound music,

Sept. 29, Sat.   interactive performance, and videomusic,

                 Haggin Auditorium, MFA



St. Vitus Kyrie  Music and Video by Liza Seigido; Liza Seigido, Voice

St. Vitus' Kyrie is a work for live processed voice and fixed video. The cavernous beauty of St. Vitus Cathedral inspired this composition, charged with Prague’s nostalgia and spirituality. The video and the audio work together to represent the essence of this magnificent edifice and of the city where it is situated. The music is generated entirely in real time by the vocalist utilizing a Max/MSP patch built exclusively for accompanying the fixed video. St. Vitus' video was conceived in July of 2009 during my studentship in the Czech-American Summer Music Institute. The gothic stained-glass window featured in the video is the first window one encounters when stepping into St. Vitus Cathedral.

Liza Seigido is a Miami-based-composer, music-educator and co-founder/coordinator of the Vanguard Miami Music Festival. Her formal training in composition began with Dr.Susan Epstein-Garcia and Professor Jorge Ibañez at New World School of the Arts College in downtown Miami. Liza, a recipient of multiple scholarships (including four grants from the Hispanic Scholarship Fund), holds a Master of Music degree from Florida International University where she studied composition under Prof. Fredrick Kaufman. She also served as a teaching assistant for FIU’s composition program. Liza is currently performing with Fridamusiq--a Miami-based avant-garde improvisational ensemble, and studying composition under Dr. Lansing McLoskey and Dr. Charles Masson at the University of Miami where she is working towards her Doctorate and has been awarded a full tuition scholarship and teaching assistantship. 


Pushing Buttons  Music by Andrew Walters; Joseph Murphy, Saxophone

Originally entitled Monkeys Typing, Pushing Buttons for Alto Saxophone and Two Channel Electroacoustic sound is about trying to flip the right switch at the right time.  This is basically what playing an instrument is, isn’t it?  Though there are allusions to typewriting monkeys, bombs, clocks, severe punishments for the wrong answer, and other such things, all of the sounds in this piece come  from recordings of saxophones.  Many thanks to Idit Shner, Lance Miller, Scott Wyatt, Roy Allen, Jeff  Stolet, and to Robert Rose for the source material.       

Andrew Walters was born in Topeka, Kansas but spent most of his beginning years in Farmington, Missouri.  Walters has received degrees from Millikin University, Northern Illinois University, and a Doctor of Musical Arts degree in composition from the University of Illinois.  Walters’ music has been performed at various conferences throughout the United States and Canada including SEAMUS, SCI,  ICMC, Spark, Imagine II, Electronic Music Midwest, Electroacoustic Juke Joint.  His piece “BeforeClocks Cease Their Chiming” was premiered by Duo Montagnard at the 2009 World Saxophone Congress in Bangkok, Thailand. His music appears on volume nine and sixteen of the “Music from SEAMUS” compact discs. Currently he is Assistant Professor of Music Theory and Music Technology at Mansfield University in Mansfield, Pennsylvania.

Joseph Murphy has been the saxophone professor at Mansfield University of Pennsylvania since 1987, where he has also served as Department Chair and Director of Bands. He received the Bachelor of Music degree from Bowling Green State University (OH), and the Master of Music and Doctoral of Musical Arts degrees from Northwestern University.  In 1985-86 he received a Fulbright Award for a year of study in Bordeaux, France, where he received a Premier Prix.  In June 1996, Dr. Murphy performed a solo recital at Lincoln Center.  He has performed in Europe, Taiwan and Japan.  He is a clinician for the Selmer Corporation and has been recorded on the Erol (France), Opus One, and Mark Record labels.  Murphy has been involved in commissioning and premiering more than twenty new works for the saxophone, including pieces by Libby Larsen, Michael Colgrass, John Harbison, Bernard Rands, and Gunther Schuller.



Firmament-schlaflos (firmament-sleepless)  Music by Hans Tutschku

A universe of sound is surrounding us "from within". It's composed of our dreams, fears and longings. It only exists within our body, our own imagination. We want to share it - but there are no words, no possible descriptions. We are sitting on a meadow on a warm night - alone; watching the stars.

Nobody is disturbing our thoughts. Nobody is limiting our space. We don't have to rush anywhere; we have time to let go and to follow these sounding creatures...

It's not a nightmare - it's just the interplay of our imaginations.

Hans Tutschku has been a member of the "Ensemble for intuitive music Weimar" since 1982. He studied composition in Dresde, The Hague and Paris, and earned a doctorate at the University of Birmingham in the UK. He participated in several concert cycles of Karlheinz Stockhausen to study sound direction. He taught in Weimar, Berlin, at IRCAM in Paris and has been working as composition professor and director of the electroacoustic studios at Harvard University since 2004. He is the winner of many international competitions, among other: Bourges, CIMESP Sao Paulo, Prix Ars Electronica, Prix Noroit and Prix Musica Nova.  In 2005, he received the culture prize of the city of Weimar.


fluid dynamics  Music and Video by Adam Scott Neal

In fluid dynamics, video and audio were both heavily processed to highlight and emulate the natural behaviors of water, oil, heat, and light.

Adam Scott Neal: PhD fellow, University of Florida. MA, Queen's University Belfast. MM, BM, Georgia State University. Over 80 performances in 14 US states, the UK, Canada, China, Slovenia, Switzerland.


Micro-Coastings  Music and Video by Timothy Polashek;

While recording sound sources for Micro-Coastings, I performed and produced rhythms through moving, striking and scraping objects, and captured the natural rhythms of sounds.  I focused on short expressive gestures and close microphone positioning, sometimes rapidly moving the microphones.   The video camera, like the microphone during the recording of my sound sources, was likewise positioned to frame objects more closely to capture things expressively.  I applied my musical intuition to video production while creating.  This work has been awarded performances at several international computer music festivals, including SEAMUS, ICMC, RAFLOST, and Intermedia Festivals.

Timothy Polashek writes in a variety of media and styles, including vocal, instrumental, electro-acoustic music, text/sound compositions, and interactive performance systems, and his music has been performed throughout the Americas, Europe and Asia.  Dr. Polashek earned his Doctor of Musical Arts in Composition from Columbia University, an M.A. in Electro-Acoustic Music from Dartmouth College, and a B.A. in Music from Grinnell College. He is an Assistant Professor of Music and the Music Technology Studies Coordinator at Transylvania University.


Pamuk  Music by Young-Shin Choi; Young-Shin Choi, Gayageum 

Pamuk is my fourth work influenced by Brush Calligraphy focuses on transforming the gestures inside the strokes and the shades of ink to music with Korean 12-string zither and live electronics. Non-processed traditional sounds and substantially processed sounds coexist and create intriguing sonorities. They are varied, detailed, subtle, flexible, reactive, blending with and supporting one another.

Young-Shin Choi, D.M.A. is a composer for both instrumental and electro-acoustic music with a strong interest in interdisciplinary digital media. Dr. Choi is striving to cultivate an aesthetic based upon a unique combination of musical elements drawn from Korean traditional music and modern Western musical idioms. Recent works were presented throughout the US, Europe, Japan, and Korea. Dr. Choi received his Doctorate degree in composition (D.M.A.) at the University of California Santa Cruz and is now teaching at Rochester Community and Technical College (Rochester, MN).


10:30-11:30 a.m. — Artist’s Talk: “Elephants Paint and Dogs Play Games:

Sept. 28, Fri.  Interactivity, games, and artistic expression”,

                 demonstration by Super Soul’s Richard Hoagland and John

                 Meister, in Coleman Recital Hall, Mitchell Fine Arts

                 Center (MFA)


Super Soul will demo their installation “Open Source” and discuss the medium of interactivity.  Topics will include the nature of games, the idea of ludus and how games present a new form of artistic expression as well as limitations and challenges for the artist.

Super Soul's mission is to develop interactive experiences with an emphasis on fun, innovation and experimentation.  Super Soul was founded in late 2011 by John Meister and Richard Hoagland.  The company recently released Compromised on the Xbox 360.  Super Soul has also produced several experimental games and showcased interactive installations.  To learn more about the company and their projects visit or follow @SuperSoulStudio


11 a.m.-12:00p.m.— Artist’s Talk: “integration and confusion: ‘Zellen-

Sept 29, Sat.   Linien’ for piano and live-electronics”, demonstration

                 by composer Hans Tutschku, Haggin Auditorium, MFA


Electronic processes and sounds are at the core of my compositional practice since 30 years. Starting as a teenager with analogue synthesizers, touring with live-electronic improvisation since then and integrating computers into the creative chain in the early 90th, I experienced the growing potential for musical expression. The vast possibilities come with a prize – we need to focus and limit our artistic ambitions to a select set of tools for a given music project. Otherwise we end up with a patchwork of sounds, processes and ideas, which are hard to be perceived as a musical work. 

The presentation will present the composition Zellen-Linien for piano and live-electronics and outline some of my main concerns while composing: gestural control of sound, sound spatialization, and the relationship between instrumental and electronic sounds.

The first punch is everything. It represents a conclusion of thought – an end to analyzing personal motivation, estimating an opponent's strengths and weaknesses, playing out scenarios of strategies and positions, surveying surroundings, calculating odds of winning – ultimately putting into action a series of electronic impulses sent from the brain to a few thousand muscle fibers. That's a lot that happens in a few seconds. Cinematographers reflect an awareness of the hyper-mental and hyper-physical state required to survive in a fight by using effects like replay, slow motion, freeze, and flashback to ''stretch'' time. These effects allow film makers to portray the multitude of thoughts and events that happen in a two second window over the course of a several minute scene. This composition, First Punch, is a musical depiction of the hyper-mental and hyper-physical state of a fighter. Using similar techniques to those mentioned above, this piece ''stretches'' time to reflect the many (and varied) thoughts and emotions that a fighter experiences in the last few seconds before the first punch is thrown.

Bryan Andrews is a double bassist whose energetic nature and passion for expression liven his performances and open the joy of music making to all. Heading into his second year of Masters studies at CCM he has had many wonderful performance opportunities, including the premiers of several new compositions. Through these experiences Bryan has come to value new music and the opportunities that it affords to performer, composer, and listener alike.  Bryan believes that through contemporary music we are given the opportunity to tread new sonic landscapes that challenge our definitions of music, art, and life.

The music of composer Benjamin Taylor (b. 1983) has been performed at music festivals including SEAMUS, SCI, International Society of Bassists Conference, International Double Reed Society Conference, Spark Festival of Electronic Music and Arts, Noisefloor Festival, Electronic Music Midwest, Hawaii Contrabass festival, and international jazz festivals in Edinburgh, Wigan, Marlborough and Birmingham.  Mr. Taylor's prizes and honors include a 2011 BMI Student Composers Award, a Barlow Endowment Commission, a 2011 ASCAP Young Jazz Composer Award, First Place Winner of the 2008 SCI/ASCAP Student Composition Competition (Region VII), and First Place Winner of the 2008 International Society of Bassist’s Composition Competition (media division).  Benjamin Taylor is a doctoral student at Indiana University (Bloomington).


Flux  Music by Mei-Fang Lin; Jonathan Sharp, Marimba

Brad Decker’s music focuses upon the combination of disparate gestures, the exploration of timbre, and often draws on influences from music of all parts of the world.  He was a selected finalist for the Bourges 30e and 31e Concours International de Musique et d’Art Sonore Electroacoustiques, the IV Edition Pierre Schaeffer International Competition of Computer Music, the 2005 ASCAP/SEAMUS Student Composer Competition, and the 2004 Concurso Internacional de Música Eletroacústica de São Paulo.  Dr. Decker received his DMA in music composition from the University of Illinois at Urbana-Champaign.  His dissertation on the late works of Franco Donatoni was published in January 2006, on which topic he continues to lecture and publish articles.  He is currently Instructor of music composition and theory at Eastern Illinois University.


Direction  Installation by Super Soul

(in Faculty Lounge/FATLab)

“Open Source” is a re-imagining of the classic video game Pong placed within the context of the Rauschenberg piece “Open Score”.  Instead of a game played out visually on a screen, two participants face off against one another on a small scale tennis court with no ball or paddles.  Players judge the position of a virtual ball based on auditory cues while Kinect hardware tracks the participants as their bodies act as virtual paddles.  Open Source combines game and art history to further the dialogue of the past, present and future of games.

Richard Hoagland – Creative Director - studied printmaking and new media at the University of Kentucky, earning a BFA degree.  He has exhibited his work at the Idea Festival, the Creative Cities Summit, the Downtown Arts Place and many other venues. Richard also worked in computer graphics research at the University of Kentucky. On his home world Richard has won many awards and holds a PHD in both psychology and paranormal psychology.

As a graduate of Purdue University in Computer Engineering (BS), John Meister has worked in the software industry for the last 15 years.  He founded RunJumpDev, a non-profit game development association in Kentucky whose goal is to promote the game industry and culture.  John is a lifelong gamer and has a passion for leading creative teams. 


Crib  Installation by Zoé Strecker

(in Haggin Foyer)

Zoé Strecker is a visual artist and writer who teaches in the art department at Transylvania University.  She works with a broad range of media including ceramics, wood, textiles, sound, video, text, performance and organic materials.  Sculpture and installation projects investigate questions or sets of ideas through experimental combinations of story and material; to keep the ideas evolving, she edits and alters artworks with each exhibition.  Her permanent, commissioned sculptures for public and private sites in Colorado, Tennessee, Alaska, and Kentucky, are made of ceramics, metal, water and other media; all deal with specific aspects of the relationship between local culture and the physical environment at the particular site.


Ink In The Cage  Installation by Barbara LoMonaco and Angela Baldridge

(in Morlan Gallery)

While tattoos are common among mixed martial arts (MMA) fighters and are highly visible in the cage, the stories behind them are less public. Ink in the Cage is a photographic exploration of those tattoos which reveal unique aspects of fighter identities---their convictions, passions, and personal histories. Through interview excerpts and larger-than-life images, observers are granted entré into the private lives of these athletes whose tattoos commemorate major turning points, serve as reminders of loved ones, echo religious sentiments, and are frequently symbols of the philosophy fighters live by, both inside and outside the cage.

Hans Tutschku has been a member of the "Ensemble for intuitive music Weimar" since 1982. He studied composition in Dresde, The Hague and Paris, and earned a doctorate at the University of Birmingham in the UK. He participated in several concert cycles of Karlheinz Stockhausen to study sound direction. He taught in Weimar, Berlin, at IRCAM in Paris and has been working as composition professor and director of the electroacoustic studios at Harvard University since 2004. He is the winner of many international competitions, among other: Bourges, CIMESP Sao Paulo, Prix Ars Electronica, Prix Noroit and Prix Musica Nova.  In 2005, he received the culture prize of the city of Weimar.


I started this composition a year ago, and I finally finished it this year. I got stuck trying to compose the ending portion of this composition because I was trying to incorporate all of the previous elements into it. But, in the end, I just decided to incorporate my favorite elements. It also took me a while to think of the name, but, when I closed my eyes and let it take me somewhere, I arrived in the early hours of the night, escaping to somewhere better.

I'm Kaleb, and I'm studying music technology at Transylvania University. I was in Studio 300 last year, and that was a really fun experience. I can play the piano fairly well, and knowing that instrument will always have a major effect on my music. My number one rule for my compositions is that I have to like how it sounds, or I'm not proud of it. I'm a perfectionist, and detail-oriented, as well. All those things together make composing electronic music a great outlet for me, and I really enjoy putting all the effort into what I do.


Trance No. 1  Music by Caleb Ritchie

Vox Novus’s 60x60 2011 International Mix and 60x60 Athena Mix will be looping continuously throughout each day of the festival.

60x60 is an hour long work that highlights 60 composers who have composed works 60 seconds or less. 60x60 started in 2003 and has created an annual International mix as well as other mixes such as the  annual Canadian Mix, Athena Mix, and this year debuts the first European Mix. Besides its annual world debut in New York City, the project has received performances all over the United States and throughout the world including Chicago, Los Angeles, Miami, San Francisco, London, Tokyo, Buenos Aires, Sydney, Berlin, Taipei, São Paulo, Belgrade, Bucharest, Istanbul, Toronto Montreal, and many others. 60x60 has been included in several festivals including the London’s Open Weekend for the London 2012 Olympics, the Create 10 Festival, American Music Experience, ICMC 2010, the Montreal Fringe Festival, Canada Conference, Electronic Midwest Music, and many others. 60x60 represents a slice of the contemporary music scene as a showcase of music from composers around the world, writing today's music.



BYTE Gallery International Exhibition  Works by Various Artists

(in Rafskeller Foyer)

The Lens features an Alesis Ion synthesizer run through a Boss Digital Delay 7 pedal on reverse and analog settings, both tinkered with throughout the piece. All other sounds including the piano, bass, whining lead synth, and drum machine were created using various Protools plugins. Not once was a preset used on or to make any sound. The minimal percussion in this piece was inspired by the song Videotape by Radiohead.

Zach is a Music Technology major and a sophomore at Transylvania University. He is a classically trained pianist since his childhood and more recently became interested in live performances with other artists and recording his own electronic music. You can find a nearly complete collection of his solo recordings under the name "Killer Bee!" on Soundcloud. His electronic influences include James Blake, Toro y Moi, Animal Collective (and their members' solo work), Jan Hammer, and Vangelis.


A.M. Freedom  Music by Kaleb Allen

Barbara LoMonaco is Professor of Anthropology and Vice President of Student Affairs and Dean of Students at Transylvania University.  Ink in the Cage is project that derives from her passion for mixed-martial arts fighting and her academic interests in the gendered meanings underlying body decoration cross-culturally.  She has published on the subculture of U2 fans, worked as a corporate consultant, and taught numerous anthropology courses in her years at Transylvania. She holds the Bingham Award for Excellence in Teaching, and accepted the position of Dean of Students in July, 2012.  In her spare time, she enjoys spending time with her horses, goats and other animals on her farm in Scott county, and gardening.


Vox-Novus 60x60  Works by Various Artists

(in Faculty Lounge)

Angela Baldridge is a freelance photographer who was born in Covington, KY and currently lives and works in Lexington, KY. She received a BA from Transylvania University, and completed coursework for a Master's in Visual Communications at Syracuse University at the NY and London campuses. She works primarily as a photojournalist, shooting regularly for the Lexington Herald-Leader. Her passion for telling others' stories began when German survivors of World War II shared their stories with her for a college portrait project. Inspired by the survivors' need to have their stories heard, she switched her focus from art to photojournalism. Since then, her work has taken her to California, Las Vegas, New York, Mexico, Germany, Hungary, and England, and all over Kentucky where she has been inspired by people's shared and individual stories. In the wake of newspapers' struggles, Angela began working as a program director for AmeriCorps, where she ran a state-wide home visitation program. Her work with AmeriCorps provided insight and awareness about the lives of individuals and communities all over Kentucky. In 2011, Angela left her position with AmeriCorps to work as a video producer with Bullhorn, a local branding company. In September 2012, Angela returned to the nonprofit sector as executive director of the Plantory, a multitenant nonprofit center located in the heart of the East End of Lexington. Angela believes strongly in community empowerment, locally and abroad, and believes that the first step in empowering is to listen. She hopes to remain a listener, and a storyteller using photography to empower and connect people from many communities.