Affect Formations

in art and music


Dr. Adinda van ‘t Klooster is an artist who works with drawing, sound, light, animation, sculpture and interactive technology. During her PhD with CRUMB she explored the aesthetic experience in reactive and interactive artworks and investigated how different mapping strategies can be devised when physiological data is used as input. Ongoing interests in her work are the relationship between the body and technology, the equal combination of image and sound and the links between music/sound, art and emotion. Her work has been exhibited, performed and screened in China, the USA, Australia, Spain, the UK, the Netherlands, Slovenia and Norway. She has also been commissioned throughout the UK. Examples can be seen here.  

Dr Nick Collins is Reader in Composition at Durham University. His research interests include live computer music, musical artificial intelligence, and computational musicology, and he has performed internationally as composer- programmer-pianist and codiscian, from algoraves to electronic chamber music. As a composer, he investigates new possibilities in autonomous interactive music systems based on advanced artificial intelligence and machine listening. His music is sometimes pure computer music, and sometimes combines the traditions of acoustic composition with live electronic treatments. Previous works range from improvised pieces for pianist and computer agent, through works for other acoustic instruments with computer, to pure instrumental works such as his eight piano sonatas. Musical examples are available here.

Tuomas Eerola is a Professor of Music Cognition at the Durham University, UK. His research interest lies within the field of music cognition and music psychology, currently in perception and induction of emotions in music. He approaches these topics by combining computational modelling with empirical experimentation. He is the first author of a widely used computational toolbox for music analysis (MIDI Toolbox, 2004), has pioneered the study of acoustic and musical correlates of emotions from audio, and has published more than 80 papers and book chapters on topics including musical similarity, melodic expectations, perception of rhythm and timbre, induction and perception of emotions. He is also on the editorial board of Psychology of Music, and Frontiers in Digital Humanities and is consulting editor for Musicae Scientiae. For more information, see here and here.

John Snijders is a reader in performance at the Durham University music department. He studied at the Royal Conservatory The Hague with Geoffrey Madge (piano), Stanley Hoogland (fortepiano) and Louis Andriessen (composition). In 1985 he won first prize at the Berlage Competition for Dutch chamber music. He performed as soloist with amongst others the Dutch Ballet Orchestra, The Brussels Philharmonic, The Hague Philharmonic, Dutch Radio Philharmonic Orchestra, Radio Chamber Orchestra and Dutch Radio Symphony Orchestra. Since 1988 he is a member of the Nieuw Ensemble and he is also the founder, pianist and artistic director of the Ives Ensemble. Both as a soloist and with these groups he has performed extensively at most major music festivals in Europe. Snijders is especially interested in establishing connections between contemporary music and contemporary visual arts.

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