--- /dev/null
+_site
+.sass-cache
+.jekyll-metadata
+.DS_Store
+.jpg
+.png
+
--- /dev/null
+---
+layout: default
+---
+
+<style type="text/css" media="screen">
+ .container {
+ margin: 10px auto;
+ max-width: 600px;
+ text-align: center;
+ }
+ h1 {
+ margin: 30px 0;
+ font-size: 4em;
+ line-height: 1;
+ letter-spacing: -1px;
+ }
+</style>
+
+<div class="container">
+ <h1>404</h1>
+
+ <p><strong>Page not found :(</strong></p>
+ <p>The requested page could not be found.</p>
+</div>
--- /dev/null
+source "https://rubygems.org"
+
+# Hello! This is where you manage which Jekyll version is used to run.
+# When you want to use a different version, change it below, save the
+# file and run `bundle install`. Run Jekyll with `bundle exec`, like so:
+#
+# bundle exec jekyll serve
+#
+# This will help ensure the proper Jekyll version is running.
+# Happy Jekylling!
+gem "jekyll", "~> 3.8.5"
+
+# This is the default theme for new Jekyll sites. You may change this to anything you like.
+gem "minima", "~> 2.0"
+
+# If you want to use GitHub Pages, remove the "gem "jekyll"" above and
+# uncomment the line below. To upgrade, run `bundle update github-pages`.
+# gem "github-pages", group: :jekyll_plugins
+
+# If you have any plugins, put them here!
+group :jekyll_plugins do
+# gem "jekyll-feed", "~> 0.6"
+end
+
+# Windows does not include zoneinfo files, so bundle the tzinfo-data gem
+gem "tzinfo-data", platforms: [:mingw, :mswin, :x64_mingw, :jruby]
+
+# Performance-booster for watching directories on Windows
+gem "wdm", "~> 0.1.0" if Gem.win_platform?
+
--- /dev/null
+GEM
+ remote: https://rubygems.org/
+ specs:
+ addressable (2.5.2)
+ public_suffix (>= 2.0.2, < 4.0)
+ colorator (1.1.0)
+ concurrent-ruby (1.1.2)
+ em-websocket (0.5.1)
+ eventmachine (>= 0.12.9)
+ http_parser.rb (~> 0.6.0)
+ eventmachine (1.2.7)
+ ffi (1.9.25)
+ forwardable-extended (2.6.0)
+ http_parser.rb (0.6.0)
+ i18n (0.9.5)
+ concurrent-ruby (~> 1.0)
+ jekyll (3.8.5)
+ addressable (~> 2.4)
+ colorator (~> 1.0)
+ em-websocket (~> 0.5)
+ i18n (~> 0.7)
+ jekyll-sass-converter (~> 1.0)
+ jekyll-watch (~> 2.0)
+ kramdown (~> 1.14)
+ liquid (~> 4.0)
+ mercenary (~> 0.3.3)
+ pathutil (~> 0.9)
+ rouge (>= 1.7, < 4)
+ safe_yaml (~> 1.0)
+ jekyll-feed (0.11.0)
+ jekyll (~> 3.3)
+ jekyll-sass-converter (1.5.2)
+ sass (~> 3.4)
+ jekyll-seo-tag (2.5.0)
+ jekyll (~> 3.3)
+ jekyll-watch (2.1.2)
+ listen (~> 3.0)
+ kramdown (1.17.0)
+ liquid (4.0.1)
+ listen (3.1.5)
+ rb-fsevent (~> 0.9, >= 0.9.4)
+ rb-inotify (~> 0.9, >= 0.9.7)
+ ruby_dep (~> 1.2)
+ mercenary (0.3.6)
+ minima (2.5.0)
+ jekyll (~> 3.5)
+ jekyll-feed (~> 0.9)
+ jekyll-seo-tag (~> 2.1)
+ pathutil (0.16.2)
+ forwardable-extended (~> 2.6)
+ public_suffix (3.0.3)
+ rb-fsevent (0.10.3)
+ rb-inotify (0.9.10)
+ ffi (>= 0.5.0, < 2)
+ rouge (3.3.0)
+ ruby_dep (1.5.0)
+ safe_yaml (1.0.4)
+ sass (3.6.0)
+ sass-listen (~> 4.0.0)
+ sass-listen (4.0.0)
+ rb-fsevent (~> 0.9, >= 0.9.4)
+ rb-inotify (~> 0.9, >= 0.9.7)
+
+PLATFORMS
+ ruby
+
+DEPENDENCIES
+ jekyll (~> 3.8.5)
+ minima (~> 2.0)
+ tzinfo-data
+
+BUNDLED WITH
+ 1.16.6
--- /dev/null
+# Welcome to Jekyll!
+#
+# This config file is meant for settings that affect your whole blog, values
+# which you are expected to set up once and rarely edit after that. If you find
+# yourself editing this file very often, consider using Jekyll's data files
+# feature for the data you need to update frequently.
+#
+# For technical reasons, this file is *NOT* reloaded automatically when you use
+# 'bundle exec jekyll serve'. If you change this file, please restart the server process.
+
+# Site settings
+# These are used to personalize your new site. If you look in the HTML files,
+# you will see them accessed via {{ site.title }}, {{ site.email }}, and so on.
+# You can create any custom variable you would like, and they will be accessible
+# in the templates via {{ site.myvariable }}.
+
+title: "////J////M////L////"
+baseurl: "" # the subpath of your site, e.g. /blog
+url: "" # the base hostname & protocol for your site, e.g. http://example.com
+permalink: /:categories/:title
+
+
+# Build settings
+markdown: kramdown
+
+# Exclude from processing.
+# The following items will not be processed, by default. Create a custom list
+# to override the default setting.
+# exclude:
+# - Gemfile
+# - Gemfile.lock
+# - node_modules
+# - vendor/bundle/
+# - vendor/cache/
+# - vendor/gems/
+# - vendor/ruby/
--- /dev/null
+<footer class="footer">
+ © 2018 JML
+</footer>
--- /dev/null
+<head>
+ <meta charset="utf-8">
+ <meta http-equiv="X-UA-Compatible" content="IE=edge">
+ <meta name="viewport" content="width=device-width, initial-scale=1">
+ <link rel="stylesheet" href="{{ "/style-layout.css" | prepend: site.baseurl }}">
+ <link rel="stylesheet" href="{{ "/style-colors.css" | prepend: site.baseurl }}">
+ <link rel="shortcut icon" type="image/jpg" href="/assets/favicon.jpg">
+ <link href="https://fonts.googleapis.com/css?family=Open+Sans" rel="stylesheet">
+ <!-- <meta name="viewport" content="width=device-width, initial-scale=1.0"> -->
+</head>
--- /dev/null
+<header class="nav">
+ <h2><a href="/" > {{ site.title }} </a></h2>
+</header>
--- /dev/null
+{%- if site.posts.size > 0 -%}
+
+<h2 class="post-list-heading">Projects</h2>
+<ul class="post-list">
+ {%- for post in site.posts -%}
+
+ {% if forloop.first %}
+ <h2 class="post-list-date">{{ post.date | date: "%Y" }}</h2>
+ {% else %}
+ {% if this_year != next_year %}
+ <h2 class="post-list-date">{{next_year}}</h2>
+ {% endif %}
+ {% endif %}
+
+ <li>
+ <h4>
+ <a class="post-link" href="{{ post.url | relative_url }}">
+ {{ post.title | escape }}
+ </a>
+ </h4>
+
+ {%- assign date_format = "%b %-d, %Y" -%}
+
+ <span class="post-meta">{{ post.date | date: date_format }}</span>
+
+ {%- if site.show_excerpts -%}
+ {{ post.excerpt }}
+ {%- endif -%}
+
+ {% capture this_year %}{{ post.date | date: "%Y" }}{% endcapture %}
+ {% capture next_year %}{{ post.previous.date | date: "%Y" }}{% endcapture %}
+
+ </li>
+ {%- endfor -%}
+</ul>
+{%- endif -%}
--- /dev/null
+<!DOCTYPE html>
+<html lang="{{ page.lang | default: site.lang | default: "en" }}">
+
+ {%- include head.html -%}
+
+ <body>
+
+ {%- include nav.html -%}
+
+ <main class="content">
+ <div class="wrapper">
+ {{ content }}
+ </div>
+ </main>
+
+ {%- include footer.html -%}
+
+ </body>
+
+</html>
--- /dev/null
+---
+layout: default
+---
+
+<div class="home">
+
+ {{ content }}
+
+ {%- include project-list.html -%}
+
+</div>
--- /dev/null
+---
+layout: default
+---
+
+<div class="job">
+
+ {{ content }}
+
+</div>
+
+<footer class="post-footer">
+ <a href="/" >← home</a>
+</footer>
\ No newline at end of file
--- /dev/null
+---
+layout: default
+---
+
+<div class="page">
+
+ {{ content }}
+
+</div>
+
+<footer class="post-footer">
+ <a href="/" >← home</a>
+</footer>
\ No newline at end of file
--- /dev/null
+---
+layout: default
+---
+
+<div class="project">
+
+ {{ content }}
+
+</div>
+
+<footer class="post-footer">
+ <a href="/" >← home</a>
+</footer>
\ No newline at end of file
--- /dev/null
+---
+layout: project
+title: "ODOT (o.) immersion course"
+date: 2017-08-13
+categories: academia pedagogy odot CNMAT
+---
+
+# ODOT Immersion Course
+
+This course guided students through an introduction into the odot (o.) programming toolkit for Max/MSP. ODOT helps the Max programmer in gaining more finite control over the ways in which you are sending data between applications in a network.
+
+
+
+Participants constructed sophisticated patches with an emphasis on interaction and exploration, while learning strategies and patterns for managing complexity, debugging, testing, and robustness. The course is tailored to artists and developers working with time-based media.
+
+Background: odot provides a container, the "odot bundle", an extension of Open Sound Control (OSC), for naming, aggregating, and structuring data. In the Max programming environment, this is supported by a number of externals and patches for creating, manipulating, and displaying these structures. Leveraging this toolkit, students explored the design of complex, real-world patches, with an emphasis on real-time processing.
+
+[announcement link](http://cnmat.berkeley.edu/events/odot-immersion-course)
+
--- /dev/null
+---
+layout: project
+title: "Computer Programming for Music Applications"
+date: 2018-01-17
+categories: academia pedagogy odot CNMAT UC-Berkeley
+---
+
+# Computer Programming for Music Applications
+
+This UC Berkeley Music Department course, abbreviated CPMA, is my first semester-length course that I have designed to date. It was taught in the main room of [CNMAT](http://cnmat.berkeley.edu/).
+
+The Course starts out in the Max/MSP programming environment, focuses on ODOT (CNMAT's internal update to OSC), and moves into its relationship to syntehsis processes in Max, Gen, gestural processing, and more.
+
+Topics covered include:
+
+- Max and Open Sound Control
+- Events and signals, patchers and routines
+- Sound file playback, real-time manipulation
+- Max + MSP intro, including sub-patchers, abstractions, polyphony
+- Grains and granular synthesis, o.granubuf~
+- sinusoids~, resonators~, CNMAT Externals at large
+- Analysis, re-synthesis
+- Architecting Wrappers
+- Gestures and behaviors
+
+There were also In-class presentations and discussion that moved the student along in their education in computer music. Many of the students were CS or EECS, and took the course as an opportunity to build interfaces that they could use for improvisation.
+
+
+
+---
+
+The official (outdated) description will be updated for this year, although there are similarities: "Software engineering for musical applications covering programming concepts for live-performance real-time systems as well as cloud-based music information retrieval applications. Topics include the software representation of sound and music, real-time scheduling, analysis of gestures from systems of sensors, common design patterns, analysis and controlled synthesis, and machine learning applications for music understanding and creation. Behavior driven design and test driven development are core ideas that permeate the course."
+
+[UC Berkeley Music Dept. Course Catalog](http://guide.berkeley.edu/courses/music/)
+
+[Github for foundationan materials](https://github.com/CNMAT/CNMAT-odot-cpma)
+
--- /dev/null
+---
+layout: project
+title: "RGB Pressure Sensitive Monome"
+date: 2008-09-06
+categories: academia research RGB pressure instrument interface gesture
+---
+
+# RGB pressure sensitive monome
+
+
+One of my first projects at [CNMAT](cnmat.berkeley.edu) was a collaboration with Adrian Freed. Our goal was to build upon ideas present in the Monome, which has the limitation of on/off status for button interactions.
+
+One way to circumvent this is to augment button toggles with pressure so that you simultaneously have pressure in one dimention, and a button with led feedback in another. This idea can also been seen captured in newer devices like the Keith McMillen Instruments QuNeo, which has a similar topology, but impelmented with MIDI. Instead of leaving the colorspace at a single LED, we also wanted each LED to have a uniquely addressable/showable color. Essentially the project became an RGB pressure sensitive monome. Adrian had already worked out the tricky bits with resistive fabrics he had been experimenting with, and asked me to get the multiplexing and Arduino code set up. This project led into a research paper about the various technics and affordances beyond a standard Monome device.
+
+#### My blog post: [link](http://cnmat.berkeley.edu/content/rgb-pressure-sensitive-monome)
+
+#### Adrian's blog post: [link](http://cnmat.berkeley.edu/content/rgb-pressure-sensitive-monome-0)
+
+
+---
+
--- /dev/null
+---
+layout: project
+title: "Subjective Spaces in Hearing Research"
+date: 2008-10-13
+categories: academia research auditory-scene hearing-science hearing-aid
+---
+
+CNMAT research with SHRC (Starkey Hearing Research Laboratories)
+---
+In 2008, I started work at [CNMAT](http://cnmat.berkeley.edu/) via a research project with the late David Wessel, involving the development of hearing aids. Subjects were able to use our test suite to custom calibrate a 16-band compressor in order to come up with weighted interpolations that made more sense to them than a standard preset. The goal was to put the hearing impaired in control rather than administering fittings for customers without feedback. We then compared these choices with the outcome of a neural network in order to do further research and analyses on the data. This work was done in Max/MSP, and the UI had to be used by people with no knowledge of programming.
+
+---
+
+Goals
+---
+- Develop and maintain software that subjects used for listening experiments
+- Log hours pertaining to clinical trials
+- Correlate data in findings and do further analysis
+- Report to SHRC team regarding updates and research goals
+
+---
+
+
+
--- /dev/null
+---
+layout: job
+title: "CNMAT: The Center for New Music and Audio Technologies"
+date: 2008-11-01
+categories: academia research development music-technology
+---
+
+# CNMAT
+
+My responsibilities at the Center for New Music and Audio Technologies have been to build software tools and systems for novel instruments, new media applications, and to work with composers towards new tools they can use in their compositions. Recently I’ve also been maintaining our internal codebase, including legacy objects, build systems, scripts, and documentation. These projects include abstractions, externals, and supporting code that people use for projects both in research and pedagogy. In order to fulfill CNMAT’s development requirements, I frequently use programming languages such as Max/MSP/Jitter alongside the IRCAM suite of tools, and languages like JavaScript and Python for file operations and UI.
+
+
+
+That same year I started work at CNMAT via a research project with the late David Wessel, involving the development of hearing aids. Subjects were able to use our test suite to custom calibrate a 16-band compressor in order to come up with weighted interpolations that made more sense to them than a standard preset. The goal was to put the hearing impaired in control rather than administering fittings for customers without feedback. We then compared these choices with the outcome of a neural network in order to do further research and analyses on the data. This work was done in Max/MSP, and the UI had to be used by people with no knowledge of Max.
+
+I was later recruited into CNMAT and started working with both Adrian Freed and David Wessel for the development of internal tools and projects. This led to my work with the odot (“o.”) toolset and supporting expression language that has been developed at CNMAT. I found that given CNMAT’s limited personnel, team members tend to take on significant responsibility a given task. In this way I continued into many modes of working, and ended up directing a lot of my energy at UC Berkeley to both interfacing with research goals and aiding pedagogy.
+
+Working with rapid prototyping to realize new techniques and ideas is critical for a successful research model. I find this process to be particularly collaborative and community-driven. It allows me to continually learn new concepts, techniques, and to see how my own techniques can be grafted into the process. IRCAM has always been on the cutting edge of sound and music research, and I am excited about the prospect of being involved in that community.
+
+---
+
+### Responsibilities
+
+- Develop software for composers and performers to utilize in composition, performances, and their own tool building.
+- Create tools for the odot (OSC) library.
+- Lecturing at Max/MSP/Jitter Summer course in the summer, alongside various CNMAT representatives and staff.
+- Documentation work and help for various features and components of CNMAT's software repository.
+- Maintain various CNMAT repositories, hosted on Github.
+- Maintain inventory for the research resource library.
+- Develop software for PhD candidates in Music Composition.
+- Annotate and maintain CNMAT's pedagogy archive.
+
+---
+
+
--- /dev/null
+---
+layout: project
+title: "HAPL: Hafter Auditory Perception Lab"
+date: 2008-11-01
+categories: academia research auditory-scene hearing-science dichotic-listening
+---
+
+HAPL
+---
+In 2008 I worked with Professor Ervin Hafter on a research project involving dichotic listening. Subjects were invited to answer questions issued in a virtual cocktail party that I programmed, both through visual stimulus on screen and a 48-channel speaker array in an anechoic chamber. The goal was to track how people pay attention with simultaneous streams of information, and how often they are able to tune in subconsciously. This work was completed with both Matlab and Max/MSP/Jitter as the framework, and the interface for the subjects was an array of switches that allowed them to answer the questions, which we could then catalogue.
+
+---
+
+Goals
+--
+- Develop software for an experiment involving the Dichotic Listening of subjects.
+- Code and administer A/V experiment with custom visual projection system, responsive sensors, and 48-channel speaker array in an anechoic chamber.
+- Execute responsibilities associated with role of Programmer/Analyst II.
+
+
+
+<!--
+
+
+
+-->
\ No newline at end of file
--- /dev/null
+---
+layout: project
+title: "0.9 (Zero Point Nine)"
+date: 2015-04-20
+categories: academia research LFO deaf-music instrument interface gesture
+---
+
+# 0.9 instrument for deaf performers
+
+
+
+[https://meyersound.com/news/tarek-atoui/](https://meyersound.com/news/tarek-atoui/)
+
+#### Performance site: EMPAC 2016-05-13
+
+[EMPAC 01](http://www.empac.rpi.edu/events/2016/spring/within)
+[EMPAC 02](http://empac.rpi.edu/events/2015/fall/within-2)
+
+Location: RPI, Troy, New York
+
+- Pauline Oliveros
+- Julia Alsarraf
+- Jad Atoui
+- Johannes Goebel
+- Matt O'Hare
+- Evan-Daniel Rose-González
+- Mats Lindström
+- Daniel Arraya
+- Kari Sundet
+- Espen Sommer Eide
+- Thierry Madiot
+- Julia Al Sarraf
+
+#### Performance site: Bergen Assembly 2016-09-02
+
+[BA 01](http://bergenassembly.no/en/tarek-atoui/)
+[BA 02](http://bergenassembly.no/en/tarek-atoui/within/)
+[BA 03](http://bergenassembly.no/en/tarek-atoui/infinite-ear/)
+
+#### Performance site: Mills 2015-11-05
+
+Info: Matrix #258 BAM/PFA (Premiere)
+Location: Mills college Student Union, Oakland, CA
+
+- James Fei
+- William Winant
+- Apsara Diquinzio
+- Greg Niemeyer
+- Perrin Meyer
+- Apsara Diquinzio
+
+Details: BCNM, Wooden interior
+
+[MILLS 01](https://bampfa.org/program/tarek-atoui-matrix-258
+https://bampfa.org/press/tarek-atoui-matrix-258-march-2%E2%80%93november-7-2015)
+
+#### Performance site: Berkeley 2015-11-07
+
+Info: Matrix #258: BAM/PFA
+Location: Hearst Mining building, Berkeley, CA
+
+- James Fei
+- William Winant
+- Greg Niemeyer
+- Perrin Meyer
+- Apsara Diquinzio
+
+Details: BCNM, Brick/Metal interior
+
+[UCB 01](https://bampfa.org/program/tarek-atoui-matrix-258)
+[UCB 02](https://bampfa.org/press/tarek-atoui-matrix-258-march-2%E2%80%93november-7-2015)
+
+
--- /dev/null
+---
+layout: project
+title: "Finite 00 - A quarterly series: Miller, Kanaga, Merkey"
+date: 2016-01-30
+categories: music improvisation collaboration
+---
+
+Finite Series #00
+
+Cullen Miller invited me to perform music. I utilized one of my early modular setups for a solo performance.
+David Kanaga of the [Software Label](http://www.softwarelabel.net/) performed the MYST soundtrack live, which was more than a little entertaining. I also had the chance to meet Madalyn Merkey for the first time, who put on a great performance with MaxMSP.
+
+---
+
+Themes
+
+- Improvisation
+- Collaboration
+
+---
+
+
+
+
+
+
--- /dev/null
+---
+layout: project
+title: "Finite 01 - A quarterly series: Miller, Dunne, Rene Hell, Easy Simple"
+date: 2016-04-30
+categories: music improvisation collaboration
+---
+
+Finite Series #01
+
+I was invited a second time to perform music at the Finite quarterly. This time was more involved, and took a bit more time to set up. I played after hours in the dark. After Rene Hell and EasySimple (simple) performed, [Gabriel Dunne](http://gabrieldunne.com/) and [Cullen Miller](http://pointlinesurface.com) performed with a live A/V set that they designed with bespoke software.
+
+---
+
+Themes
+
+- Improvisation
+- Collaboration
+
+
+
+
+
+
--- /dev/null
+---
+layout: project
+title: "Finite 02 - A quarterly series: Miller, Last, Jelinek, Scy1e"
+date: 2016-07-30
+categories: music improvisation collaboration
+---
+
+Finite Series #02
+
+I was invited a third time to perform music at the Finite quarterly, this time at Gray Area. This particular perforamnce was more ambient and textural, and I opened for the night. It was a pleasure to perform alongside [Jan Jelinek](https://faitiche.de), a long-time interest of mine. [Scy1e](https://scy1e.bandcamp.com/) played an excellent spatialized set involving electronics from Peter Blasser's lab, and [Cullen Miller](http://pointlinesurface.com/) collaborated with [David Last](https://www.facebook.com/pg/lastfaithstudio/) in a dance set.
+
+
+---
+
+Themes
+
+- Improvisation
+- Collaboration
+
+
+
+
+
+
--- /dev/null
+---
+layout: project
+title: "Bergen Assembly opening: Tarek Atoui's Infinite Ear"
+date: 2016-09-01
+categories: music improvisation collaboration research instrument-design
+---
+
+Tarek Atoui partnered with [Council](http://www.council.art) to create a masterful installation in the Sentral Badet community space of Bergen, Norway. My role was to set up the 0.9 instrument, calibrate it to the room, develop the software further with Tarek leading up to rehearsals, and train people on it through subsequent days of the exhibition prep. We worked with professional musicians and newcoming performers alike, many of them deaf persons. It was an eye opening experience to see the ways in which something of my own creation could be used to teach people how to create abstract music for the first time in their life. There were onsite interpreters to translate between sign and spoken language, and many interesting aspects of the space and partitions of the installation to explore and engage in as the time went by.
+
+Some highlights:
+
+- We worked with the [Bit20 Ensemble](http://bit20.no/home-english/) to aid them in particular pieces they would air on 9/2/2016 (the opening).
+- [Grégory Castéra and Sandra Terdjman](http://www.council.art/) set up a museum of sonic artifacts around the interior of the space, which taught people about the ways in which sound has been interpreted and used throughout history
+- There was a sound massage room where you could book an appointment for 1 hour increments
+- Johannes Goebel installed his [SubBassProtoTon](http://empac.rpi.edu/events/2017/fall/subbassprototon), which is an acoustic bass generator room construction in which the occupant of the box can control a low tone with a sliding window in which air passes through and creates vibration
+-
+
+http://www.council.art/residency/760/within-infinite-ear
+
+
+
+---
+
+Themes
+
+- Research
+- Iteration
+- Improvisation
+- Collaboration
+
+---
+
+![mod]()
+
+
+
+
--- /dev/null
+---
+layout: job
+title: "CNMAT: live electronics"
+date: 2018-05-18
+categories: music improvisation collaboration CNMAT
+---
+
+CNMAT [presented](http://cnmat.berkeley.edu/events/john-bischoff-w-jeffrey-lubow-cullen-miller) an evening with John Bischoff, myself, and Cullen Miller.
+
+
+
+John Bischoff (b. 1949) has been active in the experimental music scene in the San Francisco Bay Area for over 40 years as a composer, performer, and teacher. He is known for his solo constructions in real-time synthesis and the pioneering development of computer network music. He has performed across the US, and in Europe including such venues as the Festival d'Automne in Paris, Akademie der Künst in Berlin, and Fylkingen in Stockholm. He was a founding member of The League of Automatic Music Composers (1978), considered to be the world’s first computer network band. He is also a founding member of The Hub (1987), a network band that continues to expand on the network music form in new ways. Recordings of Bischoff’s work are available on Artifact, 23Five, Tzadik, Lovely, and New World Records. A solo CD on New World titled “Audio Combine” was named one of the BEST OF 2012 by WIRE magazine. He is full-time faculty in the Music Department at Mills College in Oakland, Califormia.
+
+[Bischoff website](http://www.johnbischoff.com/)
+
+Bischoff’s recent work incorporates custom analog circuitry in sonic exchange with laptop synthesis. As he activates the circuit in performance, the resulting tones and noises are analyzed in real-time and used to inform an extended computer response. A binding together of the analog and digital realms is the result, the unique characteristics of each medium counterpoised in time to form a hybrid sensibility. Examples include: Visibility Study (2015) which turns the familiar format of musician-processed-through-looping-pedal on its head. A noisy analog circuit becomes the player while the laptop produces a looping texture via analysis and re-synthesis of each circuit gesture; Level Shift (2017) intersects the timing of circuit actions from early in the piece against subsequent musical actions later on. The resulting counterpoint flows from the sonic interpenetration of two different parts from the same performance. A primary dynamic is found in the shifting balance between textural stability and continual change.
+
+Jeffrey Lubow (b. 1978) is an interdisciplinary artist and researcher concerned with the space between the body and technology. His influences stem from a 20 year history with computer music and media studies, alongside various collaborations and residencies. He has collaborated with Tarek Atoui, Cullen Miller, Indy Nyles, Gabriel Dunne, Pauline Oliveros, William Winant, and others.
+He has premiered work at the Bergen Assembly, EMPAC, ZKM Berlin, Beirut Art Center, BAMPFA Matrix, SPARK festival, and local Bay Area venues.
+In 2008, Jeffrey commenced a research position at CNMAT, UC Berkeley, focusing on music technology and media programming. He currently occupies the role of Music Systems Designer at CNMAT.
+
+[Lubow website @CNMAT](http://cnmat.berkeley.edu/people/jeffrey-lubow)
+
+Cullen Miller (b. 1986) is a sound-system artist, spatial-media designer, and curator. His projects vary in nature and typically fall within the spectrum of sound design, installation, composition, and systems design. Reared in Detroit, he relocated to San Francisco pursuing curatorial work with Gray Area Foundation, SFCMP, and to teach digital signal processing at San Francisco State University. He currently designs and constructs technical systems at Obscura Digital. He has released recordings under numerous aliases and organizes the concert series, FINITE. His performances and installations have been exhibited internationally in museums, galleries, and clubs.
+
+[Miller website](http://pointlinesurface.com/)
+
+---
+
+Themes
+--
+- Improvisation
+- Collaboration
+- Spatial audio
+
+---
+
+
+
+
+
+
--- /dev/null
+---
+layout: job
+title: "Starkey Hearing Research Center"
+date: 2009-01-01
+categories: academia research auditory-scene hearing-science hearing-aid
+---
+
+Starkey Hearing Research Laboratories (SHRC) position
+---
+Senior developer on a research programming team for the development of hearing aids.
+
+Tools written in: Matlab, Max/MSP/Jitter, Python
+
+---
+
+Goals
+--
+- Develop and maintain software that subjects used for hearing-related experiments
+- Correlate data in findings and do further analysis
+- Report to SHRC team regarding updates and research goals
+
+---
+
+
+
--- /dev/null
+---
+layout: job
+title: "DJTT: ENTER / Orbit instrument"
+date: 2014-05-04
+categories: industry research product-design collaborative-music gesture-recognition
+---
+
+DJ Techtools: Orbit Instrument for Richie Hawtin's ENTER exhibition
+---
+Plastikman's "Enter." club featured an entire level to house "Orbit" - Interactive music table with up to 6 performers (12 hands).
+Worked with team at DJ Techtools to build an interactive music experience for club in Ibiza, Spain.
+
+[Ibiza link](http://enteribiza.com/?p=1045)
+
+---
+
+Roles
+--
+- Senior software developer
+- Implementation of algorithms
+- Gesture recognition
+- UI elements to tune instrument
+
+
+
--- /dev/null
+---
+layout: job
+title: "Cycling '74"
+date: 2014-08-01
+categories: industry testing max7 maxmspjitter
+---
+
+Cycling '74: Max 7
+---
+Performed rigorous internal testing with David Zicarelli and other collaborators including Joshua Kit Clayton, Rob Sussman, Jeremy Bernstein, and Emmanuel Jourdan.
+
+[Cycling HQ](http://cycling74.com/)
+
+[M7 first look article](https://cycling74.com/articles/a-first-peek-at-max-7)
+
+---
+
+Experience
+--
+- Rigorous internal testing
+- Internal reporting and bug tracking
+- Set up various test harnesses for exploiting issues
+
+
+
--- /dev/null
+---
+layout: page
+title: About
+permalink: /about/
+---
+
+This is the base Jekyll theme. You can find out more info about customizing your Jekyll theme, as well as basic Jekyll usage documentation at [jekyllrb.com](https://jekyllrb.com/)
+
+You can find the source code for Minima at GitHub:
+[jekyll][jekyll-organization] /
+[minima](https://github.com/jekyll/minima)
+
+You can find the source code for Jekyll at GitHub:
+[jekyll][jekyll-organization] /
+[jekyll](https://github.com/jekyll/jekyll)
+
+
+[jekyll-organization]: https://github.com/jekyll
--- /dev/null
+---
+layout: home
+---
+
+## Jeffrey M. Lubow
+
+I am an interdisciplinary artist and researcher concerned with the space between body and technology. My influences are spread amongst a number of mentors and colleagues the likes of David Wessel, Adrian Freed, Leslie Stuck, John Bischoff, Pauline Oliveros, and Patrick Clancy.
+
+I studied conceptual art at the Kansas City Art Institute, and electronic music practice at Mills College in Oakland, California. Since, I have worked with various organizations, including Cycling '74, The Hafter Auditory Perception, and Starkey Hearing Research Center.
+
+In 2008, I commenced a research position at CNMAT (The Center for New Music and Audio Technologies), UC Berkeley, focusing on instrument building, music technology, pedagogy, and experimental software development, where I currently occupy the role of Music Systems Designer.
+
+
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git.dabkitsch.com / jekyll-site.git / commitdiff
