"Unearthly Vibrations" explores a sonic and vibratory collaboration between human and non-human bodies. As multiple vibrators freely move in an aquarium, Pirler captures their sounds using electromagnetic field (EMF) sensors. These sensors enable the listening of various frequencies and harmonics that the unique internal electronics and oscillation rates of the vibrators produce. Pirler then processes the sounds using modular synthesis. As the vibrators interact with each other due to the magnetic properties of their bodies, they push and pull on one another, resulting in a dynamic and ever-changing spatial environment within the aquarium. In her role as human collaborator, she listens to the vibrators' sounds and responds to their movements, contributing to, and shaping the mutually created soundscape and exploring the agency of non-human actors. For New Ear Spatial, "Unearthly Vibrations" is reimagined for an octophonic cube audio system, emphasizing the dynamic spatial relationship between these non-human bodies and their environment, as well as with their human collaborator.

Senem Pirler (she/her) is an artist, sonic improviser, and educator. Pirler’s interdisciplinary work crosses over into sound art, composition, performance, video art, and installation. Born in Turkey, Pirler studied classical piano at Hacettepe State Conservatory, earned her M.M. in Music Technology from NYU Steinhardt, and her Ph.D. in Electronic Arts from Rensselaer Polytechnic Institute. Pirler has exhibited work nationally and internationally, including performances at the EMPAC (NY), Roulette (NY), The Kitchen (NYC), Carnegie Hall (NYC), Mabou Mines (NYC), Southbank Centre (London), Akademie der Künste (Berlin), Los Angeles Philharmonic (LA), Baryshnikov Arts Center (NY), and Montalvo Arts Center (CA). Her work has been recognized by institutions such as the LMCC, Harvestworks, Institute for Electronic Arts, PACT Zollverein, Signal Culture, and EMS Stockholm. Pirler has been awarded a NYSCA/NYFA Artist Fellowship in the category of Music/Sound in 2022 and the Malcolm Morse Award to honor the work of Pauline Oliveros and Deep Listening in 2018. Pirler was a faculty member in Music at Bennington College from 2018 to 2024. Dr. Pirler joined the faculty of the University of Chicago in 2024.

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If the conventional wisdom of the audio engineer is to create the illusion of a single, cohesive resonant world by “gluing” together bits and pieces that may have originated from various recording environments, how might one inhabit an electroacoustic architecture anterior to that world? Motivated by an intersection of ideas introduced by Rizvana Bradley and Gascia Ouzounian across media and sound studies, “Antesymphonic Touch” is a spatialized fixed media piece that deconstructs and remediates a 1966 recording of the first movement of the well-known Symphony No. 9 by Czech composer Antonín Dvořák, “From the New World,” by the Berlin Philharmonic with Herbert von Karajan. It contemplates the world-ing conceit at the center of the symphonic concert hall and its relationship to logics of mixing and mastering in the modern studio setting.

Jessica Shand is a flutist, producer, composer, and researcher currently based out of Providence, RI. She merges contemporary experimental classical, jazz, and electronic performance practices with her background in mathematics and computer science to (de)construct sound as a relational interface between and among humans and machines. An inaugural fellow with the Steve Jobs Archive (’23) and a Wm. S. Haynes International Young Artist, she holds degrees from the Massachusetts Institute of Technology (M.S. Media Arts and Sciences ‘24) and Harvard University (B.A. Mathematics and Music ‘22). For more information and to get in touch, please visit www.jessicashand.com.

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Dani Dobkin is a sound artist, composer, and educator based in NYC. Their work explores sound through modular synthesis, ceramics, and interdisciplinary collaborations. Their artistic practice often delves into themes of grief, decay, and ephemerality, creating immersive sonic environments that emphasize physical, kinetic, and auditory experiences. They work extensively with handmade instruments, live electronic improvisation, and sound installations. Past and recent collaborators include Yarn/Wire, International Contemporary Ensemble, CT::SWaM, Qubit and Women in Sound. As an artist and composer, their work has been showcased at a variety of venues and galleries including ISSUE Project Room (NYC), Dimenna Center for the Arts (NYC), The Clay Studio (Philadelphia), Spectrum (NYC), Fridman Gallery (NYC), Mom’s Gallery (NYC), The Wallach Gallery (NYC), The Rubin Museum (NYC), Public Records (NYC), Chronos Art Center (Shanghai), NextSunday (Tokyo), The Corcoran (D.C), Constellation (Chicago, IL), and Little Berlin (Philadelphia). Dobkin recently received a Doctorate of Musical Arts in Music Composition from Columbia University. They are currently serving as a Visiting Assistant Professor in Electronic Music at Bard College.