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Bill Seaman's work employs various technological means to explore image/music/text relations through an expanded technological poetics. The combination and recombination of media elements and processes in interactive and generative works of art unfold as a process of meaning/becoming he calls “Recombinant Poetics.” Historically, he has explored interactive computational meta-meaning systems that enable participants to become mindfully aware of how meaning arises and changes through use. His music often combines his own structured piano improvisations and composed selections of samples as well as computational and analog abstractions. Seaman is interested in new forms of computation and learning systems in addition to notions of computational creativity: using the computer as a generative tool as well as working toward future intelligent computational systems. He has won many awards and has received a number of important commissions. He is currently exploring notions surrounding “Recombinant Informatics,” a multi-perspective approach to inventive knowledge production. Seaman is also working on a series of music, art, and science collaborations in the form of installations and research papers. He co-directs The Emergence Lab with John Supko in the Media Arts + Sciences program at Duke University, where he is Professor of Art, Art History & Visual Studies. Seaman holds degrees from the San Francisco Art Institute (BFA), MIT (MSVisS) and the Center for Advanced Inquiry in Interactive Art at the University of Wales (PhD).

For more information please visit www.billseaman.com

Called “spellbindingly beautiful” (Steve Smith, Time Out New York), the work of composer John Supko explores intersections: chance and intention; traditional music notation and real-time score generation; sound and spoken text; installation and performance; human and computer creativity. In recent years, Supko has been developing generative software to navigate his vast archives of field recordings, sampled acoustic and digital instruments, noise, and voice recordings. He uses this software to find unexpected compositional possibilities as well as to create dynamic sonic environments that are integrated into live performance with human musicians. Supko has also been experimenting with new forms of documentation for his music. Works such as A Free Invention for George Pitcherexist solely as software that ‘performs’ a new version of itself each time it is activated. Currently the Hunt Family Assistant Professor of Music at Duke University, Supko holds degrees from the Indiana University Jacobs School of Music (BM) and Princeton University (PhD).

For more information please visit www.johnsupko.com

Bill Seaman and John Supko wish to thank the following for their contributions to &/or support of this project: Srinivas Aravamudan, Marissa Bergmann, Jeffrey Edelstein, Duke University Department of Music, Duke University Media Arts + Sciences, Andrew McKenna Lee, Hans van Miegroet, Dan Nichols, Laurie Patton, Jane Hawkins Raimi, Craig Tattersall, Kyle Yamakawa.