Byron Westbrook  (b. 1977)  is a Brooklyn, NY based artist working with the dynamic quality of physical space using multi-channel sound and images.  His audio/video performances under the name CORRIDORS involve the distribution of processed instrumental and environmental recordings through a multi-channel environment with a focus on energy distilled from sound and light.   He has shared performance bills with Sawako, Tony Conrad, Stefan Tcherepnin, Lichens, Jason Kahn, James Blackshaw, Anette Krebs, and Soft Circle, among many others. He has presented at venues such as Tonic, Roulette, ParisLondonWestNile, Les Voûtes (FR), Issue Project Room, Institute of Intermedia (CZ), Experimental Intermedia, Exit Art Gallery.  Westbrook has also collaborated with Paris-based composer and former Kitchen curator Rhys Chatham in the drone metal group Essentialist (Table of the Elements), as well as performed in the ensembles of Phill Niblock, Rhys Chatham, Glenn Branca, Duane Pitre and Jonathan Kane.  In 2007, he was the recipient of the Jerome Foundation Emerging Artists Commission through Roulette Intermedium and is currently the technical coordinator at Experimental Intermedia Foundation, NYC.  Releases are forthcoming for both Corridors and Essentialist.   http://www.byronwestbrook.com  http://www.myspace.com/corridors
 
Alessandro Bosetti is a composer and sound artist working on the musicality of spoken words and unusual aspects of spoken communication, producing text-sound compositions featured in live performances, radio broadcastings and published recordings. In his work he moves across the line between sound anthropology and composition, often including translation and misunderstanding in the creative process. Field research and interviews build the basis for abstract compositions, along with electro-acoustic and acoustic collages, relational strategies, trained and untrained instrumental practices, vocal explorations and digital manipulations. Recent projects include African Feedback (Errant Bodies press), the interactive speaking machine "MaskMirror" (STEIM, Kunstradio.at a.o. ) and an ongoing project on linguistic enclaves in the USA.
Alessandro Bosetti  lives between Berlin (Germany) and Baltimore (USA).
 
John Berndt. One of the most active experimental music performers and improvisers on the East Coast for the past decade, John Berndt began has musical career by composing wildly abstract electro-acoustic and conceptual tape music in 1977 at the tender age of 11. He has been an extremely prolific and varied composer and improvisor of experimental music ever since, performing over 700 concerts of his own music and publishing over 60 recordings of highly authentic, non-commercial work. His solo records are available on Stereosupremo (Italy), HereSee (Baltimore), Abstract on Black (Pittsburgh), and Sprout (Philadelphia) and he has many published recordings of collaborations. www.johnberndt.org

Peter Blasser was introduced to "the maestro" in a fourth grade assembly. This kind conductor of the micro-kid band introduced the wind instruments available and Peter chose the tuba because it was the least practical. His parents put up with its bellows until high school when he diversified to banjo. Unallowed to purchase an Ud, Peter built one in the basement, thus beginning his career of "I will interface with reality by building a sound object". In college he was introduced to electron machinery; the infinite randomities seduced him into pure abstraction. After college Peter was bombarded with syncretist philosophies: "hi-tech, lo-tech" "squaring the circle" "gonzo meets goth". I am indeed shown the path; I must engage these yin-yangs into my work, connect dissonance with "Evenflow". To regain tunefulness, I use the tuba, but it hurts my jaw so I compromise with smaller cups such as trombone and french horn. The french horn is especially wabi-sabi; it allows the poet to become lost in a wilderness of sevens and elevens. On finding a well-worn path in the woods, I snap into a tune, a remembrance of my grandma's botany, a rusted traditionalism as sunshine on moss.
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