Solo Exhibitions

• Catharine Clark Gallery, San Francisco, CA (2006)
• Fresno Metropolitan Museum, Off-Site Series, Fresno, CA (2006)
• Computing Commons Gallery, Arizona State University, Tempe, AZ (2005)
• Radio Brandenberg-Berlin Klanggalerie, Berlin, Germany (2005)
• Interaccess, Toronto, Canada (2004)
• Forum Itinérant, Strasbourg, France (2004)
• Institute of Modern Art, Brisbane, Australia (2003)
• Voxxx, Chemnitz, Germany (2003)
• Catharine Clark Gallery, San Francisco, CA (2003)
• Galerie Rachel Haferkamp, Cologne, Germany (2002)
• Sparwasser HQ, Berlin, Germany (2001)
• singuhr-hörgalerie, Berlin, Germany (2001)
• MATRIX 193, Vanishing Point, UC Berkeley Art Museum and Pacific Film Archives, Berkeley, CA (2001)
• Artspace, Sydney, Australia (1999)
• Thompson Art Gallery, San Jose State University, San Jose, CA (1999)
• Fairfield Center Gallery, Fairfield, CA (1998)
• Galerie DARE-DARE, Montréal, Quebec (1998)
• Catharine Clark Gallery, San Francisco, CA (1997)
• Muu Media Gallery / Museum of Applied Arts, Helsinki, Finland (1996)
• Kästrich, Mainz, Germany (1996)
• Yerba Buena Center for the Arts, San Francisco, CA (1996)
• Urban Institute for Contemporary Art, Grand Rapids, MI (1996)
• LACE, Los Angeles, CA (1996)
• Rensselaer Center for Contemporary Art, Troy, NY (1995)
• San Francisco Arts Commission Gallery, San Francisco, CA (1995)
• Catharine Clark Gallery, San Francisco, CA (1995)
• Modern Fuel Gallery, Kingston, Ontario (1995)
• Het Apollohuis, Eindhoven, Netherlands (1994)
• The LAB, San Francisco, CA (1993)
• Southern Exposure Gallery, San Francisco, CA (1992)
• Pro Arts Gallery, Oakland, CA (1992)
• Mobius, Boston, MA (1990)

Group Exhibitions

• Rencontres Internationales Festival, Cinema Babylon, Berlin, Germany (2008)
• Zero/One Festival, San Jose Museum of Contemporary Art, San Jose, CA, Superlight (2008)
• Heidelberger Kunstverein, Heidelberg, Germany, Islands+Ghettos (2008)
• Rencontres Internationales Festival, El Aguila, Madrid, Spain (2008)
• Viralnet, Center for Integrated Media, Cal Arts, Valencia, CA, The Lament Project (2008)
• Folly, Lancaster, UK, Velocity (2007)
• Rencontres Internationales Festival, Centre Pompidou, Paris, France (2007)
• Wooloo, Berlin, Germany, Land Grab Online, a component of Land Grab at Apex Art, New York, NY (2007)
• Finetuned, Brighton, England, Relay (2007)
• GL Strand, Museum Copenhagen Denmark, 100 Days = 100 Videos (2007)
• Pixilerations Festival, Providence, RI (2007)
• Urban Institute for Contemporary Arts, Grand Rapids, MI, Being Open: 30 Years, 30 Artists, 30 Careers (2007)
• LISTE Cologne 07, Cologne, Germany, with Galerie Haferkamp (2007)
• Zokei Gallery and University Museum, Tokyo Zokei University, Tokyo, Japan, Faculty Works: Fuse (2007)
• Gallery AUBE, Kyoto University of Art and Design, Kyoto, Japan, Faculty Works: Fuse (2007)
• Senson Gallery, UC Santa Cruz, Santa Cruz, CA, Faculty Works: Fuse (2007)
• PULSE Art Fair, New York, NY, with Catharine Clark Gallery (2007)
• Digital and Video Art Fair, Miami Beach, FL, with Galerie Haferkamp (2006)
• Heidelberger Kunstverein, Heidelberg, Germany, 100 Days = 100 Videos (2006)
• San Jose Institute of Contemporary Art, San Jose, CA, Next New (2006)
• Museum of Applied and Contemporary Art (MAK), Vienna, Austria, Globi Award 06 (2006)
• Hopkins Gallery, Ohio State University, Columbus, OH, Passions and Visions: Antarctica (2005)
• Sonorities Festival, Sonic Arts Research Centre, Queen’s University Belfast, Belfast, Ireland (2005)
• Art Frankfurt, Frankfurt Germany, with Galerie Rachel Haferkamp (2005)
• Senson Gallery, UC Santa Cruz, Santa Cruz, CA, Faculty Show (2005)
• Digital and Video Art Fair, New York, NY, with Catharine Clark Gallery (2005)
• Scope Art Fair, New York, NY, with Catharine Clark Gallery (2005)
• Bezalel Academy of Arts and Design, Tel Aviv, Israel, Territories Live / Cities of Collision (2004)
• Heide Museum of Modern Art, Melbourne, Australia, Thinking Out Loud (2004)
• Index, Stockholm, Sweden, Territories, Frontiers, and the Architecture of Warfare (2004)
• Biennale of Electronic Art Perth, Perth, Australia, Sonic Difference (2004)
• ISEA, Kiasma, Helsinki, Finland (2004)
• Klangraum - Raumklang, Cologne, Germany (2004)
• Malmö Konsthall, Malmö, Sweden, Territories (2004)
• Transmediale Festival, Berlin, Germany, Fly Utopia! (2004)
• Sun Valley Center for the Arts, Sun Valley, ID, Sound of Place / Place of Sound (2004)
• Drift, New Media Scotland, Edinburgh, Scotland (2004)
• Ludwig Forum für Internationale Kunst, Aachen, Germany, Wings of Art (2003)
• Caren Golden Fine Art, New York, NY, Pop Rocks (2003)
• Kölnisches Stadtmuseum, Cologne, Germany, Querblick (2003)
• Kunsthalle Darmstadt, Darmstadt, Germany, Wings of Art (2003)
• The LAB, San Francisco, CA, R&D: 20 Years / 20 Artists (2003)
• Horton Gallery, Stockton, CA, Danger (2003)
• Margaret Thatcher Projects, New York, NY, Road Trip (2003)
• Metronom, Barcelona, Spain, Al Lado del Silencio (2003)
• Skulpturenmuseum Glaskasten Marl, Marl, Germany, Deutschen Klangkunst Preis Exhibition (2002)
• Art & Industry Biennial, Christchurch, New Zealand (2002)
• Stadtgalerie Saarbrücken, Saarbrücken, Germany, Resonanz I (2002)
• John Michael Kohler Art Center, Sheboygen, WI Organic/Mechanic, (2002)
• Physics Room, Christchurch, New Zealand, 4eva (2001)
• Gencor Gallery, Rand Afrikaans University, Johannesburg, South Africa, online | offline (2001)
• MAIS, Blochplatz Bunker, Berlin, Germany (2001)
• The Drunken Boat, New York, NY (2001)
• Klangturm, St. Pölten, Austria (2001)
• Catharine Clark Gallery, San Francisco, CA, 10th Anniversary Show (2001)
• Zeppelin Sound Art Festival, Centre de Cultura Contemporània de Barcelona, Spain (2001)
• Virgin Atlantic Terminal, SFO, San Francisco, CA, Bay Area Connections (2000)
• send + receive, Winnipeg, MB, Canada (2000)
• Physics Room, Christchurch, New Zealand, Tectonic (2000)
• Catharine Clark Gallery, San Francisco, CA, Aural Sex (2000)
• Inventionen 2000, Berlin, Germany (2000)
• San Francisco Electronic Music Festival, Cell Space, San Francisco (2000)
• Künstlerhaus, Vienna, Austria, Sounds and Files (2000)
• Spaces Gallery, Cleveland, OH, Atmospheric Conditions (2000)
• Sonoma Museum of Visual Art, Santa Rosa, CA, Small Objects for Sound and Light (2000)
• Bay Area Discovery Museum, Sausalito, CA, Play It By Ear II (2000)
• Stetson University, Deland, FL, Technology & Identity (2000)
• New Langton Arts, San Francisco, CA, Net Work (2000)
• Centre de Cultura Contemporània de Barcelona, Spain, En Red O, VII Symposium of Electronic Music (1999)
• Universidad de Castilla La Mancha, Cuenca, Spain, Situaciones
• McColl Center for Visual Art, Charlotte, NC, Inaugural Exhibition (1999)
• Museum of Contemporary Art, Helsinki, Finland, SoundBox 2 (1999)
• Bay Area Discovery Museum, Sausalito, CA, Play It By Ear (1999)
• SoundCulture 99, Auckland, New Zealand (1999)
• Le Wagram, Nice, France Collage JukeBox (1999)
• Catharine Clark Gallery, San Francisco, CA, Spinal Epidural, Please! (1999)
• Musee d'Art Contemporain, Lyon, France Musiques en Scene: Collage JukeBox (1999)
• Oblique, Otira, New Zealand (1999)
• Catharine Clark Gallery, San Francisco, CA, Interiors (1998) [catalog]
• Volt Festival, Institute for Modern Art, Brisbane, Australia (1998)
• Sherry Frumkin Gallery, Santa Monica, CA, Technical Poetics (1998)
• Bregenzer Kunstverein, Bregenz, Austria, Kunst in der Stadt II: Collage JukeBox (1998)
• Massachusetts Museum of Contemporary Art, North Adams, MA, Earmarks (1998)
• Meltdown Festival, South Bank Centre, London, England, Resonance FM (1998)
• New Langton Arts, San Francisco, CA, Dromology (1998)
• Museum of Contemporary Art, Helsinki, Finland, SoundBox (1998)
• 2nd Space Gallery, San Francisco, CA, Works In Progress (1998)
• Index, Stockholm, Sweden, Auto Show (1997)
• Shift, Berlin, Germany, Traveling Without Moving, with Olav Westphalen (1997)
• Arcana, New York, NY, New Music Radio (1997)
• Tweed Museum of Art, Duluth, MN, I Ask You (1997)
• 1078 Gallery, Chico, CA, EarArt (1997)
• Four Walls, San Francisco, CA, Inter-Galactic (1996)
• Sonambiente Festival, Berlin, Germany (1996)
• San Francisco Arts Commission Gallery, San Francisco, CA, Techne (1996)
• ISEA 95, Montréal, Quebec (1995)
• Secession Gallery, San Francisco, CA, Discards (1995)
• Richmond Art Center, Richmond, CA, Anonymous Arrangement (1995)
• Headlands Center for the Arts, Sausalito, CA (1995)
• Falkirk Cultural Center, San Rafael, CA, Long Horizons (1995)
• Victoria Room, San Francisco, CA, Big Jesus Trash Can (1995)
• Secession Gallery, San Francisco, CA, Site As Music (1994)
• Titanik Gallery, Turku, Finland, Elsewhere (1994)
• Works/San Jose, San Jose, CA, Dancing on the Continuum (1994)
• Memorial University Art Gallery, St. John's, Newfoundland, Sound City Spaces (1994)
• Falkirk Cultural Center, San Rafael, CA, Interactions (1994)
• Exploratorium, San Francisco, CA, Compose Yourself (1994)
• Victoria Room, San Francisco, CA, Resonant Systems (1994)
• Spaces, Cleveland, OH, Reverberations (1994)
• Pro Arts Gallery, Oakland, CA, Pro Arts Annual (1993) [catalog]
• Ghia Gallery, San Francisco, CA, Landlocked (1992)
• Pro Arts Gallery, Oakland, CA, The Blue Book Chronicles (1995)
• Electronic Music Plus Festival, Oakland, CA (1991)
• Grossman Gallery, Museum School, Boston, MA, Faculty Exhibition (1989)

Performances

• Catharine Clark Gallery, San Francisco, CA (2006)
• Biennale of Electronic Art Perth, Perth, Australia (2004)
• singuhr-hörgalerie, Berlin, Germany, with Stephan Mathieu (2004)
• FIIB, Berlin, Germany, with Axel Dörner (2004)
• Voxxx, Chemnitz, Germany (2003)
• Institute of Modern Art, with the Elision Ensemble, Brisbane, Australia (2003)
• The Bus, Melbourne, Australia (2003)
• Metronom, Barcelona, Spain (2003)
• Maerz Musik, with Nicolas Collins, Berlin, Germany (2003)
• Wesleyan University, Middletown, CT (2003)
• Experimental Musik 2002, Munich, Germany (2002)
• Festival of Exiles, Berlin, Germany (2002)
• Club Bastard, Berlin, Germany (2002)
• Audible Interfaces, with Ensemble Mosaik, Berlin, Germany (2002)
• Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany (2001)
• MeX, Dortmund, Germany (2001)
• Gallery Haferkamp, Cologne, Germany (2001)
• Carillon, Tiergarten, Berlin, Germany (2001)
• Local Music, Berlin, Germany (2001)
• Kule, Berlin, Germany (2001)
• Freie Universität, Berlin, Germany (2001)
• Logos Foundation, Ghent, Belgium (2001)
• 21 Grand, Oakland, CA (2001)
• K77, Berlin, Germany (2000)
• Lincoln Center, New York,NY (1999)
• The LAB, San Francisco, CA (1998)
• Urban Institute for Contemporary Art, Grand Rapids, MI (1996)
• Universidade de Brasília, Brasília, Brazil (1995)
• Intersection for the Arts, San Francisco, CA (1995)
• Freunde Guter Musik Berlin, Berlin, Germany (1994)
• SKOP, Frankfurt, Germany (1994)
• Sound Symposium, St. John's, Newfoundland (1994)
• Experimental Intermedia Foundation, New York, NY (1993)
• Audio Visual Experimental Festival, Arnhem, Netherlands (1993)
• VPRO Radio, Amsterdam, Netherlands (1993)
• Logos Foundation, Ghent, Belgium (1993)
• Feedback Studio, Cologne, Germany (1993)
• Het Apollohuis, Eindhoven, Netherlands (1993)
• Victoria Room, San Francisco, CA (1993)
• Festival de Musica Contemporanea, Santafe de Bogota, Colombia (1993)
• Pro Arts Gallery, Oakland, CA (1992)
• Roulette, New York, NY (1992)
• Amica Bunker, New York, NY (1992)
• 800 East Gallery, Atlanta, GA (1992)
• Outpost, Albuquerque, NM (1992)
• Oakland Museum, Oakland, CA (1991)
• Sonic Disturbances Festival, Cleveland, OH (1991)
• Kaleidoscope, San Francisco, CA (1990)
• Gargoyle Mechanique, New York, NY (1990)
• WMWM-FM, Salem, MA (1990)
• Generator, New York, NY (1990)
• AS 220, Providence, RI (1990)
• Worcester Artist's Group, Worcester, MA (1990)
• Zone Art Center, Springfield, MA (1990)
• Real Art Ways, Hartford, CT (1989)
• Knitting Factory, New York, NY (1989)
• New Langton Arts, San Francisco, CA (1989)
• Mobius, Boston, MA (1989)
• WBRS-FM, Waltham, MA (1989)
• WZBC-FM, Boston, MA (1989)
• Kingston Gallery, Boston, MA (1989)
• Roulette, New York, NY (1988)
• Mobius, Boston, MA (1988)
• Real Art Ways, Hartford, CT (1986)

• Kunsthochschule für Media, Cologne, Germany (2003-2004)
• Christchurch Polytechnic University, Christchurch, New Zealand (2001)
• DAAD Artists-In-Berlin Program, Berlin, Germany (2000)
• Polar Circuit 3, Tornio, Finland (2000)
• McColl Center for Visual Art, Charlotte, NC (2000)
• Artspace, Sydney, Australia (1999)
• Djerassi Resident Artist Program, Woodside, CA (1999)
• Center for Research In Computing and the Arts, UC San Diego, San Diego, CA (1999)
• Polar Circuit 2, Tornio, Finland (1998)
• Headlands Center for the Arts, Sausalito, CA (1995)
• STEIM, Amsterdam, Netherlands (1994)
• Het Apollohuis, Eindhoven, Netherlands (1994)
• Banff Centre for the Arts, Banff, Canada (1993)
• The SoundLAB, San Francisco, CA (1993)

Grants and Awards

• Arts Research Initiative Mini Grant, UC Santa Cruz, Santa Cruz, CA (2007)
• Arts Research Initiative Major Project Grant, UC Santa Cruz, Santa Cruz, CA (2006, 2005)
• Committee On Research Grant, UC Santa Cruz, Santa Cruz, CA (2007, 2006, 2004)
• Arts International, New York, NY (2004, 1995, 1994)
• Arts Research Initiative Off-Cycle Grant, UC Santa Cruz, Santa Cruz, CA (2004)
• Finnish Cultural Foundation, Helsinki, Finland (with Simo Alitalo) (2001)
• Guggenheim Fellowship, J.S. Guggenheim Foundation, New York, NY (2000)
• Creative Artist Fellowship, Oakland Cultural Affairs Commission, Oakland, CA (2000)
• Lannan Foundation, Los Angeles, CA (1996)
• Creative Work Fund, San Francisco (1995)
• Meet the Composer, New York, NY (1992)
• Meet the Composer/California, Los Angeles, CA (1991)
• Harvestworks/Studio PASS, New York, NY (1989)

• Brown University. Providence RI, Assistant Professor (2008 - )
• University of California at Santa Cruz, Santa Cruz, CA, Assistant Professor (2005 - 2007)
• California College of the Arts, Oakland, CA, Lecturer (2003, 1999, 1995, 1994)
• Hochschule für Grafik und Buchkunst, Leipzig, Germany, Guest Professor (2002)
• University of California at Davis, Davis, CA, Lecturer (2000)
• San Francisco State University, San Francisco, CA, Lecturer (1998, 1997, 1995)
• School of the Museum of Fine Arts, Boston, MA, Lecturer (1988 - 1990)

Lectures, Panels, Workshops

• Sonic Fragments Symposium, Princeton University, Princeton, NJ (2008)
• University of Illinois at Chicago, Chicago, IL (2007)
• DXARTS, University of Washington, Seattle, WA (2007)
• Fresno Metropolitan Museum, Fresno, CA (2006)
• International Symposium on Electronic Art, San Jose, CA (2006)
• San Francisco Art Institute, San Francisco, CA (2006, 2005, 2002, 1999, 1998, 1997, 1995, 1994, 1991)
• DANM Festival, UC Santa Cruz, Santa Cruz, CA (2006)
• Sacramento State University, Sacramento, CA (2006)
• Mills College, Oakland, CA (2006, 2001, 1998, 1989)
• Byrd Colloquy, Ohio State University, Columbus, OH (2005)
• Sonic Arts Research Centre, Queen’s University Belfast, Belfast, Ireland (2005)
• Headlands Center for the Arts, Sausalito, CA (2005)
• Bergen Art Academy, Bergen, Norway (2004)
• University of Minnesota, Minneapolis, MN (2004)
• University of Art and Design, Helsinki, Finland (2003)
• Queensland University of Technology, Brisbane, Australia (2003)
• Queensland College of Art, Brisbane, Australia (2003, 1998)
• RMIT University, Melbourne, Australia (2003)
• International Critics Symposium, Brisbane Powerhouse, Brisbane, Australia (2003)
• Queensland Biennial Festival of Music, South Bank Center, Brisbane, Australia (2003)
• Sparwasser HQ, Berlin, Germany (2003)
• Wesleyan University, Middletown, CT (2003)
• Kunsthochschule für Media, Cologne, Germany (2002)
• Auckland Art Gallery, Auckland, New Zealand (2002, 1999)
• Victoria University, Wellington, New Zealand (2002)
• California Institute of the Arts, Valencia, CA (2001)
• Massey University, Wellington, New Zealand (2001)
• Robert McDougall Art Gallery, Christchurch, New Zealand (2001)
• Freie Universität, Berlin, Germany, (2001)
• Technishe Universität, Berlin, Germany (2000)
• High Touch / High Tech Symposium, Kala Institute / Oakland Museum, Oakland, CA (2000)
• Davidson College, Davidson, NC (2000)
• Kent State University, Kent, OH (2000)
• University of Akron, Akron, OH (2000)
• Cleveland Institute of Art, Cleveland, OH (2000)
• Critical Issues in Net Art Symposium, University of California at Berkeley, Berkeley, CA (2000)
• Stetson University, Deland, FL (2000)
• Tasmanian School of Art, Hobart, Tasmania (1999)
• San Francisco International Art Exposition, San Francisco, CA (1999)
• San Jose State University, San Jose, CA, (1999)
• Interval Research Corporation, Palo Alto, CA (1999
• University of California at Davis, Davis, CA (1999, 1998)
• School of the Art Institue of Chicago, Chicago, IL (1999)
• The Physics Room, Christchurch, New Zealand (1999)
• University of Canterbury, Christchurch, New Zealand (1999)
• Otago Polytechnic School of Art, Dunedin, New Zealand (1999)
• Elam School of Art, Auckland, New Zealand (1999)
• UC San Diego, San Diego, CA (1999)
• Volt Symposium, Brisbane, Australia (1998)
• Solano Community College, Suisun, CA (1998)
• Columbus College of Art & Design, Columbus, OH (1998)
• Kala Institute, Berkeley, CA (1998)
• International Center for Digital Art, San Francisco, CA (1998, 1997)
• International Conference on Auditory Display, Xerox PARC, Palo Alto, CA (1997)
• Grand Valley State University, Allendale, MI (1996)
• Kendall College, Grand Rapids, MI (1996)
• Bard College, Annandale-on-Hudson, NY (1995)
• Rensselaer Polytechnic Institute, Troy, NY (1995)
• Hudson Valley Community College, Troy, NY (1995)
• Academie voor Beeliende Kunst St. Joost, Breda, Netherlands (1993)
• Georgia State University, Atlanta, GA (1992)
• University of the Arts, Philadelphia, PA (1991)

• 231 West 47th Street, by Uli Rasche, Sophiensale, Berlin, Germany (2004)
• Turing Tables, by Franz John, ARCO, Madrid, Spain (2003)
• Hof, by Thomas Demand, Berlin, Germany (2001)
• Made In USA: The Angel Island Project, by Flo Oy Wong, Angel Island, CA (2000)
• Speaking In Tongues: A Look at the Language of Display, by Fred Wilson, M.H. de Young Memorial Museum, San Francisco, CA (1999)
• Swatch Pavilion, with Pfau Architecture (San Francisco, CA), Expo 98, Lisbon, Portugal (1998)
• The Hospital: Five Confessions, by Ilya Kabakov, Capp Street Project, San Francisco, CA (1997)
• Secret Paths, Purple Moon Multimedia, Mountain View, CA (1997)
• Swatch Pavilion, with Pfau Architecture (San Francisco, CA), Olympic Games, Atlanta, GA (1996)
• Hop, by HAHA, Capp Street Project, San Francisco, CA (1996)
• American Female, by Laura Brun, Intersection for the Arts, San Francisco, CA (1994)
• Gallery, by Mel Chin, Capp Street Project, San Francisco, CA (1992); traveled to the Three Rivers Festival, Pittsburgh, PA (1992)
• The Airwaves Project, by Shu Lea Cheang, Capp Street Project, San Francisco, CA, (1991)
• Fugitive Landing, by May Sun, Capp Street Project, San Francisco, CA (1991); traveled to the List Visual Art Center, Cambridge, MA (1991)
• A Cheap Watch, directed by Patrick Stettner, Stenola Films, Boston, MA (1989)

Professional Activities

• Curatorial Advisory Committee, San Jose Institute for Contemporary Art, 2006-present
• Juror, Interactive City, ISEA Festival, San Jose, CA, 2005
• Publisher and Editor, Stretcher, online arts journal, San Francisco, CA, 2000-present.
• Juror, Djerassi Resident Artist Program, Woodside, CA, 2000
• Curatorial Committee, San Francisco Electronic Music Festival, San Francisco, CA (1999-present)
• Curator, Corporeal Sky, Physics Room, Christchurch, New Zealand (1999); Traveled to Artspace, Sydney, Australia (1999)
• Co-Curator (with April Latranga), Sinusoidal, San Francisco State University, San Francisco, CA (1999)
• Member, Artist Committee, San Francisco Art Institute, San Francisco, CA (1997-99)
• Director, SoundCulture 96, a Pacific Region festival of sonic arts (1994-96)
• Board Member, Ubu Inc., San Francisco, CA, a non-profit sound arts consortium (1995-present)
• Curatorial Committee, The LAB, San Francisco, CA (1994-present)

• "Southern Exposures," Cabinet (Brooklyn, NY), Issue 10, Spring, 2003.
• Contributing writer, Stretcher, San Francisco, CA (2000 - present).
• "Electricity Arcs Both Ways From Heaven," catalog essay, Artspace, Sydney, Australia, October, 1999.
• "Visible Systems: Recent Sound Installations," YLEM Newsletter (Orinda, CA), Vol. 19, No. 10, September/October, 1999.
• "Creaking Grounds: Tectonics and SoundCulture 96," Essays In Sound (Contemporary Sound Arts, Sydney, Australia), Vol. 3, December, 1996, pp. 45-53.
• "SoundCulture 96," Sound Arts (Kobe, Japan), Vol. 8, Summer, 1996, pp. 1-4.
• "Local Conditions and Perceptual Concerns: Notes on Several Sound Works," Leonardo Music Journal (Oxford, England), Vol.1, #1, December, 1991, pp. 89-93.

Education

• Mills College, Oakland, CA, M.F.A. (1993)
• Wesleyan University, Middletown, CT, B.A. (1987)

Recordings

• Drift | Resonant Cities, New Media Scotland, Edinburgh, Scotland (2006)
• Singing Bridges Vibrations:Variations, Sonic Artstar, Sydney, Australia (2005)
• 4Eva: A Tribute to Fanaticism, Physics Room, Christchurch, NZ (2001)
• Music for the 21st Century, Leonardo Music Journal CD, Vol.1, No.1, Oxford, England (1991)
• Arf Arf Presents, Arf Arf Records, Cambridge, MA, with the Ski-A-Delics. (1990)
• We Are What You Eat, Slippery Slope Music, Boston, MA, with the Ski-A-Delics (1990)
• Lennarcs, Frog Peak, Hanover, NH (1989)
• Snow Bunny Bobby Katz..., Slippery Slope Music, Boston, MA, with the Ski-A-Delics (1989)

Bibliography

• Baker, Kenneth, “Wry, touching video installation explores family speech accents,” San Francisco Chronicle (San Francisco, CA), August 12, 2006, p. E1.
• Mayhew, Don, “Fulton Mall Inspires Electronic Music,” Fresno Bee (Fresno, CA), March 21, 2006, p. E1.
• Rahma Khazam, "Per->son Festival," Wire (London, England), October, 2004, p. 77.
• Muller, Lizzie, "A deep vibration: A small migration," RealTime (Sydney, Australia), No. 63, October / November, 2004.
• Priest, Gail, "Siege culture: SonicDifference conference," RealTime (Sydney, Australia), No. 63, October / November, 2004.
• Stephens, Jasmin, "Sense shifts: Resounding the World," RealTime (Sydney, Australia), No. 63, October / November, 2004.
• Percival, Bob, "Seeking resonance," RealTime (Sydney, Australia), No. 63, October / November, 2004.
• Gallasch, Keith, "Seeds, Particles, Resonances," RealTime (Sydney, Australia), No. 58, December/January, 2004.
• "Al lado del silencio," LaNetro (Barcelona, Spain), June 17, 2003.
• Cuesta, Mery, "Casi invisible," La Vanguardia (Barcelona, Spain), June 4, 2003, p. 20.
• Obiols, Isabel, "El silencio y el espacio dialogan en Metrònom," El País (Madrid, Spain), May 22, 2003.
• Frisach, Montse, "L'Art del silenci," Avui (Barcelona, Spain), May 18, 2003, p. 62.
• Schulz, Bernd, "Resonances, Aspects of Sound Art," Stadgalerie Saarbrücken (Saarbrücken, Germany), 2002, pp. 133-134.
• Brüstle, Christa, "Klang sehen - Konzepte audiovisueller Kunst in der neuen Musik," from Mediale Performanzen: Historische Konzepte und Perspektiven, Jutta Eming, editor, Rombach Druck- und Verlagshaus GmbH & Co. KG Abt. Verlag, 2002, pp193-194.
• Morris, Chris, "Ice Perspectives," Christchurch Press (Christchurch, New Zealand), September 11, 2002, p. C3.
• Gopnik, Blake, "Deutschland of Opportunity," Washington Post (Washington, DC), July 14, 2002, p. G01.
• Wilson, Steve, "Information Arts: Intersections of Art, Science, and Technology," MIT Press (Cambridge, MA), 2002, pp. 412-414.
• Sanio, Sabine, "Sound Art at the Inventionen Festival," catalog essay, DAAD, Pfau-Verlag (Saarbrücken, Germany) 2001, pp. 11-13.
• Dunbar, Anna, "Art Resounding," Christchurch Press (Christchurch, New Zealand), November 7, 2001, p. 34
• Straebel, Volker, "Musik als Objekt und Klang als Imagination: Ed Osborns Klangkunst am Rande auditiver Rezeption," catalog essay, from Ed Osborn, DAAD / Pfau-Verlag, Saarbrücken, Germany, 2001.
• Steffans, Markus, "Ed Osborns 'Flying Machines': Vier Klanginstallationen in der Berliner Parochialkirche," catalog essay, from Ed Osborn, DAAD / Pfau-Verlag, Saarbrücken, Germany, 2001.
• Gottstein, Björn, "Intrigantes Kribbeln," Die Tageszeitung (Berlin, Germany), June 2, 2001, p. 27.
• Wilkening, Martin, "Selstam, dieses Fauchen, Gurgeln, Säuseln," Frankfurter Allgemeine Zeitung (Frankfurt, Germany), May 18, 2001, p. BS7.
• Entress, Matthias, "Gurren & Knurren: 'Flying Machines' in der hörgalerie," Berliner Morgenpost (Berlin, Germany), May 17, 2001, p. 23.
• Mustroph, Tom, "Flugwesen sirren im Glockenturm," Neues Deutschland (Berlin, Germany), May 15, 2001.
• Kurtz, Glenn, "Ed Osborn at the Berkeley Art Museum," Artweek (San Jose, CA), May, 2001, pp. 22-23.
• Bowen, Dore, "The Uncertainty of Flight," catalog essay, Klangturm (St. Pölten, Austria), April, 2001, pp. 30-33.
• Wilson, Megan, "Stop, Look and Listen," Digital City SF, April 20, 2001, http://www.digitalcity.com.
• Westbrook, Lindsay, "Critic's Choice," San Francisco Bay Guardian, San Francisco, CA, April 4, 2001, p. 65.
• Zuckerman-Jacobson, Heidi, "Ed Osborn / MATRIX 193: Vanishing Point," catalog essay, Berkeley Art Museum, Berkeley, CA, March, 2001.
• Gagnon, Adrienne, "Vanishing Point," Look, Berkeley Art Museum, Berkeley, CA, Spring, 2001, p.12.
• Helfand, Glen, "Sonic Boom: 2000 Is The Year Of Sound Art," SF Gate (San Francisco, CA), October 12, 2000.
• Shulman, Dave, "send + receive: ed osborn," Stylus (Winnipeg, Canada), September / October 2000, p. 18.
• Helfand, Glen, "Aural Sex," The San Francisco Bay Guardian (San Francisco, CA), September 6, 2000, p. 84.
• Entress, Matthias R., "Reigen der Klangkünstler: Musik als Echo einfacher Systeme zum Auftakt der Inventionen 2000," Berliner Morgenpost (Berlin, Germany), June 24, 2000, p. 33.
• Rowell, Mike, "Electrotherapy," SF Weekly (San Francisco, CA), May 3, 2000, p. 42.
• "The Art of Noise, or Visa-Versa," SF Weekly (San Francisco, CA), January 12, 2000, p. 46.
• Sumich, Julainne, "Sound Culture 99: Footnotes in Folie FX and Eliptical Fields," Art New Zealand (Auckland, New Zealand), No. 91, Winter 1999.
• Kahn, Douglas, "Squirming and Recoiling," catalog essay, Artspace, Sydney, Australia, October, 1999.
• "Art Picks, " Time Out Sydney Online, Sydney, Australia, November 9, 1999.
• Marquez, Susan, "Interiors," World Sculpture News (London, UK), Winter, 1999, pp. 60-61.
• Crompton, Angela, "Sound Valid Art Medium," Otago Daily Times, March 30, 1999, p. 16.
• Alitalo, Tuike, "Äänitaiteen suurkatselmus on tällä erää Aucklandiss," Helsingin Sanomat (Helsinki, Finland), March 21, 1999, p. C7.
• Schumacher, Donna, "Interiors," Flash Art (Milan, Italy), January - February, 1999, p. 57.
• Lynch, Maryanne, "A Feverish Impulse," RealTime (Sydney, Australia), No. 28, December/January, 1999, p. 33.
• Mattessich, Stephan, "Dromologies: Ecstacies of Speed," Art Papers (Atlanta, GA), Vol, 22, No. 6, November/December, 1998, p. 41.
• Scherr, Apollonaire, "Over There," East Bay Express (Berkeley, CA), October 16, 1998, p. 43.
• Ollman, Leah, "Art Reviews," Los Angeles Times (Los Angeles, CA), October 2, 1998, pp. F29-30.
• Gurewitsch, Matthew, "The Gallery: Do You Hear What I Hear?" Wall Street Journal (New York, NY), October 1, 1998, p. A20.
• Roufail, Minou, "The Sound of Mass Moca" Artnet Magazine (New York, NY), August, 1998
• Hunt, David, "Pause and Reflect: Sound Art from the Bay Area," Merge (Stockholm, Sweden), No. 2, Fall, 1998, pp. 40-42.
• Tynan, Trudy, "Sounds of Distinction," Associated Press (New York, NY), August 9, 1998.
• Lynch, Maryanne, "Room for Chance," RealTime (Sydney, Australia), No. 26, August/September, 1998, p. 16.
• Thompson, Sandy, review, Artweek (San Jose, CA), July/August, 1998, pp. 25-26.
• Bonenti, Charles, "North Adams Opens its Ears to Art," Berkshires Week (Pittsfield, MA), July 2, 1998, p. 12.
• Carman, Linda, "Earmarks Designed to Make Imprint on Northern Berkshire Ears," The Advocate (North Adams, MA), July 1st, 1998, pp. 6-7.
• Jette, Rosemary, "Sound and Vision," The Transcript (North Adams, MA), June 26, 1998, p. A1.
• Lemarche, Bernard, "Symphonie Ludique," Le Devoir (Montréal, Quebéc), January 31, 1998, p. D9.
• Aquin, Stéphane, review, Voir Montréal (Montréal, Quebéc), January 29, 1998, p. 46.
• Akiyama, Mitchell, "The Art of Noise: Ed Osborn Captures the Sound of Motion," The Link (Montréal, Quebéc), January 20, 1998, p. 7.
• Roche, Harry, "Skeletons," The San Francisco Bay Guardian, September 10, 1997, p. 90.
• Weathersby, Jr., William, "Swatch Pavilion," Theatre Crafts International (New York, NY), November, 1996, pp. 36-37.
• Boone, Charles, "SoundCulture 96," P-Form (Chicago, IL), Fall, 1996, pp. 36-38.
• Ripatti, Matti, "Kun kuulo säätelee tunnetiloja," Helsingin Sanomat (Helsinki, Finland), September 21, 1996, p. C4.
• Andersson, Arja, "Juna tuoääniä kuolemankurvista," Ilta-Sanomat (Helsinki, Finland), September 19, 1996, pp. 32-33.
• Till, Ulrike, "Schnecken kleben an der Wand," Mainzer Rheinzeitung, September 10, 1996, p. 22.
• Franz, Christina, "Ed Osborn Installation in der Galerie Kästrich," Mainzer Allegemeine Zeitung, September 10, 1996, p 17.
• Alitalo, Tuike & Simo, "Berliinin taideakatemia juhlii äänitaiteella. Sonambiente-festivaali saa entisen DDRin julkiset rakennukset soimaan," Helsingin Sanomat (Helsinki, Finland), August 26, 1996, p. C2
• Wissman, Kathrin, "Augen hören, Ohren sehen," Der Tagesspiegel (Berlin, Germany), August 14, 1996, p. 16.
• Müller, Katrin Bettina, "Windharfen und High-Tech," Tip (Berlin, Germany), No. 17, August, 1996, pp. 76-77.
• Davis, Randal, "Sound Art: Some notes away from definition," Artweek (San Jose, CA), August, 1996, pp. 11-12.
• Tromble, Meredith, interview, Artweek (San Jose, CA), August, 1996, pp. 12-13.
• Schumacher, Donna, "Parabolica," Art Papers (Atlanta, GA), Vol, 20, No. 4, July/August, 1996, p. 55.
• Moore, Jeremiah, review, Musicworks (Toronto, Canada), No. 65, Summer, 1996, pp. 38-40.
• Schumacher, Donna, "Techne," Art Papers (Atlanta, GA), Vol, 20, No. 3, May/June, 1996, p. 32.
• Tanaka, Yumika, interview, SWITCH (San Jose, CA), Vol. 2, No. 1, Spring/Summer 1996.
• Alitalo, Tuike & Simo, "Ääni lävistää ja ympäröi kaiken kuin valtameri," Helsingin Sanomat (Helsinki, Finland), April 23, 1996, p. C6
• Bindereif, Andrea, "Wenn selbst dis Steine singen," Frankfurter Rundschau (Frankfurt, Germany), April 20, 1996, p. 25.
• Hohenadel, Kristin, "Pioneering Artists Aim To Push Through The Sound Barrier," The Los Angeles Times (Los Angeles, CA), April 13, 1996, p. F1.
• Harlib, Leslie, "Culture sounds off at Falkirk Mansion," Marin Independent Journal (Novato, CA), April 9, 1996, p. C2.
• Finkel, Jori, "Over There," The East Bay Express (Berkeley, CA), April 5, 1996, p. 39.
• Chonin, Neva, "Culture Jamming," The San Francisco Bay Guardian (San Francisco, CA), April 3, 1996, p. 31.
• Amirrezvani, Anita, "Art Festival Breaks the Sound Barrier," The Contra Costa Times (Walnut Creek, CA), March 31, 1996, p. 3H.
• Peiken, Matt, "Bay Area Artists Get A Chance to Sound Off," Daily Republic (Fairfield, CA), March 29, 1996, p. C1.
• Thym, Jolene, "Beyond Music," The Oakland Tribune (Oakland, CA), March 10, 1996, p. C1.
• Scapelliti, Christopher, "Sound + Vision", On The Town (East Grand Rapids, MI), March, 1996, p. 27.
• Shapiro, Carolyn, "Energized," The Record, Troy, NY, October 26, 1995, p. 1.
• Shaboy, Benny, interview, studioNOTES, Benicia, CA, No. 9, September - December, 1995, pp. 2-3.
• Allen, Sarah, "Emerging Artists," The Oakland Tribune (Oakland, CA), July 10, 1995, p. C1.
• Parpart, Lee, "Listen for the Art at Unique Interactive Show," The Kingston Whig-Standard (Kingston, ONT), June 17, 1995, p. C4.
• Young, Gayle, review, MusicWorks (Toronto, ONT), No. 61, Spring, 1995, pp. 62-64.
• Davis, Randal, "Big Jesus Trash Can," Artweek (San Jose, CA), March, 1995, pp. 32-33.
• Roche, Harry, "Big Jesus Trash Can," The San Francisco Bay Guardian, February 8, 1995, p. 88.
• Gard, Peter, "7-Up: Sound Symposium Continues to Fizz," ArtsAtlantic (Charlottetown, PEI), No. 51, Winter, 1995, pp. 40-44.
• van Peer, Rene, "Verfrissende kijk op schaduw getreden mediakunst," Eindhovens Dagblad (Eindhoven, Netherlands), September 10, 1994, p. 47.
• Ripatti, Matti, "Ääniä kovaäänisten tuolta puolen," Helsingin Sanomat (Helsinki, Finland), August 16, 1994, p. D8.
• Kivelä, Malin, "Avklippta samtal och ljud från Aura å," Åbo Underrättelser (Turku, Finland), August 12, 1994, p.33.
• Sherman, Ann Elliot, "3-D Explorations," Metro (San Jose, CA), August 11, 1994, p. 23.
• Davis, Randal, "Conceptual Plumbing," Artweek (San Jose, CA), May 19, 1994, p. 18.
• Roche, Harry, "Resonant Systems," The San Francisco Bay Guardian, May 4, 1994, p. 75.
• Cullinan, Helen, "Shattering the Silence," The Plain Dealer (Cleveland, OH), March 28, 1994, p. 3E.
• Sparks, Amy, "Sound and Fury," The Cleveland Free Times (Cleveland, OH), March 23, 1994, p. 8.
• Novakov, Anna, review, Sculpture (Washington, DC), Vol.13, No.1, January-February, 1994, p. 55.
• van Peer, Rene, "Diversiteit is sleutword bij Ed Osborn," Eindhovens Dagblad (Eindhoven, Netherlands), October 4, 1993, p. 12.
• Sizensky, Liz, "Electronic Anarchists," SF Weekly (San Francisco, CA), September 29, 1993, p. 29.
• Roche, Harry, "Zaku Zaku," The San Francisco Bay Guardian, August 12, 1992, p. 53.
• Oot, Robert, review, Sound Choice (Ojai, CA), No.17, 1992, p. 74.
• Reinbolt, Brian, review, "The 18th Annual Electronic Music Plus Festival," Computer Music Journal (Cambridge, MA), Vol.15, #4, Winter, 1991, pp. 89-94.
• Miller, David, review, High Performance (Santa Monica, CA), No.51, Fall 1990, p. 60.
• Tommansini, Anthony, review, The Boston Globe (Boston, MA), July 28, 1990, p. 18.
• Drake, Al, review, The Noise (Boston, MA), July, 1990, p. 32.
• Barker, Jade, "These Skis Were Made For Playing," Street (Boston, MA), Spring, 1990, pp. 46-48.
• Campbell, Polly, review, The Boston Phoenix (Boston, MA), March 16, 1990, p. 17.
• Barr, Tavis, article and review, Knot Magazine (Boston, MA), Vol.1, No.2, August/September, 1989, pp. 14-15.
• Gunderloy, Mike, review, Factsheet Five (Rensselaer, NY), No.29, May, 1989, p. 125.
• Barr, Tavis, review, Knot Magazine (Boston, MA), Vol.1, No.1, April/May, 1989, p. 15.
• Seigel, Jessica, "Wesleyan's Experimental Composers," The Middletown Press (Middletown, CT), February 22, 1985, p. 5.