Klingler ElectroAcoustic Residency (KEAR)

The Klingler ElectroAcoustic Residency provides opportunities for composers to explore, experiment, and create for two weeks in Bowling Green State University's 10.2 multi-channel/first order Ambisonic studio.

Our Donor

Joe Klingler was born in the Great Black Swamp on a hot July day near the time of the Russian launch of Sputnik 1 that began the race into space. During elementary school he read a book entitled Four Wheel Drift that led to a soap box derby car and two crashes but no big win, and a lifelong love of motion and motorcycles even though there were no bikes in the book.

Around the time Jimi Hendrix played the U.S. National Anthem at Woodstock, he was pounding a Gibson guitar in a garage band influenced by local groups like the MC5 and Iggy and Stooges whose pioneering punk music he figured existed everywhere, though it was actually coming out of Detroit forty miles to the north.

Then he read The God Machine by Martin Caidin and started thinking about the nature of computation. And audio. And maybe someday getting a job. So he went to college to study Electrical Engineering and wrote an essay about feeling like a number for an English class before he heard Bob Seger sing about it. Years of study led to a decade of research in medical image processing, a stack of academic papers, and a few patents, which in turn led to an interest in special effects, and the software for making them. He co-founded a small startup company that was quickly acquired leading to a string of jobs for bigger and bigger companies until he was assimilated by a billion dollar enterprise and had the idea for a book—which he finally wrote while moving 525 mph bouncing between the coasts of the United States.

That book wasn’t RATS. But it led to RATS, his first novel. RATS draws on the beauty of technology, its uses, misuses and abuses. And how the collision of human ideologies shape its future—and ours.

He currently resides in California with a couple of Macs and a handful of motorcycles (striving for the Peter-Egan optimum, as described in Leanings). Sometimes he drives a car. And is fond of turbochargers.

Joe's Website

Get his book RATS from Amazon

Get his new 2014 release Mash Up from Amazon

Klingler ElectroAcoustic Residency (KEAR) 2014-15

Call for Applications: KEAR Two-Week Electroacoustic Composer/Researcher Residency 2014-15

APPLICATION DEADLINE: Midnight (Eastern Daylight Savings Time) on Monday 06 April 2014

AWARD: Travel funding, housing, and stipend

APPLICATION: Vew application data; complete the application

STUDIO FACILITY INFORMATION: visit website

BGSUElectroacoustics welcomes applications for its second annual Klinger Electroacoustic Residency (KEAR) program. We seek a dynamic, innovative composer, researcher, or practitioner with a project requiring the use of our surround studio facilities. One composer will be selected each academic semester (fall and spring) to visit for two weeks to work on a composition and/or research project employing multi-channel spatialization (up to 10.2), first order Ambisonics, and/or controller-driven live performance.

2013-14 Residents:
Adam Basanta (Montreal, QC)
Brad Garton (New York, NY)

Read more:

KEAR Application Information 2014-15

The KEAR application requests the following items. Applicants are encouraged to prepare submissions ahead, since the application process must be completed in a single session.

Read more:

Brad Garton - Spring 2014 Resident

Brad Garton serves as Director of the Computer Music Center (formerly the Columbia-Princeton Electronic Music Center). He has assisted in the establishment and development of a number of computer music studios throughout the world, and is an active contributor to the greater community of computer musicians/researchers, formerly serving on the Board of Directors of the International Computer Music Association as editor (with Robert Rowe) of the ICMA newsletter and artistic director/co-organizer of several high-profile festivals and conferences of new computer music.

His current work includes focused research on the modeling and enhancement of acoustic spaces as well as the modeling of human musical performance on various virtual "instruments". He is also the primary developer (with Dave Topper) or RTcmix, a real-time music synthesis/signal-processing language. The point of all this work is to continue to make fun new pieces of music, which he does every day. Website

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