sound and signal

In the Sound and Signal cluster we will make and arrange acoustic objects, integrate microphones and write code to sculpt recirculating sound and signal paths, moving from basic feedback control to systems of emergent and lively sonic behaviour. We will listen to these experiments and ask how they index the materials constituting the circuit. The goal is to design adaptive feedback systems whose behaviour is influenced by the dimensions of the enclosing space, ambient vibrations in the deployed materials, and digital signal processing integrated in code. A successful outcome will be a series of unique sonic experiences that unfold over time and arise from the acoustic interactions of geometries at varying scales. Our main activities will be making acoustic vessels, setting up feedback paths with microphones and speakers, coding adaptive behaviours into the signal path and finally listening in order to advance the design cycle.

cluster champions


John Granzow is Assistant Professor of Performing Arts Technology at the University of Michigan where he teaches musical acoustics, sound synthesis, performance systems and digital fabrication. In 2012 he initiated the 3D Printing for Acoustics workshop at Stanford. His instruments and installations leverage found objects, additive manufacturing and embedded sound synthesis. Granzow's works include compositions for electroacoustic carillon, a long-wire instrument for Pauline Oliveros, a hybrid gramophone commissioned by the San Francisco Contemporary Music Players, and recently a composition for ship horns in the harbour performed at Sound Symposium in St John’s in 2016.



Catie Newell is Director of the Digital and Material Technologies Master of Science in Architectural Design and Research program and Associate Professor of Architecture at the University of Michigan’s Taubman College of Architecture and Urban Planning. She is the founding principal of the art and architecture practice *Alibi Studio. Newell’s work and research captures spaces and material effects, focusing on the development of atmospheres through the exploration of textures, volumes, and the effects of light or lack thereof. Her creative practice has been widely recognised for exploring design construction and materiality in relationship to location, geography, and cultural contingencies. She is a Lucas Fellow, a Fellow of the American Academy in Rome, and a Kresge Arts Fellow.



Kim Harty is an artist, writer, and educator interested in the intersection of craft, technology, and performance. She has exhibited and performed in galleries and museums across the country including the Chrysler Museum of Art, the Toledo Museum of Art and the Corning Museum of Glass. She holds an MFA in Art and Technology Studies from the School of the Art Institute of Chicago and a BFA in Glass from the Rhode Island School of Design. She is currently an Assistant Professor and Section Chair of Glass at the College for Creative Studies in Detroit, MI.