J. Soliday is an electronic musician. A member of Cleav’d Cleaver, xTAL fSCK, LORD MUTE, andvarious ad-hoc ensembles to numerous to mention. He can usually be found traversing the boundaries between free improvisation, concrete composition, and aleatoric noise.
Stephan Moore is a sound artist working at the intersection of performance and technology. His creative work is primarily concerned with the creation and perception of sonic environments, encompassing practices in field recording, physical programming, studio production, audio spatialization, loudspeaker construction and interactive software design, which manifests as sound installations, sound designs and scores for dance and theater productions, solo and group performance works and improvisations, generative compositions, and recordings. As a musician and sound engineer, he toured with the Merce Cunningham Dance company from 2004 to 2010. He was given a 2010 New York Dance and Performance “Bessie” Award for his score to choreographer Yanira Castro’s Dark Horse/Black Forest, and a 2013 nomination for his score to The People To Come. He is a past president of the American Society for Acoustic Ecology, and the curator of Sonic Innovations, an annual exhibition of outdoor sound art at the Caramoor Center for Music and the Arts. Moore holds an MFA in Electronic Art from Rensselaer Polytechnic Institute and a Ph.D in Electronic Music and Multimedia Composition from Brown University. He joined the Department of Radio, Television and Film at Northwestern University in 2015.
About multichannel audio:
Multichannel audio is uniquely positioned to be a growing and trending technology for artistic and cultural innovation. Simply described, this technology allows composers, musicians, performance artists, theater-makers, and sound artists to engage with the spatial qualities of audio, much as the adoption of surround sound technology opened a new dimension of innovation and storytelling to the cinema. Unlike cinematic surround sound, where the audience is always seated in a dark room facing a screen, the new wave of innovative artists we admire are reimagining the rules of the theater, concert hall, and gallery, using sound as a newly liberated medium.
Chicago Laboratory for Electroacoustic Theatre is a co-op artist workspace and exhibition gallery specifically dedicated to multichannel sound and spatial sound creation within a theatrical context. As one of the few multi-channel audio systems nationally (or, for that matter, worldwide) existing outside of an academic or otherwise private institution, CLEAT adds to Chicago’s already considerable prestige as a destination for the innovative research, creation, and transmission of work that integrates theatre, sound and technology. CLEAT provides access to professional multichannel sound facilities for up and coming theatrical sound designers, composers, and multidisciplinary theatre artists to learn and experiment with the potential of theatrical sound, as well as workshops to further develop their artistic and professional practice.