Performers listed alphabetically by first name.
Panagiotis Mina completed a BA in Communication Culture and Media at Coventry University. He has been working as a photographer and video maker and as an audio/visual artist in Cyprus since 2003.
He works with visual or acoustical elements to create distinct objects and texts that frequently cross the lines between parody / reality / auteurship / art / pop. As a musician he performs using a selection of electronic modular sythesizers, drum machines and haptic instruments, guitars, drums and microphones which metamorphose constantly as his sets are often based on autoschediasm. Furthermore, he has performed solo shows and created installations at various art galleries in Cyprus and abroad. (Larnaca CY) Soundcloud
Paul Marion is the author of several collections of poetry, including Strong Place (1984) and What Is the City? (2006), and editor of Atop an Underwood: Early Stories and Other Writings by Jack Kerouac (Viking/Penguin, 1999), which has been published in translation in Italy (Mondadori) and France (DeNoel). His book Mill Power: The Origin and Impact of Lowell National Historical Park (Rowman & Littlefield, 2014) documents the making of a new kind of national park in Lowell, all told in the context of the city’s notable urban renaissance since 1970. A new collection of poems and sketches, Union River, was released in 2017 from Bootstrap Press. (Lowell MA) paulmarion.com
Peter resides in Boston and has performed with Marty Ehrlich, Andrew D’Angelo, Matt Wilson, Oscar Noriega, Bob Moses, Ed Schuller, George Schuller, Stan Strickland, Charlie Kohlhase, Joe Morris, Paquito D’Rivera, and others. Peter began teaching at the Longy School of Music in 1979 and started Longy’s first jazz department. In 1996 the department developed a new curriculum and was renamed The Department of Modern American Music to reflect its philosophy as well as its expanded mission. (Cambridge MA)
Throughout four decades of teaching and working in the areas of expanded arts and intermedia Peter Chamberlain has emphasized systemic structure: the structure of process, of production, of value systems, of composition, of the art world, etc. An effective way to elicit an understanding and respect for the function and importance of structure is by employing scores through all aspects of a creative process. This approach is different from using sketches or storyboards because the act of using a score involves constantly evolving and adaptive creative processes throughout both the development of the score and the interpretive performance based on it. A single score can also be applied to a variety of media and forms through recoding the visualized data. (Honolulu HI) peter-chamberlain
Phil played trumpet and sang with the Mike Westbrook Band in the early 60s; then in dance and rock bands in Europe for the later part of the decade. He returned to England in 1971, rejoining Westbrook and was involved in many of his projects until the mid 1980s. For most of the last forty years, Phil has been working as an improvising singer in groups, orchestras and situations, in various locations worldwide. Some composers have written pieces that especially employ his extended vocal techniques and improvisations. He has a quartet with Veryan Weston, Roger Turner and John Butcher, and ongoing duos with all of the above. He also sings with many other musicians including Audrey Chen, with whom in the last ten years he has performed worldwide. And recently, after a long beak, he’s been involved in several of American composer Bob Ostertag’s projects. (London UK) philminton.co.uk
Keyboard and bass player. I write and perform music. I record, mix, and master audio. I also do custom Acoustics and Multimedia work. I have a master’s degree in Sound Recording Technology from UMASS Lowell. Current Recording/Monitoring chain – Universal Audio Apollo – Logic Pro X – Amphion One18 monitors. (Concord MA) digitalvikingstudios.com