2019
Fellow

Eli Stine

Edgar Shannon Fellow
Greenville, North Carolina
Degrees:
B.A. Oberlin College (2014)
B.M. Oberlin Conservatory (2014)
M.A. University of Virginia (2017)
Graduate School of Arts & Sciences
Music

Bio:

Short Bio. for Celebration Dinner, 2019: Eli Stine is a graduate student in the McIntire Department of Music at the University of Virginia, where he is writing a dissertation entitled “Modeling Natural Systems in Immersive Electroacoustic Sound.” His compositions and music software research have been programmed internationally, including recently at the 2018 New Interfaces for Musical Expression Conference, 2018 International Computer Music Conference, and the 2019 International Conference on Computational Intelligence in Music, Sound, Art, and Design. His collaborative marine soundscape research has been presented at the Association for the Sciences of Limnology and Oceanography 2019 Aquatic Sciences Meeting and the 2019 Workshop on Intelligent Music Interfaces for Listening and Creation. His sound design for film has been featured in USA Today, the Economist, and as part of a virtual reality adaptation of Franz Kafka’s Metamorphosis which has been installed in over 25 countries around the world since late 2017. In 2019-2020 Eli will be a Visiting Assistant Professor of Technology in Music And Related Arts at Oberlin Conservatory. Eli Stine is a Ph.D. candidate in the U.Va. Department of Music whose work explores electronic sound, multimedia technologies (often custom-built software, video projection, and multi-channel speaker systems), and collaboration between disciplines (artistic and otherwise). His compositions and music software research have been programmed internationally, with recent performances and presentations at the 2018 New Interfaces for Musical Expression Conference, the 2018 International Computer Music Conference, the 2019 San Francisco Tape Music Festival, at Burning Man 2018, and the 2019 International Conference on Computational Intelligence in Music, Sound, Art, and Design. Stine’s collaborative marine soundscape research has been presented at the Association for the Sciences of Limnology and Oceanography 2019 Aquatic Sciences Meeting and at the 2019 Workshop on Intelligent Music Interfaces for Listening and Creation. A virtual reality adaptation of Franz Kafka’s Metamorphosis that Stine did sound design for is currently touring the world, with installations in gallery spaces and at film festivals in over 25 countries since late 2017. Stine graduated from Oberlin Conservatory and College in 2014, majoring in Technology in Music and Related Arts and Computer Science, and received his M.A. in Music Composition & Computer Technologies from U.Va. in 2017.

Thesis Description:

Modeling Natural Systems in Immersive Electroacoustic Sound
How can models of natural systems be used to compose electroacoustic music? To explore answers to this question the author presents software built in the Max programming language and multi-channel electroacoustic compositions made using that software that explore different ways to musically encode the processes present in three natural systems: flocks of birds, island shorebird habitats, and oyster reef ecosystems. The process of building and using representative models of these systems leads to their extension into novel, natural system-inspired sound production methodologies. Spatialization is privileged as a domain for both listening to systemic properties and as central to the compositional practice of telling ‘system stories’ through sound. Supplementing the presentation and discussion of these projects is an overview of relevant historical threads within the domains of natural computing, algorithmic acousmatic composition, sonification and data-driven music, live electronics, and software art, along with the introduction of an evaluative framework for work of this type. Broader topics explored include the musical potentials of different models of natural systems, the differences between how humans experience and computers encode natural systems, and how sonic re-embodiments of natural systems may be listened to.

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