[-empyre-] Erin Gee - ASMRtronica "We as Waves"

Erin Gee erin.marie.gee at gmail.com
Wed May 5 10:51:18 AEST 2021

Hi all - long time lurker, haven't participated in a while.

While my work for ten years has been based on unique musical interfaces for
affective biosensors of my own design, my latest work "We as Waves" is an
audio-roleplay made in collaboration with queer playwright Jena McLean. It
premiered this week as part of MUTEK Argentina/Barcelona.  You will have to
register with MUTEK to access it (and the other) works in the exhibition,
but it's free.


Alternatively if you consider it too much a hassle to view the full MUTEK
online roster, I have an unlisted YouTube link to the work here:


As part of my ongoing investigations into sound, affect, biofeedback, and
psycho-physiological approaches to music composition, I have gotten Very
Into ASMR.  Autonomous Sensory Meridian Response (ASMR) is a phenomena
first officially discussed on an internet forum in 2007, describing a
pleasurable tingling response felt across the head, face, shoulders and
neck in response to specific gentle and/or hypnotic audio/visual stimuli.
Since 2007 it has turned into a vibrant media genre circulated primarily
through YouTube and Instagram, where "ASMRtists" create media intended to
"trigger" one's ASMR response to soft sounds greatly amplified.

My interest in ASMR as a means of aurally connecting the listener's body to
a technological sensorium was first explored through my ASMR performances
of AI-assisted scripts. I have since become interested in developing a
unique style of electroacoustic composition that borrows from the ASMR
roleplay and sounds, an embodied psychophysiological method for music
composition that responds to feminist and queer theory in Western art music.

Erin Gee is an artist and composer based in Montreal. Through vocal
composition, electroacoustic music, and affective biodata-driven music, Gee
promotes critical sensuality, affect, haptics, communication, and presence
in sonic and digital architectures. Through her work she has become a DIY
expert in affective biofeedback, collaborating with scientists and
engineers to implicate the body of the listener as part of her cybernetic
systems in place. Her doctoral research in feminist frameworks for
biofeedback music as a composition student at Universite de Montreal is
funded by the Social Sciences and Humanities Research Council of Canada.

sonic interfaces for embodied algorithmicity
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