October 10, 2020

Rodolphe Loubatière & Bonnie Jones interpret a score by Ryoko Akama.

“Grey (gray)” (2020) __/ A composition by Ryoko Akama (JP/UK)

Bonnie Jones (US) : electronic
Rodolphe Loubatière (F/CH) : snare drum
Ryoko Akama’s scores are spaces offered to the musicians, where abstraction takes form. Once again she proposes a reflection on the grey, on the color without colors, on subtle shifts of perception. Bonnie Jones and Rodolphe Loubatière both explore on their own that « hyperspace » born in distance. Through Bonnie’s circuits and wires and on skin surface for Rodolphe, it suddenly shape itself in our ears. This trio manages to balance concept and sensitivity of raw material, in a long electrocoustic-improvisation/music format.

More :
HD audio :
Interview about the piece :
Insub.distances – a project by Insub.asso & Insub.records – 2020
Supported by : Prohelvetia (“Close distance” programm) / Fondation Suisa / Fondation Nicati-De Luze

From september until decembre 2020, INSUB. curates the Insub.distances project. It invited eight composers from the experimental scene to write original scores. These compositions were interpreted by 8 duos of musicians fully separated. The pieces, recorded & filmed, and broadcast online only investigate the issues of proximity and distance in a context where artistic mobility is turned obsolete by the current crisis, highlighting the need to create and exchange, beyond masks and closed borders. The 8 de-materialized performances that will be published one every two weeks, in video & audio formats, alongside interviews in which the musical, technical, contextual and personal aspects of the performers’ work are discussed. This de-materialized proposition explores virtuality as a palliative during the current situation – but also its limits by a crude montage which underlines the separation between the performers. The simplicity of the set-up ultimately reinforces the power of the music : tender and subtle counterpoints are found side by side to interwoven humming voices, explosive bursts, pulsations, meticulous explorations, resonance activations & ethereal harmonies…

10.09 Michael Pisaro-Liu ~ d’incise & Philippe Lauzier
24.09 Annette Schmucki ~ Antoine Läng & Myriam Pruvot
08.10 Ryoko Akama ~ Rodolphe Loubatière & Bonnie Jones
22.10 Jacques Demierre ~ Raphael Ortis & Camille Emaille
05.11 Clara de Asís ~ Violeta Motta & Cristián Alvear
19.11 Christian Wolfarth ~ Alexandra Bellon & Alexis Degrenier
03.12 Sarah Hennies ~ Cyril Bondi & Mike Majkowski
17.12 Jürg Frey ~ Anouck Genthon & Pierre-Yves Martel

Ryoko Akama // Bonnie Jones // Ian Power

February 23, 2020

Red Room
425 E 31st Street, Baltimore, MD 21218

A night of solos and collaborations featuring UK-based composer and performer Ryoko Akama.


She works with installations and sounds who approaches listening situations that magnify silence, time and space. Her sculptural work engages with mundane objects and invisible energies such as magnetism and gravity, employing small and fragile objects such as paper balloons and glass bottles in order to create tiny aural and visual occurrences that embody ‘almost nothing’ aesthetics. She also composes text scores and performs a diversity of alternative scores in collaboration with other artists and musicians. She co-curates ame and co-runs the independent publisher mumei publishing and melange edition. Selected installations include: the way they are (Yorkshire Sculpture Park, 2019, UK), composition of happiness (Spanien19C, 2019, Denmark), kosetsu (Stedelijk Museum, 2019, Amsterdam), ploughs and harrows (Konfrontation Festival, 2018, Austria), listening with the city (Internationales Musikinstitut Darmstadt, 2018, Germany), odds and ends (Bunkier Sztuki Gallery, 2018, Poland), loiner or (Industrial Museum of Leeds, 2018, UK), Object Migration (Avant Art Festival + Sanatorium Dź wię ku, 2017, Poland) and 1→ 5 (Uppsala Art Museum, 2016, Sweden)


I am a composer and I live in Baltimore, Md. I write a discrete, occasionally severe music that takes as its starting point the performers’ relationship to their instruments and craft, as well as their social arrangement on stage. I use clear sounds and elongated repetitions which accumulate into a space of warmth, in which both listener and performer can be made open to and hyper-aware of their environment, and themselves. Born in Rochester, N.Y. in 1984, I studied at UC San Diego and Ithaca College. I received a PhD from Harvard University under Chaya Czernowin. I am currently Assistant Professor and Director of Integrated Arts at the University of Baltimore. I attended classes and workshops at the Brevard Music Center, the Darmstadt New Music Summer Courses, and the Akademie Schloss Solitude in Stuttgart. I have further studied music composition with Steven Takasugi, Robert Morris, John Luther Adams, Dana Wilson, and Antoine Beuger. I occasionally write on music and perform on piano, voice, and various other found object / percussive / improvised instruments.


Baltimore-based electronic musician, member of the Red Room Collective and High Zero Foundation.

PeabodyHacks 2020, Hackathon Workshop

February 1, 2020
11:00am – 1:00pm

DIY Electronic Instruments: An Interactive Workshop w/ Bonnie Jones, TECHNE

TECHNE Co-Founder, Bonnie Jones introduces young students to DIY electronic instruments as part of the PeabodyHacks 2020 Hackathon at Peabody Institute in Baltimore, MD.

Join electronic musician Bonnie Jones for an interactive introduction to DIY electronic instruments! Hands-on fun with homemade contact microphones, photo-oscillator instruments, circuit bent guitar pedals, and more! Explore and collaborate with unusual new electronic sounds!

Creative Field Recording: Practicing Knowledge Through Sound

February 14 – 16, 2020
UnionDocs, NYC

I’ll be leading a workshop that I call “Performing the Past, Composing the Present, Altering the Future”

Bonnie’s session explores the physical and material dimensions of sound and field recordings. We’ll explore how this informs musical composition and live performance. Using recordings collected by students, we’ll improvise soundscapes and explore alternate performance strategies that combine sound with text, video, and other media.

In 1992, the anthropologist Steven Feld coined the term acoustemology, a combination of acoustics and epistemology to argue for “sound as a way of knowing.” In doing so it inquires into what is knowable, and how it becomes known, through sounding and listening.

In this three-day intensive workshop, lead instructor Zach Poff will use field recording to explore sound as a way of knowing that embraces phenomenology, relationality, and reflexivity. We will practice knowing through sound, listening with an ear toward the relationships between humans, non-humans, and processes that surround us. We will practice knowing with sound as we contribute our own gestures back into the network of sounding subjects through domains like radio, sound art, music, and film.

This workshop features listening sessions, hands-on recording demonstrations, introductions to novel sensors like contact microphones and hydrophones, and participatory and performative group work. Each session is anchored by a presentation from an invited guest artist: Viv Corringham, Bonnie Jones and Monteith McCollum.

Sound disrespects boundaries and connects disciplines so this workshop is open to anyone with a passion for sound: filmmakers, sound artists, podcasters, musicians, writers, or simply curious listeners.

Participants will get in-class experience with an array of professional recording equipment, but it will be beneficial to bring your own. (See Technical Requirements below.) Each day will conclude with opportunities for participant work-in-progress critiques.

Diffusion: New Concepts in Octophonic Sound

November 9, 2019

Red Room
@ Normal’s Books & Records
425 E 31st St, Baltimore, Maryland 21218



Mark Cetilia is a sound / media artist working at the nexus of analog and digital technologies. Exploring the possibilities of generative systems in art, design, and sound practice, Cetilia’s work is an exercise in carefully controlled chaos. He is a member of the media art group Redux, recipients of a Creative Capital grant in Emerging Fields, and the electroacoustic ensemble Mem1, described by the Oxford University Press’ Grove Dictionary of American Music as “a complex cybernetic entity” whose “evolving, custom-built systems are as important an aspect of the duo’s achievements as their ever-innovative sound.”

Cetilia holds a Ph.D in Computer Music and Multimedia from Brown University, and an MFA in Digital + Media from the Rhode Island School of Design. His work has been screened / installed at the Institute for Contemporary Art (London), Oboro (Montréal), and O’ (Milan); he has performed widely at venues including Café OTO (London), STEIM (Amsterdam), Los Angeles Contemporary Exhibitions, and Roulette (NYC). His sound works have been published by Interval, Radical Matters, Dragon’s Eye Recordings, and the Estuary Ltd. imprint, which he runs with his partner Laura Cetilia.


Shawn Greenlee is a composer, sound artist, and Associate Professor at the Rhode Island School of Design (RISD). He has performed extensively across the United States and Europe, appearing on several conferences, festivals, and tours. These include New Interfaces for Musical Expression (2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others. Greenlee’s solo and group discography spans over fifty releases to date. At RISD, Greenlee is the Programs Head for the Division of Experimental and Foundation Studies. In 2008, he completed his Ph.D. in Computer Music and New Media at Brown University. In 2014, he was awarded the MacColl Johnson Fellowship for music composition by the Rhode Island Foundation.


Bonnie Jones is an Korean-American improvising musician, poet, and educator working primarily with electronic sound and text. Her work uses electronic noise (field recordings, circuit bending) and text (poetry, found, spoken, visual) to make visible/audible the often invisible, fluid, and in-between states of self and identity.

Jones has been an active improvising musician since 1999, and has released several recordings of collaborative and solo projects including green just as I could see (Erstwhile, 2012), with Andrea Neumann; AS:IS (Olof Bright, 2012), with Christine Abdelnour and Andrea Neumann; Clandestine Cassette Series #2 (Northern Spy, 2011); Arena Ladidros (Another Timbre, 2010), with Chris Cogburn and Bhob Rainey; NINA (Simple Geometry, 2010), with Chris Cogburn and Liz Tonne; Jones Family Farm (Compost and Height, 2008); Vines (emr, 2006); One Day (Erstwhile, 2008), with Toshimaru Nakamura; and English (Copula, 2004), with Joe Foster.