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.

Innumerable Roads: Hyphenated Spaces, Migration and Refuge

October 24 -December 5, 2019
The Galleries at CCBC, Essex
Reception: October 24, 6 – 8p.m.

Artists: Erick Antonio Benitez, Bonnie Jones, Gina Gwen Palacios, Press Press, Helen Zughaib

Curator: Jessica Walton

Our collective history is one full of migration, and we all seek refuge. Our collective history is also full of borders created by cultural divisions, politics, war, and fear. These borders categorize and label us when the reality is more complex. This exhibition focusses on artwork that explores these histories of migration and the borders that try to prevent it. It also explores in between spaces, in between identities, and the struggles of finding home.

21st Annual High Zero Festival

September 19th through 22nd

Thursday, 9/19
Bob Bellerue improvised feedback manipulation
Danishta Rivero voice, electronics
Bonnie Jones electronics
Nik Francis percussion, electronics

Saturday, 9/21
Bonnie Jones electronics
Sarah Hennies vibraphone, percussion
Biliana Voutchkova violin, voice
Le Quan Ninh surrounded bass drum

Sunday 9/22
The night of random! The luck of the draw will determine which musicians I will perform with

1,500 Red-Crowned Cranes May 18 – June 15th, 2019

Artist Bonnie Jones will present a sound installation and exhibition about bodies in migration, the consequences of borders and boundaries, and the imaginative potential of in-between spaces. The title is a reference to the endangered animals that live in the heavily guarded Korean Demilitarized Zone (DMZ) between North and South Korea. This exhibition is supported by a Rubys Artist Grant from the Robert W. Deutsch Foundation.

An opening reception will take place Saturday, May 18, 6-9 p.m.

In addition, each week the artist will be in attendance at the gallery during Saturday hours, 12 – 4:00pm. Stop by for intimate conversations about the show and learn how to fold paper cranes. The goal will be to fold 1,5000 cranes by the show’s close.

Laetitia Sonami / Bonnie Jones / Chris DeLaurenti

The amazing instrument builder and electronic musician Laetitia Sonami will be in Baltimore for the Peabody Library’s HACKING HARMONY: A MUSIC HACKATHON. I’m honored to share two concerts with her!


January 31, 2019
Peabody institute Centre Street Performance Space

February 2, 2019
Red Room
w/Christopher DeLaurenti


You Do (it) You(rself)

You Do (it) You(rself)
December 8, 2018
3 – 6pm

Curated by Ezra Teboul with
Hosted by the School for Poetic Computation
155 Bank St., New York, NY 10014

About the Event and Ezra Teboul are happy to present an afternoon of discussion and musical/artistic demonstrations focusing on the work of three artists: Anastasia Clarke, Bonnie Jones, and Asha Tamirisa. As a continuation of Avant’s 2016 Circuit Score program, You Do (It) You(rself) asks the following questions: How can electronic circuits and software design act as a canvas for artists to express both personal stories and wider societal concerns? What can we do with technical objects that expresses our wish to care for others and ourselves? What unique perspectives of music and engineering can be developed along the way, and how do we document these?

On their own terms, Clarke, Jones, and Tamirisa each question the power structures that underlay material cultures of electronic music. This event offers an opportunity to learn about and discuss how abstract ideals about gender, technology and access interact with sonic and physical materials in the making of time-based arts. Each artist presents some of the ways in which these ideals, mediated by their personal ideas and experiences, influence technical decisions that affect artistic results.

Event Details
This program is organized and curated by Ezra Teboul with The event is hosted by the School for Poetic Computation. This program is the second in the Circuit Scores series. The first, Electronics After David Tudor, was hosted by SFPC in April, 2016. The program features: Anastasia Clarke, Bonnie Jones, and Asha Tamirisa, who will present electronic circuit system design models, and engage in group discussion and musical improvisation.

Date: December 8, 2018
Time: 3:00-6:00 PM
Location: School for Poetic Computation. 155 Bank Street, NY, NY
Tickets: $10 donation (sliding scale), reserve a spot on eventbrite