David Berezan
After completing a BA in History (1988) at the University of Calgary, a Diploma in Composition (1996) at Grant MacEwan College (Edmonton) and a MMus in Composition (2000) at the University of Calgary, David Berezan moved to the UK and completed a PhD in Electroacoustic Composition (2003) at the University of Birmingham (UK) with Jonty Harrison. In 2003, he was appointed Lecturer and Director of the Electroacoustic Music Studios at the University of Manchester (UK) and he founded MANTIS (Manchester Theatre in Sound). He has been awarded in the Bourges (France, 2002), Luigi Russolo (Italy, 2002), Radio Magyar (Hungary, 2001), São Paulo (Brazil, 2003, ’05), L’espace du son (Belgium, 2002) and JTTP (Canada, 2000) competitions. He has worked in residence in the studios of The Banff Centre of the Arts (Canada, 2000, 07), ZKM’s Institut für Musik und Akustik (Germany, 2007), GRM (France, 2007), IMEB (France, 2007), ESB (Switzerland, 2005), and Tamagawa University (Japan, 2007). http://www.electrocd.com/en/bio/berezan_da/

Hector Centeno
is Technical Director and webmaster at NAISA. He is a sound artist, music composer and multimedia producer (video/web/graphics). He first composed exclusively for instrumental chamber music ensembles but since 2004 his work has been devoted to the sonic arts, transforming soundscapes and other recorded sounds. His work is inspired mainly in the practices of Zen and it's ways of approaching art creation and reality through meditation, searching for a good balance between spontaneous, intuitive expression and rationality. He is also interested in sound design for theater and film, in multichannel sound spatialization and in Open Source software. His electroacoustic pieces have been performed at the Sounds Electric '05 festival in Ireland, Sound Travels and Sound Play festivals in Toronto, Nuit Blanche festival, Concordia University in Montreal and as part of the AngelusNovus.net composers collective at other venues in Toronto. www.hcenteno.net

Darren Copeland / Andreas Kahre
Toronto-based soundscape and radio artist Darren Copeland and Vancouver interdisciplinary artist Andreas Kahre have been collaborating on audio installations and radiophonic work for a number of years, based in a shared interest in acoustic ecology, radio art and theatre sound. In 2007, they were commissioned by the Elements festival of Nature in Performance to create Fish on Air, a radio installation of underwater recordings around Gabriola Island, that has now turned into a permanent low-power radio broadcast situated at the Gabriola ferry dockl. In 2008 they were commissioned to produce The Other Night, Underwater, a 50 minute radio work for the Klangkunst program on Deutschlandradio Kultur which was later presented at ISEA 2010 on a ship-borne installation in Ruhr Germany. In 2009 Andreas and Darren were commissioned by the Edmonton Arts Council to create Sound Columns.

Ana Dall'Ara-Majek
received her musical training in France. She has participated in a number of festivals in Europe: Multiphonies GRM, Espace du Son, ISCM, EMAF... and has received many commissions. She is currently working on composition "mixte" with Philippe Leroux and Robert Normandeau at the University of Montreal.

Rohan De Livera
composes music for a variety of genres and for diverse instrumentation. In addition to orchestral, chamber, percussion, and choral ensembles, this includes electroacoustic music as well as music for short film, theater and television.

Georges Forget
French composer living in Québec since 2001, Georges Forget began his studies with Christian Éloy at the Conservatoire de Bordeaux in the purest acousmatic tradition. During his Masters, with Robert Normandeau at the faculty of music of the Université de Montréal, he evolved towards a more melodic approach to electroacoustics. A multi-talented composer, his work can be heard in a number of theatre, video and documentary film projects in Europe as well as in North America. His compositions have been rewarded in several competitions such as Jeu de temps / Times Play (2007), Música Viva (2003, 07), 35th Bourges International Electroacoustic Music and Sonic Art Competition (Residence, 2008). Presently working towards his Doctorate under the direction of Isabelle Panneton and Jean Piché, still at the Université de Montréal, Georges Forget continues to explore the use of “melodic motives” as the foundational element of the unity and formal perceptability of the work. His interdisciplinary project involves developing tools which allow for greater ‘sensitivity’ in the exchanges between machine and musician. Georges Forget is supported by the Fonds québécois de la recherche sur la société et la culture (Québec societal and cultural research fund, FQRSC).

Jonty Harrison
is the Director of the Electroacoustic Music Studios and BEAST (Birmingham ElectroAcoustic Sound Theatre) at The University of Birmingham where he has taught a number of postgraduate composers from the UK and overseas, many of whom are now themselves leading figures in the composition and teaching of electroacoustic music in many parts of the world. His works have received several Prizes and Mentions in the Bourges International Electroacoustic Music Awards (including a Euphonie d’or for Klang in 1992 cited as “one of the most significant works” in the Bourges competition’s history), two Distinctions and two Mentions in the Prix Ars Electronica (Linz, Austria), and First Prize in the Musica Nova competition (Prague) among many others. Commissions have come from many leading performers and studios — including two each from the Groupe de recherches musicales (Ina-GRM, Paris) and the Institut international de musique électroacoustique de Bourges (IMEB — formerly the Groupe de musique expérimentale de Bourges) — such as the International Computer Music Association (ICMA), MAFILM/Magyar Rádió (Budapest), Electroacoustic Wales/Bangor University, IRCAM/Ensemble intercontemporain (Paris), BBC, Birmingham City Council, Birmingham Contemporary Music Group, Fine Arts Brass Ensemble, Nash Ensemble, Singcircle, Thürmchen Ensemble (Cologne), Compagnie Pierre Deloche Danse (Lyon), John Harle, Beverly Davison, Harry Sparnaay, and Jos Zwaanenburg. Despite renouncing instrumental composition in 1992, he wrote Abstracts (1998) for large orchestra and 8-track tape, and a piece for the Thürmchen Ensemble, Force Fields (2006) for 8 instrumentalists, and fixed sounds. He has undertaken a number of composition residencies, most recently in Basel (Switzerland), Ohain (Belgium) and Bangor (Wales, UK), and has been guest composer at numerous international festivals. His music is performed and broadcast worldwide. Several works are available on empreintes DIGITALes, SAN/NMC, Cultures électroniques/Mnémosyne Musique Média, CDCM/Centaur, Asphodel, Clarinet Classics, and EMF.

Martin Messier
is a composer, a performer and a video artist. His curiousity for graphic arts has brought him to explore the relationship between sound and image. It's this same interest that inspires him to create audio performance, live electronics, installation, videomusic, music for dance and theatre. His work has been broadcast in national and international festivals including Mutek (Canada), Mois Multi, Escales Improbables, IMEB (France), Videoholica (Bulgaria), Bang on a Can (NY), NIME (Italy) Transmediale and many others. Based on strong aptitudes for rhythm, Martin's esthetic can be defined as a complex, left field and happily strange sound amalgam, constantly playing with construction and deconstruction.

Matt Miller
is an electro-acoustic musician, composer and soundware developer. He is an active performer in Toronto's new music scene. His latest release, the vinyl album “MiMo Presents: No Exit”, is a compilation of 96 locked-grooves, co-produced with Samuel Morgenstein and featuring performances by members of AIMToronto.

Samuel Morgenstein
a classically trained percussionist from New York, specializes in the new, the untried, and the experimental.  He enjoys creating music from found objects and materials.  With his laptop and percussion duo MiMo, he incorporates both new and vintage electronics as part of his unique sonic arsenal.

Andrew O'Connor
is an independent radio producer, and sound artist based in Toronto. His work as a producer has been featured on many CBC Radio programs across the network, as well as on community radio stations like CKLN in Toronto, and Shouting Fire Radio in San Francisco. Andrew's work as a sound artist has been presented at festivals like Vancouver New Music, the Third Coast Filmless Festival, and Megapolis in Baltimore.

Rob Piilonen
is a flute player, composer, and producer who has been active in the Toronto improvising scene since 1996. He has scored music for films and dance projects, works with a number of Toronto's leaders in the arts, and is a member of the Board of Directors of AIMToronto. He currently leads the chamber-improv ensemble Rob's Collision.

Ilya Y. Rostovtsev
currently a Master's student at the University of North Texas, is focused on creating narratives within the abstract medium of musical expression. Prior to his studies in composition, Ilya received his Bachelors of Science in Applied Math from Texas A&M University, following his move from Russia to the United States.

Nick Storring
is a Toronto-based composer with a wide palette of interests, ranging from skewed pop to electroacoustics, and from chamber music to various forms of cross-cultural collaboration. Recent winner of the Canadian Music Centre's Toronto Emerging Composer Award, he also placed first in the 2008 Jeux de Temps/ Times Play Competition for young Canadian electroacoustic composers with the first section of his broken violin-derived work Artifacts. Eager to collaborate with artists in various media, his work has recently been performed by the Esprit Orchestra, and accompanied the MT Space's play The Last 15 Seconds on its national tour and throughout the Middle East. Interactive piece Tentacles, featuring Storring's music and sound design, is currently showing at MoMA. Please visit: nickstorring.ca for audio, and more information.

Chiyoko Szlavnics
has composed works ranging from solo instruments to chamber orchestra since 1993. She studied composition with James Tenney in Toronto, was in residence at the Akademie Schloss Solitude (Stuttgart) from 1997-8, and attended Walter Zimmermann′s seminars at the HdK (now the UdK) in Berlin. Her recent body of compositions are based on drawings which are translated into musical notation using the Just Intonation ratio system as a harmonic and microtonal basis. The resulting acoustical phenomena are surprising: through her particular choice of pitch material and extended glissandi, a transparent (glassy) surface of pure intervals is often set into motion by rippling beating. Her compositions feature clusters, beating, unexpected harmonies, as well other auditory experiences, such as difference tones, and what Szlavnics likes to call ″audible harmonic nodes″. All of these phenomena are structured by the forms and dynamics inherent in the original drawings. Szlavnics has also produced numerous multi-channel sound installations, created works for contemporary dance and theatre, video and film. In 1995 & 1997, she co-curated Art in Open Spaces, a Toronto performance series highlighting outdoor public art sites and spaces in the city′s downtown core, through the commissioning and production of new music and choreographies. Her compositions have been performed and presented by a variety of ensembles, venues, and on radio in Europe and North America.

Dominic Thibault
After studying jazz guitar in college, Dominic Thibault (Howick, Québec, 1984) completed a Bachelor degree and a Master degree in composition (University of Montreal) under the supervision of Jean Piché and Robert Normandeau. He has recently moved to Huddersfield (UK) in order to undertake a Ph.D. with Pierre Alexandre Tremblay, researching the creative possibilities of technologies in the context of the multimedia opera.