Matthew A. Ostrowski 180 Monitor Street Brooklyn, NY 11222 USA ph: +1 917 541 1040 [email protected] www.ostrowski.info Education Institute of Sonology, Royal Conservatory, the Hague 1993-95 Sonology Kursus Composition studies with Clarence Barlow and Joel Ryan; Digital Synthesis and composition with Paul Berg and Dick Raaijmakers; DSP and Psychoacoustics with Stan Templaars and Peter Pabon; History of electronic music with Konrad Boehmer. Oberlin College 1980 - 1983 A. B. History Specialty in late antique and early modern marginal religious movements with Marsha Colish and Sanford Shepard. Studies in Technology in Music and Related Arts with Gary Lee Nelson and Conrad Cummings. 1982 Internship with Robert Ashley and David Behrman at the GLCA New York Arts Program. New School for Social Research 1979-80 Freshman Year Program. Analog synthesis studies with W. Lefferts Brown. Matthew Ostrowski cv p. 1 of 20 Teaching Trinity College, Hartford Visiting Lecturer, 2020 Classes in Sound Art and Interactive Media Steinhardt School of Education, New York University Adjunct Faculty, 2016-present Instructor, multichannel audio and video, history, theory and practice. Harvestworks, Inc., New York City Faculty, 2001-present Classes and private lessons in Max/MSP/Jitter, Introductory and intermediate Max/MSP/Jitter, Max/MSP Night School, and granular synthesis classes. Also serve as tutor for Max/MSP certification program. Columbia University Artist Mentor, 2017 Mentor for the Masters Degree Program in Sound Art. Took students in the program to museum exhibitions, artist studio visits, and meetings with curators, led discussions and critiques, worked individually with students on their final projects. Steinhardt School of Education, New York University Adjunct Faculty, 2003-04 Instructor of Digital Music and Technology. Introductory class in Digital Synthesis, Sampling, and MIDI. Workshops/Lectures • Albany Institute of History and Art, 2020 • Errant Sound Gallery, Berlin, 2020 • Royal Conservatory, Den Haag, 2020 • LOOS Arts Center, Den Haag, 2020 • UdK, Berlin, 2020 • Vasulka Kitchen, Brno, 2020 • Expo ‘74, North Adams, MA, 2019 • Made in NY Media Center, 2017 • New York University, 2017 • Made in NY Media Center, 2016 • Monthly Music Hackathon, New York, 2016 • Academy of Fine Arts, Brno, 2015 • Technical University Berlin, 2015 • Basel Conservatory of Music, 2015 • Prague College, 2015 • Virginia Tech, Blacksburg VA, 2015 Matthew Ostrowski cv p. 2 of 20 • Columbia University, 2015 • University of Colorado, Colorado Springs, 2014 • Center for Digital Arts, Brattleboro VT, 2014 • Royal Conservatory, The Hague, 2014 • Institut Intermédií, Prague, 2014 • University of the Andes, Bogotá, 2013 • Centre de Création Numérique, Paris , 2012 • Institut Intermédií, Prague, 2012 • The Global Composition conference, Dieburg, Germany, 2011 • (re)thinking Improvisation conference, Malmö, Sweden (with George Cremaschi), 2011 • Here, New York City, 2010 • Le 102, Grenoble, 2009 • Data arts center, Marseilles, 2009 • New York University,2009 • Stichting STEIM, Amsterdam, 2008 • Rensselaer Polytechnic Institute, 2008 • Dis-Locate Festival, Yokohama, 2008 • Cesta International Arts Center, Tábor (CZ), 2006 • Skolska 27, Prague, 2006 • Dorkbot, Zurich, 2006 • Electroacoustic improvisation workshops in Bulgaria, Croatia, Serbia and Slovenia, 2006 • Luzern Music University, 2006 • Stellenbosch University, 2005 • University of KwaZulu-Natal, Durban, 2005 • University of the Witwatersrand, Johannesburg,2005 • Arcadia Summer Arts Program, 2001 • Leeds University, 1999 • Sheffield University, 1997 Writings “Summerland: Exploring the intersection of spiritualism and technology at the dawn of the electrical age.” Leonardo Music Journal, Volume 29. (2019). “On Science and Art.” Performance Art Journal 100. (2012) Boston: MIT Press. “Minding the Gap: towards managing competing technologies in improvised music.” (re)thinking improvisation: artistic explorations and conceptual writing. Malmö: Lund University Press, 2011 (with G. Cremaschi) “The anxiety of the client: The database as a compositional tool”. Leonardo Music Journal Online, Volume 16. (2006). LiSa Manuals. Stichting STEIM, Amsterdam. LiSa 1.1 won electronic music’s highest Matthew Ostrowski cv p. 3 of 20 software design award (Bourges, 1997), including a mention for the excellence and thoroughness of the documentation. Matthew Ostrowski cv p. 4 of 20 Other Employment Software Developer/Consultant Design and development of software for extended musical instruments, interactive audio and video installations, and theatrical show control 2003-present. Clients include: • Laurie Anderson • Christopher Janney • Diamanda Galás • Ben Neill • George Griffin • Angie Eng • Alba Triana • George Griffin • Shelley Hirsch • Martha Rosler • Bill T. Jones/Arnie Zane Dance • Zeena Parkins • Nobuhu Nagasawa • Hugh Scott-Douglas • Long Island Children’s Museum • Perry Hoberman • Rashaad Newsome • Toni Dove • Beth Warshawsky • Andrea Parkins • JJ Roche • Marc Lafia • Andrew Neumann • John Morton Cesta International festival, Tábor Technical Director, 2006-2009 Managed facilities, provided artist support, and responsible for all technical aspects of a summer residency/festival program in the Czech Republic. Foster Kent Studios, Salzburg Software Developer, 2007-2009 Lead audio programmer for Motion Mixes, a touch-screen control system for radio station incidental music and audio branding. Engine 27, New York City Software Developer, 2002-2003 Created custom software for realization and spatialization of multichannel works for artists- in-residence. Clients included: • Andrea Polli • Robert Dick, David Soldier, and Eric Mingus • Grady Gerbracht and Raoul Bjorkenheim • Krishna Bhatt Flying Karamazov Brothers Technology Director, 2001-2003 Collaborated with the MIT Media Lab on a full-stage instrument, interactive video, and intelligent juggling pins for neo-vaudeville theater troupe. Responsible for hardware and software maintenance on tour, and played the role of Steve the Geek in L’Universe, the show incorporating the above technology. Matthew Ostrowski cv p. 5 of 20 Streb/Ringside Dance 1993-2000 Composer/Music Director. Responsible for all musical and sound-related production for MacArthur award-winning choreographer. Designed and built interactive hardware and software to generate sound from movements. Present at all performances as musician, sound designer, and engineer. Performances in North America, Europe, and Australia. Residencies 2015 New Orleans Airlift, New Orleans 2012 Clocktower Gallery, New York 2010 Harvestworks Studio Program 2008, CCMIX, Paris 2005 Cesta, Tábor (CZ) 2004 Alfred University, Institute for Electronic Arts 2003 Fundacion Valparaiso, Almeria (ES) 2002 Cesta, Tábor (CZ) 2002 Harvestworks Studio Program 2001 Arcadia Summer Arts Program, Mount Desert Island, ME (with Shelley Hirsch) 1997 Sheffield University Sound Studio, Sheffield University 1997 Walker Arts Center, Minneapolis (with Elizabeth Streb) 1996 Stichting STEIM, Amsterdam 1995 Los Angles Museum of Art (with Elizabeth Streb) 1995 Wexner Center for the Arts, Columbus, OH (with Elizabeth Streb) 1993 Brooklyn Anchorage, New York (with Elizabeth Streb) Matthew Ostrowski cv p. 6 of 20 Grants and Awards • 2019 Shortlist, New Technological Art Award, Leidts-Meissen Foundation, Ghent • 2018 NYSCA/Wave Farm Media Arts Assistance Fund • 2018 Foundation for Performance Art Emergency Grant • 2017 New York State Council for the Arts Media Production Grant • 2013 Harvestworks Creativity + Technology Award • 2011 Experimental Television center Finishing Funds • 2008 Foundation for Performance Art Emergency Grant • 2005 Arts International Travel Support • 2004 CEC/Artslink Travel Support • 2002 Experimental Television Center Finishing Funds • 2001 Fellow, New York State Foundation for the Arts in Computer Arts • 2000 Media Alliance Independent Radio/Sound Art Fellowship • 1998 Meet the Composer composer/choreographer collaborations • 1996 Mary Flagler Cary Charitable Trust, Music for Dance • 1994 Mary Flagler Cary Charitable Trust, Music for Dance • 1993 Experimental Television Center Finishing Funds Matthew Ostrowski cv p. 7 of 20 Selected Audio Works Negative Differential Resistance Nº 4 (2017) 24’ Six-channel live performance for four amplified fluorescent tubes and eight-channel sound. Premiere: Roulette, New York Shiver & Cleave (2017) 10’10” Eight-channel fixed media composition. Premiere: Knockdown Center, New York The Grand Abacus (2016) 31’09” Eight-channel fixed media composition. Premiere: Fridman Gallery, New York No more, my lord (2016) 12’ Live performance, based on materials derived from 1940’s prison work song. Premiere: The Firehouse, New York One One Xcodes (2015) 32’30” Mono audio composition derived from phone phreaking tapes. Untitled (2014) 7’57” Six-channel fixed media composition, commissioned by Zeena Parkins as part of her work Je me Souviens Plus Que...., Premiered at Maerz Musik Festival, Berlin. Three(out of four) Possible States of Matter (2011) 20’ For amplified teapot and live processing Premiere: Roulette, April 2011 Patterns Of Changing Light (2009) 36’30” Four-channel electroacoustic composition. Premiere: Roulette, New York Pianoless Vexations (2006) 20’16” Stereo fixed-media audio composition. Commissioned for the Sculpture Center’s Grey Flags exhibition, New York A Theory of Meaning (2006) 30’41” Broadcast-specific audio work. Commissioned by Free103point9 radio, broadcast 2007 Insomnia (2003) 43’10” 10-channel