Researcher:

Summary of Research areas:

- Compositional and performative methodologies involving infrasound;

- relationships between music composition and film;

- sound installation possiblities using consumer mobile technologies,

- audio recording in forensic science,

- Totally Huge New Music Conference founder and convenor.
For more information: http://www.cathope.com

Specfic Projects:

Audio recording in Forenscis, SymbioticA, UWA, funded by FAE.
This is a collaborative project with Prof. ian Dadour at UWA Forensics and sound artist Rob Muir. The artist devlop techniques for recording various states of physiological decay for use in electronic music composition.

 Sound intallations using mobile technologies, BEAPworks, funded by ArtsWA.
BEAPworks is a small colelciton of artists working in electonic art. Under the guise of Metaphonica, Cat collaborates with other artists developing techniques and technologies to be used in sound installations featuring mobile phones. There has also been a paper published as a result of this research. http://www.metaphonic.com

Compositional and performative methodologies involving infrasound, PhD studies, RMIT University, Melbourne.
This PhD project explores infrasound (extreme low frequency sound) as a tool in composition and performance. The study has led to a series of arts residencies in countries such as Germany and Singapore.

Music and Film; numerous publications.
Cat has published articles on this subject in a variety of journals, which include:
“Hearing the story; sound design in the films of Rolf De Heer”. Senses of Cinema, 2004
“Critical Mass: Sound, story and music in David Croneberg’s film Crash.”, Ballardian.com, 2006. She is currently writing a paper on the music in Mathew Barney’s “Cremaster Cycle”.

Totally Huge New Music Conference. Perth 2005, 2007, 2009.
In conjunction with Tura New Music, Cat founded this conference and is currently organsing the 2nd conference with the theme : “The Sonic Image : Exploring relationships between the sound and visual worlds.” The inugral conference papers have been published by Edith Cowan University.

Creative Focus

 

Cat Hope is an accomplished Perth based musician, composer, songwriter, sound and performance artist whose practice is an interdisciplinary one that crosses over into film, video, performance and installation. Her work has taken her on numerous tours around Australia, the USA, Japan and Europe. Her recordings are distributed and published worldwide, and she has written soundscapes for dance and theatre companies as well as commissions for film and pure music works. Cat is a classically trained flautist, vocalist, improviser and experimental bassist. She has directed and edited numerous short music videos and created audiovisual installations. She has conducted extensive funded research into communication technologies, audio recording in forensics, noise notation, low frequency and surveillance techniques for use in performance. She is also an active researcher in the area of music archives, film music, digital art and electronic music performance. She manages a label/production company, Bloodstar Music.

Current Projects

 

Recently completed PhD with distinction

Installation currently at Cockatoo Island, Sydney Biennale.

Work in ArtSmart, John Curtin Gallery, Perth.

Book on Digital Art for Berg Publishers, London, UK (in writing).

Decibel new music ensemble recordings (for MOVE records).

Book proposal for book on Alvin Lucier (in review)

Commission for Kronos Quartet (USA).

ECUi research grant on WA music archiving (see below).

1. Education

 

PhD RMIT Fine Art (sound). 2005- 2010.

Bachelor of Music, Honours, First Class. University of WA, Flute performance major, 1984- 1989.

Certificate in Work Place training, Perth TAFE, 2005.

Advanced Diploma in Arts Management, Central TAFE, 2000.

2. Academic Appointments

 

Coordinator of composition, music technology and postgraduate studies in music, Western Australia Academy of Performing Arts, Edith Cowan University (2007 -).

Lecturer in Composition, Music technology, Twentieth Century History and Harmony (2004 -), ongoing.

Lecturer in sound art and Seminarian at School of Art, Curtin University (2007).

Founder and head of WAAPA Music Research Group (2006-).

Founder and convenor of the Totally Huge New Music Festival Conference, 2005, 2007, 2009 (editor of DEST refereed proceedings, Soundscripts).

 

3. Academic awards and Grants

 

2009            Veronica Kelly Postgraduate Award, best postgraduate paper, ADSA.

2009            ARC LEIF LINKAGE,  $450 000 co CI with Prof. Roger Dean, “The Australian Music Navigator: research infrastructure for discovering, accessing and analysing Australia’s musical landscape.” With UWS.

2009            ECU internal Linkage Grant $25 000 “The Western Australia New Music Archive: 1970 – 2000: Unearthing, remembering, performing.” With Tura New Music (industry contribution $15 000) 2010

2008            ECU Teaching and Learning Grant $10 000 to establish “Slow Release”, the WAAPA online music label.

2005    Sounds of Decay: Low Frequency sound in forensic science. ECU faculty research grant, WA,

          associated papers and creative works as outcomes. Attracted funding: $4000. Outcomes: 2 papers, 3 creative works.

2002            Pandoras Box: best sound track award for a WA film.

1985            WA Flute Competition, First prize, Owen Fisenden Award for best concerto

4. Select Accomplishments at ECU

 

Founded and established the Music Research Group, soon to become a WAAPA research centre.

Founded and established the Slow Release Music Label, WAAPA online music label.

Established the Tura New Music Commissioning Award,  $2000 annually for one graduating WAAPA student.

Wrote the Bachelor of Music, Music Technology, the Bachelor of Music, Composition (grown from 15 to over 50 students in three years) and co-wrote the postgraduate programs in music at WAAPA.

From Level A to Level C in 5 years.

Developed the Composers Server, an online web data base for all WAAPA composition students to maintain a web presence to facilitate web pages.

Established industry links with Tura New Music (numerous, including prizes), Revelation International Film Festival (music for film project),  Western Australia Symphony Orchestra (internship for students) and most areas of WAAPA: composers writing for Dance, Screen Academy, Theatre,  Electronic Arts, Gaming.

Founded new music ensemble Decibel, Student Group Axis 21 and staff ensemble Resonator.

5. Boards and Panels

 

Chair Contemporary Music Board, WA Dept. Culture and the Arts, (2005 -).

Arts Development panel, WA Dept. Culture and the Arts, (2004 – ).

Interarts panel, Australia Council, (2007 -).

Faculty Promotions Board, ECU, (2008-).

Faculty Research and Higher Degrees Panel, ECU (2009-).

Sound Travellers Advisory Panel (2007 -).

Perth Institute of Contemporary Art Board of Directors, (2003 -2007).

Peer Advisor Australia Council Music Board, 2002.

Evos Music Artistic Advisory Board, 1992-94.

6. Arts related Appointments (selection)

 

Musical Director and founder, Decibel New Music Ensemble (2008-).

Asialink Performing Arts resident, Singapore, 2006.

Electronic music curator, Totally Huge New Music Festival, (2003- ).

Co-ordinator, curator of Sound Spectrum, bi monthly new music event (2003-).

Founder and manager of Bloodstarmusic label (1999- ).

WA representative/co-ordinator for Electrofringe Arts Festival, 2003.

7. Research Interests

 

Infrasound and low frequency sound in composition, installation, film music.

Electronic music performance practice.
The sound/image relationship.

New technologies for music performance and composition.

Australian and Western Australian composition, sound art and film music.

8.  Publications

 

Texts for most of my writing can be found on the Music Research Group web site (http://www.waapamusicresearch.com) , or my own site http://www.cathope.com (.)

Books, Book Chapters

 

Hope, C. (Editor in chief) with Marshall, J., Riddoch, M. (est2011). Digital Art. (as part of Bergs New Media Series) London: Berg (proposal accepted, in writing).

Hope, C. (2009) “Cultural terrorism and anti music: Noise music and its impact on experimental music in Australia”, in Priest, G. (Ed) Experimental Music – audio explorations in Contemporary Australia. Chap 3, UNSW Press: Sydney. pp 56-74.

 

Selected Articles in Refereed Journals and Proceedings

 

Hope, C. (2010). “Music to Feel: Revising the Listening Experience with Low Frequency Sound”, Australiasian Musicological Society Conference, Otago, New Zealand (in writing).

Hope. C. (2010)  “Vibrating Performance: Experiencing music though vibration in the works Abe Sada” in     Milne, G (ed.) Australasian Drama Studies. 56, pp. 170-182.

Hope, C. (2009) “Infrasonic Music” Leonardo Music Journal, 19 pp. 51-56.

Hope, C. (2009) “The Wonderment of the Bleak – Sculpting the Static”. Art Monthly, 225, pp. 45-47.

Hope, C. (2009) “Earth Pulse: Vibrational data as artistic inspiration.” Re:Live Media Art histories 2009 Refereed Conference Proceedings, The University of Melbourne & Victorian College of the Arts and Music. pp. 73-77.

Hope, C. (2009) “The Nth Art: The State of the Sonic Image” at the 2007 Totally Huge New Music Festival Conference, Sound Scripts – Proceedings of the Inaugural Totally Huge New Music Festival Vol 2 AMC Press. pp. 15-19.

Hope C. (2008) “The Bottom End of Cinema – low frequency effects in soundtrack composition”, Sound Scripts – Proceedings of the Inaugural Totally Huge New Music Festival Vol 2 AMC Press: Sydney pp.74-78.

Hope, C. (2008) “Musical Sculpture in the films of Mathew Barney”, Sight and Sound (upcoming publication).

Hope, C. (2004) “Hearing The Story – Sound Design In The Films Of Rolf De Heer”, Senses of Cinema, Online Magazine. http://archive.sensesofcinema.com/contents/04/31/sound_design_rolf_de_heer.html

Hope, C. (2007) “Silence As Stillness? Sonic Experiences In Art Using Infrasonics.” Stillness – Computers in Art and Design Conference Proceedings, Curtin University, 12-14 September 2007 pp.118 – 122.

Hope, C. (2007) “Making Music as Contemporary Art. ”Hatched 07 Discussion Papers, Hatched 07 Arts Research Symposium, 20 April 2007 pp 48 – 51.

Hope, C. (2005)  “Sound Art: Mobile Art.” Sound Scripts – Proceedings of the Inaugural Totally Huge New Music Festival, ECU Press: Perth pp 41 – 47.

Hope, C. (2005) “Body as a Screen.” Body Modification Conference Mark II, Macquarie University, NSW pp 58-59.

Hope, C. (2003) “A Wardrobe Of D.A.C.S – The Development Of An Interactive Garment.” Converging Technologies:  Australia Computer Music Conference, Perth WA. pp.105-109.

Hope, C. (2002) “ Fetish.” Documents: ISEA2002 11th International Symposium of Electronic Art, Nagoya, Japan (Orai) pp 36-37.

 Co – authorship (refereed)

 

Hope, C., James, S. Tan, K. (2010). “When Lines Become Bits: Engaging Digital Technology to Perform works by Alvin Lucier”, Australasian Computer Music Conference, Canberra, ACT pp 29-36

Hope, C. and Riddoch, Dr M. (2009) “The Vanishing Bass   – Possible implications of Internet centric delivery and listening on bass perception.” Createworld Conference Proceedings 2009, Queensland, Apple Consortium Australia, pp. 48-52.

Marshall, Dr. J. and Hope, C. (2006) “Introduction: A New Historicism? Sound, music and ruined pianos.” Sound Scripts – Proceedings of the Inaugural Totally Huge New Music Festival, pp 2- 8.

Hope, C. and Walton, A. (2003) “cAVity – sound and video working together without the square screen.” Converging Technologies:  Australia Computer Music Conference Proceedings pp. 122 – 123.

Hope, C. and Walton, A. (2004) “A(d)dress.mov.” ISEA2004 – Proceedings of the 12th International Symposium of Electronic Art.  pp. 86.

 Conference Proceedings and Presentations (non refereed)

Hope, C. (2008) “The possibility of Infrasonic Music.” 13th International Conference on Low Frequency Sound and Vibration, Japan, October 2008. pp. 67-79.

Hope, C. (2007) “Composing music with low frequency sound.” Crossing Continents Composers Symposium, University of WA, April 2007.

Hope, C. (2007) “Learning Art with Ipods.” Createworld Conference, Griffith University, Brisbane.

Hope, C. (2007) “ Online environments for new music composition – the WAAPA Composers Server.” Createworld Conference, Brisbane.

Hope, C. (2006) “ Composing experimental music for film and video.” VFx Conference, Bysteria Banksia Art Academy, Slovakia.

Hope, C. (2005) “Sound Art Using Mobile Devices.” Electrofringe Forums, NSW.

Hope, C. (2004) “ An artists lot – composition for performance in Australia.” New Directions New Media Festival, Singapore.

Hope, C. (2004) “Sound and Seeing.” BEAP Sonic Difference Conference, WA.

Hope, C. (2002) “New Ways of Thinking- Sound Performance Spaces for the New Century.” PIAF Celestial   City Program,  presented at AGWA.

 Editorial

 

Resonate – Journal of the Australian Music Centre, Editor for vol. 3, “New Sounds – Defying Definitions, September 2008.

Earwax New Music Magazine, co-edited with Lindsay Vickery, (2002 – 2004).

Soundscripts – Proceedings of the Totally Huge New Music Conference, vol1 and vol2 (2005, 2008).

 Review Articles in non-refereed journals

 

Hope, C. (2008) “I am the music I don’t notate.” Editorial in Resonate Journal Vol 3.

Hope, C. (2008) “Freedom and structure take on instruments and hardware.” Interview with Lindsay Vickery in Resonate Journal Vol 3.

Hope, C. (2008) “Configuring Music.” Interview with Anthony Pateras in Resonate Journal Vol 3.

Hope, C. (2007)“Its Addictive.” Resonate Journal http://www.resonatemagazine.com.au/article.php?id=39

Hope, C. (2007) “New Music at Club Zho.” Resonate Journal, http://www.resonatemagazine.com.au/article.php?id=29

Hope, C. (2007) “Perth – A Noisey City.” Grok Magazine, Issue 58, Nov, pp 8 – 10.

Hope, C. (2006) “Critical Mass – Sound, story and music in David Cronenberg’s Crash.” Ballardian, http://www.ballardian.com/author/cat

Hope, C. (2006) “Transit Lounge and Transmediale, Berlin.”Filter, issue 63 pp18-19.

Hope, C. (2005) “ISEA 2002 – an artist report.” Filter, issue 522, pp 12-16.

 Selected Art Grants

2010         Decibel to attend Liquid Architecture Festival of Sound Arts, Australia Council Music Board. $9800.

2010         Decibel to tour Regional Western Australia, WA Dept. Culture and the Arts. $12900.

2009         Abe Sada to tour Japan and Europe, WA Dept. Culture and the Arts. $11400.

2008         Abe Sada to tour Japan, WA Dept. Culture and the Arts. $9500.

2005          Working with sound and mobile phone technology, BEAP/ArtsWA. $9000.

Outcomes: 1 paper, 4 creative works.

2004         Australia Council AsiaLink Scholarship to work in Singapore at Theatreworks with installation and video. Attracted funding:  $25 000. Outcomes:1 paper, 6 creative works.

2004          Development of sound installations using flash media BEAP/ArtsWA . Attracted funding: $5000. Outcomes: 2 creative works.

2003          Interactive technologies to develop the interactive garment D.A.C.S , cAVity , PICA  research and development fund for hybrid arts, 2003. Attracted funding: $5000. Outcomes: 3 paper, 6 creative works.

2001         Surveillance technology for hybrid practice, PICA research and development grant, with Rakini and Andrew Ewing. Attracted funding: $7000. Outcomes: 3 performances.

2001         Developing noise notations for music composition, ARTSWA research grant. Attracted funding: $7000. Outcomes: 6 creative works.

2000         Sampling software for live performance. PICA research and development grant with Lindsay Vickery. Attracted funding: $7000. Outcomes: 6 creative works.

9. Education Related Appointments

 

Curriculum Council, writer of new Yr 11 and 12 music syllabus, electronic and film music (2007-2008).

Curriculum Council, examiner for Yr 12 TEE composition folios.

10. Higher Degree Completions

CURRENT      
Christina Ballilico 2010- Live Music In Western Australia PhD
Katie Lavers 2009 - Directing Circus into Contemporary Dacne PhD
Caitlin Cassidy 2010 - Caberet meets recital Masters
Josh Webster 2010- Commissioning for rare percussion Masters
Chris De Groot 2008-2010 Sound art in film music composition Masters
Kynan Tan 2010 Composing for electroacoustic ensemble Honours
Marty Pervan   Postmodernism in jazz Honours
COMPLETED      
Yagan Keily 2009 Creative Commons – a comparitive study for composers Honours 1st class
Rachal Dease 2008 The New String Quartet: The Evolution of the Hyperquartet Honours Upper second class
Brett Murray 2008 The possibilities for interactive cinema in chamber music performance Honours Upper second class
Clare Norelli 2008 God’s Lonely Men: Bernard Herrmann’s musical voice for the lonely and tortured men of cinema. Honours  1st class
Joe Stawarz 2007 Redefining Electro-acoustic- Applying Techniques from Electronic Music to the Composition of Pivot, an Acoustic work for percussion Quartet Honours 1st Class
Johannes Luebbers 2007 Messiaen and Jazz Honours 1st Class
Lisa James 2006 Electronic Music Compositional Techniques in Instrumental Music: A Stuyd of Effect in Helmut Lachenmann’s Pression Honours 1st Class
Max Leong 2006 Binuaral recording possibilities for the game industry. Honours Upper second class
Adam Willett 2006 An Investigation in Lindsay Vickery’s ‘Rendez-vous: an Opera Noir Honours 1st Class
Dan Thorne 2007 Arvo Part and Jazz Honours  1st Class

 

11. Reviewer

  JOURNAL TITLE ROLE Number of Papers year
1 Australian Computer Music Conference Paper reviewer 9 2007 -present
2 Performance Paradigms Journal Paper reviewer 6 2009
3 National Organization of Media Arts (NOMAD) conference Paper reviewer 4 2009
4 Re:Live (Third International Conference on the Histories of Media Art, Science and Technology) Paper reviewer 2 2009
5 Italian Experimental Music Conference Paper/submission reviewer 4 2007-2009
6 SoundScripts, Proceedings of the Totally Huge New Music Conference Paper reviewer, editor 6 2007-present
7 NACTMUS (National Council of Tertiary Music Schools) Paper reviewer 2 2006
8 Hatched Conference Paper reviewer 3 2006
9 CADE conference Paper reviewer 2 2006

 

12. Theses Marked

Belinda CHilds BMusCA University of Wollongong The influence of minimalism on

 sound art of  the 1960’s

 2008
Chi Hsia Lai Honours Australian National University, Canberra Hands on Stage 2009
Belinda Childs Masters University of Wollongong, NSW The voice in technological theatre 2008
Alice Humpheries Honours WAAPA, ECU Jazz composition: the music of Kenny Wheeler 2009
Tilman Robinson Honours WAAPA, ECU Jazz composition: the music of Ed Partyka 2009
Shane Harris Honours WAAPA, ECU New Australian Flute music: three composers works. 2008
Josh Webster Honours WAAPA, ECU The percussion music of Iannis Xenakis 2008
Pippin Kenworthy Honours WAAPA, ECU The chance procedures in the music of John Zorn. 2009
Callum Moncreif Honours WAAPA, ECU The rhythmic techniques in the percussion music by Martin Wesley Smith. 2008
Fiona Digney Honours WAAPA, ECU Steve Reich’s Music for two pianos – for percussion. 2008

 

 

 

 

MUSIC AND ARTS BACKGROUND

Recent Composition Commissions received

Oct 2011            New work for Sound Stream Festival.

Mar 2010            Kuklinski’s Dream, commissioned by Golden Fur, Melbourne.

Jan 2010               Wolf At Harp, commissioned by The Mona Foma Festival, Tasmania.

Sept 2009            In the Cut, commissioned by Decibel Ensemble, premiered at Totally Huge New Music Fest

Jul 2009            Bucks Party, music for the film Dir. Mike Hoath.

May 2009            Kingdom Come, commissioned by Bib White.

May 2008            Mountains Never Meet, commissioned by Martin Del Amo for Link Dance Company.

June 2007            Crept, (film) 20 minute score dir. Mathew Lutton, FTI.

Oct 2005            Interfearance, commision by WAAPA for Axis 21 New Music Ensemble.

July 2005            Women in Transit Ed, D>Lux Media Arts Sound Exhibition, Sydney Opera House, NSW.

Jun 2004            Women In Transit, (dance) the Performance Space, NSW.

Select Installation Commissions received

 

May 2010            Islands of Incarceration, sound for installation by Kate McMillan, Cockatoo Island, Sydney Biennale, 2010.

Oct 2008            Lost, sound for photomedia installation by Kate McMillan, John Curtin Gallery, WA.

Oct 2005            Plug, sound installation at Totally Huge New Music Festival, Moores Gallery, WA.

Jul 2005            Phonebox, Liquid Architecture Festival of Sound Arts, RMIT, Melbounre, VIC.

Apr 2005            Vouyeuages, National Review of Live Art, Midland, WA.

Jan 2005            Pickpocket, Perth International Arts Festival, John Curtin Gallery, WA.
Mar 2004            Homefear, New Directions new Media Arts Festival, Singapore.

Oct 2003            In/e/gress, National Review of Live Art, with cAVity Midland, WA.

Jun 2003            Surface Paradise, Geraldton Regional Art Gallery with local artists, WA.

Jul 2003            Rumble, Greenough village, with cAVity, Greenough, WA.

Oct 2002            Jackie Hush , sound installation,San Francisco Museum of Modern Art, USA.

Aug 2002            Drive, Artrage Festival, with K Ford, WA.

Jun 2001            Fetish, Below the surface: Contemporary Australian Moving Imagery @ C.A.S.T, Tasmania.

Residencies

2006                        Theatreworks, Singapore, Asialink Performing Arts Residency.

Feb 2006            Transit Lounge, Berlin, Germany.

Oct 2004            Titanik, Turku, Finland.

Nov 2004            La Salle Coollege for the Arts, Singapore.

Nov 2003            Geraldton, WA

Oct 2003            TIME_PLACE_SPACE, Wagga Wagga NSW

Sep 2003            Katanning, WA.

Aug 2003            cAVity at PICA.

July 2003            cAVity at Greenough, WA.           

11. Video/Film

2004            FQS (4’30”) – commissioned by FQS.

2003            Homefear (13’00”) – commissioned by Tura New Music.

2002            Once Upon A Time (3’23”) music video (directed and music).

2001            Close (4’03”) (directed and music).

2000            Fetish (4’55”) (directed and music).

 Select Tours

June 2010            Canberra, Sydney, Melbourne (with Decibel).

May 2009            Japan eastern Europe (with Abe Sada).

July 2007            Japan, Singapore and Australia (with Abe Sada).

Jul 2004            Australia (4 dates – installation artist).

Oct 2004            Scandanavia (4 dates – installation artist).

Oct 2003            Europe and Japan (30 dates-  solo music artist).

Jun 2004            Australia (9 dates – solo music artist).

Jun 2003            Europe (13 shows – with band Gata Negra).

Feb 2003            Australia (5 shows – with band Gata Negra).

Mar 2002            USA (23 shows – as part of Lux Mammoth).

Apr 2001            USA (7 shows – solo artist).

Songwriting

1999 – 2006            Songwriter for Gata Negra, 3 piece independent band, 3 albums.

1998                        Songwriter with Guy Fleming, one album, Minimal Chaos.

 

14. Recent Grants and awards (non research)

Mar 2007            TOURING grant to Japan for ABESADA $8000

Jun 2007            EXHIBITION grant for sound installation exhibition with 5 artists $15000

Aug 2005            BEAPWORKS grant to develop METAPHONICA artworks $5000

Jun 2005            CONTEMPORARY MUSIC GRANT to develop the BLOODSTAR LABEL $15 000

May 2003            RECORDING GRANT to make new recordings for GATA NEGRA, ArtsWA  $8000

Nov 2002            MUSIC BUISNESS GRANT to travel extend European trip  for GATA NEGRA $2000

Oct 2002            ANAT grant to attend invitation to ISEA, Nagoya Japan  to showcase solo work $2000

Aug 2002            ARTSWA EUROPEAN SHOWCASE TOUR GRANT to Spain, Italy, UK, Germany, Austria as soloist $12 000

Sep 2002            WESTERN AUSTRALIAN MUSIC AWRDS 2002  nominated best music video, best bass player

Oct 2001            PANDORAS BOX SUPER 8 FILM FESTIVAL 2000 Best soundtrack award

Oct 2001            MUSIC BUISNESS GRANT to travel in Syndey for Lux Mammoth

Oct 2000            ARTRAGE subsidy recipient for LUX MAMMOTH AV work tools           

Jun 2000            ARTFLIGHT grant from ARTSWA for tour to USA as a soloist

July 1999            ARTFLIGHT grant from ARTSWA to tour  GATA NEGRA to Victoria

May 1998            RECORDING grant from ARTSWA for GATA NEGRA

Jan 1998            NEW WORK grant from ARTSWA for THE VELVET PALACE collaborative theatre/music work

14. Memberships

Australian History Association, (2010).

Australiasian Musicological Society, (2009 -)

AMC represented composer, (2005 –)

National Music Council (2006-)

International Society for Contemporary Music (ISCM) (Italian section)

Australasian Performing Rights Association (APRA) certificate attached, page 35)

Arts Law

Perth Institute of Contemporary Arts (PICA)

Australian Network for Arts and Technology (ANAT)

Western Australian Music Association (WAM)

D>Lux Media Arts

15. Discography

As ABE SADA (writer, producer)

Redux, Heartless Robot (Aus) 2010

The Low Chord, Kabutsuri Tape International (Japan) 2008

Tatare Steppe, VLZ Produkt (Japan) 2008

Subzilla, Bloodstar (Aus) 2007

As CAT HOPE (producer, writer, arranger);

Fetish – Bergerk! Sound Gallery Label (Aus), Menschenfiend (USA), 2001

Live: Regret Hair Police, (USA), 2001

Jackie Hush – Bloodstar (Aus) solo electronics album -producer, composer, performer, 2002

As part of LUX MAMMOTH  (producer, co-writer, arranger)

Hertz Circus – Bloodstar label (Aus 2000), New Gauge Sinner, PreFeed (Italy), 2002

New Gauge Sinner – Pre Feed label (Italy) 2002

As part of GATA NEGRA (producer, writer, arranger);

Ruby, Bloodstar (Aus), 2006 

Saint Dymphnae Bloodstar (Aus) 2002

Cage of Stars Telescopic (France), Bloodstar (Aus) 1999

COLLABORATIONS (voice, bass, songwriter);

Lawrence English – Transit, Room:40 (Aus) 2003

Guy Fleming – Minimal Chaos Bloodstar (Aus), 1999

Micevice – Experiments on the Duration of Love, Lollypop, (Italy) 1998

Hugo Race and the True Sprit, (Flute), old surprises, 2004; 2nd Revelator, Normal, (Germany) – flute, 1989

Chemical Wedding  Glitterhaus, (Germany) – flute, 1998 

SELECT COMPILATIONS

Sound Variable, San Francisco Museum Of Modern Art, 2002

Kiss My WAMI, WAM (WA) 2002, 2003

Music For Midnight Driving, (FVA, Japan) 2002

Extreme Music From Women, Susan Lawly (UK), 2000

Women in Music, WAM  (WA), 1999

Squeeze the Flock, Bergerk! Recordings, (WA), 1999