Evicshen is the nom de guerre of San Francisco-based sound artist, experimental music performer, and inventor Victoria Shen (she/her). Shen's sound practice is concerned with the materiality/physicality of sound and its relationship to the human body. Her music features analogue modular synthesizers, vinyl/resin records, and self-built electronics. Shen's music eschews conventions in harmony and rhythm in favour of extreme textures and gestural tones. Notable for her Needle Nails, Shen uses modified acrylic fingernails with embedded turntable needles, allowing her to play up to five grooves of a record at once. Her DIY approach extends to hand-made resin records embedded with found materials. Each piece functions not only as playable music media but a unique art object.

Eric Hanson is a faculty member at the School of Cinematic Arts at the University of Southern California, and CEO of Blueplanet VR. With a background in design, architecture, photography, and feature film visual effects, Eric currently creates volumetric VR experiential content spanning landscape, natural history, and cultural heritage. His VFX work can be seen in “The Day After Tomorrow”, “Cast Away”, “Fantasia 2000”, and “The Fifth Element”, among others. Recent work has led to collaborations with The Dunhaung Foundation, Frontline/ PBS, Björk, Ai Weiwei, and the Onward Project. At USC he leads curriculum in Cinematic VR and Visual Effects, but mostly wishes he could sleep more.

Bonnie Banks, a ubiquitous and mysterious force in the visual and sonic art world for over three decades, is known for his influential and enigmatic style. Banks’s paintings and drawings range in scale from playing card sizes to expansive grand theater backdrops. His meticulous attention to detail is a vibrant tapestry of visuals, oscillating between vivid, explosive colors and stark, futuristic monochromes. These boundary blending creations of the familiar and fantastical act as gateways to surreal elemental scenes like cities constructed from recycled stereo components, ancient vessels navigating perilous rapids, blueprints of futuristic machines, and visions of hybridized species.

Internationally renowned, multifaceted multimedia artist Herman Kolgen has been modeling sumptuous ‘audiocinetic’ sculptures for over twenty years. The Montréal, Canada-based sight and sound virtuoso continually hatches new conceptual approaches to celebrate the powerful synergy (and intimacy) at the heart of his audiovisual works. His installation and performance pieces boast a hybrid technical language and a singular and bold aesthetic, sitting at the juncture of many artistic practices. From 1996 to 2008, Kolgen dedicated the majority of his immersive practice to the audiovisual Skoltz_Kolgen duo, performing at prestigious international events such as Berlin’s Transmediale, the Venice Biennale, Austria’s Ars Electronica, and multiple appearances at MUTEK. The impact of territories on human life lies at the heart of his conceptual pursuits. His multifaceted work is characterized by a radiographic approach. It’s this x-ray effect, with its immaterial quality, that allows the invisible to be perceived. Initially associated with the digital and electronic realms across an assortment of highly sensitive works. His approach then takes a sharp turn towards increasingly hybridized forms. His installation practice also integrates an important spatialization component, most notably regarding the field of sound. The design and application of random systems of auto-generative image/sound also allow for the creation of audiophonic spaces marked by their immersive quality. Though his projects have conceptual concerns they all remain physically tangible, pushing sonic boundaries into resonant reactive body vibration principalities and their attachments to visual phenomena playing on notions of physical, cerebral and emotional tensities. Herman Kolgen’s works have most notably been presented at the Venice Biennale, Ars Electronica, Berlin’s Transmediale, ISEA, the Centre Georges Pompidou, International Digital Arts Montreal and Paris, Sonic-Acts, London BFI, Arsenal Art Contemporain, Dissonanze, Mutek, Elektra, Sonar, Tapei digital arts and Shanghai E-arts. He has also performed with Paris ensemble Intercontemporain and the Los Angeles Philharmonic. Herman Kolgen has been awarded many prestigious prizes, including Ars Electronica, qwartz and the New York and Los Angeles independent film festivals’ best experimental category. He received several grants from the city of Montreal, from the Canada Council for the Arts, the Quebec Council for the Arts and from Arcadi France to help materialize his works.

Under the name “People Like Us,” artist Vicki Bennett has been making work available via CD, DVD and vinyl releases, radio broadcasts, concert appearances, gallery exhibits, 360 immersive installations and online streaming and distribution since 1992. Using collage as a compositional tool, Vicki Bennett opens up endless opportunities to experience results that are more than the sum of the parts. As a solo artist or collaborator Vicki has published more than 40 video projects and 50 audio recordings, with works released by labels including Illegal Art, Rough Trade, Soleilmoon Recordings, Discrepant, Sonic Arts Network and Touch. Vicki’s DO or DIY show on the fiercely independent New York City-market radio station WFMU has run since 2003. Her video work has been screened at Tate Modern, Whitechapel Gallery, BFI, Purcell Room, Barbican, ICA, V&A. Centre Georges Pompidou (Paris), Sonar (Barcelona), MAXXI/National Museum of XXI Century Arts (Rome), Walker Art Center (Minneapolis) and Centro de Cultura Digital (Mexico City), among other institutions. Video works have been aired on Channel 4 and radio sessions created for John Peel and Mixing It. People Like Us has been commissioned by Arts Council England, Barbican, Attenborough Centre (ACCA), The BBC, WDR, Deutschlandradio, PRSF, a-n, Great North Run, Sound and Music, Channel 4/Animate Projects, AV Festival, Hallwalls Contemporary Arts Center, Recombinant Media Labs (RML), Sonic Arts Network, Forma, LUX and Lovebytes.

Naut Humon, artistic director and founder of Recombinant Media Labs, is a curator, conductor and creator of the Surround Traffic Control system: the aural optic incubator that gave birth to today's CineChamber apparatus. He has been active in staging events that blur the roles of audience and participant for four decades. A former student of Morton Subotnick in the seventies, Humon presented ‘destabilized’ media occurrences designed to repurpose the visitor’s frame of reference from the prevailing performance proximities of the day. He was head of Artist development for San Francisco based Asphodel records and helped coordinate the Digital Music category at the ARS Electronica Festival for ten years. Along with his own electroacoustic excursions and expeditions, Naut Humon has collaborated with many artists and musicians of numerous influences, disciplines and styles over the years and was the figurehead of the former Industrial ambient group Rhythm & Noise.

The Recombinant Media Labs organization was founded to research the qualities and artistic potential of Spatial Cinema. It does so by means of Experiential Engineering; exploring processes that propagate the aesthetic and technological boundaries of panoramic AV exhibition. RML acts as producer and presenter of hybrid artworks and performance archiving based on spatial media synthesis; intermodal works using image, light, sound and other disseminated media in three-dimensional space. The CineChamber is RML's curated, nomadic platform under the artistic trajectory of founder & Director Naut Humon plus a superhuman crew.