Dr. Teresa Marie Connors

Part-Time Faculty Electroacoustic Composition, Music, School of Performance
Part-Time Faculty Sound Production, Communication Studies
Part-Time Faculty Film Sound, Cinema

Research areas: Data Sonification; Nonlinear audiovisual Installations; Improvisation; Dark Ecology; Creative Coding

Contact information

Email:

teresa.connors@concordia.ca

Website:

Teresa Connors

CV:

View Teresa Connors's CV

Biography

Bio:

Dr. Teresa Connors is active in many aspects of creative practice as an acoustic/electroacoustic composer, installation artist, creative coder, opera singer and film scorer. Originally from Newfoundland, Canada, Teresa’s works have received awards and support from the Canada Council for the Arts, British Columbia Arts Council, and Bravo Fact and have presented at international conferences, film festivals and galleries, and have been published in leading journals.

Dr. Connors’s current practice-based research as an Associate Researcher with the International Institute for Critical Studies in Improvisation expands her exploration of nonlinear creative systems and the use of environmental data as a co-creative device for public engagement audiovisual artworks.

Dr. Connors currently lectures at Concordia University in the Music Department, Communications Department, and Cinema, and has previously lectured in creative coding and creative practice at Waikato University, NZ (2014–2016) and instructed singing, piano, guitar and composition at the White Rock School of Music and Dance in BC, Canada (1999–2004).

Teaching activities

CONCONDIA UNIVERSITY

Music Department:
. Electroacoutic Composition Seminar EAST 406
. Electroacoutic Composition Seminar EAST 407
. Electroacoustic Composition EAST 305
. Theory & MIDIstration I EAST 211

Communications Department:
. Sound II COMS376
. Graduate Diploma Media Production: Sound COMS 562
. Intermedia COMS374

Cinema Department:
. Sound I FMPR 340

Publications

Journal Publications

Connors, T. 2024. Alongly Intergrated. Leonardo, Vol. 57, No. 3. MIT Press.

Waterman, Ellen, L. Forshaw, G Siddall, H Lowengard, G Franklin, T Connors, and K Berglander. 2024. “I am Here: AUMI Sings and Choral Participation.” In Improvising Across Abilities: Pauline Oliveros and the Adaptive Use Musical Instrument, edited by the AUMI Editorial Collective, Music and Social Justice Series, 229-246. University of Michigan Press.

Connors, T. 2023. A Short Report From the Core of Practice-based Research. Performing Practice-Based Research (PBR) for Performance Matters. Link to Paper

Connors, T. 2021. Environmental Data and Audiovisual Installations Through an Intra-Active Lens. SpokenWeb Symposium. Montreal, Canada.

Connors, T. 2019. Sonics From Our Ocean’s Edge. The Journal of Ocean Technology, Vol 14 No. 3.

Connors, T. 2019. Organising for Emergence: Computer vision and data mining as co-creative devices. eContact, 20(2).

Connors, T. and A. Denton. 2018. In Environments: The convergence and divergence of practice. Organised Sound, 23(1)

Conference Publications

Connors, T. 2021. From the Edge. International Computer Music Conference (ICMC2021), Santiago, Chile.

Connors, T. 2020. From the Edge. International Symposium of Electronic Arts (ISEA2020). Montreal, Canada, October 3-13.

Connors, T. 2020. Environmental Data and Audiovisual Installations Through an Intra-Active Lens. SpokenWeb Symposium. Montreal, Canada, July 17-18.

Connors, T. 2020. Aspects of Trees. Canadian New Music Network (CNMN), Regina, Canada, May 21–24.

Connors, T. Currents. International Computer Music Conference (ICMC2019). New York, USA, June 16–23.

Connors, T. 2018. The Lure Towards the Performative in Nonlinear Audiovisual Installations. Proceedings in International Computer Music Conference (ICMC2018), Daegu, Korea, August 5–10.

Connors, T. 2017. Computer vision and data mining as a co-creative device. Paper presented at Toronto International Electroacoustic Symposium (TIES2017), Toronto, Canada, August 9–12.

Connors, T. 2016. The Aesthetics of Causality: A Descriptive Account into Ecological Performativity. Proceedings in International Conference on Auditory Display (ICAD2016), Canberra, Australia, July 2–8.

Connors, T. 2015. Audiovisual Installation as Ecological Performativity. Proceedings in 21st International Symposium on Electronic Art (ISEA2015), Vancouver, Canada, August 13–22.

Connors, T. 2014. Bringing Forth a World: Sound and Audiovisual Installation as a Process of Cognition. Proceedings in Electroacoustic Music Studies Network Conference (EMS14), Berlin, Germany, June 10–14.

Connors, T. 2016. Ecological Performativity: a creative-research practice. Paper presented at New Zealand Musicological Society Annual Conference, The University of Waikato, NZ, Nov. 19–20. (winning best paper)

Artistic Practice

Audiovisual Installations with gallery presentations

Pitch to Particle (2024) — a collaboration with Jazz vocalist Kim Zombik and Bassist Nicolas Caloia. Visualization Studio, Concordia University, Montreal, Canada

Forest Ambassadors (2023) — audiovisual textile installation. In collaboration with Australian artist Gloria Florez, this work was created during the 2023 Leonardo@Dejerassi. International Biennial for Paper Fibre “Eart Speak Giving Voice to Paper 2023-2024 Taiwan; Leonardo@Djerassi Open Day 2023.

Balcony (2022) — a collaboration with video artist Shannon Lynn Harris and Jazz singer Kim Zombik for World Listening Day 2022 to explore the Bodily Listening in Place theme for intersensory improvisation. Our location was a flower-filled balcony on the corner of a busy Montreal street. The final realization is a nonlinear audiovisual improvisation that runs in Max/MSP. World Listening Day 2022.

From the Edge (2019) — is one of a series of audiovisual installations that explores the environment of East Coast Newfoundland. The creative system is coded to live-stream and parse data-sets off the SmartAlantic St. John’s Buoy, which shifts parameters of the artwork. SIIM 2022, Chile Nov 2-3; ICMC 2021, Chile, July 25-31; Seeing Sound 2020, Bath Spa, Dec 12-13; NAISA, 2020 SOUNDplay Festival, Sept 24–Dec 6; ISEA2020, Montreal, October 13-18; Eastern Edge Gallery, Hold Fast Festival 2019, Sept 18–21.

Patterns (2019) — a non-linear audiovisual installation using computer vision and the sonification of environmental data as a generative device. rOGUE Eastern Edge Gallery, St. John’s, Newfoundland, Canada, April–May 16, 2019.

Currents (2018) — a non-linear interactive audiovisual installation using a heart rate monitor, streamed wind data, sonification of ocean data and field recordings from east coast Newfoundland. ICMC 2019, New York, June 16–23; Sound Symposium XIX 2018, St. John’s, Canada, July 5–15.

Piano at the End of a Poisoned Stream (2017) — a non-linear audiovisual installation using computer vision, sonification and field recordings from the Salton Sea, USA. The Playhouse Gallery, New Zealand 2017.

Cathedral (2017) — a non-linear audiovisual installation using computer vision and field recordings from Sequoia National Park. The Playhouse Gallery, New Zealand, 2017; Toronto International Electroacoustic Symposium (TIES) 2017, Toronto, Canada.

Undercurrent (2016) — a non-linear audiovisual installation in collaboration with Shannon Harris. Balanced/Unbalanced 2015, Arizona, USA.

Flight Variant (2016) — a non-linear audiovisual installation in collaboration with Andrew Denton. ICMC 2018 Daegu, Korea; Sonic Environments 2016 Brisbane, AU; ICAD 2016 Canberra, AU; Toronto International Electroacoustic Symposium 2014.

Aspects of Trees (2013) — audiovisual installation (with live improvisation) and fixed-media versions in collaboration with Andrew Denton. Onassis Cultural Centre, Athens, Greece 2018; Newfound Music Festival 2018; Tehran International Film Festival 2016; 19th Jihlava International Documentary Film Festival 2015; New Zealand International Film Festival 2015; Toronto International Electroacoustic Symposium 2014; Balance/Unbalanced Conference Noosa, AU 2013.

Music and Soundscape for Film

Relucesco (2026) — Soundscape composition for Shannon Lynn Harris triptych film about sensuality, desire and sex told through bodies and light. Shot onvarious analogue formats, light paints these merged, writhing figuresinto being. A poetic and inclusive alternative to pornography thatallows the unseen and intangible to become the tantalising places oferotic pleasure. International Film Festival Rotterdam (Tiger Short Competition (2026)

Crude (2016) — Soundscape composition for Andrew Denton's feature length film. Depictions of Living, London, UK 2020; MADA Gallery Exhibition, Melbourne, AU 2016.

To Taste the Ground (2014) — Soundscape composition for Shannon Harris documentary film. Haverhill Experimental Film Festival 2015 (winner of best documentary); Neues Kino, Basel, Switzerland 2015; Cinéma Québécois, Montreal, Canada 2015.

The Old Woman in the Woods (2013) — Film Score for Caroline Coutts' short film. Winner of Silver Remi Award at the 46th Worldfest-Houston Film Festival 2013; Leo Award nomination for best musical score in a short 2013; nominated for Golden Sheaf Award in the Drama category 2013.

When the Devil Knocks (2010) — Film Score for Bountiful Films. World Premiere Vancouver International Film Festival 2010; CBC Television 2011; Winner of the Golden Sheaf Awards for best documentary 2011; Genie and Leo Award nomination for best documentary feature film 2011.

Dog Boy (2007) — Film Score for Caroline Coutts' short film. Leo Awards winner for best musical score in a short 2008; Vancouver International Film Festival 2007; Bravo TV 2007.

Technical Creative Coding

Mindscape and Under the Pohutatkawa Tree (2020-21) — Virtual orchestration preparation for the live performance of Janet Jenning’s score for dance. Hamilton, New Zealand.

Flowing Water (2016) — Virtual orchestration preparation for the live performance of Janet Jenning and Witi Ihimaera’s opera. Hamilton, New Zealand.

MedTech Core Exhibition at Silo6 (2016) Auckland NZ — Max/MSP coder for the Organ Sonification Project, which comprised of 4 interactive audiovisual installations.

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