(biographies updated to 2010)
Adam and Jonathan Bohman. As a performing duo The Bohman Brothers have been operative since 1996 (Adam Bohman is also a member of Morphogenesis and The London Improvisors Orchestra). Their sound art oscillates between states of the absurd and (sonically) grotesque to highly articulate explorations of extra-musical sound.
Gareth Bell-Jones was the assistant curator for Sound Threshold (June - October 2010). He is also a Fellow at Wysing Arts Centre and the Royal College of Art responsible for the Escalator artist development programme. Previously he was Galley Manager/Programmes Curator Tricycle Gallery 2006-2009.
Richard Crow is an inter-disciplinary artist working in the field of experimental audio research, live performance and site-specific installation. He utilises sound and noise in a performative way, for its disruptive and subjective qualities and above all for its psycho-physical implications for the listener and viewer. Over the past two decades his solo and collaborative site-specific installations and performances have consisted of highly conceptualized interventions into base materiality, investigations of alternative systems of organisation and research into a certain material decadence, most notably with the project The Institution of Rot which he co-founded with the writer Nick Couldry in 1992.
Since the mid 80's Crow has collaborated, performed, and recorded with many leading musicians and sonic artists including Joe Banks, Zan Hoffman, Adam Bohman, Furt, The Hafler Trio, Clive Graham, Michael Prime, Dean Roberts, Kaffe Matthews, Michael Morley, Sandoz Lab Technicians, dy'na:mo, and Gintas K.
William Furlong is an artist and he establish Audio Arts magazine on cassette in 1973, which now represents the most substantial archive of original recordings of contemporary art.
Working primarily in sound, recent exhibitions of his work have been held at De La Warr Pavilion, Laure Genillard, Imperial War Museum, Serpentine Gallery, Tate Britain and a solo exhibition at the South London Gallery. Furlong recently published Speaking of Art a comprehensive book on Audio Arts for Phaidon Press. In 2005 Tate acquired the Audio Arts archive from its inception in 1973 to the present.
Ken Hollings is a writer based in London. His work draws freely upon trash culture, weird science, political intrigue and strange connections to reconfigure reality and demolish common assumptions. From digital imagery to occult symbolism, from flying saucers to the theatre of cruelty, his work embraces text, spoken word, music and multi-media performances to create ideas and images for the 21st century.
Elisa Kay has been curator at Flat Time House, since the house opened to the public in 2008. The programme of exhibitions and events has included Latham's contemporaries and collaborators as well as work by more recent generations of artists. Elisa assisted John Latham when she worked at Lisson Gallery between 2002 - 2005.
Roberta Kravitz is an actress, artist and ex collaborator of John Latham. Kravitz has exhibited internationally and taught philosophy at North London Polytechnic and art practice at Kent Institute of Art and Design.
Pedro Lasch is an artist, educator, and cultural producer whose preoccupation with the theory andpractice of a socially engaged art has led to the formulation of an aesthetics based on public interventions, social interactions, games, and temporal rearrangements. In addition to his individual work in a wide range of disciplines including drawing, painting, video, installation and performance, he leads ongoing projects with immigrant communities and art collectives, such as the 16Beaver Group.
Born and raised in Mexico City, he usually splits his time between New York City and Durham (NC), where he is Assistant Research Professor of Visual Art in the Department of Art, Art History, and Visual. Studies at Duke University.
Noa Latham is Associate Professor in the Department of Philosophy, University of Calgary. His research interests include Metaphysics, Philosophy of Mind, Philosophy of Action and Ethics.
Richard Thomas is the News Editor and Content Manager for Resonance 104.4fm. He is responsible for conceptualising, commissioning, producing and presenting programmes for broadcast. Thomas writes film and art criticism (Art Monthly, Electric Sheep Magazine, Wallflower Press) and speculative reportage on a wide variety of subjects for miscellaneous publications. He has curated/exhibited works at Tate Britain, The Whitechapel Gallery, Frieze Art Fair, The 291 Gallery, Transmission Gallery, the Royal College of Art, Paul Smith and The Chisenhale Gallery. Between 1995 and 2002 Thomas worked with sound and music as producer, composer, performer for various record labels and other media. He has presented broadcasts, talks and papers at the BBC, The Guardian, London International Documentary Festival, Transmediale 2010: Berlin, Pallazzo delle arti Napoli / PAN, Zurich University of the Arts.
Brandon LaBelle is an artist and writer, working with sound, people, places and contextual strategies. He is the editor of Errant Bodies Press, and a participant within the Surface Tension project, a platform for collaborative and locational research and activity. His work explores the space between sound and sociality, using performance and on-site constructions as creative supplements to existing conditions.
Athanasios Velios is a Research Fellow at Ligatus, Saint Catherine's Library Conservation Project, University of the Arts, London. As the Flat-Time House archivist he is principle investigator for 'Archive as Event': the online archive of the artist John Latham based on the artist's event structure theory.
Patrick Wildgust is the curator of Shandy Hall, home of Laurence Sterne whilst writing Tristram Shandy during the 1760's. As well as maintaining the house and its collection of books and prints and paintings that refer to Sterne, Wildgust also oversees a growing collection of contemporary writing, prints and paintings relating to narrative experiment.
Mark Peter Wright is a London based sound artist whose practice spans installation, performance, music and film. His work addresses complex auditory issues relating to the phenomenology of space, historical site specifics, environmental listening and the philosophy of hearing itself. Exhibiting internationally his work has been shown in galleries, institutes, on radio, theatre, labels and public spaces. He holds the award for British Composer of the Year in Sonic Arts (2009) for his work A Quiet Reverie and he is also the founder of Ear Room, an interactive, online publication exploring the creative use of sound in artistic practice.