Professor, Chair, Sound (1999). BA, 1976, and MA, 1979, Wesleyan University, CT. Concurrent position: Editor-in-Chief, Leonardo Music Journal. Performances/installations: California Institute of the Arts, Valencia; Walker Arts Center; New Music America; Whitney Museum of American Art, NY; Berlin Biennale; Ars Electronica; London Musicians' Collective; Tokyo P/N; Art Summit Indonesia. Recordings: Lovely Music; Trace Elements Records; Nonesuch; Periplum; PlateLunch. Publications: BGNM Jahrbuch; The Journal of Wildlife Sound Recording Society; Archiv X; Captured Music; Electronic Musician; Noisy.org; Positionen; MusikTexte; Improvisation-Performance-Szene. Awards: DAAD, Berlin; New York State Council on the Arts; Pro Music Nova; Nederlands Stimuleringsfonds; British Arts Council; Thomas Watson Foundation.
Originally from New York, Nicolas Collins lived in Amsterdam and Berlin in the 1990s before joining the Department of Sound at the School of the Art Institute of Chicago. An early adopter of microcomputers for live performance, Collins also makes use of electronic circuitry, conventional acoustic instruments, and hybrid electro-acoustic instruments. He is editor-in-chief of the Leonardo Music Journal, and his book, Handmade Electronic Music: The Art of Hardware Hacking (Routledge), has influenced emerging electronic music worldwide. Collins has the dubious distinction of having played at both CBGB and the Concertgebouw.
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