- Course Leader, Creative Computing
- Email: firstname.lastname@example.org
- School: Bath School of Design
I am a composer of music, image, sound, and code, having received my PhD in Music Composition from Michigan State University. I create both still and moving image, acoustic and electroacoustic music, and audiovisual app/artworks. I have a particular (but not exclusive) affinity for generative and algorithmic techniques in my work. Having learned how to integrate programming skills within the realm of music composition, I migrated these skills into the visual and audiovisual realms.
Recent activities have included the release of two iPhone apps (Trespass and Dancing Wu Wei), the production of an interactive installation for the Tate Britain, and taking first prize in the Hack The Space event at the Tate Modern in London. I have been quoted in The Guardian regarding current trends in arts and tech and was recently invited to speak at the Creative Data Club in London's Shoreditch area. A winner of a Frank Chagrin Award from Sound and Music, I have published two solo CDs, and have also published in the journals Digital Creativity and Visual Studies. My compositions have been presented in concerts throughout North America, Asia, Europe, and South America. I also produced, and wrote the music for, the short film 'Acoustic Shadows', winner of the 2012 48Hour DocFilm Competition. In 2008 I began my study of Deep Listening practice with Pauline Oliveros and continue to look for ways to flow creatively into, with, and through the world.
- PhD Michigan State University
- Master of Music Michigan State University
- BA Calvin College.
- Creative and emerging technologies
- Visual coding
- Music composition
- Music technology
- Music theory and history.
Research and academic outputs
Code as Prosthesis
Herrema, R (2020) 'Code as Prosthesis.' The International Journal of Creative Media Research, 3. ISSN 2631-6773
Pauline Oliveros: a shared resonance
Herrema, R and Alarcón, X (2017) 'Pauline Oliveros: a shared resonance.' Organised Sound, 22 (1). pp. 7-10. ISSN 1355-7718
Flickr, communities of practice, and the boundaries of identity: a musician goes visual
Herrema, R (2011) 'Flickr, communities of practice, and the boundaries of identity: a musician goes visual.' Visual Studies, 26 (2). pp. 135-141. ISSN 1472-586X
Composing along continuums of technology and purpose
Herrema, R (2006) 'Composing along continuums of technology and purpose.' Digital Creativity, 17 (1). pp. 3-10. ISSN 1462-6268
Code as Prosthesis (2020) [REF2021 collection]
Herrema, R (2021) Code as Prosthesis (2020) [REF2021 collection].
Sp/ARC (Specification/Audiation Real-time Composition)
Herrema, R (2021) Sp/ARC (Specification/Audiation Real-time Composition).
Coding the Contemplative Collective (2014, 2017) [REF2-2021 collection]
Herrema, R (2021) Coding the Contemplative Collective (2014, 2017) [REF2-2021 collection].
Herrema, R (2017) Infínity.
Herrema, R and Curtis, L (2015) Trespass.
Herrema, R, Armitage, G, Kirves, M and Clark, G (2014) $echo.
4 4 Flow
Herrema, R, Alarcón, X, Hardie-Bick, T and Chirimini, S (2014) 4 4 Flow. In: 4 4 Flow, Chisenhale Dance Space, London, 28 March, 2014.