Erin Gee is a Canadian artist and composer who explores digital culture through metaphors of human voices in electronic bodies. Working across musical performance, choral composition, robotics, and audio art, Gee’s practice is distinguished by an interdisciplinary approach to sound in art and music, as well as in areas of technology, science and engineering. Her work has been shown most recently at Transfer, NYC (2018), Trinity Square Video, Toronto (2017), MediaLive Festival, Boulder Museum of Contemporary Art (2017), Hamilton Artists’ Inc. Canada (2016), Device_art Triennale, Croatia (2015).

Gee is one of three artists selected from an international competition for the Algorithms that Matter residency at Institute for Electronic Music in Graz, Austria in the summer of 2018.  She has collaborated with artists and composers such as Hamilton Children’s ChoirStelarc, Andrea Young, and neurophysiologist Vaughan Macefield. Her research in sonification of physiological markers of emotion has been noted by Scientific American, VICE, MusicWorks, Canadian Art magazine, and the National Post, among others.

Gee was Assistant Professor in the department of Communication Studies at Concordia University from 2015-2017, teaching in areas of sound production, gender and technology, and sound studies. Gee is currently leading a research group in the Department of Chemical and Biological Engineering at University of Maine on the topic of creative open-source biosensor development.

Gee has published work in Leonardo Music (2013) as well as eContact! Journal of Canadian electroacoustic community (2010). Gee is also the creator of futurefemmes, an online blog archived by Cornell University featuring interviews, showcased work and links to relevant articles on the topic of women working in technological culture.

Gee has received awards from the Canada Council for the Arts, and the Conseil des arts et lettres du Québec, as well as support from the Conseil des Arts de Montreal, the Social Sciences and Humanities Research Council of Canada, and the Saskatchewan Arts Board.  She is grateful for their continued support of the arts.

Artist Statement


<<<human voices in electronic bodies ….

<<<electronic voices in human bodies…<<<


I am an artist fascinated with the human voice. I am both encouraged by my ability to be confident and sing “well”, but aware of my technical ineptitude as a “classical” singer. A teacher once said to me “You’re so smart, I don’t understand why you don’t implement or understand the tools I give you. I know that singing is 80% mental and 20% physical.”  In that moment I had the powerful understanding that the mind is the body, that my psychology or emotion was also playing into this “failure” to transform my voice.  I took this odd failure as encouragement to think outside my voice, to create experimental technologies are borne out of curiosity for what might constitute new infrastructures for embodied music. I am fundamentally inspired by questions of authenticity, technique, emotion and performance communication, in what could be called “music.”  Inspired by vocalization, vibration and language. I understand singing to be a highly technical process, as it is technology of physiological practice, exercises, and rigor that develops a fine rendering of the human voice. I am intimately tied to the body, as body is my preferred technology of communication. For developing these technologies I am inspired by Mariko MoriElizabeth Grosz and Sun Ra, who offer patterns for technological exploration and excellence inspired by creating other, more just worlds, rather than solidifying technological superiority in established paradigms.

Through my exploration of human voices in electronic bodies, I have created alternative technologies for the human body to inhabit, such as extended choral scores inspired by technological processes, interactive sound sculptures, robotic chimes, and FM synthesis modules driven by physiological-emotional data. I develop technology and systems in order to enact speculative imaginings – a more transparent and connected world. By linking sound concretely to gender and technology, I challenge assumptions about technology and what a body can do, exploring how voices and bodies can be extended, perverted, multiplied and challenged.

As originally posited by Donna Haraway in her 1989 Cyborg Manifesto, the political possibility in the cyborg lay not in a comfortable technological fetishization of technology, which reifies systems of normative power, but through a critical rejection of the origin of the human. Historically, which bodies are deemed as fully, partially or ambiguously human has been an expression of shifting politics and agencies more than biological fact—women, people of color, and those deemed atypical in neurological functioning or physical capability have all suffered historically under categories of the “human” and “humane” as that which determines reasonable agency and accommodation in society. In light of these historical factors, my exploration of technology enacts a feminist perversion of human narcissism in machinic coupling, wherein I use sonic structures as a playground for proposing systems where anti-oppressive values of democracy, listening, and empathy are emphasized. O/Au/ral communication methods create unique space for interactivity, noisy dissent, play, experimentation, and articulation of identity that resonates across real and virtual space, and thus provides a guiding force in technological work that extends beyond merely sounding media. 

Download C.V. (English - Dec2017)
Télécharger C.V. (Français - dec 2017)
Download Press Photos

Current Projects and Associations