Erin Gee is a Canadian media artist and composer who explores human voices in electronic bodies. Articulating feminist-materialist strategies for creation with digital tools, Gee works with technology through the human body and its voices. In particular, she likens the microrhythms of emotion in the body to the rhythms of a vibrating vocal fold, exposing the material of affect as embodied and embedded communicative tool. Her work in biosignal-driven choral composition, virtual reality, and robotics has been shown at FILE festival, São Paulo (2019), Cluster Festival, Winnipeg (2019), Ars Electronica (2018), NRW Forum, Düsseldorf (2018), Trinity Square Video, Toronto (2017), MediaLive Festival, Boulder (2017), and Musée d’art contemporain de Montréal (2015).
Since 2012, Gee has developed her own open-source tools for human biodata collection and affective interface design, speaking to the hidden or obscured material and technical processes that enable human communication. She was an invited research associate at the University of Maine, USA (2018) in the department of chemical and biomedical engineering. In the same year Gee was resident at IEM Graz, where she developed processes for “embodied algorithmicity” in music. She is currently artist in residence at Locus Sonus (École superieure d’art Aix en Provence, France).
Gee’s research in physiological markers of emotion has been noted by Scientific American, VICE, MusicWorks, Canadian Art magazine, and the National Post, among others. Images and analysis of her work are also included in Jennifer Rhee’s book The Robotic Imaginary: The Human and the Price of Dehumanized Labor (University of Minnesota Press, 2018).
Gee has published academic 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.