Erin Gee is a Canadian artist who explores human voices in electronic bodies (and electronic voices in human bodies), working from a feminist-materialist position in digital art. Recognized for her works in music, choral composition, virtual reality, robotics, and interactive art, Gee’s work has been exhibited and performed at venues such as Ars Electronica, Linz (2018), NRW Forum, Düsseldorf (2018), Trinity Square Video, Toronto (2017), MediaLive Festival at the Boulder Museum of Contemporary Art, USA (2017), and Musée d’art contemporain de Montréal (2015).
Since 2012, Gee has developed open-source tools for human biodata collection of her own design, using simple electronics to collect information relative to skin conductivity, respiration, and blood flow. She likens the microrhythms of embodied emotional data to the rhythms of a vibrating vocal fold, speaking to the hidden or obscured material and technical processes that enables 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.
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.