Erin Gee (Montreal, b. 1983) is an artist and composer who creates artworks that promote critical sensuality, affect, haptics, communication, and presence in sonic and digital architectures. Inspired by the human voice as a conceptual object, she likens the vibration of vocal folds to electricity and data across systems, or vibrations across matter, that inform larger structures of power via gender in contemporary life. She is known for her use of physiological sensors to promote and embodied relation to algorithmicity, and is a DIY expert in affective biofeedback, implicating the body of the listener as part of her cybernetic systems in place. Her work in vocal composition, networked performance, ASMR, VR, AI and robotics was shown in solo exhibition at MacKenzie Art Gallery (CA), and Hamilton Artists Inc (CA), as well as festivals and group exhibitions such as LEV Festival (ES), MUTEK (CA), Darling Foundry (CA), Trinity Square Video (CA), Toronto Biennale (CA), Elektra Festival (CA), Ars Electronica, NRW Forum (DE), and MediaLive Festival (US).

Gee’s artistic research in physiological markers of emotion have been written about in, Scientific American blog, VICE, MusicWorks, and Canadian Art magazine. 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.

Currently Gee is a doctoral student in the Composition et création sonore program in the faculty of music at Université de Montreal, where she is studying with Nicolas Bernier articulating feminist materialist compositional methods in biofeedback music. She is invited artist in residence at L’institut Quantique, Université de Sherbrooke in partnership with Sporobole artist run center 2021-2022.

Gee’s work can be found in public and private collections. She is an active member of Perte de Signal artist collective (Montreal).

Notes on my Practice

I am an artist who explores technological cultures through the metaphor of human voices in electronic bodies, and electronic voices in human bodies.


Through my practice in sound, new media, and music composition I articulate the materials of the human body and voice through interactive and emergent technologies such as VR, robotics, children’s choir, ASMR vocalizations, and affective biosensors.


I feel kinship with technological materialities of new media as extended bodies, in the same ways that I intimately understand the materiality and processes that undergo vocalization and singing. Our voices allow us to be greater than ourselves, and to exist in spaces between our physical body/ies through sympathetic vibration. Inspired by these technologies of voice, vibration and language, I create alternative technologies for the human body to inhabit in order to both understand our current human-technological entanglement, and also to enact speculative imaginings for embodied and sensory-emotional knowledge. I use media art to embrace the intimate uncanny of disembodied and extended voices, exploring technological materiality in surprising ways that are sometimes delightful, sometimes cynical, never insincere.


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”. 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 embodiment, intimacy, listening, and empathy over values of consciousness, rationality, intelligence, and power.

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Are you looking for American composer Erin Gee (USA, b. 1974) who is known for her composition series Mouthpieces Click here for her website.

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