I am working in the Faculty of Music at Université de Montreal, a french language institution. My official title is Professeure Adjointe, which is equivalent to an Assistant Professor. My research includes art-science, biofeedback music, affect studies, sound studies, feminist philosophy (with obvious overlaps into anti-colonial and queer studies), digital lutherie / instrument making, performance art, and experimental music composition.  If you are interested in studying with me, you can reach out to me in French or English: erin . gee @ umontreal . ca

Teaching Statement

The importance of new technologies and platforms in cultural production inspires me to work as an educator in fields related to these topics. Through making, it is important for students makers to consider the political implications of their methods of production in order to respond to the moral and physical needs of our worlds. I often want to address how makers can acknowledge technological privilege, assumptions about what is a technology and who uses it, and to make strong aesthetic work with social impact through these challenges.

What I wish to instill most in my students is the confidence that with the right thinking and research, anything can be learned and accomplished. As such, it is important to teach students to seek out knowledge and experience above and beyond the classroom in order to meet their creative and technical ambitions.

Students should come away from my classes with an expanded perspective on what is possible in digital practice, as well as what discussions are most useful and productive in communal critique. I believe that firm rooting in conceptual roots of creative work is crucial to stretching students beyond what they think they are capable of, as well as critical exploration of what qualities of interactivity and engagement are inspiring, compelling and challenging.  I hope that these experiences will continue to inspire students for the rest of their careers, whether as makers, critics, audiences or marketers of creative culture.

I created a BioPUNKS (Prototyping Ur New Knowledge in Sensors) research group in the department of Chemical and Biological Engineering at the University of Maine in January 2018, leading the group in weekly meetings as well as consulting with senior capstone projects in the department in electronic systems fabrication.

In 2017 I was invited to a workshop at Ideas Lab (Denmark) on Emotional biosensors in Unity VR environments


Gee, E. (2023). The BioSynth—An affective biofeedback device grounded in feminist thought. NIME 2023 Mexico City. New Instruments for Musical Expression, Mexico City, Mexico.
Hagler, J., Kim, C., Kateb, P., Yeu, J., Gagnon-Lafrenais, N., Gee, E., Audry, S., & Cicoira, F. (2022). Flexible and stretchable printed conducting polymer devices for electrodermal activity measurements. Flexible and Printed Electronics, 7(1), 014008.
Gee, E., Lee, A. M., & Audry, S. (2020). Playing with Emotions: Biosignal-based Control in Virtual Reality Game Project H.E.A.R.T. ISEA Conference 2020: Montreal, Canada, 4 pages.
Gee, E., & Garcia, F. (2020). Approaches to Biometrics in Experimental Sound Art. Public, 30(60), 14–17.
Gee, E. (2020). Larynx Series, Voice of Echo, and Formants: Three Sound-Based Performance Works. Canadian Theatre Review, 184, 67–73.
Gee, E., & Audry, S. (2019). Automation as Echo. ASAP/Journal, 4(2), 307–312.
Gee, E. (2013). Repetition as Radical Referral: Echo and Narcissus in the Digital Index. Sound Art Theories 2011, 23, 88–89.
Gee, E. (2010). Other Bodies, Other Voices. eContact! Journal of the Canadian Electroacoustic Community, 12.3.


  • Bachelor of Music Education – Vocal Performance – University of Regina 2007
  • Bachelor Fine Arts – Studio Arts – University of Regina 2009
  • Master of Fine Arts – Studio Arts – Concordia University 2014
  • Doctorate of Music – Composition et Création Sonore – Université de Montréal (ABD)

Academic Teaching

Université de Montréal

  • MUS6328X-3328X Lutherie numérique et systèmes interactifs (3 cr seminar)