Anthea Caddy and her cello divide their time between Melbourne, Australia and Berlin, Germany. The primary focus of her sonic investigations have been combining her knowledge base in sound with her instrumental performance. Exploiting the cello’s textural, spatial and dynamic capabilities, she draws reference points from electro-acoustic music and instrumental performance. Interested in the relationship between digital composition, environmental field recording, and acoustic performance she seeks to consolidate both the conceptual and practical aspects of these media, articulating techniques and concepts indigenous to digital spatialisation in her performances and recordings. Anthea's regular collaborations at present are in duo with Thembi Soddell (Iland, Cajidmedia), with Philip Samartzis (as part of the ensemble Absence and Presence released on ‘Unheard Spaces’), in trio with Robin Hayward and Eric La Casa, a performance/installation project ..Maps of Corners..in duo with Annette Krebs and has played with many artists including Tarab (Eamon Sprod), Clayton Thomas, Christian Wolff, Alice Hui Sheng Chang, Larry Polansky, Tony Conrad, Chris Abrahams, Tim Catlin, Robin Fox, Anthony Pateras, Domenico Sciajno......

Chris Heenan lives in Los Angeles and Stuttgart, Germany. He plays alto saxophone, bass clarinet, contrabass clarinet and analog synthesizer. Some current projects include Phantom Limb & Bison with electronicist Jaime Fennelly, guitarist Chris Forsyth and Shawn Hansen on EMS Synthi & radio feedback; Team Up, a trio with guitarist Jeremy Drake and a revolving third member percussionist; a duo with Berlin- based percussionist and light artist Michael Vorfeld and a duo with Chris Forsyth. Some current playing partners include trumpeter Birgit Ulher, percussionist Griener, vocalist Ute Wassermann and contrabassist Alexander Frangenheim.

Stephen Flinn has been a professional musician for over twenty years, and has performed throughout the United States, Europe, and Japan. As well as being an accomplished drummer and percussionist, he works with unusual sound sources including self-made instruments and found objects. He lives in Scottsdale, Arizona and spends his time teaching, performing, and writing.

Kim Myhr (b. 1981 in Oslo) is a musician and composer in the field of improvised and contemporary music. He studied at Berklee College of Music in Boston from 2003 to 2005 and has since then worked in many different settings with performances throughout Europe, Australia, Asia and North-America.
The consideration of nothing is important in his music: to take no existing element for granted and to build music from nothing and with simple building blocks, questioning the very foundation of his thinking about music. Deconstructing it, then constructing. Why is there music, and not nothing?

Nils Ostendorf has developed a very individual approach on his instrument, exploring the wide range between notes and noise by generating frequencies using an extended embouchure technique, different mutes or vibrating surfaces. he is influenced by natural sounds, contemporary music and electronic music. nils is active in various settings of improvised music, beside “the silencers” in a duo with saxophone player michel doneda, in the duo “trigger” with matthias müller, a trio with pianist philip zoubek and reed player philippe lauzier and in duo with kim myhr and changing guests. he has toured throughout europe, u.s. and canada, and played on various festivals like moers festival, november music and fri resonans. nils works also as a performer, composer, musical director and producer for theatre and dance pieces, mainly with the german director thomas ostermeier at the schaubühne berlin and the münchner kammerspiele

In the 90`s, Instead painting walls Balz Isler started to build sculptures in the street with street found-items creating rearrangements and other confusions trying to change the perspectives of generel accepted customs. Together with Bela Janssen artist/illustrator and Block Barley, musician, I establish the collective “Tapemoshpere”. In the frame of Tapemosphere the work evolves around creating different atmosphere complimented with the material of audiotape in a fusion of installation, music compositions and spatial expressions. This community is still active.
Today I continue to deal with principles of compositions for sound and space. I like to thematize my interests and transactions in a form of Performance Theater and lecture in which I cultivate the idea of conspiracy. In the process of composing, I collect a lot of drawings, objects and hints, which I integrate in my performance-lectures. These objects and the documentation of these is a theme in itself, which is a concern of mine.