SHAWN GREENLEE




WORK SELECTIONS

Sluicer (2023-curr.)

SFFX (2022-curr.)
Quarries (2016-22)
Sifting (2018-21)
Outwash (2019)
Rhythm Studies (2017-18)
Substitutions (2015)
Missents (2015)
Multipass (2015)
Emerald Tablets (2014)
10K Descents (2014)
Impellent (2012-14)
Locks (2013-14)
Adder (2012-13)
Sieves (2011-12)



Selected discography



ABOUT

Shawn Greenlee is a composer, sound artist, and Professor at Rhode Island School of Design (RISD) where he leads the Studio for Research in Sound & Technology (SRST) and is the Department Head for Digital + Media.  His recent work explores spatial audio, high density loudspeaker arrays, and erratic sound synthesis techniques.

Greenlee has been active as a solo electronic / electroacoustic improvisor since 1997 and has toured extensively across the US and Europe. Conference and festival performances include New Interfaces for Musical Expression (2024 Utrecht, 2018 Blacksburg, 2015 Baton Rouge, 2014 London, 2013 Daejeon), International Computer Music Conference (2021 Santiago, 2018 Daegu, 2011 Huddersfield, 2005 Barcelona), BEAST FEaST (2017 Birmingham), PdCon16 (2016 New York), Cube Fest (2024, 2019, 2016 Blacksburg), Re-new (2013 Copenhagen), IN TRANSIT (2008 Berlin), and Elevate (2007 Graz), among others.

Greenlee’s solo and group discography spans over fifty releases. He is a founding member of Landed, active since 1997 and known for its deconstructed rock, rhythmic noise, and intense live performances. From 1999-2001, he performed with Six Finger Satellite.

Greenlee holds a Ph.D. in Computer Music and New Media from Brown University




Missents (2015)


Missents was composed for the network of loudspeakers installed along the canal in downtown Providence, generally used for the periodic WaterFire events. The piece was played on October 9, 2015 over the course of twelve hours. This multichannel sound work explores the interaction between different loudspeaker zones and the surrounding architecture, particularly aspects of phasing and latency due to the long distances between speakers spread over the geographic area. Custom software was written to produce a non-repeating soundscape over long durations. This work featured both synthesized material and field recordings from sites near waterways.