Kite aka Suzanne Kite is an Oglála Lakȟóta performance artist, visual artist, and composer raised in Southern California, with a BFA from CalArts in music composition, an MFA from Bard College’s Milton Avery Graduate School, and is a PhD candidate at Concordia University. Kite’s scholarship and practice highlights contemporary Lakota epistemologies through research-creation, computational media, and performance. Recently, Kite has been developing a body interface for movement performances, carbon fibre sculptures, immersive video and sound installations, as well as co-running the experimental electronic imprint, Unheard Records. For the inaugural 2019 Toronto Art Biennial, Kite, with Althea Thauberger, produced an installation, Call to Arms, which features audio and video recordings of their rehearsals with Her Majesty’s Canadian Ship (HMCS) York, which also consisted of a live performance with the conch shell sextet, who played the four musical scores composed by Kite. Kite has also published extensively in several journals and magazines, including in The Journal of Design and Science (MIT Press), where the award winning article, “Making Kin with Machines,” co-authored with Jason Lewis, Noelani Arista, and Archer Pechawis, was featured. Currently, she is a 2019 Pierre Elliott Trudeau Foundation Scholar.
biography / biology / biometrics / biofeedback / bio
Madam Data is a musician (composer) and sound scientist who explores machine and spirit interfaces. Their fantasies are about truly knowing what sacredness is, echolocating spaces infused with spirits, and begetting ghosts in the technology they create. In finding these things, they seek a liberatory practice that uses sound to return bodies to resonance. Madam Data works with synthesizers, handmade computer programs and circuits, field recordings and clarinets; they consider these objects to be interfaces with the Divine presence; they work with the sonics of stillness, space and brutal intensity.
Ada's pronouns are they / them / theirs.