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Faculty and Researchers

Core Faculty


Theodore Kim

Assistant Professor
2201 Elings Hall
kim (at)

Ph.D, UNC, Computer Science, B.S. Cornell University, Post-Doc, Cornell University and IBM TJ Watson Research Center

Specialities: Computer graphics, physics-based simulation and animation, fluid dynamics, solid mechanics, pattern formation, and parallel computing.

Theodore Kim joined the Media Arts and Technology Program at the University of California, Santa Barbara in 2011 as an Assistant Professor. His research investigates the multi-sensory (visual, audio, and haptic) phenomena that arise from the numerical simulation of physical systems. His current interests include the patterns that emerge from fluid turbulence, and the characteristic deformations that arise during human motion. He is generally interested in physical mechanisms for pattern formation, such as those that underlie snowflake and lightning formation. His research has appeared in over two dozen films, for which he received a Scientific and Technical Academy Award in 2012. He received an NSF CAREER award in 2013.


JoAnn Kuchera-Morin

Extended Profile

2209 Elings Hall
jkm (at)

Dr. Kuchera-Morin is a composer, Professor of Media Arts and Technology and Music, and a researcher in multi-modal media systems, content and facilities design. She created, built, and designed the Center for Research in Electronic Art Technology and is the Center Director since its inception in 1986. Her years of experience in digital media research led to the creation of a multi-million dollar sponsored research program for the University of California, the Digital Media Innovation Program. She was Chief Scientist of the Program from 1998 to 2003. In 2000 she began the creation, design, and development of a Digital Media Center within the California Nanosystems Institute. The culmination of her design is the AlloSphere Research Laboratory, a three-story metal sphere inside an echo-free cube, designed for immersive, interactive scientific and artistic investigation of multi-dimensional data sets. She serves as Director and Chief Scientist of the AlloSphere Research Facility.

A composer of mixed media works, she received her Ph.D in 1984 from the Eastman School of Music, University of Rochester. Her current music research is focusing on a general purpose interface for control of digital information through natural performance gesture. A composer of primarily electro-acoustic works, her music has been performed throughout the United States, Europe and Asia.


George Legrady

Professor, Department Chair
2211 Elings Hall & 2222A Arts
legrady (at)

MFA San Francisco Art Institute. Joint appointment in MAT and Art Studio. Specialties: interactive art installation, collaborative narrative development, data visualization through semantic categorization and self-organizing algorithms.

George Legrady, a Professor of Interactive Media, holds a joint appointment in the Media Arts & Technology graduate program and the department of Art Studio. Prior academic appointments were held at the Merz Akademie, Stuttgart, San Francisco State University, UCLA, University of Southern California, California Institute of the Arts and the University of Western Ontario. His research and production work in interactive media installation brings together a number of specialized interests such as collaborative narrative development through audience interaction and data management through semantic categorization using neural-net based self-organizing map algorithms. Recent interactive installations have been presented at the Centre Pompidou, Paris with "Pockets full of Memories", 2001; "Transitional Spaces" at the Rotunda, Siemens World Headquarters, Munich, 1999/2000; "Tracing" at the Museum of Contemporary Art, Los Angeles, 1998 and the Kunst und AustellungHalle der Bundes Republik, Bonn 1997-98; a solo retrospective at the National Gallery of Canada and the Canadian Museum of Contemporary Photography, Ottawa, 1997-98; "Slippery Traces" at the Palais des beaux-arts, Brussels, 1997, also in "Deep Storage" a travelling exhibition at the Haus der Kunst, Munich, 97; the Kunstforum, Berlin, 1997; the kunstmuseum, Dusseldorf, 1998; PS1, New York, 1998. Awards include a National Endowment of the Arts Visual Fellowship, Canada Council Computer Media Awards in 1994 and 1997, and Honorable Mentions at Ars Electronica, Linz in 1989 and 1994. His cd-rom publication "An Anecdoted Archive from the Cold War" received the "New Voices, New Visions" prize from Voyager and Interval Research Corporation.

Marcos Novak

Professor, Director of transLAB, Department Vice Chair
2207 Elings Hall
marcos (at)

M. Arch+Certificate of Specialization in CAAD (Computer Aided Architectural Design), Ohio State University, Professor (specialties: Media and Virtual Architecture, Transvergence, TransArchitecture).

Marcos Novak is a pioneer in the field of virtual architecture. In the mid 90s, his contribution to Inteational architectural discourse was further expanded by the coining and definition of the term "Transarchitectures" His approach: "we conceive algorithmically (morphogenesis); we model numerically (rapid prototyping); we build robotically (new tectonics); we inhabit interactively (intelligent space); we telecommunicate instantly (pantopicon); we are informed immersively (liquid architectures); we socialise nonlocally (nonlocal public domain); we evert virtuality (transarchitectures)". He has also posited a new "Soft Babylon," a theoretical stance which posits that our digitized architectural palette is causing us to create a wired Situationist city, while we struggle with some of the massive paradigm shifts that our era will and must face. Whilst articulating highly fluent theory, he has practiced, producing beautiful ethereal architectures that flux and shimmer as his algorithms run their designed logics. He received the Masters of Architecture at Ohio State university in 1983. Since that time he has taught at Ohio State, University of Texas Austin, the Architecture program at UCLA, the Digital Media program at UCLA, and the Art Center College of Design, in Pasadena. He has published, lectured and exhibited his work internationally.


Marko Peljhan

Office: room 2205. Lab: room 2810 (Systemics Lab), Elings Hall
peljhan (at)

A native of Slovenia and a theatre and radio director by profession, Peljhan founded the arts and technology organization Projekt Atol in the early 90’s and cofounded one of the first media labs in Eastern Europe, LJUDMILA in 1995. In the same year, the founded the technology branch of Projekt Atol called PACT SYSTEMS where he developed one of the first Global Positioning Systems based participatory networked mapping projects, the Urban Colonisation and Orientation Gear 144. He has been working on the Makrolab, a project that focuses on telecommunications, migrations and weather systems research in an intersection of art and science from 1997-2007, the Interpolar Transnational Art Science Constellation during the International Polar Year (project 417) and is currently coordinating the Arctic Perspective Initiative art/science/tactical media project focused on the global significance of the Arctic geopolitical, natural and cultural spheres together with Matthew Biederman.  Peljhan has also been the flight director of ten parabolic experimental flights in collaboration with the Microgravity Interdisciplinary Research initiative and the Yuri Gagarin Cosmonaut Training Centre, creating conditions for artists to work in alternating gravity conditions. During the series of World projects, he has installed several communications mapping and interception systems and projects and his research led him to map the command and control communications networks and response during the Srebrenica genocide. He is the recipient of many prizes for his work, including the 2001 Golden Nica Prize at Ars Electronica together with Carsten Nicolai for their work, polar, and the  UNESCO Digital Media Prize for Makrolab in 2004. During 2008, Peljhan was appointed as one of the European Union Ambassadors of Intercultural dialogue. His work was exhibited internationally at multiple biennales and festivals (Venice, Gwangju, Brussels, Manifesta, Johannesburg, Istanbul), at the documenta X in Kassel, several ISEA exhibitions, several Ars Electronica presentations and major museums, such as the P.S.1 MOMA, New Museum of Contemporary Art, ICC NTT Tokyo, YCAM Yamaguchi, Van Abbemuseum and others. From 2009 on he is the one of the series editors of the Arctic Perspective Cahiers series (Hatje Cantz and API).He  holds joint appointments with the Department of Art and the Media Arts & Technology graduate program at the University of California Santa Barbara, and was appointed as Co-Director of the Univerisy of California system-wide Institute for Research in the Arts in 2009, where he is coordinating the art/science Integrative methodologies initiative.  He is also the director of the MAT Systemics Lab, located in Elings Hall.


Curtis Roads

2203 Elings Hall
clang (at)

PhD. Université Paris 8, Music. Specialties: composition, microsound synthesis, graphical synthesis, sound analysis and transformation, sound spatialisation, history of electronic music.

Curtis Roads teaches and pursues research in the interdisciplinary territory spanning music and technology. He was Editor and Associate Editor of Computer Music Journal (The MIT Press) from 1978 to 2000, and cofounded the International Computer Music Association in 1979. A researcher in computer music at MIT (1980-1986), he also worked in the computer industry for a decade. He taught electronic music composition at Harvard University, and sound synthesis techniques at the University of Naples. He was appointed Director of Pedagogy at Les Ateliers UPIC (later CCMIX) and Lecturer in the Music Department of the Université Paris 8.

Among his books are the anthologies Foundations of Computer Music (1985, The MIT Press) and The Music Machine (1989, The MIT Press). His textbook The Computer Music Tutorial (1996, The MIT Press) is widely adopted as a standard classroom text and has been published in French (1999, second edition 2007), Japanese (2001), and Chinese (forthcoming) editions. He edited the anthology Musical Signal Processing in 1997. His book, Microsound (2002, The MIT Press) presents the techniques and aesthetics of composition with sound particles. A pioneer in the development of granular synthesis (1974), he also developed (with Alberto de Campo) a sound particle synthesis program PulsarGenerator (2001), distributed by the Center for Research in Electronic Art Technology (CREATE) at UCSB. His collection of electronic music compositions POINT LINE CLOUD won the Award of Distinction at the 2002 Ars Electronica in Linz and was released as a CD + DVD on the Asphodel label in 2005. His new book is Composing Electronic Music: A New Aesthetic (forthcoming) published by Oxford University Press. A new revised edition of The Computer Music Tutorial by The MIT Press will follow. He is keenly interested in the integration of electronic music with visual and spatial media. Since 2004, he has been researching a new method of sound analysis that is the analytical counterpart of granular synthesis called dictionary-based pursuit, which has been sponsored by the National Science Foundation. A new collection of electronic music is in the works.


Matthew Turk

2163 Harold Frank Hall and 2201 Elings Hall
mturk (at)

Ph.D. Massachusetts Institute of Technology, MAT and Computer Science. Specialties: computer vision, human-computer interaction, multimodal/perceptual interfaces, gesture recognition.

Matthew Turk is interested in expanding the ways in which people interact with computers. "Graphical user interfaces are very useful and quite appropriate for some uses of computers, but the computing landscape is changing: we are moving beyond the days when computers are primarily boxes that sit on a desk, used for spreadsheets and word processing. Computers are becoming more ubiquitous, appearing in a proliferation of shapes and sizes. They are being embedded into the world around us, and we are carrying (soon wearing) them wherever we go. We need new ways of conveying and accessing information, without requiring undue effort or attention on our part. We need to make computers accessible to all people in all situations. My particular expertise in this area is vision-based interfaces, using computer vision as an input modality: tracking, recognizing, and modeling people and their activity. New interface technologies become new tools for musical and artistic expression. MAT provides a great opportunity to explore this domain".

Lecturers and Researchers


Dennis Adderton

Research Engineer, AlloSphere Research Facilty
2211 Elings Hall
dennis (at)

Dennis Adderton is an Electrical Engineer with 20 years of experience in the design of scientific instruments. Currently employed as Research Engineer for the Allosphere Research Facility, Adderton spends his spare time creating electronic installation art. Technology is the common basis of his work and chosen medium for creative expression. Working in the context of art allows for the exploration of philosophical and experiential inquiry not permissible within the realm of science. The goal of his work is to find beauty in human endeavor.


Andres Cabrera

2213 Elings Hall
andres (at)

Andres Cabrera studied Guitar under Carlos Rocca at Universidad de los Andes in Bogota, and received a PhD in Music Technology from Queen's University Belfast with a dissertation titled "Control of Source Width Through Sinusoidal Modeling for Multichannel Reproduction", under the direction of Professor Gary Kendall, a pioneer of computer music. Dr. Cabrera joined MAT in the summer of 2012 and has previously served as a Lecturer at the Pontificia Universidad Javeriana and the Universidad de los Andes, both in his native Bogota, Colombia. Dr. Cabrera is an active software developer and practicing audio engineer, being the developer of the widely-distributed Csound development environment CsoundQt. His primary research interests are spatial audio and user interface design for music software.


Matt Wright

CREATE Research Director
2213 Elings Hall
matt (at)

PhD, Stanford/CCRMA,  B.A. UC Berkeley/CNMAT,  Post-Doc UVic/MISTIC

Dr. Wright's dissertation "The Shape of an Instant: Measuring and Modeling Perceptual Attack Time with Probability Density Functions" concerned models of musical rhythm, including onsets, repetition, pulsation, meter, and phrasing, with particular emphasis on the question of when exactly we perceive musical events to occur. His interests are both theoretical and practical, aimed towards computer simulation of perceptual aspects of listening to musical rhythm for the construction of "automatic listeners". He worked for 15 years as the Musical Systems Designer at UC Berkeley's Center for New Music and Audio Technology (CNMAT), conducting research in topics including intimate musical control of computers, sound analysis and resynthesis, and rhythm; at CNMAT he helped to develop and propagate the now well established and much appreciated SDIF (Sound Description Interchange Format) and OSC (Open Sound Control) standards. His post-doctoral fellowship at the University of Victoria was devoted to the emerging field of computational ethnomusicology, and he is now the Research Director at UC Santa Barbara's Center for Research in Electronic Art Technology (CREATE). He is also an accomplished musician, focusing for the last many years on musics of non-Western cultures, with a special interest in Afro-Brazilian percussion and on the musics of India, Afghanistan, the Middle East, and North Africa.

Affiliate Faculty


Kevin Almeroth

2113 Engineering 1
almeroth (at)

Ph.D., Georgia Institute of Technology, Computer Science, specialties: computer networks and protocols, large-scale multimedia systems, performance evaluation, distributed systems.

"One of my primary areas of interest is networking requirements for multimedia-capable systems. Research in this hot new area is taking place both from a top-down and from a bottom-up approach. Researchers are looking at ways of making networks like the Internet capable of supporting the growing number of real-time, data-intensive applications. While at the same time application developers are interested in how to take advantage of existing network services to meet their needs. All of these factors make the topic of networking extremely important. And the coupling between networking and other areas related to multimedia means that are significant opportunities for inter-disciplinary education. Many of the courses I already teach are of interest to students in other departments. I am committed to MAT because a formal program would prepare students in other disciplines to take my existing courses and new potential offerings".


Clarence Barlow

1129 Music Building
barlow (at)

Born in 1945, Clarence Barlow obtained a science degree at Calcutta University in 1965 and a concert pianist diploma from Trinity College of Music London the same year. He studied acoustic and electronic composition from 1968-73 at Cologne Music University as well as sonology from 1971-72 at Utrecht University. His use of a computer as an algorithmic music tool dates from 1971. He initiated and in 1986 co-founded GIMIK: Initiative Music and Informatics Cologne and served as chair for thirteen years. He was in charge of computer music from 1982-1994 at the Darmstadt Summer Courses for New Music and from 1984-2005 at Cologne Music University. In 1988 he was Director of Music of the XIVth International Computer Music Conference, held that year in Cologne. From 1990-94 he was Artistic Director of the Institute of Sonology at the Royal Conservatory in The Hague, where from 1994-2006 he was Professor of Composition and Sonology. From 1994-2010 he was a member of the International Academy of Electroacoustic Music in Bourges, France. At UCSB he functions as professor at MAT, the Music Department (as Corwin Endowed Chair and Head of Composition) and the College of Creative Studies.

His interests are the algorithmic composition of instrumental, electronic and computer music, music software development as well as interdisciplinary activities, e.g. between music and language, and the visual, and would welcome collaboration with MAT students in any of these fields.


Jean Michel Crettaz

Adjunct Professor
jmc (at)

Jean Michel Crettaz is an architect, artist and educator. He studied at the AA Architectural Association in London and the Cooper Union in New York. He holds an Honors Diploma from the AA, and Environmental Engineering Diploma with Distinction from the Technikum Schule Bern Switzerland. Prior, he studied Fine Arts at the Art School in Bern and attended the Rudolf Steiner College.

After a period of extensive world travel he spent seven years as Ass. Professor at the ETH in Zurich, followed by a seven year period at the Architectural Association in London as Diploma School Unit Master and Head of Communications. Jean Michel joined the design faculty at SciArc Los Angeles in 2003. From 2005 he headed Visual Studies and from 2009-11 he directed the SciArc MediaSCAPES Postgrad Program. He has practiced, taught, lectured and exhibited in Europe, Far East, and the United States. His interests are interdisciplinary with work synthesizing architecture propositions into sensory experience of dynamic and relational structures. He pursues form finding in metabolic energy exchanges and design of synthetic ecologies with none-linear spatial conceptions. slap! [stopLAproduction] is an international collaborative for architecture design & media research funded by Jean Michel in Los Angeles in 2005. Projects engage environmental concepts conceived from a pool of highly innovative and skilled practitioners and researchers uniting architects, scientists and fabricators. slap! realizes a variety of installation projects, commissions, and novel products. Projects incorporate operatives and dataflow of prototype environments drawn from geo- and eco-specific information. slap! works with ubiquitous technologies and arising conflicts inherent to human needs, with work exploring immersive and experiential prototypal structures.



Tobias Höllerer

Associate Professor
2155 Engineering I
holl (at)

Tobias Hollerer is Associate Professor of Computer Science at the University of California, Santa Barbara and Adjunct Professor in Media Arts and Technology. He co-directs the "Four Eyes Laboratory" conducting research in the four I's of Imaging, Interaction, and Innovative Interfaces. Tobias holds a graduate degree in informatics from the Technical University of Berlin and MS and PhD degrees in computer science from Columbia University. He is a recipient of the National Science Foundation's CAREER award, for his work on "Anywhere Augmentation", which enables computer users to place annotations in 3D space wherever they go, employing the physical world as user interface. Beyond this, Tobias's main research interests lie in virtual reality, 3D displays and interaction, visualization, mobile and wearable computing, and adaptive user interfaces.


Lisa Jevbratt

Associate Professor
2228-B Art Studio
jevbratt (at)

Lisa Jevbratt's work - ranging from internet visualization software to biofeedback and interspecies collaboration - is concerned with collectives and systems, the languages and conditions that generate them, and the exchanges within them. The projects explore alternative, distributed and unintentional collaborations and expressions of these collectives. Her projects have been exhibited internationally, in venues such as The Walker Art Center (Minneapolis), Banff Centre for the Arts (Canada), The New Museum (New York), The Swedish National Public Art Council (Stockholm, Sweden), and the Biennial at the Whitney Museum of American Art (New York). Her work is discussed in numerous books, for example, in "Internet Art" by Rachel Greene and "Digital Art" by Christiane Paul (Thames and Hudson). Jevbratt also publishes texts on topics related to her work and research, for example in the anthology "Network Art - Practices and Positions" (Routledge).

MFA Computers in Fine Arts, CADRE, San Jose State University. Specialization: Software/Network Art, Information Mapping/Visualization.


Chandra Krintz

Associate Professor
2153 Harold Frank Hall
ckrintz (at)

Chandra Krintz is an Associate Professor at the University of California, Santa Barbara (UCSB). She joined the UCSB faculty in 2001 after receiving her M.S. and Ph.D. degrees in Computer Science from the University of California, San Diego (UCSD). Chandra's research interests include automatic and adaptive compiler, programming language, virtual runtime, and operating system techniques that improve performance (for high-end systems) and that increase battery
life (for mobile, resource-constrained devices). Her recent work focuses on progamming language and runtime support for cloud computing. Her group has recently developed and released AppScale - an open-source platform-as-a-service cloud computing system that implements the Google App Engine (GAE) APIs and that facilitates next-generation cloud computing research. Chandra has supervised and mentored over 40 students, has published her work in a wide range of ACM venues including CGO, ECOOP, PACT, PLDI, OOPSLA, ASPLOS, and others, and leads several educational and outreach programs that introduce computer science to young people, particularly those from underrepresented groups. Chandra's efforts have been recognized with a 2006 NSF CAREER award, the 2008 CRA-W Anita Borg Early Career Award (BECA), and the 2008-9 UCSB Academic Senate Distinguished Teaching Award. Chandra is an ACM Senior Member and an IEEE Senior Member.


Alan Liu

2607 South Hall
ayliu (at)

Alan Liu is Chair and Professor in the English Department at the University of California, Santa Barbara, and previously a faculty member in the English Department and British Studies Program at Yale University. He began his research in the field of British romantic literature and art. His first book, Wordsworth: The Sense of History (Stanford Univ. Press, 1989), explored the relation between the imaginative experiences of literature and history. In a series of theoretical essays in the 1990s, he explored cultural criticism, the “new historicism,” and postmodernism in contemporary literary studies. In 1994, when he started his Voice of the Shuttle Web site for humanities research, he began to study information culture as a way to close the circuit between the literary or historical imagination and the technological imagination. In 2004, he published his The Laws of Cool: Knowledge Work and the Culture of Information (Univ. of Chicago Press). Recently published from Univ. of Chicago Press is Local Transcendence: Essays on Postmodern Historicism and the Database. Liu founded the NEH-funded Teaching with Technology project at UC Santa Barbara called Transcriptions: Literature and the Culture of Information (recently renamed Literature.Culture.Media) and his English Dept’s undergraduate specialization on Literature and the Culture of Information. During 2002-2007 he was a member of the Board of Directors of the Electronic Literature Organization (ELO) and chair of the Technology/Software Committee of the ELO’s PAD Initiative (Preservation / Archiving / Dissemination of Electronic Literature). His current major project, which he started in 2005 as a University of California multi-campus, collaborative research group, is Transliteracies: Research in the Technological, Social, and Cultural Practices of Online Reading.

B.S. Manjunath

3157 Engineering I
manj (at)

Ph.D. University of Southern California, Electrical and Computer Engineering, specialties: image processing, computer vision, multimedia databases,  and bioimage informatics.

Manjunath directs the Center for Bio-Image Informatics and the Vision Research Lab. His research interests include include image texture analysis, image/video registration and segmentation, search and retrieval in large scale multimedia databases, and steganography. His group contributed to the development of the ISO/MPEG-7 content representation standard. He led the NSF/IGERT project on Interactive Digital Multimedia at UCSB. He has published over 250 peer reviewed articles in various journals and conferences, is a co-inventor on 25 US/International patents, and supervised 25 PhD theses on these topics. His current projects include large scale sensor networks and bioimage informatics. His research is supported by grants/awards from the National Science Foundation, the National Institutes of Health, and the Office of Naval Research. He is a fellow of the IEEE.


W. Patrick McCray

4224 Humanities and Social Sciences Building
pmccray (at)

W. Patrick McCray is a professor in the History Department at UCSB. McCray entered the historians’ profession via his background in materials science and engineering. His doctoral research examined the culture and technology of glassmaking in Renaissance Venice.  Since 1996, he has written widely on the history of science and technology after 1945 including two books: Giant Telescopes: Astronomical Ambition and the Promise of Technology (Harvard University Press, 2004) is an exploration of the politics, policy, and technology behind the current generation of ground-based telescopes while Keep Watching the Skies: The Story of Operation Moonwatch and the Dawn of the Space Age (Princeton University Press, 2008) chronicles the activities of citizen-scientists who organized a global network of satellite spotters during the Cold War.

When he arrived at UCSB, McCray became more interested in the history of nanotechnology and how it intersected with his prior research on the history of materials. He is a founding member and co-PI for the NSF-funded Center for Nanotechnology in Society at UCSB. He currently leads one of the CNS’s research initiatives; this explores the history of nanotechnology and its place in the broader context of the 20th century science and technology.

As a historian, McCray is fascinated by the visions of the future that litter the past. He is currently writing a new book about "visioneers" - people who used their technical expertise to promote visions of a more expansive future made possible by the technologies they studied, designed, and promoted. In 2010-11, he shared a Collaborative Research Fellowship from the American Council of Learned Societies with Cyrus Mody (Rice University) and Mara Mills (NYU) which will help support the writing of this book as well as a new project on "high tech intellectuals".

In addition to this research, McCray is starting a new pilot project which considers the interaction between scientists, engineers, and artists during the first three decades of the Cold War. He is especially interested in the motives and ways these communities collaborated with one another, how Cold-War derived technologies such as lasers and digital computers were enlisted for artistic purposes, and the presence of Cold War themes such as nuclear war, cybernetics, and the Space Race in art from the 1950s, 60s, and 70s.


Pradeep Sen

psen (at)