Baltimore Dance Project
Timothy Nohe composed sound and video for the Baltimore Dance Project, February 7-9, 2013 - Photo by Marlayna Demond

Current work in progress:

I will be collaborating with Carol Hess and the Baltimore Dance Project on AKIMBO 2013 marking the second annual festival of site-specific dance and movement art in Baltimore's Station North Arts and Entertainment District. Our work will be presented on September 15 from 2:00 5:00 PM at AREA 405, 405 East Oliver Street and AKIMBO Spree at the Windup Space September 18, 2013 from 8:00-9:30 PM.

Dr. Norie Neumark and I have been developing artists’ exchanges and projects, first seeded with the support of an Australian-American Fulbright Commission Fulbright Alumni Initiative Grant. We have focused on issues of sustainability, placemaking and resources. The work will be exhibited through university and regional gallery venues in Australia and the United States. Our goal is to present and cross-pollinate artists working in extremely diverse urban and rural communities through a broad range of artistic means. Sites under consideration range from post-industrial cities, community supported farms surviving amidst suburban sprawl, vast industrial agricultural operations, rural farming communities and situational cultures that are emerging in our nations. Norie and I first worked together in 2002 and we have continued our dialog over the years, with numerous meetings in Australia and the United States, most recently in August of 2013


Short Bio:
Timothy Nohe is an artist and educator engaging traditional and electronic media in daily life and public places. His recent work has been realized in Intermedia works, sound scores for dance and video, improvisational concert works, and art focused on sustainability.

Nohe is actively committed to collectivist work, and is a member of the International Corporation of Lost Structures, a Sydney-based creative collective, and the Center for Land Use Interpretation, Los Angeles. He is an active member of a number of professional organizations, including: the Society of Electro-Acoustic Music in the United States (SEAMUS), the Electronic Music Foundation (EMF), The Inter-Society for the Electronic Arts (ISEA), and the College Art Association (CAA).

Nohe was the recipient of a 2006 Fulbright Senior Scholar Award from the Australian - American Fulbright Commission and an Australian-American Fulbright Commission Fulbright Alumni Initiative Grant in 2011. Five Maryland State Arts Council awards have supported his work in the area of Music Composition, Non-Clasical; Media; New Genre and Installation/Sculpture. Nohe has also been recognized with a Creative Baltimore Award.

He is the Founding Director of the Center for Innovation, Research and Creativity in the Arts [CIRCA] and a tenured Professor at the University of Maryland Baltimore County. Nohe is also an Adjunct Professor at La Trobe University, Faculty of Humanities and Social Sciences, Melbourne, Australia, and an Artists in Residence at the Centre for Creative Arts at La Trobe University.


Email me at:

timothy dot nohe @ gmail dot com

Skype: timothy.nohe



I've just returned from a very productive visit to Australia, where I lectured at La Trobe University and the Annual Symposium of the Australian-American Fulbright Commission where I lectured on "Soft Power". On August 17, 2013 I performed at Undue Noise, hosted by Punctum in Castlemaine in an event organized by Jacques Soddell.

I contibuted music and video to the August 2013 issue of The Light Ekphrastic, edited by Jenny O'Grady. In the issue I shared music with poet Tim Galligan, and he responded with an original poem. I in turn produced a new video featuring actor Gina Braden and violist Daphne Benichou, titled swallowtail.

In April of 2013 I presented Clifton '68 at Clifton Park, Baltimore in an exhibition curated by Emily Clemens. Clifton 68 recounts the history of the insurrection that followed the assassination of Rev. Dr. Martin Luther King, Jr. through a five song suite.

Music was composed and recorded in my studio, and revisited 60s music genres, and also employed contemporary classical and electronic approaches to give voice to forces moving through the riots. Visitors to the park used a QR code or URL to listen to the music on location via iPhone or Android. Musicians/Improvisors: Christina Animashaun: alto; Daphne Benichot: viola; Justin Mann: trumpet, tenor; Jeffrey Mensah: tenor, counter tenor; Timothy Nohe: baritone, organ, electric guitar, loop sequencing, electronics; Shelly Purdy: friction percussion; Diane Schaming: mezzo.

UMBC presented the 30th Anniversary concerts of Baltimore Dance Project on February 7, 8 and 9 2013 celebrating the ensemble's three decades of cutting edge performances. I performed live music from my laptop to Common Axis 2013, which also featured a video that I created while in residence at Caldera, Oregon. Led by artistic directors and choreographers Carol Hess and Doug Hamby, these special concerts maredk the first dance performances on the stage of UMBC's new Proscenium Theatre in the Performing Arts and Humanities Building.

At the Wall of the Anthropocene debuted on the big screen at Fed Square in Melbourne on November 21, and was on view through December 23, 2012. The work was invited by curators Jan Hendrik Brüggemeier and Maria Miranda for the Centre for Creative Arts, La Trobe University and was included in the screening exhibition "Nature in the Dark." The ten artists included in the exhibition worked with images of bush creatures captured by remote sensing cameras placed by researchers working with the Victoria National Park Association. The researchers are observing the effects of intense bush fires on the creatures that inhabit Wombat State Forest and Bunyip State Park.

I presented two bodies of work at the Baltimore Museum of Art, November 17 and 18, 2012 on the occasion of the reopening of the Contemporary Wing. We had a huge crowd stream into the museum on November 17, and I presented an hour-long concert of works created for dance. The following day I debuted 11 new electro-acoustic works written specifically for garments curated by Melissa Webb in the Experimental Garment Performance. The Fox Court of the BMA was jammed with curious on-lookers viewing costumes fashion from LEDs, recyclable goods, paper, experimental fabrics, and unlikely materials like used coffee filters stained in earth tones by the grounds. Samples may be found on my SoundCloud channel.

A full recording of the NEA, William G. Baker fund supported surround-sound documentary My Station North: Sound Surrounding Us is now available as a "stereo reduction" and is further documented online at this blog: The blog presents images of the installation, the printed composites produced from student photographs, and an extended interview with "Maryland Morning" on WYPR. The radio feature will be rebroadcast on December 24, 2012.

People as Verbs is a music and HD video featuring actor Gina Braden. The work debuted in Europe on February 9th, 2012 at Director's Lounge in Berlin, Germany. People as Verbs was first presented in the United States at the in/flux gallery, 307 West Baltimore Street, November 5 - 19, 2011. The piece was scored for business machines, waterphone, synthesis. People As Verbs was made for those climbing the ladder of anti-success, and has been dedicated to all of those who have been “right-sized,” are searching for work, or are bent over by the promises of the middle class dream. In the in/flux exhibition the work accompanied my video Candles for Faust, presented at the rear of the building, and a new readymade LED sculpture titled Hello, Halt, Help, Hallow.

Ashes, Ashes
I debuted Ashes, Ashes, a new work of music composed for The National Capital Area Chapter of the Fulbright Association's Commemoration of the 10th Anniversary of the 9/11 tragedy: “9/11 Retrospective 10 Years Later; What Does It Mean?” The concert will took place Sunday, September 11, 2011, 4:00pm – 5:30pm at Christ Lutheran Church Inner Harbor, 701 S. Charles Street, Baltimore, The free concert also featured Hollis Thoms’ “Requiem for 9/11” for soprano and string orchestra based on poems by contemporary American poets. Ashes, Ashes is an elegiac work scored for mezzo-soprano Diane Schaming, flutist Lisa Cella, and percussionist Andy Hayleck. I sequenced a score on computer for waterphone, bowed guitar, media samples, and synthesis.

UPDATE: a full live concert of Ashes, Ashes is now available on SoundCloud, as are two movements of studio sequences used in the concert: Remembering and Collapse.

People as Verbs debuted to very receptive audiences at the Theatre Project in Baltimore, June 10 and 11, 2011. This work was choreographed by Reneé Brozic Barger and featured an original score that I composed and performed for sampled business machines, waterphone, ebow electric guitar, bowed acoustic guitar, hand-made electronic circuits, wine glasses, friction percussion, and wavetable synthesis. Samples are available at Sound Cloud.

One Week Receipt features recordings of consumers reading back their weekly shopping purchases directly from their cash register receipts. Using my social media network I captured consumer choices and recorded the weekly grocery shopping receipts of participants from Hawaii to New York City. I installed the audio in a shopping cart and iInteractors push two red buttons to hear the participants recite their lists. The resulting audio sampling produces a pretty absurd poem of consumption. Thanks to Lauren Christine Alford, Washington, DC; Diana Jeon, Honolulu, Hawaii; Justin Grotelueschen, New York City; Timothy Nohe, Baltimore; Nicole Shiflet, Baltimore. Everything Must Go features twenty artist-modified shopping carts, co-curated by Chris Mona and Shannon Young. The show will be on view at the John A. Cade Center for Fine Arts Gallery, November 8 – December 8, 2010.

On October 21, 2010 Thirty Oaks, celebrated the Joseph Beuys Sculpture Park with dance, music and visuals. The project joined choreographer Meghan Flanigan, sound artist Timothy Nohe, and visual artist Antoinette Suiter in a multidisciplinary collaboration involving UMBC dance students and Baltimore improvising musicians. I produced original percussion instruments crafted from recycled rubbish from the campus and directed musicians: Rose Hammer Burt, Tiffany DeFoe, John Dierker, Will Redman. Antoinette Suiter produced sculptural costumes.

Tune in to my Australian lectures via YouTube at Hazelhurst Gallery and Regional Art Centre channel, presented on occasion of Shifting Sands: Botany Bay Today. Part one, and, part two.

Timothy Nohe and Shannon Young investigate the aural qualities of wine glasses, guttering candle flames, water and daily gestures in Touch Glass, a new sound-performance piece created for “Anarchy in the Kitchen.” Touch Glass and other “Anarchy” performances will be streaming live from the Umami Website or at viewing parties at Eyebeam (NYC), Squeaky Wheel (Buffalo), The NonStop Institute (Yellow Springs, OH), and The Center for Art, Design and Visual Culture at The University of Maryland, Baltimore County. Touch Glass will also be on view in Hive, at AREA 405, Baltimore through February 21 - March 27, 2010.

Timothy Nohe will lecture as a Visiting Artist in the Rhetorics, Communication, and Information Design doctoral program, the College of Architecture, Arts, and Humanities at Clemson University 14-16 October 2009.

Nohe presented lectures at the Centre for Media Arts Innovation at the University of Technology Sydney on 17 August and the Faculty of Creative Arts at the University of Wollongong on 14 August.

Nohe conducted additional field work in August 2009 at Botany Bay, Australia. He recorded shellfish rasping away food from rocks with hydrophones, interviews, and acoustic environments. This new work will be presented with mural scale digital image prints at Hazelhurst Regional Gallery and Art Centre in August 2010. This work has been supported with an Australian-American Fulbright Commission Senior Scholar Award, the La Perouse Aboriginal Land Council, and residencies at the Broadhurst Cottage at Hazelhurst.

In Gourd Season, kids at the Baltimore Montessori Public Charter School planted canteen, long-handled dipper, birdhouse and snake gourds in a planter box, and temporary 55 gallon drums. In the fall, the fruit will be harvested for drying in the winter months. During the spring academic term, the harvested fruit will be prepared for craft projects, including: water dippers, bowls, bird houses, musical instruments, and figurative sculptures. These uses of gourds are ancient, and allow for integration of lessons on the cultures of Indian, South American and African peoples.

AREA 405 Circuit was selected as a "Critic's Pick" by the Baltimore City Paper. Kendall K. Spera wrote: "Allow your senses to melt within the great, rugged walls of AREA 405 in AREA 405 Circuit, an engaging, interdisciplinary event featuring experimental electro-acoustic music, dance, and art curated by Timothy Nohe."

Nohe was elected Vice President of the UMBC Faculty Senate, 2009/2010 academic year.

Nohe was named an Associate of the Centre for Media Arts Innovation at the University of Technology Sydney where he will develop exhibitions with Dr. Norie Neumark.

bunny & chick will perform with the Brooklyn-based composer Jeremiah Cymerman at The Red Room, Saturday, May 2nd at 9:00 PM.

bunny & chick will perform in small processes at The Hexagon, Thursday, January 22 at 9:00 PM in a concert programmed by Timothy Nohe. Other artists include Steve Bradley, Andy Hayleck and Bonnie Jones. This concert will mash-up analog synthesizers, invented instruments, percussion, electric guitar, stomp boxes, acoustic field recordings, and child’s play. This interdisciplinary concert will draw on the thriving and quirky community of composers based in Baltimore and active in the international world of experimental music thriving at the fringes of worn out cities, academia and commercial obscurity.

Ama : Story : Time was performed as part of Avant Audio Answers, an event hosted by Leon Josowitz on behalf of the Creative Alliance, Baltimore on September 17, 2008. The work featured field recording of Amalie Nohe-Moren drifting off to sleep, percussion, toys, electric guitar, signal processors, music boxes, and voice. Performed by Nohe and Marian Glebes (bunny & chick).

My curatorial proposal Into the Light/Into the Dark has been selected for inclusion at School 33 Art Center, Baltimore for exhibition from October 30 - December 13, 2008. Into the Light/Into the Dark links common metaphorical concerns focused on the theme of light. The artists, Bonnie Crawford, Phil Davis, John Sturgeon, and Christian Valiente all work with light modulated through analog systems via “low” or now “lapsed” technologies. The exhibited artists are multi-generational, emerging from the advent of video as an art form in the 1970s and continuing to the postmortem investigators reanimating analog video and electronic circuits today. The exhibition opens with a concert of improvised electro-acoustic music by Steve Bradley, Andy Hayleck, Devin Hurd and Timothy Nohe on Saturday, November 1st from 8:00 - 9:00 PM.

I've updated documentation for W_nt_r, a suite of three sound sculptures placed in an exhibition at the James Backus Gallery at the Maryland State Arts Council in winter of 2006.

I curated Antipodes a screening of Contemporary Australian Performance Art and Music Videos, which was presented on May 9 & 11, 2008 at AREA 405, Baltimore, USA. The term “Antipodes” may be defined as “any two places or regions that are on diametrically opposite sides of the earth,” and in fact over 9,700 miles separate Baltimore from Sydney. However, there are many commonalities shared between the Australian and American artists, and the screening bridges the distance quicker than the 24-hour flight to the Land Down Under.

Antipodes presented works by the Shangrila-La Collective organized by Maria Cruz for Artspace Visual Arts Centre, Sydney; and individual works by Lisa Anderson, Lisa Andrew, Daniel Blinkhorn, Warren Burt, Catherine Fargher, Derek Kreckler, Maria Miranda and Norie Neumark, Eugenia Raskopoulos, Jacky Redgate, and Justene Williams.

Indicium: an archeology of the ubiquitous was featured in Sonic Residues at The Consortium for Digital Arts, Culture and Technology (cDACT) at Stony Brook University, 29 April - 12 May 2008. Zabet Patterson writes: "Timothy Nohe’s work is titled Indicium, a Latin word that means, data, information, evidence, indication, or pointer. He presents an index of the evolution of the mobile telephone, casting phones from the mid-1980s to the present in beeswax. A form of sonic production—and a technology calculated for obsolescence—is repositioned on a velvet display table, an object to be fetishized. The act of casting causes us to pay attention to the form that moves between disappearance and appearance—intended to be easy to use, it falls away from our attention. As a status symbol, it appears, insistently, tricked out and flashing with color and light. In beeswax, it becomes subtly tactile, glowing with patina."

In January 2008 I worked as an artist-in-residence at Hazelhurst Art Centre, Gymea, NSW, Australia while recording interviews and ambient sound at Botany Bay.

My electro-acoustic audio/video work F-16 was selected for inclusion in HIPERSONICA-2007, with installation at the SESI Gallery, São Paulo, Brazil. Exhibition dates: 14 - 17 August 2007. F-16 was also selected for presentation at the Australian Computer Music Conference 2007, TRANS: Boundaries / Permeability / Reification, 19 - 21 June at The Australian National University, Canberra.

Bellagio Caramello, my contribution to Jeffrey Lopez and Lauren Rosati's Ice Cream Headache project was blurbed in Time Out. During the American Memorial Day weekend 2007 an ice-cream truck traveled through the boroughs of New York City, playing a continuous audio loop of compositions derived from jingles. “I think people’s disdain toward the Mister Softee truck isn’t the volume, but the repetition,” says Lopez. “You’re like, Oh God, that jingle. But it’s characteristic of New York. I mean, this is a noisy, vibrant place.” Listen to a streaming MP4 version of Bellagio Caramello with your QuickTime player or iTunes.

I joined Andy Hayleck and Steve Bradley in a set of solo concerts of new electro-acoustic works at Tranzducer, presented at LEMURplex, located at 461 3rd Avenue, Brooklyn, between 9th and 10th streets (map), on 27 July 2007. I debuted a concert version of Sounding Botany Bay/Sounding Gamay.

I presented research and past sound installations to the Art Forum at the Australian National University, Canberra, 23 May. On 4 April I lectured to students instructed by Norie Neumark in the Media Arts & Production program at the University of Technology Sydney.

Updated documentation is available for *blink* and body.txt presented at the Patterson Theater, Creative Alliance.

Indicium: an archeology of the ubiquitous. Mobile phones cast in beeswax. Indicium was presented at Capilano College, Vancouver, Canada between 5 February and 5 March 2007. In Australia, recycle your old cell phones with Mobile Muster. Special thanks to Didier Balez.

I performed in 1/4_inch, a monthly series of events that showcase international touring artists within Australia. I debuted Fanfare for Alison Knowles and Pathetic Science on 4 October 2006, at the University of Wollongong. Concert statement.

While living in Australia I participated in locus sonus, which revolves around the use of multiple audio streams. The streams are basically channeled via the Internet as open-microphones, continually uploading chosen sound environments, as playable material. In this installation a parabolic microphone was lashed to a 1.5-drain pipe that jutted out from my studio window at the University of Wollongong. Downshifting trucks on the Illawarra escarpment, drama majors, a box frog and Sulphur Crested Cockatoos were heard with some frequency.

I lead two sound art courses, Tangible Sonics and Electro-Acoustics, at the School of Art & Design, University of Wollongong, New South Wales, Australia as a Fulbright Senior Scholar.

+es+ pa++erns, an exhibition of alternate treatments on ubiquitous surfaces is installed as part of Artscape 2006. I produced a bus stop poster mosaic using NASA imagery from the earth-orbiting TERRA satellite.

Odradky - a sound and kinetic intervention project at a former dental clinic, Jungmanova ulice, Prague, Czech Republic. I presented Variations on a Theme by Joe Jones, kinetic sound sculptures produced from detritus found on site, motors, fans, and electronics. 19 - 30 May 2006.

Lecture, 31 May 2006 at Bauhaus-Universität Weimar, Germany.

The Board of the Australian-American Fulbright Commission selected me as a 2006 Fulbright Senior Scholar. I will pursue a research project titled Sounding Kamay / Sounding Botany Bay a surround-sound DVD audio work, and teach two courses at the School of Art & Design of the University of Wollongong, New South Wales.

Beroun, Interactive Video and Electro-Acoustic Sound workshops and performances, Czech Republic, 18 - 26 February 2006.

Winter at Maryland State Arts Council 27 January - 18 April 2006

In the Future, Minutes from Now, Jochen Gerz Anthologie der Kunst, 27 January - 19 February, Kunst- und Ausstellungshalle der Bundesrepublik Deuschland

X|Y named to City Paper's Top Ten in "The Year in Art 2005"




Updated 18 December 2012