Professor Sarah Kenderdine is a leading researcher in interactive and immersive experiences for galleries, libraries, archives, and museums. She is Professor at the École Polytechnique Fédérale de Lausanne (EPFL), Switzerland, where she directs the Laboratory for Experimental Museology (eM+). From 2017 to 2024, she served as Director and Lead Curator of EPFL Pavilions, a pioneering art–science initiative, and now holds the position of Curator-at-Large. Internationally recognized for pioneering computational museology, she has developed innovative frameworks that integrate machine intelligence, data curation, visualization, and embodied public engagement in immersive environments. She has conceived and produced more than 120 exhibitions and major installations worldwide. Her latest book, Deep Fakes: A Critical Lexicon of Digital Museology (with Lily Hibberd), was published by Routledge in 2025.

Barbara Nerness is an artist/scientist whose work spans music composition, live performance, video, interactive installation, and cognitive science. Her research focuses on brain dynamics measured by EEG during music improvisation. Her multichannel performances feature biosignals captured by a custom stethoscope microphone, illuminating connections with our bodies and each other. Barbara enjoys collaborating with other artists, especially projects investigating surveillance and technological subversion. She has taught at the San Francisco Conservatory of Music and Stanford University, where she received her PhD and Doctoral Certificate in Composition from Stanford’s Center for Computer Research in Music and Acoustics (CCRMA). She has been artist in residence at Djerassi (Woodside, USA), Audium (San Francisco, USA), and ShareMusic (Gothenburg, Sweden). She has performed at venues throughout the Bay Area and Los Angeles, as well as the Brooklyn Academy of Music (USA), ZKM (Germany), and the Sonic Arts Research Centre (Ireland).

Jason is Principle Sound Artist and Founder of Earprint LLC. Focusing on multi-layered dimensional sound design, Earprint engages with clients worldwide creating immersive experience with the Earmersive software platform. He worked as Sound Artist at Electronic Arts with the Sims franchise, as Sound Designer for The Metropolitan Museum of Art, The Exploratorium, The British Museum, The Smithsonian, The Getty, Guggenheim, among many other museums and attractions. He worked on one of the first-ever podcasts, the SFMOMA’s Artcast. He also produced a radio feature for BBC Outlook in 2018. Featured on NPR and in the NY Times Time Capsule at the American Museum of Natural History, Jason’s Day of Sound projects combine global soundscapes from a single day into a linear time-based mix. Jason is an award winning Theater Sound Designer [SFBay Area Theater Critics Circle].

David Shaff is an electronic music composer, trumpet player and general operating manager of Audium Theater. Born and raised in a San Francisco household full of strange sounds emanating from the basement (father & composer Stan Shaff the culprit), David gained an early appreciation of music and sound of all sorts. David has worked for many years gigging around the Bay Area and composing as a professional trumpet player. He has traveled the globe playing his horn as well, with stints working and playing in France and Japan.

Since 2015, David has been actively involved in composing for and managing Audium Theater. He has designed and performed five multichannel compositions for Audium: Audium 10 (2017), Sound & Space Workshop (2018), Audium 11 (2019), Sound Hour (2021) and The Depths (2024). These works include collaborations with Stan Shaff and visual artist Ryan Elisabeth Reid, and programming for the entire building (projections, sounds and lighting).

David has designed and hosted a spatial sound workshop series , an immersive film series, and has given talks on spatial sound composition at Pixar Studios, Stanford University, USF, UC Berkeley & California College for the Arts.

Bevin Savage Yamazaki leads Gensler’s Culture & Museums practice from New York, where she has spent two decades shaping institutions like the New York Public Library, Ford Foundation, Dia:Beacon, the Alamo Museum, and The Hip Hop Museum. But her real education began earlier, in a small museum in Limerick, Ireland, where she grew up learning that a room could hold more than objects. It could hold a whole way of belonging. That instinct became her design philosophy, “inside-out design,” a practice of building outward from feeling, memory, and meaning rather than form. She carries with her the Irish idea of dúchas, the quiet pull of land, home, and inherited place, and believes every building owes an unspoken promise to the people who move through it.
For Bevin, architecture and sound share a common task: shaping what cannot quite be seen, only sensed. She joins this conversation curious how museums might design not just for the eye, but for the ear, the body, and the parts of memory that live beneath language.