Image Description: A colour photo of a Kablunangajuk human with long dark brown hair and a big smile.
Kablunangajuk (Inuit/settler ancestry), she/they

Teresa Marie Connors

Teresa is active in many aspects of creative practice as an acoustic/electroacoustic composer, installation artist, creative coder, opera singer and film scorer. Originally from Newfoundland, Canada, Teresa’s works have received awards and support from the Canada Council for the Arts, British Columbia Arts Council, Bravo Fact and have presented at international conferences, film festivals and galleries, and have published in leading journals.

Teresa studied music composition and opera singing at Dalhousie University and the Banff Center for the Arts, and completed her PhD practice-based research at the University of Waikato (2017), New Zealand.

Her current research as an Associate Researcher with the International Institute for Critical Studies in Improvisation expands her exploration in nonlinear creative systems and the use of environmental data as a co-creative device for public engagement audiovisual artworks.

Participant in the following FMS projects

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Concordia University: Part-Time Faculty Intermedia Studies, Communication Studies
Part-Time Faculty Electroacoustic Composition, Music
Part-Time Faculty Film Sound, Cinema

2017 – PhD, University of Waikatio,New Zealand

Book Chapters

(Forthcoming) Environmental Data through an Ecologically Performative Practice. In Handbook on Ubiquitous Music, ed. T Connors, D Keller and V Lazzarini: Oxford University Press.

I Am Here. AUMI Sings and Choral Participation. (co-authored with Ellen Waterman, et el). (2024) In Improvising Across Abilities. (2024) University of Michigan Press. 

Journal Articles and Guest Edited Issues

Alongly Intergrated. (2024) Leonardo, Vol 57, No. 3. Mit Press.

A Short Report From the Core of Practice-based Research. (2023) Performing Practice-Based Research (PBR) for Performance Matters.

Sonics From Our Ocean’s Edge. (2019) The Journal of Ocean Technology, Vol 14 No. 3.

Organising for Emergence: Computer vision and data mining as co-creative devices. eContact, 20(2). (2019)

In Environments: The convergence and divergence of practice. (co-authored with Andrew Denton). (2018) Organised Sound, 23(1).


Forest Ambassadors—With Gloria Florez. Audiovisual + textile installation. International Biennial for Paper Fibre “Earth Speak Giving Voice to Paper 2023-2024 Taiwan; Leonardo@Djerassi Open Day 2023.

Balcony — Audiovisual a collaboration with video artist Shannon Lynn Harris and Jazz singer Kim Zombik for World Listening Day 2022 to explore the Bodily Listening in Place theme for intersensory improvisation.

From The Edge — is one of a series of data driven audiovisual installations that explores the environment of East Coast Newfoundland. SIIM 2022, Chile Nov 2-3; ICMC 2021, Chile, July 25-31; Seeing Sound 2020, Bath Spa, Dec 12-13; NAISA, 2020 SOUNDplay Festival, Sept 24–Dec 6; ISEA2020, Montreal, October 13-18; Eastern Edge Gallery, Hold Fast Festival 2019, Sept 18–21. 

Currents — a non-linear interactive audiovisual installation using a heart rate monitor, streamed wind data, sonification of ocean data and field recordings from east coast Newfoundland. ICMC 2019, New York, June 16–23; Sound Symposium XIX 2018, St. John’s, Canada, July 5–15.

Cathedral — a non-linear audiovisual installation using computer vision and field recordings from Sequoia National Park. The Playhouse Gallery, New Zealand, 2017; Toronto International Electroacoustic Symposium (TIES) 2017, Toronto, Canada.

Aspects of Trees — audiovisual installation (with live improvisation) in collaboration with Andrew Denton. Onassis Cultural Centre, Athens, Greece 2018; Newfound Music Festival 2018; Tehran International Film Festival 2016; 19th Jihlava International Documentary Film Festival 2015; New Zealand International Film Festival 2015; Toronto International Electroacoustic Symposium 2014; Balance/Unbalanced Conference Noosa, AU 2013.