Thanks for visiting the 2026 iteration of the site; trying to make this less of a mausoleum for every stray thing I’ve done over the years, focusing on activities going forward. I’m playing improvised music & eschewing the record-release-cycle concept entirely these days; Performances & Documentation thereof are at the front & center of current practice, so please Get In Touch if you’d like to organize something! Would love to get out a bit more & see the country/world over the next few years.
If you need a bio, please use (any amount of) the writing below:
Keith Fullerton Whitman is a performer of “Live” Electronic Music based in Fort Greene, Brooklyn; his work is governed by the outcome of ongoing experiments with Generative & Algorithmic frameworks in both the Analog & Digital Domains, blurring the lines between improvisation & composition while openly embracing an agnostic & (often) contrarian approach to setting & genre.
Through this, he has been invited to perform in excess of 1,000 times at many of the world’s most prestigious festivals (such as Algorithmic Art Assembly, CTM / Transmediale, Documenta 14, Elevate, FAQ, Frequency, Geometry of Now, The Labyrinth, The Long Now, Meakusma, Novas FrequeÌ‚ncias, OUT.FEST, Présences Electroniques, Semibreve, Send + Receive, Sonic Acts, Terraforma, & Unsound) & houses of culture (including L’Auditori, Berghain, Boston City Hall, Fylkingen, The Guggenheim, Kurimanzutto, Maison de la Radio et de la Musique, Mass MoCA, MoMA PS1, Paradiso, REDCAT, Sydney Opera House, & Völksbuhne) while maintaining a foothold in the ad hoc experimental & improvised music communities in NYC (via appearances at Cassette, e-flux & Bar Laika, Lava Club, Light & Sound Design, Market Hotel, Pianos, Pioneer Works, (Le) Poisson Rouge, Public Records, Roulette, Sleepwalk, Sunview Acropolis, TV Eye, & Union Pool).
An extensive discography includes album-length suites of Real-Time Guitar- & Software-Based Minimalism, Musique Concrète & Machine Music, Generative Modular Synthesis, & Home-Studio Experiments w/ Sampling & Rhythm Programming for kranky, Planet-µ, Nakid, Editions Mego, PAN, & Carpark (which have been met with accolades from The New Yorker, NPR, Pitchfork, The Wire, etc.) He is the recipient of a 2020 grant from the Foundation for Contemporary Arts & is currently a resident on The Lot while simultaneously co-hosting a sporadic program for Montez Press. Over the past 15 years he has been in frequent dialogue with the Groupe De Recherches Musicales (GRM) in Paris, through whom several commissions for multichannel tape-music works have been realized & diffused on the Acousmonium, fulfilling a childhood dream.
Similarly, if you need photos, here are several good ones:
PS. While I don’t have any ongoing endorsements per se, I feel compelled to shout out the companies that have sent over gear & software to beta-test, demo, and/or use with no strings attached:
4ms Company, Ableton, ADDAC System, ALM Busy Circuits, CAOS Modular, Cycling ’74, Erica Synths, Eventide Audio, Flower Electronics, Gammalite Systems, GRM Tools, Intellijel, Landscape, Make Noise, Mark Of The Unicorn, Moog Music, Newfangled Audio, Output, Rebel Technology, Retrokits, Sinevibes, Spitfire Audio, Synthesis Technology, WORNG Electronics, & Zlob Modular.
Let me know / get in touch if you need my input on something!