"Joon-Yong Choi formed the first noise project in Korea, Astronoise, in 1996 with Chulki Hong and has been exploring the amplification and physical properties of sound. It mainly works to expose the underlying sound from the operating mechanism by using errors such as CD players, MP3 players, open reel tape recorders, VCRs, and speakers that are no longer in use. Recently, he is conducting a performance that raises doubts about the perception and inferiority of the sound that occurs between the space and the listening act, and is interested in the control and failure of the performance obtained through improvisation or composition. Since 2003, she has participated in improvised music performances, Starfish and RELAY, and has collaborated with domestic and foreign writers. As a solo, she released five albums, including DANTHRAX, made using the malfunction of a CD player. Since 2000, he has been in charge of designing and producing albums at the label Balloon & Needle, introducing domestic experimental music to overseas. In addition, he is playing bass in'Vomit & Tear', a Doom metal band formed with SklavenTanz members."

"Devin DiSanto lives in brooklyn and develops performances, actions, and audio recordings that revolve primarily around the material attributes of a sound, particularly the plurality of its signification. His projects start from the premise that space is listened for as much as seen and heard before it comes into view. It doesn't arise from the visible-readable realm but is first heard, listened to, and enacted through physical gestures and movements. He often performs solo but prefers to bind himself to collective projects bypassing the private sphere of his own interests. He seeks to emphasize determinacy rather than indeterminacy, critique rather than ambivalence, and decision rather than indecision in order to develop social relations and action oriented values capable of questioning the apparent 'neutral', 'objective', fixed, transparent, innocent or indifferent representation of a space. These sound-producing tasks don't need to generate musical sound or even produce audible sound in creating performances, but instead search for a distorting effect produced by signifying material, and the possibilities inherent in the slippage between society and language."