Xambo.brief.CV.tex

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{\textbf{Anna Xambó Sedó}}\\ 
Senior Lecturer in Sound and Music Computing, Centre for Digital Music, QMUL -- \href{https://annaxambo.me/}{annaxambo.me}\\

{\textbf{Education}}\\
\textsc{PhD}, Music computing \& HCI, The Open University (OU), 2015.\\
MSc, Information, Communication and Audiovisual Media Technologies, Universitat Pompeu Fabra (UPF), 2008.\\
BA, MA, Social and Cultural Anthropology, Universitat de Barcelona, 1996.\\

{\textbf{Employment}}\\
Senior Lecturer, QMUL, 2024--present. I have been senior lecturer, De Montfort University (DMU) (2020--2023); associate professor, Norwegian University of Science and Technology (NTNU) (2018--19) where I also was Music Communication \& Technology (MCT) master programme council leader and MCT programme study leader at NTNU; visiting lecturer and postdoc at Queen Mary University of London (2017--19); and postdoc at Georgia Tech (2015--17). Also, I have been co-founder and chair of the organization Women Nordic Music Technology (WoNoMute) (2018--19) and co-founder and co-chair of the organization Women in Music Tech at Georgia Tech (2016--17). From 2013--14, I was a research fellow at the London Knowledge Lab, University College London Institute of Education.
I have been working for 10 years (2000--10) as interaction designer, web designer and web developer with strong background on Internet technologies. I have been employee in companies (2000--10) as well as co-founder of my own interactive media studio (2004--10).\\

{\textbf{Grants/Awards/Accolades}} from QMUL ERIC Fund (2025); UKRI AHRC (2023--25); DMU Living in a Digital Society Spotlight (2022); DMU Future Research Leaders Programme (2021-22); UKRI EPSRC/HDI Network (2020--21); NTNU Starting Grant (2018--20); Sonic Arts Research Center (2018); NCWIT (2017); NSF AISL (2016); WiMIR (2016); OU (2010--13, 2010); Fund. Caixa de Sabadell (2003--04); and Generalitat de Catalunya (1998--99, 2001--02).\\

{\textbf{Peer-Reviewed Journal Publications}} in Journal of New Music Research (2025); Organised Sound (2023); MDPI (2021); Computer Music Journal (2019); Journal of Audio Engineering Society (2018, 2020); Interacting with Computers (2017); International Journal of Social Research Methodology (2017); Qualitative Research (2017); ACM Transactions on Computer-Human Interaction (2013); and Information Processing \& Management (2013).\\

{\textbf{Conference and Festival Participation}} at New Interfaces for Musical Expression (NIME) (2008, 2011, 2014, 2017--22, 2024--25); Web Audio Conference (WAC) (2017--22, 2025); Audio Mostly (2010, 2017--18); Tangible, Embedded, and Embodied Interaction Conference (TEI) (2011, 2017--18); International Conference on Computational Creativity (2017); International Conference on Live Coding (ICLC) (2019, 2025); International Society for Music Information Retrieval Conference (2016); Sound and Music Computing (SMC) Conference (2010, 2012, 2016); International Conference of Live Interfaces (ICLI) (2016, 2020); Research in Equity and Sustained Participation in Engineering, Computing, and Technology (2015); CHI (2014); International Workshop on Content-Based Multimedia Indexing (2013); British Computer Society Human-Computer Interaction (2011--12); and International Computer Music Conference (2011).\\

{\textbf{Invited Keynote Talks}} at ICLC (2025); ADC (2023); WAC (2021); SMC (2020); Women in Sound Women on Sound (2016).\\

{\textbf{Performances}} at +RAIN (2023); Cafe OTO (2022); British Science Festival (2022); BEAST (2022); EarTaxi (2021); Jefferson Park EXP (2021); Network Music Festival (2020); Eulerroom Equinox (2020); PACE/DMU (2020--21); ICLC (2019, 2025); Dokkhuset (2018); Sonic Arts Research Center (2018); Inter/sections (2018); WAC (2017--22, 2025); Cube Fest (2018); NIME (2017--18, 2021--22); TEI  (2018); Audio Mostly (2017); Root Signals Festival (2017); Freedonia (2017); Women in Sound Women on Sound (2016); Phonos (2013); Niu (2012); Mostra Sonora i Visual (2006); Minima Festival (2004); and Sonar Festival (2002).\\

{\textbf{Conference Organizer}} for WAC (2025, papers co-chair; 2019, general co-chair; 2017, session chair; 2016, music/artworks co-chair); NIME (2026, papers co-chair; 2019, papers co-chair, session chair); ICLI (2020, conference local committee member); Computational Creativity (2017, local committee member).\\

{\textbf{Interviews/Press Coverage}} in DAZED (2025); PSF (2023); The Wire (2022); OnCurating.org (2020); Ballade.no (2019); GirlsGeekDinnerTrondheim (2019); ACM Interactions (2018); Netlabel Interview Project (2018); and Wallifornia Music Tech (2018).\\

{\textbf{Research Visits}} at Filmuniversität Babelsberg KONRAD WOLF (2018--2019); University of Strathclyde (2011--12); UPF (2011); and OU (2010).\\

{\textbf{Blog Coordinator}} at Sensing the Forest (2023--); MIRLCAuto (2020--21); WoNoMute (2018--2019); AudioCommons (2017--18); Women in Music Tech (2016--17); Methodological Innovation in Digital Arts and Social Sciences (2013--14); postWIMP (2010--11); and streetTypes (2006--09).

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{\scriptsize  Anna Xambó Sedó •\- Brief Curriculum Vitae •\- Last updated: \today\- •\- %original: Last updated: \today\- •\- 
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\href{http://github.com/axambo/CV}{http://github.com/axambo/CV}}
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