“I have followed the evolution of the CNMN since its very beginnings in 2003, and have participated in three Forums (Montréal 2009, Halifax 2010, Vancouver 2012). Having been a performer, improviser, composer, concert producer, and arts administrator in Montreal for many years now, I am very aware of the importance of the whole chain of collaboration that must exist to better disseminate new music. I have been on the CNMN Board of Directors since May 2010, and, as Treasurer, I have undertaken the task of structuring a more suitable accounting system that will allow our organization to progress and will facilitate its administration. As such, I wish to pursue this commitment and renew my involvement in our big musical family. The Canadian New Music Network is an effective way of combining our forces to give greater visibility to our art. It is with much enthusiasm that I wish to pursue my work on the Board of Directors. Since I have become more and more familiar with the workings of the organization as well as with its members, my involvement will be even more efficient with a second mandate as Treasurer.” 
“As an interpreter, improviser, composer, concert producer, and arts manager active in Montréal for several years now, I am very much aware of the importance of the whole collaboration chain required to better spread new music. I am convinced that the Canadian New Music Network is an efficient tool to rally our forces and bring more exposure to our art. After attending a few CNMN annual general assemblies and two Forums, I am now happy to join the Board of Directors and engage more actively in the CNMN’s activities.” 
Constantly seeking new means of expression and eager to create, the flutist-improviser-composer Cléo Palacio-Quintin (1971) takes part in many premieres as well as improvisational multidisciplinary performances, and composes instrumental and electroacoustic music for various ensembles and media works. Since 1999, she extended these explorations into the development of new instruments: the hyper-flutes. Interfaced to a computer and software by means of electronic sensors, these enhanced flutes enable her to compose novel electroacoustic soundscapes. Over the years her compositions have been performed in The Netherlands, Norway, Denmark, France, Italy, Belgium, Sweden, Switzerland, the U.K., Canada and the U.S., either by herself or various ensembles. Besides composing chamber music with electronics, she performs regularly as a soloist and improviser, especially with her duet Fiolûtröniq. She is now finishing doctoral studies in composition at the Université de Montréal, where she also teaches. She was the resident composer at the Chapelle historique du Bon-Pasteur in Montreal, from September 2009 to 2011. She is an active student-researcher at the Center for interdisciplinary research in Music Media and Technology (CIRMMT) at McGill University, where she received the Director’s Interdisciplinary Excellence Prize 2008 in recognition of her having created an innovative bridge between scientific/technological and artistic domains. The Conseil québécois de la musique gave her the Prix Opus Composer of the year for the artistic season 2010–2011.