Clint McCallum was born at the feet of the Rocky Mountains at Saint Jacobs Hospital in Denver Colorado 1980. He thought himself a novelist. Then he taught himself how to play guitar so that he could be in punk bands. Then he played in jazz bands. Then he went to music conservatory at Oberlin (in Ohio) where he studied composition with Randy Coleman and Lewis Nielson. Those two dudes are responsible for much of what came later, but if Clint were to credit them with influence at all translatable to the reader he would say: "Mr. Coleman taught me to love the hippy side of Stockhausen and was the first person to show me Fluxus scores. Mr. Nielson showed me that I could still maintain a physical relationship to instruments and sound, even though I was drawing on paper." After graduating from Oberlin Clint played in two kick ass bands. Clint, composer Mario Diaz de Leon, and violinist/multi-instrumentalist Ben Nisbet were STEXX: a black metal influenced industrial band that used computer processing and large formal schemes to pummel peoples skeletal structures. Clint and Ben later formed Cockdeath, a computer-grind band that combined short song structures into longer concept pieces to drill peoples eardrums. During this time Clint collaborated with the Ohio Ballet and choreographer Ashley Bowman on the piece Colored Dyes for violin, tape, and dancers (a resurrection is in the works!) that was a nostalgic-adolescent fantasy. The bands eventually disbanded in silent-glorious-flashes. Clint wrote a piece for violist Glenda Goodman and baritone Ferris Allen, which was performed better than it was conceived. Then he went to pursue another degree or two at the University of California San Diego. That's where he is right now, collaborating with technologist Kevin Larke, percussionist Matt Jenkins, tubist John Piper, and several other fantastic musicians at this malversiforous mecca. He is hesitant to put his current work into words, but when pushed he said: "I use technology a lot these days, but in ways that try to make it 'fail'. I still think a lot about theater and performance art...I want to experience performances that seek boundaries, whether it's the boundary of genre or the body or perception or whatever."