For the third consecutive year, the Telfair Museums’ art and technology festival, Pulse, will celebrate creativity through new media, with an eye toward making such things “accessible” to the average person, in the words of Director of Education Harry DeLorme.

In other words Pulse, Jan. 20–29 at the Jepson Center, isn’t exclusively for techno–geeks and people who like to attend school science fairs to ogle the robots.

All events, as always, are free, and while the whole schedule of art, workshops, lectures and performances has yet to be disclosed, here are a few of the highlights as we know them:

Bora Yoon is an experimental multi–instrumentalist, composer and performer, who creates architectural soundscapes from everyday found objects, chamber instruments, digital devices, and voice. She graduated from Ithica College’s Conservatory of Music and creative writing program.

Yoon loves choral music, acoustics and the possibilities of frequencies, and says she is “endlessly fascinated by the intersection of space and sound, maps, human Venn diagrams, handsome sounding kitchenware, and the pulleys and strings that hold everything together.”

Her most recent piece, ( (( PHONATION )) ), is “an interdisciplinary song cycle of ambient electro–acoustic soundscapes, using voice, electrified viola, turntable, Tibetan singing bowls, radios, water, metronomes, musicboxes, homemade instruments, and electronics.” With a visual art component.

Bjorn Schulke is one of the more innovative sculptors working in today’s  technology–inspired media. The German–born artist creates moving, metallic space probes that hum, vibrate, move and sporadically produce  music; his creepy, white, kinetic robotic works have a sort of Star Wars meets George Orwell vibe.

See how they run at www.schuelke.org.

Zachary Lieberman and Golan Levin are artists, engineers, technicians and educators who call their collaborations Tmema. Their 2010 piece “Hand–Forms in Hybrid Light” synthesized visual and sound waves, using filters and digital projectors.

Here’s what they say about it in their artists’ statement:

“During the performance, a computer vision system analyses the silhouettes of the performers’ hands as they scribble on transparencies, and move across the glass tops of the overhead projectors. The hand gestures and transparency drawings are then analyzed by our custom software.

“In response, our software generates synthetic graphics and sounds that are tightly coupled to the forms and movements of the performers’ actions. The synthetic responses are co–projected with the organic, analog shadows, resulting in an almost magical form of augmented–reality shadow play.”

For more on this celebration of the “expressive potential” of technology, check out www.telfair.org.