David Allen is a Hispanic-American digital culture worker whose art weaves threads of movement into experiential patterns using kinesthetic interfaces. As the design lead at CISL, allen collaborates with Students, Faculty, and Staff to both envision interactions with new interfaces, and to facilitate their development into plausible real-world applications. allen’s most recent collaboration is in the area of Movement as Query. Movement as Query is in the ideation phase—a search for philosophical and theoretical frameworks that will enable movement-based queries into large bodies of recorded media. MaQ aims at queries that are both ethical and carried out with the same ease in which millions of people are currently able to type keywords into text-based query engines.
Sarah Bay-Cheng is Chair and Professor of Theater and Dance at Bowdoin College, where she teaches theater history and theory, dramatic literature, and digital media performance. Her research focuses on the intersections among performance and media including histories of cinema, social media, and computer technology in contemporary performance. Recent publications include Performance and Media: Taxonomies for a Changing Field (2015) and Mapping Intermediality in Performance (2010) as well as essays in Theatre Journal, Theater, Contemporary Theatre Review, and Performance Research, among others. Her current monograph project explores digital historiography and performance. Bay-Cheng frequently lectures internationally and in 2015 was a Fulbright Visiting Scholar in the Department of Media and Cultural Studies at Utrecht University in the Netherlands. She is edits the book series Avant-Gardes in Performance (Palgrave) and is an associate editor for the Journal of Dramatic Theory and Criticism, the International Journal of Performance Arts and Digital Media, and Contemporary Theatre Review. Previously, she served on the governing boards of Performance Studies international and the Association for Theatre in Higher Education, and she currently administers the ASTR members group for Digital Research and Scholarship. Since 2016, Bay-Cheng can be heard monthly as a co-host for the podcast, On TAP (Theatre and Performance) with Pannill Camp and Harvey Young. She occasionally gets to work as a director and dramaturge with particular interest in intermedial collaborations and a fondness for puppetry.
Simone Browne is Associate Professor in the Department of African and African Diaspora Studies at the University of Texas at Austin. Her first book, Dark Matters: On the Surveillance of Blackness, was awarded the 2016 Lora Romero First Book Publication Prize by the American Studies Association, the 2016 Surveillance Studies Book Prize by the Surveillance Studies Network, and the 2015 Donald McGannon Award for Social and Ethical Relevance in Communications Technology Research. Simone is also a member of Deep Lab, a feminist collaborative composed of artists, engineers, hackers, writers, and theorists. For 2018-2019 she is a Visiting Presidential Fellow at Yale University where she will teach, and conduct new research on electronic waste and effective microorganism to ask questions about the ecology of surveillance technologies, as well as curate an upcoming exhibition and year of arts programming at the University of Texas at Austin on Black women's creative engagement with surveillance
Pannill Camp is Associate Professor and Chair of the Performing Arts Department at Washington University in St. Louis. His research focuses on exchanges between theatre and philosophy, especially in eighteenth-century France. He is the author of The First Frame: Theatre Space in Enlightenment France (Cambridge University Press, 2014), which received an honorable mention for the Association for Theatre in Higher Education’s Outstanding Book Award and was short-listed for the Kenshur Prize for eighteenth-century studies. He is working on a book project entitled Performance and Social Theory, which traces theatrical concepts in social thought from Montesquieu to Durkheim. A chapter from that project, on Adam Smith’s impartial spectator, will appear soon in The Journal of the History of Ideas
R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Todd Reynolds, Jamie Jewett, Bora Yoon, Michael Joaquin Grey, Matthew Ritchie, Elliott Sharp, Michael Gordon, Maya Lin, Bang on a Can, Engine 27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data developed by San Francisco-based software company Cycling'74. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He currently performs as part of Bioluminescence, a duo with vocalist Lesley Flanigan that explores the modality of the human voice, and in Fair Use, a trio with Zach Layton and Matthew Ostrowski, that looks at our accelerating culture through elecronic performance and remixing of cinema. DuBois has lived for the last twenty-three years in New York City. He is the director of the Brooklyn Experimental Media Center at the NYU Tandon School of Engineering, and is on the Board of Directors of the ISSUE Project Room and Eyebeam. His records are available on Caipirinha/Sire, Liquid Sky, C74, and Cantaloupe Music. His artwork is represented by bitforms gallery in New York City.
Michelle Ellsworth is not a licensed scientist, technologist, or carpenter. Nevertheless, she co-mingles these disciplines with dance to create solutions and/or demonstrations of peculiar geopolitical (and personal) phenomena. The pharmaceutical and political potential of dance interests her, as well as the value of broken and labor-intensive ideas. Highlights in her performing career include presenting at American Realness (2015, 2018), Bard’s Fisher Center (2017), Noorderzon Festival (Netherlands 2016), Made in the U.S.A Festival (Greece 2016), On The Boards (2004, 2005, 2012, 2015), The Chocolate Factory (2015), The Fusebox Festival (2013 and 2015), Brown University (2011, 2015), Abandon Normal Devices Festival (Liverpool 2013), Danspace in New York City (2012), Diverseworks in Houston (1996, 1997, 2001, 2005, 2009), and Dance Theatre Workshop in New York City (1992, 1993, 1996, 2007). Ellsworth is a Full Professor and the Associate Chair of Dance for the Department of Theatre and Dance at the University of Colorado Boulder.
Chaz Evans is Director of Exhibitions and Programs and Co-Founder of VGA Gallery as well as a Lecturer at Northwestern University in the department of Radio/TV/Film. Evans is an artist, educator, art historian, and curator. His work deals with software, performance, and histories of art and technology. He has taught courses on video games, creative programming, web art, 3D modeling and animation, media-enabled performance and other new media topics. He holds an MA in art history and an MFA in new media art from University of Illinois at Chicago. His writing has been published through Routledge, Journal of Games Criticism, MediaCommons, A.V. Club, and Motherboard. He has curated a number of exhibitions on new media and video game art in such venues as Columbia College Arcade Gallery, Mana Contemporary, Gallery 400 and others. He regularly speaks and facilitates public conversations on new media and video game art. His artwork has been exhibited at UnionDocs NY, The Luminary St. Louis, Chicago Artist Coalition, Antenna Space Shanghai, Hyde Park Art Center, The Nightingale, Evanston Art Center and other venues.
Martim S. Galvão is a composer, percussionist and multimedia artist. Much of his work is concerned with interfaces and how we interact with them. He is especially interested in exploring ideas related to consumer-facing technologies and the web. Galvão's work has been performed at venues such as the International Computer Music Conference (ICMC), ANT Fest at Ars Nova, SPLICE Institute, New York City Electroacoustic Music Festival (NYCEMF), Atlanterium AV Festival, and Babycastles Gallery among others. Galvão earned his bachelor’s degree from Emory University. In 2014 he graduated from the Integrated Composition, Improvisation, and Technology (ICIT) MFA program at the University of California, Irvine. He is currently pursuing a PhD in Computer Music and Multimedia at Brown University.
RAJA FEATHER KELLY, Princess Grace Award winner for 2017 and 2018, is a choreographer for theater, dance, and performance works. Theater credits include: Branden Jacobs-Jenkins’ EVERYBODY dir. by Lila Neugebauer (Signature Theatre); Jackie Sibblies-Drury's FAIRVIEW dir. by Sarah Benson (Soho Rep); Suzan-Lori Parks’ THE DEATH OF THE LAST BLACK MAN IN THE WHOLE ENTIRE WORLD dir. by Lileana Blain-Cruz (Signature; 2017 Lortel Award); Adrienne Kennedy's FUNNYHOUSE OF A NEGRO dir. by Lila Neugebauer (Signature); Marcus Gardley’s THE HOUSE THAT WILL NOT STAND dir. by Lileana Blain-Cruz (NYTW); Michael R. Jackson’s A STRANGE LOOP (Playwright Horizons); Daaimah Mubashshir's EVERYDAY AFROPLAY (JACK); Jim Findlay's ELECTRIC LUCIFER (The Kitchen); and LEMPICKA dir. by Rachel Chavkin (Williamstown Theatre Festival). Dance theater: Raja Feather Kelly’s UGLY (Bushwick Starr); I, I Am A Dancer (Ars Nova); ANOTHER FUCKING WARHOL PRODUCTION (The Kitchen, ADF, nominated 'Most Innovative Dance Performance of 2017' by Dance Magazine); ANDY WARHOL’S BLEU MOVIE (BAM, Baryshnikov Arts Center); ANDY WARHOL’S TROPICO (Danspace); ANDY WARHOL’S DRELLA (I Love You Faye Driscoll) (Invisible Dog); and ANDY WARHOL’S 15: COLOR ME, WARHOL (Dixon Place).
Matt Kenyon is a new media artist who lives and works in Buffalo, New York where he teaches in the Art Department at the University at Buffalo. Kenyon is also part of PLATFORM, a socially engaged design studio in the Department of Art at the University at Buffalo. From 1999-2012, SWAMP operated as a collaborative between Kenyon and Douglas Easterly. Kenyon now runs SWAMP solo. Kenyon has participated in numerous collaborations with artists, architects, and technologists, including McLain Clutter, Adam Fure, Tiago Rorke, and Wafaa Bilal. Kenyon’s work has been exhibited internationally and collected by institutions including the Museum of Modern Art in New York. It has received a number of awards including the distinguished FILE Prix Lux Art prize. Reproductions of SWAMP’s work have been featured in mainstream publications such as Wired and Gizmodo, and also appear in edited volumes such as A Touch of Code (Gestalten Press) and Adversarial Design (MIT Press).Kenyon is a 2015 TED fellow and a Macdowell fellow. He was recently selected for Coolhunting’s CH25 a showcase of creators and innovators from a broad range of disciplines who are currently working to drive the world forward.
Ashley Ferro-Murray is Associate Curator, Theater and Dance at EMPAC / Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute. She is currently adviser for the Institute for Curatorial Practice in Performance at Wesleyan University, a curator for Body, Image, Movement Biennial of multi-media dance works in Madrid, Spain, and recently taught on the faculty of the National Endowment for the Humanities (NEH) Institute for Digital Technologies in Theatre & Performance Studies at the University of Georgia. Commissions and co-productions include works by Mallory Catlett, Trajal Harrell, Maria Hassabi, Ali Moini, Andrew Schneider, Alice Sheppard, and Yara Travieso. Publications include “Transborder Immigrant Tool: Choreographic Resistance in the US-Mexican Borderlands” in HemiPress Gestures and “Technologies of Performance: Machinic Staging and Corporeal Choreographies” in A Cultural History of Theater: The Modern Age published by Bloomsbury Press. Ferro-Murray holds a Ph.D. in performance studies with emphasis in new media from the University of California, Berkeley.
Matthew Pratt Guterl is Professor of Africana Studies and American Studies at Brown University. He is the author, most recently, of Josephine Baker and the Rainbow Tribe (2014), Seeing Race in Modern America (2013), and, with Caroline Levander, Hotel Life (2015). He is presently working on a biography of the radical anti-imperialist and queer sex tourist Roger Casement, a book on racial fakery, and, with Caroline Levander, a critique of Michael Jackson's Neverland and the idea of the celebrity estate.
Jasmine Johnson is a scholar/practitioner of African diasporic dance. An Assistant Professor of Theater Arts and Performance Studies at Brown University, her work examines dance through diasporic, transnational, ethnographic, and black feminist frameworks. Johnson has served as a Newhouse Center for the Humanities Fellow at Wellesley College, and a Postdoctoral Fellow in African American Studies at Northwestern University. Her work has appeared in Dance Research Journal, The Drama Review, Africa and Black Diaspora: An International Journal, Colorlines, Gawker and elsewhere. Her book Rhythm Nation: West African Dance and the Politics of Diaspora, is forthcoming from Oxford University Press.
Laura Marris is a writer and translator. Her work has appeared in The Yale Review, No Tokens, The Cortland Review, The Volta, Asymptote,The Brooklyn Rail, and elsewhere. She is a MacDowell Colony fellow and the winner of a Daniel Varoujan Prize. Her recent translations include Louis Guilloux's novel Blood Dark (New York Review Books), Paol Keineg's Triste Tristan and Other Poems (co-translated with Rosmarie Waldrop for Burning Deck Press), and The Safe House by Christophe Boltanski (University of Chicago Press). She lectures in Creative Writing at Boston University, where she serves as the Director of the Favorite Poem Project, an organization dedicated to celebrating, documenting, and encouraging poetry’s role in our lives.
Elise Morrison is an Assistant Professor of Theater Studies at Yale, where she teaches courses such as Feminist Theater, Theater History, and Digital Media in Performance. Morrison received her PhD in Theatre and Performance Studies from Brown University in 2011 and held a Mellon postdoctoral fellowship in Interdisciplinary Performance Studies at Yale from 2012-2015. Her book, Discipline and Desire: Surveillance Technologies in Performance was published by University of Michigan Press in 2016. In 2015 Morrison edited a special issue on “Surveillance Technologies in Performance” for the International Journal of Performance Arts and Digital Media (Routledge, 11.2) and has published on this topic in IJPADM, Theater Magazine, and TDR. Her current research focuses on theatrical performances that stage technologies of contemporary warfare, from military drones to virtual reality interfaces used to train and rehabilitate soldiers, in order to investigate how live performance might intervene in the ethics and aesthetics of war fought “at a distance.” Also a performing artist, Elise has created numerous intermedia performances, including a solo show with surveillance cameras, Through the Looking Glass: A Surveillance Cabaret, an immersive cabaret about Lizzie Borden, Cabaret Murderess, and, in collaboration with Jamie Jewett, Luke Dubois, Thalia Field (and Sydney Skybetter!), an original dance-theater piece called Zoologic, performed through FirstWorks in Providence, RI in 2015.
Victoria Nece is the Senior Product Manager for Motion Graphics and Visual Effects at Adobe, with After Effects as her primary focus. She has also played key roles in bringing Character Animator and Motion Graphics templates to market. Before joining Adobe, she was a motion designer for over a decade, as well as a developer of extensions for After Effects. As Director of Animation at the Documentary Group, she oversaw graphics for broadcast, theatrical and educational productions. As a developer, Victoria designed systems for motion capture animation, and created tools used in Hollywood films.
Nick Porcino has been working in the application of computer graphics and artificial intelligence to interactive technologies since the earliest days of eight bit video consoles. Nick published papers on the application of neural networks to animation and robotic control in the 1980s, and led the creation of engines and toolsets for companies such as Bandai, Disney Interactive, LucasArts and Industrial Light and Magic. During fourteen years at Lucasfilm, he worked to bridge interactive technologies directly to film and game production. Subsequently at Apple, Nick continued that work on projects such as Animoji, the integration of many vfx production technologies into Apple's operating systems, and a collaboration with Pixar to enable USD on macos and iOS. Most recently Nick has come full circle to work on the application of computer vision and machine learning to interactive experiences at Facebook Reality Labs.
Kamal Sinclair serves as the Director of the Sundance Institute’s New Frontier Labs Program, which supports artists working at the convergence of film, art, media and technology; as a Consultant to the Ford Foundation's JustFilms program; and as artist and producer on the Question Bridge: Black Males art project. At New Frontier, she partners with Chief Curator, Shari Frilot, to development and platform landmark projects in the evolution of story. , including experimentations with VR, AR, and AI as storytelling mediums. At Ford Foundation’s JustFilms, she consults on trends in emerging media as a tool for social justice. At Question Bridge, she and her collaborators launched an interactive website and curriculum; published a book; exhibited in over fifty museums/festivals; won International Center for Photography’s 2015 Infinity Award for New Media; and was archived at the Smithsonian’s National Museum of African American History and Culture. Previously, Kamal was a Transmedia Producer at 42 Entertainment and worked on projects such as Legends of Alcatraz for J.J. Abrams, Mark of the Spider-Man and Random Acts of Fusion; and as Principal at Strategic Arts Consulting. Her career began as a cast member of the Off-Broadway hit STOMP.
Kat Sullivan, Brooklyn-based artist, exists somewhere between the intersection of movement and technology. After double majoring in Computer Science and Dance at Skidmore College, she worked for several years as a software engineer while freelancing as a dancer. Not wanting to compartmentalize these two disciplines, Ms. Sullivan attended NYU’s Interactive Telecommunications Program (ITP), where she earned her Masters while creating work involving creative coding, live performance, machine learning, and other emerging technologies that formed the foundation of her current practice. Her pieces have been presented at Lincoln Center, National Sawdust, Pioneer Works, South By Southwest, 14th Street Y, and the Liberty Science Center. In 2017, she was selected for artist residencies at NYU ITP and Pioneer Works’ first dance-related tech residency project. Currently Ms. Sullivan serves as an adjunct professor, teaching courses on motion capture and live performance at New York University and New York City College of Technology.
Ilya Vidrin began his formal dance training at the Boston Ballet and has invested time in the study of music (piano/clarinet), as well as Latin/Ballroom, Argentinian Tango, Horton Modern Technique, and Contact Improvisation. Alongside his artistic practice, Ilya pursued undergraduate studies in Cognitive Neuroscience and Rhetorical Theory at Northeastern University and received a Master's Degree in Human Development form Harvard University, where he worked on clinical and experimental research projects investigating alternative therapies for cognitive and neurodegenerative disorders, including Digitally Active Therapeutic Medicine and neuro-navigated Transcranial Magnetic Stimulation (TMS). He has been a guest teacher at the Interlochen Arts Academy (Michigan), Hakodate Performing Arts High School (Japan), and the Laban Conservatoire (London), and has worked with professional musicians and dancers at the International Beethoven Festival, Boston Philharmonic Orchestra, Greenhouse Festival (Israel), Royal Swedish Ballet (Stockholm), Erick Hawkins Dance Company, Kurofune Ensemble (Japan), Chicago Hubbard Street, and the Doppelgänger Dance Collective (Providence). Ilya continues to develop his research through a practice-based PhD, with postgraduate fellowships at Harvard University and the Centre for Dance Research (United Kingdom).
Adam H Weinert is a performance-based artist born and raised in New York City. He began his training at The School of American Ballet, and continued on to Vassar College, The Juilliard School, and New York University, where he recently earned a Master’s Degree under the tutelage of André Lepecki. Adam has danced with The Metropolitan Opera Ballet Company, The Mark Morris Dance Group, Shen Wei Dance Arts, and Christopher Williams, and for six years served as the Artistic Associate to Jonah Bokaer. In addition to his performance work, Adam has been published in The New York Times, the Juilliard Journal, and as a featured profile in Dance Magazine. He produced and choreographed an award-winning collection of dance ﬁlm shorts screened nationally and abroad, and his performance works have toured to four continents including a number of non-traditional dance venues such as the Museum of Modern Art, The Tate Britain Museum, and The Tate Modern Museum. Weinert was awarded the Léo Bronstein Award for Artistic Scholarship from New York University in 2014, Presidential Distinction and Scholastic Distinction from the Juilliard School, and in 2008 received the Hector Zaraspe Prize for Outstanding Choreography. He currently lives in Hudson NY with his dog and husband.