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CRCI @ Brown University // March 9th and 10th, 2018
CHRISTINA WALLACE is the Vice President of Growth at Bionic, an enterprise growth advsory firm that installs startup ecosystems into large enterprises, enabling them to discover and build the future. She is also the co-host of The Limit Does Not Exist, a Forbes podcast focused on the intersection of STEM and the arts, and a freelance writer, including as a contributor forForbes.com.
Prior to joining Bionic, Christina founded BridgeUp: STEM, a new educational division at the American Museum of Natural History with a mission to captivate, inspire, and propel girls and women into computer science, funded by a generous $7.5M 5-year grant from the Helen Gurley Brown Trust. She remains an advisor to BridgeUp: STEM and fierce champion for girls in STEM.
Previously Christina was the founding director of Startup Institute New York, the co-founder and CEO of venture-backed fashion company Quincy Apparel, a management consultant with the Boston Consulting Group, and an arts manager at the Metropolitan Opera. She holds undergraduate degrees in mathematics and theater from Emory University and an MBA from Harvard Business School. Mashable called her one of “44 Female Founders to Know” and Refinery29 named her one of the "Most Powerful Women in NYC Tech." She has been profiled in Elle, Marie Claire, the Wall Street Journal, and Fast Company, among others.
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.
Ashley Ferro-Murray is associate curator of theater/dance at the Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute. She holds a PhD in performance studies with emphasis in new media from the University of California, Berkeley. Current commissions and co-productions include works by Mary Armentrout, Mallory Catlett, Elena Demyanenko and Erika Mijlin, Trajal Harrell, Maria Hassabi, Ali Moini, Andrew Schneider and Alice Sheppard. Ferro-Murray is currently working on a book project titled "Choreography and the Digital Era: Dancing the Cultural Differences of Technology." Based in part on her doctoral research and informed by her current curatorial practice, "Choreography in the Digital Era" explores the importance of movement in the construction of bodies and identity in the digital age. Ferro-Murray has published in Media-N Journal, The Drama Review and Dance Research Journal. Recent articles includeTransborder Immigrant Tool: Choreographic Resistance in the US-Mexican Borderlands and Technologies of Performance: Machinic Staging and Corporeal Choreographies. Ferro-Murray has given talks at University of California, Irvine, The University of Pennsylvania, Bryn Mawr College, Cornell University, and Bowdoin College. She was previously the Andrew W. Mellon Creative Time Global Fellow and the recipient of the MacArthur Foundation Digital Media and Learning Grant. This summer Ferro-Murray will be on faculty of the NEH Institute for Digital Technologies in Theatre & Performance Studies at the University of Georgia.
Carmen Aguilar y Wedge
Aguilar y Wedge is a Latinx structural engineer and artist synthesizing design and technology to develop immersive - transmedia experiences. She is a co-founder and creative director at Hyphen-Labs, an international studio specializing in the design of physical products, mixed reality experiences, and site specific installations that influence the evolution of digitalism and technology. Carmen is inspired by the tangibility of concepts translated into material expressions visualized through an aesthetic framework of science fiction, futurism, and surrealism her work expands on the principles of emotional and human centered design. Her work blends themes of supertech, humanity+, environmental and social issues through the context of architecture, robotics, virtual reality, fashion, computation, comparative new media, music, and smart materials, she and Hyphen-Labs are pushing the boundaries of speculative design and morphing global dynamics.
Ashley Baccus-Clark is a Brooklyn-based Molecular and Cellular Biologist and multidisciplinary artist who uses new media and storytelling to explore themes of deep learning, cognition, memory, race, trauma, and systems of belief. She is the Director of Research at Hyphen-Labs, an international team of engineers, scientists, architects, and artists creating at the intersection of art and emerging technology.
Ece Tankal is a Turkish born designer and new media artist based in Barcelona. Ece is interested in exploring interventions and interaction related to bodily, spatial and temporal concepts through mixed media installations, virtual reality experiences and speculative design. Trained in architecture, her approach is to place the viewer as a natural extension of the micro and macro topographies created, expanding and stretching the reality we currently occupy. She is one of the co-founders of Hyphen-Labs, and interaction studio operating at the intersection of art and human interaction to craft experiences utilising emerging technological platforms.
Cate Scott Campbell
Cate has created, written, produced and guided content across all platforms for clients like Tumblr, Forbes, the Disney Digital Network, ban.do, the LA Philharmonic, and the It’s On Us campaign. She's passionate about empowering young women in STEM fields and her latest digital short MATH BRAIN has over 50K views and counting across all platforms. Cate also created and produced the critically acclaimed short film How I Do Math, and created and starred in the scripted series Tutored. Her work has been praised by people and places like Amy Poehler's Smart Girls, Shonda Rhimes, Ms. Magazine, and WhoHaha. Previously Cate founded 11 Betties, a nonprofit turned media company with the mission of making STEM creative, thrilling, and relatable. She cohosts The Limit Does Not Exist, a weekly Forbes podcast which champions interdisciplinary career paths. Cate studied Theater and English at Northwestern and has an MFA from UC San Diego/La Jolla Playhouse. She lives in Los Angeles and is a member of The Groundlings Sunday Company.
Riley is a dance artist based in Portland, Maine. His work primarily focuses on the interactions of dance, psychology, and experiential art, specializing in the examination of consciousness through movement. In recent years, he has been a Visiting Artist at Juilliard, Princeton, Duke, Colby, and University of Illinois Champaign-Urbana to teach masterclasses on improvisation and embodied thinking practice. He was an Associate Researcher with Motion Bank from 2011-2014, which enabled him to collaborate in neuroscience/dance research in the UK, Germany, and Australia, and to co-author a paper on entrainment for Frontiers in Human Neuroscience. Since 2010, he has danced primarily with choreographer William Forsythe, and performed Forsythe’s DUO2015 worldwide on Sylvie Guillem’s Life in Progress tour. He has co-authored a children’s book Where’s Your Creativity? with Dr. Aaron Rosen for Tate Publishing, and is an advisor for Bates Dance Festival and Space Gallery in his home state of Maine. He studied at the Walnut Hill School for the Arts and later received a BFA in Dance from The Juilliard School, where he was a Princess Grace Award recipient.
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.
Amy LaViers is an assistant professor in the Mechanical Science and Engineering Department at the University of Illinois at Urbana-Champaign and director of the Robotics, Automation, and Dance (RAD) Lab where she develops robotic algorithms inspired by movement and dance theory. This year she is bringing original, in-progress work with choreographer Catie Cuan to CRCI. She is the recipient of a 2015 DARPA Young Faculty Award (YFA). She has worked in the area of advanced manufacturing, through an industry-university consortium, the Commonwealth Center for Advanced Manufacturing (CCAM), defense, and healthcare, and forged interdisciplinary ties with the UVA and UIUC Dance Programs and the Laban/Bartenieff Institute for Movement Studies, where she completed a Certification in Movement Analysis (CMA) in 2016. Prior to UIUC she held a position as an assistant professor for two years in systems and information engineering at the University of Virginia. She completed her Ph.D. in electrical and computer engineering at Georgia Tech where she was the recipient of the ECE Graduate Teaching Excellence Award and a finalist for the CETL/BP Outstanding Graduate Teaching Award. Her dissertation included a live performance exploring the concepts of style she developed there. Her research began at Princeton University where she earned a certificate in dance and a degree in mechanical and aerospace engineering. Her senior thesis, which quantitatively compared two styles of dance, earned top honors in the MAE department, the School of Engineering and Applied Science, and the Lewis Center for the Arts.
Catie is a performer, choreographer, and technologist. She is interested in the physical manifestations of digital identities and the friction between discrete structures and qualitative human phenomena.
This year at CRCI, she is presenting a work in progress titled Time to Compile. Time to Compile is a collaboration with Dr. Amy LaViers and the Robotics, Automation, and Dance (RAD) Lab at the University of Illinois, Urbana-Champaign. She is now a Research Technician at the RAD Lab through this work.
Her performing credits include the Metropolitan Opera, the Lyric Opera of Chicago, and numerous Off-Broadway shows. She was also previously the Vice President at Color + Information, a digital creative agency, after roles at Bain & Company, Google, and YouTube. Catie has been a guest composition instructor at The New School for Drama, the University of Illinois, Urbana-Champaign, and her alma mater, Berkeley High School.Catie is a 2018 TED Resident.
Andrew Schneider is an Obie Award–winning, Drama Desk Award–nominated performer, writer, and interactive-electronics artist who has been creating original works for theater, video, and installation since 2003. Based in Brooklyn, New York, Schneider was a company member with the Wooster Group (video/performer) from 2007 to 2014. Rooted at the intersection of performance and technology, Schneider’s work critically investigates our overdependence on being perpetually connected in an always-on world.
Schneider has served as an adjunct professor at New York University and has taught courses on technology and performance as part of the Interactive Telecommunications Program. He has also taught masterclasses at Bowdoin College and Carleton College. Schneider holds a BFA in Theater Arts from Illinois Wesleyan University and an MA in interactive telecommunications from New York University. More information can be found at www.andrewjs.com.
A 2017 Princess Grace Awardee for Choreography, Raja Feather Kelly’s Choreography includes Another Fucking Warhol Production (The Kitchen), Andy Warhol's Bleu Movie (BAM Fisher), Andy Warhol’s TROPICO (Danspace Project), Andy Warhol’s DRELLA, I Love You Faye Driscoll (The invisible Dog), and Andy Warhol’s 15: Color Me, Warhol; (Dixon Place). Off-Broadway credits include choreography for Brenden Jacobs Jenkins’ EVERYBODY directed by Lila Neugabauer (Signature Theater), Susan-Lori Parks’ The Death of The Last Black Man in the Whole Entire World directed by Lilieana Blain-Cruz (Signature Theater, Nominated for 2017 Lucielle Lortel Award), Funnyhouse of a Negro; written by Adrienne Kennedy directed by Lila Neugebauer (Signature Theater, Nominated for 2017 Lucielle Lortel Award), Daaimah Mubashshir ’s EVERYDAY AFROPLAY (JACK), Richard Allen and Taran Gray’s FREEDOM RIDERS: THE CIVIL RIGHTS MUSICAL (Acorn Theatre) Directed by Whitney White and Electric Lucifer by Jim Findlay.
Raja was born in Fort Hood, Texas, and is the first and only choreographer to dedicate the entirety of his company’s work to Andy Warhol and the development of popular culture over the last thirty years. Kelly can be seen in the work of Reggie Wilson/Fist and Heel Performance Group, Keely Garfield and Kota Yamazaki. He has formerly been a company member with David Dorfman Dance, Kyle Abraham/Abraham.In.Motion, Christopher Williams Dance, Zoe | Juniper, Colleen Thomas and Dancers.
Rachel Sibley is a futurist and marketing/communications strategist who specializes in immersive technologies—primarily Augmented and Virtual Reality.
Rachel believes technology can make humans not only more powerful but also more humane—and that both are required to create true value. As VP at Leap Motion, the company that allows people to interact in the digital world with their bare hands, Rachel led go-to-market efforts to bring physical interaction to augmented and virtual reality. Before that, she scaled the story of IBM Design across dozens of design studios worldwide—catalyzing culture change and creating a more design-centric ethos at one of the world’s oldest and largest technology companies.
As we move into the cyborg generation, our technology is becoming increasingly intimate, personalized, and kinesthetic. Rachel’s background as an award-winning dancer and choreographer afford her a unique perspective on the possibilities and perils of embodying this complex new digital world. Today, Rachel shares insights gained from her multidisciplinary career at conferences in the US, Europe and the Middle East.
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. She most recently enjoyed a position as Assistant Professor of Performance Studies at Texas A&M University, with a specialization in Performance and Technology. 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.
Hasan Elahi is an interdisciplinary artist working with issues in surveillance, privacy, migration, citizenship, technology, and the challenges of borders. An erroneous tip called into law enforcement authorities in 2002 subjected Elahi to an intensive investigation by the FBI and after undergoing months of interrogations, he was finally cleared of suspicions. After this harrowing experience, Elahi conceived “Tracking Transience” and opened just about every aspect of his life to the public. Predating the NSA’s PRISM surveillance program by half a decade, the project questions the consequences of living under constant surveillance and continuously generates databases of imagery that tracks the artist and his points of transit in real-time. Although initially created for his FBI agent, the public can also monitor the artist’s communication records, banking transactions, and transportation logs along with various intelligence and government agencies who have been confirmed visiting his website. Elahi's work has been presented in numerous exhibitions at venues such as SITE Santa Fe, Centre Georges Pompidou, Sundance Film Festival, and at the Venice Biennale. His work is frequently in the media and has appeared on Al Jazeera, Fox News, and The Colbert Report. Elahi has spoken about his work to a broad range of audiences such as the Tate Modern, Einstein Forum, the American Association of Artificial Intelligence, the International Association of Privacy Professionals, TED, and The World Economic Forum. His recent awards include a Guggenheim Fellowship (2016), an Alpert/MacDowell Fellowship (2010), a Hugh M. Hefner First Amendment Award (2017), and grants from the Doris Duke Foundation for Islamic Art (2014), and Art Matters Foundation (2011). In 2006, he was a recipient of the Creative Capital Award and in 2017 joined their Board of Directors. He is currently Associate Professor of Art at University of Maryland, roughly equidistant from the CIA, FBI, and NSA headquarters.