Nadav Assor works in a range of audiovisual and tangible media to explore unstable notions of bodies, identities and social interaction as transformed by mediation technologies. He is interested in the hyper-mediated body and its place in intimate, social, and political systems. His work is often realized via  lo-fi reenactments of appropriated military-industrial technologies, from eye-tracking to drone surveillance, from street mapping to medical and security screenings. For the past decade, Assor has performed and exhibited internationally in festivals, music venues, museums and galleries. Some recent venues for his work include Transmediale Festival Berlin, Video Vortex XI / Kochi-Muziris Biennale, India, Hong-Gah Museum Taipei, Centre Arts Santa Monica Barcelona, Hyphen Hub NYC, Edith-Russ-Haus Oldenburg,  the European Media Arts Festival, the Soundwave Biennial San Francisco, Residency Unlimited NYC, Hyde Park Art Center in Chicago, the Koffler Center in Toronto, Julie M Gallery Tel Aviv, and many others. Assor’s work was reviewed in publications such as Artforum, Vice Motherboard, Art Monthly UK, Haaretz, Time Out, the Creators Project and more. He holds an MFA in Art & Technology from the School of the Art Institute of Chicago, is a recipient of multiple grants and awards in the US and Israel, and currently serves as an Assistant Professor and an Associate Director of the Center for Arts & Technology at Connecticut College in the US. See more of his work at Nadassor.net.

Harmony Bench is Assistant Professor of Dance at The Ohio State University, where she is affiliated faculty with Theatre; Women’s, Gender, and Sexuality Studies; and Translational Data Analytics. She co-edits The International Journal of Screendance with Simon Ellis. Bench’s research revolves around encounters between bodies and machine/media technologies. Her work asks how people leverage the various technologies at their disposal for cultural expression, political control, and social action, and how technologies facilitate the circulation and transmission of movements, gestures, and even bodily schema. Her writing has appeared in the Oxford Handbook of Dance and the Popular Screen, Choreographies of 21st Century War, and Dance on Its Own Terms as well as Dance Research Journal,The International Journal of Performance Arts and Digital MediaParticipations, and Performance Matters, among others. Projects underway include a book in contract with University of Minnesota Press, entitled Dance as Common: Movement as Belonging in Digital Cultures, as well as various projects gathered under the umbrella of Movement on the Move (online, forthcoming), including the database-oriented Mapping Touring, which focuses on the performance engagements of early 20th century dance companies, and Dance in Transit, undertaken with Kate Elswit, which explores the touring and travel of choreographer Katherine Dunham. 

Liat Berdugo is an artist, writer, and curator whose work -- which focuses on embodiment and digitality, archive theory, and new economies -- interweaves video, writing, performance, and computer programming to form a considerate and critical lens on digital culture. Berdugo has been exhibited in galleries and festivals internationally, and she collaborates widely with individuals and archives. She is the Net Art and Special Programs Curator curator for Print Screen, Israel’s international festival of digital art; co-founder and curator of the Bay Area’s Living Room Light Exchange, a monthly new media art salon; co-founder and curator of World Wide West, an annual summit, exhibit, and performative new media event, among others. Her writing appears in Rhizome, Temporary Art Review, HZ Journal, and others. Berdugo received an MFA from RISD and a BA from Brown University. She is currently an assistant professor of Art + Architecture at the University of San Francisco. More at liatberdugo.com.

Heidi Boisvert (PhD) is a new media artist, experience designer, creative technologist, researcher and writer who creates groundbreaking games, web interactive, augmented reality and transmedia storytelling experiences for social change, as well as large-scale networked performances in dance and theatre using biocreative technology. Heidi founded futurePerfect lab, a boutique creative agency that works with non-profits to develop imaginative and playful applications of integrated media and emerging technology. She was Multi-Media Director at Breakthrough, a global human rights organization, where she designed, developed and virally propagated a wide range of pop culture campaigns that helped raise awareness and instigate policy change on pressing social issues. She created the first 3D social change game, ICED I Can End Deportation, to shift the frame around unfair U.S. immigration policies and designed America 2049, a groundbreaking alternative reality game on Facebook about pluralism, which was nominated for Games for Change and Katerva awards. Most recently, Heidi co-founded XTH, an open-source biocreative wearable start up. She was named Harvestworks Creativity + Technology = Enterprise Fellow and a Media Impact Fellow at the Harmony Institute. She has been an artist-in-residence at Banff New Media Institute, Waag Society and Vermont Studio Center, and served as a new media mentor for the National Latino Producer’s Academy and BAVC Producer’s Institute. Heidi received her Ph.D. in Electronic Arts from Rensselaer Polytechnic Institute. She is currently an Assistant Professor of Emerging Media Technologies at New York City College of Technology (CUNY) and a research affiliate at MIT OpenDoc Lab.

Vanessa Chang is a writer, teacher and scholar of media, art and technology. She is a Ph.D. Candidate in the Program in Modern Thought & Literature, where she's completed her dissertation "Tracing Electronic Gesture: A Poetics of Mediated Movement," a study of digital media and gesture across writing, drawing, dance and music. Ranging remix culture, street art, digital performance, electronic poetry, comics and new media, her writing has appeared in Popular Musicanimation: an interdisciplinary journal, in media res and other venues. See more at vanessa-chang.com 

Patrick Corbin is an internationally renowned dance artist whose career has spanned over thirty years and bridged the worlds of classical ballet, modern and contemporary dance. Born and raised in Potomac, Maryland he studied tap and jazz from the age of five at Art Linkletter Totten studios. Corbin later studied ballet at the Washington School of Ballet and School of American Ballet.

Corbin danced professionally for The Washington Ballet, Kansas City Ballet and ABT II between 1981 and 1985. After dancing with the Joffrey Ballet for four years, Corbin joined the Paul Taylor Dance Company in 1989 and became one of the company’s most celebrated artists until his departure in 2005. Corbin has been featured in five PBS Great Performances between 1988 and 2004, as well as in the 1998 Academy Award-nominated documentary, Dancemaker. In 2001, Corbin was the recipient of the New York Performance Award (Bessie) for Sustained Achievement with The Paul Taylor Dance Company. Corbin founded his own company CorbinDances in 2003, and stages his own work as well as the work of Paul Taylor on companies throughout the United States.

In addition to his career as a dancer, Corbin has been a guest faculty member at the Conservatoire National Supérieur de Musique et de Danse de Paris, University of California Irvine, George Mason University, SUNY Purchase, University of Kansas, University of Texas Austin and University of Michigan and has taught professionally for American Ballet Theater, Miami City Ballet and San Francisco Ballet. Corbin is currently Assistant Professor of Contemporary Dance at USC Glorya Kaufman School of dance.

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 over ten 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: recently at the Society for Literature, Science, and Art Conference and the Adler Planetarium. 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.

Elizabeth Francis, PhD: As Executive Director of the Rhode Island Council for the Humanities, Elizabeth Francis leads the Council’s promotion of public history, cultural heritage, civic education and community engagement and works with the Council’s board of directors and leaders in government, higher education, and cultural organizations to connect humanities resources and perspectives with challenges and opportunities in the state. Overseeing the Council’s relationship with the National Endowment for the Humanities, Elizabeth helps to position the Council’s work more broadly as well as to build public-private partnerships.

Before her role at the Council, Elizabeth was director of Corporate and Foundation Relations at Brown University for 10 years. She earned her doctorate in American Studies at Brown, and her book, The Secret Treachery of Words: Feminism and Modernism in America, was published by the University of Minnesota Press in 2002. She completed her bachelor’s degree at Hampshire College. Elizabeth taught at Brown and the University of Rhode Island for several years, has been a member of the board of the International Charter School in Pawtucket, RI, and chaired the Grants Committee as a member of the board at RICH. As a member of the RI Commerce Corporation board in 2013-2014, Elizabeth co-authored a strategic plan to develop the creative and cultural economy. She s a community fellow at and serves as a member of the Advisory Council for the John Nicholas Brown Center for Public Humanities and Cultural Heritage at Brown University and is vice chair of the Community Advisory Board for Rhode Island PBS.

Mark Gindick is a professional actor, clown, physical comedian, director, teacher and writer/creator of his own theatrical shows. Wing-Man, his original theatrical piece without one spoken word, won BEST ONE-MAN SHOW in United Solo Theatre Festival, the largest solo festival of its kind in the world. Mark has appeared in major feature films, including the Nora Ephron comedy Julie & Julia with Meryl Streep; on televison, The Late Show with David Letterman, Late Night with Conan O’Brien, and was featured in The PBS miniseries CIRCUS; starred Off-Broadway and at the Edinburgh Theatre Festival in the New York Times acclaimed hit The Comedy Trio Happy Hour,  Clowned on circuses such as Ringling Brothers and the Big Apple Circus; taught clowning at SUNY Purchase college, NYU, Sarah Lawrence College and completed a tech residency at Georgia Tech in 2015. Mark wrote and starred in How To Be A Man at the Palace of Variety on 42nd Street (NYC). Mark’s unique blend of vaudeville, dance, and physical comedy has earned him three Golden Nose Awards.

Adam Huttler is the founder and CEO of Fractured Atlas. Since forming Fractured Atlas in 1998, he has grown the organization from a one-man-band housed in an East Harlem studio apartment to a broad-based national service organization and nonprofit technology company with an annual budget of $25 million and a constituency of over 500,000 artists and organizations. Adam serves on the boards of the Performing Arts Alliance and NYC's One Percent for Culture campaign, along with the advisory committee of People are Different, a virtual incubator for biomedical research and innovation. In 2015 he was appointed by the New York City Council to the Citizens' Advisory Committee for the development of a comprehensive cultural plan. Adam has a B.A. from Sarah Lawrence College, an M.B.A. from New York University, and is a self-taught software developer. He was a member of the 2011 inaugural class of National Arts Strategies Chief Executive Program and completed Singularity University's Executive Program in 2015. In 2016 he was named to Crain's New York Business "40 under 40".

Elly Jessop is an artist/technologist who explores how to integrate new technologies into performance and experiences in essential and powerful ways by combining her background in computer science, choreography, and theatrical design,  Frequently, this takes the form of interactive multimedia systems for live theater and musical productions.  She completed her doctorate at the MIT Media Lab, where her research work focused on the intersection of performance, gesture, and machine learning, creating tools for analyzing and extending expressive movement and voice. Major projects she has been involved with include the robotic opera Death and the Powers, an online extension of the NYC show Sleep No More, and the Vocal Vibrations installation in Paris and Cambridge. In addition to her independent theatrical work, she currently works as an Experience Engineer at Google, where her work has ranged from prototyping VR experiences to creating interactive technological exhibits designed for physical spaces.

Raja Feather Kelly 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. He is the creator of ANDY WARHOL’S 25 CATS NAME SAM; ANDY WARHOL’S DRELLA (I LOVE YOU FAYE DRISCOLL); ANDY WARHOL’S 15: COLOR ME, WARHOL; ANOTHER 37 REASONS TO CRY (ANOTHER WARHOLIAN PRODUCTION); ANDY WARHOL’S TROPICO; and many short works, all of which have been created and performed throughout various theaters in New York City. For over a decade, Kelly has worked throughout the United States and abroad (Austria, Germany, Australia, United Kingdom, and France) in search of the connections between popular culture and humanity and their integration into experiential dance-theatre. Kelly currently choreographs, writes, and directs his own work as Artistic Director of the feath3r theory, a culture-driven dance-theatre company.

He is a two-time recipient of Jerome Foundation commissioning funds for emerging artists (Dixon Place 2015, Danspace Project 2016), Jerome Foundation Travel and Study Grant recipient (2013–2015 Paris + Lyon, France), 2016 Dancemapolitan Commissioned Choreographer, 2015 Dixon Place Dance Artist in Residence, LMCC Workspace Resident Recipient, and an Emerging Choreographer residency at Bates Dance Festival. He has been the Guest Choreographer in Residence at Princeton University, University of Maryland College Park, University of Florida, University of Utah, and Middlebury College; the Harkness Choreographer in Residence at Hunter College; 2009 and 2011 Dance Web Scholar (Vienna, Austria); and has received a Foundation for Contemporary Arts Emergency Grant. Kelly is a 2016 Gelsey Kirkland Academy Artist in Residence. 

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.  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. 

Caroline Levander is the Vice President for Strategic Initiatives and Digital Education at Rice University, where she leads the digital learning and scholarship endeavor, including overseeing all online curricula as well as K-20 digital initiatives. An award-winning cultural and literary critic and Carlson Professor of Humanities and English at Rice University, Levander teaches, talks, and writes about American life and culture. Her writing has recently appeared in Slate, The New York Times, and Business Insider, and her latest book, Hotel Life: the Story of a Place Where Anything Can Happen, is about the everyday work of one of the world’s most fascinating and strange institutions. In addition to authoring three other books including Where is American Literature? (2013) and co-editing many others such as Hemispheric American Studies (2008) and Companion to American Literary Studies (2011), Levander spends time thinking about the future of higher education. She writes and speaks regularly in venues such as Inside Higher Ed and at international higher education and innovation summits. Levander is currently at work on a book about adventure in American life that features figures like Nikola Tesla, Margaret Bourke-White, and Matthew Henson, among others. Levander will be a 2017 Fulbright Research Fellow at the University of Exeter and a 2016 Senior Fellow at the Freie Universität Graduate School, Berlin. She is the recipient of additional grants and fellowships from the Mellon Foundation, the National Endowment for the Humanities, the National Humanities Center, the Huntington Library, the Brown Foundation, the Moody Foundation, and the Institute of Museum and Library Science's National Leadership grant.

David Leventhal is a founding teacher and Program Director for Dance for PD®, a program of the Mark Morris Dance Group that has now been used as a model for classes in more than 100 communities in countries. He leads classes for people with Parkinson's disease around the world and trains other teachers in the Dance for PD® approach around the world. He's co-produced three volumes of a successful At Home DVD series for the program and has been instrumental in initiating and designing innovative projects involving live streaming and Moving Through Glass, a dance-based Google Glass App for people with Parkinson's. He received the 2016 World Parkinson Congress Award for Distinguished Contribution to the Parkinson's Community and was a co-recipient of the 2013 Alan Bonander Humanitarian Award from the Parkinson's Unity Walk. Leventhal has written about dance and Parkinson's for such publications as Dance Gazette and Room 217, and has a chapters about the program in two recently published books: Moving Ideas: Multimodal Learning in Communities and Schools (Peter Lang), and Creating Dance: A Traveler's Guide (Hampton Press). He is in demand as a speaker at international conferences and symposiums, and has spoken about the intersection of dance, Parkinson's and health at the Lincoln Center Global Exchange, Edinburgh International Culture Summit, University of Michigan, Rutgers, Penn State Hershey Medical Center, Brown, Stanford, Columbia, Georgetown, Tufts, and Centre Hospitalier Universitaire de Liège (Belgium), among others. e serves on the boards of the Davis Phinney Foundation and the Georgetown Lombardi Comprehensive Cancer Center's Arts and Humanities Program. eventhal designed and currently teaches a pioneering dance-based elective course that is part of the Narrative Medicine curriculum at Columbia University’s College of Physicians and Surgeons. He's featured in the award-winning 2014 documentary Capturing Grace directed by Dave Iverson. eventhal is currently spearheading a research project with scientists at Columbia and Washington University in St. Louis that aims to understand how dance impacts motor learning in people with Parkinson's. s a dancer, he performed with the Mark Morris Dance Group from 1997-2011, appearing in principal roles in Mark Morris' The Hard Nut, L'Allegro, il Penseroso ed il Moderato, and Prokofiev's Romeo & Juliet, on Motifs of Shakespeare. Leventhal received a 2010 Bessie (New York Dance and Performance Award) for his performing career with Mark Morris. He graduated from Brown University with honors in English Literature.

Bobby McElver, Sound Designer and Composer, works with technology, sound, and music in the performing arts. Company member of The Wooster Group 2011-2016. Current associate with Andrew Schneider. As an expert Ableton Live user, and a Max For Live programmer, he builds new tools and networks to connect sound and visuals for live performance. He specializes in the intersection of performers and technology, designing interfaces and flexible systems for experimental theater, dance, and live music. He is also a sound system designer, engineer, consultant, and audio network technician. These technical skills inform and augment his own sound designs and compositions for live performance, often performed live with his custom setups. His designs have been called "Excellent" by the New York Times and "Haunting" by the LA Times. Nominated for 2015 Bessie for Outstanding Music Composition/Sound Design.

Jim McGrath is a postdoctoral fellow in Digital Public Humanities at the John Nicholas Brown Center for Public Humanities and Cultural Heritage (Brown University). His research interests include digital humanities, digital archives, the history of the book, public humanities, and popular culture. He received his doctorate in English at Northeastern University, where he was also Project Director of Our Marathon: The Boston Bombing Digital Archive, Coordinator for the Northeastern University Library Digital Scholarship Group, and Bibliographic Developer for Digital Humanities Quarterly. More info about Jim is available here. He is on Twitter @JimMc_Grath and elsewhere.

Stephan Moore is a composer, improviser, audio artist, sound designer, teacher, and curator based in Chicago. His creative work currently manifests as electronic studio compositions, solo and group improvisations, sound installation works, scores for collaborative performance pieces, and sound designs for unusual circumstances. Evidence, his long-standing project with Scott Smallwood, has performed widely and released several recordings over the past 15 years. He is the president of the American Society for Acoustic Ecology, and is a member of The Nerve Tank, a canary torsi, Composers Inside Electronics, and the Wingspace Theatrical Collective. He toured for several years as a musician with the Merce Cunningham Dance Company, and has worked with artists as diverse as Pauline Oliveros, Anthony McCall, and Animal Collective. He is a lecturer in Sound Art and Sound Design in the Department of Radio, Television and Film at Northwestern University. 

Andrew Schneider is an OBIE award-winning, Drama Desk nominated performer, writer, and interactive-electronics artist creating original works for theater, video, and installation since 2003. Based in Brooklyn, New York, Schneider creates and performs original performance works, builds interactive electronic art works and installations, and was a Wooster Group company member (video/performer) from 2007-2014.

Rooted at the intersection of performance and technology, Schneider’s work critically investigates our over-dependence on being perpetually connected in an always-on world.

In 2015, Andrew premiered critically acclaimed YOUARENOWHERE (2015 OBIE award, 2016 Drama Desk nom.) to sold out audiences in New York (as part of PS122’s COIL festival), Slovenia, Melbourne, and four cities in France – as part of PS122’s global initiative.

Andrew’s original performance work in NYC includes YOUARENOWHERE (2015 OBIE award – The Invisible Dog, 2016 Drama Desk nom – 3LD); DANCE/FIELD (2014 – Dance Roulette), TIDAL (2013 – River to River festival); WOW+FLUTTER (2010 – The Chocolate Factory Theater); five AVANT-GARDE-ARAMA! works (2005-2013 – PS122); PLEASURE (2009 – Issue Project Room); and resident artist (2006) at LEMURplex.  His work in Chicago includes TRUE+FALSE (2007) and STRATEGIES AGAINST ARCHITECTURE (2008) among others, both at The University of Chicago as a resident artist.

Currently Andrew is working on commissions from Performance Space 122 and EMPAC (FIELD, PS122, 2017) and Ars Nova (TBD).

Andrew creates wearable, interactive electronic art works such as the Solar Bikini, (a bikini that charges your iPod), and wireless programmable sound effect gloves.  His interactive work has been featured in such publications as Art Forum and Wired, among others and at the Center Pompidou in Paris.

Andrew is a recurring collaborator with The TEAM, Heather Christian, Lars Jan / Early Morning Opera, Hotel Savant, Fischerspooner, Kelela, and AVAN LAVA. His off-broadway designs include Dolphins and Sharks at the Labyrinth Theater; Small Mouth Sounds at Ars Nova and the Signature Theatre; and Roosevelvis at the Vineyard Theatre. Schneider has served as an Adjunct Professor at NYU and has taught courses on Technology and Performance at the Interactive Telecommunications Program, and at Bowdoin, and Carleton Colleges. Andrew holds a BFA in Theater Arts from Illinois Wesleyan University and a Masters Degree in Interactive Telecommunications from NYU.

Mary Simonson is Assistant Professor of Film & Media Studies and Women’s Studies and the Director of the Film & Media Studies Program at Colgate University in Hamilton, New York.  She completed her doctorate in Critical and Comparative Studies in Music at the University of Virginia.  Her research focuses on nineteenth- and early twentieth-century opera and dance, film music, and dance on screen; she is particularly interested in American music and cultural contexts, feminist theory, and issues of performance and embodiment.  Her book, Body Knowledge: Performance, Intermediality, and American Entertainment, 1907-1917 (Oxford University Press, 2013) explores the interplay of the live and the mediatized in turn-of-the-century American musical, dance, and film cultures.   Her work has also appeared in the Journal of the American Musicological Society,Women & Music, and Screening the Past and edited collections including The Oxford Handbook of Dance and the Popular Screen. She serves as the chair of the Society for American Music's Music, Sound, and Media Interest Group, co-founder and co-chair of the Mellon Humanities Corridor Performance/History Faculty Working Group, and is a member of the Steering Committee of Women and Film History International. She is currently writing a book on silent film presentation and the experience of American filmgoers in the 1920s.

Ken Tabachnick is the executive director of the Merce Cuningham Trust, charged with preserving and presenting the artistic legacy of Merce Cunningham to the public and into the future. He brings a diverse background and experience to his position, having originally trained as a lighting designer working with Trisha Brown, Robert Wilson, Beverly Emmons, New York City Opera, Live from Lincoln Center, the Paris Opera Ballet, and the Bolshoi and Kirov companies, amongst others. In the 1990s, Ken was responsible for corporate fundraising and producing the IFP Gotham Awards while he attended law school. In 1996 he received his J.D. from Fordham Law School and then had his own law practice specializing in intellectual property, licensing, and other matters related to the arts. During this period he also served as general counsel for Rising Tide Studios and was managing member of indieWIRE LLC, a news publisher focused on the independent film sector. In 2004 he was appointed general manager of New York City Ballet, where he oversaw all operations until 2010. Subsequently, Ken was dean of the School of the Arts at Purchase College, SUNY, and deputy dean at NYU’s Tisch School of the Arts. Most recently, he has been a senior associate with AEA Consulting, specializing in strategic planning for arts and cultural organizations. Ken continues to serve as a trustee of arts organizations and is currently treasurer of the Stephen Petronio Company and the Hemsley Lighting Programs, and is vice-chair of Westbeth Artists’ Housing, which housed the Cunningham studio for many years. Ken holds a 3rd Degree Black Belt in TaeKwonDo and teaches regularly.

Riley Watts is a dancer, teacher, researcher, and interdisciplinary artist based in Portland, Maine. From 2010 - 2015 he was a member of The Forsythe Company in Frankfurt, Germany, and now represents The Forsythe Foundation as both teacher and performer. In 2015, he was invited to perform Forsythe’s DUO2015 on the Life in Progress farewell world tour of iconic dancer Sylvie Guillem, for which he was awarded “Contemporary Dancer of the Year” by the Leonide Massine-Positano Prize, 2015. He is a teacher of improvisation and creative process, specializing in facilitating an environment of embodied thinking through improvised motion, and has done so at numerous universities, dance companies, choreographic institutes, and research platforms across the USA, Europe, Asia, Australia, and South America. He was Associate Researcher with Motion Bank/Dance Engaging Science in Frankfurt, Germany, and has been a visiting artist in neuroscience and cognitive psychology departments at universities in the Europe and Australia. He has coauthored research on entrainment in Forsythe’s piece Duo for Frontiers in Human Neuroscience, and has lectured on the dancing function of proprioception, embodied thinking, and creative process around the world. In Maine, he is currently a Guest Artist at Colby College, on the advisory committee and summer faculty member at the Bates Dance Festival, and works with artist and social entrepreneur John Michael Schert / JMS & Company, where they consult for corporations, nonprofits, civic and arts organizations as an advocate and facilitator for the utility of embodied creative process across multiple sectors.

Sarah Wilbur is a choreographer, dance researcher, and the Mellon Postdoctoral Fellow in Dance Studies at Brown University (2016-2018).  She researches infrastructure in dance as an embodied doing in the hopes of exposing how people working within and alongside large bureaucratic systems install and negotiate longstanding hierarchies in the US noncommercial dance field. Her current book manuscript theorizes institution-building in dance by tracking the political dynamics at play in dance recognition and resourcing across the fifty year lifespan of the Dance Program at the US National Endwoment for the Arts (NEA). Sarah's current and forthcoming publications address competition in US dance funding (Oxford Handbook on Dance & Competition), the discursive force of embodied gesture in Broadway production curricula (TDR), and administrative leveraging in multi-stakeholder urban planning interventions (Performance Research). In theory and practice, Sarah's work promotes dance as a resource, method, and frequent liability for social movement, organization, and assembly. Her attendance at the CRCI is fuelled by her investment in understanding the political stakes at play in the widespread supplementation of digitally mediated convenings for live assemblies in institutional culture as an emergent development that reeks of cost efficacy and expanded access/participation, at once.