ARTISTS (BIOS PAGE)
Artist and Research Scientist
Computer Science and Artificial Intelligence Laboratory, MIT
Jonathan Bachrach is an artist and research scientist at the MIT Computer Science and Artificial Intelligence Lab, researching robotics, sensor networks, programming languages, and new art making platforms. Together, his artistic and research practices form a scientific examination of mind, body and society. His work explores the intersection of sensor motor modalities and the challenges and mysteries of motor control, perception, representation, and eemergent phenomena. Before MIT, he held postdocs at Stanford and UC Berkeley, and was a researcher at IRCAM in Paris, developing new musical platforms. He studied cognitive science, computer science, and visual arts, receiving a B.S. degree from the University of California at San Diego and MS and PhD degrees from the University of Massachusetts at Amherst. In collaboration with Dan Paluska, he leads the Collision Collective and curates exhibitions of art technology with MIT and Boston-based artists.
Barbara Bickart is an interdisciplinary artist, whose work is project-based. Her work takes on the form of video installation, video performance and experimental documentary. Her single channel video, installation, video performance and experimental documentary work have been presented at National Film Theater, London; Festival Diversa Films, Buenos Aires, Argentina; Film & Television Institute, Fremantle, Western Australia; New Fest, New York, NY; New Fest at BAM (Brooklyn Academy of Music), Brooklyn, NY; OUTFEST, Los Angeles, CA; Frameline28, San Francisco, CA; Reel Identities Festival, New Orleans, LA; REELING Film Festival, Chicago, IL; Mardi Gras Film Festival, Sydney, Australia; On the Boards, Seattle, WA; Gay & Lesbian Film Festival, Brasnov, Romania; Ciudad Abierta, the state channel of Buenos Aires, Argentina; Atlanta Film Festival, Atlanta, GA; Rochester International Film Festival, Rochester, NY; Tel Aviv International Film Festival, Tel Aviv, Israel; Dance Theater Workshop, NYC, DiverseWorks Art Space, Houston, TX, The Theater Offensive at the Boston Center for the Arts Boston, MA; La Mama e.t.c., New York, NY; The Public Theater, New York, NY; Queer Zagreb Festival, Nova Gallery, Zagreb, Croatia; Open Look Festival, St. Petersburg, Russia; Stedman Gallery, Rutgers University, Camden, NJ; Columbia University, New York, NY; Princeton University, Princeton, NJ; Hunter College, New York, NY; Sarah Lawrence College, Bronxville, NY; New York University, New York, NY, St. Lawrence University, Canton, NY; the Painted Bride, Philadelphia, PA; among others.
Artistic Director, AlienNation Co. (Houston)
Director, DAP-Lab (London)
Johannes Birringer is an independent choreographer and media artist. As artistic director of AlienNation Co., an ensemble based in Houston (www.aliennationcompany.com), he has created numerous dance-theatre works, video installations and digital projects in collaboration with artists in Europe, the Americas, and China. He created the new MFA program in dance & technology at The Ohio State University and directed the "Environments" lab at OSU, while also co-founding a collaborative research group in telematics and online performance (ADAPT). Author of several books, including Media and Performance: along the border (1998), Performance, Technology, Science (2008). In 2005 he edited a book on Dance and Cognition. Founder of the Interaktionslabor Göttelborn in Germany ( http://interaktionslabor.de) and currently Professor of Drama and Performance Technologies at Brunel University, London (UK), where he also directs an experimental laboratory on Design and Performance (DAP) developing new wearables and intelligent clothing for performance. His films on the DAP projects, "Intimate Klüver", have been exhibited in the UK and will be featured at the 2007 Prague Quadrennial's "Design as Performance" festival. His film concert "Canções dos olhos/Augenlieder" was featured at SARC, Belfast, in the spring music series, and he is now completing a new interactive dance work ("Sunna no Onna") and a chamber opera on Francis Bacon.
Hans Beenhakker works as filmmaker and industrial choreographer for major brands like Bosch and BMW. He danced internationally in companies led by various choreographers among them Pina Bausch (92-96), Krisztina de Chatel, Amanda Miller, Jennifer Muller, Susan Marshall/Phillip Glass. Besides his theatre work he performed extensively for commercial television and film. His short film 'Come to Tandem' got nominated for the Deutsche Videotanzpreis 2001 and his video 'Wiped' won First Prize at the Dance on Camera Festival NYC 2002. He created in commission for broadcasters like the BBC. Since 2005 he is making video installation work. He is the founder of Cinedans Festival in Amsterdam.
Research Affiliate at the MIT Center for Advanced Visual Studies
Nell was an ARM Fellow at Dance Theater Workshop 2003-2004. Her research explores how we perceive motion. Her work explores dynamic human histories through daily motion patterns, video & live performance. Breyer received her BA in Art & Humanities [ Yale University, 1994], MsC in Cognitive Neuroscience [ Oxford University, 1997], and MS in Media Arts & Sciences [MIT, 2002]. Breyer’s work, supported by numerous grants and fellowships, has been presented internationally and in the United States.
“In creating public artwork, I aim to engage viewers through actions and images. I want commuters to actively explore their kinetic and visual imagination. I want them to observe the character and cycles of pedestrian movement routinely activating highly trafficked spaces.”
“Time Translations” by Breyer was an interactive installation commissioned and produced by the World Financial Center Arts & Events (2005) Excerpts of this piece were exhibited at the Museum of Contemporary Art in Rovereto and Trento, Italy (2006) Other recent public art commissions include: “RE:actions” for Harvard Square’s LumenEclipse art kiosk (2006) and ‘still life’ for Boston’s City Hall. In 2004, the interactive installation and performance series, “i:move”, was shown at Dance Theater Workshop gallery in 2004. “i:move” was first presented at Boston CyberArts Festival (2003). It was further developed and installed at MIT's Media Lab (2003), and the MIT Museum Inventor's Spotlight (2003). In 2004, Breyer’s work was presented in group shows at Ethan Cohen Fine Arts, NURTUREart Gallery, Art Interactive and Photo NY. Breyer’s has choreographed and performed in New York (The Joyce Soho, Judson Church, St. Mark’s, The Williamsburg Art Nexus); Canada (Espace duMaurier Arts danse MAI); the UK (the Edinburgh Fringe Festival, Sadlers Well’s Peacocke Theatre, Her Majesty’s Haymarket Theatre; The Place Theatre, Jackson’s Lane); Bangladesh (The Bangladesh National Museum Auditorium, The Liberation War Museum); and Slovenia (Cankarajev Dom, TRNFEST).
Thomas F. DeFrantz
Founder of Slippage: Performance Interventions in Culture and Technology
Professor of Dance, MIT
A writer and happy dissident, Thomas F. DeFrantz performed the Morton Gould Tap Concerto with Boston Pops conducted by Keith Lockhart and the Duke Ellington Tap Concerto with the Aardvark Jazz Orchestra led by Mark Harvey. He has taught drama and dance at Stanford, NYU, the Alvin Ailey School, and at MIT, where he is Professor of Music and Theater Arts. In 2004 he founded SLIPPAGE: Performance Interventions in Culture and Technology, a multi-disciplinary group in residence at MIT. Recent work: director and librettist for Ennobling Nonna (2004), a physical-theater solo by Maria Porter (performances in the US, Italy, Peru, and Denmark); performer and creator of the solo tap/technology work Monk's Mood: A Performance Meditation on the Life and Music of Thelonious Monk (2005); librettist for The Man In My Head, (NY Musical Theater Festival, 2006); performer and choreographer for The House Music Project (2006) a technology-driven dance work that explores the history of house music, a queer African American development of the 1980s; author and director Queer Theory! An Academic Travesty (2006), commissioned by the Theater Offensive of Boston, the Flynn Center for the Arts in Burlington, VT, and the National Performance Network. Dramaturg and librettist for Donald Byrd/Spectrum Dance Theater production of the Sleeping Beauty Notebook, noted by the New York Times as one of the best dance events of 2005. Author: Dancing Many Drums: Excavations in African American Dance ( University of Wisconsin Press, 2002) and Dancing Revelations: Alvin Ailey's Embodiment of African American Culture ( Oxford University Press, 2004). Always interested in stories, how we tell them, and what we think they might mean.
eVokability: The Walking Project/ Performer
Sarah Drury is a new media artist working with language and the body through interactive narrative, wearable interfaces and responsive media design in performance. Her work has been presented at international venues, including: BAM’s Next Wave Festival, National Theater of Belgrade, Brooklyn Museum, the Kitchen, SIGGRAPH, ISEA, Philadelphia Fringe Festival, Sound Cultures Symposium, Performative Sites, ACM Multimedia, Artists Space, Hallwalls, Worldwide Video Festival (Hague), and on PBS. Grants include the National Endowment for the Arts and the Trust for Mutual Understanding.
Drury’s work explores physical interfaces and responsive media, focusing on questions of control, play and the emergent subject. This work translates body gesture into audiovisual/textual language, in diverse contexts such as electrical inventor Nikola Tesla’s principals of induction(Violet Fire Opera) and the projection of “different” embodiment by performers addressing issues disabilities (eVokability Costume Project).
Sarah Drury holds an MPS from NYU’s Interactive Telecommunications Program; an MA in Photography from NYU; and a BA from Barnard College/Columbia University. She is an assistant professor at the Temple University Film & Media Art/New Media Interdisciplinary Program. She has been on the faculty of the New York University Interactive Telecommunications Program, NYU Art & Media Program and the International Center of Photography.
Andrea Haenggi / AMDaT
Artistic Director AMDaT
Andrea Haenggi, Swiss-born New York based choreographer and visual artist, is known for her thought-provoking “visual motion constructions.” Winner of a 2005 digital fellowship from Dance Theatre Workshop, she has toured with her company AMDaT (www.amdat.org) to Russia, Switzerland, Germany, Canada and the Czech Republic.
Director of Lostwax Productions
Rhode Island, USA
Jamie Jewett received his BA in Dance and Buddhist Studies from Naropa University, an MFA in Dance and Technology from the Ohio State University, an MA from Brown University’s MEME@Brown program (Multimedia and Electronic Music Experiments @ Brown) and is currently ABD at Brown where he is pursuing a Ph.D. in New Media and Performance. He is the director of Lostwax Productions, a multi-media dance theater company that seeks to examine the visceral cusp between installation, performance space and narrative through the use of technology. Jewett has choreographed, performed and taught across the U.S. as well as in Bali, Canada, France, Java, Nepal and the United Kingdom. He has been an artist in residence at HERE Center for the Arts in New York City (2003-2005) and STEIM in Amsterdam (2006). His works such as the recently featured Mudra (Spark Festival Gala Concert, 2007) as well as After the Fall (Danspace at St. Mark’s, 2003), Seven Veils (CultureMart, HERE, 2004), Rest/Less (CultureMart, HERE, 2005), Snowblind (commissioned by IMMEDIA for the University of Michigan, 2002), Kindly Bent to Ease Us (2001), and as far back to the evening length works Glyph (1996), and A Cloud In Trousers (1997) utilize interactivity and projections of still and cinematic imagery coupled with live closed-circuit video. The Other Paper ( Columbus, OH) called Jewett’s Wexner Center award-winning film Auslander (Lincoln Center 2000) “A glimpse of Ohio film brilliance.” His on-going collaborations with experimental poet and theater artist Thalia Field include performance works such as After The Fall and Seven Veils, Rest/Less, and an online multimedia piece, Zoologic (How2, 2004). He is currently working on a large-scale project Melt scheduled to open in the fall of 2007.
Lecturer of New Dance, Theater Academy in Helsinki, Finland
Finland / Boston, USA
Mia Keinanen began her dance studies in Northern Finland and continued in London Contemporary Dance School graduating with BA (Honors) in '93. She also studied at the Alvin Ailey Dance School, Harvard Summer Dance Program and Merce Cunningham Studios in their scholarship programs, as well as with independent teachers in London, New York, Boston, Paris and Copenhagen. Keinanen has danced professionally in Europe and the US and her own work has been seen in the UK, Slovenia, Croatia, Germany, Finland, Hungary, Netherlands and US. Mia also holds a doctorate degree in Human Development and Psychology from Harvard University and researches kinesthetic intelligence and dance and cognition. Mia is especially interested in interdisciplinary approach to both art and science. Thus both as an academic and as an artist she has been involved with many projects that integrate multiple views and methods in order to create new ways of seeing and understanding movement, be it dance and technology or psychology, philosophy and cognitive sciences. Mia is currently a lecturer of new dance at the Theater Academy in Helsinki, Finland.
Peter Kirn is a composer/musician, performance artist, and visualist based in New York City. His work spans media from acoustic music to electronica to digital video and interactive art. He is a frequent audio and visual collaborator with choreographers, including Kathy Westwater, Christopher Williams, and Elise Knudson. He has been a Digital Fellow at Dance Theater Workshop and returns for his second Ideas in Motion. He is also a contributor to Make, Macworld, and Keyboard magazines, and runs the online magazine/communities createdigitalmusic.com and createdigitalmotion.com. He teaches computer music at Brooklyn College and is a doctoral candidate at the City University of New York Graduate Center.
Clarinda Mac Low
Founder, Culture Push
Clarinda Mac Low was brought up in the avant-garde arts scene that flourished in NYC during the 1960s and ‘70s. She began performing with her father, Jackson Mac Low, at the age of three. Her earliest dance training was with Meredith Monk, and she performed for Monk in Vessel in 1971. At Wesleyan University, Susan Foster’s multi-disciplinary approach to composition encouraged her to transform the entire space a performance occupies, integrate many media into the performance, and explore the use of dance and performance as tools for communication and building community. She also received a degree in Molecular Biology and Biochemistry. Since 1988 Mac Low and her collaborators have been presented in New York City at Performance Space 122, the Danspace Project at St. Mark's Church, the Kitchen, LaMama Annex, and other performance spaces, as well as throughout the city in unusual sites and city streets, and around the world. Recent work includes; Odd Sea (The Return) (1999), a site-specific performance based on the Odyssey on a century-old ferryboat, envisioning the reverberations of war as seen through the lens of the ancient story; and The Division of Memory (2001), a multi-media performance and video installation based in the life of black biologist/philosopher Ernest Everett Just, about the intersection between biology, history and racial politics, made in collaboration with James Hannaham. Current projects: a long-term installation performance work, Salvage/Salvation, that explores the philosophical, emotional and material implications of re-use, discard, decay and abundance, TRYST (in collaboration with Paul Benney and Alejandra Martorell), performance interventions in everyday life, and DAGGER, a solo multimedia performance—an oblique dissection of Shakespeare’s Macbeth. Mac Low was a DTW Artists Research and Media (ARM) Fellow 2004-2005, received a BAXTEN Art and Artists in Progress Award for excellence and innovation in 2004, and is a 2007 grant recipient from the Foundation for Contemporary Arts.
Artistic Director, dancer, Snappy Dance Company
Martha Mason graduated Phi Beta Kappa, Cum Laude from Mount Holyoke College and has been choreographing and teaching internationally for the past 20 years. She has taught, choreographed and performed in Taiwan, Germany, the former Czechoslovakia, France and Russia as well as New York City and presently in Boston, MA. Past commissions include: Configuration Ballet Ensemble, New Lines, Ping Dong, Taiwan; Éspace Créations, Paris, France; the Lancaster Opera Company; The New Experimental Theater, Magnitogorsk, Russia; and the Philadelphia Fringe Festival. Martha has received two grants from the International Theater Institute, a "New Forms" Award by the New England Foundation for the Arts, and was a 1997 recipient of a Fellowship Award from the Somerville Arts Council. Martha also teaches Modern Dance technique and is a renowned certified instructor of the Pilates ® Method of Body Conditioning with a practice in Cambridge. Martha has taught at the Boston Conservatory and at the Roy Hart Theatre in Malerargues, France.
artistic director of Stefanie Nelson Dance Group
Stefanie Nelson’ choreography has been presented internationally in Canada and Italy. Performances in Italy include the renowned Fabbrica Europa Festival 2004 and 2005, Corpo al Corpo Festival at the Florence Dance Center, and the Florence Winter Dance Festival at the Teatro Goldoni in Florence; the Corpi Urbani Festival and Teatro G. Modena in Genoa in collaboration with Italian company Lische, Fuoricentro and Teatro del Giglio in Lucca, and OnStage in Prato. Nationally, the company has been presented in New York at New York University and University Settlement (sponsored by The American Dance Guild), Fieldston Ethical Culture Society, The Hostos Center, The Jose Limon school, Moonworks, Rockland Community College (commissioned by TranscenDance), The Bowery Ballroom (with BETTY from the off-broadway smash success BETTY RULES!), Gowanus Arts Exchange (sponsored by Spoke the Hub), Washington Square United Methodist Church, Williamsburg Arts Nexus-WAX, and in Nashua, NH at the Academy of Movement.
Joseph A. Paradiso, PhD
Sony Career Development Professor of Media Arts and Sciences
Director, Responsive Environments Group
MIT Media Laboratory
Joseph Paradiso is the Sony Career Development Associate Professor of Media Arts and Sciences at the MIT Media Laboratory, where he directs the Responsive Environments group, and has co-directed the Things That Think Consortium, a group of industry sponsors and Media Lab researchers who explore the extreme fringe of embedded computation, communication, and sensing. After receiving a BS in Electrical Engineering and Physics from Tufts University in 1977, Paradiso became a K.T. Compton fellow at the Lab for Nuclear Science at MIT, receiving his PhD in physics there in 1981 for research conducted at CERN in Geneva. After two years of developing precision drift chambers at the Lab for High Energy Physics at ETH in Zurich, he joined the Draper Laboratory in Cambridge, MA in 1984, where his research encompassed spacecraft control systems, image processing algorithms, underwater sonar, and precision alignment sensors for large high-energy physics detectors. Paradiso has also been designing electronic music synthesizers for 30 years, and is a leading authority on electronic music interfaces. He joined the Media Lab in 1994, where his current research interests include sensor systems for human-computer interaction, sensor networks and ubiquitous computing. His honors include the 2000 Discover Magazine Award for Technological Innovation, and he has authored over 180 articles and technical reports on topics ranging from computer music to energy harvesting.
Tangible Media Group, MIT Media Lab
Hayes Raffle is a Ph.D. candidate in the Tangible Media Group a the MIT Media Lab. He is a practicing artist and designer researching the relationships between people and machines. Hayes creates interactive toys, systems and devices that engage people's touch to improve communication, education, and artistic expression.
Before attending the Media Lab, Hayes received a B.A. in fine arts (sculpture) at Yale, helped design and develop the award-winning ZOOB® building system and ran his own art and design studio in California. He is the winner of several internationally recognized design awards and has shown his art in Europe and the United States.
Head Men's Gymnastics Coach and Physical Intelligence Program Director, MIT
Noah Riskin studied painting and trained in gymnastics at Ohio State University, 1981-86. In 1985 he shared the NCAA national title on the parallel bars with his identical twin, Seth, and led Ohio State to its first NCAA Team Championship. In 1986 he received his BFA degree.
Noah continued his athletic career to become a US National Gymnastics Team member, and a national and international champion. In 1993, as a Merit Scholar, he received his MFA from The School of the Art Institute of Chicago. And, from 1994-97 he was a research affiliate and fellow at the MIT Center for Advanced Visual Studies. 1998-2000 Noah was Faculty in the Integrated Media and Dance Departments at The California Institute of the Arts where he developed and taught “Technology and the Body”, a three course curriculum exploring the meeting of technology and the body for performance.
Noah has presented his art and lectures at venues as diverse as the Center for Contemporary Art, Warsaw, Poland, the MIT Artificial Intelligence Laboratory, the Harvard-Smithsonian Center for Astrophysics at Harvard University, and the Exploratorium in San Francisco. He has taught at Tufts University, The School of the Museum of Fine Arts, Boston, The Rhode Island School of Design, The California Institute of the Arts, and MIT.
Currently, Noah continues his art, research and teaching as the Head Men’s Gymnastics Coach, and Director of the Physical Intelligence Initiative at MIT.
Moving Productions / Frankfurt Germany
Born in 1965 in West Newton, Massachusetts, USA and trained on full scholarships from 1980 to 1985 at the Boston Ballet School with Bruce Wells, Violette Verdy, Virginia Williams and Richard Dickenson.
From 1985-2005 he was a principal dancer and choreographic assistant and ballet teacher at the Frankfurt Ballet under the direction of William Forsythe. Danced most of the main roles and helped to create many of them. During Mr Rizzis career at the Frankfurt Ballet, where he still occasionally guests , he also was able to work with other choreographers and directors like Jan Lauwers in Dead Dogs Dont Dance in the main role of James Joyce, as well as with Saburo Teshigawa, Amanda Miller, and Susan Marshal.
And intensively as a dancer and actor with Jan Fabre in Belgium on the productions "Universal Copyrights", "D`a un altra faccio del tempo", in the role of the devil , in the production "Glowing Icons", as Mae West/ Neil Armstrong as well as in "The sound of one hand clapping" created for the Frankfurter Ballett and most recently in "The History of Tears" that premiered at the Avignon Festival 2005.
Mr Rizzi is invited by Bruce Marks to create his first piece called "Cockroach Nightmare" for The Boston Ballet Ensemble in 1986 at the age of 21, which was voted as one of the best ten dance performances of that year in The Boston Herald. Rizzi has created original productions for Pennsylvania Ballet, Miro Dance Theatre, Munich Ballet, Boston Ballet, Scapino Ballet and the Royal Ballet in London for Sylvie Guillem to name a few. He also choreographed and performed in the the first opera from Ryuichi Sakamoto, LIFE.
For his own group Moving Productions he has created works for himself and his mother Snowman Sinking which has tour internationally as well as working with Penny Arcade in Being Human Being and has created performances taking place in museums, movie cinemas and even his own apartment.
"JUDY WAS ANGRY", a dance piece with Jan Fabres actress Els Deckekelier and members of the Frankfurt Ballet produced at Mousonturm in Frankfurt. Nominated by Eva Elizabeth Fisher as most innovative production of that year, and as best young choreographer.
Mr Rizzi is also a visual artist often creating large collages with polaroids as well as using film as his medium. He has exhibited in Frankfurt, Berlin, Greifswald, Hamburg, and Montreal.
and this is from the goethe institute web sit
At the moment I am very interested in using film in most of my performances, to change perspective on how we watch a dance, understand it and to look at our bodies. As I type that I have to think of a Jenny Holzer work, a baby crying as it touches a cactus, the headline... “The truth hurts”. Why go to a performance instead of renting a DVD and staying at home? How does the internet change youths’ ideas about love and sex? Many questions are arising and I fi nd it an exciting time for the potential of dance and how they can answer questions through excitement and connecting to a still body that watches the performance. ANTONY RIZZI
Antony Rizzi‘s artistic energies go into a myriad of directions. He photographs and films while opening his flat to performances. He even dares put on a one-man show from time to time where he knocks your socks off with not much more than conversation. Of course, he also dances and choreographs and it was William Forsythe‘s style that has made the greatest impression on him because it pushes back the envelope of the physically possible. But his choreographies have their own trademark. His pieces don‘t just constitute dance. He‘s not worrying about forcing them into some sort of a conceptual corset. Instead, the cornucopia of ideas and abundance of associations in his works are held together by Rizzi‘s special way of looking at things. He‘s got a feeling for the absurd and a fine sense of irony that (almost) always describes people and their weaknesses affectionately, with a warmth and an aura whenever he himself steps onto the stage. One thing you probably won‘t see from the multitalented Tony Rizzi is a cool and calculated dance piece. He not only tries out himself, but also the means that theatre presents him with. Sometimes he‘s playful, but he‘s never thoughtless. SYLVIA STAUDE
Xavier Le Roy
In Situ Productions
Xavier Le Roy was born in Juvisy sur Orge, France in 1963 and studied biochemistry at the University of Montpellier. He began his dance career 1988 when he started performing for several companies and later initiating his own collaborations and multi-media projects, founding the group "in situ productions" together with Petra Roggel in 1999. In 1998 Le Roy participated in the improvisation project “CrashLanding@Lisboa” and choreographed a solo performance called “Self Unfinished.” A year later he produced a lecture-performance called “Product of Circumstances.” He has collaborated with world-renowned artists, such as Jerome Bel and Yvonne Rainer and presented his work in various settings, most recently including: the Staatsoper Unter den Linden, Berlin (2005), the Wien Modern (2005), Gulbenkian Foundation, CAPITALS, Lisbonne (2003), and the Festival d’Avignon (2001). He has been involved in various educational programs and given workshops at: the University of Theater Science in Giessen (Germany), P.A.R.T.S (Brussels), the Fine Arts School of Perpignan (France), the Summer Academy at Mousonturm (Frankfurt, Germany), the London Summer School (Great Britain), the festival In-Presentable (Madrid, Spain), La Bâtie (Geneva), la Casa Hoffman, Curitiba (Brazil) and the education program ex.e.r.ce at CCN Montpellier, France. In 2007 and 2008 he will be associated artist at the Centre National Chorégraphique de Montpellier, France.
Norah Zuniga Shaw
Assistant Professor and Director of Dance and Technology
The Ohio State University
Norah Zuniga Shaw is a director, artist and theorist working in the U.S., Europe and Latin America. She is currently working with William Forsythe and the Advanced Computing Center for the Arts and Design as the Co-Artistic Director for a ground breaking interactive animated score of his seminal piece, "One Flat Thing, reproduced.” She is a founding member of the EMMA Lab (experimental media and movement arts lab), a collective of artists and scientists concerned with real-time engagements between the body, site, and technology. In collaboration with Vita Berezina-Blackburn she is choreographing visual art stills via motion capture in an on-going project called Stop-Motion Capture. In 2006, her locative media project and interactive performance, The Living Map, was the subject of a residency at The Waag Society in Amsterdam. Other recent commissions include three new dances for television (WOSU-PBS), telematic events for the UCLA Visualization Portal, and performances for NANO at the Los Angeles County Museum of Art (LACMA). Zuniga-Shaw is a published author and editor including recent contributions to Performance Research Journal (2006 and 2007) and “Envisioning Dance on Film and Video” (Assistant Editor, Routledge, 2002). Zuniga-Shaw teaches workshops integrating media, movement and community engagement and partners with social services organizations to create new works for the stage and gallery that bring attention to lived places. She is director for dance and technology and assistant professor at The Ohio State University Department of Dance.
Pauliina Silennoinen is Finnish dancer. She is currently living in New York City and is working with Airelise, Robin Rapoport and Philippa Kaye. Pauliina graduated from Turku Art's Academy, Dance department (FIN), and studied dance also in Fontys Dance Academy (NL). She has been working with AB Dance Theatre, Da Art Dance Productions and freelance choreographers in Finland, Sweden and New York City.