Sarah Bay-Cheng is Professor and Chair of Theater and Dance at Bowdoin College, where she teaches digital media and performance, modern drama, and researches the intersections among technology, literature, theater, and history. Her most recent book is the co-authored Performance and Media: Taxonomies for a Changing Field (2015) and she is currently working on a book on digital history and performance.
Ben Coonley is an artist who works with video, computers, 3D, and cats. His work has been presented at MoMA PS1, Performa, the New Museum for Contemporary Art, the Moscow Biennale, and the International Film Festival Rotterdam. In 2010, he was named one of Film Comment’s “21 Leading Lights of Projection Performance.” Later this fall, his immersive 3D 360-degree video installation “Trading Futures” will be included in “Dreamlands: Immersive Cinema and Art, 1905–2016” at the Whitney Museum of American Art. Coonley studied Art Semiotics as an undergraduate at Brown University, and received an MFA from Bard College in 2002. He is an Assistant Professor of Film and Electronic Arts at Bard College.
Annie Dorsen is a writer and director who works in a variety of fields, including theatre, film, dance and, as of 2009, algorithmic performance. Her algorithmic theatre performances, Hello Hi There, A Piece of Work, and Yesterday Tomorrow, continue to tour extensively in the US and Europe . She is the recipient of the 2014 Herb Alpert Award in the Arts for Theatre, and of a 2008 Obie award for her work on the Broadway musical Passing Strange.
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. Elahi has spoken to audiences as diverse as the Tate Modern, American Association of Artificial Intelligence, International Association of Privacy Professionals, TED Global, and the World Economic Forum. His work is frequently in the media and has appeared on Al Jazeera, Fox News, and on The Colbert Report. In addition to the Guggenheim Fellowship in 2016, his awards include grants from the Creative Capital Foundation in 2006 and Art Matters Foundation in 2011. In 2014, he was Artist-in-Residence at Shangri-La/Doris Duke Foundation for Islamic Art and in 2009, Resident Faculty at Skowhegan School of Painting and Sculpture. He is currently Associate Professor of Art at University of Maryland, roughly equidistant from the CIA, FBI, and NSA headquarters.
Shonni Enelow is an assistant professor of English at Fordham University and the author of Method Acting and Its Discontents: On American Psycho-drama (Northwestern University Press, 2015). Her research focuses on theories of acting, modern and contemporary theater, and performance across media. Recent publications include Research Theatre, Climate Change, and the Ecocide Project (Palgrave Macmillan, 2014), co-authored with Una Chaudhuri, and articles in Film Comment , Theater , Reverse Shot , and Theatre Survey.
Anna Gallagher-Ross is a curator, editor, and performance-maker. She received a B.A. in Performance Studies and an M.A. in English Literature from the University of Toronto. Currently, she is an M.A. Candidate at the Center for Curatorial Studies, Bard College where she is a contributing editor of aCCeSsions. Anna has curated performances, exhibitions, and programming in Toronto and New York.
James Harding is Associate Prof. of Theatre and Performance Studies at the University of Maryland, College Park. Previously, he was Professor of Theatre and Performance Studies at the University of Warwick in the UK, and Professor of English at the University of Mary Washington in Fredericksburg, VA. He has twice been a Guest Professor at the Institut für Theaterwissenschaft at the Freie Universität, Berlin and this year he is a Research Fellow at the Freie Universität’s International Research Center / “Interweaving Performance Cultures.” He has just finished a book tentatively entitled Performance, Transparency and the Cultures of Surveillance, and in Berlin, he will be working on a new project entitled Performance Beyond the Pale: Politics, Sacrifice and Bodies in Extremis . His previous books include The Ghosts of the Avant-Garde(s) (Michigan, 2013); Cutting Performances: Collage Events, Feminist Artists and the American Avant-Garde (Michigan, 2010); and, Adorno, and a Writing of the Ruins (SUNY, 1997) . He is also the editor of numerous anthologies, the most recent of which is The Sixties, Center Stage: Mainstream and Popular Performances in a Turbulent Decade, which he co-edited with Cindy Rosenthal and which will be published by Michigan late this fall or early this coming spring.
Collin Jennings is a Mellon Postdoctoral Fellow in Experimental Humanities at Bard. He received Ph.D. in English and American Literature from New York University. His work uses computational methods to explore lexical and syntactic patterns in eighteenth-century literary genres that experimented with new forms of arrangement.
Caden Manson is co-founder of bigartgroup.com and editor of contemporaryperformance.com . He has co-created, directed, video- and set designed 12 Big Art Group productions. Manson has shown video installations in Austria, Germany, NYC, and Portland; performed PAIN KILLER in Berlin, Singapore and Vietnam; Taught in Berlin, Rome, Paris, Montreal, NYC, and Bern; the ensemble has been co-produced by the Vienna Festival, Festival d’Automne a Paris, Hebbel Am Ufer, Rome’s La Vie de Festival, PS122, and Wexner Center for The Arts. Caden is a 2001 Foundation For Contemporary Art Fellow, is a 2002 Pew Fellow and a 2011 MacDowell Fellow. Writing has been published in PAJ, Theater Magazine, and Theater der Zeit. Caden is currently an associate professor and graduate directing option coordinator of The John Wells Directing Program at Carnegie Mellon University’s School of Drama.
Elise Morrison is an Assistant Professor of Performance Studies at Texas A&M. Her book, Discipline and Desire: Surveillance Technologies in Performance will be published by University of Michigan Press in October 2016. Morrison edited a special issue on “Surveillance Technologies in Performance” for the International Journal of Performance Arts and Digital Media (Routledge, 11.2) in 2015 and has published on this topic in IJPADM, Theater Magazine, and TDR. In recent years she has performed her surveillance cabaret show, “Through the Looking Glass,” in Boston and Providence, and, in collaboration with Jamie Jewett, Luke Dubois, and Thalia Field, created Zoologic, an original surveillance-dance-theater piece for FirstWorks in Providence, RI in 2015.
John Muse is Assistant Professor of English and Theater and Performance Studies at University of Chicago, where he is collaborating to launch a new interdisciplinary PhD program in Theater and Performance Studies. He specializes in modern and contemporary theater, modernist literature, and performance, with particular focus on work that tests perceived boundaries among media: plays that resemble visual art, poems in dramatic form, closet dramas, and digital or otherwise virtual theater. His book, Microdramas: Crucibles for Theater and Time, under contract with University of Michigan Press, explores brevity in theater since the late nineteenth century and argues that very short plays reveal fundamental assumptions about theater’s limits and possibilities. His work has appeared in Theater Journal, Modern Drama, Theater, and The Journal of Dramatic Theory and Criticism.
Jemma Nelson is co-founding member of Big Art Group; has written, programmed, and composed the sound and music for all of Big Art Group’s productions; has published writing about performance in Theatre Magazine, PAJ, Theatre der Zeit, and Mouvement; received a 2009 fellowship from the Pennsylvania Council for the Arts and holds an MS in Biostatistics.
Gretta Tritch Roman is also a Mellon Postdoctoral Fellow in Experimental Humanities at Bard where she teaches courses on the cultural production of maps. She received a B.Arch. from the University of Arkansas and holds a M.A. and a Ph.D. in Art History from the Pennsylvania State University. Her research centers on the intersection of architecture and capitalism, focusing on the Chicago Board of Trade in the nineteenth century.
Nikki Cesare Schotzko is Associate Professor at the University of Toronto’s Centre for Drama, Theatre, and Performance Studies. She coedited TDR’s special issue “Caught Off-Garde: New Theatre Ensembles in NYC (mostly)” with Mariellen R. Sandford in 2010, and, with Isabel Stowell-Kaplan and Didier Morelli in 2015, a special issue of CTR entitled “Performing Products: When Acting Up Is Selling Out.” She is also an occasional dramaturge, having collaborated on experimental music-theatre productions in New York, Toronto, Chicago, and Morelia, Mexico. Her first book, Learning How to Fall: Art and Culture after September 11 (Routledge, 2015), engages the skewed relationship between 21st-century media technologies, perception, and pop culture, and her current research explores what she considers to be a trending nihilism, or #nihilism, within literal and metaphoric climate change.
Lawrence Switzky is assistant professor of English and drama at the University of Toronto. His writing has appeared in Theater, Modern Drama, TDR, Opera Quarterly, SHAW: The Journal of Bernard Shaw Studies, Canadian Theatre Review, and numerous collections. His book The Rise of the Theatre Director, 1880–1956: Negotiations with the Material World is forthcoming.