Daniel Rettenwander is a Full Professor at the Department of Materials Science and Engineering at NTNU, leading the Battery Materials Team @ FACET. He directs the Christian Doppler Laboratory for Solid-state Batteries and serves as Principle Scientist at the AIT Austrian Institute of Technology GmbH. His research focuses on solid-state battery materials, including electrolytes and electrodes, with applications in energy storage for electric vehicles. He has held academic positions at institutions including TU Graz (now NTNU) and has secured significant funding for projects such as the Christian Doppler Laboratory (2020–2027) and the OPERA initiative (2023–2026). His work addresses challenges in solid-state battery interfaces and mechanical stability. Research interests emphasize solid-state electrolytes, lithium-ion transport mechanisms, and battery material degradation. He has authored over 70 peer-reviewed articles, edited book chapters, and holds patents on battery materials. His awards include the 2022 Emerging Investigators (Chem. Comm.) and the 2016 Christian-Doppler Award for Natural Science. Rettenwander advises numerous PhD and master’s students and collaborates internationally on projects like COMBAT (composite electrolytes) and SOLIMEC (mechanical stability). He teaches courses on functional materials and hydrogen technology. His teams actively engage in interdisciplinary research, bridging materials science and electrochemistry for next-generation energy solutions.
Stephanie Cluggish is a Clinical Assistant Professor at the School of Theatre and Music , University of Illinois Chicago. She holds an MFA in Stage Design from Northwestern University (2015) and a BFA in Theater Design and Technology from Emerson College. Her career spans freelance costume and scenic design, academic roles, and leadership in the USA 829 union. Key Affiliations : University of Illinois Chicago (2018–present), Haymarket Opera Company, Northwestern University, Lookingglass Theatre Company. Her research interests focus on costume and scenic design for theatre and opera, with a passion for historical and contemporary adaptations. She has contributed to over 25 professional projects, including operas like Marc'Antonio e Cleopatra and plays such as The Firebirds Take the Field , exploring themes of social dynamics and community narratives. Scientific Awards : Michael Merritt Achievement Award As a member of USA 829 , she chairs the Central Region Best Practices Committee for the Costume Department, working on a handbook expected in Spring 2025. Her recent projects include TAPS Winter Dance Showcase (2023) and Yerma (2022), while upcoming works involve Mattias Vestergaard’s opera TITANIC and Haymarket Opera Company’s ARTASERSE .
Garbrielle Strong is an Adjunct Lecturer in the Department of Theatre at the University of Illinois-Chicago (UIC), part of the School of Theatre and Music. She holds an MFA from Northwestern University (2020) and a BFA from Cornish College of the Arts (Seattle). Her work spans theatre, dance, opera, film, and generative art, emphasizing interdisciplinary collaboration and intentional storytelling. She has designed internationally and received the John Woodbridge Award (2019) and was a Hemsley Award Finalist (2020). Her research interests include lighting design, cinematography, and innovative performance practices. She developed the online workshop 'Lighting Design and Cinematography in the Age of Covid.' Her upcoming book, 'The Grief Collection' (2023), explores artistic expressions of grief. She collaborates with notable designers such as Marcus Doshi and Eric Southern.
Christina McCarthy is a Lecturer and Director of Performance in the Department of Theater and Dance at the University of California, Santa Barbara (UCSB). As a multi-disciplinary artist, she specializes in dance, aerial circus arts, theater, puppetry, film, and visual art. Her work integrates movement training across ballet, modern techniques, and aerial disciplines, emphasizing collaborative projects with UCSB's Music Department and external theater companies. Her teaching focuses on contemporary dance technique, choreography, puppet making, and interdisciplinary performance practices. Notable collaborations include the puppet theater adaptation of Mozart's The Magic Flute (performed in NYC Opera For Kids! series) and site-specific performances for UCSB's Library and Arts Walk events. She has directed numerous musical theater productions in Santa Barbara, including Something Rotten , Grease , and Cabaret . McCarthy is the resident movement director for Naked Shakes and has contributed puppet designs to productions like State Street Ballet's Sleeping Beauty and Ensemble Theater Company projects. Her ceramic art has been exhibited locally, showcasing her diverse creative portfolio. Her professional engagements include roles with Lit Moon Theater Company, Proboscis Theater, and the Arizona Shakespeare Festival. She was featured as a puppet artist at the 2018 Santa Barbara International Puppet Palooza Festival, highlighting her innovative contributions to puppetry and theater.
Greg Mitchell is an Associate Professor of Theatre Design at the University of California, Santa Barbara (UCSB), where he teaches courses in scenic design, digital rendering, and projection techniques. His work spans international collaborations in opera, site-specific theatre, and cross-cultural productions. BFA in Theatre Design from Pennsylvania State University MFA in Theatre Design from New York University Tisch School of the Arts Research interests focus on integrating technology and tradition, with notable projects including scenic design for Nepal’s first Western-style opera Arjuna’s Dilemma , projection mapping in Panama’s 400-year-old Convento de las Monjas, and immersive theatre at New York’s Coney Island Boardwalk. Mitchell’s work bridges historical preservation and modern media, emphasizing cultural storytelling in architectural spaces. Recent articles highlight his opera in Nepal’s UNESCO site and Panama’s ruins, underscoring themes of cultural healing and site-specific innovation. Awards include nominations for the Helen Hayes Award and BroadwayWorld Awards. He has collaborated with over 30 theatre companies nationally and internationally, including Opera Panama, Washington Stage Guild, and the Kennedy Center. Teaching includes foundational and advanced design courses, as well as special projects in 3D printing, CAD drafting, and laser cutting. His work extends beyond academia to commercial clients like ESPN and Burning Man installations.
Ann Sheffield is a Professor in the Department of Theatre and Dance at the University of California, Santa Barbara (UCSB), part of the College of Letters and Science. She holds a graduate degree from the Yale School of Drama and has over three decades of professional experience in theatre design. Her expertise spans set and costume design, collaborating with notable institutions like the Indiana Repertory Theatre and award-winning playwright James Still. Key professional highlights include scenic designs for Broadway productions such as Anything Goes (Patti LuPone revival) and Waiting for Godot (Mike Nichols), alongside Tony Walton. Her work has been showcased at venues like La Jolla Playhouse, Goodspeed Opera House, and Ford’s Theatre. Awards include the 1983 Kennedy Center National Award in Scenic Design and recognition as a 'New Designer for the 90s' by Theatre Crafts Magazine. Ann’s research interests revolve around integrating professional theatre practice with pedagogy, emphasizing hands-on design mentorship. Her collaborations with regional theatres and playwrights underscore her commitment to advancing theatrical arts through innovative design solutions.
William Cheng is Chair and Professor of Music at Dartmouth College, where he also serves as an Affiliate Faculty in African and African American Studies, Comparative Literature, and Film & Media Studies. His research bridges cultural histories, disability studies, media theory, care ethics, race, and queerness. Cheng holds a B.A. in Music (Piano Performance) and English (Creative Writing) from Stanford University (2007) and a Ph.D. in Musicology from Harvard University (2013). Notable works include Sound Play: Video Games and the Musical Imagination (2014), Just Vibrations: The Purpose of Sounding Good (2016), and Loving Music Till It Hurts (2019). He co-edited Queering the Field: Sounding Out Ethnomusicology (2019) and A Cultural History of Western Music in the Modern Age (2023). His op-eds appear in Washington Post , Slate , and TIME . Cheng has received over 15 major awards, including the 2023 Dartmouth Scholarly Innovation Grant and 2022 Radcliffe Fellowship. His current projects include Touching Pitch , a multimedia exploration of classical improvisation, and Gaslight of the Gods , examining trauma in music education. Teaching focuses on music and media, video games as philosophical tools, and social justice in music studies. He leads courses like ‘Music and Social Justice’ and ‘Video Games & the Meaning of Life’.
Karen Bartlett is a Senior Lecturer in the Department of Costume Design and Making at Buckinghamshire New University, where she teaches on the BA (Hons) Costume Design and Making programs. She joined the university in March 2022, bringing extensive experience from previous academic roles at the University of Huddersfield, University of Lincoln, and Nottingham Trent University, where she served as course leader for Costume Design and Making. Her educational background includes an MA in Electronic Arts from Middlesex University and a BA in Theatre Design from Central School of Art, London. She is a HEA Fellow (Level 2 Professional Recognition) and has contributed as an external examiner for BA programs in Historical Performance Costume and Scenic Arts at Yorkshire Coast College and Rose Bruford College, respectively. Karen's research and creative practice center on costume and set design for performance and exhibitions, with a particular focus on the design and fabrication of costume objects using 3D textile techniques such as knitting and crocheting. Her work bridges historical and contemporary performance dress, integrating traditional craftsmanship with innovative design methodologies. She has maintained an active professional practice across the UK and internationally, with notable engagements in theatre, dance, and opera productions. Her professional credits include design work for Nottingham Playhouse, Bill Kenwright, York Theatre Royal, Mercury Theatre Colchester, and international projects with the Hong Kong Urban Council Opera, Hong Kong International Festival, and Hong Kong Repertory Theatre. From 1991 to 1997, she was employed at the Hong Kong Academy of Performing Arts, contributing significantly to the development of performance design education and practice in the region. Research spans costume and set design for performance and exhibitions Specializes in 3D textile techniques, especially knit and crochet in costume making Integrates historical dress with contemporary performance design Active in both academic teaching and professional design practice Karen Bartlett has not been listed with any scientific awards or formal prizes in the provided text. She has no listed publications or articles in the source material, and therefore no identifiable trends in published research output can be determined at this time. She has supervised academic programs as a course leader and has served as an external examiner, indicating experience in academic leadership and mentoring. However, no specific advisees or students are named in the text. There is no mention of research grants or funding sources associated with her work. She is not described as part-time, and no indication of retirement or former staff status is present. Karen is actively involved in the academic and professional communities related to costume and performance design. While no formal lab or research team is mentioned, her ongoing practice and affiliations suggest active collaboration within design and performance networks, both in the UK and internationally.
James Ledger is a Senior Lecturer at The University of Western Australia's Conservatorium of Music. An ARIA and APRA award-winning composer, his works span orchestral, chamber, and electronic music. Notable compositions include Indian Pacific , Golden Years (violin concerto), and collaborations with Paul Kelly on ARIA-winning albums. He has held residencies with major orchestras and ensembles across Australia and New Zealand. Research interests focus on innovative composition techniques, blending traditional orchestration with electronic elements. His work often explores themes of memory, cultural identity, and contemporary social issues. Recent awards include the 2020 APRA AMCOS Art Music Award for Large Ensemble/Viola and the 2019 ARIA Award for Best Classical Album. His compositions have been performed globally, with over twelve performances of Indian Pacific in 2022 alone. Advising and collaborations include mentoring through his roles at UWA and supervising four graduate works. Key engagements include public lectures on opera and interdisciplinary art forms.
Mary K. Cyr is an Associate Teaching Professor in the Department of Visual and Performing Arts at Michigan Technological University. She previously served as Assistant Professor/Head of Costumes, Wigs, and Make-up, and Co-Director of Costume Construction Technology at Indiana University's School of Music. With over 60 supervised opera and ballet productions, her expertise spans costume design for institutions like the Indiana Repertory Theatre, IU Opera/Ballet Theatre, and the Bard College Conservatory of Music. Her recent work includes designs for Michigan Tech's Department of Visual and Performing Arts. Her professional experience includes collaborations with the Brown County Playhouse, World Premiere productions, and academic institutions such as The Ohio State University. Her technical focus on costume construction technology integrates historical and contemporary methodologies in theatrical production.
Diana Florea is a Lecturer at the Department of Romance Studies, Faculty of Letters and Arts, Lucian Blaga University of Sibiu. She holds a doctoral degree and specializes in interdisciplinary research at the intersection of linguistics, cultural studies, and arts management. Her work critically examines the role of language in cybersecurity, the impact of digital technologies on traditional religious practices, and organizational dynamics within cultural institutions like opera houses. Her research interests span Romanian philology, ethical implications of emerging technologies, and the interplay between spiritual expression and visual/performing arts. She has conducted comparative studies on European opera houses, analyzing architectural design's financial impacts and contrasting funding models between Bucharest and Vienna. Recent work explores non-verbal communication in musical performance and the representation of 'otherness' in Romanian literary discourse. Florea's publications bridge humanities and technology, addressing topics such as ransomware detection through linguistic metrics and data privacy challenges in higher education. She maintains an active role in academic administration, contributing to institutional reforms and quality culture debates. Her research has been presented at international conferences including ALGCR 2019 and the Eastern European Literary Studies in Sync conference. She actively participates in university initiatives like the International Week program, promoting transnational academic collaboration.
Associate Professor Narelle Yeo is a distinguished academic and performer at the Sydney Conservatorium of Music, University of Sydney. Her roles include Associate Professor, opera director, and vocal instructor with extensive experience in professional opera and musical theatre in the USA and Australia. Education highlights include graduate studies at Rice University and San Francisco Conservatory of Music. Her research focuses on operatic rehearsal dynamics, monodrama, and fostering creativity in music education. She has premiered works by composers like Thomas Rimes, Luke Byrne, and Sally Whitwell, and directed productions across institutions including Opera Carnivale and Pacific Repertory Theatre. Teaching spans stagecraft, voice pedagogy, and human rights law supervision at University of Sydney, Wesley Institute, and San Francisco Conservatory. Current projects explore creativity in disengaged students and sociological aspects of performance. Notable collaborations include the Moorambilla Festival, Brisbane Festival, and Sydney Conservatorium's Inclusion Project. Her work has been featured in venues like Sydney Opera House's Utzon Room and Hobart's St. David's Cathedral. Grants include the 2021 Equity Prize for collaborative projects. She has conducted choirs such as CBCC and Aqua Luna, and pioneered new programs like the Music Theatre voice specialization at Sydney Conservatorium.
Dr. Mirosław Wołoszyn is a prominent academic and administrator at Gdańsk University of Technology (Gdańsk Tech), serving as the Dean of the Faculty of Electrical and Control Engineering since 2020. He holds a Ph.D. (1997) and habilitation (2013) from Gdańsk Tech's Faculty of Electrical and Control Engineering. His career spans roles as an assistant (1988–1997), assistant professor (1997–2012), senior lecturer (2012–2013), and associate professor (since 2013). He has led the Department of Electrical Engineering, Control Systems and Informatics (2017–2020) and previously served as Vice-Dean for Organizational Studies (2016–2020). His research focuses on magnetometry methods for detecting ferromagnetic objects, ship magnetic signatures, electromagnetic field analysis in maritime environments, and defense technologies. Key areas include developing multi-dipole models for magnetic signature reproduction, analyzing ship deperming processes, and improving underwater detection systems. His work integrates FPGA-based signal processing and mathematical modeling for practical applications in defense and maritime security. Academically, Wołoszyn is a member of the Polish Society of Theoretical and Applied Electrical Engineering, the Committee on Thermodynamics and Combustion PAN (since 2007), and the European Defence Agency's expert panel (2004–2008). His awards include the Silver Medal in the INNOWACJE 2010 competition for superconducting magnet technology and multiple Rector Awards for scientific and didactic achievements. Wołoszyn's research also addresses railway turnout heating systems and energy efficiency analysis, reflecting his interdisciplinary interests in electrical engineering and applied physics. His contributions span over 50 publications, emphasizing cutting-edge methods for magnetic field manipulation and detection in complex environments.
Barbara Blankenship is a researcher and faculty member in the Department of Linguistics at the University of California, Los Angeles (UCLA). She holds a Ph.D. in linguistics from UCLA and has conducted extensive research in phonetics, morphology, and historical linguistics. Her work focuses on sound systems of languages, particularly vowel perception in second language acquisition and the analysis of endangered language phonetics. Dr. Blankenship has taught courses including 'History and Structure of English Words' and 'Science of the Singing Voice.' Her teaching philosophy emphasizes student autonomy and the practical relevance of linguistic concepts. Beyond academia, she has co-led a National Science Foundation-funded project to digitize UCLA's phonetics lab recordings, making them accessible for global research through The UCLA Phonetics Lab Archive . Her research interests span phonetics fieldwork, morphological analysis, and language change. Notable contributions include studies on epenthetic segments in English, vocal production in nonmodal phonation, and documentation of endangered languages like Cherokee and Mazatec. She collaborates with institutions such as Tellme Networks for phonetic transcription and contributes to language education via the UCLA Language Materials Project. In her career outside linguistics, she worked as a programmer, systems analyst, and technical writer, with expertise in library systems and database design. A lifelong learner with diverse passions, she also trained as an opera singer and maintains interests in geology, music composition, and fiber arts.
Andy Bleiler is an Assistant Professor of Theatre at Lipscomb University, specializing in scenic design and production management. He holds a BFA from Drake University, MAT from Concordia University, MS in Sustainability from Lipscomb University, and MFA from the University of Memphis. His work spans academic and professional theatres, including Lipscomb University, Nashville Shakespeare Festival, and Vanderbilt Opera Theatre, alongside film production (Sony's Sun Moon ). His designs have garnered acclaim from major publications like The Tennessean and Broadway World . Education: Bachelor of Fine Arts, Drake University Masters of Arts in Teaching, Concordia University Masters of Science in Sustainability, Lipscomb University Masters of Fine Arts, University of Memphis His research integrates sustainability practices into theatre production, alongside innovative scenic design techniques. He actively contributes to industry discourse through adjudication roles at USITT and presentations at regional conferences.
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