Miryam Sas is a Professor of Comparative Literature at the University of California, Berkeley. Her work bridges Japanese literature, film, theater, and avant-garde arts with critical theory. She specializes in 20th-century cultural movements, postwar Japanese experimental arts, and media theory. Her research includes studies on surrealism, intermedia, and post-Holocaust representation, with notable works like Feeling Media: Potentiality and the Afterlife of Art (2022) and Experimental Arts in Postwar Japan (2010). Her research interests span Japanese modernism, intermedia art, feminist film analysis, and photographic theory. She has curated exhibitions for institutions such as MoMA, the Getty Museum, and the Mori Art Museum, contributing essays on postwar avant-gardes and Japanese photography. Recent projects include translations of modernist poets Sagawa Chika and Ema Shōko, and collaborative archival work on Finding Zbaraż . Prof. Sas has been awarded the UC President’s Research Fellowship for her media theory work. Her teaching focuses on critical theory, Japanese cinema, and media studies, offering courses on infrastructural aesthetics and transnational Asian media. She actively participates in interdisciplinary dialogues through lectures and radio programs like France Culture’s La Fabrique de l’Histoire .
Prof. Dr. Isabelle Stauffer holds the Professorship for Modern German Literature at the Catholic University of Eichstätt-Ingolstadt , where she also serves as Vice Dean of the Faculty of Languages and Literature and Deputy Director of the Center for Religion, Church, and Society in Change (ZRKG) . She co-leads the ZRKG Research Field III on "Religiosity in Contemporary Transformation Processes" and examines intersections of literature with gender/queer studies , postcolonial theory , and cultural history of gallantry . Studied at University of Zurich and Humboldt University Berlin Doctorate (2006) and Habilitation (2015) from Johannes Gutenberg University Mainz Previously held positions at Goethe University Frankfurt, Philipps University Marburg, and Saarland University Her research spans early modern to contemporary German literature , with specializations in intermediality (film, digital media), epistolary culture , and dandyism/fashion history . Current projects include organizing the 2025 IVG congress panel "Figures of Crisis – Crisis of the Figure" and editing the complete works of Aurora von Königsmarck. She has published extensively on topics including: Postcolonial transformations in early modern texts Religious discourse in contemporary literature Intermedia reflexivity in digital age narratives Queer performativity in historical and modern contexts Translation as cultural transfer mechanism Surface aesthetics in cinema and art
Gabriella Giannachi is Professor of Performance and New Media and Director of the Centre for Intermedia at the University of Exeter's Faculty of Humanities, Department of English. She leads interdisciplinary collaborations between artists, academics, and scientists to advance research in performance and digital arts. Her educational background includes: BA in Modern Languages and Literatures from Turin University's Faculty of Letters and Philosophy PhD in English from Cambridge University, researching silence in modern European Drama with Trinity Hall scholarship Giannachi's research pioneers performance documentation in mixed reality environments, examining how digital archives function as mobile interpretation hubs for cultural engagement. She investigates mobile user-generated documentation's role in knowledge production, museum visitor dynamics, memory formation, and identity construction within ecological and heritage contexts, with significant focus on copyright and accessibility implications. Her publication trends reveal consistent exploration of presence theory across physical-digital boundaries, with award-winning CHI conference papers (2009-2013) and books like 'Performing Mixed Reality' (2011) establishing frameworks for understanding mixed reality performance, environmental art, and digital heritage preservation. Her scientific recognition includes: Three consecutive CHI Best Paper Awards (2009, 2012, 2013) Theatre Library Association Book Award nomination for 'Performing Presence' (2012) Royal Society of Arts Fellowship nomination (2012) While specific advisees aren't documented, her research partnerships demonstrate extensive collaborative supervision across institutions including Tate, Imperial War Museum, British Library, and Stanford Libraries, securing projects that integrate artistic practice with scientific research. As Centre for Intermedia Director, she cultivates experimental teams investigating how digital archives transform cultural engagement through mobile platforms, particularly in environmental contexts via partnerships with Met Office Hadley Centre and Ludwig Boltzman Institute.
Catherine Laws is a Professor of Music at the University of York, affiliated with the School of Arts and Creative Technologies. She holds a dual role as a musicologist and pianist specializing in contemporary music, with particular focus on interdisciplinary performance practices and the relationship between music and language. Her research explores collaboration, embodiment, and subjectivity in performance, alongside studies of Samuel Beckett’s musical intermediality. Laws maintains a Senior Artistic Research Fellowship at the Orpheus Institute in Ghent, leading the 'Performance, Subjectivity, and Experimentation' research cluster. Education: PhD in Music (University of York, 1996), MA and BA in Music (University of York) Her research spans two core areas: 1) performance-based studies examining performer agency, embodiment, and interdisciplinary collaboration through works like the multimedia Player Piano ; and 2) investigations into composers’ responses to literary texts, notably Beckett’s works. Key outputs include co-authored Voices, Bodies, Practices (2019) and edited Performance, Subjectivity, and Experimentation (2020). Her recent projects with filmmaker Minyung Im reimagine piano performances through film, blending sound, visual, and spatial elements. Publications reflect her dual focus: experimental music performance, Beckett studies, and collaborative art practices. Her work often bridges theory and practice, integrating compositional, performative, and audiovisual mediums.
Morten Søndergaard is an Associate Professor at Aalborg University’s Department of Communication and Psychology, affiliated with the Faculty of Social Sciences and Humanities. He is part of the Art, Aesthetics & Health Research Laboratory and the MASSHINE initiative. His research focuses on sound art, media art curation, and transdisciplinary practices, emphasizing the exclusion mechanisms in 20th-century art systems and unarchived avant-garde movements. Søndergaard has curated exhibitions globally, including at Kiasma and ZKM, and co-founded the POM conference series and ISACS symposia. He leads the Erasmus Master of Excellence in Media Arts Cultures, collaborating with institutions in Austria, Poland, and Hong Kong. His work bridges art, science, and technology, with recent projects exploring sonic archives and participatory curatorial frameworks. Key collaborations include roles with the European NeMe network, SUNY College New York, and the Momentum Biennial. He has organized over 20 projects since 2008, including the 2025 Momentum Biennial as head curator. His teaching spans media art theory, sound art practices, and curatorial methodologies at both bachelor and master levels. Søndergaard’s research outputs include over 145 publications, with a focus on sound art’s theoretical and practical dimensions. His current projects emphasize ‘uncurating’ methodologies and the reactivation of marginalized avant-garde practices. Notable activities include editorial roles, international conference organization, and advisory roles in art and science networks. His work has been featured in media outlets like Artdaily and the Biennial Foundation, highlighting his contributions to contemporary art discourse and curatorial innovation.
Serge CARDINAL is a Full Professor at the Department of Art History, Cinema, and Audiovisual Media at Université de Montréal. His research focuses on the intersections of sound, music, and cinema, blending philosophical inquiry with creative practice. He leads projects exploring musicality in film, interdisciplinary analysis methods, and the legacy of cinema through installations and exhibitions. Education: The text does not explicitly detail his formal education, but his extensive academic output and professorial role suggest advanced degrees in cinema studies and related fields. Research Interests : Musicality in film, research-creation, Deleuzean philosophy applied to cinema, actor studies, and interdisciplinary audiovisual practices. His work bridges theory and practice, using soundscapes, installations, and performances to analyze cinematic material. Recent Projects : Includes installations like Tombeau de Gilles Groulx (2019) and The Political Glenn Gould (2024), as well as collaborative research networks like the OICRM. He has explored digital tools for cinematic analysis (Numalyse, 2025) and sound transcription in intermedia contexts (Studio Glenn Gould, 2021). Grants & Funding : Recipient of grants from FRQSC and SSHRC for projects on sound in Quebec cinema, research-creation methodologies, and interdisciplinary music-cinema studies. Leads teams in strategic research programs and individual creation grants. Labs/Teams : Member of the Observatoire interdisciplinaire de création et de recherche en musique (OICRM) and the research-creation lab La création sonore: cinéma, arts médiatiques, arts du son .
Keith Obadike is a Professor in the Department of Art at Cornell University's College of Architecture, Art, and Planning (AAP), where he also serves as Director of Undergraduate Studies. He is an acclaimed interdisciplinary artist and composer, known for his collaborative work with Mendi Obadike, which spans sound art, digital media, public installations, performance, and internet-based projects. His artistic and academic work critically engages with technology, race, history, and identity. Obadike earned a B.A. in Visual Art from North Carolina Central University and an M.F.A. in Sound Design from Yale University. Prior to joining Cornell, he taught at William Paterson University and held visiting positions at Princeton University, Columbia University, Northwestern University, and the Art Institute of Chicago. His research and creative practice focus on sound art, digital media, public art, performance, and collaborative practice , with strong interdisciplinary connections to Afrofuturism, data sonification, and social justice. He explores how sound and technology mediate racial identity, memory, and liberation, notably through the concept of acousmatic blackness , which he and Mendi developed to describe the racial perception of sound when its source is unseen. Obadike’s selected works include large-scale public sound installations such as Blues Speaker (for James Baldwin) , Free/Phase , Compass Song (Times Square Arts), and GuideStar (Space Needle, Seattle). His projects often use data sonification, archival research, and mythic storytelling, blending historical inquiry with futuristic vision. Notable series include the Opera-Masquerades , Americana Suites , and Numbers Station works, which transform databases of violence into sonic experiences. His honors include: Rockefeller New Media Arts Fellowship (2004) Louis Comfort Tiffany Biennial Award (2015) New York Foundation for the Arts Fellowship in Fiction New Music USA Creator Development Fund (2022) Obadike has received commissions and support from institutions such as the Vera List Center, Harlem Stage, Times Square Arts, the American Composers Orchestra, and the Cornell Mui Ho Center for Cities. He has exhibited and performed at The New Museum, The Whitney Museum of American Art, MoMA, and The Studio Museum in Harlem. His writings and publications include contributions to Studies into Darkness (2022), and artist books such as Four Electric Ghosts and Big House / Disclosure (both 2014). He has also released albums like Crosstalk (2008) and created internet artworks such as Blackness for Sale (2001) and The Interaction of Coloreds (2002), which are foundational in new media and critical race art. While specific advisees are not listed, his role as Director of Undergraduate Studies and Professor indicates active mentorship. His work is deeply collaborative, often co-created with Mendi Obadike, and supported by interdisciplinary teams and institutions.
Rachel Devorah Wood Rome is an Assistant Professor in the Electronic Production and Design (EPD) department at Berklee College of Music, where she teaches creative coding, live coding, and music technology. Her work bridges electronic music, improvisation, and critical theory, with a focus on sonic cyberfeminism, archival practices, and the social meanings of sound and space. Ph.D. in Music Composition and Computer Technologies, University of Virginia (2018) M.L.I.S., San José State University (2017) M.A. in Music Composition, Mills College (2013) B.Mus. in Horn Performance, CUNY Queens College (2007) Her research explores superhuman prolongation, opaque complexity, and the re-signification of archaic tools in sonic media. She values machines for their patience and memory, and her creative practice emphasizes critical agency in technology design and use. She performs under the name 'mehetabel' when using archival materials in improvised electronic music. The most recent publications and performances reflect a deep engagement with AI and music, live coding, feminist media theory, and spatialized sound. Her works often involve real-time data processing, generative systems, and collaborative improvisation, situating sound within broader social, political, and technological contexts. Ruth Anderson Installation Prize (IAWM) New Music USA Grant Fellowships from MIT OpenDocLab, Adrian Piper Foundation, Ina GRM, New Museum, and Jefferson Scholars Foundation Residencies at EMS Stockholm, STEIM Amsterdam, MassMoCA, and Cove Park Rome advises emerging artists in electronic music and creative coding, many of whom have gone on to establish their own practices. She is also active in academic service, including curriculum development, faculty governance, and labor organizing as a Councilor for the Berklee Faculty Union. She leads initiatives in DEI, sound design, and coding pedagogy within the EPD department. She has been involved in interdisciplinary collaborations with artists, technologists, and institutions worldwide, presenting work in galleries, festivals, and academic conferences across North America, Europe, and Asia. Her leadership extends to nonprofit arts organizations, where she has served as Executive Director and grantwriter.
Gloria Sutton is an Associate Professor of Contemporary Art History and New Media at Northeastern University, with an affiliation in the Art, Culture, and Technology Program at MIT. She holds a PhD from UCLA and has held fellowships at the Getty Research Institute and Whitney Museum. Her research focuses on durational media’s impact on visual art since the 1960s, with particular attention to expanded cinema, digital networks, and post-internet art. Primary affiliations: Northeastern University (main appointment), MIT (affiliate) Key roles: Carpenter Center Scholar-in-Residence (2017-2018), co-curator of How Many Billboards Education: Doctorate in Art History from UCLA (specific year not stated). Research interests include: Critical analysis of network culture in visual art Material histories of time-based media Intersection of art, architecture, and technology (e.g., Le Corbusier studies) Publications include The Experience Machine (MIT Press) and edited volumes on Sara VanDerBeek and Renée Green. Current projects explore immersive art critique and Shigeko Kubota’s work. Awards: Andy Warhol Foundation Arts Writers Grant (recent) Emily Hall Tremaine Award (2008) Grants and residencies: Carpenter Center residency (2017-2018) Whitney Museum Independent Study Program fellowship Lecturing and collaborations include engagements at SFMoMA, Walker Art Center, and Harvard’s Carpenter Center for Visual Arts.
Rebecca Schneider is a Professor of Modern Culture and Media at Brown University, specializing in performance studies, decolonial methods, and interdisciplinary art practices. Her work interrogates intersections of media, theatre, and Black feminist thought, with a focus on historical reenactment, gesture ethics, and postcolonial critique. Her research interests span decolonial methodologies, liveness in performance, and the prehistories of screen media. Key projects include *This Shoal Which is Not One* (2020), exploring African diasporic narratives, and *Slough Media* (2018), which examines media's materiality. She has been awarded a Guggenheim Fellowship (2021) and the Notable Book Award (2011). Schneider has contributed to journals like TDR, edited special issues on precarity and new materialisms, and collaborated with global institutions including the British Museum and Guggenheim. Her current projects include a digital book on gesture and a work on dance in post-slavery capitalism.
Luisa Wellert is a Research Associate at the Innovative Educational Technologies Department within the Tübingen Center for Digital Education (TüCeDE) at the University of Tübingen since September 2023. She is also a PhD student at TüCeDE since October 2022. Education: Master of Arts in Intermedia and General Educational Science (2020-2022) from University of Cologne Bachelor of Arts in Media Studies and Educational Science (2016-2019) from University of Tübingen Research Focus: Her work centers on media pedagogy , media didactics , and adaptive learning systems , with particular emphasis on AI integration in educational contexts. Recent projects examine automated qualitative coding of AI tutoring dialogues using large language models and effectiveness of self-developed adaptive systems in schools. Publications: Recent work analyzes assessment methodologies in adaptive learning systems, compares performance-based and cognitive load-based evaluation approaches, and explores implementation challenges of DIY adaptive technologies. She actively contributes to open-source AI tutoring initiatives through the OSATI project. Presentations: Luisa presents her research at major conferences including EARLI, LEAD Research Meeting, and GEBF Conference, focusing on practical implementations of AI-based educational tools and their cognitive impacts. Professional Activity: Prior to her current role, she served as Project Manager for Educational Research at TüCeDE (2022-2023) and worked as a Research Assistant at mmb Institut GmbH (2021-2022) and mecodia GmbH (2018-2020). She also has experience in media education and empirical media research.
W. B. Worthen is Alice Brady Pels Professor in the Arts at Barnard College and Professor at Columbia University, where he holds joint appointments in the Department of English and Comparative Literature and the School of the Arts. He co-chairs Columbia's Ph.D. Program in Theatre and Performance. His research investigates Shakespeare in performance, modern theatre practices, and the intersection of technology with performance. Key areas include media archaeology of theatre, digital performance, immersive theatre design, and Shakespearean adaptation across media. His work examines how performance technologies shape theatrical interpretation and audience experience. Honors include a Guggenheim Fellowship, NEH Fellowship, Styan Collegiate Professorship, and multiple teaching awards. Publications explore theatre's evolving relationship with media technologies, from print to digital platforms, examining how technological mediation transforms performance interpretation. He has served as editor of leading journals including Modern Drama and Theatre Journal , and currently edits Cambridge University Press's Elements: Shakespeare Performance series.
Prof. Dr. Eva Ehninger is a leading academic at the Institute for Art and Visual History at Humboldt University of Berlin , holding the Professorship for Modern Art History . Her research bridges photography theory, modernism, postcolonial studies, and transcultural methodologies , with a focus on visual media’s role in constructing social order. Education: Heidelberg, University of Michigan, Frankfurt/Main Doctoral thesis: Vom Farbfeld zur Land Art (2011, Benvenuto-Cellini Prize) Her research explores how photography, media, and art mediate social, political, and cultural dynamics. Current projects include the Käte Hamburger Kolleg inherit-heritage in transformation and Art Education Between Heritage Making and Critical Transregionality , analyzing entanglements between South Asian and European art education histories. Publications like The Modern Dream of Order (2025) and Ed Ruscha’s Streets of Los Angeles contributions examine Los Angeles as a site of visual critique and urban documentation. Her scholarly output spans 15 recent works addressing topics such as Victorian photography’s social imagination , biological metaphors in Smithson’s art , and dialogue in Nauman’s practice , reflecting interdisciplinary intersections of art history, media theory, and critical studies . She has received prestigious support from institutions like the Getty Research Institute and Terra Foundation for American Art . Scientific awards: Benvenuto-Cellini Prize (for dissertation) Grants: Studienstiftung des deutschen Volkes, Fulbright Commission, BMBF Ehninger supervises 10 ongoing PhD projects and co-edits journals like kritische berichte and Zeitschrift für Kunstgeschichte . She is a Vertrauensdozentin (Trusted Academic Advisor) for the Studienstiftung des deutschen Volkes, demonstrating her commitment to academic mentorship.
Benjamin D. Piekut is a Professor in the Department of Music at Cornell University, New York. His academic journey includes a Ph.D. in historical musicology from Columbia University, M.A. in composition from Mills College, and B.A. in music and philosophy from Hampshire College. Research Focus: Music and performance after 1950, critical improvisation studies, sound art, and intersections of music with race/gender politics Key Publications: Experimentalism Otherwise (2011), Henry Cow: The World Is a Problem (2019), and The Oxford Handbook of Critical Improvisation Studies (2016) Recognitions: Whiting Foundation Fellow, MIT Press '50 Most Influential Articles' selection, and funding from NEH and Arts and Humanities Research Council Editorial Roles: Co-editor of Oxford Handbook, editor of Tomorrow is the Question, and special issues for Contemporary Music Review and Third Text Contemporary Engagement: Curatorial advisory board member at Blank Forms (NYC), contributor to Flash Art and Texte zur Kunst His recent work explores the 'vernacular avant-garde' concept, analyzing experimental music's relationship with commercial institutions and mass audiences. Research spans from 1960s New York avant-garde to 1970s European experimental rock band Henry Cow. Current projects include sound art preservation challenges and media-specific music analysis.
Dr. John Hails is a Senior Lecturer and Reader in Music at Edinburgh Napier University , where he teaches aesthetics, music psychology, composition, and ethnomusicology. He holds a PhD in Music from Durham University (2008) and has trained under notable composers like Brian Ferneyhough and Richard Barrett. His research focuses on experimental composition, marginal musical practices, and interdisciplinary aesthetics. Educations: Bachelor’s and Master’s training at Durham University and University of Huddersfield PhD by Portfolio of Compositions (Durham University, 2008) Research Interests: John’s work explores unorthodox intonations, fixed media installations, and the intersection of composition with philosophy and ethnomusicology. He actively presents at international conferences on topics like post-structuralist critiques in music education and communal performance practices. Notable Works: His compositions have been performed by ensembles like the London Sinfonietta and broadcast on BBC Radio 3. Key pieces include enlightenment (microtonal trumpet and media) and Nine for ones in nine , reflecting his experimental approach. Awards & Grants: While no explicit awards are listed, his research is funded by Edinburgh Napier University. He is a core member of the Applied Music Research Centre . Supervision & Grants: He has supervised over 15 postgraduate projects, including PhDs on topics like Musical Cultures of Melanesia and Dialogical Music Systems . His supervisory roles span composition, ethnomusicology, and interdisciplinary studies. Labs/Teams: Active in the Applied Music Research Centre , focusing on creative practice and experimental music dissemination.
