Category Archives: Residents

FALLING IN | Marta Wörner

pre- Residency Workshop: 

26 & 28 Feb 16:30 – 19:30 / 2 & 9 March 10:30 – 13:30/ 3&10 March 13:00 – 16:00

Fee​: 15 euros* for the whole workshop.
*The symbolic fee of the workshop is meant to cover the cost of the space. However, if any participant has a firm wish to attend but an honest economical impediment, the participant can communicate the situation to the organization and not be charged

In this workshop, we will explore the physical, psychical and sensorial implications of the action of “falling in”.
Inspired by the Deleuzian concept of “becoming” (coming from the Latin verb “devenire” which means “coming down, falling in, arriving to”) Marta Wörner proposes the inquire of the fall as a physical door to the unknown. Understanding “falling in” as an uncontrolled abandoning the body to the force of gravity and embracing its implication on the mental state of the performer, we will focus in the re-organization of the body in between moments of physical balance.
It is a play between controlling and “falling in” in which the participants will inquire the potential of their articulated movement, the openness of the body worked through the relaxation and conscious use of the core, and the awareness of the space.

The kinetics of the human body and its ability to reorganize itself to become another thrives me. As a maker, Marta is interested in exploring its interaction with other structures that do not change or move that way, as the established structures in the city or fundamental building blocks of our thoughts and beliefs.

The workshop also has the aim to invite a selection of participants to the following artistic residency of Marta Wörner at CLOUD DansLab, in which she will continue developing her artistic research.

Defining the body as a natural structure, she always wanted to learn from it. With the firm thought that the body has an inherent valuable knowledge that I can not name yet, but intuit it, I always moved.
Her other fascination is the deconstruction of the space through the scenographic tools and the dramaturgical possibilities of it.
The goal with this research is to build a space between the theatre and the street through the deconstruction of space and scenographic dramaturgy as tools, which allowed me to explore the dichotomy solid-fluent/structure-destructure and its application and affections to the body, all below the inspirational umbrella of the idea of performing the concept of “becoming” and reflecting on it.

RESEARCH QUESTION FOR THE ARTISTIC RESIDENCY AT DANSLAB.

The artistic residency at CLOUD DansLab will start with the workshop FALLING between 26 Feb- 10 March , the reserach stage of the residency will be carried out between the 13th and 26th of May.
In this two weeks residency at CLOUD DansLab, Marta wants to explore the implications of transferring my findings on the embodiment of the Deleuzian concept of becoming as a tool for material creation to other dancers/performers..

RESIDENCY LO BIL

18 – 24 March 2019

workshop & presentation 23 March 18:30

lo bil is a York University Interdisciplinary Masters student creating body-based performance art using cross-disciplinary methodologies to correlate research into process, pleasure, vulnerability, an aesthetics of feeling, and the impacts of a social location on identity. Through non-repeated performance gestures, lo generates intuitive research into academic concepts by using physical improvisation, spontaneous utterance, impulse- based scores, object manipulation, and interrelational proposals with audience. Her work has been called “raw”, “amusing”, “transparent”, and often involves creating a feedback loop with the audience.

I am developing a performance-research practice of “dropping” questions into the body, aiming for “non-repeatability” and moving on intuition as a method for understanding philosophical texts.

Encouraging myself to move into states of intoxication through movement provides an entry-point into my unconscious image life, connecting abstract physical impulses to sublimated content by letting speech effect movements and movements affect speech. Making this physical practice into a performative one, layers on an interrelational complication, to notice how the body responds to itself while being seen by others – in this state of hyper-awareness and “felt knowing” – thoughts surface differently.

In this performance lecture, the one I am performing during the Performance Philosophy Conference in Amsterdam, I ask how 3-4 texts are related at the beginning and I follow what my body does in the space and time in front of the audience. I don’t focus on the question, I focus on what my body is drawn to as a non-linear opportunity kinesthetically answer the question. I integrate these spontaneous emanations by accepting what occurs as part of the answer. This is a wild testing of the belief that the body knows in ways that the mind cannot access unless intuitive movement occurs.

I become aware of “habits” or psycho-physical patterns of movement and related thought sequences from memory. I try to identify, deconstruct and reorder these habitual patterns into non-repeatable forms, disrupting psychic material that surfaces. I want to interrogate habits that are blocking my ability to create new ways of thinking. I will prepare with texts by Butler, Nancy, Deleuze and Guttari, Ranciere and Agamben.

ARTIST STATEMENT:

I am a Performance Artist. I write with images – sourcing my work from my own identity transparently and investigating my philosophical problems with improvisatory actions and object relationships. I offer audience situations and provocations to dream around. I offer a context for people to think of their own questions and notice their own desires.

I practice for months, but in the moment before the performance, I let go of what I want to happen or expect to do. I ask, “How can I be in front of this audience in an attentive and receptive way and what is moving to me about the topic at hand right now?” I do this action. This first mark on the canvas is an offer that I follow through to the end of the composition. I use body memory as a generative source of possible exchange and inquiry. In this way, I am researching my knowledge and lack of knowledge; I am accepting the reality of my body, the reality of my economic state, the reality of my class, my gender and all unknown aspects of my history.

This performance style is a DIY strategy where in body and thought I am ready to perform at any moment in alignment with my own integrity and the nature and energy of the people present. The “currency” of this methodology is the responsiveness to context – information can be immediately incorporated into the texture, movement, and conversation with the audience – thus the work allows us to unpack questions in a collective way.

I am also researching what it is that elevates my consciousness in the moment of performance – that energetic flow that allows meaning to emerge that I could not have realized if I had not made the performance. This question has come from my constant radical doubt around: why perform at all? I keep performing because actually it is in the moment of performance that I don’t know where I’m going, that I can look back at and say: I know where I am going now, thanks to this performance. As crazy or wild as the performative state can be, it leads me into knowledge.

I would love to have conversations with local artists to help generate more context for the performance proposals and for my thesis writing.
If you are interested please contact me : lbil@rogers.com

Blog : http://lo-bil.tumblr.com/ 

RESIDENCY ELIEN, DASHA & JUDITH

25 Feb – 10 March 2019

1st workshop / sharing 1 March 19:30

2nd presentation & workshop 8 March 19:30

About the residents

Elien Hanselaer (Belgium) works as an actor and theatre-maker in Belgium and United Kingdom. She has worked with international companies such as Dash Theatre and Odin Teatret. Elien focusses in her work on the feminine aspect of theatre, seeking spirituality and community in her work. The actors create from communal work in an empathic methodology setting, which is radically changing. Elien started an artistic, practise-based research on actor-actor connection in September 2018.

Dasha : My research is focused on communication through touch. I am gathering tools that enrich human tactile sensuality, drawing from all possible sources ranging from academic research to Argentinian Tango dancing. The more fine-tuned our senses are, the richer our tactile communication can be, and the more pleasure and knowledge we can derive from this experience. Skin is out biggest organ. Touch is the first language all of us have used to communicate before we learned to talk. Whether we are aware of it or not, much of our information exchange still flows through our skin. I think it is a language worth mastering.

Judith is an interdisciplinary artist and movement researcher. The body, in its whole existence, is her biggest fascination. Her research focuses on our movement patterns / habits and how we can learn to recognize them and therefore have the possibility to bend /change them . As an artist she has been busy with this with her theater collective of mutli disciplinary artists and friends LUDIC COLLECTIV. As a scholar she is in her 2nd year of Feldenkrais teacher training, where she is learning  about Awareness Through Movement & Functional Integration.

In the last twenty years, the performing arts have spend a great deal of time researching ‘how the artist can get into total interconnectedness (comparable to the psychological concept ‘flow’), seen as the ideal state for an actor or musician to perform. The core concept leading to total interconnectedness is, according to theatre theoreticians, the interconnectedness between the actor and co-actor. In contemporary a acting (training), which has become more and more based on the individual, actors today struggle to connect to the co-actor or practise on-stage empathic listening. In a culture whose already classical dilemma is het hypertrophy of the intellect at the expense of energy and sensual capability, Western theatre today is shaped by theoretical paradigms such as semiotics, deconstruction, psychology, and post-structuralism instead of the empathy, connection and coming together it so desperately needs.
The experiment we are proposing is to look at how performers connect and how they can connect better. We will be researching this through a mixture of theatre, Argentinian Tango and Feldenkrais technique. The experiment functions as an inspiration for the development of dialogical and trans-individual theatre and approach of theatre making that reflects the many dimensions of our humanity, society and potential back to us.



call for participatory audience | Tatiana Kolganova

Please choose one or more days in which you will like to join

May 24, 28, 29, 31 | From 12.00-14.00.

(presentation: Thursday 5 Juli  19:00)

contact Tatiana via: tanianak@gmail.com

Tatiana Kolganova is a multimedia artist and researcher. She explores human relationships with a natural environment. Mostly her art practice focuses on the intersection of language, imagination and human senses. Working with different media Tatiana is interested in creation of an art experience with active participation of an audience.

Currently she studies master program of Fine Art at HKU, University of Art, Utrecht NL.

During her residency at Cloud, artist Tatiana Kolganova will develop a participatory performance about imaginary contact with a natural landscape.

Everyone is welcome to join in the process of work and explore the different aspects of collective and personal imagination.

We will experiment with:

-Representative elements of a landscape.

-The power of a ceremonial process

-Different layers of personal imagination.

-Collective creation of an imaginary natural environment

and others prepared and unexpected elements.

After each session we will have a short discussion about the process.

Art lab: your collective movement (work in progress)

What: a sensorial exercise for a small group of people in complete darkness
For who: open call for test audience, free entry
By who: Aisha Pagnes 


“The defensive and unfocused gaze of our time, burdened by sensory overload, may eventually open up new realms of vision and thought, freed of the implicit desire of the eye for control and power.” Juhani Pallasmaa
And perhaps by relying on our sensorial capacity and perceptual ability we can fertilise the grounds of these new realms through artistic experiences, so that we may reclaim the gaze of our whole being.

How does a darkened safe space influence the way we perceive ourselves, our environment and one another?
Over the course of one week, CLOUD/Danslab will become a completely darkened environment.

During this period, I will gently guide you through daily sessions that work toward our sense of presence, sensorial awareness and felt connection.

What does it look like:
We will move delicately in the dark through a sequence of simple movements. Each person is equipped with two light dots* for visual reference.
*(Light-dot: a 6mm magnetised dot that clips on clothing. In darkness it glows white. The glow dims naturally over time).

What will be practically explored:
– When our senses of proprioception, hearing and vision are fully activated in a darkened space, how is our perception of self and of the other influenced?

– How emergent movement is experienced meaningfully in an unconventional environment.

– How verbal variations of the same instructions influence audience participation.

– How can we effectively compose such experience? (one that is repeatable, has a clear beginning, entry, exit and quality).

What can you expect:
– To be an active part of the creative collective process, aimed at finalising a time-based perceptual composition that lends itself to a broader audience as a participatory experience.

We will brainstorm together, go through iterations of movement and sensorial exercises to improve concentration and a sense of togetherness. Your input and feedback as a creative being will shape the week’s progress.

– A warm and friendly environment, with tea, coffee and snacks. In this, a chance to experience this same environment in an expanded and evocative way.

When:
based on your availability, open from Monday 7th to Sunday 13th of May. Times to be decided.

This practice week is part of a work in progress which focuses on audience participation and interaction, whereby simple means such as absence of light and basic movements are the elements driving the poetic experience. Below an excerpt of the sequence:

Situation Body: Participants wear a light-dot on the chest (above clothing) and on the back. The room is completely dark.

Begin by standing upright and still.
As if you were a singly entity,
arrive in unison with the others to a comfortable walking pace.

[…]

Profile: Currently studying at the ArtScience Interfaculty, I set up interactive installations where audience participation is the primary concern, as a result, test audiences are key influences in the various stages of development. Non-verbal communication and sensory awareness is a recurrent theme in what I look for. http://cargocollective.com/arp

If you would like to participate or want to know more please get in touch: ryannon.aisha@gmail.com

Presentation | Residency of Alegia P.

Residency : 12- 25 march 2018
Presentation : 14 april 2018  | 7:30pm until 9:00pm
I am an emerging media scenographer and visual artist. I am based in The Hague (Netherlands) but working between The Netherlands, London, Athens as well as other cities in Europe. My background is in Design (BA Interior design / Vakalo College of Arts & Design Athens, University of Derby UK) and I hold a master’s degree (MA Scenography from the Royal Central School of Speech and Drama, University of London). Currently I am undertaking my second master’s degree MA ArtScience in The Artscience Interfaculty (Royal Academy of Arts – Royal Conservatory – The Hague NL).
I work mainly in set and costume design for performance, theatre and installations. My work involves video, photography, lighting, projection mapping, sound editing, electronics hacking, scenic art, sculpture and any other technical support suiting the project.

In March 2018, I had a two weeks residency in The Cloud DansLab, in The Hague. During this residency, I started working with the idea of perception, body, movement and vision.

Key words: perceiving, touch, smell, see, feel, movement, formless.

People perceive differently the world around them due to many factors such as nationality, age, gender etc. According to Freud, the infant starts to perceive the world through his/ hers body.

Perception allows behaviour to be generally appropriate to non-sensed object characteristics. For example, we respond to certain objects as though they are doors even though we can only see a long narrow rectangle as the door is ajar.

I am using the vision (present or absent) to change (the condition) of people’s perspectives. I whilst to question the visible via sensations (hear, touch, smell, movement). And to “force” someone to experience simple very basic actions such as walking (with the eyes shut) by feeling not thinking.

The basic questions that need to be answered are:
What do you see?
How do you feel?
What do you hear?

(I can hear a smell or the silence. There is a sense of touch in seeing and a sense of seeing in touch etc.)

Someone needs to lose control in order to perceive differently.

Residence | Luis Odriozola | 16-29 July

Movement labs | 20 & 27 July 10:00 till 11:30 ( doors open 9:45) |5€

Presentation | 29 July | 20:30 ( doors open 20:15)

‘Johnny Horne’

Is a work that touches the Man’s smallness in the middle of the immensity, in the middle of the infinite possibilities of this world. It is solitude. It is an attempt to communicate and searching for answers that never come. It’s the need/impossibility to understand the world and make the world understand “you”. It’s the “pre” and “post” of the sonority. The before, the between and the after of the expression.

Using limits, impotence and frustration as generators of energy and starting points towards states. Thinking What a body and a voice are and what happens in them before they can articulate movements or words.

Asking what makes people unable to communicate normally? What are the facts that block our body and voice and don’t allow us to express ourselves freely.

How can we ensure that our education, culture, society and religion don’t influence any more our expressive and communicative barriers?

This performative/dance work has another layer that I am explaining below:

“Johnny Horne” is a solo creation in process emerged in the context of PEPCC 2015/16 (Forum Dança), Lisbon.

It has been assisted for now by Loic Touze, Vania Rovisco, Miguel Pereira, Paula Caspão and Britta Pudelko among others. But is in a new phase of restructuring and opening up new visions of inclusion of other elements (other artists, choreographic elements, etc.).

“So for me the project is at a new beginning where time becomes relative regarding to the date and place of premiere. It is in a moment of focus more in the process so as not to lose it due to the idea of show, as it happened before.”

“There is an interest for me in the process of understanding the questions explained in the previous short description of the project, and looking for answers through work/training and physical and vocal research. A process of removing layers and negations to find essences (authentic and natural movements and sounds), to work with them in the composition and transmission through performance or performative presence. It is a process in which working with the subconscious can become very important.”

About the artist:

Luis Odriozola graduated in Dramatic Art in the specialty of textual interpretation in the Higher School of Dramatic Art (ESAD) of Cordoba, having also studied Social Education at the University of Granada.

During 2015 he assisted as an external student to the technique classes in the CAD (Andalusian Center of Dance) in classical, modern and contemporary dance.
He completed the formation of PEPCC, Forum Dança in 2015-2016 and currently participates in the formation of PEPCC-C 2017.

With experience in folk dances of Europe and traditional dances of the world, he learns as well clown techniques, improvisation and African and corporal percussion. He has an interest in photography.

Movement Labs: 

A warming up focussed on the physical and voice practice Luis uses as a base in  ‘Johnny Horne’ . It will be lead according to the necessities of the rehearsal  of that day and the interest of the participants.

Klein technique, yoga, contemporary dance and traditional songs of different peoples of the world are part of the easy going training that searches to awake the body and place it in a different state of presence to work in creation and composition.

Residence | Performance artist Ronald Bal | 2 – 9 July

From 2 – 9 July at CLOUD Danslab

Ronald Bal graduated as a visual artist at ArtEZ Zwolle (the Netherlands) and was awarded with the ‘Best of graduates 2010’ exhibition at Gallery Ron Mandos in Amsterdam. His work is shown at diverse museums and project spaces, including museum CODA in Apeldoorn (2104-2015) 21 Rozendaal in Enschede  (2010), National Palace of Culture in Sofia (2016) and the Grimmuseum in Berlin (2013). In addition, Ronald Bal participated in various festivals and academic conferences, such as PAO 2015 in Oslo, Creature Live Art in Kaunas (2014), Venice International Performance Art Week in Venice (2016) and the academic conference ‘The politics of Performance and Play. Feminist Matters (Leiden University, 2016). From 2010 – 2016 Gallery Zerp in Rotterdam represented his work and showed his work in various exhibitions and art fairs. Ronald Bal also taught performance art at Willem de Kooning Academy Rotterdam and during PAS 2014 (Performance Art Studies) in Kaunas, Lithuania.

Characteristic for Ronald Bal is a multidisciplinary practice that integrates visual- and performance art through various methods of translation, such as choreography, sculpture, video and storytelling. In doing so he explores the language of movement, creates spaces to expose and elude systems of representation and mechanisms of subjectification, and aims to reformulate the relationship between the object and the subject.

www.ronaldbal.com

Residency|Secret Fiction Lab| Aron Birtalan

aron

Secret Fiction Lab | Winter 2017

a series of 2-3 hours sessions

between 27th Jan and 4th Feb 2017 – CLOUD/Danslab, Den Haag

info, schedule and signup – secretfiction.eu

Starting from 2017, Secret Fiction Lab is inviting participants to engage in sessions, where get to explore different realities, fictional scenarios and situations in a safe and playful environment, that is created by us and exists only for us.
Elements of performing arts, movement practices, games and role playing are implemented in the everyday, and through that, transforming its reality.
We play games, try out exercises, play out small rituals. After the session we collect, and share our experiences with each other.
Each session is tailored to accommodate newcomers, so you can join anytime you like!

If you like playing, moving around in a room with others, and/or interested in a largely unexplored territory between rituals, art and the everyday, this is the place for you!

Schedule, Sign Up an F.A.Q. on secretfiction.eu
RSVP via: www.facebook.com/events/112511509247583

Workshop | March 2 | Tactile Enunciations. Rhythm and Reading | Emilie Gallier, Teoma Naccarato

TactileEnunciations_Confluences

Workshop, Thursday March 2, 5pm 7pm
Suggested contribution €10, everyone welcome, register
The workshop is a moment of sharing within the residency of Emilie Gallier and Teoma Naccaroto.

Two rivers spill into each other. Each body of water has a unique rhythm, temperature, and composition, so the process of mixing is gradual and dynamic. Confluence involves collision, resistance, and mediation – in context.  We explore confluences across analog and digital materialities, through tactile gazing and listening between partners, and with objects. Using stethoscopes and transducers, we play with how sounds from the body and environment can be (re)materialized and (re)distributed as haptic feedback in the surfaces of paper and skin.  We share practices that involve breathing and sensorial exercises as a way to tune the act of reading into  a tactile activity.  As we listen and read, the channels of confluence multiply and overflow, leading us to examine moments of dissonance and interruption within collective practice and creation.

Bios

Teoma J. Naccarato (Montréal, Canada / London, UK) is a choreographer and interdisciplinary arts researcher. Through her collaborative creations for stage and installation, she explores the appropriation of surveillance and biomedical technologies in contemporary dance and performance. Her work proposes promiscuous encounters between participants, human and nonhuman, to provoke intimacy, vulnerability, and uncertainty. She has shared choreography internationally, with recent presentations of Experience #1167, Synchronism, and X. Naccarato has an MFA in Dance from the Ohio State University, and is presently pursuing a practice-based PhD at the Centre for Dance Research (C-DaRE) at Coventry University. http://www.naccarato.org/dance

Emilie Gallier is a French choreographer ( PØST Cie) and a researcher (C-DaRE Coventry University) living in Leiden (NL). Her work shows recurring subjects of imagination, sensation and thought. She uses the writing of movement and the movement of reading (scores and choreographic objects) to research relation within theatre, probing exchanges between spectators. Her dance performances on stage and on paper, her lectures and workshops are presented in The Netherlands and Europe. Since 2016, PhD Candidate in Coventry, she graduated in 2012 from the Master of Choreography at ArtEZ (Arnhem). Before that she attended the program Transforme with Myriam Gourfink and learned Laban kinetography at the Conservatoire de Paris. As part of her practice, Emilie Gallier writes, edits, teaches, performs, collaborates (Rosie Heinrich, Tilman Andris, Clémence Coconnier), works as a mentor, a lecturer, member of the artists-run cultural space CLOUD in The Hague. Current projects include Trouble Wit and Read. Move. Implicated. http://www.post-cie.com

Residency| Confluences: Experiments in Rhythms and Reading | Emilie Gallier, Teoma Naccarato

TactileEnunciations_Confluences

Residency from February 27 – March 5 + Workshop on Thursday March 2, 5pm 7pm

Two rivers spill into each other. Each body of water has a unique rhythm, temperature, and composition, so the process of mixing is gradual and dynamic. Confluence involves collision, resistance, and mediation – in context.  During our residency at Cloud, we will explore confluences across analog and digital materialities, through tactile gazing and listening between partners, and with objects. Using stethoscopes and transducers, we will play with how sounds from the body and environment can be (re)materialized and (re)distributed as haptic feedback in the surfaces of paper and skin.  We share practices that involve breathing and sensorial exercises as a way to tune the act of reading into  a tactile activity.  Additionally, we engage in experiential modes of writing (sensorial writing, the text as body, the sensing body reading, drawing, and writing), and experimental reading (play with visual range, reading to each other, reading and dreaming). As we listen and read, the channels of confluence multiply and overflow, leading us to examine moments of dissonance and interruption within collective practice and creation.

Key interests: Rhythm, Attending the imagination of others, Listening, Reading, Dreaming, Materialities, Analog-Digital.

Bios

Teoma J. Naccarato (Montréal, Canada / London, UK) is a choreographer and interdisciplinary arts researcher. Through her collaborative creations for stage and installation, she explores the appropriation of surveillance and biomedical technologies in contemporary dance and performance. Her work proposes promiscuous encounters between participants, human and nonhuman, to provoke intimacy, vulnerability, and uncertainty. She has shared choreography internationally, with recent presentations of Experience #1167, Synchronism, and X. Naccarato has an MFA in Dance from the Ohio State University, and is presently pursuing a practice-based PhD at the Centre for Dance Research (C-DaRE) at Coventry University. www.naccarato.org/dance

Emilie Gallier is a French choreographer ( PØST Cie) and a researcher (C-DaRE Coventry University) living in Leiden (NL). Her work shows recurring subjects of imagination, sensation and thought. She uses the writing of movement and the movement of reading (scores and choreographic objects) to research relation within theater, probing exchanges between spectators. Her dance performances on stage and on paper, her lectures and workshops are presented in The Netherlands and Europe. Since 2016, PhD Candidate in Coventry, she graduated in 2012 from the Master of Choreography at ArtEZ (Arnhem). Before that she attended the program Transforme with Myriam Gourfink and learned Laban kinetography at the Conservatoire de Paris. As part of her practice, Emilie Gallier writes, edits, teaches, performs, collaborates (Rosie Heinrich, Tilman Andris, Clémence Coconnier), works as a mentor, a lecturer, member of the artists-run cultural space CLOUD in The Hague. Current projects include Trouble Wit and Read. Move. Implicated. www.post-cie.com

Workshop | Relational Listening, with the Heart | Naccarato & MacCallum

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Workshop: February 26, 2017 from 2pm to 5pm
Suggested contribution €20
Register by email.
The workshop is a moment of sharing within the residency of Teoma Naccaroto and John MacCallum. Read more here.

This workshop explores listening techniques between performers, in scenarios mediated by biosensors and biofeedback. Together, we will investigate a seemingly simple task: listening to and relating with a click-track.  At times the click track will be generated by computer software, while in other moments the pulse will be derived in real-time from an electrocardiogram, worn by a dancer. As performers your challenge is not to follow, nor to anticipate the pulse. Instead, we ask that you attend to your unstable temporal relationship with the click track, such that you have agency to assemble and adapt the rhythmic textures that emerge between your actions and the media. This training process is highly structured and repetitive, and involves breathing, shifting weight, and eventually performing choreographic and musical scores in relation with the variable click track.

Bios

Teoma J. Naccarato (Montréal, Canada / London, UK) is a choreographer and interdisciplinary arts researcher. Through her collaborative creations for stage and installation, she explores the appropriation of surveillance and biomedical technologies in contemporary dance and performance. Her work proposes promiscuous encounters between participants, human and nonhuman, to provoke intimacy, vulnerability, and uncertainty. She has shared choreography internationally, with recent presentations of Experience #1167, Synchronism, and X.  Naccarato has an MFA in Dance from the Ohio State University, and is presently pursuing a practice-based PhD at the Centre for Dance Research (C-DaRE) at Coventry University. www.naccarato.org/dance

John MacCallum (Oakland, USA / Paris, France) is a composer based, since 2004, in Oakland, California. His work is heavily reliant on technology both as a compositional tool and as an integral aspect of performance. His works often employ carefully constrained algorithms that are allowed to evolve differently and yet predictably each time they are performed. MacCallum studied at the University of the Pacific (B.M.), McGill University (M.M.), and UC Berkeley (Ph.D., Music Composition), following which he was awarded a postdoc for several years at the Center for New Music and Audio Technologies (CNMAT). Currently, MacCallum is a postdoctoral researcher with the Extreme Interaction (EX-SITU) research team at Inria Saclay/Université Paris-Sud/CNRS. Visit: john-maccallum.com