Presenters

Nick Bazzano is a Ph.D candidate and Corrigan Fellow in Performance Studies at NYU Tisch School of the Arts, where he also serves as an Assistant Editor of TDR: The Drama Review. Nick’s research reverberates across multiple fields, including sound studies, affect theory, media studies, and radical aesthetics, and he is currently working on a dissertation tentatively titled Techno Sonics: Performing Accelerationist Aesthetics in Sonic Capitalism. His work has been published in Women & Performance, THUMP (Vice), e-flux superconversations, and in various ‘zines and liner notes including sweeney kovar’s Classic Drug References. Nick is also a techno DJ, free jazz saxophonist, and experimental electronic music producer currently based in Ridgewood, Queens.

Barbara Browning teaches in the Department of Performance Studies at NYU. She is the author of Samba: Resistance in Motion, Infectious Rhythm, and the ficto-critical novels The Correspondence Artist and I’m Trying to Reach You. Her writing often includes adjunct digital performances, both musical and choreographic. barbarabrowning.info  

David Cecchetto is Associate Professor in the Department of Humanities at York University, Canada. He has published widely—including the monograph Humanesis: Sound and technological posthumanism (University of Minnesota Press, 2013)—and presented creative work internationally. www.davidcecchetto.net 

Marc Couroux is Associate Professor in the Department of Visual Art and Art History, School of the Arts, Media, Performance & Design at York University. His xenopraxis burroughs into uncharted perceptual aporias, transliminal zones in which objects become processes, surfaces yield to sediment, and extended duration pressures conventions beyond intended function. His work has been exhibited and performed internationally (Amsterdam, Berlin, Chicago, Glasgow, London, San Francisco, Sydney) and published by Manchester University Press, Blackwood Gallery and re.press.

James Currie is a writer and performance artist who is an Associate Professor in the Department of Music at the University at Buffalo. His work takes place at the points of intersection between music, philosophy, and politics, and his polemical book Music and the Politics of Negation, came out from Indiana University Press in 2012. At present he is working on a book entitled, “When Said Met Genet: Music in a Troubled Time.”

Nancy Gillespie is a Lacanian analyst, and former musician. She has a PhD in literature and psychoanalysis from the University of Sussex in the UK. She is a member of the New York Freud Lacan Analytic Group and Co-Editor of Lacanain Compass Express. She was the English Editor for Hurly-Burly: The International Lacanian Journal of Psychoanalysis, and is now on the editorial board of the Lacanian Review: Hurly-Burly. She also serves on the board of the Kootenay School of Writing in Canada and has published articles on experimental writing and Lacanian theory.

Margret Grebowicz is Associate Professor of Philosophy at Goucher College, author of The National Park to Come and Why Internet Porn Matters (Stanford University Press, 2015 and 2013), Beyond the Cyborg: Adventures with Donna Haraway (Columbia, 2013, with Helen Merrick), and editor of Gender After Lyotard (SUNY 2007), among other collections.  Since 2002, she has also worked as a jazz- and experimental music vocalist and lyricist, translated poetry from her native Polish, and done ethnographic work along the U.S./Mexico border.  Writings and translations have appeared in numerous journals, like Agni, Guernica, Two Lines, Philosophy of Science, Environmental Humanities, Hypatia, World Literature Today, and Humanimalia.  Current projects emerging at the intersection of eros, wilderness, technology, collective experience, and improvisation include her work on cetaceans and environmental imagination, mobility impairment and adventure culture, and sex and sustainability.  She teaches in Baltimore and lives in Brooklyn.

Ted Hiebert is an interdisciplinary artist and theorist and Associate Professor in the School of Interdisciplinary Arts and Sciences at the University of Washington Bothell. http://tedhiebert.net

Deborah Kapchan is Associate Professor of Performance Studies at New York University. A Guggenheim fellow, she is the author of Gender on the Market: Moroccan Women and the Revoicing of Tradition (Univ. of Pennsylvania Press 1996), Traveling Spirit Masters: Moroccan Music and Trance in the Global Marketplace (Wesleyan University Press 2007), as well as numerous articles on sound, narrative and poetics. She is translating and editing a volume entitled Poetic Justice: An Anthology of Moroccan Contemporary Poetry, and is also the editor of two recent volumes:  Intangible Rights: Cultural Heritage in Transit (2014 University of Pennsylvania Press) and Theorizing Sound Writing (in press).

André Lepecki is Associate Professor at the Department of Performance Studies, New York University, and an independent curator and essayist. Selected curatorial work include: chief curator of IN TRANSIT (2008 and 2009 editions) at HKW, Berlin; archive Dance and Visual Arts since 1960s for the exhibition MOVE: choreographing you, Hayward Gallery (2010). Curator of the series “Performance in the Museum,” “Off-Hinge / Of Center: alternative histories for performance” and “Points of Convergence” at MoMA-Warsaw (2013-15). Attaché to the Sydney Biennial 2016. Selected awards: AICA Award for Best Performance for co-curating and directing the authorized re-doing of Allan Kaprow’s 18 Happenings in 6 Parts (commissioned by Haus der Kunst, 2006; presented at Performa 07). Selected lectures: Museo Reina Sofia; MoMA; MAM, Rio; MACBA; Para Site, Hong Kong; Princeton University; Freie Universität, Berlin; Brown University; UC-Berkeley; École Superieure des Hautes Études, Paris. Editor of the anthologies Dance (2012), Planes of Composition: dance, theory and the global (2009, with Jenn Joy), The Senses in Performance (2007, with Sally Banes), Of the Presence of the Body (2004). His book Exhausting Dance: performance and the politics of movement (Routledge 2006) is currently translated in 10 languages. His forthcoming book Singularites: dance in the age of performance will be published by Routledge in June 2016.

Nicola Masciandaro (PhD, Medieval Studies, Yale University, 2002) is Professor of English at Brooklyn College (CUNY) and a specialist in medieval literature. His works include: The Voice of the Hammer: The Meaning of Work in Middle English Literature (Notre Dame, 2007); Dark Nights of the Universe, co-authored with Daniel Colucciello Barber, Alexander Galloway, and Eugene Thacker (NAME, 2013); Sufficient Unto the Day: Sermones Contra Solicitudinem and Floating Tomb: Black Metal Theory, co-authored with Edia Connole (Mimesis, 2015). He is the founding editor of the journal Glossator: Practice and Theory of the Commentary. Current/forthcoming projects include: Spheresy, co-authored with Alina Popa, and Appalling Melodrama, a collection of commentaries on the mystical intersections of love, music, and horror.

Eldritch Priest writes on sonic culture, experimental aesthetics, and the philosophy of experience from a ’pataphysical perspective. He is author of Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (Bloomsbury, 2013), as well as numerous journal articles. As a composer Eldritch’s works have been performed in Canada, the United States, Netherlands, and the United Kingdom. He is a Visiting Assistant Professor in the Department of Music at NYU.