Presenters in alphabetical order:

Jeff Abell is an interdisciplinary artist, whose work encompasses music, sound art, performance, critical and creative writing, and photography. He has been a writer and editor for numerous publications, and active in the non-profit community. Much of Abell’s work explores issues of gender and identity. His work was included in the Museum of Contemporary Art's exhibition Art in Chicago, 1945–1995. In 2008 he premiered his lip-synch opera Confusion, completed with the help of an Artist Residency at the Experimental Sound Studio. Abell has been part of the Interdisciplinary Arts Department at Columbia College Chicago since 1981.

Ruth Benschop is a researcher at the Research centre Autonomy and the Public Sphere in the Arts / Zuyd University in Maastricht. She finished her PhD (with honors) at the University of Groningen in 2001. Her thesis Unassuming Instruments: How to Trace the Tachistoscope in Experimental Psychology analyzes the role of technology in visual psychological experiments. In this thesis, she developed a ‘method of inattention’ to create an historical ethnography that was able to detect the role of the ordinary. Later, at Maastricht University, she did postdoctoral research into the role of genetics in the workplace, and the role of recording technology in sound art. In her current work at the Research centre of the Arts she has been involved in a variety of research and educational projects practicing and reflecting on artistic practices of research and documentation.

Niek Bisscheroux is an architect and is also director of the Maastricht Academy of Fine Arts and Design.

Bart van den Boom is freelance curator and exhibition designer based in Maastricht. He studied at the Academy of Fine Art & Design and Maastricht University (Arts and Social Sciences). He organised various exhibitions in museums such as the Museum Het Domein – Sittard, Museum van Bommel van Dam –Venlo, Cuypershuis – Roermond, and Noordbrabants Museum - Den Bosch. Between 2001 and 2009 he was Artistic Coordinator of Centre Céramique in Maastricht and responsible for the exhibition program focusing on contemporary art, photography, video, and cultural history. He is a member of several advice and evaluation committees and was project coordinator at VIA2018. In 2010 he initiated Viewmaster Foundation for which he curated two large video exhibitions in public space: For Real - 28 Utopian Projections in Public Space (Maastricht and Hasselt, 2010) and BodyTalks - Video Art & Cinedans in Public Space (Maastricht centre 2011).

Jenny Boulboullé (1975) studied Art History and Roman Languages in Heidelberg, Germany. Since 1998 she has pursued her studies at the University of Amsterdam, The Netherlands, where she received her Masters in Modern Art History in 2003 and a Masters in Philosophy in 2004. The last years she has worked as a researcher at the University Maastricht and the University Leiden in the Netherlands on her dissertation ‘In Touch with Life: investigating biotechnological practices in Visual Arts and Life Sciences’ (working title) which she hopes to defend in spring 2012. Her PhD project is part of the NWO research programme New Representational Spaces: Investigations of Interactions Between and Intersections of Art and Genomics. As part of this research she completed several courses in Life Science & Technology and did an internship in a molecular genetics research laboratory at Leiden Institute of Chemistry. Her interdisciplinary investigation combines research in Contemporary Arts, Aesthetics, Science Studies, Philosophy and History of Science and Life Sciences with a focus on methodological questions.

Nirav Christophe is head of the research centre 'Theatre Making Processes' of the Faculty of Theatre at the Utrecht School of the Arts, concentrating on the interdisciplinarity, the interactivity and the polyvocality of the creative process. Being a writer for performance himself, he is an renowned creative writing lecturer and educationalist, focussing on the pedagogy of playwriting.

Krien Clevis (Goirle, the Netherlands 1960) studied at the Academy of Visual Arts in Maastricht and the Jan van Eyck Academy, Maastricht (1979-1986). In 2004, for the Royal Dutch Institute in Rome, she organized the project The Eternal Body, which has been on view in Rome (Villa Massimo, Deutsche Akademie) and Utrecht (University Museum and Museum Catharijneconvent). (with catalog/ ) As curator/organizer and participant she was involved in CO-OPs. Exploring new territories in art and science, a project initiated by the Dutch Science Foundation (NWO) that in 2007 was realized in various cities in the Netherlands (with catalog/ Recently she curated and organized the exhibition and interdisciplinary manifestation Ophelia. Sehnsucht, melancholia and desire for death (2009) in the Museum of Modern Art from Arnhem (with catalog/ ). For the archaeological museum of the University of Amsterdam, the Allard Pierson Museum, she is preparing a photo installation within the exhibition ‘Etrusken’. In the Royal Dutch Institute in Rome there will be an annex at the same time (October 2011-March 2012). Krien Clevis is working towards a PhD into the arts (PhD Arts) at Leiden University, and is a member of the research centre ‘Autonomy and the public sphere in the Arts’ of Zuyd University, Maastricht. She lives and works in Amsterdam. On work by Krien Clevis, also see:

Jasper Coppes (1983) studied Fine Arts at the Gerrit Rietveld academy (2004 – 2008) in Amsterdam, the Netherlands. In 2010 and 2011 he was a resident at the Jan van Eyck academy in Maastricht, the Netherlands, where he continued his practice and research as a visual artist around the notions of place, memory and presence. Since 2010 Coppes has been guest lecturer at the MA artistic research Den Hague and the MA Interior Architecture in Amsterdam, the Netherlands. He has been actively involved in organizing workshops for 4th year students of the Maastricht Academy of Fine Arts and Design, focused on the verbal support / representation of their artistic practice, and now teaches at the Preparatory course of the Gerrit Rietveld Academy. In his work Coppes is occasionaly engaged in the encounter of and exchange with practices outside the artistic field. In result his work often dissolves into these ‘other’ spaces and indiscernibly exists within them whilst gently stretching the borders of their conventional territory.

CREW's artistic director Eric Joris (°Antwerp 1955) studied filmmaking, visual arts, economics and industrial design. As a strip designer he created i.e. Chelsy and Les Cuisiniers Dangereux (1991). With the arrival of the digital drawing tablet, internet and computer games Joris went into new media, applying them on stage. From 2000 onwards, Joris focused on the theatrical environment, using multimedia as a prosthesis. He launched CREW, an arts collective operating on the permeable border between art and science. The group developed immersive technology with the University of Hasselt: a new live art concept that puts visitors in the heart of the experience (inside image and sound) and turns them into protagonists. CREW projects include installations and hybrid performances that undermine commonly accepted performative parameters. Internationally recognised as pioneers in immersive theatre, CREW participates in European and international academic and technological research programmes (2020_3D Media, IBBT/Explorative TV,..). CREW’s recent projects Terra Nova and C.A.P.E are currently touring in Europe.

Bart van Dongen is artistic director of Intro/In situ, a workshop and production house for contemporary music in Maastricht.

Graeme Evans is Professor Culture and Urban Development at Maastricht University, Faculty of Arts & Social Sciences, where he established the Centre for Urban & Euregional Studies (CUES) which is engaged on a research programme allied to the Maastricht Municipality and Provincial culture and development aspirations, including the bid to host the European Capital of Culture in 2018. He is also director of the Cities Institute at London Metropolitan University ( undertaking research into urban culture in its social, economic and environmental forms. Prior to academe he was director of Inter-Action, a large community arts centre in north London, which combined performing and media arts with social, youth and training programmes.

FASHIONCLASH is based in Maastricht (south of Netherlands) and was initiated by a bunch of friends with a purpose to create a ‘clash’ with ‘fashion’ as a starting point. By organising fashion events and interdisciplinary projects FASHIONCLASH aims to create a platform where ‘young’ designers/artists can present their work to a diverse audience. A broad range of disciplines linked to fashion, like photography, design, illustration, theatre, performance, video, textile and architecture are invited to take part in the projects. The idea originates from a development project in Fortaleza (Brazil, which resulted to a first cooperation project in 2007, 'FASHIONCLASH BRAZIL ' exhibition. Since the official establishment of Foundation FASHION CLASH in 2009, there are already several successful events and projects realised. One of those projects is the international and multidisciplinary fashion event FASHIONCLASH Maastricht that took place for the third time last summer. Since 2009 FASHIONCLASH has offered a platform to more than 400 young designers and artists from all over Europe. FASHIONCLASH is also regulary in cooperation with other initiatives and presents itself during other events such as Zomerparkfeest in Venlo, Kunstbende, Across the Borders Festival in Aachen, Newspapers museum in Aachen and Heiligdomsvaart Maastricht 2011. Besides the events FASHIONCLASH has also initiated selling points for young designers with projects like the FASHIONCLASH Store, FASHIONCLASH Market and FAB Store in Hasselt. FAB Store is a initiative that is founded in cooperation with Fashion Museum Hasselt and Designmetropole Aachen: Fashion Across Borders. FASHIONCLASH is an initiative of Branko Popovic, Laurens Hamacher and Nawie Kuiper.

Fleur Gieben, originally trained as a lawyer and urban planner, advises on issues at the interfase of culture and society. Her belief is that right now, in times when organizations and people are dealing with major changes, this appeals to the creative power of people. Her experience is that artists, with their curiosity and imagination, are able to connect to people’s talents and strengths and to create new answers. Fleur Gieben has a structural partnership with a team of professional theatre makers, choreographers and visual artists: Fine Fleur. What they have in common is that they have earned their spurs in deploying their artistic qualities in organisations. Combining Fleur’s organisational qualities with the artistic qualities of these creatives gives rise to surprising, but also realistic concepts that respond to current social questions and situations.

Pascal Gielen is director of the research centre Arts in Society at the Groningen University where he is associate Professor sociology of art. He leads also the research group and book series ‘Arts in Society’ (Fontys School for Fine and Performing Arts, Tilburg). Gielen has written several books on contemporary art, cultural heritage and cultural politics. In 2009 Gielen edited together with Paul De Bruyne the book ‘Being an Artist in Post-Fordist Times’ (NAi) and he published his new monograph ‘The Murmuring of the Artistic Multitude. Global Art, Memory and Post-Fordism’ (Valiz). In 2011 De Bruyne en Gielen edited the book ‘Community Art. The Politics of Trespassing’ and in February 2012 their new book ‘Teaching Art in the Neoliberal Realm. Realism versus Cynicism’ will be launched.

Guido Goossens is an historian and cultural philosopher who teaches at the Faculty of Arts and Social Sciences. He is also a regular guest lecturer at the Department of Autonomous Fine Arts of the Maastricht Academy of Fine Arts and Design, and chairman of Hedah, Centre for Contemporary Art Maastricht. The Foundation Praemium Erasmianum awarded a price to Goossens' doctoral thesis on the filmmaker Syberberg.

Lene ter Haar (1977 Munich, Germany, lives in Maastricht, The Netherlands) is a contemporary art curator and cultural critic specialised in the field of urban culture and its institutional representation. Her curatorial background is formed by DIY-mentality and institutionalism, urban culture and modernism in surroundings of cultural diversity. Recently she co-initiated the research project Claiming Visibility: The Politics Of Public Art about the state of the art in public space (publication Fonds BKVB feb. 2012). Ter Haar works since 2006 as contemporary art curator, first at Museum Het Domein, Sittard and currently at Schunck Glaspaleis, Heerlen. Among the artists she has collaborated with are Kinwah Tsang (CH), Lara Schnitger & My Barbarian (NL/USA), Kati Heck (G), Ahmet Ögüt (Tur), Pilvi Takala (F), Rik Meijers (NL), Laibach Kunst (Sl), Sebastian Stumpf (G) and Os Gemeos (B). Besides this institutional working field, she is engaged in self-organized art initiatives as Flacc Genk, Belgium, Onomatopee project space, Eindhoven / NL, and as chairman of exhibition space B32 in Maastricht, situated in a squat and financially supported by the City of Maastricht. Ter Haar is involved in the international cultural exchange projects Urban Avantgarde (India 2012) and Made in Mirrors (2007-2010), bringing together cultural players from China, Brazil, Egypt and the Netherlands and received a stipend for the European Course of Young Curators Cecac in 2008 (with Charles Esche & Nedko Solakov) and for the Fund BKVB study trip What's up, what's down? Cultural catalysts in urban space (2010). Regular contributor to catalogues and art magazines, Ter Haar is part of ICOM, the advisory commission of the Mondriaan Foundation (2008-2010), local organizations and the Netherlands Foundation for Visual Arts, Design and Architecture (Fund BKVB; until spring 2010).

Maurice Hermans (1974) has a degree in European Social Work, is director at Betawerk and reseacher at ZUYD University. Betawerk, an office for contemporary media and cultural innovation, created network platforms like zachte g and de Mijnen amongst several other internet projects. Maurice beliefs that new technology and the internet play an important role in the change towards a network society. Being located in Heerlen, his engagement towards issues of transition is well present. In 2009 he launched the Krimpmanifest and ever since he's engaged in doing research on post-industrial cities. In 2010 he won the Special Award for the 2nd Demography-Prize organized by the Institut for demografische Zukunftsfähigkeit for the researchproject "Zachte G: a modern approach towards building networks for young people in a shrinking region". Furthermore, he is curator of the i_beta/event, a festival in the inner-city of Heerlen on social design and digital media. Lately he's founder and editor-in-chief of the Eutropolitan, the first newspaper for the non-existing polis called Eutropolis.

Marijke Hoogenboom became Professor at the Amsterdam School of the Arts in 2003. She chairs the Art Practice and Development research group, a super faculty environment that stimulates new developments in arts and education. She was previously involved in the founding and part of the artistic staff of DasArts, the only master program for performing arts in The Netherlands. Hoogenboom is a member of the Grants Committee of the Prince Bernard Cultural Fund, and until 2010 shared responsibility for international policy at the Dutch Council for Culture. In 2008 she received the Marie-Kleine Gartman Pen for artists and theatre commentators from the Dutch Stage Association.

Eric de Jong coordinates autonomous fine arts at the Maastricht Academy of Fine Arts & Design in Maastricht. He is also a researcher in the research centre 'Autonomy and the public sphere in the Arts’ of Zuyd University, Maastricht.

Sabine Kühlich studied Jazz in Amsterdam and New York, is a passioned composer and swinging interpret of the Great American Songbook. Brazilian and Cuban music influence her work, as much as six tours and three CD-productions with the NY-Jazz-Legend Sheila Jordan – born in 1928. Sabine, the "singer with a tempting voice" was 2nd in the Brussels Young Jazz Singers Competition 2007 and won the Montreux Jazz Voice Competition in 2008, a price at "voice and guitar" in 2010, played concerts in Europe, North and South America and Asia. Her "perfect timing" (Barry Harris) and "brilliant music with wonderful lyrics" (Sheila Jordan) can be found in several CDs as guest or front-woman. Patti Austin describes her as "dedicated and absolutely outstanding in jazz-feel, swing and scat-singing". Sabine was born in Eastern Germany, started to learn piano at the age of 6, had saxophone lessons from her 15th birthday on, played in bands and big bands. While studying psychology she started singing, had lessons in jazz-piano, clarinet, saxophone, improvising. After her diploma she decided to go for music, and studied one year at the Conservatory of Maastricht. She moved on to Amsterdam, and earned her Bachelors degree in 2003. The Singer followed the Masters program focusing on composition in Amsterdam and New York with diploma in 2006. Since 2006 Sabine is a teacher of the Jazz Department at the Conservatory Maastricht. In 2009 she started to work for the research centre Autonomy and the and the Public Sphere in the Arts, Zuyd University, Maastricht and established a new course within the JazzSingersAusbildung: Vocal Skills in 2008. After exploring the world of producing CDs, playing concerts and organizing sessions and concerts she became again a student and researcher. In 2011 she was accepted for the docARTES program in Ghent (Belgium) to work on a doctoral degree in music. The artistic research is about the voice in Modern Jazz, it’s sounds and physiology.

Kitty Kwakman is a member of the Executive Board Zuyd and as such responsible for Zuyd research policy. Met ingang van 1 april 2011 is dr. C.H.E. Kwakman (1959) aangetreden als lid College van Bestuur bij Hogeschool Zuyd. Kitty Kwakman is verantwoordelijk voor de portefeuille onderwijs en onderzoek. Zij is verpleegkundige en pedagoge. Zij werkte een aantal jaren in de functie van psychiatrisch verpleegkundige en startte vervolgens met de studie pedagogische wetenschappen aan de Katholieke Universiteit Nijmegen. Zij studeerde af in de volwasseneneducatie (cum laude) en werkte aansluitend aan haar promotie-onderzoek, eveneens aan de Katholieke Universiteit Nijmegen. In 1999 promoveerde zij op een onderzoek naar het leren van docenten in het voortgezet onderwijs (titel proefschrift: Leren van docenten tijdens de beroepsloopbaan. Studies naar professionaliteit op de werkplek in het voortgezet onderwijs). Van 1998 tot 2005 werkte zij als universitair docent Human Resource Development aan de Universiteit Twente. In 2002 startte zij daarnaast als lector aan de Hogeschool van Arnhem en Nijmegen. Tot 2011 was zij verbonden aan het lectoraat Professionalisering van agogische beroepen en vaktherapeuten. Vanaf januari 2011 heeft zij een nieuw lectoraat bij de HAN in voorbereiding, gericht op het verhogen van onderzoeksbekwaamheid van medewerkers binnen hogescholen. Tussen 2005 en 2010 vervulde zij de functie van directeur stafbureau bij het Landelijk Platform Beroepen in het Onderwijs. Sinds vorig jaar leidde Kitty Kwakman het lectoraat Professionalisering van het onderwijs, waar zij samen met docenten onderzoek doet naar het onderwijs binnen de hogeschool. Haar onderzoeksterrein op het snijvlak van onderwijs en onderzoek sluit perfect aan op haar portefeuille als collegelid waar vanuit ze de verbinding tussen onderzoek en onderwijs verder vorm gaat geven.

Paul Lambrechts (born 1965, Genk Belgium) is currently advising the local Government of the City of Maastricht (The Netherlands) on its cultural strategy, in particular on the issue of the renewal of cultural infrastructure for the city and its region, on its international repositioning and on the candidacy of Maastricht (together with the main cities and regions whitin the Euregion Meuse-Rhine) for the title of European Capital of Culture 2018. Former positions held were Head of the Press Office of the National Opera La Monnaie in Brussels, and Program Director for opera, classical music and children’s theatre in the city-theatre of Hasselt (Belgium). Paul Lambrechts is historian (Master at KU Louvain, 1988) and studied in Florence (Italy) at the European University Institute. He lives in the Province of Limburg, Belgium, crosses daily the border with The Netherlands and considers the Euregion as his natural ‘habitat’’ mixing the pleasures and the challenges of having to deal with three languages and cultures (Dutch, German and French).

Philip Lawton (PhD, Trinity College, Dublin, 2009) I am currently a Postdoctoral Researcher in Culture and Urban Development within the Centre for Urban and Euregional Studies at Maastricht University. Broadly speaking, I am interested in the relationship between society, urban form and everyday life within cities. My current work involves an examination of the relationship between cultural planning and urban development, with a specific focus on the Maastricht Via2018 bid to host the European Capital of Culture in 2018. From September to December, 2010, I was a visiting researcher University of Amsterdam within the Urban Studies Research Priority Area. Here I expanded upon my research at PhD level and focused on the relationship between social mix policies, urban design, and communal spaces. From 2008 until 2010, I was employed as a postdoctoral researcher on the ACRE- Accommodating Creative Knowledge Research Project at the School of Geography, Planning and Environmental Policy, University College Dublin. The project focused on the role of the creative and knowledge-based industries within the context of an enlarged E.U., and critically examined Richard Florida's 'Creative Class' thesis. My PhD, which I carried out at the Department of Geography, Trinity College Dublin, focused on examining the relationship between the planning, design and everyday use of urban public space. Here, I examined the everyday use of public space in three cities; Dublin, London and Amsterdam. While highlighting the dominance of private actors within the recent transformation of public space, it also illustrated the continued importance of personal and communal memory and attachment to place within the public spaces of cities.

Johan Luijmes After studying organ and church music at the conservatory, Johan Luijmes finished his study in visual arts in Arnhem (NL). In the end of the nineties he collaborated in art exhibitions, in arts initiatives and worked as well as an artist for business and governments in innovative communication projects. In 2002 his performance ‘music as sculpture’ was shown in SMAK (Gent), Museum Valkhof (Nijmegen), MMA (Arnhem), Van Reekum (Apeldoorn). He established (with a stage director and composer) the music theatre company: De Plaats (1997). With the Plaats he made theatre on location. Leaving De Plaats in 2002, he became director of intro - in situ in Maastricht. With Intro – in situ, specialized in sound art and contemporary music, he initiated and produced many music- and art productions. In 2009 he left Intro in situ. As a musician he has an international concert practice since 1988. He is organ player of the municipality of the city Arnhem and organist titulaire of the Eusebiuschurch in Arnhem. He is also responsible for, and artistic director of the Orgelpark in Amsterdam, a new centre for organ culture in Holland (2007). In 2010 -2011 he has been researching interdisciplinary arts as guest professor at the Research Centre Autonomy and the Public Sphere in the Arts, Zuyd University in Maastricht. In 2011 was guest teacher at the Rietveld Academy in Amsterdam.

Susanne Maris coordinates the iArts curriculum. She has broad experience in developing interdisciplinary higher education at several universities. Having a background in both sciences and fine arts, Susanne lives up to the interdisciplinary ideal herself. She studied fine arts at the Ecole Superieure des Beaux Arts in Geneva, Switzerland. Also she obtained a master's degree in psychology at the University of Amsterdam. Besides her work for iArts, she currently works as a visual artist, psychologist, trainer and lecturer.

Peter Missotten (°Hasselt 1963) trained as a video artist (one of the first students of Chris Dercon at St. Lukas Brussels). He worked all of his life in and around theatre spaces - starting as light designer for ‘The Cement Garden’ in 1983. This started a long and passionate stage designer relationship with Guy Cassiers, which went on and off during some 25 years (Wasp Factory, Sunken Red, Rage d’Amour, Fliegende Holländer, Onegin... to name just a few). In 1994 he founded de Filmfabriek with Anne Quirynen and Anne Heyman. A company with a mission in the crossover between digital and performance arts. They worked intensively on projects with artists as William Forsythe, Wim Vandekeybus, Guy Cassiers and Georges Aperghis. Artists as Wies Hermans, Bram Smeyers, Kurt d’Haeseleer and Ief Spincemaille joined them over the years. From 2000 on, Peter Missotten evolved slowly from a designer of digital media art for the stage into a director for performance arts and opera productions. In 2009, he directed the world creation of 'KEPLER', an opera by Philip Glass for Linz09 at the Landestheater Linz. In 2010 he created 'MONTEZUMA - FALLENDER ADLER', an opera by Bernhard Lang, for the Nationaltheater Mannheim. For the Mozartsommer2012 in Mannheim/Schwetzingen, he will create a large scale video installation ASINGONE. Nowadays he specializes in contemporary opera creations and radical performance projects. He teaches performance arts at the Toneelacademie Maastricht.

Ulrike Möntmann studied Visual Communication in Bielefeld, Germany and Fine Arts | Sculpture at the Gerrit Rietveld Academy in Amsterdam, the Netherlands. Erstwhile projects in German prisons have in the past decade led to the European research project THIS BABY DOLL WILL BE A JUNKIE, a PhD-research based in A Vienna and D Karlsruhe. Other positions: member of advisory committees in the field of art foundations and art theory teacher at the GRA. Also see:

Peter Peters graduated as Sociologist at Groningen University (Philosophical Sociology, with Musicology as BA Minor). He published Eeuwige Jeugd: Een halve eeuw Stichting Gaudeamus (Donemus,1995), a history of post-war contemporary music in the Netherlands, and Time, Innovation and Mobilities (Routledge, 2006), in which he combines insights from social theory and science and technology studies to analyze cultures of travel. Since 2006, he is a member of the Editorial Board of the journal Mobilities (Sage). In 2008 he was appointed as professor in the research centre Autonomy and the public sphere in the Arts of the arts faculties of Zuyd University, Maastricht. In his inaugural address, he critically considers the discourse on artistic research. His current research topics are artistic research, new aesthetic spaces, site-specific art as context for engaged research, and art in relation to mobile worlds.

Christoph Rausch is working on his PhD at Maastricht University. Christoph’s work focuses on the social practices governing the contemporary art world, as well as on cultural heritage practices under conditions of “globalization.” Christoph is currently finishing an anthropological PhD with the working title “Rescuing Modernity? The Global Heritage Assemblage and Modern Architecture in Africa”, for which he has conducted fieldwork in Europe, Eritrea and Tanzania.

Nol Reverda obtained a degree in sociology (cum laude) at Tilburg University, the Netherlands. He went on to obtain a PhD degree at the Erasmus University Rotterdam, the Netherlands, with his thesis on regionalism and globalisation. Nol Reverda was Course Director of the MA Comparative European Social Studies (MACESS) from 1994-2009 and remains active in Europe as President the European Network of Social Action (ENSACT). Currently, Nol Reverda is a full professor at Zuyd University of Applied Sciences. Since 2002, he leads the research centre on comparative European social research (CESRT) focussing on social exclusion and integration. Since 2009, he has taken on the additional task of Scientific Director at the Dutch Centre of Expertise on Demographic Change (NEIMED); an institute that employs research to better understand demographic change and its impact on the political, social, cultural and economic quality of life and society.

Christopher L. Salter is an artist, Director of the Hexagram Concordia Centre for Research-Creation in Media Art and Technology and Associate Professor for Design + Computation Arts, both housed at Concordia University in Montreal. Salter studied economics and philosophy at Emory University and received his Ph.D. in the areas of theater and computer-generated sound at Stanford University working with Bertolt Brecht assistant Carl Weber and inventors of the digital synthesis such as John Chowning and Max Matthews. He was also visiting professor at Brown University, the Rhode Island School of Design (RISD) and the Kunsthochschule für Medien, Cologne, Germany. Salter's artistic and research interests revolve around the development and production of real time, computationally-augmented responsive performance environments fusing space, sound, image, architectural material and newly developed sensor-based technologies. After collaborating with Peter Sellars and William Forsythe/Ballett Frankfurt, he co-founded the art and research organization Sponge, whose works have stretched between the arenas of performance, installation, scientific research and publications and have toured internationally to festivals, exhibitions and venues. His work with Sponge as well as solo projects has been seen at major international exhibitions and presentation venues in over a dozen countries including the Venice Architecture Biennale (Venice), Ars Electronica (Linz), Villette Numerique (Paris), the National Art Museum of China, CTM-Berlin, Todays Art, EMPAC (USA), Metamorf (Trondheim, Norway), Transmediale (Berlin), EXIT Festival (Maison des Arts, Creteil-Paris), Place des Arts (Montréal), Venice Biennale, Elektra (Montréal), Shanghai Dance Festival (Shanghai), Yerba Buena Center for the Arts (San Francisco), the Banff Center (Banff), Dance Theater Workshop (New York), V2 (Rotterdam), SIGGRAPH 2001 (New Orleans), Mediaterra (Athens) and the Exploratorium (San Francisco), among others. Salter’s work have been written about in the New York Times, ID Magazine, Leonardo and Decouvrir and received major grants from SSHRC, FQRSC, Hexagram, the Rockefeller Foundation, the Daniel Langlois Foundation, the Creative Work Fund/San Francisco and the LEF Foundation, among others. He is a regular presenter at national and international conferences, has given invited talks at universities and festivals worldwide and has sat on numerous juries including NIME, ISEA and the Prix Ars Electronica. In addition to his artistic production, Dr. Salter is the author of numerous publications in the areas of technology and performance, the senses and technology, real time responsive environments, mobile real time media and cultural politics. His first book Entangled: Technology and the Transformation of Performance was published in Spring 2010 from MIT Press and he is currently working on a follow up entitled Alien Agency: Ethnographies of Nonhuman Performance, also for MIT Press.

Harold Schouten is beeldend kunstenaar en freelance adviseur BKOR (o.a. adviseur van het Amsterdams Fonds voor de Kunst, 2000-2005) en partner van WISEGUYS. Als zodanig adviseerde hij bij tal van opdrachten in de openbare ruimte in de binnenstad van Amsterdam, de Bijlmer (Amsterdam Zuidoost) en de Westelijke Tuinsteden. In zijn eigen interactieve multimedia installaties en -projecten is hij gefascineerd door de mogelijkheden en de criteria van publieksparticipatie. Hij maakte tal van installaties, waaronder een aantal die permanent in gebruik zijn (Schildermachine, WKZ/AZU, Teleted, AMC-Emma Kinderziekenhuis, Stekkies, Woonzorgcentrum Franciscus). Naast artistiek inhoudelijk criteria spelen hierbij bedrijfsvriendelijkheid en bedrijfszekerheid een belangrijke rol. Zijn schilderijen zijn vaak meerluiken en geïnspireerd op het (stedelijk of natuurlijke) landschap. Hij exposeert hiermee regelmatig in galeries en musea (vaste galerie Jan van Hoof galerie, Den Bosch). Sinds 2005 is hij columnist van het tijdschrift kM (Kunstmaterialen).

Peter Sonderen is lector Theorie in de Kunsten, ArtEZ Academie voor Beeldende Kunsten in Enschede. Hij studeerde een aantal jaren aan de Koninklijke Academie voor Beeldende Kunst en Vormgeving te Den Bosch en vervolgde met een studie Kunstgeschiedenis van de Nieuwste Tijd aan de UvA. In 2000 promoveerde hij aan dezelfde universiteit op het proefschrift ‘Het sculpturale denken. De esthetica van Frans Hemsterhuis (1721-1790)', dat bij uitgeverij Damon verscheen. De periode rond 1800 is grondleggend voor het moderne begrip van kunst (zoals het concept van kunst als autonoom domein). Sinds drie decennia staat dit begrip onder toenemende druk. Sonderen doet onderzoek naar deze transformatie. Sonderen doceerde kunstgeschiedenis aan de UvA en was tevens inhoudelijk coördinator Academische Vaardigheden.Van 2003 tot en met 2008 was hij directeur van de AKI, ArtEZ Academie voor beeldende kunsten Enschede. Sinds 2004 is hij voorzitter van de Internationale Association of Independent Art and Design Schools (AIAS).

Alexandra Supper is a PhD researcher at the Faculty of Arts and Social Sciences, Maastricht University. She studied sociology at the University of Vienna. In her MA thesis, she analysed the development of the interdisciplinary field of Science and Technology Studies through the mirror of two major journals in the field. In 2008, she relocated to Maastricht to begin work on her PhD thesis, which focuses on a different interdisciplinary field: the sonification of scientific data. She recently finished her dissertation “Lobbying for the Ear: The Public Fascination with and Academic Legitimacy of the Sonification of Scientific Data”, which she hopes to defend in the first half of 2012.

Tsjalling Swierstra studied in Groningen and Amsterdam. He received his PhD in 1998 at the University of Groningen. In 2010 he was appointed full professor in Philosophy at the University of Maastricht, where he now is head of the Department of Philosophy of the Faculty of Arts and Social Sciences, and Director of the Graduate School. Swierstra has published articles and books on cloning, new reproductive technologies, genomics, technology ethics in general, and on the ethics of New and Emerging Science and Technology (so-called NEST-ethics) in particular. The majority of his publications focus on public debates and opinion forming with regard to developments in the life sciences and nanotechnology. The theoretical question that connects his work in the philosophy of technology is: how can the dynamic interaction between moral and technological development be analyzed, anticipated and evaluated? Analyzing this exchange means developing the conceptual tools to explore the multiform ways ethics influences the course of technologies, and vice versa. Anticipating the exchange means looking for structural patterns in the ways moralities and technologies co-develop, and then extrapolating them in the form of techno-moral scenarios. Evaluating them makes it necessary to develop a form of technology-ethics that is self-consciously dynamic and anti-foundationalist and takes into account that its normative standards are bound to change as a consequence of technological development itself. Taken together, these theoretical threads combine into a form of 'Heracleitan' technology ethics that aims to do justice to the dynamic character of a technological culture like ours. In addition to this work in the philosophy of technology, Swierstra also regularly publishes articles on social and political issues such as the drawbacks of the widely held ideal of individual choice, the causes of societal polarisation, or the costs of meritocracy.

Leo Swinkels is dean of the Maastricht Theatre Academy as well as director of the arts centre of excellence that is currently being founded at Zuyd University.

Martin Tröndle is Assistant Professor for Art Research and Arts Management in the Department of Communication and Cultural Management in Zeppelin University Friedrichshafen.
Originally he was trained in classical music, studying guitar and lute in Bern, Switzerland, he obtained a Master in Music (with honours). Subsequently he received a Master in Arts Management and Cultural Studies at the Ludwigsburg University of Education, Germany (with honours). There he also obtained his PhD on the topic of Festival management in 2005 (summa cum laude). With particular interest in contemporary music, he began his professional career working for the South German State Radio Station (SWR 2, Stuttgart). Having been offered the position of an assistant in the Applied University of the Arts, Bern he relocated to Switzerland, where he was responsible for co-founding and managing the Biennale Bern, a festival for contemporary arts. Before he was appointed to the ZU, he was a civil servant for the music department in the Ministry of Science and Culture in Lower Saxony (Hanover), responsible for cultural and funding policies for music institutions, such as opera houses, orchestras and festivals. Since 2009 Martin Tröndle is Assistant Professor for Art Research and Arts Management at the Zeppelin University, Friedrichshafen. Since 2003 he has been permanently teaching arts management at the Studienzentrum Kulturmanagement [Centre for Cultural Management] at the University Basel, and was teaching at the Institute for design | art & innovation at the Academy of Art and Design, Basel. His academic instruction focuses on cultural politics and financing the arts, audience development, modes of staging and performing [Inszenierungspraktiken und Aufführungskultur], cultural organization theory and integrated arts management. He has achieved high teaching accolades from student evaluations at both the University Basel as well as Zeppelin University. Areas of research are audience development, organization theory of cultural institutions, cultural politics, theory of cultural management and artistic research. Martin Tröndle is the principal investigator of the Swiss national research project eMotion – mapping museum experience. eMotion researches the museum-going experience experimentally with a interdisciplinary team of scientists, artists and programmers. The core of our interest is the museum architecture, the art objects, curatorial installation and how they effect and affect the behaviour of the visitors. Gaining access to this complex realm of visitor reception in the museum requires both innovative developments in research methods and technical apparatuses. Architectural, visual and audio processes of data collection / presentation were developed in parallel with field research methods in psychology and sociology, in a wholly complimentary fashion: methods of visitor tracking, physiological and cardiac measurements, empirical social science, as well as the experiment and information cartography. Martin Tröndle is also profoundly involved in the discussion of the future of classical music, concerning the topics: aging audience, state funding policy, change management processes and developing novel concert concepts to attracted new audiences. His work in this field is funded by the Alfred Toepfer Foundation F.V.S. His work in the field of museum and concert studies is broadly recognized beyond the disciplinary borders by articles and broadcasts, e.g. in the television: 3-sat, German state television (ZDF), Swiss state television (SF), Austrian State Television (ORF), French State Television (France 24) and several regional and private television programs; in the radio: Deutschlandfunk, D-Radio, SWR, NDR, DRS, ORF, BR, SR; in the newspapers: Frankfurter Allgemeine Zeitung, Süddeutsche Zeitung, Die Welt, Spiegel, Merkur, Tagesspiegel, Basler Zeitung, Der Bund, brand eins) and several others.

Karel Vanhaesebrouck is an assistant professor in arts and culture at Maastricht University and a part-time professor in theatre studies at the Free University of Brussels. He also teaches cultural history and theatre history at the RITS, the department of Drama and Audiovisual Arts of the Erasmus University College, where he coordinates the performing arts section. He recently published the book-length study Le mythe de l’authenticité. Lectures, dramaturgies, representations de Britannicus in France (1669-2005) (2009) and edited, together with Lieven De Cauter and Ruben De Roo, Art and activism in the age of globalization. His scholarly worked has been published in academic journals such as Poetics Today, Textyles, Phrasis, Image & Narrative and Contemporary Theatre Review.

Angelo Vermeulen is a visual artist, filmmaker, biologist, space researcher, community organizer, and author. His original PhD training in ecology, environmental pollution and teratology plays a crucial role in his art. Vermeulen creates art installations that are often open, experimental setups that incorporate ecological processes and living organisms. His projects include ‘Blue Shift’, a Darwinian art project in collaboration with evolutionary biologist Prof. Luc De Meester, and ‘Corrupted C#n#m#’, an experimental cinema project that explores the physicality of digital media through biological interference. ‘Biomodd’ is Vermeulen’s most well-known and longest running project. It is a worldwide series of cross-cultural, symbiotic installations in which ecology, game culture, and social interaction converge. In 2009 he launched ‘Space Ecologies Art and Design (SEAD)’, a platform for artistic research on the architectures and biopolitics of space colonization. He collaborates with the MELiSSA life support division of the European Space Agency (ESA), and is also a member of ESA’s Arts & Science Topical Team. His space-related work led him to start a new PhD at Delft University of Technology in 2011. He co-authored the book ‘Baudelaire in Cyberspace: Dialogues on Art, Science and Digital Culture’ with art philosopher Antoon Van den Braembussche, and gives talks about his work around the world. He is a Lecturer at Sint-Lucas Visual Arts Ghent in Belgium, a 2010 TED Fellow, and a 2012 Michael Kalil Endowment for Smart Design Fellow at Parsons in New York. His art works have been exhibited in the US, Europe, Southeast Asia and New Zealand.

Andreas Vonder is a director and playwright. He studied Modern Literature at the University of Amsterdam. In 1997 he made his debut with the play Sirene Rust. In 1999 he went to Germany on invitation for quite some time where his work was praised by the press. In the Netherlands his work was to be seen on De Karavaan and the 10-day Oerol Festival, Over het IJ festival. Andreas Vonder is closely involved in the creation of various social and artist initiatives in Amsterdam. At the Amsterdamse “toneelschool & kleinkunstacademie” he accompanied students when writing scripts. With the organisation “De Werkelijkheid” he accompanied refugees with an artistic background. From his expertise as a director and playwright he supports organisations in culture change and innovation issues. He is one of the participants of FineFleur.

Joris Weijdom is a researcher, 3 D computer animator and teacher at the BA-course 'Design for Virtual Theatre and Games' of the Faculty of Theatre at the Utrecht School of the Arts. Within the research centre 'Theatre Making Processes' he is head of the research group 'Virtual Theatre', and founder and leader of the Media & Performance Lab MAPLAP at the HKU.

Wiseguys. Het realiseren van kunstprojecten in de stedelijke omgeving is gecompliceerd en brengt heel specifieke problemen met zich mee. Treffend advies, goede besluitvorming, efficiënte coördinatie en heldere communicatie zijn van groot belang voor het welslagen en de kwaliteit van ieder project. WISEGUYS kan een groot deel van de zorg daarvoor van de opdrachtgever overnemen. WISEGUYS is een flexibel samenwerkingsverband, een nieuwe benadering in een nieuwe tijd. Een drietal kunstenaars vormt de kern, daaromheen een groot netwerk vol talent en expertise. Marco Cops, Harold Schouten en Jerome Symons hebben door hun eigen werk als beeldend kunstenaar grote praktijkervaring met het realiseren van kunstprojecten in het publieke domein. Daarnaast zijn zij als adviseur betrokken geweest bij tal van projecten op allerlei plaatsen en voor veel soorten opdrachtgevers. Hun samenwerking is begonnen toen ze alle drie adviseur waren voor Beeldende Kunst in de Openbare Ruimte bij het Amsterdams Fonds voor de Kunst. Als Wiseguys werken ze samen sinds 2005.

Arnold Witte studied art history at the University of Nijmegen, and wrote his Ph.D. at the University of Amsterdam on the artistic patronage of cardinal Odoardo Farnese in early modern Rome. He worked at the Graphic Design Museum Breda on a study on the patronage of graphic and industrial designers of the Dutch Post between 1906 and 2002, and he collaborated with the Dutch Association of Corporate Collections (VBCN) on a research project on the impact of corporate art collections in present-day Netherlands. He is assistant professor in Cultural Policy and head of studies at the University of Amsterdam, and continuing his research on patronage in the early modern period as well as in the present day.