Mary Mazurek is a GRAMMY-nominated recording engineer, audio educator, and author. Her book Aesthetic Noise: The Philosophy of Intentional Listening is available from Routledge.  She is currently an assistant professor of Digital Audio Arts at the University of Lethbridge.

Cyril Baldy is a dancer, choreographer, educator, rehearsal director and stager, born in France in 1980. He studied at the Conservatoire National Supérieur de Musique et de Danse de Paris from 1993 to 1997. As a dancer, he joined his first professional company in 1997 named “Le Jeune Ballet de France”. From 1998 to 2002, he successively was part of Nederland Dans Theatre II and Nederland Dans Theatre I under the direction of Jiri Kylian. In 2002, he became a member of Frankfurt Ballet then The Forsythe Company from 2005 to 2014 under the artistic direction of William Forsythe. In 2014, he became a freelancer, taking on the role of choreographer, educator, rehearsal director and stager for William Forsythe. 

He choreographed notable dances such as Nonsense And Other Matters (Arts Umbrella Vancouver - 2024), Divertissement (CNSMD Lyon - 2023), Choreographic Exercise (HfMDK - 2022), Steps Of Dance (HfMDK - 2020), Variation(s) For A Few (Tanzplattform Rhein-Main in Frankfurt - 2019), A Dance For Many (for KOST at the Athens Festival in Athens - 2019), Variation By Ashley Wright (premiered at Treloarland in Melbourne - 2018), Variation(s) (Pact Zollverein- Germany - 2017), Variation III: On The Theme Of William Hay (Neuer Kunstverein in Wuppertal - 2017), Variation(s) By Louella May Hogan (premiered at Treloarland in Melbourne - 2017). His choreographies extends to film with This Is Not Raymonda But Whatever It Contains (2015), William Hay (2017), HTCTW #8 (2018), In Preparation For (2018), unattended choreography (2019) and Studio Works Collection: HTCTW (since 2017). 

Through his choreography, he developed a dance practice called Sentient Method taught to PARTS, HZT, DOCH, DFDC, PNB, Musée de la Danse, Hubbard Street Dance Company, STRUT, PACT Zollverein, K3, CNDC Anger, Lyon Opera Ballet, among others. As a dancer, since 2014 he performed in A Quiet Evening Of Dance by William Forsythe, Bastards. We Are All Illegitimate Children and Remains Persist by Moriah Evans.

Image by Dominik Mentzos

Marie Gyselbrecht worked with Alain Platel and Arne Sierens' Allemaal Indiaan as a teenager and toured internationally. In 1997, her dance solo was nominated for the "Best Belgian Dance Solo" award organized by Victoria and Alain Platel. In 2005, she graduated from the Salzburg Experimental Academy of Dance. In 2004, she co-founded the Belgium-based Collectiv.At. She has been part of the theatre collective Peeping Tom since 2008. With the ensemble she created the productions La Visita, 32 rue Vandenbranden, A Louer, Vader, The Land, Moeder, Kind and Dido and Aeneas. In 2017, she played in Chef de Corps directed by Raphaëlle Latini. She also directed Taverne, a dance theatre performance with the Hotel col-lectiu escènic, which premiered at Sala Hiroshima in Barcelona in June 2018. In 2021, she created the site-specific performance Nest, which premiered at the Sismògraf festival in Olot, Spain, in April 2022. In addition to her work for the stage, she was involved in the short film Drôle d'Oiseau (2015), which won several prizes at international film festivals, and the feature film Mijn vader is een saucisse (2019). Both films were directed by Anouk Fortunier. Marie has a strong interest in photography and visual art. Her installation Waiting Room - A life in Transit was shown at the Brussels Gallery Weekend and on tour with Peeping Tom. 
 

Designer of interactive devices, musician and scientist by training, he has worked as a sound engineer and producer in computer music since 1989. Until 2019, he participated in the development and influence of GRAME (National Center of musical creation – Lyon – FR) , creation of recording studios, discographic productions, shows, concerts, Opera, exhibitions and has worked with many composers of contemporary music in France and abroad while confronting the realities and diversity of contemporary productions on a daily basis. Since 2003, he has focused his research and development on gesture capture and the augmented scene. He experiments with what he calls “instrumental scenography”. He is interested in all the performing arts for which his research and development are related.

Since 2013 he has been creating gestural musical applications for Smartphones (“SmartFaust”, “Smart Hand Computer”), developing the “Light Wall System” software suite oriented for pedagogy. In 2019 he founded with Jean GEOFFROY the association LiSiLoG, dedicated to technological, artistic and transmission innovation. Since 2020 he has been developing the iMSS system for multi-camera motion capture for low budget creation and production. Under his artist name Zakahamida, he creates interactive installations running from second-hand iPhones to easily edit and distribute his works. In particular, he is continuing his experiments around the concept of “Smartland post-digital garden” which he initiated in 2013 with “Smartland – Divertimento”. In 2021 he created the C.CUT-UP! exhibition and disseminated his works in France and abroad, continuing to lead workshops in art schools and various training centers while continuing his creations, compositions, research and development within LiSiLoG.

Valeria Bravo Reyes is a versatile audio engineer, bassist, and vocalist based in Toronto, Ontario. With a musical journey that began at the age of 3, she has evolved through many different genres of music, inspired by artists like Esperanza Spalding, Ichiko Aoba, bo en and Natalia LaFourcade. Growing up in a Venezuelan household, she has a deep passion for Latin music but has also developed a love for other genres including R&B, folk, and video game music. She has had the opportunity to work with many different artists and use top-of-the-line gear in multiple spaces, working at the Gordon Wragg studio during her time at Humber College and currently engineering at The Root Down studio in Toronto. One of Valeria’s larger goals as a queer woman is to be able to provide safe spaces for women, femme-presenting, and gender non-conforming people in the music community, working to build on already existing communities with similar values. She has created an initiative at The Root Down studio called The LadyLike Jam: an inclusive jam space that spotlights women and queer artists in Toronto, aiming to inspire and bring together a community of like-minded artists.

Jessica Ozon is an emerging audio engineer and composer from St. John’s, Newfoundland. She is a recent graduate from the Memorial University of Newfoundland, where she completed a Bachelor of Music with a major in composition. Jessica began working as an audio engineer during her time as an undergraduate student, and has had the opportunity to record and mix everything from solo guitar to full orchestra for student audition videos, live events, and recording sessions at MUN’s School of Music. She has also worked as an assistant engineer for recordings of the Newfoundland Symphony Orchestra, the Tuckamore Music Festival, and the 2024 Sound Symposium. This past summer, Jessica participated in Soundscape Festival’s Sound Recording program in Blonay, Switzerland, where she gained experience recording contemporary classical music under the mentorship of Dr. Denis Martin. She was also a participant in the Tuckamore Festival’s 2024 Young Composer program. Outside of her work as a recording engineer, Jessica teaches piano lessons at Intervals Music Studio and is a sound technician at the LSPU Hall in St. John’s.

Murat Çolak is a Turkish-American audio engineer, producer, and composer based in New York City. He earned his master’s degree in music composition and technology in 2013 from Istanbul Technical University and completed his doctorate in music composition at Boston University in 2018. 

Murat’s first introduction to digital audio was in 2003, when he was a college student in Istanbul. He initially produced electronic dance music as an enthusiast. Years later, while creating sonically complex electroacoustic pieces as a composer, he developed a deep interest in acoustics and audio engineering. In 2018, he moved to NYC and started working as a part-time audio engineer. During the pandemic, he completed a 26-week advanced audio mastering program at Mastering Academy in Hamburg.

Since 2020, Murat has worked full-time as a mastering, mixing, and recording engineer out of his studio, GERYON. He specializes in contemporary classical and experimental music but is equally at home with EDM, rap, and pop. His engineering work can be heard on critically acclaimed art music labels like KAIROS, Edition Wandelweiser, NEOS, New Focus, Innova, Carrier, Important Records, and more.