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Augmenting Performance Conference

augmenting performance


International Interdisciplinary Conference | 15-17 November 2019 | CINETic Bucharest

FREE ACCESS FOR THE PUBLIC (based on seating availability)


(*Follow this page for updates on the Conference program)


(CINETic – Multifunctional Hall – Ground Floor)

9:30      Registration for participants. Coffee. Networking.

10:00   Opening Speeches


11:00   Keynote LectureCon espressione!

  • GERHARD WIDMER, PhD, Institute for Computational Perception, Johannes Kepler University Linz (JKU) and Austrian Research Institute for Artificial Intelligence (OFAI), Vienna (AUSTRIA)

12:00   Lunch break (Open Buffet. CINETic – First Floor)

13:30   Conference Session 1 [15’] + Q&A [5’]

ThemeInteractive technologies in performative arts

ModeratorADRIAN DAMIAN, CINETic research assistant

  • 13:40     IOANA MISCHIE (CINETic) Government of Children. A pioneering glocal transmedia franchise with artistic, educational, societal impact
  • 14:00     TEODORA UNGUREANU (UAUIM BUCHAREST) & MARIA MANDEA (UNARTE BUCHAREST), Narrative puzzle in a post-industrial city
  • 14:20     ȘTEFAN DAMIAN (CINETic), Choreographic performance using wearable sensors for sonic interaction
  • 14:40     GORKEM ACAROGLU (AUSTRALIA), Robots, Avatars and Ghosts. A case study: directing human and technological actors

15:00    Coffee break. Networking.

  • 15:20     MARIUS HODEA (CINETic), Between Realities, Art Gesture by Technology
  • 15:40     HOREA AVRAM (UBB CLUJ-NAPOCA), The user is present. Performing temporality in mobile augmented reality art
  • 16:00     GRIGORE BURLOIU (CINETic), Augmenting a string quartet with live electronics
  • 16:20     MIRCEA KIRALY (UBB CLUJ-NAPOCA), Mymix – an AR application on live immersive sound
  • 16:40     KIVANC TATAR (CANADA), Subjects of Art in the Post-Metacreation Era

17:00   Coffee break. Networking.

17:30   Keynote LectureRehearsal for the robot revolution

  • ELIZABETH JOCHUM, PhD, Associate Professor in the Research Laboratory for Art and Technology (RELATE) at Aalborg University (DENMARK)

18:30   Opening Reception



HUMAN STORIES – Digital art installation by MARTIAL GEOFFRE-ROULAND (Ground floor – permanent installation)


(CINETic – Multifunctional Hall – Ground Floor)

9:30      Coffee. Networking.

10:00   PANELTransdisciplinary skills in creative industries

  • MODERATOR: Professor Dan Vasiliu, PhD Director of the Doctoral School, UNATC „I.L. Caragiale” Bucharest
  • Alex M. Dascălu Managing Director
    Bucharest Chapter of Founder Institute | Bucharest, Romania
  • Professor Ioan Cristescu, PhD | Director
    National Museum of Romanian Literature | Bucharest, Romania
  • Professor Nicolae GheorghițăPhD | Vice-Rector
    National University of Music |Bucharest, Romania
  • Architect Emil Ivănescu | President
    Bucharest Order of Architects (OAR)
  • Professor Dinu Dumbrăvician, PhD
    National University of Arts Bucharest | Faculty of Decorative Arts and Design | Design Department

11:30   Keynote LectureRock paper scissors. Expanded forms of animation, its use within live stage production and the role of research knowledge exchange within live projects

  • JOE KING, Tutor in the Animation program at the Royal College of Art London (UK)

12:30   Lunch break (Open Buffet. CINETic – First Floor)

13:30   Conference Session 2 [15’] + Q&A [5’]

ThemeArtistic practices derived from new technologies

ModeratorELENA BELCIU, PhD, CINETic programs coordinator

  • 13:40     MARIÉ-HELEEN COETZEE (SOUTH AFRICA), Betwixt and between: the intermedial dramaturgy of Gopala Davies
  • 14:00     RAMONA COSTEA (UT CLUJ) & TIBERIU TEODOR-STANCIU (UAGE IAȘI), Memorat – a VR-based monograph
  • 14:20     ALEXANDRA MUREȘAN (UBB CLUJ-NAPOCA), Creative matrices: Mirrors without glass, algorithms and geometric patterns
  • 14:40     ANDREEA IOSIF (UAUIM BUCHAREST) & CRISTINA CLAUDIA POPESCU (UNARTE BUCHAREST), An interdisciplinary art-tech approach through a VR application for the Simu Museum

15:00    Coffee break. Networking.  

15:00     Interactive art installations by DORIN CUCICOV and ALINA RIZESCU (All day – First floor)

  • 15:20     RICHARD PETTIFER (GERMANY), The Artist is absent: Non-Human Agency in the Situation of the Theatre
  • 15:40     DORIN CUCICOV (CINETic), The Sentient Machine. Extending emotional framework through interactive experiences
  • 16:00     MARINA HANGANU (CESI BUCHAREST), Before Sunset/After Sunrise: Augmenting Space, Time, and Perception in Telematic Performance
  • 16:20     NATALIA ȚURCAN (CESI BUCHAREST), Radio Drama – a sound show

16:45   Coffee break. Networking.

17:00   Keynote LectureDesigning performative mixed reality experiences and what we can learn from post-dramatic theatre

  • JORIS WEIJDOM, Researcher and senior lecturer – Media and Performance Laboratory at HKU University of the Arts Utrecht (NETHERLANDS)




FREE ACCESS at the Odeon Theatre for the URBAN DELTA SCAPES performance, for all registered participants, with the CONFERENCE BADGE.


(CINETic – Multifunctional Hall – Ground Floor)

10:30   Coffee. Networking.

11:00   Keynote LectureSound of vision – augmenting in the dark – the new, artificial sense for the visually-impaired

  • ALIN MOLDOVEANU, PhD, Professor and Vice-Dean at University Politehnica of Bucharest (ROMANIA)

12:00   Lunch break (Open Buffet. CINETic – First Floor)

13:30   Conference Session 3 [15’] + Q&A [5’]

ThemesTheatre in a world of technology and communication. Video game design.

ModeratorGRIGORE BURLOIU, CINETic researcher

  • 13:40     CIPRIAN FĂCĂERU (CINETic), Scenography of Augmented Space
  • 14:00     MARIA NĂSTASE (CINETic), Sonic images. Pixel sonification in the photographic image
  • 14:20     ADELA MUNTEAN (UBB CLUJ-NAPOCA), Performing Art Practices under the Dome
  • 14:40     FRANCISC APOSTU (CINETic)Creating Meaningful Play

15:00    Coffee break. Networking.

  • 15:20     IULIANA GHERGHESCU (CINETic), A case for a Bachelor’s program in Art and Technology
  • 15:40     ANABELA COSTA (FRANCE), Poetic Cosmicity, VR immersive interactive videoart animation [live practical demonstration]
  • 16:00     ANDREI UNGUREANU (CINETic), Gesture recognition system using leap motion sensor: a machine learning approach [live practical demonstration]

16:30   Coffee break. Networking.

17:00 Keynote LectureFrom cinematic to participatory aesthetics. Immersivity, Interaction and Narrative in Contemporary Performing Arts

  • RYSZARD W. KLUSZCZYŃSKI, PhD, Professor of Media and Cultural Studies; Chair of the Department of Electronic Media, University of Lodz (POLAND)

18:00   MIHAELA DRĂGAN (ROMANIA), Roma Futurism

19:00   Closing Reception

20:00   #FLUID-ity

  • A performative concert with PAUL DUNCA/PAULA DUNKER (performer, choreographer, playwright), ALEX BĂLĂ (musician) and other twisted creatures.


KEYNOTE | 15 November 2019


Head of the Institute for Computational Perception, Johannes Kepler University Linz (AUSTRIA)

Austrian Research Institute for Artificial Intelligence (OFAI), Vienna


Much of current research in Artificial Intelligence and Music, and particularly in the field of Music Information Retrieval (MIR), focuses on algorithms that interpret musical signals and recognise musically relevant objects and patterns at various levels – from notes to beats and rhythm, to melodic and harmonic patterns and higher-level structure -, with the goal of supporting novel applications in the digital music world. This presentation will give the audience a glimpse of what computational music perception systems can currently do with music, and what this is good for. However, we will also find that while some of these capabilities are quite impressive, they are still far from showing (or requiring) a deeper „understanding” of music. An ongoing project will be presented that aims to take AI & music research a step further, going beyond surface features and focusing on the *expressive* aspects, and how these are communicated in music. We will look at recent work on computational models of expressive music performance and some examples of the state of the art, and will discuss possible applications of this research. In the process, the audience will be subjected to a little experiment which may, or may not, yield a surprising result.

GERHARD WIDMER should have become a pianist, but at age 15 decided that Beethoven was boring. He studied computer science (and some music) in Austria and the U.S., and is currently a professor at the Johannes Kepler University Linz, where he heads the Institute of Computational Perception.

He also founded and leads the Intelligent Music Processing and Machine Learning Group at the Austrian Research Institute for Artificial Intelligence (OFAI), Vienna. His research interests are in AI, Machine Learning, computational audio and music perception, Music Information Retrieval (MIR), and computational models of musical skills (notably: expressive music performance).

He is considered a pioneer in inter-disciplinary research at the intersection of computer science, AI, and music, and has been awarded several research prizes, including the highest scientific award in the country of Austria, the „Wittgenstein Prize” (2009). He is a Fellow of the European Association for Artificial Intelligence (EurAI), and the recipient of an ERC Advanced Grant (2015) of the European Research Council. His attitude towards Beethoven has also changed substantially, in the meantime.


KEYNOTE | 15 November 2019


Associate Professor in the Research Laboratory for Art and Technology (RELATE) at Aalborg University (DENMARK)


Robots are arguably the most visible expressions of the technological future. A robot is not only a machine, it is a slippery and paradoxical concept that has evolved at pace with – and frequently in advance of – human-built technologies.  Robots embody powerful ideas about humanity while simultaneously engaging with fears of dehumanization and erasure of essential aspects of humanity.  The recent proliferation of robots in live performance and contemporary art both shape and reflect critically on contemporary discourse surrounding robotics and Artificial Intelligence. Robots on stage provide a site for rethinking and reconfiguring relations between humans and machines and challenge normative discourses and practices that shape future technologies. This presentation looks “under the skin” to uncover the paradigms that shape these interactions in both artistic and research contexts.

ELIZABETH JOCHUM is an Associate Professor in the Research Laboratory for Art and Technology (RELATE) at Aalborg University (Denmark).  Her expertise cuts across the fields of theatre and performance studies, robotic art and human-robot interaction. She co-founded the Robot Culture and Aesthetics (ROCA) research group and the Robots, Art, People and Performance (RAPP) Lab. She has contributed to the humanoid robot project Geminoid DK and coordinates the EXACT (Exoskeletons, Art and Choreographic Training) project. Dr. Jochum is a faculty member of the ERASMUS European Masters of Excellence Program in Media Arts Cultures, and serves on the editorial board of Global Performance Studies. Her current book project surveys robots in performance across theatre, dance, opera and visual art.


KEYNOTE | 16 November 2019


Researcher and senior lecturer – Media and Performance Laboratory at HKU University of the Arts Utrecht (NETHERLANDS)


This keynote explores the artistic potential of developments in VR and AR technologies and how they can be applied in performative mixed reality experiences. 

Through examples of internationally recognized productions and by reflecting on his own recent experimental work Joris Weijdom offers artistic questions and design challenges that are intricately intertwined with mixed reality design. 

By looking with a dramaturgical eye to these productions, rather than a technological one, the augmentation of performance becomes a discussion of meaning rather than experiential effect. 

JORIS WEIJDOM is a researcher and designer of mixed-reality experiences focusing on interdisciplinary creative processes and performativity. 

He is a lecturer at the HKU University of the Arts Utrecht where he founded the Media and Performance Laboratory (MAPLAB), enabling from 2012 until 2015 practice-led artistic research on the intersection of performance, media and technology. 

As part of his PhD project Joris researches creative processes in collaborative mixed reality environments (CMRE) in collaboration with the Utrecht University and the University of Twente.


KEYNOTE | 16 November 2019


Tutor in the Animation program at the Royal College of Art London (UK)


Expanded forms of animation, its use within live stage production and the role of research knowledge exchange within live projects

Using a recent project between the Royal College of Art, Peter Gabriel, Sting and Real World Productions as a case study, this presentation explores an exchange of knowledge between academic research into aesthetic development and industry to create an innovative live music production with audiovisual technology.

This presentation is an expanded version of a recent paper exploring ways of working particularly within an educational framework. It looks at the difference in producing amination for stage as opposed to more traditional filmic forms

In May 2016 the Royal College of Art entered into a project to develop the concept and visual content for the Peter Gabriel and Sting US tour. The presentation will discuss the knowledge exchange value of the project and will go through the methods of its development, the creative innovation used and its aesthetic outcome. Traditional methods were used, but reinterpreted for this expanded animation project. The difference between more traditional linear, short film or music video production and the new technical challenges of creating visuals for a live show that formed part of the research for this project will be explored.

JOE KING is an award winning artist filmmaker living and working in the UK. He is also a tutor on the Animation programme at the Royal College of Art. Joe has worked in arts education for the past fifteen years supervising at masters and research levels. He has been a guest lectures at a number of international colleges, and has been awarded a visiting professorship at Jilin University China.

Originally working in animation his work now spills over into multi-media works that operate in tandem with or as an adjunct to moving image, playing freely with and between the spaces of site, screen and gallery. Joe uses a variety of techniques and animation to combine and manipulate photography, film and sound. His work moves between single screen and multimedia gallery installations.

Joe is a is also a founding member of folk-projects often working in collaboration with co-founder and fellow artist Rosie Pedlow. Before concentrating on his own practice Joe was a director for Slinky pictures, directing commercial work including advertising, music videos as well as producing visuals for live performance. Joe’s work is exhibited internationally and his personal films have won several awards.


KEYNOTE | 17 November 2019


Professor of Media and Cultural Studies

Chair of the Department of Electronic Media, University of Lodz (POLAND)


Immersivity, Interaction and Narrative in Contemporary Performing Arts

Contemporary performing arts have undergone numerous and complex changes in the technological context over the last decades. They find in technology new sources of inspiration, new forms and ideas, new creative instruments, and methods of participation building. There are many problems to be discussed in the context of technology-grounded performing arts. In my talk, I want to focus on some of them only. I will be talking about different forms of immersive cinematic experience, about ways of engaging audiences and communities into the performance structure, about forms of interactive, participatory narratives emerging from immersive experiences, about roles of sound in creating the space of participatory engagement, about the identity issue and the participatory identification. Discussing these issues I will be referring to selected artworks of such artists like Marek Choloniewski, Rod Coover, Ulrike Gabriel, Joanna Popińska, Luz María Sánchez, Jeffrey Shaw, Piotr Wyrzykowski & Echo Ho.

Prof. RYSZARD W. KLUSZCZYŃSKI, PhD, media art scholar, writer and curator.   

Professor of Media and Cultural Studies at the University of Lodz, Poland, Chair of Department of Electronic Media. Professor at the Academy of Fine Arts in Lodz. Visiting professor in numerous universities in Europe and North America. He investigates the issues of new media arts and cyberculture, contemporary art theory, experimental cinema and video art, and recent art practices developing at the crossroads of art, science, technology and politics.

Some of his recent book publications include Augmenting the World. Masaki Fujihata and Hybrid Space-Time Art (2017); Human Traits. Patrick Tresset and the Art of Creative Machines (2016); Guy Ben-Ary: Nervoplastica. Bio-robotic Art and its Cultural Contexts (2015); Ken Feingold: Figures of Speech (2014); Meat, Metal & Code / Contestable Chimeras: Stelarc (2014); Robotic Art and Culture. Bill Vorn and His Hysterical Machines (2014); Wonderful Life: Laurent Mignonneau + Christa Sommerer (2012); Crude Life. The Tissue Culture & Art Project: Oron Catts + Ionat Zurr (2012); Towards the Third Culture. The Co-Existence of Art, Science and Technology (2011); Interactive Art. From Artwork-Instrument to Interactive Spectacle (2010).

Artistic Director of Art&Science Meeting Program in the Centre for Contemporary Art in Gdansk (2011-) and curator of numerous exhibitions within the program. Co-curator of travelling international exhibition United States of Europe (2011-2013). Curator of the Second International Biennale of Contemporary Art “Mediations”, Poznan 2010. Chief Curator of Film, Video and Multimedia Arts in the Centre for Contemporary Art – Ujazdowski Castle in Warsaw (1990-2001).


KEYNOTE | 17 November 2019


Professor of Software Engineering and Virtual Reality

Vice-dean (in charge of master studies) at the Faculty of Automatic Control and Computers, POLITEHNICA University of Bucharest


Between 2015-2017, the European Horizon 2020 research project Sound of Vision created a functional prototype of a wearable device that helps the blind to perceive and navigate the environment efficiently and safely.

A 3D camera located on user’s head continuously scans the environment, and the 3D data is processed by computer vision algorithms which break it into individual objects. Then, these objects are rendered to the user using audio (on headphones) and vibrations (on a haptic belt).

The prototype was validated by tests with 45 blinders, with extremely good results. After about 1-2 weeks, most are able to use the system well, with performances similar to the white stick (which requires 3-6 months to be well mastered).

Sound of Vision has many advantages over the white stick or various previous solutions: it does not occupy the hands, it has a detection distance of 5m, it detects obstacles at any level from the height of the ground to the head, it issues proximity alerts, it detects objects special interest (doors, stairs, texts, signs) and many more.

In 2018, the prototype was certified TRL 7 by the European Commission and was subsequently ranked 1st in terms of social impact, among all European research projects (the “tech for society” category of the Innovation Radar Prize 2018 competition – which included thousands of European-funded projects – Horizon 2020 and other programs).

We want to take this laboratory prototype to the stage of finished, commercially available product at an affordable price. The potential to improve the lives of the blind (affected by the lack of environmental perception and consequently reduced mobility and sedentary nature) is immense.

Project website:

Presentation videos: 

  • Overview:

Demo videos download

Alin Moldoveanu is Professor (teaching Software Engineering and Virtual Reality) and Vice-dean (in charge of the master studies) at this same faculty that he completed as valedictorian, 20 years ago – Faculty of Automatic Control and Computers, from POLITEHNICA University of Bucharest.

He’s teaching software engineering at bachelor level and virtual and augmented reality at masters, and focusing on applied research in virtual and augmented reality (exploring and applying immersion, sensory substitution, and distorted reality), eHealth (assistive and rehabilitative solutions, prevention of hospital acquired infections) and eLearning & eCulture (mixed-reality campuses and cultural environments).

Director or responsible for many national or European research projects in these areas, such as Sound of Vision, TRAVEE, HAI-OPS, Lib2Life .

His research works received several prestigious prizes, such as Best “Tech for Society” Horizon 2020 project, Awarded by EC through Innovation Radar, at ICT 2018 – received by Sound of Vision, where he acted as technical coordinator and UPB team responsible.



WORKSHOP | 7-8-9 November 2019


Lecturer of Education, Erasmus Coordinator, Sonic Arts Research Centre, School of Arts English and Languages, Queen’s University Belfast (UK)


This workshop will offer an introduction to electronics, sensors technology, computing programming, and audio processing for musical applications. It covers the basics of interaction design, instrument studies, and performance practices with novel interfaces.

MIGUEL ORTIZ is a Mexican composer and sound artist based in Belfast. His practice explores a vast array of performing mediums ranging from traditional acoustic instruments such as cello and trumpet, to laptop improvisation, performance with bio-instruments and hyperinstruments.

He currently works as a Lecturer at the Sonic Arts Research Centre, Queen’s University Belfast.


WORKSHOP | 12-13-14 November 2019


School of Interactive Arts and Technology, Simon Fraser University, Vancouver (CANADA)

Institute for Computer Music and Sound Technologies, Zürich University for the Arts (SWITZERLAND)


Creative Artificial Intelligence (Creative AI) applies autonomous software architectures to creative tasks. Creative tasks differ from rational problem-solving. Unlike rational problem solving, the quality measures of creative tasks are ill-defined. For example, there is no notion of an optimum musical improvisation. There is no universal measure of the quality of musical improvisation. Because of these challenges of creative tasks, the implementations of creative AI differ from rational problem solving and traditional search strategies of Machine Learning.

This workshop on Creative AI consists of three parts: philosophy, system design, and practice. The philosophy part covers the background of Artificial Intelligence, Generative Art, and Computational Creativity; while the system design gives an overall view on generative systems. The last part of the workshop invites participants for hands-on practice of the knowledge. The applications in focus cover Machine Learning, Artificial Intelligence, and Multi-agent Systems technologies for artistic applications.

KIVANÇ TATAR is “a worker in rhythms, frequencies, and intensities;” playing trumpet and electronics, composing experimental music, performing audio-visuals, and researching Creative Artificial Intelligence for Music and Interactive Media. His career aims to integrate Science, Technology, Engineering, Interactive Arts, Contemporary Arts, and Design to research interdisciplinary topics to create transdisciplinary knowledge.

His work has been exhibited in Germany, Italy, Romania, Switzerland, Austria, Russia, Brazil, Australia, USA (New York and Atlanta), Canada (Vancouver and Montreal), South Korea, and Turkey; including the events: the cultural program at Rio Olympics 2016, the Ars Electronica Festival 2017 (with the theme Artificial Intelligence), CHI 2018, and Mutek Montreal 2018, Contemporary İstanbul PlugIn 2019.

His research spans Creative Artificial Intelligence, Machine Learning, Audio Synthesis, Generative Art, and Musical Composition & Performance.



VISITING ARTIST | 13-17 November 2019


Metanoia Theatre (AUSTRALIA)


An analysis of casework investigating the relationship between human and technological actors in theatre, examining the practical and philosophical implications of using technological objects as performers alongside human actors on stage with specific reference to theatrical presence.

Robots, Avatars and Ghost was the result of The Mixed Reality Performance Lab, which responded to dramatic theatre’s resistance to new technologies, seeking to investigate where the technology is capable of real-time spontaneous interaction with humans on stage as co-actors; as well as how digital performance can incorporate narrative and other elements of the dramatic theatre craft. 

A custom-designed humanoid robot created at the Centre for Intelligent Systems Research at Deakin University in Melbourne Australia played the role of Mrs Alving in the last twenty minutes of Henrik Ibsen’s Ghosts alongside a motion capture operated avatar version of herself.

Jennifer Parker-Starbuck’s categories of subject/object and abject technology and her analysis of cyborg theatre informs much of this work. Particular attention is paid to Cormac Power’s account of theatrical presence, and his distinctions between fictional, literal and auratic presence in order to identify the problems theatre practitioners encounter in the nascent genre of Cyborg Theatre.

Görkem Acaroglu completed her PhD on The Status and Function of Inanimate ‘Object-Actors’ in Cyborg Theatre at Deakin University in 2015. She is a practicing interdisciplinary theatre maker with a career spanning twenty years in documentary and digital performance, live art, text-based theatre, immersive and site-specific performance and community engaged practice. She has written and directed numerous documentary performance works, devised multiple original works with theatre companies in Australia, Turkey and Mongolia, directed productions of contemporary plays, premiered new writing working closely with the playwright, and directed a number of adaptations. In 2013 Gorkem conducted The Mixed Reality Performance Lab working with a Robotics Centre and a Motion Capture Lab to create an original piece of Cyborg Theatre. Prior to this she created numerous digital performance works with human and technological actors. Gorkem has a Masters in Creative Media, a Masters in Media Arts and Production and is a Graduating Director from the Victorian College of the Arts. She has presented on Cyborg Theatre at conferences in Australia and internationally, lectured at Universities in theatre and digital arts and co-edited the 2014 edition of Australasian Drama Studies on Digital Performance.

Gorkem was Creative Director of Melbourne Workers Theatre 2010-12 and founder/Artistic Director of Metanoia Theatre that turned a Melbourne based hall-for-hire into a contemporary arts space from 2013-17. Gorkem has worked as a Participatory Arts Program Manager for City of Melbourne and Program Producer for Fed Square, Melbourne 2018-19.


VISITING SCHOLAR13-20 November 2019


University of Pretoria (SOUTH AFRICA)


The term ‘intermediality’ has a long history of usage in a range of disciplines, amongst others media studies, visual arts, literature, theatre and performance studies, and more recently, politics and identity studies. Though many scholars have demonstrated that theatre is necessarily intermedial and a hypermedium (see for example, Chapple and Kattenbelt (eds.) 2006; Kattenbelt 2008:23), the mode of intermediality we deal with here centres on the use of new and digital media in relation to theatre.  For the purposes of this presentation, intermediality refers to theatre works that are positioned in concept and form within technical and epistemic competence; resides ‘in-between’ established media in a mode of “mutual reciprocity” (Klich and Scheer 2012:71) and communicative engagement that result in a “redefinition of the media that are influencing each other” (Kattenbelt 2008:25). This redefinition also necessarily extends to the processes by which the work is created. The integrative competencies, conceptualization and compositional processes that this understanding of intermediality in theatre demands, in effect, extends dramaturgical strategies towards an intermedial dramaturgy. Central to this mode of dramaturgy in theatre is navigating the tensions between live performance and mediatized performance.

Live performance and corporeality have been tied to the present, presence/absence, ephemerality, contemporaneity and embodiment. Mediatized practices have been tied to reproducibility, documentation and disembodiment. Chatzichristodoulou & Crossley (2016:14) points out that whilst current scholarship attempted to subvert the oppositional relationship between the live and the mediatised, it has not succeeded in resolving the tensions between the two. As intermedial theatre is simultaneously live and mediatized, it epitomises these tensions. Further, theatre is polysemic and historically, the performer is the centripetal sign in/of theatre. Intermedial theatre at times may displace the centrality of the performer to meaning-making and the theatrical event per se.  The tension between liveness and mediatisation is made manifest through the destabilisation of the primacy of not only the performer as mimetic sign, but also the signifying role of the performer. Does this seeming erasure bring us as performers and theatre-makers “further from ourselves” or extend us towards our “full potential”?

Dr Marié-Heleen Coetzee is associate professor in the Department of Drama at the University of Pretoria. She was the head of department for more than a decade. She has been involved in drama/ theatre/ performance education and training in the higher education sector since 1994. She was on faculty of the drama department at the University of Zululand (UNIZUL) before joining the University of Pretoria (UP) in 2000. Her research interests include applied drama/ theatre, embodied knowledges and creative praxis.  She has presented papers and workshops at national and international conferences, supervised masters and doctoral research, contributed scholarly publications and directed/choreographed creative work on various platforms. She has served on the artistic advisory committee of the International Organisation of the Sword and the Pen, the board of the Aardklop/Clover National Arts Festival and the theatre panel of the South African National Arts Council.  She is currently a judge for the Naledi Theatre Awards and a regional editor of the The Theatre Times Magazine.



Elephants were replaced from Circus shows by holographic images and we are all very happy about it, hoping that soon this will also happen in zoos. Telepresence, plays written by AI, dancing with robots, digital sets have become a daily part in performing arts.

How will the performing arts of the future look like? Will it be a globalized AI-controlled world, where avatars of faraway people interact? Will it be performed by cyborgs in virtual sets controlled by the biofeedback of the spectator? Will it be the live development of genetically modified organisms specially designed to blossom and die in front of cheering crowds? How far can we go to express ourselves, how far can we go to get more attention to our work? By technologically augmenting performance and performers do we get closer to our full potential or further from ourselves?

We invite you to submit papers for the international interdisciplinary conference AUGMENTING PERFORMANCE held at the International Center for Research and Education in Innovative Creative Technologies – CINETic, in Bucharest, 15-17 November 2019.

The conference is focused on research, development and practices on augmenting artistic performance through interdisciplinary art-technology-science approaches.

We look forward to papers on Human-Computer Interaction, Wearable Tech and use of Biosensors, Data Visualization and Sonification, Robotics, Mobile Augmentations, Scripting Interactive Environments, Sound and Music Interaction, Motion Tracking and Gaming Practice used to augment Performing Arts Practices.

Papers on interdisciplinary fields like film, animation, VR, theatre, video-gaming or specialized fields of technology will be accepted if they are highly consistent and relevant to the general subject.

Projects developed through research and presentations of research results will be highly valued. 

We look forward to receiving papers of original, provoking work and research.

One section of the conference will be dedicated to presentations of innovative art practice and one section to research papers.


  • Send an abstract of 1000 words and a biography of maximum 250 words at
  • For case presentations of artistic work, please include 2 images or a video.
  • Deadline for abstract: 16 September 2019.
  • Deadline for submitting final papers: 15 October 2019.
  • All accepted papers will be presented at the conference.


  • Title: maximum 8 words.
  • Abstract: 150-200 words.
  • Keywords: 5.
  • Article length: minimum 2500 words, maximum 5000 words.
  • Language: US English. 
  • Structure:

Introduction (minimum: State of the subject, Objective / Hypothesis)

Methods / Methodology

Results / Findings / Originality

Discussion / Relevance

  • References: minimum 20 titles.
  • Referencing style: Harvard (including media references).

Books: Author, A.N. and Co-author, A.N. (2019) Book Title: Book Subtitle. Place: Publisher.

Chapters in books: Author, A.N. (2019) “Chapter Title: Chapter Subtitle”, in A.N. Editor, ed., Book Title: Book Subtitle. Place: Publisher.

Journal articles: Author, A.N. (2019) “Article Title: Article Subtitle”, Journal Name, 5(1): 123-126.

Newspaper articles/websites: Author, A.N. (2019) “Article Title”, Newspaper, 9 April. Available online at (accessed 10 February 2019).

Do not allow the web address to contain a hyperlink or to be underlined. In the text, the name of the author and date of publication should be cited as in the Harvard system: e.g. (Smith, 2019, p. 13) or (Smith, 2019, pp. 13-14). If there are more than three authors, use the first name followed by et al. in the text but give the names of all the authors in the References.

  • Images/Figures: maximum 3.
  • Biography: maximum 250 words, plus a ¾ cm portrait picture.
  • All contributions and correspondence on articles should be sent to:
  • Articles will be published after a peer-review process in the volume of the Augmenting Performance International Conference 2019.


  • Time for each presentation will be of maximum 15 minutes.
  • Slides (where it is the case) need to be provided until November 10th 2019 (  

Foreign students and artists will be offered 2 grants covering all expenses for 5 days which will include participation in the conference and visiting the CINETic center and UNATC (travel, housing, food).

Upon request, up to 30 Ph.D. and master students, whose work is accepted, can be hosted in the UNATC student dormitory for the duration of the Conference.

Program Coordinator: Elena Belciu, PhD +40746230481,

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