Adaptive Storytelling │ Art Research Conference │UNATC Bucharest │ 2-5 December 2021

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Hybrid Conference: in situ at CINETic (3b Tudor Arghezi Str., Bucharest) │ online on Zoom │ live on the UNATC YouTube channel

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Unique Zoom login link for all conference sessions: CLICK HERE (Meeting ID: 965 5585 0634 / Passcode: 796442)

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As of 2021, the National University of Theatre and Film in Bucharest (UNATC) sets out to organize a yearly ART RESEARCH CONFERENCE, under the ARC UNATC heading, aiming to bring together studies, research and practices primarily in the performing arts and film, but also in connected fields, with a focus on interdisciplinarity and the intersection of domains, from science and emerging technologies, to music and design, from theory to interactivity, from fundamental research, to experimental and restorative research in the arts and through the arts.

The theme of the 2021 Art Research Conference is ADAPTIVE STORYTELLING open to postgraduate students, professors, practitioners and researchers invited to present their findings in both theory and practice from the following fields: theatre, film, performing arts, visual arts, design, architecture, cultural studies, humanities, but also from more technical fields that make use of the arts to tell stories, such as AR, VR, MR, game design, AI-driven art, interactive tools or specialized fields of technology highly consistent and relevant to the proposed theme.

We are honored to host 7 KEYNOTE SPEAKERS at the ARC UNATC 2021 international conference:

Janez JANŠA (Slovenia) – 2 December 2021, 16:00
Miruna RUNCAN (Romania) – 3 December 2021, 13:00
Katarzyna KNYCHALSKA (Poland) – 3 December 2021, 14:00
Ryszard W. KLUSZCZYNSKI (Poland) – 4 December 2021, 13:00
Rachel HANN (UK) – 4 December 2021, 14:00
Tadej DROLJC (Slovenia) – 5 December 2021, 13:00
Marco DONNARUMMA (Italy/Germany) – 5 December 2021, 14:00

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PROGRAM

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Thursday, 2 DECEMBER 2021

14:00 Registration / in situ

14:30 Conference Opening / hybrid

15:00-16:00 Conference Session 1 (15’ each) / hybrid

15:00-15:15 Carina BRÂNZILĂ, assist. lecturer, Faculty of Economics, “Al.I.Cuza” University of Iasi, Presentations as storytelling. / online

15:15-15:30 Anca Doina CIOBOTARU, PhD, prof. habil., Emanuel FLORENTIN, PhD, lecturer., Alice Ioana FLORENTIN, PhD, assist. lecturer, “George Enescu” University of Arts, Iași, The Eternal Adolescence of The Teodoreni. / online

15:30-15:45 Claudia TUNCEL, PhD student, Cultural Studies, Faculty of Letters, University of Bucharest, From Miniature to YouTube: Nasreddin Hodja’s Enduring Figure. A Folk Hero’s Medium Transmutations Throughout History in Turkey. / in situ

15:45-16:00 Enxhi RISTA, PhD student, “I.L. Caragiale”  National University of Theatre and Film, Bucharest, Mythology inspiration for Balkan cinema and gaming. / online

16:00-17:00 Keynote: Janez JANŠA, Performativity of Documents (50’ + 10’ Q&A) / online

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Friday, 3 DECEMBER 2021

10:00-15:00 This segment of the Conference will be held in Romanian.

10:00-12:00 Conference Panel – Potențialul pedagogic al arhivelor / The pedagogical potential of archives / hybrid (in Romanian)

INVITAȚI / PANEL GUESTS

Radu APOSTOL (Prorector UNATC „I.L.Caragiale”, București)
Călin CIOBOTARI (Director al Școlii Doctorale Domeniul Teatru, Universitatea de Arte „George Enescu”, Iași)
Sorin CRIȘAN (Rector Universitatea de Arte din Târgu-Mureș)
Anca HAȚIEGAN (Conf.univ.dr. Universitatea Babeș-Bolyai, Cluj-Napoca)
Mihai MIHALCEA (Consultant artistic/ Director Programe și Proiecte – Centrul Național al Dansului București)
Cristina MODREANU (Cercetător științific II, Universitatea Babeș-Bolyai, Cluj-Napoca)
Miruna RUNCAN (Prof. univ. dr. Universitatea Babeș-Bolyai, Cluj-Napoca)
Andrei RUS (Conf.univ.dr. UNATC „I.L.Caragiale”, București)
Moderatoare: Mihaela MICHAILOV (lect.univ.dr., directoare a Centrului de Cercetare în Arte Performative și Film, UNATC „I.L.Caragiale”, București)

12:00-13:00 Break

13:00-14:00 Keynote: Miruna RUNCAN, PhD, prof. habil., Critica teatrală ca depozitar al istoriei teatrale/ Theatre criticism as a repository for theatre history  (50’ + 10’ Q&A) / online (in Romanian)

14:00-15:00 Keynote: Katarzyna KNYCHALSKA, Teatrul independent în Polonia – Narative eficiente și ineficiente ale schimbării sistemice/ Independent theatre in Poland – effective and ineffective narratives of systemic change.  (50’ + 10’ Q&A) / in situ (in Polish with Romanian translation)

15:00-16:00 Break

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16:00-17:45  Conference Session 2 (15’ each) / hybrid

16:00-16:15 Iuliana GHERGHESCU, PhD, researcher, “I.L. Caragiale”  National University of Theatre and Film, Bucharest, Art archiving in scenography – a case for preserving designs and scenographic heritage. / in situ

16:15-16:30 Diana CHIRIPUCI, PhD student, “I.L. Caragiale”  National University of Theatre and Film, Bucharest, The utility of dance in the daily life. / in situ

16:30-16:45 Ciprian FĂCĂERU, PhD student, assist. researcher, “I.L. Caragiale”  National University of Theatre and Film, Bucharest, Inter(act) is the Main Act. / in situ

16:45-17:00 Ioana MISCHIE, PhD, lecturer, “I.L. Caragiale” National University of Theatre and Film, Bucharest, TANGIBLE UTOPIAS: an Odyssey of adaptive VR worldbuilding methodologies. / online

17:00-17:15 Dumitriana CONDURACHE, PhD, lecturer, “George Enescu” University of Arts, Iași, A Hybrid Creature: The Operetta Film / online

17:15-17:30 Adrian DAMIAN, PhD student, University of Arts in Târgu-Mureș, Network of Emotions. Storytelling Beyond the Surface. / in situ

17:30-17:45 Andrian ÎMPĂRĂȚEL, MA student, Documentary Filmmaking, Babeș-Bolyai University in Cluj-Napoca, Male Gaze and Feminist Film: Self-reflexivity in Spring Breakers. / online

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Saturday, 4 DECEMBER 2021

10:00-12:00 Conference Session 3 (15’ each) / hybrid

10:00-10:15 Adelina Laura BULIBAȘA, PhD student, Babeș-Bolyai University in Cluj-Napoca, Concrete Nests – A Transmedia Universe. / in situ

10:15-10:30 Andra ENĂȘOIU, PhD student, Babeș-Bolyai University in Cluj-Napoca, Transmedia Storytelling, Adaptation and the Cult Culture. / online 

10:30-10:45 Cornel LAZIA, PhD student, “I.L. Caragiale” National University of Theatre and Film, Bucharest, Time as narrative in photography. / in situ

10:45-11:00 Diana DRAGOMIR, PhD, lecturer, “I.L. Caragiale” National University of Theatre and Film, Bucharest, Teaching Game Story Structure. / online 

11:00-11:15 Daniel PANDELE, MA in Art of Game Design, “I.L. Caragiale”  National University of Theatre and Film, Bucharest, Oral Storytelling in Dungeons & Dragons. / in situ

11:15-11:30 Daniel UNGUREANU, PhD student, assist. researcher, “George Enescu” University of Arts, Iași, Digital Memories: Romanian Lockdown Memes. / online 

11:30-11:45 Oana-Georgiana ARSENOI, MA in Intercultural Management, Faculty of Philosophy, University of Bucharest, Postdigital storytelling: From creativity to creator mode.  / in situ

11:45-12:00 Emil DRĂGAN, PhD student, Politehnica University of Bucharest, Adding new dimensions to traditional storytelling. Case Study: CorintSpaceAR – an augmented reality book for children.  / in situ

12:00-13:00 Break

13:00-14:00 Keynote: Ryszard W. KLUSZCZYNSKI, PhD, professor, The work of art in the age of Internet presentation: between narrative and performance (50’ + 10’ Q&A) / in situ

14:00-15:00 Keynote: Rachel HANN, PhD, senior lecturer, Scenographic storytelling: Worlding expressions in an era of climate crisis (50’ + 10’ Q&A) / online

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Sunday, 5 DECEMBER 2021

10:00-12:00 Conference Session 4 (15’ each) / hybrid

10:00-10:15 Yolanda MANOLESCU CREȚESCU, PhD student, “I.L. Caragiale” National University of Theatre and Film, Bucharest, Innovative tools for prevention and intervention in emotional health in young people – TeensUp / in situ 

10:15-10:30 Andreea-Roxana DOBRESCU, PhD student, Cultural and Linguistic Studies: French, Faculty of Letters, West University of Timişoara, Catharsis through art: the therapeutic function of writing. / online

10:30-10:45 Flavius FLOARE, PhD student, Babeș-Bolyai University in Cluj-Napoca, Reframing the video game experience through cinematic means. / online

10:45-11:00 Oana IVAN, PhD, lecturer, and Cristina POP-TIRON, PhD student, Babeș-Bolyai University in Cluj-Napoca, Anthropology and Digital Interactive Arts: Opportunities, Challenges, and Hybrid methods. / in situ 

11:00-11:15  Ligia SMARANDACHE, PhD, senior lecturer, Babeș-Bolyai University in Cluj-Napoca, Cross-disciplinary Research Methods in Film and Psychology. / online

11:15-11:30 Giorgiana Elena POPAN, PhD student, Babeș-Bolyai University in Cluj-Napoca, The Story as a Performance – 10 years as a storyteller and researcher in this art. / online

11:30-11:45 Ștefan DAMIAN, PhD, lecturer, “I.L. Caragiale” National University of Theatre and Film, Bucharest, Naufrage – extending the narrative through intermediality in an electroacoustic composition. / in situ 

11:45-12:00 Catinca DRĂGĂNESCU, PhD, assist. researcher, Maria DRĂGHICI, PhD, assist. researcher, “I.L. Caragiale” National University of Theatre and Film, Bucharest, Rethinking Cultural Infrastructures. / in situ

12:00-13:00 Break

13:00-14:00 Keynote: Tadej DROLJC, PhD, Audiovisual Escapology: Cross-Modal Extension to the Musical Idea of Tension and Release  (50’ + 10’ Q&A) / online

14:00-15:00 Keynote: Marco DONNARUMMA, PhD, Eerie methods: making art for a world at the edge of collapse.  (50’ + 10’ Q&A) / online

15:00 Conference Closing / hybrid

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KEYNOTES

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Performativity of Documents

There is something in theater that resists the truth of a document. Many performances based on documentary material raise the question “did this really happen” in a spectator. The reason for such questions is in the very dispositive of theater, which creates disbelief rather than creating belief (Pirandello says in Six Characters in search for an Author to „deal with theater, that is, with the truth to a certain extent”).
This means that when we stage a document, we are primarily staging the attitude of the theater to a performative dimension inscribed in the document. There are documents that call for being staged. Not necessarily to reveal something unknown, something hitherto hidden, but rather to show how theater in itself resists a one-way relationship to real events.
The document is already mediated in itself, it is a medium. But as such, it participates equally in the construction of reality as the event it represents.
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Janez Janša is a contemporary artist who in 2007 together with two other Slovenian artists changed his name into the name of the conservative, two times prime-minister of Slovenia. Before and after this radical artistic gesture Janša has been working as theatre director and performer of interdisciplinary works that focus on the relation between art and the social and political context surrounding it, reflecting the responsibility of the performers as well as the spectators. Many of his works deal with the very status of performance in neoliberal societies. 
He created e.g. (together with Peter Šenk) a Refugee Camp for the Citizens of the First World (2004) and devised We are all Marlene Dietrich FOR (with Erna Ómarsdóttir, 2005) as a performance for soldiers in peace-keeping missions in the tradition of famous army entertainment shows. In his exhibition Life in Progress (2008) the audience itself reenacted famous historical performance art actions. For Janez Janša artistic practice, theoretical reflection and political involvement are not separated: He is also the  director of Maska, a non-profit organization in publishing, production and education, based in Ljubljana, Slovenia and edited several books on contemporary dance and theatre. He is author of the book on early works by Jan Fabre, La discipline du chaos, le chaos de la discipline, 1994.
He is currently fellow at the International research center Interweaving Performance Culture at the Freie Universitat in Berlin.

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Theatre criticism as a repository for theatre history

Abstract – research process motivation (restoring the professionalization process in theater criticism in the context of communist politics, ideology and aesthetic constraints; restoring the most representative stylistics in theatre journalism; restoring individual voices; the relation between criticism and the theatrical model of “socialist aestheticism”).
Methodology and corelating methodologies (historical context, political context, ideological analysis of the dialogue, rhetorical analysis of the communication, sociological perspective).
Periods.
Selecting the representative events, from a political social stand point. Textocentrism vs Director-centrism. Critic’s social, political and intellectual context. Case study role (1). Rapport between theatre journalism and research. Criticizing theatre criticism.
Theatre criticism and theatrical/ perceptual model. Consolidating the percept; preserving the percept under the siege of Ode to Romania /Cântarea României. Case study role (2).
Rhetoric archeology – a methodological approach.
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Miruna Runcan is a Romanian-born writer, semiotician and theater critic. She received a PhD in Theater’s Aesthetics from the Bucharest University of Theater and Film in 1999 on a complex historical and aesthetic research on the Romanian modern stage-directing and theater theories, from 1920 to 1960. After 1989, she was involved in several activist and theatrical projects, both in media ethics and theater criticism. She published the first Romanian book on media law and ethics, for young journalists, followed by The Fourth Power: Ethics and Law for Journalists. After 2001, she is professor at Babeş-Bolyai University of Cluj, Romania. Still, theater criticism and interdisciplinary studies on media, film and theatre constitutes the principle field of her activities in research, writing and teaching.

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Independent theatre in Poland – effective and ineffective narratives of systemic change

Statistics show that there are over 700 independent theatres and over 100 institutional theatres in Poland. Logic dictates that it is the former that should shape the image of theatrical life in the country. However, this is not the case at all. Why? The problem is the inequality of the system which organises the functioning of both streams. Independent theatres lack the space to work, the resources for production, the competent theatre criticism, and the possibility of exploiting ready-made performances. For over five years grassroots initiatives, such as the National Theatre Offensive, have been trying to change this state of affairs. They build and test narratives that could prove effective in conversations with politicians at the central and local level, as well as those that have the power to unite the industry around common problems. In my speech I will deal with these narratives, I will tell about the successes, but also numerous failures on the way to changing the theatre system in Poland. I will introduce the mechanisms of functioning of the theatre mainstream (financing, education, festival life and theatre criticism) and confront them with the mechanisms that govern the off stream. As an example I will use the tools developed by the Nie-Taki Theatre Foundation, which I run: the „nietak!t” magazine, The Best Off Competition, but also the Off-Polska grant programme newly launched in Poland. Finally, I will ask myself a perverse question: is it really the right narrative that allows us to change the world for the better?
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Katarzyna Knychalska is the founder and president of the Teatr-Nie Taki Foundation in Wrocław, publisher, editor-in-chief of the Teatralny.pl portal and the magazine on independent theatres „nietak!t”. Co-founder of the National Theatre Offensive, which aims to unify the off theatre movement, programming consultant at the Teatr im. Helena Modrzejewska in Legnica, director of the Nie-Złego Theatre Festival in Legnica, curator of the off trends at the Shakespeare Festival in Gdańsk and the New Theatre Festival in Rzeszów. Director and juror of The Best Off Competition. She is the author of many articles and essays on theatre, as well as plays and theatre adaptations staged in theatres in Poland and Europe. A scholarship holder of the Ministry of Culture and National Heritage „Young Poland”.

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Prof. Ryszard W. Kluszczyński, PhD, media art scholar, writer and curator

Chair of Department of New Media and Digital Culture, University of Lodz, Poland. Professor at the Academy of Fine Arts in Lodz. He investigates the issues of new media arts and cyberculture, contemporary art theory and practices, avant-gardes and transdisciplinary cultural transformations, and recent interactions between art, science, technology and politics. 
Artistic Director of Art & Science Meeting Program in the Centre for Contemporary Art in Gdansk (2011–). 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). 

Some of recent book publications: 
Towards a Non-Anthropocentric Ecology. Victoria Vesna and Art in the World of the Anthropocene (2020);  
Beyond Borders: Processed Body – Expanded Brain – Distributed Agency (2019);
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). 

Some most recent chapters and papers:
Sculpting Time: The Art of Collective Memory. In: Hava Aldouby (ed.) Shifting Interfaces. An Anthology of Presence, Empathy, and Agency in 21st Century Media Arts, Leuven University Press, 2020.
Visual Revolutions: From Electronic to Living Imagery, “Art Inquiry” 2020, vol. XXII. 
From the Collection of Personal Memories to Collective Memory. Notes on the Archiving Trend in New Media Art,  “Time of Culture” 2019, No. 2. 
On the Languages of Media and Postmedia Art. In: Slawomir Ratajski (ed.) Media Education as a Challenge, Academy of Fine Art and UNESCO Committee in Poland, Warsaw 2019. 
The Museum, Public Space and the Internet. Environments for Presenting Interactive Film, in: Oliver Grau et al (eds.) Museum and Archive on the Move. Changing Cultural Institutions in the Digital Era, De Gruyter, 2017.
Avant-garde against avant-garde, “Art Inquiry” vol. XXIX (XXVII), 2017, p. 33-43.

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Rachel HANN, PhD, senior lecturer

Dr. Rachel Hann is a cultural scenographer who researches the material cultures of performance design, climate crisis, and trans* performance. Since April 2020, Rachel has been Senior Lecturer in Performance and Design at Northumbria University, Newcastle.

Doctor of Philosophy, University of Leeds, School of Performance and Cultural Industries
‘Computer-based 3D Visualization for Theatre Research: Towards an understanding of
unrealized Utopian theatre architecture from the 1920s and 1930s’
Project website: utopiantheatres.co.uk.

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Audiovisual Escapology: Cross-Modal Extension to the Musical Idea of Tension and Release

For me, the essence of audiovisual art are audiovisual relationships. I am especially interested in cross-modal perceptual groupings and through various examples of my work, I will present different types of groupings that underpin numerous emerging or trending audiovisual aesthetics. Audiovisual composition, on the other hand, I see as an art of how to move between these various types of groupings over time. My practice usually revolves around constraining and liberating sound and image from each other and this drama I call the audiovisual escapology.
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Tadej Drolic is a Slovenian artist and creative coder who works at the intersection of sound, image and light.
For his work Tadej was awarded the Lumen Prize Student Award, Dennis Smalley scholarship in electroacoustic music and he won the most promising Video Artist prize at Madatac. His practice based doctoral research was awarded the Vice Chancellor’s Award for an outstanding thesis at the Centre for Research in New Music. A work from his collaborative project Synspecies won the Edigma Semibreve award and was shortlisted for the Lumen Prize in category moving image.
Tadej performed and exhibited at festivals such as Ars Electronica, Paris Biennale NEMO, L.E.V., Brighton Digital Festival, Semibreve, Sonica Glasgow, Lunchmeat, Node etc. As part of his collaboration with Ars Electronica’s Future Lab on project Immersify his works were also presented at events like Inter BEE Tokyo, IBC Amsterdam or Marché du film – Festival de Cannes.

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Marco Donnarumma, PhD

Marco Donnarumma is an artist, performer, stage director and scholar and co-founder of the artist group Fronte Vacuo. Marco weaves together media art, contemporary performance, and interactive computer music since the early 2000s. He is internationally acknowledged for combining disciplines, media and emerging technologies into an oneiric, sensual, uncompromising aesthetics, where the body becomes a morphing language to speak critically of ritual, power and technology.

Teaching positions (short- and long-term posts)
2021 Theaterpädagogik Ferienkurs / Visiting Instructor / Berlin University of the Arts DE
2013 Design and Performance Lab / Visiting Instructor / Brunel University UK
2011 Host Guest Ghost / Visiting Instructor / Dansehallerne DK
Posgrado en Artes Visuales / Visiting Instructor / UNAM MX
2009 MA in Sound Design for Sensitive Environment / LABA IT.

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Stories lie at the basis of human experience. Our minds are shaped to see stories everywhere – from a random leaf floating downstream, to funny shapes ground coffee makes at the bottom of a cup, to one single moving dot on a screen. We tell stories to communicate with each other, to make sense of the world, to entertain ourselves and our fellows. 

Stories bear the ever-present conflict between fixed forms and fluidity, using adaptation to maintain the core of the story whilst remapping itself onto newer listeners or viewers. Actors adapt to their audiences; Commedia dell’Arte involved a continuous dialogue between improvisation and pre-written texts. Forms of improvisation theatre use low but efficient techniques to build adaptive storytelling. 

While a story can be fixed in a script, stories time travel and are re-told. The printing press fixed novels in books as a culmination of storytelling. Cinema fixed stories on celluloid and turned actors into stars. Later on, in the digital environment, what was fixed became fluid again. The end can become the beginning, the dead can resurrect on screen and entertain us once again with cutting edge techniques such as vidding, produsage or datamoshing, which are already becoming widespread practices in online video content where audiences interact with ready made content in shaping new stories. 

With the advent of stronger and stronger computing power, a new ideal is emerging: interactive storytelling. Story is strongly linked to the technology and the medium through which it is told. Besides delivering targeted commercials, nowadays AI can simulate speech and draft scripts. Games use AI in emulating non-human players for bringing action and realism to digital worlds. Will we be living the dream of a digital storytelling machine?

Restorative research, on the other hand, can also be a complex form of storytelling, aiming to recuperate and reevaluate significant moments in the history of performing arts. Restorative research brings forth stories of personalities, performances, innovative artistic movements that fundamentally changed the shape of contemporary art. It is our duty as artists, practitioners, theorists, educators and researchers to create spaces where stories can be told, where narratives can be reframed and understood through the lense of contemporary culture, and where the memory of stories past can be brought to light. 

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CONFERENCE CALL

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We invite you to submit papers for the international interdisciplinary conference themed ADAPTIVE STORYTELLING that will be held in situ at the National University of Theatre and Film in Bucharest (UNATC), in Bucharest, 2-5 December 2021. Given the current global situation and possible travel restrictions, the conference will also be broadcast live with the open possibility for online participation, although priority will be given to in situ participation.

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.

Aside from the sections dedicated to the presentation of research papers, one section of the conference will be dedicated to presentations of innovative art practices.

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SELECTION PROCESS

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Send an abstract of 1000 words and a biography of maximum 250 words at research@unatc.ro 

For case presentations of artistic work, please include 2 images or a video

Deadline for the submission of abstracts: 13 October 2021

Deadline for submitting final papers: 12 November 2021

All accepted papers will be presented at the conference

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ARTICLE GUIDELINES

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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 10 titles.

Referencing style: Harvard (including media 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: research@unatc.ro

Articles will be peer reviewed and published in the conference proceedings volume. 

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CONFERENCE PRESENTATION GUIDELINES

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Time for each presentation will be of maximum 15 minutes.

Slides (where it is the case) need to be provided until November 30th 2021 (research@unatc.ro)  

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CONTACT: Elena Belciu, PhD │ elena.belciu@unatc.ro │+40746230481 │ cinetic.arts.ro │ unatc.ro

Details about the previous art research conference: Augmenting Performance and conference proceedings volume: CINETic Review.

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ORGANIZATION TEAM: ARC UNATC 2021

Vicerector with Research at UNATC: Radu Apostol
Director of the Research Center in Performing Arts and Film: Mihaela Michailov
Conference Management: Elena Belciu and Alexandra Bucălae
Communication assistant: Cristina Nițu
Proofreading: Ruxandra Vera Ștefan
Live streaming: Bogdan Alexandru (live video editing), Mihai Gheorghiu (live sound editing), Alexandra Bucălae (zoom management), Elena Belciu (live moderator)
Technical coordinator: Dumitru Tănase
Technical crew: Ciprian Făcăeru, Marius Hodea, Andrei Mutuligă, Geo Niță, Ionuț Dumitrașcu
Camera crew: Dragoș Boldea, Dan Bobe
Volunteers: Ruxandra Rădulescu, Bianca Georgiana Pîrvu, Caty Alexandra Șamata, Kristopher Dura, Sebastian Braicu