As a social and educational scientist, and after graduating in Art/Visual Communication Wolfgang Knapp has been teaching and doing research since 1988 at the Institute for Art in Context at the University of the Arts in Berlin. His main focus is on interdisciplinary projects on the interface of art and science (since 1993), minorities in art and the media, artist idendity, international project cooperation, curatorial activities and pulications. („Missing Link- art meets biomedicine“, „Fettes Archiv“ „Sensing the Street“, „sterben wollen-Denkraum suizid“ „Valldigna“, „Forschen und Ausstellen“. Wolfgang Knapp is chairperson of the Comission for artistic and scientific projects at the University for the Arts in Berlin and a professor h.c. at the Department of Fine Arts and Design at Zhejiang Commercial Technical College in Hangzhou/China.

Dean of Yangming Academy of Communication University of China, professor and doctoral supervisor at the Institute of Arts of Communication University of China, member of the Academic Committee of Communication University of China, member of the expert group of the National Art and Science Planning Project, and vice chairman of the organizing committee of the China Yangming Mind Philosophy Summit Forum.

Well-known contemporary artist, art education expert and professor.

Vice Chairman of the China Social Art Association of the Ministry of Culture and Tourism, Executive Dean of the Academy of Painting of Central University of Finance and Economics. Chairman of the Expert Committee of Art Communication of Communication University of China, Dual-appointed Professor of Renmin University of China, Executive Director of the Art and Law Research Center of the Law School, Deputy Director and Researcher of the Art Law Research Center of the Central Academy of Fine Arts, Distinguished Professor of the School of Art of Xiamen University. Art Consultant of Poly International Auction, National First-Class Art Appraiser. Former tutor of the Contemporary Painting and Calligraphy Masters Mentoring Class of the Academy of Fine Arts of Tsinghua University, Director of the Education Committee of the Renaissance Research Institute of Renmin University of China, and member of the Art Evaluation Committee of the Ministry of Culture.

Leigh Landy holds a Research Chair at De Montfort University (Leicester, UK) where he directs the Music, Technology and Innovation – Institute for Sonic Creativity (MTI²). His work is divided between creative and musicological endeavour. His compositions, many of which are sample-based, include several for video, dance and theatre and have been performed around the globe. He has worked extensively with the late playwright, Heiner Müller, the new media artist, Michel Jaffrennou and the composer-performer, Jos Zwaanenburg and was composer in residence for the Dutch National Theatre during its first years of existence. With Evelyn Jamieson, he directed Idée Fixe – Experimental Sound and Movement Theatre. His publications focus primarily on the studies of electroacoustic music. He directs the ElectroAcoustic Resource Site (EARS) projects and is a founding director of the Electroacoustic Music Studies Network (EMS).

Artist, Curator, Professor in China Academy of Art.

Director of Zhejiang Environmental Artists Association, member of German Artists Association, member of Berlin New Artists Association, and director of Berlin Art and Philosophy Association. From 1986 to 2002, he studied and graduated from the Oil Painting Department of Zhejiang Academy of Fine Arts, the Fine Arts Department of Kassel University in Germany, and the Graduate School of Art Context of Berlin University of the Arts.

Michael holds his Ph.D. from the Department of Comparative Literature at the University of California, Berkeley, where he worked under the direction of Judith Butler and Karl Britto. Before joining the faculty at the University of Oregon, he was a member of the Society of Fellows in the Humanities at Columbia University (2008-9).

His research focuses on debates in world literature, postcolonial studies, media theory, as well as film and visual culture, primarily in Africa and the Middle East. In both his research and teaching, he bridges textual analysis with social theory, and draws from methods in anthropology, religion, and area studies. He is the author of In the Shadow of World Literature: Sites of Reading in Colonial Egypt (Princeton 2016, Co-Winner of the MLA Prize for a First Book), and guest edited a special issue of Comparative Literature (“Reading Secularism: Religion, Literature, Aesthetics”), an issue of Philological Encounters with Elisabetta Benigni, (“Lingua Franca: Toward a Philology of the Sea”), and a dossier with Bruno Reinhardt devoted to the work of Saba Mahmood (“Pensando com Saba Mahmood: Aprensentação”). He is currently at work on two books: the first, Cinema Before the World, which traces the transnational history of camera operators working for the Lumière Brothers film company, and the second, How Language Became Data, which investigates a history of information systems in the Middle East (telegraph, typewriter, radio, and telephone) and their implications for the study of world literature.

Michael is the editor of Comparative Literature and serves on the editorial boards of the Journal of World Literature, Philological Encounters, Comparative Literature Studies, Critical South Asian Studies, the Journal of Digital Islamicate Research, and Syndicate Lit. He was elected a member of the executive committee for LLC Arabic (2017-2021) and a delegate of Twentieth and Twenty-First Century Comparative Literature (2019-2021) for the Modern Language Association, and served as the Publications Chair for the American Comparative Literature Association (2020-2023). He has been a EUME Fellow at the Forum for Transregional Studies in Berlin (2011-12, 2017-2018), a Townsend Fellow at the Townsend Center for the Humanities in Berkeley (2006-7), and a Presidential Intern at the American University in Cairo (2000-1). For two summers (2011-12), he was the site director for the CLS Arabic Program in Tangier, Morocco. 

Roger Alsop's practice includes sound art, composition, interactive art & video art. He works in all forms of performance, recorded, sound, web, and video arts. He teaches undergraduate, postgraduate and research students at Melbourne University and Box Hill Institute, and has mentored performance students at Victoria University, and through the Spark program. He is an active researcher in the areas of performance and performing arts, interactive art, sound art, and composition, and has supervised and supervises research students in these areas.He has written on topics including sound and interactive arts; artistic approaches to environmental sustainability; art and bio-imaging, cross media art, and gesture interactions. Arts Victoria, VicHealth and the Royal Botanic Gardens have funded his work. Memberships include: Greenroom Contemporary and Experimental Performance panel, Box Hill Institute Higher Education Board of Studies and Music Degree Course Advisory Committee, International and Australian Computer Music Associations, Electronic Music Foundation, Human Computer Sciences Network, ANAT, and Multicultural Arts Victoria.

Nora M. Alter is a professor at Temple University’s School of Theater, Film, and Media Arts. At Temple, she served as Chair of the Department from 2009-2013 and is the founding director of Temple’s Venice Study Abroad Summer Program and is the former founding Director of FMA’s Los Angeles Study Away Program. Alter is culturally fluent in European and North American arts and culture. She completed her PhD in Comparative Literature and Literary Theory at the University of Pennsylvania and has taught at the University of Florida. Alter is author of Vietnam Protest Theatre: The Television War on Stage (Indiana 1996), Projecting History: Non-Fiction German Film (Michigan 2002), Sound Matters: Essays on the Acoustics of Modern German Culture (Berghahn 2004), Chris Marker (Illinois 2006), Essays on the Essay Film (Columbia 2017), The Essay Film After Fact and Fiction (Columbia 2018), and Harun Farocki: Forms of Intelligence (Columbia 2024). She has also published on topics in contemporary art, film, and cultural, visual, and performance studies, as well as on artists John Akomfrah, Yael Bartana, Stan Douglas, Maria Eichhorn, Renée Green, Hans Haacke, Daniel Eisenberg, Martha Rosler, and Hito Steyerl among others. Her work has been supported by the Andy Warhol Foundation, German Academic Exchange Service, National Endowment for the Humanities, Howard Foundation, and Alexander von Humboldt Foundation. In 2005 she was awarded the DAAD Prize for Distinguished Scholarship in German and European Studies. From 2008-2017 she served on the Committee on Modern and Contemporary Art of the Philadelphia Museum of Art. She currently serves on the advisory board of the Slought Foundation and on the editorial board of the journal Afterimage. In 2020 she was awarded an Art Writers Grant for her book-length project: Harun Farocki: Forms of Intelligence, and in Spring 2021 she was the Daimler Fellow at the American Academy in Berlin. Current interests include research on sound and politics.

Nora M. Alter is a professor at Temple University’s School of Theater, Film, and Media Arts. At Temple, she served as Chair of the Department from 2009-2013 and is the founding director of Temple’s Venice Study Abroad Summer Program and is the former founding Director of FMA’s Los Angeles Study Away Program. Alter is culturally fluent in European and North American arts and culture. She completed her PhD in Comparative Literature and Literary Theory at the University of Pennsylvania and has taught at the University of Florida. Alter is author of Vietnam Protest Theatre: The Television War on Stage (Indiana 1996), Projecting History: Non-Fiction German Film (Michigan 2002), Sound Matters: Essays on the Acoustics of Modern German Culture (Berghahn 2004), Chris Marker (Illinois 2006), Essays on the Essay Film (Columbia 2017), The Essay Film After Fact and Fiction (Columbia 2018), and Harun Farocki: Forms of Intelligence (Columbia 2024). She has also published on topics in contemporary art, film, and cultural, visual, and performance studies, as well as on artists John Akomfrah, Yael Bartana, Stan Douglas, Maria Eichhorn, Renée Green, Hans Haacke, Daniel Eisenberg, Martha Rosler, and Hito Steyerl among others. Her work has been supported by the Andy Warhol Foundation, German Academic Exchange Service, National Endowment for the Humanities, Howard Foundation, and Alexander von Humboldt Foundation. In 2005 she was awarded the DAAD Prize for Distinguished Scholarship in German and European Studies. From 2008-2017 she served on the Committee on Modern and Contemporary Art of the Philadelphia Museum of Art. She currently serves on the advisory board of the Slought Foundation and on the editorial board of the journal Afterimage. In 2020 she was awarded an Art Writers Grant for her book-length project: Harun Farocki: Forms of Intelligence, and in Spring 2021 she was the Daimler Fellow at the American Academy in Berlin. Current interests include research on sound and politics.