Room 227,
Centre for Drama, Theatre and Performance Studies,
University College,
15 King\u2019s College Circle
Directions to BMO Lab<\/a><\/u><\/p>\n\n\n\n
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September 30, 4.30-6pm<\/h3>\n\n\n\nFabian Offert, University of California \u2013 Santa Barbara<\/strong><\/h3>\n\n\n\nOf All Virtues Only One: Theater after Artificial Intelligence<\/strong><\/h4>\n\n\n\n![\"\"](\"https:\/\/bmolab.artsci.utoronto.ca\/wp-content\/uploads\/Offert-headshot_small-copy.jpeg\")
<\/figure>\n\n\n\nFabian Offert is Assistant Professor for the History and Theory of the Digital Humanities and Co-Director of the Center for the Humanities and Machine Learning (HUML) at the University of California, Santa Barbara. His research and teaching focuses on the epistemology, aesthetics, and politics of artificial intelligence. His most recent book, Vector Media (Meson Press\/University of Minnesota Press, 2026) writes the first comprehensive history and theory of vector space as a space of universal commensurability in contemporary machine learning. Fabian was 2025 Rudolf Wittkower Fellow at the Bibliotheca Hertziana \u2013 Max Planck Institute for Art History in Rome and will be Visiting Professor at the University of Marburg’s Center for Digital Culture and Infrastructure in 2026. https:\/\/zentralwerkstatt.org\/<\/u><\/a><\/p>\n\n\n\n
\n\n\n\nOctober 6, 4.30-6pm<\/h3>\n\n\n\nElizabeth Hunter, Washington University, St. Louis<\/strong><\/h3>\n\n\n\nVISIBLE 1.0: Resurrecting a Nineteenth-century Moving Panorama with Mobile AR and GenAI<\/strong><\/h4>\n\n\n\n![\"\"\/](\"https:\/\/mcusercontent.com\/1a7d83f386b4ab25296343f90\/images\/c3e58bdf-10d8-dd9f-b6ff-7cc142af01e7.png\")
<\/figure>\n\n\n\nElizabeth Hunter is Assistant Professor in Drama, Director of Graduate Studies, and Director of the Fabula(b) Theatre + New Media Lab<\/u><\/a> in the Performing Arts Department at WashU. Her first monograph, Acting the Part: Audience Participation in Performance<\/u><\/em><\/a> (University of Michigan Press 2025), offers a new paradigm for understanding how audiences participate in immersive theatre, from physical spaces like the Globe in London to digital spaces like social virtual reality. She is currently working on her next book project, which mounts the first scholarly analysis of digital resurrection\u2014the use of AI and spatial computing to bring back the dead\u2014as performance. Titled, \u201cDeath Is Obsolete: Staging Resurrection in the Age of AI,\u201d this project explores how a critical lens of performance theory can illuminate the user roles and production choices inherent in digitally resurrecting all manner of bodies, from the corporeal to the architectural. The theoretical side of Professor Hunter\u2019s research complements her practice-led work as the Director of Fabula(b), where she leads an interdisciplinary team to create digital adaptations of canonical dramas and other famous stories as a mode of historiographic and dramaturgical analysis. The lab\u2019s current project, \u201cVISIBLE: Resurrecting Henry \u2018Box\u2019 Brown\u2019s Moving Panorama, \u2018Mirror of Slavery<\/u><\/a>,\u2019\u201d is currently in prototyping. https:\/\/sites.wustl.edu\/fabulab\/<\/u><\/a><\/p>\n\n\n\n
\n\n\n\nOctober 14, 4.30-6pm<\/h3>\n\n\n\nKenneth Collins, Temporary Distortion and the University of Utah<\/strong><\/h3>\n\n\n\nHuman in the Loop<\/strong><\/h4>\n\n\n\n![\"\"\/](\"https:\/\/mcusercontent.com\/1a7d83f386b4ab25296343f90\/images\/00b3f2bd-4fa3-60a0-fbca-49c007f69097.png\")
<\/figure>\n\n\n\nKenneth Collins works in the gray space between the “black box” of theatre and the “white cube” of the art gallery, creating projects at the intersection of visual art, digital media, theatre, cinema, and artificial intelligence, investigating questions of authorship, embodiment, and human expression in the age of generative media. His practice encompasses sculpture, video art, installation, performance, and synthetic media works that challenge the traditional boundaries between disciplines. He is the founder and artistic director of Temporary Distortion<\/u><\/a> (2000-present), named one of the “Best New York Theater Companies” by TimeOut NY Magazine, and his work as a visual artist has been exhibited internationally. Collins currently serves as an Assistant Professor in the Department of Film and Media Arts at the University of Utah, where he is a Responsible AI Initiative (RAI) Faculty Fellow and holds a shared-faculty appointment with the Scientific Computing and Imaging (SCI) Institute. In Fall 2023, Collins became the first professor at a major university to develop and teach a dedicated course in AI Filmmaking. https:\/\/www.temporarydistortion.com\/<\/u><\/a><\/p>\n\n\n\n
\n\n\n\nOctober 21, 11am-1pm ***note change in time<\/h3>\n\n\n\nLiz Santoro and Pierre Godard, Le Principe d\u2019Incertitude<\/strong><\/h3>\n\n\n\nArtists’ Talk & Presentation<\/strong><\/h4>\n\n\n\n![\"\"](\"https:\/\/mcusercontent.com\/1a7d83f386b4ab25296343f90\/images\/cfb756eb-14a1-2f3a-f92f-ae81ba2d0f25.png\")
<\/figure>\n\n\n\nAmerican choreographer and dancer trained at the Boston Ballet School, Liz Santoro studied neuroscience at Harvard University before embarking on a career as a performer for a number of experimental dance artists in New York. This path led her to a somatic research on the “performative body,” which remains the main driving force behind her own creation projects and collaborations with LPDi.Since the creation of their company Le principe d’incertitude (LPDi) in 2011, Liz Santoro and Pierre Godard have been collaborating closely together to build choreographic machines that try to thwart the habits of our attention. The singularity of their respective paths has led them to develop systems of creation centered on movement and text which, by revealing their underlying processes – mechanisms of power and seduction, organization of the social space, operating modes of the nervous system – offer the spectator an experience of a perceptual interaction where looking becomes an action that provokes a reaction. Their work has been presented in France, Europe, North America and Asia. They have created various group pieces, We Do Our Best<\/em> (2012), Relative Collider<\/em> (2014), For Claude Shannon<\/em>(2016), Maps<\/em> (2017), Noisy Channels<\/em> (2018, 2019), Stereo<\/em> (2019) as well as in situ pieces such as Watch It<\/em> (2012), Quarte<\/em> (2014), FCS Redux<\/em> (2017, 2018), Mass over Volume<\/em> (2017) andLearning<\/em> (2018, 2019). Watch It<\/em> received a Bessie Award in 2013 in the category \u201cOutstanding Production for a work at the forefront of contemporary dance.\u201d Pierre and Liz were the associated artists at the CDCN \/ Atelier de Paris from 2016 to 2018. www.ldpi.org<\/u><\/a><\/p>\n\n\n\n
\n\n\n\n
Of All Virtues Only One: Theater after Artificial Intelligence<\/strong><\/h4>\n\n\n\n<\/figure>\n\n\n\nFabian Offert is Assistant Professor for the History and Theory of the Digital Humanities and Co-Director of the Center for the Humanities and Machine Learning (HUML) at the University of California, Santa Barbara. His research and teaching focuses on the epistemology, aesthetics, and politics of artificial intelligence. His most recent book, Vector Media (Meson Press\/University of Minnesota Press, 2026) writes the first comprehensive history and theory of vector space as a space of universal commensurability in contemporary machine learning. Fabian was 2025 Rudolf Wittkower Fellow at the Bibliotheca Hertziana \u2013 Max Planck Institute for Art History in Rome and will be Visiting Professor at the University of Marburg’s Center for Digital Culture and Infrastructure in 2026. https:\/\/zentralwerkstatt.org\/<\/u><\/a><\/p>\n\n\n\n
\n\n\n\nOctober 6, 4.30-6pm<\/h3>\n\n\n\nElizabeth Hunter, Washington University, St. Louis<\/strong><\/h3>\n\n\n\nVISIBLE 1.0: Resurrecting a Nineteenth-century Moving Panorama with Mobile AR and GenAI<\/strong><\/h4>\n\n\n\n<\/figure>\n\n\n\nElizabeth Hunter is Assistant Professor in Drama, Director of Graduate Studies, and Director of the Fabula(b) Theatre + New Media Lab<\/u><\/a> in the Performing Arts Department at WashU. Her first monograph, Acting the Part: Audience Participation in Performance<\/u><\/em><\/a> (University of Michigan Press 2025), offers a new paradigm for understanding how audiences participate in immersive theatre, from physical spaces like the Globe in London to digital spaces like social virtual reality. She is currently working on her next book project, which mounts the first scholarly analysis of digital resurrection\u2014the use of AI and spatial computing to bring back the dead\u2014as performance. Titled, \u201cDeath Is Obsolete: Staging Resurrection in the Age of AI,\u201d this project explores how a critical lens of performance theory can illuminate the user roles and production choices inherent in digitally resurrecting all manner of bodies, from the corporeal to the architectural. The theoretical side of Professor Hunter\u2019s research complements her practice-led work as the Director of Fabula(b), where she leads an interdisciplinary team to create digital adaptations of canonical dramas and other famous stories as a mode of historiographic and dramaturgical analysis. The lab\u2019s current project, \u201cVISIBLE: Resurrecting Henry \u2018Box\u2019 Brown\u2019s Moving Panorama, \u2018Mirror of Slavery<\/u><\/a>,\u2019\u201d is currently in prototyping. https:\/\/sites.wustl.edu\/fabulab\/<\/u><\/a><\/p>\n\n\n\n
\n\n\n\nOctober 14, 4.30-6pm<\/h3>\n\n\n\nKenneth Collins, Temporary Distortion and the University of Utah<\/strong><\/h3>\n\n\n\nHuman in the Loop<\/strong><\/h4>\n\n\n\n<\/figure>\n\n\n\nKenneth Collins works in the gray space between the “black box” of theatre and the “white cube” of the art gallery, creating projects at the intersection of visual art, digital media, theatre, cinema, and artificial intelligence, investigating questions of authorship, embodiment, and human expression in the age of generative media. His practice encompasses sculpture, video art, installation, performance, and synthetic media works that challenge the traditional boundaries between disciplines. He is the founder and artistic director of Temporary Distortion<\/u><\/a> (2000-present), named one of the “Best New York Theater Companies” by TimeOut NY Magazine, and his work as a visual artist has been exhibited internationally. Collins currently serves as an Assistant Professor in the Department of Film and Media Arts at the University of Utah, where he is a Responsible AI Initiative (RAI) Faculty Fellow and holds a shared-faculty appointment with the Scientific Computing and Imaging (SCI) Institute. In Fall 2023, Collins became the first professor at a major university to develop and teach a dedicated course in AI Filmmaking. https:\/\/www.temporarydistortion.com\/<\/u><\/a><\/p>\n\n\n\n
\n\n\n\nOctober 21, 11am-1pm ***note change in time<\/h3>\n\n\n\nLiz Santoro and Pierre Godard, Le Principe d\u2019Incertitude<\/strong><\/h3>\n\n\n\nArtists’ Talk & Presentation<\/strong><\/h4>\n\n\n\n<\/figure>\n\n\n\nAmerican choreographer and dancer trained at the Boston Ballet School, Liz Santoro studied neuroscience at Harvard University before embarking on a career as a performer for a number of experimental dance artists in New York. This path led her to a somatic research on the “performative body,” which remains the main driving force behind her own creation projects and collaborations with LPDi.Since the creation of their company Le principe d’incertitude (LPDi) in 2011, Liz Santoro and Pierre Godard have been collaborating closely together to build choreographic machines that try to thwart the habits of our attention. The singularity of their respective paths has led them to develop systems of creation centered on movement and text which, by revealing their underlying processes – mechanisms of power and seduction, organization of the social space, operating modes of the nervous system – offer the spectator an experience of a perceptual interaction where looking becomes an action that provokes a reaction. Their work has been presented in France, Europe, North America and Asia. They have created various group pieces, We Do Our Best<\/em> (2012), Relative Collider<\/em> (2014), For Claude Shannon<\/em>(2016), Maps<\/em> (2017), Noisy Channels<\/em> (2018, 2019), Stereo<\/em> (2019) as well as in situ pieces such as Watch It<\/em> (2012), Quarte<\/em> (2014), FCS Redux<\/em> (2017, 2018), Mass over Volume<\/em> (2017) andLearning<\/em> (2018, 2019). Watch It<\/em> received a Bessie Award in 2013 in the category \u201cOutstanding Production for a work at the forefront of contemporary dance.\u201d Pierre and Liz were the associated artists at the CDCN \/ Atelier de Paris from 2016 to 2018. www.ldpi.org<\/u><\/a><\/p>\n\n\n\n
\n\n\n\n
<\/figure>\n\n\n\nFabian Offert is Assistant Professor for the History and Theory of the Digital Humanities and Co-Director of the Center for the Humanities and Machine Learning (HUML) at the University of California, Santa Barbara. His research and teaching focuses on the epistemology, aesthetics, and politics of artificial intelligence. His most recent book, Vector Media (Meson Press\/University of Minnesota Press, 2026) writes the first comprehensive history and theory of vector space as a space of universal commensurability in contemporary machine learning. Fabian was 2025 Rudolf Wittkower Fellow at the Bibliotheca Hertziana \u2013 Max Planck Institute for Art History in Rome and will be Visiting Professor at the University of Marburg’s Center for Digital Culture and Infrastructure in 2026. https:\/\/zentralwerkstatt.org\/<\/u><\/a><\/p>\n\n\n\n Elizabeth Hunter is Assistant Professor in Drama, Director of Graduate Studies, and Director of the Fabula(b) Theatre + New Media Lab<\/u><\/a> in the Performing Arts Department at WashU. Her first monograph, Acting the Part: Audience Participation in Performance<\/u><\/em><\/a> (University of Michigan Press 2025), offers a new paradigm for understanding how audiences participate in immersive theatre, from physical spaces like the Globe in London to digital spaces like social virtual reality. She is currently working on her next book project, which mounts the first scholarly analysis of digital resurrection\u2014the use of AI and spatial computing to bring back the dead\u2014as performance. Titled, \u201cDeath Is Obsolete: Staging Resurrection in the Age of AI,\u201d this project explores how a critical lens of performance theory can illuminate the user roles and production choices inherent in digitally resurrecting all manner of bodies, from the corporeal to the architectural. The theoretical side of Professor Hunter\u2019s research complements her practice-led work as the Director of Fabula(b), where she leads an interdisciplinary team to create digital adaptations of canonical dramas and other famous stories as a mode of historiographic and dramaturgical analysis. The lab\u2019s current project, \u201cVISIBLE: Resurrecting Henry \u2018Box\u2019 Brown\u2019s Moving Panorama, \u2018Mirror of Slavery<\/u><\/a>,\u2019\u201d is currently in prototyping. https:\/\/sites.wustl.edu\/fabulab\/<\/u><\/a><\/p>\n\n\n\n Kenneth Collins works in the gray space between the “black box” of theatre and the “white cube” of the art gallery, creating projects at the intersection of visual art, digital media, theatre, cinema, and artificial intelligence, investigating questions of authorship, embodiment, and human expression in the age of generative media. His practice encompasses sculpture, video art, installation, performance, and synthetic media works that challenge the traditional boundaries between disciplines. He is the founder and artistic director of Temporary Distortion<\/u><\/a> (2000-present), named one of the “Best New York Theater Companies” by TimeOut NY Magazine, and his work as a visual artist has been exhibited internationally. Collins currently serves as an Assistant Professor in the Department of Film and Media Arts at the University of Utah, where he is a Responsible AI Initiative (RAI) Faculty Fellow and holds a shared-faculty appointment with the Scientific Computing and Imaging (SCI) Institute. In Fall 2023, Collins became the first professor at a major university to develop and teach a dedicated course in AI Filmmaking. https:\/\/www.temporarydistortion.com\/<\/u><\/a><\/p>\n\n\n\n American choreographer and dancer trained at the Boston Ballet School, Liz Santoro studied neuroscience at Harvard University before embarking on a career as a performer for a number of experimental dance artists in New York. This path led her to a somatic research on the “performative body,” which remains the main driving force behind her own creation projects and collaborations with LPDi.Since the creation of their company Le principe d’incertitude (LPDi) in 2011, Liz Santoro and Pierre Godard have been collaborating closely together to build choreographic machines that try to thwart the habits of our attention. The singularity of their respective paths has led them to develop systems of creation centered on movement and text which, by revealing their underlying processes – mechanisms of power and seduction, organization of the social space, operating modes of the nervous system – offer the spectator an experience of a perceptual interaction where looking becomes an action that provokes a reaction. Their work has been presented in France, Europe, North America and Asia. They have created various group pieces, We Do Our Best<\/em> (2012), Relative Collider<\/em> (2014), For Claude Shannon<\/em>(2016), Maps<\/em> (2017), Noisy Channels<\/em> (2018, 2019), Stereo<\/em> (2019) as well as in situ pieces such as Watch It<\/em> (2012), Quarte<\/em> (2014), FCS Redux<\/em> (2017, 2018), Mass over Volume<\/em> (2017) andLearning<\/em> (2018, 2019). Watch It<\/em> received a Bessie Award in 2013 in the category \u201cOutstanding Production for a work at the forefront of contemporary dance.\u201d Pierre and Liz were the associated artists at the CDCN \/ Atelier de Paris from 2016 to 2018. www.ldpi.org<\/u><\/a><\/p>\n\n\n\n
\n\n\n\nOctober 6, 4.30-6pm<\/h3>\n\n\n\n
Elizabeth Hunter, Washington University, St. Louis<\/strong><\/h3>\n\n\n\n
VISIBLE 1.0: Resurrecting a Nineteenth-century Moving Panorama with Mobile AR and GenAI<\/strong><\/h4>\n\n\n\n
<\/figure>\n\n\n\n
\n\n\n\nOctober 14, 4.30-6pm<\/h3>\n\n\n\n
Kenneth Collins, Temporary Distortion and the University of Utah<\/strong><\/h3>\n\n\n\n
Human in the Loop<\/strong><\/h4>\n\n\n\n
<\/figure>\n\n\n\n
\n\n\n\nOctober 21, 11am-1pm ***note change in time<\/h3>\n\n\n\n
Liz Santoro and Pierre Godard, Le Principe d\u2019Incertitude<\/strong><\/h3>\n\n\n\n
Artists’ Talk & Presentation<\/strong><\/h4>\n\n\n\n
<\/figure>\n\n\n\n
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