MAXmachina – a lab where storytellers, artists, scientists, and creative technologists expand live performance creating work that uses science and technology to explore the promise and peril of our rapidly changing world. Projects include music, dance, experimental and immersive performance.

MAXmachina attracts interdisciplinary teams telling stories that instill wonder, advance elements of aural and visual fascination, provoke a diversity of perspective, and aim for an emotional and philosophic integrity. The residency provides artists with active production support, scientific collaborators, technology advisors where needed, and artists stipends.

The 2022 Cohort


By Lisa Jamhoury 


During her time in MAXmachina, artist-engineer and aerialist, Lisa Jamhoury, will be leveraging motion capture technology, avatars, and dance in her latest work, Maquette. The piece is an exploration of the parallel histories of averaging and idealism in art and society. As an audience watches the live performance, the performers’ movements drive avatars in a projected virtual world creating a genre-bending story that unfolds in both physical and virtual space.


By Modesto Flako Jimenez


Bushwick-raised theater maker, producer, and educator Modesto Flako Jimenez is coming to MAXmachina to push the boundaries of extended reality as he explores community connection, the relationships between matriarchy and ancestors, familial bonds and inherited trauma, and how our own identity can impact our mental health with the next iteration of his live piece Mercedes.


By Musicians from The Knights and Paula Matthusen


After a great run at MAXlive: 2021 with On The Wings of Song, musicians from the Brooklyn-based orchestra, The Knights, will be stepping into the MAXmachina lab to further develop this project with electroacoustic composer, Paula Matthusen. In partnership with the K. Lisa Yang Center for Conservation Bioacoustics at the Cornell Lab of Ornithology, Matthusen and musicians from The Knights will investigate the science of how birds sense and communicate. Working with researchers, they investigate the complex interaction between birds and their environment and will incorporate field recordings and observations from across various ecosystems and species into a new composition written by Mathussen. In this work, Matthusen and The Knights hope to expand the experience of birdsong by exploring the sonic and non-human sensory capacities of birds.  


By Paul Pinto & Kameron Neal


Paul Pinto, an interdisciplinary performer and Kameron Neal, a video artist and designer, join this year’s cohort to continue their practice of creating immersive encounters to unearth the drawbacks and celebrations of personal, collective, and national self-fashioning. In Whiteness, they’ll marry video, music, and performance in a humorous self-interrogation of Paul’s maddening inner thoughts as a mixed-race American, visibly brown, and invisibly trying not to be so white.

Lisa Jamhoury | Maquette

Lisa Jamhoury is a Lebanese-American movement artist and programmer creating embodied, computational experiences. Rooted in contemporary circus and mindfulness as means to engage trauma, her practice includes interactive performances, installations, and websites that encourage a consensual, celebratory approach to humanity’s shared physicality. She is a Y8 member of the New Museum’s NEW INC Extended Realities Track, and recently completed residencies with the 2021 session of the Conference on Movement and Computing, and New York University’s Interactive Telecommunications Program (ITP), where she completed her masters degree and is an adjunct arts professor. As an aerial acrobat, she has choreographed and performed across the United States, including commissioned work for the Streb Lab for Action Mechanics and TEDx Brooklyn. Her computational work has been recognized by Ars Electronica, Meta Open Arts, Contemporary Art Society, CultureHub, Google/NYU xStory, and others.

Modesto Flako Jimenez | MERCEDES

Modesto Flako Jimenez is a Dominican-born, Bushwick-raised theater maker, producer, and educator. In 2016 he received the ATI Best Actor Award and Princess Grace Award Theater Honoraria. HOLA Outstanding Solo Performer for 2017. Flako is best known for original productions and three signature festivals produced with his company Oye Group. Flako has appeared in Taxilandia (Oye Group, New York Theatre Workshop, the Bushwick Starr, & The Tank, NYTimes Critic’s Pick), Early Shaker Spirituals (Wooster Group), Last Night At The Palladium (Bushwick Starr/3LD), Yoleros (Bushwick Starr/IATI theater), Conversations Pt.1: How To Make It Black In America (JACK), Take Me Home (3LD/Incubator Arts Project), Richard Maxwell’s Samara (Soho Rep.), Kaneza Schaal’s Jack & (BAM). In 2018 he became the first Dominican-American Lead Artist in The Public Theater Under The Radar Festival with his show Oye For My Dear Brooklyn. in 2021 he received a Jerome Foundation fellowship and Foundation of Contemporary Arts award in performing arts and theater.

Paul Pinto | WHITENESS

Paul Pinto is a composer, performer, opera-sermonizer, and multi-disciplinary dabbler who makes music, new media, micro-theatres and durational performance by himself and with his friends. Some of those friends include the collectives thingNY, Varispeed and LoveLoveLove. His last few releases include Just Love, Patriots with Jeffrey Young, Empty Words with Varispeed, and Robert Ashley’s Improvement and eL/Aficionado. He’s toured Peter Maxwell Davies’ Eight Songs for a Mad King, originated the role of Balaga in Dave Malloy’s Great Comet of 1812, and wrote and performed in the autotuned opera Thomas Paine in Violence, the dance arias 15 Photos, and the cyclorama video installation Whiteness: Part One. During COVID times, Paul’s created music for the Prototype Festival, Colgate University, The Fisher Center, the Look + Listen Festival, American Opera Projects, Culturehub, LaMama and online and interactive shows with thingNY. Recent commissions include The Approach for Quince, I pass’d a church for Rhythm Method String Quartet, and Overture for Yarn/Wire. This year: Dom Juan at the Fisher Center’s SummerScape, 15 Photos with Kristin Marting and HERE Arts, and Whiteness: Part Two with Kameron Neal and WNET

Kameron Neal | WHITENESS

Kameron Neal is a multidisciplinary artist working in video, performance, and design. He uses technology as a tool to encode history and craft compelling performances of self. A Princess Grace Awardee, NYU ITP Fellow and NYSCA/NYFA Fellow, Kameron is currently a Public Artist in Residence in the NYC Department of Records where he is researching new ways to engage with the city’s municipal archives. He recently directed Whiteness: Part One, an immersive 360° video cantata in collaboration with Paul Pinto that was presented at CultureHub and La MaMa. In 2020, he co-created MukhAgni with Shayok Misha Chowdhury, an irreverent multimedia performance memoir that was presented at Under the Radar. His work has been featured in music videos and performances by Billy Porter and Rufus Wainwright. Kameron’s work has been written about Forbes, The New York Times, National Geographic, HYPEBEAST and presented by a variety of institutions including The Public Theater, BAM, Ars Nova, SohoRep, Digital Graffiti, New Orleans Film Festival, the Williams College Museum of Art and SoundScene at the Smithsonian’s Hirshhorn Museum.‍

The Knights | On Wings Of Song

The Knights are a collective of adventurous musicians dedicated to transforming the orchestral experience and eliminating barriers between audiences and music. Driven by an open-minded spirit of camaraderie and exploration, they inspire listeners with vibrant programs rooted in the classical tradition and passion for artistic discovery. The Knights evolved from late-night chamber music reading parties with friends at the home of violinist Colin Jacobsen and cellist  Eric Jacobsen. The Jacobsen brothers together serve as artistic directors of The Knights, with  Eric Jacobsen as conductor. 

Paula Matthusen | On Wings Of Song

Paula Matthusen is a composer who writes both electroacoustic and acoustic music and realizes sound installations. In addition to composing for a variety of different ensembles, she also collaborates with choreographers and theater companies. She has written for diverse instrumentations, such as “run-on sentence of the pavement” for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being “entrancing”. Her work often considers discrepancies in musical space—real, imagined, and remembered. Recent areas of creative inquiry include extensive field recording, which has led to compositions and sound projects in aqueducts, caves, and sites of historic infrastructure.

These projects are developed in consultation with the following scientists and institutions: Dr. Nicole Clayton, Cambridge University, Dr. Tom Griffiths, Princeton Cognitive Science Institute, Dr. David Haskell, Sewanee: The University of the South, Dr. Carl Schoonover, Columbia University, Dr. Bill Thompson, University of California at Berkeley, and ONX Studio for Extended Reality.

MAXmachina artists and their teams will expand their artistic capacity through science and technology while exploring the impact these innovations have on our society and our planet. We look forward to welcoming you to our next MAXlive festival to enjoy these works.

Please consider helping us support these artists and scientists light the way forward by donating.