MAXmachina is an incubator for new work that exists at the intersection of socially engaged thought and scientific innovation. MAXmachina provides artists with active production support, scientific collaborators and technology advisors, and adequate funding to sustain a collaborative team. MAXmachina projects are chosen for their artistic potential, ability to instill wonder, qualities of aural and visual fascination, diversity of perspective, and emotional and philosophic potency.
By Lisa Jamhoury
During her time in MAXmachina, artist-engineer and circus performer, 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 contemporary circus 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.
ON WINGS OF SONG
By The Knights and Paula Matthusen
After a great run at MAXlive: 2021 with On The Wings of Song, Brooklyn-based orchestra The Knights will be stepping into the MAXmachina lab to further develop the work with electroacoustic composer, Paula Matthusen. In partnership with the K. Lisa Yang Center for Conservation Bioacoustics at the Cornell Lab of Ornithology, Matthusen and 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 a variety of ecosystems and species into their creative process. 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.
WHITENESS: PART TWO
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: Part Two, 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.
The 2022 Cohort
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: PART TWO
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: PART TWO
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. kameronneal.com
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 with the advisement of the following scientists and institutions DaVinci Innovation Center, ITP/IMA of NYU, Center for Coastal Studies, Gabriel Gaster, and Katy Payne.
MAXmachina artists will investigate how neuroscience deepens our understanding of human experiences, how AI harvests our impulses, and how both are redefining what it means to be alive. See you at Neuroverse in 2021!