Troy Rogers is composer and instrument builder whose work often finds itself at various intersections of art and technology. For more than ten years, the predominant locus of his creative work has been the creation of robotic musical instruments and the production of music for these novel devices. Being an artist rather than an engineer, these two aspects of the work–design and fabrication on the one hand, and musical exploration on the other–are tightly coupled in an iterative process in which the compositional act begins with the conception of each new instrument and the personality of each device becomes understood and elaborated through musical play.
Katie Schetlick is a dance artist, choreographer, researcher and current guest lecturer in Dance at the UVa. Her choreographic work focuses on developing deeper kinesthetic conversations between seen bodies (performer), seeing bodies (viewer) and the environment. Katie’s work has been presented at the Ailey Citigroup Theater, Dixon Place, Movement Research, NADA Hudson, Fleet Moves Dance Festival, SESC Vila Mariana (Brazil), the Museum Perron Oost (Amsterdam), and the International Dance Theatres Festival (Poland). She holds a MA in Performance Studies from New York University and BFA in Dance with a minor in Anthropology from the Alvin Ailey/Fordham University program. Along with collaborator Zena Bibler she is co-founder of the Movement Party and Fleet Moves, a site-specific dance festival in Wellfleet, MA.
Dancer/choreographer Katie Schetlick and composer/instrument builder Troy Rogers imagine a distant future in which a duo of early machine music and dance specialists strive to faithfully reenact a then-ancient ritual centered around the performance of carols celebrating a culturally significant holiday commemorating the myth-inspiring, explosive events that triggered the onset of the second great cybernetic epoch.