Anthony has given over 400 organ recitals. He has resurrected a number of forgotten works from the late 19^th and early 20^th centuries, commissioned new music from several younger composers, and given the first performances of numerous works by Daniel Roth.

Anthony is Head of Undergraduate Programmes at the Royal Academy of Music in London. His publications include essays on the musics of Balakirev, Cage, Debussy, Delius, Goehr, Holloway, Roth, and Stravinsky, on the thoughts of Adorno, Bakhtin, Gadamer, Heidegger, Lyotard, and Nancy, and on issues in Performance Studies such as alibis, challenge, collaboration, determination, dialogue, distraction, empathy, entropy, ergonomics, gesture, indeterminacy, listening, performativity, problem solving, recording, technology, timbre, trust, and voice.

Alice is Professor of Aesthetics and Cultural Philosophy in the Design Department at Hamburg University of Applied Sciences (HAW Hamburg). She is a founding member of the Performance Philosophy network and co-editor of the Performance Philosophy book series at Rowman & Littlefield International. She has taught philosophy, media theory and cultural studies at universities in Berlin, Bremen, and Friedrichhafen. Her PhD (2007) was on the philosophy of voice and her post-doctoral research has been on figures of “negative performance”, with a special focus, in recent years, on the notion of “Creative Indifference” as formulated by the early 20^th Century philosopher Salomo Friedlaender. During her years in the philosophy department of the University of Bremen, Alice worked closely with the Centre for Performance Studies and the theatre ensemble Theater der Versammlung directed by Jörg Holkenbrink. Together they have been actively involved in developing and applying modes of performative teaching, especially focusing on the teaching and generating of philosophical content. See here and here.

Theron works internationally as an artist, teacher, and writer. He has published widely on contemporary theatre and performance, participatory art practices, and politically engaged performance.  He is Editor of the journal Performance Philosophy (performancephilosophy.org/journal), Associate Editor of Performance Research (www.performance-research.org) and Editor of Global Performance Studies (gps.psi-web.org). Previously he founded Contemporary Theatre Review’s online Interventions (contemporarytheatrereview.org). In addition to his academic research, he has written widely about contemporary performance and live art for a variety of publications, including magazines and artist books, and also as part of innovative critical writing projects that foster interaction between scholars, artists, and publics. He also makes performance as a solo and collaborative artist.

Anna is currently a Lecturer in Theater and Performance Studies in the English Department of Le Mans Université and holds a double-doctorate from the University of Paris IV – Sorbonne (English Studies – Theater) and from the University of Kent (Comparative Literature) and a Masters in Philosophy from the Sorbonne. She is the English-language translator for Les Petits Platons, a book collection designed to playfully present philosophy to children. Her activities within the Performance Philosophy network include co-founding the working group Genres of Dramatic Thought (2013), co-organizing international conferences (Paris 2014, Berlin 2014, Ljubljana 2016), and co-editing the volume Inter Views in Performance Philosophy (Palgrave 2017). Her research is devoted to the philosophical and political performative forces of comedy, from post-war theater to contemporary immigrant theater, and her current investigations also focus on water in its myriad forms, meanings, and mediums. Please check here for more details. 

Originally from Canada, I am a pianist, conductor, and researcher, currently working as assistant conductor of the Winnipeg Symphony Orchestra. My PhD, from Cambridge University, used methodology from literary criticism, queer theory, performance studies, and auto-ethnography to explore the impossible in piano etudes by composers including John Cage, György Ligeti, and Nicole Lizée. I have shown interdisciplinary performance work at venues including Somerset House (London), Kettles Yard (Cambridge), and Kunsthalle Darmstadt, and performed as a pianist at Carnegie Hall. I collaborate frequently with artists, choreographers, and composers, including Sasha Amaya, Teppei Higuchi, and Sophie Seita. www.naomiwoo.com

Esther Marveta Neff is the founder of Panoply Performance Laboratory (PPL), a thinktank, organizational entity, and flexible collective making operas-of-operations.  PPL’s work has been performed in home-base NYC, across the USA, and around the world taking forms of labor union, social psychology study, natural history museum, and relational tour. Neff’s writing has appeared in the Routledge Companion to Performance Philosophy (with Yelena Gluzman), The Palgrave Macmillan Handbook of Queer and Trans Feminist Performance, in PAJ, CAESURA, Performance Philosophy Journal, CONTENT: Bard Meme Lab Journal, ICE-HOLE, Performance Paradigm, and elsewhere. The book Institution as a Verb, culminating PPL’s 7-year stint as a lab site in Brooklyn, was published by The Operating System in 2022, and the “operating manual” for PPL’s user-generated performance philosophy Embarrassed of the (W)Hole is available from Ugly Duckling Presse (2023). Neff is currently a PhD student at CUNY Graduate Center and teaches at Hunter College and elsewhere. www.panoplylab.org