Kevin Peter He is a Brooklyn-based, Shanghai-raised artist and director whose work blends choreography, sculptural controllers, and mixed reality technologies. He creates live cinematic performances and installations, where cameras, bodies, and sound interact in real time to explore systems of control and agency. With a background in film, game engines, and dance, Kevin builds speculative worlds where narrative emerges through movement, feedback, and the shifting relationship between human and machine. His sculptural interfaces serve as both filmmaking tools and choreographic instruments, transforming the act of directing into a live, embodied performance. Shaped by experiences across contemporary China and the United States, Kevin’s work examines how technological, ecological, and architectural infrastructures influence space and human agency. His practice blurs the boundary between performance and simulation, crafting hybrid environments that are improvisational, durational, and alive. His work has been presented at MUTEK Montréal, Tribeca Festival, SIGGRAPH, and NOWNESS. He is an artist member of Onassis ONX and the New Museum’s NEW INC. Formerly the creative director of virtual production studio ZeroSpace, Kevin has led immersive projects for Chanel, Cartier, and Nike. He holds a Master’s from NYU’s Interactive Telecommunications Program (ITP), where he also taught, and a Bachelor’s in Film from USC.

FITNESSS is an experimental electronic performance art project based in Los Angeles, USA. A FITNESSS performance is an expression of raw energy—an exercise in stretching physical and emotional limits—creating immersive experiences that challenge concepts of being and communion through movement, electronic sound architecture, and post-modern aesthetics. With an emphasis on audience involvement and collective presence, FITNESSS explores the volatile nature of interpersonal dynamics, as well as the transformative power of crowd synchronization. FITNESSS is grounded in the cycle of atrophy and hypertrophy—deconstruction, reconstruction, expansion. Beyond the scope of muscle mass, this cycle of breaking down and rebuilding becomes strength training for the human spirit. FITNESSS strives to create a sacred space where one can reflect on their own experiences of pain and transmute them into sources of power—an eternal progression of self-resilience.

Debit (Delia Beatriz) is a Mexican-American electronic-music composer, producer, DJ, and adjunct professor at NYU whose work fuses performance, archival research, and music technologies spanning ancient acoustics, hardware electronics, computer synthesis, and machine learning. She moves through archaeological, algorithmic, and communal archives, with a primary focus on live concert formats and a deep interest in landmark compositions, site-specific sound installations, and evolving modes of performance. The result is a contemporary gesamtkunstwerk: an immersive event where music, spatial design, and critical commentary converge in a single, visceral experience. By tracing music-technology lineages across epochs and scenes, Beatriz reveals the social contexts, power structures, econ-political conditions and AI-driven databases that shape musical aesthetics today. This approach informs the long count (Modern Love, 2022). Drawing from her research into Mayan wind instruments and utilizing AI to digitally recontextualize this ancient archive, she created an electro-acoustic masterpiece that transcends time. The record was lauded by The Guardian, BBC Radio 3, and Pitchfork. Earlier releases trace the same research-to-performance arc, translating regional sonic lineages into experimental electronic formats: Animus (N.A.A.F.I., 2018) recast pneumatic club idioms, developed through fieldwork on various Latin American electronic dance traditions, while System (2020) reverse-engineered tribal guarachero using industrial-techno heuristics. These works have expanded into large-format installations, concerts, and DJ sets. She has performed in hundreds of shows and festivals worldwide, including Roskilde, Berlin Atonal, SXSW, Norberg Festival, Red Bull Music Festival, Tono, the Whitney Biennial, and the Venice Biennale. She has also been featured in conferences and panels such as the Audio Engineering Society, Unam’s Aleph, Mutek Montréal, Mutek Mexico, and Rewire Festival, among others. At NYU, she teaches global electronic music, electronic music performance, and computer-music synthesis, guiding artists to combine historical insight, technological experimentation, and critical inquiry as they shape new futures for sound.

free form femme fuckery As a DJ, Producer & Artist from Kampala, Uganda, Authentically Plastic’s sound is necessarily political. Between 2018-2023, they ran a roving, riotous, club night called ANTI-MASS; which opened up space for femme & queer artists in Uganda’s increasingly repressive social climate. Risk-taking in this political environment has shaped Authentically Plastic’s sound, which has an accelerated, densely layered, improvisational feel. Their fiery debut album, Raw Space, was released in September 2022, receiving critical acclaim for its fresh urgency and prismatic unpredictability. Authentically Plastic’s sets, at once dark & playful, harbor this same propulsive energy, using Gqom, Noise & Techno as a base for exploring other unknown sounds. Their music is influenced by Northern Ugandan (acholi electronic) rhythms, early acid/industrial experiments, and Afro-futurism.