Volume 17 Contributor Bios
Time Cycles (Fall 2026)
Meredith Bove is a dancer and dramaturg based in western Massachusetts. Her practices move between and across performance, writing, dance, and audio. Through each of these mediums, she is devoted to engaging the tensions between language and embodied experience. She approaches her work in writing, performance, and dramaturgy as possible sites for the excavation of embodied archives, the destabilization of hierarchies, and for the cultivation of increased care, interdependence, and creative kinship. Meredith has taught dance & performance studies at Hollins University (2011-2012 & 2016), Montgomery College (2014-2016), Springfield College (2016), Keene State College (2017-2020), Smith College (2021-2022), and most recently as Visiting Artist in Dance at Mount Holyoke College (2022-2025) where she leads seminars on dance writing, dramaturgy, and queer & feminist performance. Currently she is Special Programs Coordinator at A.P.E. in Northampton, Massachusetts where she collaborates with co-directors Kathy Couch and Mollye Maxner to curate and steward a number of programs, including Making Ground: Dialogues and the newly formed Workroom Cooperative.
Heather Coker Hawkins is a filmmaker, choreographer, and educator who serves as Program Head for the Graduate Certificate in Screendance at the University of Utah. Her work spans performance, screendance, video installation, and immersive media, with screenings at the Portland Film Festival, Sans Souci Festival of Dance Cinema, UNDER_the_RADAR Festival and Conference in Austria, and exhibitions at the Czong Institute for Contemporary Art in South Korea. Her creative research explores mediated attention, embodied spectatorship, and audience well-being, investigating how moving images and spatial environments shape perception, physical presence, and emotional experience. Working across artistic disciplines and media, she approaches collaboration and authorship as evolving processes shaped by depth, duration, and multiple perspectives, creating space for discoveries that emerge through the exchange of artistic, critical, and technological knowledge.
Born in 1993, Ema Lančaričová works at the intersection of instant photography, experimental practice, and critical theory. Using Polaroid and other analog processes as her primary tools, she investigates the photograph’s fluid character today—its oscillation between presence and disappearance, material trace and ephemeral information. Her practice consistently returns to themes of visibility and invisibility, image instability, and the temporal fragility of photographic materials. She approaches each work as a small archaeology of the medium, probing how images emerge, erode, and persist. Questions of authorship, material agency, and the limits of photographic evidence run through her projects, shaping an artistic research that blends tactile experiment with conceptual reflection. Lančaričová completed her doctorate at the Academy of Fine Arts and Design in Bratislava, where she now teaches and contributes to contemporary debates on photography’s shifting ontology. Her work has been exhibited internationally in solo and group shows, including Fotohof (Salzburg), Rotlicht Festival (Vienna), Photon Gallery (Ljubljana), Fotografic Gallery (Prague), and Gandy Gallery (Bratislava).
Virginia Melnyk is an architectural designer and researcher whose work explores transformable structures, knitted textiles, and performative spatial systems. She is an Assistant Professor at Iowa State University. This project was developed in collaboration with Cynthia Adams and Janice Baker, and with undergraduate dance students in Fall 2025.
Ben Miller’s latest book—The Parade (April Gloaming Publishing)—earned the Moon Meridian Novella Prize. He is also the author of Pandemonium Logs (Rutgers University Press)—recipient of the 2025 Balcones Prize for Nonfiction—and River Bend Chronicle (Lookout Books), which was short-listed for the William Saroyan International Prize for Writing. Miller’s writing has been anthologized in Best American Essays and Best American Experimental Writing, and appeared in a wide variety of journals, including The Georgia Review, The Southern Review, New England Review, Salmagundi and One Story. His other awards include fellowships from the National Endowment for the Arts and the Radcliffe Institute for Advanced Study at Harvard University, and grants from the South Dakota Arts Council and the Schlesinger Library on the History of Women in America.
W. Jason Miller is a Distinguished Professor and public scholar at NC State University. His work has been featured on the ABC and NBC National Evening News, CNN, BBC, NPR, and The Rachel Maddow Show. Supported by a Fellowship at the National Humanities Center, his fourth book is Don’t Let Me Be Misunderstood: Nina Simone, Langston Hughes, and the Birth of Black Power. His film Origin of the Dream (about MLK’s first “I Have a Dream” speech in Rocky Mount, NC) is airing on PBS.
Maurice Moore, Ph.D. is a first-generation Black and nonbinary scholar, artist, performer, and educator whose interdisciplinary practice moves across drawing, performance, visual poetry, and sound. Grounded in Black and nonbinary ways of knowing, Moore’s work explores mark-making as embodied research, using euphoria, dysphoria, and numbphoria as critical strategies. Their practice—often articulated through the ongoing project Drawing While Black—treats drawing as a performative, relational act that collapses boundaries between studio, stage, and classroom. Moore is the author of Drawing While Black Mixtape Vol. 1 (Versal Journal, 2022), winner of the Amsterdam Open Book Prize, a book of visual poems investigating queer mark-making as a site of resistance and possibility. Since 2011, Moore’s work has been exhibited and performed nationally and internationally at venues including the Centre for Recent Drawing (C4RD) in London, UK; Calabar Gallery in New York, NY; the Weatherspoon Art Museum in Greensboro, NC; the Jan Shrem and Maria Manetti Shrem Museum of Art in Davis, CA; the Cameron Art Museum in Wilmington, NC; Black Mountain College Museum + Arts Center in Asheville, NC; and the Modern Art Museum Czong Institute for Contemporary Art in Gimpo, Korea.
Kate Tarlow Morgan, New York City–born dancer, writer, and urban archaeologist, has lived in rural New England since 1998. Her interest in local place was jumpstarted at twenty by Gloucester poet Charles Olson’s A Special View of History. Her book Circles and Boundaries (Factory School Press, 2011) is her own “special view” of New York City. Her ten-year research and performance project “Red Train/Blue Brain,” about the NYC subway 1991-2001), and her re-enactment of New England’s mining industry, “Walking in the Water” (2006), are direct products of the “Dogtown” technique, as are her later works “The Proprioception Panel,” “Bluesuit,” “Invisible Stories,” and “An Evening with Monsieur Teste,” produced at the Gloucester Writers Center and MAGMA.Center. For more than two decades Morgan was editor-in-chief of Currents Journal for the Body-Mind Centering Association and an editorial consultant for Lost & Found: CUNY Poetics Document Initiative. Currently, as sole archivist of The Rhythms Fundamentals, a body of work based on the study of human and animal movement, she is writing a 100-year history of the hotbed of somatic educators in New York City who took part in the radical reforms of the Progressive Era.
Eric Mullis received a Ph.D. in Philosophy from the University of South Carolina and an MFA in Contemporary Dance from the University of Wisconsin. He is a Fulbright Scholar who researched the intersection of philosophy, technology, and contemporary dance at Taipei National University of the Arts in the spring of 2020. Eric has published essays on a diverse range of topics in the following scholarly journals: AI and Society, Journal of Speculative Philosophy, Journal of Aesthetics and Art Criticism, Contemporary Aesthetics, Journal of Somaesthetics, Performance Philosophy, Teaching Philosophy, Dao: A Journal of Comparative Philosophy, Dance Research Journal, and the International Journal of Performance Arts and Digital Media. He has also published two books—Instruments of Embodiment (Routledge 2022) and Pragmatist Philosophy and Dance (Springer 2019) and co-edited Robot Theaters: Collisions in Performance and Social Robotics (Routledge 2026). In his dance work, Eric investigates possibilities of interdisciplinary performance. His choreography has been presented by the North Carolina Dance Festival, the Contemporary Dance Festival (FL), Midwest Alternative Dance Festival (MI), the Fact/SF Summer Dance Festival (CA), the Breaking Ground Festival (AZ), the touring Dance City Festival (NY, IL, MI), and by the ARTSinTANK Festival in Seoul, Korea. His work has been supported by Queens’ College of Arts and Sciences, by the Arts and Science Council of Mecklenburg County, the North Carolina Arts Council, and the Knight Foundation.
Debra Ramsay is an artist working in the disciplines of abstract painting, drawing, and installation. She maintains a full-time studio practice in New York City. Ramsay has exhibited her work internationally for over three decades, including in Denmark, Italy, the United Kingdom, the United States, and Australia. Solo exhibitions in the United States include the Hunterdon Museum of Art in Clinton, NJ, 2024, Starr Suites, Brooklyn, NY, Brattleboro Museum in Brattleboro, VT, 2017; Odetta Gallery, Brooklyn, and 57 W 57th Arts, NY, 2016. Additional recent exhibitions include A Field Guide to Birds at the Garrison Art Center, Garrison, NY, 2024, Mere Reflection at Marquee Projects, Bellport, NY, 2022, in 2021: Yi Gallery, Brooklyn, NY, (de)coding at the Visual Arts Center of NJ, and Embody at the Ely Center for Contemporary Art in New Haven. Ramsay has been invited to several residencies, including two residencies at the Golden Foundation in New York, in 2013 and 2018, at the Albers Foundation, in 2016, and a fellowship at BAU Institute in Italy, in 2012. Her work is in the Hofstra University Museum of Art and Brooklyn College collections. In 2020, Ramsay was the featured visual artist in The Cincinnati Review, and in 2017 her work was included in an exhibition and publication of the same name, Chromotopia: An Illustrated History of Colour. Thames and Hudson published the book by David Coles.
Dominika Tylcz is a curator and writer. They serve as a Curatorial Associate in the Department of Painting and Sculpture at The Museum of Modern Art, where they recently contributed to Ruth Asawa: A Retrospective (2025). They hold a Bachelor’s degree in History of Art from the University of Oxford, and a Master’s in Curatorial Studies from the Center for Curatorial Studies at Bard College.
Tymek Woodham studied English at Warwick University before completing his PhD at University College London in 2021. His first book, The Poetics of Agency (Bloomsbury 2026), traces how post-war anxieties surrounding the nature of human agency led poets to experiment with musical, visual and cinematic media. Currently a Leverhulme Early Career Research Fellow at Queen Mary University of London, his next project is a critical history of interdisciplinarity at Black Mountain College.
Editors
Jeff Arnal is a percussionist, writer, curator, and community organizer working across experimental music and interdisciplinary performance. Since 2016, he has served as Executive Director of the Black Mountain College Museum + Arts Center. Selected curatorial and writing projects include Points in Space: Performance at Black Mountain College (2025) and Between Form and Content: Perspectives on Jacob Lawrence + Black Mountain College (2018).
Thomas Edward Frank is University Professor Emeritus of Wake Forest University. He has taught and continues to write and consult about American communities of ideals, particularly liberal arts colleges and utopian movements, as well as the conservation of the natural and built landscapes that tell the stories of how American culture developed.
Kira Houston is Outreach Manager at Black Mountain College Museum + Arts Center. He graduated from Clark University with a BA in Art History and Spanish.
Special thanks to Ruby Davis for their work as a Production Assistant for this volume.