Holly Small is a dance artist, educator, independent choreographer, and artistic/managing director of the York Dance Ensemble (YDE), a spirited young repertory company housed in the Department of Dance in the Faculty of Fine Arts at York University. The YDE offers selected upper-year students pre-professional performance, production and touring experience in a credit-course setting. Participation is by audition, and annually, the Ensemble has up to two dozen members, including dancers, choreographers, musicians and apprentices. With Small's longstanding focus on interdisciplinary collaboration, pieces are choreographed by faculty and students, and works are commissioned from guest artists. Original scores are also composed and performed by York music students as regular contributors to YDE programs.

New digital media arts is the focus of Michael Longford's research, including application development for cellular phones, other wireless devices, and database development to broaden the scope of new media research. Longford is also co-founder of Wi: Journal of Mobile Media, an online digital media journal that publishes articles about mobilities research within the fields of design, computer engineering, humanities, social sciences, communications and media studies. Wi is now one of the only Canadian cyber sites dedicated to mobile technology and media.

Seth Feldman's SSHRC-funded "Reflections of the Unimaginable" investigates meanings generated by recorded sound and image within a shifting contextualization of history. Cultural memories of the Holocaust are explored in three cities forced to share their names with nearby concentration camps: Brandenburg, Dachau, and Malthausen.

Alberto Guevara's multidisciplinary project, "Theatricality of Flesh in Nicaragua" explores a particular case of human bodily affliction intersected by social violence and theatricality. Nicaraguan victims of Nemagón pesticide contamination wield their suffering flesh as theatrical weapons. Nemagón has become the perfect metaphor for structural violence in Nicaragua today.

Stephanie Martin recently co-authored a 100 year history of the Royal Canadian College of Organists, Canada's oldest musicians' association. As a direct result of her research, The Gallery Choir of the Church of Saint Mary Magdalene is launching a first recording of three major works by Canadian organ composer Healey Willan 42 years after his death.

The Canadian Performance Studies Project is a SSHRC-funded program of research led by Laura Levin. It is the first major research study to theorize and map the field of performance studies as it has emerged in Canada. Levin also aims to retrieve and analyze major works of Canadian performance theory that is often left out of the American-centered performance studies canon.

Shelley Hornstein, a recent recipient of the Walter Gordon Fellowship, addresses the relationship between memory and place and asks how architecture captures and triggers memory. Hornstein's work considers the extent to which real or tangible architecture and places are tied to an architecture of the heart, or the architecture that each of us builds in our imagination.

Danielle Robinson's SSHRC-funded project, Sambas Rodas, Raizes is an international, interdisciplinary study of Samba de Roda (Circle Samba), an Afro-Diasporic music and dance practice from Bahia, Brazil. Through collaborative fieldwork that draws on complementary expertise and cultural perspectives, Robinson is examining the meanings, processes, and politics of embodied traditions in a changing geo-cultural context.

Jan Hadlaw's Roadside fruit stands: vernacular architecture and signage in British Columbia argues for the establishment of vernacular design as an idiom of graphic communication and for the importance of studying the design of everyday, common objects.

Caitlin Fisher is co-founder of York's Future Cinema Lab, an interdisciplinary lab with an international profile that produces its own software, interface solutions and groundbreaking content. Fisher's work investigates the future of narrative through explorations of interactive storytelling and cinema in Augmented Reality environments.

Marlis Schweitzer's SSHRC-funded project Tracking the Transnational Trade in Theatrical Commodities, 1890-1914 examines how North American theatre impresarios acquired, produced, promoted, and circulated foreign theatrical commodities in the period directly preceding World War I. Schweitzer focuses on the multiple business and personal networks that gave rise to a transnational trade in theatrical commodities.

In 2009, Katherine Knight produced and directed, Pretend Not To See Me, a 52-minute documentary that follows Canadian artist Colette Urban as she stages thirteen performance art works at her spectacular Newfoundland farm. Pretend Not To See Me, is an astonishing representation of Urban's enigmatic art performances set against the rugged beauty of rural Newfoundland.

Nell Tenhaaf's SSHRC funded, Conversing With Abstract Artifical Agents investigates how people relate to an increasing presence of artificiality. Viewers interact with abstract agents composed of light clusters with mulltiple modes of visual and auditory expression embedded in surfaces with dimensionality and depth. Ultimately, the viewer's creative agency is enhanced by their experience of the work.

Janine Marchessault examines the role of artists in the creation of better cities and in the reimagining of citizenship during mass migration. In Ecstatic Worlds: 20th Century Utopian Film Projects, a book in progress, Marchessault examines aspirations for universality in collective experiments with film and media. A second book project, Urban Mediations: Art, Ethnography and Material Culture situates different historical and methodological currents in urban media studies.

Peter McKinnon's SSHRC-funded three volume survey titled World Scenography 1975-1990, 1990-2005 and 2005-2015 will ensure that the work of theatre designers all over the world is well documented. The last collection of international scenography was published in 1975 by René Hainaux, and while individual designers have chronicled various national and regional volumes, no international compilation has been produced since Hainaux's.

Colleen Wagner's SSHRC funded project, Theater of the Wounded places women at the center of heroic myths, a space they have not traditionally occupied. Often typecast as temptresses, stoic wives, or the spoils of war, women have been overshadowed in myths by the male protagonist. Wagner is creating a female-centered heroic myth from the stories of women and girls who have survived trauma in Rwanda, Uganda and South Africa.