Howard Besser is the director of the Moving Image Archiving and Preservation Program (MIAP), of New York University (NYU). He is an expert in new technologies for libraries, museums and archives and is an active participant in national and international projects to develop standards in metadata. His research has focused on the preservation of American public television and of electronic works, providing digital access to dance collections, and intellectual property in the advent of digital technologies. He previously worked for the School of Information Management and Systems at the University of California Berkeley. Besser is the author of “Digital Longevity” published in the manual Digital Projects, a Management Tool for Preservation and Access (Northeast Document Conservation Center, 2000); coauthor of The Digital Dilemma: Intellectual Property in the Information Age (National Academy Press, 2000); “Defining the Problem of Our Vanishing Memory: Background, Current Status, Models for Resolution” in Time and Bits: Managing Digital Continuity (Getty Information Institute and Getty Conservation Institute, 1998). In 2009 he was added to the Library of Congress’ list of Digital Preservation Pioneers.

Jon-Paul (J.P.) Dyson is Director of the International Center for the History of Electronic Games ( and Vice President for Exhibit Research and Development at the National Museum of Play at The Strong. Located in Rochester, NY, The Strong ( welcomes nearly 600,000 guests a year and has the world’s most comprehensive collection of toys, dolls, games, and video games, including approximately 50,000 video games and related artifacts. J.P. holds a PhD in United States history. He speaks and writes frequently on the history of video games and play and has developed many exhibits on the history of play at The Strong’s National Museum of Play, including Game Time!, eGameRevolution, American Comic Book Heroes, Reading Adventureland, Atari by Design: from Concept to Creation, and Boardwalk Arcade.

Clara Fernandez-Vara is Associate Professor of the Arts at the NYU Game Center, at Tisch School of the Arts. Her main research interest is the study of narrative in games and how it can integrate with game design, focusing on adventure games. She is particularly interested in applying methods from textual analysis and performance studies to the study of video games and cross-media artifacts, as well as the study and teaching of videogame history. Her goal as a researcher is to bridge disciplines – humanities and sciences, theory and practice – in order to find ways to innovate and open new ground in video games studies and design. Clara holds a Ph.D. in Digital Media from the Georgia Institute of Technology. She earned a BA in English Studies at the Universidad Autónoma de Madrid, and was awarded a fellowship from La Caixa Foundation to pursue a Masters in Comparative Media Studies at MIT. In previous positions, Clara has been a Visiting Scholar at the Trope Tank; before that, she was a Postdoctoral Researcher at the Singapore-MIT GAMBIT Game Lab. She has worked on several experimental adventure games as part of her research, Rosemary (2009), Symon (2010), and Stranded in Singapore (2011), and The Last Symphony (2011) which were well received by game critics and fans alike. At the moment, she is working on a book, Introduction to Game Analysis, which will be published by Routledge.

Raiford Guins is an Associate Professor of Culture and Technology within the Department of Cultural Analysis and Theory at Stony Brook University. He is a Founding Principal Editor with the Journal of Visual Culture and Curator of the William A. Higinbotham Game Studies Collection.  He is the author of Edited Clean Version: Technology and the Culture of Control (2009) and has co-edited The Object Reader (2009) and Popular Culture: A Reader (2005). His writings on video games appear in the following journals: the Journal of Visual Culture, Design Issues, Design and Culture, and Cabinet.  His next book, Game After: A Cultural Study of Video Game Afterlife, is forthcoming with MIT Press (Jan 2014). He is currently working on the collection, Debugging Game History: A Critical Lexicon (MIT), with Henry Lowood. His general research interests are: video game history and preservation, design studies, history and philosophy of technology, and material culture.

Christine Kim is a new media art historian and experimental video game art curator based in Toronto, Ontario. Founder of Parallel Play, a not-for-profit, educational organization dedicated to creating awareness of, and appreciation for, experimental video game art and independently made games.This initiative is facilitated through events, conventions and art exhibits. Events that I currently co-organize: Stage Select Gamer Convention and Vector Game + Art Convergence Festival.

John Klacsmann is an Archivist at Anthology Film Archives in New York City. He manages Anthology’s principle audio-visual collections including: inspecting, repairing, and cataloging film originals, prints, and video tapes; supervising preservation projects; assisting researchers; and overseeing the day-to-day operations of the archives and collection vaults. Klacsmann holds a Bachelors of Science in Computer Science from Washington University in St. Louis. He graduated from the L. Jeffrey Selznick School of Film Preservation at the George Eastman House in 2008 and worked as a film preservation specialist and optical printing technician at Colorlab, a film laboratory in Maryland, before joining Anthology in 2012. His other interests include stroboscopic cinema, antiquated Technicolor dye-transfer systems, and Unix-like operating systems.

Henry Lowood is curator for history of science & technology collections and for film & media collections at Stanford University.  He is also a lecturer in the Thinking Matters Program, the Science and Technology Studies Program and the History and Philosophy of Science Program at Stanford and in the School of Library and Information Science at San Jose State University. Since 2000, he has led How They Got Game, a research and archival preservation project devoted to the history of digital games and simulations.   This project includes Stanford’s efforts in the Preserving Virtual Worlds project, funded by the U.S. Library of Congress and the Institute of Museum and Library Services, and the Cabrinety Collection imaging project, funded by the National Institute for Standards and Technology.  His most recent book is The Machinima Reader, published by MIT Press and co-edited with Michael Nitsche.

Kristin MacDonough is an audiovisual preservationist based in New York City. She holds a BA in Art History and a BFA in Design, both from The University of Texas at Austin and an MA from the Moving Image Archiving and Preservation program at New York University. She has been involved in various projects such as World Day for Audiovisual Heritage 2012, Archiving the Arts Fall 2012, and employed as a technician at XFR STN (Transfer Station) at the New Museum this past summer. Her work focuses on ways to preserve media and developing and evaluating practices and policies that make audiovisual materials increasingly accessible to old and new audiences.

Dylan McKenzie is a game developer, academic, and community organizer living in New York City. He is a graduate of the Media Studies department at NYU Steinhardt and is currently the Program Coordinator of the NYU Game Center. Dylan has overseen the growth of the Game Center’s library from its inception to its current status, a multiple branch collection of thousands of games. Dylan seeks to explore the aesthetic depth of games as a medium of expression and self-discovery.

Dave Rice is an audiovisual archivist and technologist. Dave’s work focuses on independent media as well as open source applications in audiovisual preservation. He has worked as an archivist or archival consultant at media organizations like CUNY, Democracy Now, the United Nations, WITNESS, Downtown Community Television, and Bay Area Video Coalition. Dave is a graduate of the L. Jeffrey Selznick School of Film Preservation.

Guillaume Roux-Girard is a Ph.D Student in film studies at Université de Montréal as well as a lecturer at both Université de Montréal and Université du Québec en Abitibi-Témiscamingue. He is also the coordinator for the Game studies teaching and research laboratory at Université de Montréal. In addition, he was the coordinator of the first international conference on the history of games held in Montreal in 2013. His current research focuses on sound and listening in videogames. His recent publications include entries about sound and the Metal Gear series in the Encyclopedia of Video Games (ABC-Clio Press, 2012), and a chapter about sound in horror videogames in the anthology Game Sound Technology and Player Interaction: Concepts and Developments (IGI Global, 2011).

Brice Roy is a game designer and a researcher in Philosophy. He is member of the COSTECH at the University of Technology of Compiègne, France. He is currently working on a PhD thesis about the properties of digital data on revealing and transforming the nature of play. Besides, he is the co-founder of the independant game collective One Life Remains, dedicated to the design of experimental and radical games. As a designer and researcher, his work is focusing on the game controller status, the role of the “non-players” in a performative context, as well as the relationship between the avatar, the automat and the puppet.
He is the author of several games such as Generations, a game designed to last for 250 years, Gigantomachie, a versus fighting game with 2 giant game pads or even And The Rhino Says, based on perceptual illusion.

John Sharp is a designer, art historian, curator and educator with over twenty years of involvement in the creation and study of art and design. John’s design work focuses on cultural games, artgames and non-digital games. His current research addresses game design curriculum for arts education, the artgames movement, videogame aesthetics, the history of play, and the early history of computer and video games. John is the Associate Professor of Games and Learning at Parsons The New School for Design. Along with Colleen Macklin, John co-directs PETLab (Prototyping, Education and Technology Lab), a research group focused on games and their design as a form of social discourse. John has written in numerous publications, and has two forthcoming books —Works of Game: On the Aesthetics of Games and Art (MIT Press, 2014),  and Iterate: Ten Perspectives on Design and Failure (co-authored with Colleen Macklin, 2015). He is associate editor of ETC Press’ Well Played series, and is co-editor of the forthcoming Pamphleteer Series, along with David Thomas. His recent curation work includes “Spacewar!: Video Games Blast Off” at the Museum of the Moving Image, and co-curation of “XYZ: Alternative Voices in Game Design” at the Museum of Design Atlanta. John is a member of the game design collective Local No. 12 along with Colleen Macklin (Associate Professor, Design & Technology, Parsons the New School for Design) and Eric Zimmerman (Arts Professor, New York University Game Center), a company focused on finding play in cultural practices. Along with Peter Berry, John is a partner in Supercosm, where he focuses on interaction and game design for arts and education clients.

Carl Therrien is an assistant professor in the new video game studies program at Université de Montréal. He was the co-founder and main organizer of the first international conference on the history of games held in Montreal in 2013. He worked on a postdoctoral research project on the history of video games, and completed a Ph. D. thesis about the formal and psychological aspects of immersion in fictional worlds. Major publications include the opening chapter in Mark J. P. Wolf’s Before the Crash (Wayne State University Press, 2012), many entries in Greenwood’s Encyclopedia of Video Games (2012), a historical contribution in Bernard Perron’s anthology on Horror Video Games (McFarland & Company, 2009), and an upcoming paper on the rise of cooperative address in game design (IEEE Handbook on video games).

Jamin Warren founded videogame arts and culture company Kill Screen. Formerly a culture reporter for the Wall Street Journal, he serves as an advisor to MoMA’s department of Architecture and Design. Jamin also hosts Game/Show for PBS Digital Studios. His thoughts on games and digital culture have been featured in the New Yorker, New York Times, Paris Review and others. Ebony named him one of their top tech leaders to watch and the New York Observer called him a “burgeoning media baron.” He’s also a frequent contributor to NPR, and has spoken at SXSW, the New York Film Festival, XOXO, and others.


One thought on “Bios

  1. Pingback: Pressing Restart: Community Discussions on Video Game Preservation | Pressing Restart

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