Matthew Causey is currently Head of School of Creative Arts at TCD. He is Associate Professor, Fellow, and Director of the Arts Technology Research Laboratory. He is author of 'Theatre and Performance in Digital Culture: from simulation to embeddedness' (Routledge 2006). Recent publications include the essay 'Postdigital Performance' in 'Theatre Journal' (2017). He co-edited 'The Performing Subject in the Space of Technology: through the virtual towards the real' (Palgrave, 2015) which includes his chapter, 'The Right to be Forgotten and the Image-Crimes of Digital Culture'. He edited with Fintan Walsh 'Performance, Identity and the Neo-political Subject' (Routledge, 2014). His essay 'The Object of Desire of the Machine: the biopolitics of the posthuman' is anthologized in 'Resisting Biopolitics: philosophical, political and performative strategies' edited by Wilmer and Zukauskaite (Routledge, 2015). His theoretical writings on performance and techno-culture have been published in 'Theatre Journal', 'Theatre Research Int'l', 'Journal of Dramatic Theory and Criticism', and 'TheatreForum' among others. In 2017 he was keynote speaker at the TaPRA (Theatre and Performance Research Association) Conference at Birkbeck University. In 2016 he keynoted at the 'Coimbra International Conference On the Virtual' at University of Coimbra, Department of Philosophy, Portugal. He was the keynote speaker at the Irish Museum of Modern Art's symposium on the artist John Gerrard. In 2015 he was keynote speaker at Ghent University's conference 'Does It Matter: Composite Bodies and Posthuman Prototypes in Contemporary Performing Arts' and the 'Digital Echoes' symposium at CDARE of Coventry University. Funded by the HEA he created the Arts Technology Research Laboratory, which serves as an interdisciplinary postgraduate research centre in the area of art, technology and digital culture. He designed the Arts Strand of the HEA-funded Ireland-wide PhD in Digital Arts and Humanities which partners TCD, UCC, NUIM, NUIG and northern partners UU and QUB in a collaborative programme training researchers in new technologies, practices and theories of digital research. Dr. Causey is also a digital filmmaker and he has adapted, edited and directed three of Samuel Beckett's televisual works, 'Ghost Trio', 'Nacht und Träume' and ' but the clouds '. His film, 'Frank and Marie', was an official selection of both the Boston Irish Film Festival and Dublin's Darklight Digital Festival in 2004. As a musician he has recently produced two releases of original compositions, 'The Art of Living' and 'Obedientia Civium Urbis Felicitas' with his band Tujacques whose live performances included a spot at the Electric Picnic 2012. As a theatre maker his performance work 'Tall Ships' was featured in the Dublin Fringe Festival 2014. Matthew's long career in theatre and performance, film and video stretches back to the seminal art period of the East Village and Soho in the 1970s and 80s. His original theatre works including 'Luminous Bodies', 'Paradise Regained', 'The Book of Ezekiel' and 'The Ecstasy of St. Zero, Retold' were performed throughout Soho during that time and were all chosen as 'Choices' in NYC's 'Village Voice'. The works were presented at such venues as the Envelope at the Performing Garage, the Open Space in Soho, and Soho Books. While working in the film industry in LA as an actor and editor he wrote/directed the experimental film 'Radio Word' (1983) featuring the machine-art provocateurs, Survival Research Laboratories. In the 1990s, after earning his PhD at Stanford University, he continued his work as an artist experimenting in new forms of computational and video art with his research group PTRL (Performance Technology Research Laboratory) at Georgia Tech where he was Asst Professor. Dr. Causey developed many intermedial works with PTRL including 'The Bacchae', 'Electricity (after Frankenstein)' and a production of 'Faust' was staged at Atlanta's 7 Stages.

My research explores the frontiers of the theory and practice of theatre and performance in digital culture. The strategy of the research is to articulate the cultural condition of digital societies, the social impact and philosophical problems of technologised institutional structures and the construction of identity in electronic communications. I innovate on the methods of digital art practice which includes an exchange with science and technology, engineering, computer science and art and I consider the manners in which that exchange fundamentally shifts the practices of each field. My book, 'Theatre and Performance in Digital Culture', edited collections, book chapters, journal publications and keynote presentations all explore that matrix. I designed the Arts Technology Research Laboratory on that model to embrace the synergies of the School of Creative Arts' performance and time-based disciplines to encourage the re-imagining of the arts in play with computational systems. My research is deeply engaged with the social issues surrounding digital culture and in some cases, examines the legal issues surrounding being in the space of technology such as the 'right to be forgotten' in Google search engines and the troubling impossibility of being forgotten in a digital system. I question how victims of trauma whose abuse has been electronically circulated can never be forgotten creating a ceaseless circulation of victimisation. I attempt to transfer that model of traumatic Internet identity to a grounding theory of digital culture and reflect on the manners in which performance practices are influenced. The number of citations of my writings, various keynote invitations and requests for publication indicates the influence my research is experiencing. Additionally, I pursue practice-based research as an inter-medial artist and digital filmmaker. I have pursued my practice-based training and research for many years as a professional theatre producer, director and writer in NYC during 1970s and 80s, and as film and video maker in Los Angeles in the 1980s and 1990s. My recent work includes two short films based on several of Samuel Beckett television plays, a collaborative stage adaptation of Beckett's 'Ill Seen Ill Said' and the release of two albums of original music