Step the Brain Along A Path art installation
Artist: Kimberly Binns
Year: 2022
Materials: Monitors, wall decals, paint on wood

Kimberly Binns is an Atlanta-based interdisciplinary artist and producer. Her installation was created to accompany Terminus Modern Ballet Theatre’s performances of Step the Brain Along a Path in September 2022. That work, created in partnership with Georgia Tech professor Christopher Rozell, among others, explored neuroscience and the ethics of intervention with AI and other technologies. For her installation, Binns collaborated with Georgia Tech graduate students Abigail Paulson BMED, Kyle Johnson BMED, and Tim Min, Music Technology.

Binns’ artistic statement includes this account of her work’s origins and meaning:


“The creative elements in this lobby installation come directly from the research work completed by Georgia Tech’s neuroscience graduate students. As a visual artist my goal was to reinterpret academic, research-based findings and assets into a creative visual expression that connects the dynamic work of choreographic performance with the dynamic nature of the way the nervous system works within us.”

Binns' work hung in the Westbrook Gallery at the Ferst Center for the Arts from September 9 through November 14, 2022.

Step the Brain Along a Path

Installation Visual Artist   

         Kimberly Binns

Installation Scientific Composition     

         Abigail Paulson

Installation Audio Composition  

         Kyle Johnsen

         Tim Min

Installation Scientific Consultant

         Christopher Rozell

Performance Choreographer     

         Troy Schumacher

Performance Lead Creative Team      

         John Welker

         Christopher Rozell

         Karen Romelfanger

Performance Projection Artist   

         Sergio Mora-Díaz

Performance Scientific Consultant     

         Abigail Paulson

Performance Contributing Researchers     

         Chethan Pandarinath

         Lena Ting

         Annabelle Singer

         Garrett Stanley

         Doby Rahnev

Made possible in part by a grant from the Charles Loridans Foundation