Past Speakers

Anthony Discenza received his Masters in Film and Video from California College of the Arts and his Bachelors in Studio Art from Wesleyan University. His work is directed by a preoccupation with interrupting the flow of information in various formats. While his work has often been video-based, it has also taken the form of other mediums such as text, imagery, and computer generated sound. Discenza’s work has been presented widely around the United States and globally, including with the San Francisco Arts Commission, the United Nations Pavilion in Shanghai, the San Francisco Museum of Modern Art, the Australian Center for the Moving Image, the Whitney Museum of American Art, the Getty Center and the University of California Berkeley Art Museum & Pacific Film Archive. His work has garnered critical acclaim in Artforum, Artweek, and ArtReview, among other publications. Discenza lives and works in Oakland, California and had his first exhibition at Catharine Clark Gallery in 2004.

Félicie d’Estienne d’Orves works with new medias, light and sculpture to create a contemporary form of kinetic art. Through her videos, sculptures and projections she has been researching for many years on the process of vision and its conditioning. She collaborates with experimental and electronic music artists, thereby opening another dimension in her research on perception by adding sound to her artworks. Physical experience and interaction are inherent to her creative process, in which she involves the viewer’s own body in relation to the artwork. With its kinetic characteristics, the object of art triggers cognitive engagement. (LRLX Paris)

Kira Dominguez Hultgren is a Bay Area-based textile artist. She studied French postcolonial theory and literature at Princeton University, and performance and fine arts in Río Negro, Argentina. In 2019, Dominguez Hultgren earned a dual-degree MFA/MA in Fine Arts and Visual and Critical Studies from California College of the Arts. Her research interests include material and embodied rhetorics, loom technologies, decolonizing material culture, and analyzing textiles as a performative critique against the visual. Currently, she is a Graduate Fellow at the Headlands Center for the Arts where she is preparing for upcoming shows at the Bedford Gallery in Walnut Creek, the de Young Fine Art Museum of San Francisco, and the Triton Museum of Art in Santa Clara. I was India: Embroidering Exoticism is her first solo museum show and is on view at the San Jose Museum of Quilt and Textile through July 2020.

Claire Donato is the author of Burial (Tarpaulin Sky Press, 2013), a not-novel novel, and The Second Body (Poor Claudia, 2016), a collection of poems. Her work has been published or is forthcoming in BOMB, Encyclopedia L-Z, BOAAT, Fanzine, and Poetry Society of America. She creates plant-based video language sculptures and co-curates WordHack at Babycastles Gallery. Claire is a 2016-2017 Digital Studies Center Fellow at Rutgers University, and also teaches in the Architecture and BFA Writing Programs at Pratt Institute, and the The School of Art and Design History and Theory at Parsons. (LRLX New York)

Tracy Drake is a founding member of The Blackivists, a collective of trained Black archivists who prioritize Black cultural heritage preservation and memory work, and an archivist at Reed College, focused on acquiring, preserving, and providing access to the historical and cultural records of the college. As an information professional, Tracy strives to provide equitable access to the stories of the Black experience. She believes in confronting difficult topics in our collective historical record while encouraging community archival practice. Tracy is a graduate of Eastern Illinois University with a BS in African American Studies, an MA in history from Roosevelt University, and an MS in Library and Information Science from the University of Illinois at Urbana-Champaign. In 2018, she was chosen as a member of the American Library Association class of Emerging Leaders. Her scholarship and research focus on anti-racism in society and information. Tracy uses she/her/hers pronouns.

Constant Dullaart (LRLX NY) works primarily with the Internet as an alternative space of presentation and (mis)representation. His often-political approach is critical of the control that corporate systems have upon our perception of the world, and the way in which we passively adopt their languages. His practice includes websites, performances, installations and manipulated found images, presented both offline and in the public space of the Internet.

Rachel Beth Egenhoefer is an artist, designer, writer, and professor, whose focus integrates technology, craft, and design. Current themes in her work include sustainability and systems thinking as related to behavior change. Egenhoefer is an Associate Professor of Design at The University of San Francisco and editor of the forthcoming “Routledge Handbook of Sustainable Design”.

Dganit Elyakim is a composer and sound-artist. Her music depicts various aspects of the human and digital paradigm. She’s the co-founder of the new media net-art collective “Turing Dames”. Her oeuvre includes chamber, vocal, and electroacoustic compositions, as well as music for theatre, dance, new-media and video. In 2011, Elyakim was awarded the Israeli Prime Minister's Prize in composition. Her music has been featured at the Gaudeamus Festival (Netherlands), Tel Aviv Museum of Arts, The Chan Center of Performing Arts (Jerusalem), Ars Electronica (Linz) and many more venues across the globe. Elyakim holds Bachelor’s and Master’s degrees (summa cum laude) in music and philosophy, composition and electronic music from The University of Haifa and The Royal Conservatory in the Netherlands. During her time at Haifa, she was awarded a two year scholarship from the America-Israel Cultural Foundation. Recently she has released her debut album “Failing Better” on Aural Terrains label. (LRLX Tel Aviv)

Flan Falacci is an interdisciplinary artist and game designer in NYC, currently working as a Unity developer as well as an organizer for the non-profit video games gallery Babycastles. Flan is particularly interested in the idea of ambience in how we play with systems, and large possibility spaces that place emphasis on observing interesting results. As their work evolves, Flan also hopes to delve further down the paths of procedural generation, neural networks, and other methods of computer authorship, as well as more traditional styles of play.

Liliana Farber is a visual artist born 1983 in Montevideo, Uruguay, currently living and working in Tel Aviv. Farber completed the Postgraduate Fine Art Studies at the Hamidrasha School of Art, Beit Berl College (Israel), and holds a B.A in Graphic Design from O.R.T University in Montevideo. Farber’s works question the hierarchy of knowledge and the consumption of data. They explore the complex relationships between pieces of information and their relation to personal and collective memory, by scrutinizing the ways in which visual information is stored. Farber is creating software that manipulate masses of collected materials from the Internet, capturing the tension between the recognizable image and abstraction that derives from the abundance of information, carefully eliminating the element of specification. Farber had participated in numerous exhibitions around the world, including: Ars Electronica Festival in Austria, WRO Media Art Biennale in Poland, FILE Festival in Brazil, Ex-Teresa Art Center in Mexico, The National Museum of Visual Arts and Gallino Museum in Uruguay, MECA Mediterráneo Centro Artístico in Spain, National Museum of Fine Arts in Chile and more. (LRLX Tel Aviv)

J. Gordon Faylor is the author of Registration Caspar (Ugly Duckling Presse), Disgruntled 1234567890 (Basic Editions), and Marginal Twin Contribution (Troll Thread), among other publications. He edits Gauss PDF and is the managing editor of SFMOMA's Open Space.

FELT is an experimental internet art platform and artist collective. Its IRL and URL experiences examine digital activism, hip hop culture, race, gender, and class. Since the start of FELT in 2011, the collective has grown their small group of like-minded creatives to become an international movement that travels between the Americas, Asia, Europe, and Africa. Devon Moore, aka Dev Moore, is a net artist, curator, creative technologist, and member of the FELT collective. Dev’s work incorporates technology, modern-day youth experiences, personhood, hip-hop, and more all while referencing components of tech culture.

FICTILIS is the collaborative practice of multimedia artists and curators Andrea Steves and Timothy Furstnau. The word “FICTILIS” is Latin for “capable of being shaped or changed; earthen.” This definition refers both to the form of our practice and to the role we intend it to play within the larger culture. We work on a project basis, with ongoing interests in language, material & waste, intersections between the social and environmental, and the making of exhibitions and institutions.

Courtney Fink works in the expanded field of nonprofit leadership as a steadfast champion of visual artists and the organizations that center and support them. Her mission is to advance ideas and projects in which artists and experimental platforms are positioned to manifest social change and establish equitable access in the arts. For more than 25 years she has worked to draw national attention to and build capacity in the visual arts as exemplified in her role as co-founder and executive director of Common Field and as executive director of Southern Exposure where she founded the Alternative Exposure Grant Program in partnership with the Andy Warhol Foundation for the Visual Arts, laying the groundwork for the Foundation’s revered national Regional Re-granting Program. Fink is also active in the philanthropic sector as a board member, consultant, and advisor for numerous renowned awards and programs.

Marcus Brittain Fleming is a psychotherapist, dancer, and tech worker who fights against IRL/digital forms of oppression by developing antidotes for modern-day mental health needs. He is the founder of Bandwidth Care and a member of the Centre for Emotional Materiality.

Brian Foo is an artist and computer scientist working in libraries and museums with a focus on the visualization of large collections of information and media for the public. He is currently a data artist at the American Museum of Natural History where he most recently designed the museum’s first permanent exhibit on climate change. He is also the 2020 Innovator-in-Residence at the Library of Congress where he is developing Citizen DJ, a project that invites the public to make hip hop music using free-to-use audio and video material from the Library of Congress.

Aimee Friberg is an artist-curator and the founding director of CULT | Aimee Friberg Exhibitions, which she launched in San Francisco in 2013. CULT presents cutting-edge work by emerging and established artists who bridge formal, conceptual and process based investigations exploring the human condition. Friberg considers her role as gallerist to be an ongoing durational performance work. CULT’s exhibitions have been featured in Artforum, Frieze, Artsy, Art Practical, SFAQ/NYAQ, Art ltd, San Francisco Chronicle, 7x7 Magazine, KQED, Squarecylinder and Hyperallergic, among others. Prior to opening CULT, Friberg held various curatorial and film programming roles. From 2005 until 2008 she served at San Francisco Museum of Modern Art, curating and producing public programs. Additionally, she served as Treasurer of the Board of Trustees at the San Francisco Cinematheque, was a supporting member of SFMOMA’s SECA and a founding member of the West Coast Council of Artadia. Friberg is also the founder of Gallery Extrana, a space for experimental works, films and music in Berkeley from 2008-2011. Aimee has performed, exhibited and presented screenings in various institutions and galleries across the country and abroad, including: Los Angeles Contemporary Exhibitions; Portland Institute of Contemporary Art; San Francisco Museum of Modern Art, The Lab, Southern Exposure and Galeria de la Raza (SF); University of Washington’s Henry Art and Jacob Lawrence Galleries (Seattle); Kitchen Center for Media (New York); Havana International Film Festival (Havana, Cuba) and FIFI Projects and Zona Maco (Mexico City, Mexico). For more information, please visit cultexhibitions.com.

Anna Friz is a Canadian sound and media artist who specializes in multichannel radio transmission systems for installation, performance, and broadcast, or works in which radio is often the source, subject, and medium of the work. She also composes sound works and installations for theater, dance, film, and solo performance that reflect upon public media culture, political landscapes and infrastructure, time perception, the intimacy of signal space, and speculative fictions. Recent presentations of her work include Ars Electronica Big Concert Night (Linz, Austria), the Museum of Arts and Design (New York), and Tsonami Festival de Arte Sonoro(Valparaíso and Santiago, Chile). Anna Friz is Assistant Professor in the Film and Digital Media Department of the University of California, Santa Cruz. She is currently a steering member of Skálar | Sound Art | Experimental Music based in East Iceland, and a long time artist/affiliate of Wave Farm in Acra, New York.

FutureFarmers is a group of diverse practitioners aligned through an interest in making work that is relevant to the time and place surrounding us. Founded in 1995, the design studio serves as a platform to support art projects, an artist in residence program and their research interests. FutureFarmers are artists, researchers, designers, architects, scientists and farmers with a common interest in creating frameworks for exchange that catalyze moments of "not knowing". Futurefarmers work has been exhibited at the Whitney Museum of American Art, the New York Museum of Modern Art, Solomon R. Guggenheim, MAXXI in Rome, Italy, New York Hall of Sciences and the Walker Art Center.

Jacob Gaboury is a historian of digital media, studying the ways people have imagined, developed, and used digital images over the past seventy years. His forthcoming book is titled Image Objects (MIT Press, 2018), and it offers a material history of early computer graphics and visual simulation told through a set of five objects that structure the production and circulation of all digital images today. Gaboury is an Assistant Professor of New Media History and Theory in the Department of Film & Media at the University of California, Berkeley. He received his PhD from New York University’s Department of Media, Culture, and Communication.

Tanya Gayer is an independent curator and writer based in Oakland, CA. Her curatorial projects and research examine history-making processes embedded in archives, databases, governmental assimilation efforts, and algorithmic categorizations. She studies the records and stories involved with these institutions to realize the impact they have in forming identity and culture.
Gayer received her dual masters degree in Curatorial Practice and Visual + Critical Studies from California College of the Arts and her BFA from University of Nevada, Reno. Her curatorial projects have been exhibited at Root Division; Hubbell Street Galleries; Sonoma Valley Museum of Art; The Internet Archive; Gray Area; CTRL + SHFT; Wattis Institute for Contemporary Arts; Pro Arts Gallery; Embark Gallery; Adobe Books Backroom Gallery; among many more. She has been in residence at Wassaic Project; Picture Berlin; and Signal Culture. Her writing has been published in Daily Serving, in exhibition catalogs associated with CULT Exhibitions; Holland Project; Pro Arts; Wattis Institute for Contemporary Arts; the Marjorie Barrick Museum; among others. Gayer has lectured at UC Santa Barbara, UC San Diego, California College of the Arts, and at the CODAME Art + Tech Festival #ARTOBOT. She has held exhibition-related positions at Sonoma Valley Museum of Art, Soundwave, San Francisco Museum of Modern Art, among others.

Dakota Gearhart is a transmedia artist whose practice concerns the effects of modern science and technology with a particular focus on the radical deconstruction of contemporary power structures according to an ecofeminist worldview. She seeks to make the familiar strange—and sometimes the strange familiar—and through that inversion, articulate a more robust and less oppressive future. She is based in New York City where she teaches Motion Graphics with Parsons School of Design at The New School and with the Integrated Design Media program at New York University.

April Glaser I am staff writer for Slate, where I report technology, politics, and business stories . Prior to Slate, I was a journalist at Recode and Wired, and I have bylines all over. Before writing full time, I worked at the Electronic Frontier Foundation, Greenpeace, Prometheus Radio Project, and elsewhere. I am on the board of a hackerspace in Oakland and used to run an art gallery in Philadelphia. I was a lead organizer of the 2014 network neutrality campaign and the 2011 Community Radio Act, the largest expansion of community radio in U.S. history. I am also the founder of a community radio station in Nashville,Tennessee, as well as a few technology justice nonprofits. You may have heard or seen me on NPR, BBC, Al Jazeera, NBC, or CNBC. Or maybe somewhere else.

Sair Goetz writes instructions that shift problematic realities into speculative fictions. Their work seeks to leverage the weightlessness of language to complicate, manipulate, and annotate the weighty matters it circumscribes. sair has shown their work internationally and completed residencies across the US. Supported by the 2017-2018 Dedalus Foundation post-MFA fellowship, goetz is currently working on performance, signage, & video pieces querying voice, silence, and ventriloquism. They are a member of CTRL+SHFT Collective in Oakland, CA.

Ken Goldberg is an artist and UC Berkeley professor. He and his students investigate robotics, automation, art, and social media. Ken is Director of the People and Robots Initiative (a CITRIS multicampus multidisciplinary research program established in April 2015) and UC Berkeley's Automation Sciences Research Lab (since 1995). Ken earned dual degrees in Electrical Engineering and Economics from the University of Pennsylvania (1984) and MS and PhD degrees from Carnegie Mellon University (1990). He joined the UC Berkeley faculty in 1995 where he is Professor of Industrial Engineering and Operations Research (IEOR), with secondary appointments in Electrical Engineering/Computer Science (EECS), Art Practice, the School of Information, and in the Department of Radiation Oncology at the UCSF Medical School. Ken has published over 200 peer-reviewed technical papers on algorithms for robotics, automation, and social information filtering; his inventions have been awarded eight US Patents. He is Editor-in-Chief of the IEEE Transactions on Automation Science and Engineering (T-ASE), Co-Founder of the Berkeley Center for New Media (BCNM), the African Robotics Network (AFRON), the Center for Automation and Learning for Medical Robotics (CAL-MR), the CITRIS Data and Democracy Initiative (DDI), Hybrid Wisdom Labs, and Moxie Institute.Ken's art installations are related to his research and have been exhibited at venues including the Whitney Biennial, Berkeley Art Museum, SF Contemporary Jewish Museum, Pompidou Center, Buenos Aires Biennial, and the ICC in Tokyo. Ken co-wrote three award-winning Sundance documentary films, "The Tribe", "Yelp", and "Connected: An Autoblogography of Love, Death, and Technology" and co-directed the Emmy-Nominated Short Doc "Why We Love Robots." Ken's artwork is represented by the Catharine Clark Gallery in San Francisco and he is Founding Director of UC Berkeley's Art, Technology, and Culture Lecture Series (since 1997). Ken was awarded the Presidential Faculty Fellowship in 1995 by Bill Clinton, the National Science Foundation Faculty Fellowship in 1994, the Joseph Engelberger Robotics Award in 2000, and elected IEEE Fellow in 2005. He lives in the Bay Area with his daughters and wife, filmmaker and Webby Awards founder Tiffany Shlain.

Veronica Graham is an Oakland based visual artist primarily working in print and digital mediums. Inspired by today’s rapidly changing environment, she sees her art practice as a form of world building. Each work is the creation of place or artifact, calling attention to how fiction is weaved into our reality. In 2012 she founded Most Ancient, a design studio focused on small press and digital production. Her books have been collected by SFMoMA, MoMA, The New York Public Library, The Library of Congress, Stanford University, Yale University, and other public and private collections. Graham has received grants from Kala Art Institute and Women’s Studio Workshop. She is now designing virtual worlds and her first VR project called “The Muybridge Mausoleum” was completed in 2017 and is currently developing "Diatribes", a virtual fun house. In addition to her own practice, Graham is an active member on SFMoMA’s Games Advisory Board and an arts educator who has taught at San Francisco Art Institute, Southern Exposure, and Creativity Explored.

Eyal Gruss is a machine learning researcher and digital artist. His works include interactive installations, computational poetry and computer generated art.

Eran Hadas is an Israeli poet, software developer and new media artist, the author of seven books. He creates hypermedia poetry and develops software based poetry generators. Among his collaborative projects is a headset that generates poems from brainwaves, and a documentarian robot that interviews people about the meaning of being human. Hadas is the 2017 Schusterman Visiting Artist at Caltech and the 2016 Poet-in-Residence at Binyamin Gallery, Tel-Aviv. His computational poetry projects have been exhibited internationally. He teaches at School of Literary Arts Jerusalem.

Fields Harrington’s interdisciplinary work interrogates histories of legibility and opacity through their material representations. He uses acoustic levitation, engineering, and 3D printing to recast (or connect) the past into future possibilities. He is currently pursuing an MFA at the University of Pennsylvania.

Jerome Harris is a graphic designer originally from New Haven, Connecticut, currently based in Brooklyn, New York. He holds an MFA in Graphic Design from Yale University and a BA from Temple University. Harris is the Design Director of Housing Works, a non-profit organization fighting the dual crises of HIV/AIDS and homelessness in New York City. He has also curated a touring exhibition, entitled As, Not For, which celebrates African-American graphic designers active in the 20th Century. Harris DJs under the moniker DJ Glen Coco, and maintains an ongoing choreographic practice that he shares on Instagram at @32counts.

Prince Harvey is an American rapper, music producer, artist and activist. He is best known for his album PHATASS which he recorded at an Apple Store in New York City.

Ian Hatcher is a writer, vocalist, and programmer based in New York. He is the author of a poetry collection, Prosthesis (Poor Claudia 2016); two chapbooks, Private (Inpatient 2016) and The All-New (Anomalous 2015); a forthcoming vinyl 7", Drone Pilot (cOsmOsmOse 2017); and two poetry apps: Abra, with Amaranth Borsuk and Kate Durbin, and Vniverse, with Stephanie Strickland. His code-inflected vocal performances have been presented widely in North America and Europe. (LRLX New York)

Tempestt Hazel is a curator, writer, and co-founder of Sixty Inches From Center, a Chicago-based arts publication and archiving initiative that has promoted and preserved the practices of BIPOC and LGBTQIA+ artists, and artists with disabilities across the Midwest since 2010. Thanks to a lovely nomination from by several members of The Blackivists, her curatorial work and work with Sixty was recognized with a 2019 J. Franklin Jameson Archival Advocacy Award from the Society of American Archivists—and even though it’s been over two years, she’s still in disbelief over this! She is also the Arts Program Officer for the Field Foundation. At Field she advocates for resources to be directed to Chicago-based BIPOC organizations and artist-led projects that value solidarity economies, cooperative leadership, community organizing, community-defined art forms, and self-determination. Tempestt was born and raised in Peoria, Illinois, spent several years in the California Bay Area, and has called Chicago her second home for over 12 years.

Dana Hemenway is an artist based in San Francisco. Her work is rooted in the excavation and elevation of utilitarian objects to make visible what has become habituated in our built environments. Hemenway uses these functional items as materials to form traditionally fiber-based crafts–– lights and cords are woven through ceramics or the gallery wall, extension cords are transformed into make macramé chains. Dana is the recipient of The San Francisco Arts Commission Individual Artist Grant, a Southern Exposure Alternative Exposure Grant, and in 2017 she was awarded her first permanent Public Art Commission for SFO’s Terminal 1, which is scheduled for completion in early 2020. From 2015 – 2017, Dana served as a co-director of Royal Nonesuch Gallery, an artist-run project space in Oakland, CA.

Jonn Herschend was raised in a midwestern amusement park. He is an interdisciplinary artist, filmmaker and experimental publisher whose work explores fiction, reality and the narrative structures that we employ as a way to explain the chaos and clutter of our everyday lives. His videos, performances, installations, and photos all incorporate sterile and formally recognizable structures such as PowerPoint presentations, academic lectures, photographic evidence, infomercials, gallery exhibitions, or educational videos. He uses these structures as a means to investigate the issues of truth and confusion, and allows the messiness of reality to eventually collapse the whole piece. His work has been exhibited nationally and internationally including Den Frie Contemporary Art Center in Copenhagen, Denmark; the Pacific Film Archive, Berkeley; SITE Santa Fe; the Minneapolis Institute of Arts; the Whitney Museum of American Art and the San Francisco Museum of Modern Art. He is the co-founder and co-editor, along with Will Rogan, of the experimental publication THE THING Quarterly, and is a recipient of a Danish Arts Council grant for his work as co-curator, along with Heidi Hove, of the Deadpan Exchange international exhibition series. He is a 2014 Fleishhacker Eureka Fellow and has been a visiting lecturer at the University of California Berkeley, San Francisco State University, California College of Art and Stanford University. His most recent film, “Discussion Questions” was included in the 2014 Whitney Biennial and the 2014 Telluride International Film Festival.

Parker Higgins is an activist at the Electronic Frontier Foundation, specializing in issues at the intersection of freedom of speech, transparency, and copyright law. His writing has appeared in publications such as Wired, The New Inquiry, Gizmodo, and Techdirt. He previously lived and worked in Berlin, Germany.

Amy Ho builds video and spatial installations that bring attention to our existence as both physical and psychological beings. Amy completed her undergraduate degree in Art Practice at UC Berkeley and her MFA at Mills College. She was a 2017 KQED Woman to Watch. Amy received a Zellerbach Family Foundation Community Arts Grant in 2016, a San Francisco Arts Commission Individual Artists Grant in 2013 and was included in Yerba Buena Center for the Arts' Bay Area Now 7 in 2014. She was a 2013 fellowship artist at the Kala Art Institute and has shown at the San Jose Institute for Contemporary Art, Elmhurst Art Museum and recently at the San Diego State University Downtown Art Gallery. Amy is currently the studio director at Real Time and Space and an art instructor at San Quentin State Prison.

Szu-Han Ho’s work in performance, sound, and installation addresses interwoven histories to explore the relationship between bodies and sites. Ho often approaches this through diverse modes of collaboration, such as collective organizing, structured improvisation, and group composition. Recent projects include “MIGRANT SONGS,” a choral performance art piece incorporating stories and songs of human and nonhuman migration; “BORDER TO BAGHDAD,” an exchange between artists from the US-Mexico border and Baghdad, Iraq; and “Shelter in Place,” a sculptural installation and performance inspired by her family’s history in Taiwan.

Rhonda Holberton works in sculpture, installation and photography to employ a hybrid of scientific and metaphysical practices to reveal a symbolic reading of empirical canons of belief. Rhonda has recently had solo exhibitions at Royal Nonesuch Gallery in Oakland and Aimee Frieberg Exhibitions in San Francisco. Her work has been included in exhibitions at the San Jose Institute of Contemporary Art and the San Francisco Arts Commission. In 2012 she received a Project Grant from the San Francisco Arts Commission and a SECA Grant Nomination. Holberton received her B.F.A. from the California College of Arts and Crafts, and her M.F.A from Stanford University.

Faith Holland (LRLX NY) is an artist and curator whose practice focuses on gender and sexuality’s relationship to the Internet. Her works range from installation to web-based formats such as animated GIFs.

Desirée Holman is an artist based in Oakland, California. Her multi-sensory work positions groups of individuals and theatrical tools, like costumes or props, in settings that illuminate ideas of identity. The work attempts to occupy British anthropologist Victor Turner’s notion of liminality, a transitional state of ritual wherein participants fully engaged in performance inhabit a series of new, hybrid identities. In this space, the artist’s work reveals a complex dialogue about truth and the experience of the ‘real’ world and is underpinned by a creative investigation into social equality through the use of character play. Holman holds a Masters degree from the University of California at Berkeley. Earning critical acclaim for her work, Holman was awarded a San Francisco Modern Museum of Art SECA award in 2008 and in 2007 the Artadia: The Fund for Art and Dialogue award. From 2016-2017, she will be returning to SFMOMA as a fellow in the Film & Performance Department with a new works commission. Solo exhibitions of her work include the Hammer Museum in Los Angeles (2009), Montreal’s SKOL (2016), Denver’s Black Cube Nomadic Museum (2015), and the Berkeley Art Museum’s MATRIX program (2011). International exhibitions of Holman’s work include the Sao Paulo Museum of Modern Art, Berlin’s Kunstlerhaus Bethanien, Milan’s BnD, Montreal’s SKOL and Toronto’s YYZ. Reviews of Holman’s work appeared in numerous publications including Artforum, Los Angeles Times, NY Arts, Artillery, San Francisco Chronicle and Artweek. Her work is represented by CULT Aimee Friberg Exhibitions in San Francisco and Aspect/Ratio in Chicago

Allison Holt is a cross-disciplinary artist who uses hybrids of sculpture, video, installation and performance to pursue a dialogue between divergent ways of experiencing, comprehending and describing reality. Holt is the recipient of numerous fellowships, awards and residencies, and has exhibited, screened and performed her work internationally. Holt is the Vice President of San Francisco Cinematheque‘s Board of Directors, and holds degrees from The Evergreen State College (BA) and Massachusetts College of Art (MFA).

Cynthia Hooper is an interdisciplinary artist who uses video, essays, and research-based projects to examine and interpret infrastructural landscapes in the United States and Mexico. Her detailed investigations patiently capture the incidental, effectual, and emblematic activities that define these complicated places, and also advocate for the efforts of regional laborers, activists, and researchers who tactically refashion their complex geography. Cynthia has worked with Tijuana's complex urban environment, contested and politicized water issues along the U.S./Mexico border, as well as projects about water, power, industry and agriculture in California, Oregon, Arizona, and Ohio. Recent sites examined include the reconfigured wildlife refuges of California’s Central Valley, the artificial wetlands of Mexico's Colorado River Delta, and the built environment of California's Humboldt Bay. Exhibitions and screenings include the Center for Land Use Interpretation in Los Angeles, Museum of Modern Art in Mexico City, Centro Cultural Tijuana, Santa Fe Art Institute, Intersection for the Arts (San Francisco), Casa del Lago (Mexico City), Museo de Arte Carrillo Gil, and MASS MoCA. Cynthia has also been awarded residencies at the Headlands Center for the Arts and the Djerassi Resident Artists Program, as well as grants from the Graham Foundation for Advanced Studies in the Fine Arts and the Gunk Foundation. She lives in Northern California.

Carrie Hott is an interdisciplinary artist based in Oakland, California. Her work is informed by a roving research practice that explores the current and historic infrastructural systems that mediate our collective experiences and perceptions. Some of her research interests include whales, artificial light, and the systems often employed to learn about our surroundings. She has presented her work as part of exhibitions and projects across the country, most recently at Bay Area Now 8 at YBCA in San Francisco and the Museum of Capitalism in Oakland, as well as a permanent project, The Key Room, at the Headlands Center for the Arts. She has recently presented public programs at the Mills College Art Museum and Beta-Local in San Juan, Puerto Rico, and is a recipient of the 2017 Artadia Award in San Francisco.

Mailee Hung is a writer, editor, and cultural critic based out of San Francisco, California. She earned her MA in Visual and Critical Studies at California College of the Arts in 2016, where she wrote her thesis on prosthetics in Western contemporary pop culture. Her work focuses on the discursive and material intersections of technology and the human body. In 2015 she received the All College Honors Graduate Award from CCA in Critical Nonfiction for her essay “Decolonizing the Future: The Black Cyborg in Art and Culture.” She has presented her work at the 2015 Science Fiction Research Association Symposium and at the 2015 Association of Independent Colleges of Art and Design Symposium—Exploring Science in the Studio, and is a 2017 Bitch Media Writing Fellow. Her published writing can be found on Art Practical, Daily Serving, and in Alpinist Magazine. An avid outdoor enthusiast, Mailee also writes about environmental conservation, rock climbing, and reclaiming adventure narratives and mountain literature for marginalized perspectives. When she's not reading or watching sci-fi, she can usually be found somewhere in or near the Sierras, chuffing up trad routes or heckling other boulderers from a crashpad.

Tim Hwang is managing editor of The California Review of Images and Mark Zuckerberg, a journal dedicated to examining the visual culture of Mark Zuckerberg. He is the co-author of "The Container Guide" - a field guide to the shipping container, and was co-founder of ROFLCon, a now-defunct biennial gathering discussing the past, present, and future of memes and internet culture. He is also the co-founder of the Awesome Foundation for the Arts and Sciences, a global network of giving circles dedicated to forwarding the interests of awesome in the universe. He lives in San Francisco.

The Institute for New Feeling is a research clinic committed to the development of new ways of feeling, and ways of feeling new. Our work takes the form of treatments, therapies, retreats, research studies and wellness products. Founded by Scott Andrew, Agnes Bolt, and Nina Sarnelle, IfNf’s physical existence takes many shifting forms, including plans to open a spa in Los Angeles.

Carlos Luna James, aka MGOGLKTKO, is a multimedia artist who uses science fiction, fantasy, culture and technology to explore the nuances of perception of virtual and physical space. By merging sculpture, video projection, animation, and sound, his nonlinear storytelling creates immersive experiences. Interested in realms of reality and simulation, fascinated by alter states of consciousness such as dreaming, trance, hypnosis, meditation, and the effects of psychedelic drugs, Carlos uses these transcendental experiences as inspiration for his work. In it, he explores cultural diversity and subsequent hybridization as a fertile soil for cultivating positive human emotions, such as kindness and empathy, and sees the ability to migrate whether in reality or simulation as an opportunity to explore visions of utopian worlds.

Alden Rivendale Jones is a New York City based artist, researcher, and programmer working in performance and new media. Recent work themes include human to algorithm interactions, utopic infrastructures, and failure. Formerly they were curator at hq Objective Gallery in Portland, OR. Currently they are a managing editor of Adjacent Journal and a research resident at New York University's Interactive Telecommunications Program.

Asma Kazmi creates transdisciplinary works where people, media, and objects come together. She is the recipient of many awards including the Al-Falah Grant, CMES, UC Berkeley; Fulbright Research Award, (CIES) to India; the Faculty Research Grant, CalArts; the Great Rivers Biennial, Contemporary Art Museum St. Louis; Rocket Grant, the Spencer Museum of Art, Kansas University; At the Edge, the University of Illinois in Chicago. She has exhibited at venues such as the Farar Gallery, Karachi, Pakistan; Taubman Museum of Art, Roanoke, VA; Utah Museum of Contemporary Art, Salt Lake City; Queens Museum of Art, NY; Worth Ryder Gallery, UC Berkeley; Contemporary Art Museum, St. Louis; H&R Block Space, Kansas City; Grand Arts, Kansas City; University of Missouri, St. Louis; The Guild Gallery, New York; Galerie Sans Titre, Brussels, Belgium; and Gallery 400, University of Illinois in Chicago. Kazmi has taught at the School of the Art Institute of Chicago, the Kansas City Art Institute, and CalArts, where she was permanent faculty and co-program director of the Art Program. Currently, she is an assistant professor at UC Berkeley. Asma Kazmi was born & raised in Karachi, Pakistan.

Brewster Kahle has spent his career intent on a singular focus: providing Universal Access to All Knowledge. He is the founder and Digital Librarian of the Internet Archive, one of the largest libraries in the world. Soon after graduating from the Massachusetts Institute of Technology where he studied artificial intelligence, Kahle helped found the company Thinking Machines, a supercomputer maker. In 1989, Kahle created the Internet’s first publishing system called Wide Area Information Server (WAIS), later selling the company to AOL. In 1996, Kahle co-founded Alexa Internet, which helps catalog the Web, selling it to Amazon.com in 1999. The Internet Archive, which he founded in 1996, now preserves 25 petabytes of data—the books, Web pages, music, television, and software, working with more than 450 library and university partners to create a digital library, accessible to all.

Dinosaur Kilby is an artist currently living and working in Birmingham, UK. He studied a BA in Fine Art at Loughborough University, graduating in 2015. He then moved to Birmingham to become the graduate studio Holder at The Lombard Method. His work combines a lo-fi aesthetic, often using cardboard and tape, alongside green-screen technology to create video worlds. Interested in themes of humour and slap-stick and how contemporary artists are perceived by the public as well as by art world insiders. Video works like ‘Painter, Sculptor, Poet: Part I’ (2017) often use performance to camera, to ask questions about the idea of performance, and where it fits in the artist’s tool chest. Dinosaur Kilby co-created the art collective Kühle Wampe in 2016. A platform spread between Birmingham & Nottingham. Current members include Amelia Seren Roberts, Craig David Parr and Josh Heathcote. Most recent exhibitions include: Black Hole Club Spring Launch @ Vivid Projects, Birmingham. Slow Cooker Residency Tour @ Stryx Gallery (Birmingham), Direct Art Action (Walsall), Artist's Workhouse (Studley), Asylum Gallery (Wolverhampton) & Meter Room (Coventry.) Saturday Night T.V. Party @ The Lombard Method, June 2017.

Chino Kim is a creative body / piece of work / closet freak / whose work speaks to the contradictions of being a human. / user. / sentient beast. Norms and expectations are his enemy and humor is his holy lance. / only friend. / favorite. He works in any medium that doesn’t require him to wash his hands afterward. But in the end, photography / installation / code is just the hot dog that delivers the ketchup that is discomfort. / laughs. The realization that life is suffering and the only way to end suffering is to eat more ketchup.

Nora Khan is a writer and a contributing editor at Rhizome. She’s a 2016 Thoma Foundation Arts Writing Fellow in Digital Art. She writes fiction and criticism about digital art, artificial intelligence, literature, games, and electronic music. She has published essays in Rhizome, Art in America, aCCeSsions, Kill Screen, After Us, Ran Dian, AVANT, and DIS. In 2015 she was a contributing critic for Åzone Futures Market, the Guggenheim’s first digital exhibition.

Tamara Kneese I'm an Assistant Professor in the Department of Media Studies at the University of San Francisco. My work examines the technocultures of life extension, from insurance and estate planning to digital posterity and transhumanism. My current book project traces the rise of digital estate planning startup companies, focusing on the intergenerational care work required to maintain digital afterlives as networked heirlooms. I received my PhD from the Department of Media, Culture, and Communication at NYU. My work has been supported by the Mellon Foundation, the American Council of Learned Societies, the Data & Society Research Institute, the Intel Science & Technology Center for Social Computing, and the Consortium for History of Science, Technology, and Medicine.

Ann Kidder is an artist based in New York City. She creates experimental technology that couples biological and electronic components. Her work draws from science, engineering, history, and sociology to explore questions of identity and alienation. She is inspired by body horror, science fiction, and DIY and hacker culture.

Laura Hyunjhee Kim is a Korean-American new media artist who primarily works with video, performance and the Internet as a creative medium and site for exploration. Kim’s recent work explores how digital-technology reconfigures everyday life, creates new daily rituals, and influences behavior. Kim was the recipient of the ArtSlant Award in New Media and has shown works in numerous on/offline exhibition spaces including Yerba Buena Center for the Arts (San Francisco, CA), SOMArts (San Francisco, CA), CAAMFest, Bronx Art Space (Bronx, NY), Fountain Art Fair - New York (New York, NY), Fei Contemporary Art Center-Shanghai (Shanghai, China), “#nfcdab Wrocław” Digital Art Biennial (Wrocław, Poland), The Berlin International Directors Lounge–Berlin (Berlin, Germany), Mutuo Centro de Arte (Barcelona, Spain), Costa Rica Museum of Contemporary Art and Design (San José, Costa Rica), quARTel - Galeria Municipal de Arte (Abrantes, Portugal), Caracas Museum of Contemporary Art-Caracas (Caracas, Venezuela), Super Art Modern Museum, The Wrong-New Digital Art Biennale. She received her B.S. in Art from the University of Wisconsin-Madison and M.F.A. from the New Genres Department, San Francisco Art Institute. Kim currently resides and works in San Francisco, California.

Abigail De Kosnik is an Assistant Professor in the Berkeley Center for New Media (BCNM) and the Department of Theater, Dance, and Performance Studies, and is an affiliated faculty member of Gender & Women’s Studies. She researches popular media, particularly digital media, film and television, and fan studies. She is particularly interested in how issues of feminism, queerness, ethnicity, and transnationalism intersect with new media studies and performance studies. She has published a number of essays in edited collections and journals such as Cinema Journal, Modern Drama, The International Journal of Communication, and Transformative Works and Cultures. She co-edited The Survival of Soap Opera: Transformations for a New Media Era with Sam Ford and C. Lee Harrington (University Press of Mississippi, 2011). Her courses include: History and Theory of New Media (one of the core required seminars for the Designated Emphasis in New Media), Sound Design (in one of the Digital Media Labs shared by TDPS, Film & Media, and Art Practice), Performance and Technology, and Performance and Television. She is currently writing a book on the history of Internet fan fiction, based on an oral history project conducted during 2012-13, and she is the primary investigator on a digital humanities project called “Fan Data: Counting Archives and Networks.” She is the co-organizer of the annual History and Theory of New Media Lecture Series.

Sam Kronik is the founder of the Consortium for Slower Internet, a layer of his own fiber optic cables, and is never killing the vibe. In 2014 he co-founded 💾🌵 (pronounced “disk cactus”), and art and technology studio in Oakland, CA.

Kadet Kuhne is a media artist whose work spans the audiovisual spectrum. With the goal of forming somatic experiences which can prompt visceral responses to sound and movement, Kadet openly exposes the use of technology in her practice by employing fragmented, jump-cut edits and amplifying evidence of sonic detritus. This granulated, hyper-edited aesthetic, contrasted with spacious reflection, is intended to elevate tension between motion and stasis: a balanced yet heightened nervous system to reflect our own. Trained in jazz guitar, Kadet became attached to the instinctive nature of improvisation which led her to the California Institute of the Arts where she studied Composition and Integrated Media. Kadet's experimental sound and video works - taking form in album releases, installation, film, performance, interactivity, 3D printing and 2D print - are exhibited and distributed worldwide. Select venues include the Museum of Art Lucerne, LACMA, Yerba Buena Center for the Arts, de Young Museum, Museum of Contemporary Art-LA, Armory Center for the Arts, San Francisco Arts Commission Gallery, Madame Claude, Contemporary Art Center Villa Arson, and the Antimatter Film Festival.

Marcie LaCerte is an animator from Minneapolis, currently based in New York. She works in journalism and has produced independent films and games. Occasionally, she dabbles in improv comedy (which she isn't very good at but has fun doing).

Evie Leder was born in New Orleans in 1964. Leder is a three-time winner of San Francisco Arts Commission Individual Artist Grant. She is also the recipient of the Princess Grace Award, a New York Expo of Short Film Jury Award and a grant from the Sisters of Perpetual Indulgence. Leder is a member of “A Simple Collective” in San Francisco and a founding member of “the lesbianfilm collective”. Leder’s art concerns itself with the tensions inherent within the moving image: It’s seductive nature, the flickering light, the voyeurism, the acts of looking and being seen and the power of the gaze. Her work focuses on recontexualizing gender and the socially agreed-upon constructs that hold up our gender and sexuality systems. Her current focus is on male representations. Leder’s work has been shown internationally at film festivals and galleries including; Black and White Projects, The Kinsey Institute, The Sundance Channel, Tampere International Short Film Festival, Frameline, Clermont-Ferrand International Short Film Festival, South By Southwest, New York Expo of Short Film and Video, The New Festival, Mix NY, Outfest LA, SOMArts Cultural Center, Euro Underground Film Festival and Art Matters, among many others. In 2016 Leder was selected as a charter tenant at the Minnesota Street Project Studio Program. She holds a BA from Hampshire College and an MFA from UC Davis. Leder lives and works in San Francisco, Calif.

James David Lee is a painter and installation artist based in San Francisco. He received a bachelors degree in art history from Yale University and a law degree from Stanford Law School. His work is in the collections of the Yale University Arts of the Book Collection, the Beinecke Rare Book & Manuscript Library, and the Book Club of California.

Jan Robert Leegte started working as an artist on the Internet in 1997. In 2002 he shifted his main focus to implementing the digital materials in the context of the gallery space aiming to bridge the online art with the gallery art world. Also he explored more "embedded" possibilities out of the gallery space in the contexts of the outside world; from urban postering in Alexandria, Egypt to ornamenting ceilings in Brussels, Belgium. Through exchanges with the new generation of surf club artists, he strongly started refocusing on the web again inspired by the dramatic shift in online culture and technologies. As an artist he tries to explore the position of the new material put forward by the (networked) computer. Selection marquees, scrollbars, Google Maps, code and software are dissected for their sculptural properties. Jan Robert Leegte lives and works in Amsterdam, the Netherlands.

Ben Lerchin is an Oakland-based artist, activist, and technologist working with experimental photographies, maps and language. Concerned with the power imbalances encoded by digital platforms, Ben develops interventions that position humans as empowered actors in global hyperspace.

Uri Levinson. Multi-disciplinary artist, Dip engineer and group facilitator. Now a days I am active in the creating digital era technologies installations and performances. Researching what I defined as “Technology - the modern totem”. My artistic practices include photography, video installation and performance. I have three main collaborations: 1) With Adaya Godlevsky, I work on performance art projects http://adayagodlevsky.wixsite.com/adaya-godlevsky/slideshow 2) Tzzazit ("Art in Motion"), a workshop I facilitate with Eli Levy. Tzzazit.com 3) Collaboration with the “Israeli center for digital art” on community art and technology http://www.digitalartlab.org.il (LRLX Tel Aviv)

Wei Li is a visual artist and designer currently based in San Francisco (and soon moving to Shanghai). She is also one film from being a filmmaker. Wei explores themes of desire, fantasy and fetishism using visual, visceral and whimsical language. She manipulates the familiar and creates objects/ scenarios that are “intriguingly uncomfortable”. Her works are thought experiments as well as “pranks”. Wei holds a MFA degree from Stanford University. Her work has been featured on Wired, PSFK, The Creators Project, Designboom, Smithsonian, to name a few.

Yo-Yo Lin is a Taiwanese-American interdisciplinary media artist who uses video, animation, live performance, and lush sound design to reveal and re-value the complex realities of living with chronic illness and intergenerational trauma. She is the co-founder of ROTATIONS and organizes Remote Access parties.

Chip Lord is an American media artist and Professor Emeritus at UC Santa Cruz. He is best known for his work with the alternative architecture and media collective known as Ant Farm, which he co-founded with Doug Michels in 1968. Chip Lord was trained as an architect and is a media artist who produces both single channel films and video installations.

Li Lorian is a Jerusalem-based performance artist working in theater, video, visual arts and as a performer. She is a graduate of the School of Visual Theater in Jerusalem and co-founder of Pandora Collective for contemporary puppetry and object theater. Via Pandora Collective she is curating events that examine new forms of theater. Her artistic process consists of a research of visual language and new performance practices; she is interested in political situations and how documentary elements can be translated into performance.

Charlie Loyd is a programmer and accidental geographer from the Pacific Northwest. Satellite images have been an interest since childhood and his job, at Mapbox, since 2013. They tie together extremes of time and distance, and give us surprising perspectives. Satellites’ perspectives are often considered sterile, and his interest is in the ways that they’re unsterile: entangled, situated, compromised, human, and incomplete. He also enjoys food, the common names of relatively obscure plants and animals, and walking. He's scared about the climate. He lives in Oakland.

Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989 he received a B.Sc. in Physical Chemistry from Concordia University in Montréal, Canada. He is a media artist working at the intersection of architecture and performance art. He creates platforms for public participation using technologies such as robotic lights, digital fountains, computerized surveillance, media walls, and telematic networks. Inspired by phantasmagoria, carnival, and animatronics, his light and shadow works are "antimonuments for alien agency". He was the first artist to represent Mexico at the Venice Biennale with an exhibition at Palazzo Van Axel in 2007. He has also shown at Biennials in Cuenca, Havana, Istanbul, Kochi, Liverpool, Melbourne NGV, Moscow, New Orleans, New York ICP, Seoul, Seville, Shanghai, Singapore, Sydney, and Wuzhen. His public art has been commissioned for the Millennium Celebrations in Mexico City (1999), the Expansion of the European Union in Dublin (2004), the Student Massacre Memorial in Tlatelolco (2008), the Vancouver Olympics (2010), the pre-opening exhibition of the Guggenheim in Abu Dhabi (2015), and the activation of the Raurica Roman Theatre in Basel (2018). Collections holding his work include MoMA and Guggenheim in New York, TATE in London, MAC and MBAM in Montreal, Jumex, and MUAC in Mexico City, DAROS in Zurich, MONA in Hobart, 21C Museum in Kanazawa, Borusan Contemporary in Istanbul, CIFO in Miami, MAG in Manchester, SFMOMA in San Francisco, ZKM in Karlsruhe, SAM in Singapore and many others.

Charlie Macquarie is an artist and experimental librarian whose creative practice takes the form of the Library of Approximate Location — an ongoing itinerant project engaging with the confounding nature of environmental materiality and its disparate networks in the Western United States through the installation of site-specific libraries. He is the digital archivist at the University of California, San Francisco, and is a library research fellow and librarian in residence at the Prelinger Library, where he also co-presents PLACE TALKS, a series of visual lectures on location.

Macro Waves is a Bay Area, CA-based creative collective made of artists, designers, and technologists of color, producing experiences centered on social practice, conceptual art, new media, and design. The collective was founded in 2015 and includes members Anum Awan, Robin Birdd David, Dominic Cheng, Tina Kashiwagi, and Jeffrey Yip. Macro Waves projects examine systems, infrastructures, and processes of future world-building through storytelling from a science fiction-based lens. Their practice focuses on introspective work around ancestry, intergenerational experiences, and collective care. Macro Waves is the current recipient of the 2023-2024 California Arts Council Impact Project Grant. The collective currently has work up at Edge on The Square gallery and the Chinese Historical Society of America Museum in San Francisco.

Nico Maimon (she/they) is on a forever quest to decolonize her body and configure systems beyond capitalism.

Rama Majzoub (she/her) helps to share the story of Karam Foundation, an organization dedicated to building a foundation for the future of Syria, with the world.

Tom Marioni (born 1937, Cincinnati, Ohio, United States) is an American conceptual artist currently living and working out of San Francisco, California. Marioni received his training at the Art Academy of Cincinnati. Famous works by Marioni include: "One Second Sculpture" 1969 and "The Act of Drinking Beer with Friends is the Highest Form of Art." 1970 Marioni's memoir "Beer, Art, and Philosophy" was published 2 June 2004 by Crown Point Press.

Darrin Martin creates video, sculpture, and print-based installations that engage the synesthetic qualities of perception. Influenced by his own experiences with hearing loss, queer ecologies, and sound studies his current projects consider notions of accessibility using tactility, sonic analogies, and audio descriptions. His videos have screened internationally at festivals and museums, including the Museum of Modern Art, Pacific Film Archive, Impakt Festival, European Media Art Festival, Chicago Underground Film Festival and currently in loop at Contemporary Calgary. His installations have exhibited at venues including The Kitchen, Moscow State Vadim Sidur Museum, University of Toronto, Aggregate Space Gallery, SOMArts and, most recently, Saint Joseph’s Art Society. He has held artist residencies at Cite Internationale des Arts, Eyebeam, Experimental Television Center, Signal Culture, Wassaic Project, and Recology Artists in Residence. Martin also occasionally curates video screenings and exhibitions and is a professor and Co-Chair of the Department of Art and Art History at University of California, Davis.

Emily Martinez is an interdisciplinary artist working with digital and networked media. Her recent practice and research interests examine the relationship between media, memory, and catastrophe; post-representational forms of subjectivity, temporality and the digital archive. Currently lives and works in Los Angeles, California.

Eva & Franco Mattes (LRLX NYC) are an artist duo originally from Italy, working in New York. Their medium is a combination of Internet, video and installation, exposing all aspects of the digital life – the embarrassing, the narcissistic, the fearless, the gross, the voyeuristic, the insipid, the heartless, and the just plain stupid – revealing the underbelly of our hyper-connected lives.

Sanaz Mazinani, based in San Francisco and Toronto, explores how repetition and pattern make information legible and transform seeing into knowing, with the possiblity of altering people’s worldview. Working across the disciplines of photography, social sculpture, and large-scale multimedia installations, Mazinani creates informational objects that invite a rethinking of how we see, suspending the viewer between observation and knowledge. Informed by the visual rhetoric and confounding presence of contemporary media circulation, her multidisciplinary practice aims to politicize the proliferation and distribution of images and introduce critical reflection. Mazinani’s works study forms of state control and consider how revisualizing embedded power structures might interrupt them. In aestheticizing informational systems, the artist attempts to contribute to a larger understanding of how conflicting realities are constructed and imagine the communicative possibilities of visual language.

Lauren McCarthy is an artist based in Los Angeles and Brooklyn whose work examines how issues of surveillance, automation, and network culture affect our social relationships. She is the creator of p5.js. Lauren has exhibited at Ars Electronica, Conflux Festival, SIGGRAPH, LACMA, Onassis Cultural Center, IDFA DocLab, and the Japan Media Arts Festival, and worked on installations for the London Eye and the US Holocaust Memorial Museum. She holds an MFA from UCLA and a BS Computer Science and BS Art and Design from MIT. She is an Assistant Professor at UCLA Design Media Arts. She is a Sundance Institute Fellow and was previously a resident at CMU STUDIO for Creative Inquiry, Eyebeam, Autodesk, NYU ITP, and Ars Electronica / QUT TRANSMIT³.

Forrest McGarvey is an artist and writer currently living in San Francisco. Fascinated by how digital screens have become a cornerstone of contemporary life, he is interested in how our use of technology defines our experiences both on- and offline. In his recent work, he combines historical images and cultural iconography with those from television, film, and video games, to create portraits and still lives about the culmination of his identity, the history of the Pacific, and the current technologized moment. Through the mixture of factual and fictional, this new series questions notions of ownership, performativity, agency, and embodiment within and amongst our multiple public and private selves.

Dhruv Mehrotra is an activist and engineer who thinks about networks, power, and policy. He is currently a Researcher at the Risk Econ Lab at New York University and an Eyebeam resident. His project, the Othernet, is a vision of another type of network – one that exists alongside the internet but serves the community in which it lives.

Ari Melenciano is a Brooklyn-based interdisciplinary artist, designer, creative technologist and activist.. She is the founder of the creative house, bgoti; lifestyle movement, Be Gold On The Inside; building a line of experimental "neo-retro" digital analog cameras, Ojo Oro; founder and producer of the New Media Arts, Culture and Technology Festival, Afrotectopia; founder and director of Publics.School, a platform exploring experimental methods to disseminate social justice issues; Founder and Director of Justice Factory, an interactive data visualization tool for activists; founder of AricianoTV, an online video tutorial channel on creative coding; and a VJ/DJ (in the duo, GVÖ), with a residency in Brooklyn, NYC.

Rosa Menkman is a Dutch art theorist, curator, glitch artist and visual artist specialising in glitch art and resolution theory. Menkman has curated several international exhibitions of other artists' work. Menkman investigates video compression, feedback, and glitches, using her exploration to generate works such as The Collapse of PAL (2011), in which Menkman acknowledges the end of Phase Alternating Line—an analogue video programming structure. This is the digital version of a live av-performance first done on national Danish television and afterward realized at the Transmediale in Germany and the Nova festival in Brazil. (LRLX New York)

Conrad Meyers, ASG Co-Founder and Executive Director, directs the exhibitions programming and operations of ASG, which he co-founded in 2011. He brings to bear his practices as an artist and educator, where he works in and teaches about video, sculpture, and installation. He is visiting faculty at the San Francisco Art Institute and works professionally in custom design, fabrication, architecture, and construction. In addition to his role as Executive Director, Meyers curates ASG’s film series and conducts lectures on film history and its popular cultural significance. He serves on Root Division’s advisory board, the audience engagement committee for Headlands Center for the Arts, and formerly was on the governing boards of Oakland Art Murmur and Bay Area Art & Science Interdisciplinary Collaborative Sessions (BAASICS). He holds an MFA (sculpture) from the San Francisco Art Institute and a BA (sculpture) from the University of Maryland.

Willis Meyers, ASG Co-Founder and Board President, is an artist, unassuming technology advocate, and ASG Board Chair who has dedicated hundreds of volunteer hours year over year to support the visual arts in the Bay Area through ASG. While working on the strategy and growth around ASG’s board of directors and implementing tech tools like a new website and database for ASG in the past 9 years, she has held positions in the IT and Exhibit Design field for Bay Area institutions such as: Bay Area Video Coalition, Exploratorium, Museum of Craft and Folk Art, Ninth Street Independent Film Center, and Children’s Creativity Museum. Willis brings a decade of hands-on facilities and technical project management experience to her current work at ASG, as well as a passion for technology and arts education. She holds a BFA (sculpture) / Minor (art history) from Herron School of Art and Design and received an MFA (sculpture) from the San Francisco Art Institute in 2008.

An “An Xiao” Mina is a technologist, writer and artist. She leads the product team at Meedan, where they are building Bridge, a platform for social translation of social media, and Checkdesk, a platform for verifying news in real time. She is also co-founder of The Civic Beat, a research collective focused on the creative side of civic technology. Passionate about issues of global justice, technology and creative expression, Mina has spoken at venues like the Personal Democracy Forum, the Microsoft Social Computing Symposium, Creative Mornings, and the Aspen Institute, and she has contributed writing to publications like the Los Angeles Review of Books, the New Inquiry and the Atlantic. She serves as a contributing editor to Civicist and an advisory editor to Hyperallergic. She is currently working on a book about internet memes and global social movements, and is a 2016 Knight Visiting Nieman Fellow

Erica Molesworth is an artist working across video, installation and other forms. She is interested in landscapes that integrate the natural and artificial, and their symbiotic relationship with human economies. She was born in Sydney, Australia, completed undergraduate studies in Media Arts at the University of Sydney, and an MFA in 2015 at the California College of the Arts. Erica has exhibited in Australia and in the United States, including at Firstdraft Sydney, Southern Exposure, SOMArts and the University of Nevada. She received an Australian Postgraduate Award, a graduate merit scholarship and is currently a Teaching Fellow at CCA. She also writes on the arts for Australian publications such as ArtsHub and Das Platforms and is a founding member of Oakland’s all-female art space CTRL+SHFT collective.

Shalev Moran’s work revolves around video games. He has worked as a Game Designer and Narrative Designer for Plarium, and has written and presented a games segment on Israeli Channel 10. He is the Games Program Director for Print Screen Festival, and a frequent collaborator of Utopia Festival and A MAZE Festival. Moran teach Narrative Design for Digital Games at Shenkar College of Engineering and Design.

Ceci Moss is the Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco. She launched YBCA’s exhibition series “Control: Technology in Culture” which showcases work by emerging and mid-career artists who engage the social, cultural, and experiential implications of technology on the museum’s second floor. In its first year, the series includes solo exhibitions by Jacqueline Kiyomi Gordon, Lucy Raven, Nate Boyce and Shana Moulton. She has a PhD in Comparative Literature from New York University, and a BA in History and Sociology from U.C. Berkeley. Her academic research addresses contemporary internet-based art practice and network culture. Her writing has appeared in Rhizome, Art in America, ArtAsiaPacific, Artforum, The Wire, Performa Magazine, and various art catalogs. Prior to her position at YBCA, she was the Senior Editor of the art and technology non-profit arts organization Rhizome and an Adjunct Instructor at New York University in the Department of Comparative Literature. From 2000-2014, she programmed a radio show dedicated to experimental music, Radio Heart, on the independent radio stations KALX, East Village Radio and Radio Valencia.

Ranu Mukherjee makes hybrid forms of painting, video and installation. She is guided by the forces of ecology and non-human agency, diaspora and migration, motherhood and transnational feminisms. She layers images, patterns, drawings, fragments, materials and time frames, drawing inspiration from the histories of collage, black feminist science fiction and Indian mythological prints of the late 19th century. Using saturated color, printed pattern on cloth and overlays of tempo and choreography, Ranu amplifies physical presence and sensuality. Her recent work considers how experiences of rupture and longing can be catalysts for building new imaginative capacities.

Edie Jo Murray uses digital media to reflect on contemporary culture, psychology and mythology. Her practice utilises CGI, performance and data collection to explore and question notions of reality in a digital age.

Soraya Murray is an interdisciplinary scholar who focuses on contemporary visual culture, with particular interest in contemporary art, cultural studies and games. Murray holds a Ph.D. in art history and visual studies from Cornell University, and an MFA in Studio Art from the University of California, Irvine. An Assistant Professor in the Film & Digital Media Department at the University of California, Santa Cruz, she is also principal faculty in the Digital Arts & New Media MFA Program, and the Art, Games and Playable Media Program. Her writings are published in Art Journal, Nka: Journal of Contemporary African Art, CTheory, Public Art Review, Third Text, Gamesbeat and PAJ: A Journal of Performance and Art. Her two anthologized essays on the military game genre, gender and race may be found in Gaming Representation: Race, Gender, and Sexuality in Video Games, eds. Jennifer Malkowski and TreaAndrea M. Russworm (Indiana University Press, forthcoming 2017) and in Zones of Control: Perspectives on Wargaming, eds. Pat Harrigan and Matthew G. Kirschenbaum (The MIT Press, 2016).

Michael Naimark is a media artist and researcher who often explores "place representation" and its impact on culture, who is actively engaged in understanding the dynamics between art and technology, and who has an uncanny track record of art projects presaging widespread adoption, often by decades. He is noted in the histories of Google Street View, Projection Mapping, and Virtual Reality (and, some claim, the Facebook Like Button); and in ongoing work with cinematic crowdsourcing, live global video, and cultural heritage. Michael has directed projects with support from Apple, Disney, Atari, Panavision, Lucasfilm, Interval, and Google; and from National Geographic, UNESCO, the Rockefeller Foundation, the Exploratorium, the Banff Centre, Ars Electronica, the ZKM, and the Paris Metro. He occasionally serves as faculty at USC Cinema's Interactive Media Division, NYU's Interactive Telecommunications Program, and the MIT Media Lab.

Ramsey Nasser is an independent computer scientist and artist fascinated by computers as tools of self expression. He develops programming languages to amplify human creativity, designs games to connect with people, and has taught others to do the same at schools across New York City.

Haleigh Nickerson is a multidisciplinary artist originally from the San Francisco Bay Area, currently living and working in Los Angeles, CA. In 2017, Nickerson earned her MFA in Fine Arts from Parsons: The New School for Design. Prior, in 2015, Nickerson received her Bachelor's in Art Practice with a minor in Ethnic Studies from The University of California, Berkeley. Nickerson’s works explore notions of race, gender, desire and power through works that take the form of photography, video/film, sculpture, installation, and performance.

Judit Navratil’s practice is multivalent, engaging performance, social practice, drawing, as well as video and VR. The relationship between the real and virtual is personally significant to Judit, as she has moved between different countries and cultures in her lifetime and relies on digital means to connect to people and places to construct “home.” Her projects are affective mappings of what it means to continuously oscillate between analog and digital, past and present. Navratil earned an MFA in Painting at the Hungarian University of Fine Arts in 2008 and an MFA at the California College of the Arts in San Francisco in 2019. She has exhibited in Hungary, Canada, France, Korea and the Bay Area. She is currently an affiliate artist at the Headlands Center for the Arts.

Elisabeth Nicula is an interdisciplinary artist whose work is in conversation with nature. Her websites, GIF essays, video installations, and works on paper depict the natural world via abstracted scales of space and time, poetics, and memory. She provides secondary sources for looking at the non-human world to awaken in viewers the desire to look first-hand. Elisabeth received a net art microgrant from Rhizome in support of her current project, dioramas.space, which is a platform for tending to her emotional landscape amidst the exigencies of climate disaster. She has made internet art at newhive.com; SFMOMA's Open Space and New York-based Electric Objects have commissioned her new media work; and Paper Magazine and Silica Magazine have published her essays. She also exhibits in embodied art spaces, most recently at Black & White Projects, R/SF Projects, and City Arts Gallery at CCSF, all in San Francisco, and at Pro Arts Gallery in Oakland.

Miguel Novelo is from Akimpech, and based in the Bay Area. Miguel is an interdisciplinary artist, educator, and community organizer. Novelo graduated from SFAI with a bachelor's in fine arts (2018) and an MFA (2022) at Stanford University. Miguel has exhibited pieces and given talks at museums, galleries, and film festivals worldwide, such as the de Young Museum, the Stanford Institute for Human-Centered Artificial Intelligence (HAI), The Museo Universitario Arte Contemporáneo in Mexico City, the Festival International de Cine de Morelia, Sheffield Doc/Fest, and many others. Novelo currently works on algorithmic movies on geological change , game engine storytelling based on dogs-human-technology afterlife, technoshammanisims, technology displacement, and technophobias.

Nicholas O’Brien is a net-based artist, curator, and writer. His work has exhibited in Mexico City, Berlin, London, Dublin, Italy, Prague, as well as throughout the US. He has been the recipient of a Turbulence Commission funded by the NEA and has curated exhibitions at the Museum of Contemporary Art in Chicago, 319 Scholes, and Eyebeam Center for Art and Technology. As a contributor to Rhizome at the New Museum, SFAQ, and Bad at Sports, he has been recently recognized as a leading voice within contemporary art by Art F City, PULSE art fair, and Artsy. His work has also appeared or featured in ARTINFO, The Brooklyn Rail, DIS magazine, Frieze d/e, The Atlantic, and The New York Times. He currently lives in Brooklyn and is Assistant Professor in 3D Design and Game Development at Stevens Institute of Technology.

Jenny Odell is a Bay Area native/captive with an MFA in Design from the San Francisco Art Institute and a BA in English Literature from UC Berkeley. In her work, Odell mine imagery from online environments, most typically Google Maps, in an attempt to create candid portraits or to insist on the material nature of our modern networked existence. Because her practice exists at the intersection of research and aesthetics, she have often been compared to a natural scientist (specifically, a lepidopterist). Her work has made its way into the Google Headquarters, Les Rencontres D'Arles, Arts Santa Monica, Fotomuseum Antwerpen, La Gaîté lyrique (Paris), the Made in NY Media Center, Apexart (NY), and East Wing (Dubai). It's also turned up in TIME Magazine's LightBox, The Atlantic, The Economist, WIRED, the NPR Picture Show, PBS News Hour, and a couple of Gestalten books. Odell teaches internet art at Stanford and am a contributor to the Virginia Quarterly Review. She would spend 80% of her life in a library if she could.

Yetunde Olagbaju is a multidisciplinary artist and collaborator currently residing in Oakland, CA. Through her work, she concerns herself with time travel, space, source, vulnerability, ancestry, and the human relationship to the Blackness of the universe. Through video, installation, performance, sound, and ritual she aims to illuminate paths of deep emotional kinship within the human experience. This is with the distinct desire to reimagine past, present, and future. To manifest and highlight the seen and unseen bridges for that exchange. Havinf received a BFA from Beloit College in Studio Art and Museum Studies, Olabaju's praxis is deeply rooted in the exploration of self, radical vulnerability, storytelling, and utilizing lineage as the basis for true time travel. She has displayed work at the Oakland Museum of Art, SOMArts, The New School, New Image Gallery and has worked with institutions such as San Francisco Museum of Modern Art, Museum of the African Diaspora, and Yerba Buena Center for the Arts.

nkiruka oparah is an artist and poet based in Oakland, CA. They have developed a cross-disciplinary approach that combines drawing, video, printmaking, and assemblage. Evoking abstract and ephemeral forms, soft portraits, and looping gifs, they consider the body through memory-related research that finds its center in a reflection of the elasticity of time and space. Nkiruka teaches printmaking at California College of the Arts and is a founding member of 5/5 Collective.

Rory Padeken is associate curator at the San José Museum of Art, where he has worked in the curatorial department since 2011. He was formerly Achenbach Graphic Arts Council Fellow at the Fine Arts Museums of San Francisco. Recently organized exhibitions includeBeta Space: Pae White, Dinh Q. Lê: True Journey Is Return, Won Ju Lim: California Dreamin’, Border Cantos: Richard Misrach | Guillermo Galindo, Tabaimo: Her Room, Beta Space: Diana Thater, and David Levinthal: Make Believe. His essay on the work of artist Tomokazu Matsuyama appears in Tomokazu Matsuyama: Oh Magic Night (Hong Kong Contemporary Art Foundation, 2017). He received a BA in history of art from the University of California, Berkeley, and an MA in visual and critical studies from California College of the Arts, San Francisco.

A. Laurie Palmer is an artist, writer, and teacher. Her work is concerned, most immediately, with resistance to privatization, and more generally, with theoretical and material explorations of matter’s active nature as it asserts itself on different scales and in different speeds. Her work takes various forms as sculpture, installation, public projects, and writing. Most recently, she has pursued an extended exploration of mineral extraction sites in the U.S. (In the Aura of a Hole published with Black Dog Publishing in Fall, 2014). Palmer collaborated with the four-person art collective Haha for twenty years. In 2008, WhiteWalls Press published With Love from Haha documenting Haha’s site-based work (distributed by University of Chicago Press). Palmer teaches in the Sculpture Department at the School of the Art Institute of Chicago.

Elisa Giardina Papa is an Italian artist whose work concerns the role of collective image production, and dissemination in contemporary society. She often works with experimental film formats that merge Internet searching with montage. Her work has been exhibited and screened at the 54th Venice Biennial - Internet Pavilion, MoMA (New York), Haus für elektronische Künste (Basel), 319 Scholes (New York), New Gallery (London), and Link Center for the Art (Brescia), among others. She is adjunct professor at Brown University, and at Rhode Island School of Design. Giardina Papa received an MFA from RISD, and a BA from Politecnico of Milan.

Jennifer Parker maintains a multifaceted art practice at the intersection of art and science. The conceptual framework of her research includes a literal, formal, and idiomatic approach to materials and a political, private, and metaphorically abstract attitude toward expression as it relates to information and creativity. This research approach animates a space of possibility by asking the viewer to pay attention to the overlooked details, juxtapositions and interdependencies of our physical and sensory experience in the world around us. To pull information out of pie charts and graphs, to look at, feel and explore ideas as new and innovative forms of expression. For Parker, being an artist means being an activist, thinker, historian, and teacher who creates deployable art platforms for creating sound, and digital media with organic materials and traditional sculpture fabrication techniques to ask questions and to tell stories.

Stephen Parr is a San Francisco curator, archivist and imagemaker, and founder of Oddball Films has a long history in presenting and archiving the unusual. In the seventies, he produced and videotaped live performances of The Ramones, John Cage, Karen Finley and Christian Marclay. In the eighties, he screened his signature pop culture montages in venues across the U. S. and Europe; from the Danceteria in New York to the Moscow Cinematheque, his burlesque dancers and female contortionists gyrated over teeming tornadoes and atomic disasters. Using his skills as a producer with his ability to procure film representative of an atmosphere, event or an era, he began building a highly curated archive that licenses unique stock footage. Parr’s Oddball Films is the largest film archive in Northern California and has provided footage for clients as diverse as Ridley Scott and Spike Lee and for films such as Milk, The Black Panthers: Vanguard of the Revolution and Kurt Cobain: The Montage of Heck. Current licensing projects include rare footage for Robert Frank, Peggy Guggenheim and Robert Mapplethorpe documentaries. Parr began his cinematic and videotape experiments at the Center for Media Study at SUNY Buffalo where he studied with Paul Sharits, Woody and Steina Vasulka and Nam June Paik. Originally working with video synthesis tools at the Experimental Television Center in Binghamton, NY and creating works for galleries, nightclubs and live events, he began working with film in the 90s. His films have explored the erotic underbelly of sex-in-cinema (The Subject is Sex), the offbeat and bizarre (Oddities Beyond Belief), the pervasive effects of propaganda (Historical/Hysterical) and altered states of pop/spiritual culture (Euphoria!). His films have screened at the World Music Festival, Belfast Film Festival, Experimenta India, Leeds International Film Festival, Pacific Film Archive, the Anthology Film Archives and other venues worldwide.

Ian Alan Paul is a transdisciplinary artist, theorist, and curator working between Oakland, Barcelona, and Cairo. Across diverse contexts and conjunctures, Ian makes use of experimental documentary, critical fiction, hacktivism, performance, and simulation to disrupt, defamiliarize and explicate institutional practices of violence. Ian has lectured and exhibited internationally, and has had his work featured in The Atlantic, Al Jazeera, Le Monde, Art Threat, Mada Masr, Jadaliyya, Art Info, and C Magazine. As of February 2015, the FBI can neither confirm nor deny the presence of Ian's name on any watch lists.

Eric Paulos is the founder and director of the Hybrid Ecologies Lab, an Associate Professor in Electrical Engineering Computer Science Department at UC Berkeley, Director of the CITRIS Invention Lab, Chief Learning Officer for the Jacobs Institute for Design Innovation, a Co-Director of the Swarm Lab, and faculty within the Berkeley Center for New Media (BCNM). Previously, Eric held the Cooper-Siegel Associate Professor Chair in the School of Computer Science at Carnegie Mellon University where he was faculty within the Human-Computer Interaction Institute with courtesy faculty appointments in the Robotics Institute and in the Entertainment Technology Center. Prior to CMU, Eric was Senior Research Scientist at Intel Research in Berkeley, California where he founded the Urban Atmospheres research group. His areas of expertise span a deep body of research territory in urban computing, sustainability, green design, environmental awareness, social telepresence, robotics, physical computing, interaction design, persuasive technologies, and intimate media. Eric received his PhD in Electrical Engineering and Computer Science from UC Berkeley. Eric is also the founder and director of the Experimental Interaction Unit and a frequent collaborator with Mark Pauline of Survival Research Laboratories.

Anna Luisa Petrisko performs artistic research into identity, history and culture. In built environments that are as much invested in the sacred as they are interested in technological speculation, the work explores future and ancient ideas at a non-linear tempo. Working with many artists, she sees the shared labor as a way to form relationships and cultural communion. Her artistic practice is built on creating opportunities between people of color, women, gender non-conforming, trans and queer people, where we can redistribute the means of design and thought around our cultures, futures, and bodies. Her mediums include experimental opera, video art, immersive theater, design, sound, virtual reality, and sculpture. Her recent project is a multimedia sci-fi opera VIBRATION GROUP, which premiered at LACE (Los Angeles Contemporary Exhibitions) in Fall 2019 and has since been presented at LACMA, Hawaiian International Film Festival and Los Angeles Asian Pacific Film Festival. Anna Luisa teaches Video Art and Sound Design at California State University San Marcos.

James Pierce is currently a lecturer in the Jacobs Institute for Design innovation at UC Berkeley and research affiliate at Georgia Institute of Technology. James’ work frequently blends humanities-based theory and criticism, interpretive social science approaches, and designerly and artistic practice. James has longstanding research interests in speculative design, design theory, sustainable design, and everyday social practices. His more recent research topical interests include state surveillance, the politics of digitally disconnecting, and ghosts. James has published over 50 articles in top conferences and journals spanning the fields of design research, human-computer interaction, and ubiquitous computing. His work has been awarded numerous best paper awards and nominations.

Praba Pilar is an independent artist and scholar keen on disrupting the contemporary ‘cult of the Techno-Logic,’ while working on decolonizing initiatives in community. A diasporic Colombian mestiza, she creates live art, performances, digital and electronic works, participatory workshops, experimental lectures, and publications. Her projects have traveled widely around the world, received numerous awards, and include the NO!!!BOT, Enigma Symbiotica, BOT I,the Church of Nano Bio Info Cogno, the Cyborg Soap Opera, and the Nano Sutra of Mathturbation. She is presently Co-Director of the Hindsight Institute and of Disinterpellation Technologies, and has a PhD in Performance Studies.

Christina Poblador is an artist and a feminist exploring the art of glass blowing, performance and scent in contemporary art. Her work interprets autochthonous narratives from Philippine history and culture and shapes them into conceptual creations that reflect her love for nature and her unique, cross-cultural personal experience.

tamara suarez porras is an artist, writer, and educator from (south) Brooklyn, NY and currently based in the San Francisco Bay Area. tamara explores the fluid relationships of time, memory, and history through a photo-conceptual, research-centric practice. Her cross-disciplinary work spans across installation, writing, filmmaking, and performance. Her academic research interests currently center on photo-based artists who engage with archival practices to re-center histories. She has exhibited nationally, including at the Brooklyn Museum, School at the International Center of Photography, En Foco Touring Gallery, and Deitch Projects in New York City, as well as fusedspace and Embark Gallery in San Francisco, CA. Her writing has been published on Art Practical and contemptorary.

Duncan Poulton is an artist working with video appropriation and digital collage. His work is preoccupied with simulation, copying and the digital body, and is an ongoing re-mediation of an increasingly virtual world. In his practice, found online content is observed, deconstructed and reconfigured using a strategy of productive misinterpretation and a knowing misapplication of formal techniques and processes. Born in Birmingham, UK, he currently lives and works in London.

Megan Prelinger is a cultural historian and the author of two books: Inside the Machine: Art and Invention in the Electronic Age (2015) and Another Science Fiction: Advertising the Space Race (2010). She is co-author, with Rick Prelinger, of a 2013 series of five atlases of Bay Area landscapes that are installed as a permanent exhibit in the Exploratorium. She is co-founder, also with Rick, of the Prelinger Library in San Francisco, and is its architect of information design. She is a naturalist and leads birding walks with San Francisco Nature Education.

Rick Prelinger is an archivist, writer and filmmaker. His collection of 60,000 ephemeral films was acquired by Library of Congress in 2002. Beginning in 2000, he partnered with Internet Archive to make a subset of the Prelinger Collection (currently 6,900 films) available online for free viewing, downloading and reuse. Prelinger Archives currently holds some 15,000 home movies and actively promotes collecting, research and access in this emergent area. His films include the archival feature Panorama Ephemera (2004), which played in venues around the world, and No More Road Trips?, which received a Creative Capital grant in 2012. His Lost Landscapes participatory urban history projects have played to many thousands of viewers in San Francisco, Detroit, Oakland, Los Angeles and elsewhere. He is a board member of Internet Archive and frequently writes and speaks on the future of archives and issues relating to archival access and regeneration. With Megan Prelinger, he cofounded an experimental research library located in downtown San Francisco. He is currently Associate Professor of Film & Digital Media at University of California, Santa Cruz.

Andy Puls is a live-video artist, analog electronics designer, and composer/musician. He runs the experimental media production studio, "Whistlehut" in Richmond, CA, where he produces his own and others' audio and visual recordings, and designs and builds audio and video devices. Andy also lives/works part-time at his property in the Siskiyou County wilderness, north of Mount Shasta. There, he is experimenting in the design of passive natural energy devices and domestic systems in sympathy with nature. He is guided by an elusive vision of the unification of his areas of interest into one Master art form.

Genevieve Quick is a San Francisco based artist and arts writer. Her sculptures, photographs, videos, and drawing reference the wide history of image making devices like early telescopes, Victorian projectors, space satellites, and telescopes. While relatively simply fabricated, Quick’s sculptures approach the complexity and functionality of machines. Quick received her MFA from the San Francisco Art Institute and has shown her work in galleries in the Bay Area. She has been awarded residencies at the de Young Museum, MacDowell, Djerassi, and Yaddo. Quick has received a CCI Investing in Artists grant and a Kala Fellowship. She has contributed writings to Shotgun Review, The Present Group, and Temporary Art Review. Quick regularly contributes to Art Practical.

Daren Rabinovitch is the director of Encyclopedia Pictura and co-founder of http://DIY.org. He is currently writing a science fiction novel.

Tiare Ribeaux is a new media and interdisciplinary Hawaiian-American artist, filmmaker and curator based in the Bay Area. She is the Founder and Artistic Director of B4BEL4B gallery; co-founder of REFRESH Art, Science, and Technology; and heads the Art-Science program at Counter Culture Labs. As an interdisciplinary artist, her work explores the entanglements of human technologies, biology and infrastructures with mythologies, the environment, and microbial/non-human species. She is interested in living systems, deep/dark/media ecology, rhizomatic networks, speculative futures, multi-species ontologies, and collaborative entanglements.

Kate Rhoades makes videos, paintings, and publications that probe the ever-mutating art world. Her videos have been presented in the San Francisco International Film Festival and the Santa Fe International New Media Festival. She has participated in exhibitions at Trestle Gallery in Brooklyn, Southern Exposure in San Francisco, and various venues, publications, hotel rooms and alley ways across North America and Europe. Since 2014 she has co-hosted the Bay Area's number one arts and culture podcast, Congratulations Pine Tree. Rhoades is also one of the Fleishhacker Foundation's Eureka Fellowship grantees for 2018.

Antonio Roberts is a New Media artist and Curator based in Birmingham, UK. His artwork focuses on the errors and glitches generated by digital technology. An underlying theme of his work is open source software, free culture and collaborative practices. As a performer and visual artist his work has been featured at galleries and festivals internationally. As a curator he has delivered exhibitions and projects including GLI.TC/H Birmingham (2011), the Birmingham editions of Bring Your Own He is an Associate Curator at Vivid Projects and a Fellow at Birmingham Open Media.

Liz Roberts makes artwork that is often collaborative and rooted in moving image and sound. Originally trained in filmmaking; she also works in video installation, sculpture, and occasional performance. Liz has exhibited widely with film festivals and art galleries but always prefers alternative spaces.

Emily Roderick is an artist whose practice currently explores the connotations of sight and what that means within a digital age. She is drawn to our varied and wide-ranging viewing experiences and how this differs IRL and URL. Roderick is looking to question technology's authority and the power structures that surround its uses, as well as developing a deeper understanding of our relationship with technology, the internet and our physical devices. Machine vision, surveillance and how our perceptions can be altered through continuous technological developments all fuel her practice in order to create performances, write code and reside both in the physical world and within the screen.

Janus Rose is a New York City-based writer, researcher, and educator who studies technology’s impact on privacy and human rights. Her current work explores the impacts of machine learning and A.I. on activists and marginalized communities. As a journalist, she has previously covered privacy and technology for DAZED Magazine, The New Yorker, VICE, Al Jazeera, and other print and online publications.

Olivia McKayla Ross is an 18 year old multimedia artist and programmer from Queens, New York City. A recent high school graduate, she is spending her gap year making and exploring ideas in new media art. Current research interests include the cyber-aesthetics of Blackness/Black womanhood, surveillance, bitch mutants and distributed networks.

Nooshin Rostami (LRLX New York) is a New York-based interdisciplinary artist and educator. She grew up in the old and dusty megacity of Tehran and immigrated to the United States to pursue her graduate studies. Soon after her move, she finds herself in a place of exile and uncertain of the possibility to return to her home country. This unsettled journey of displacement shaped the core of her practice. As a multidisciplinary artist, Rostami works predominantly in performance, installation and sculpture where she creates controlled systems of structures and simultaneously brings a series of mutable and spontaneous gestures that negotiate the relationship between seemingly paradoxical notions such as static versus fluid and stability versus uncertainty.

Evan Roth is an American artist based in Paris whose practice visualizes and archives culture through unintended uses of technologies. Creating prints, sculptures, videos and websites, his work explores the relationship between misuse and empowerment and the effect that philosophies from hacker communities can have when applied to digital and non-digital systems. His work is in the public collections of the Museum of Modern Art, New York, and the Israel Museum. Recent exhibitions include the 2016 Biennale of Sydney; Electronic Superhighway (2016-1966) at Whitechapel Gallery, London; and This Is for Everyone at the Museum of Modern Art, New York. Roth co-founded the arts organizations Graffiti Research Lab and the Free Art and Technology Lab and in 2016 was a recipient of Creative Capital funding. (LRLX Paris)

Bonnie Ruberg, Ph.D. is an assistant professor of digital games and interactive media in the Department of Informatics at the University of California, Irvine. Their research explores gender and sexuality in digital media and digital cultures with a focus on queerness and video games. They are the author of Video Games Have Always Been Queer (2019, New York University Press) and the co-editor of Queer Game Studies (2017, University of Minnesota Press). Ruberg is also the co-founder and co-organizer of the annual Queerness and Games Conference. They received their Ph.D. with certification in New Media and Gender and Sexuality Studies from the University of California, Berkeley and served as a Provost's Postdoctoral Fellow in the Interactive Media and Games Division at the University of Southern California.

Alfredo Salazar-Caro is creator living/working between Mexico City, NYC, and Online. His works is an amalgamation of portraiture, installation/sculpture, documentary, video and VR/AR. Salazar-Caro is co-creator and creative director of DiMoDA, The Digital Museum of Digital Art. DiMoDA is a groundbreaking project that functions as a VR institution and exhibition platform dedicated to the development of XR Art, established in 2013. His work has been exhibited internationally.

Dorothy R. Santos is a writer, editor, and curator whose research areas and interests include new media and digital art, activism, and the Internet. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco, and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She serves as the managing editor for Hyphen and is a member of the research collective The Civic Beat. Her work appears in art21, Art Practical, Daily Serving, Hyperallergic, and Public Art Dialogue. She has lectured and spoken at the De Young museum, Yerba Buena Center for the Arts, Stanford University, School of Visual Arts, and more. She serves as executive staff for the Bay Area Society for Art & Activism and a board member for the SOMArts Cultural Center.

Surabhi Saraf is a media artist, composer, and performer who uses her background in experimental sound, Indian classical music, and choreography to create audio and video works. Surabhi has performed solo at Thessaloniki Contemporary Art Biennial, Greece, Currents International New Media Festival, Santa Fe, San Francisco Electronic Music Festival, SF and Max Mueller Bhavan Goethe Institut, Mumbai & New Delhi among others. Her collaborative work has been performed at NETMAGE 10 International Live Media Festival, Bologna, Soundwave Biennial ((5)), Yerba Buena Center for the Arts and Asian Art Museum in San Francisco. Surabhi is the recipient of Eureka Fellowship Award 2015 by the Fleishhacker Foundation, the Djerassi Resident Artist award and was nominated for the SECA Award 2012, SFMOMA. She has had solo exhibitions at Galerie Mirchandani + Steinruecke in Mumbai and Hosfelt gallery in San Francisco. Her videos have been shown at TIMES SQUARE, New York, the Hunter Museum of American Art Chattanooga, TN and the Museum of Contemporary Art, Vojvodina, Serbia. Her work has been featured in The New York Times, Time Out Sydney & Mumbai, the San Francisco Bay Guardian, Blouin Art Info, Art Practical, and KQED Arts. Surabhi's videos have been screened at international video art festivals and galleries in Spain, Netherlands, South Korea, Israel, Greece, Australia and Italy. She graduated from the School of the Art Institute of Chicago in 2009 with an MFA in Art and Technology. Surabhilives and works in San Francisco, Surabhi Saraf is represented by Galerie Mirchandani + Steinruecke, Mumbai and Hosfelt Gallery, San Francisco.

Erica Scourti is a Gringlish artist, born in Athens and now based in London, who works across different media including performance, text and video. Her work draws on personal experience to explore life, labour, love and gender in a fully mediated, networked world and has been shown recently at spaces like Microscope Gallery, New York, The Photographers’ Gallery, Munich Kunstverein, EMST Athens, and South London Gallery. Her commission for Bedlam: The Asylum and Beyond at the Wellcome Collection is on view from mid September 2016 (and online @empathydeck).

Liat Segal. A new media artist, fusing together art and technology. In her works Segal harnesses information, software, electronics and mechanics to build installations and machines that connect the physical world with virtual ones. Segal observes inconsistencies and dissonances that rise when personal lives meet technological evolving environments and questions issues such as intimacy vs. alienation, privacy vs. over-exposure, identity and originality as they reflect in technology. Liat graduated her M.Sc studies in computer science and biology (2007) and the Interdisciplinary Program for fostering excellence (2005) at Tel Aviv University. She worked as a researcher at Microsoft Innovation Labs (2009) and taught at the Bezalel School of Arts and Design at the Hebrew University. Segal's recent works were exhibited at the Israel Museum Jerusalem, Museum für Angewandte Kunst, Frankfurt, National American Jewish History Museum Philadelphia, Hansen House, Jerusalem, the Amsterdam Light Festival, Jerusalem International Light Festival and others.

Smita Sen is a designer and a multimedia visual artist. Sen studied at Columbia University and has been a part of the digital media and product teams at Ralph Appelbaum Associates, Discovery Communications, and the Urban Design Lab. Sen is currently the Creative Director for Into the Shell, an interactive installation being brought to life by a diverse team of artists and engineers.

Shapeshifters Cinema is a monthly, curated, expanded cinema series featuring experimental filmmakers and video artists presenting moving image work live with accompaniment from musicians, sound artists and performers working in other creative fields. Shapeshifters Cinema is curated and administered by Gilbert Guerrero and Kathleen Quillian, both longtime participants in the Bay Area experimental media arts community. Gilbert Guerrero received a Bachelor of Arts degree in Mathematics from the University of California, Berkeley. He began working with independent film and experimental video in 1998 after joining the staff of Artists' Television Access (ATA) in San Francisco. His collaborative work in multimedia installation and live cinema performance has shown internationally. He is a member of the ATA board of directors and a co-director of Shapeshifters Cinema. From 2012-16 he was a curator and web manager for the Temescal Street Cinema. He currently works as a designer for interactive digital media. Kathleen Quillian is an Oakland-based artist who works in a range of moving and non-moving media. She has exhibited in venues and festivals internationally including International Film Festival Rotterdam, San Francisco International Film Festival, Antimatter Film Festival, Animasivo and the San Jose Museum of Art among others. She has served on the boards of directors of San Francisco Cinematheque and Artists’ Television Access as well as on the curatorial team of the Temescal Street Cinema and the administrative team of Royal Nonesuch Gallery. She is currently a co-director of Shapeshifters Cinema, a monthly expanded cinema series that she co-founded with Gilbert Guerrero in 2012.

Edward Shanken works at the interstices of contemporary art and new media. Following Jack Burnham, he likes to think of art as a “psychic dress rehearsal for the future” and is especially interested in the ways artists create working models that enable us to sample alternative futures in the present. His books include Art and Electronic Media (2010), Telematic Embrace: Visionary Theories of Art, Technology and Consciousness (2003), Inventar el Futuro (2013), and Systems (2015). Publications include essays on art and shamanism, software art, investigatory art, sound art and ecology, art-science collaboration, and bridging the gap between new media and contemporary art. Dr. Shanken is Associate Professor of Arts and former Director of Digital Arts and New Media at UC Santa Cruz. Prior academic posts include: Associate Professor, Digital + Media MFA program at RISD; Associate Professor, DXARTS Ph.D. program at University of Washington

Helen Shewolfe Tseng is an artist and designer who is drawn to odd-shaped, multidisciplinary projects and practices, often around the subjects of technology, politics, place, identity, mortality, and the occult.

Tessa Siddle is a San Francisco based video artist, performer and curator whose work engages with gender, animals, magic, and mythologies of technology and nature. They are currently one of the co-curators of the GAZE screening series and the Artists’ Television Access Window Gallery.

Danielle Siembieda is the Managing Director of Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST). Siembieda brings over 15-years of experience in community development and strategic communications. As an active leader in the art, science, and technology community, she has served on the board of the Women Eco Art Dialogue and Emerging Arts Professionals. She has served the art & tech community with multiple roles including Community Engagement Manager for ZERO1: The Art & Technology Network; Co-Project Manager of the San Jose Climate Clock Initiative; Managing Editor of SWITCH the online Journal of New Media (no longer in publication); and has been member of the San Jose Public Art Advisory Committee. Siembieda has an MFA in Digital Media Art at San Jose State University at the CADRE Laboratory for New Media with a focus on green technology and sustainable materials. As the founder of Art Inspector: Saving the Earth by Changing Art, Siembieda has turned this social practice project into a business acquiring funding from Silicon Valley Energy Watch and working with the City of San Francisco Department of Environment to help artists work healthier and safer. She defines her art at “Alter-Eco Art” bridging Eco-Art practice and New Media focusing on intersection of environment, technology and community.

Caroline Sinders is a machine learning designer/user researcher, artist. For the past few years, she has been focusing on the intersections of natural language processing, artificial intelligence, abuse, online harassment and politics in digital, conversational spaces.Caroline is a designer and researcher at Wikimedia, and a BuzzFeed/Eyebeam Open Lab Fellow. She holds a masters from New York University's Interactive Telecommunications Program from New York University.

Catt Small (LRLX NY) is a product designer, game maker, and developer. She started programming interactive games around the age of 10 and has been going ever since. In her spare time, Catt organizes events with Good for PoC and launches games with Brooklyn Gamery.

Melle Smets studied OK5/art and public space at ArtEZ Academy in Arnhem. As an “archaeologist of the present” Smets explores and interprets society by organising expeditions to contemporary landscapes. The expeditions find their reflection in visual art projects, lectures, publications and workshops. Smets is the founder of the Aardschap foundation, a action research organization for artists. (LRLX Paris)

Vivian Sming uses text, image, and new genres to engage in posthuman discourse. She is committed to fostering arts dialogue through publications, programming, and alternative pedagogical formats. Sming is the Editor in Chief of Art Practical, and co-founded nonsensical, an annual journal of critical and experimental writing by visual artists. Sming produces a wide range of artists’ books through her publishing studio Sming Sming Books. She holds an BA in Art from UCLA, an MFA from CalArts, and was a 2016-17 Fellow at Yerba Buena Center for the Arts. In 2018, Sming’s publishing studio received the Shannon Michael Cane Memorial Award from Printed Matter.

Chris Sollars is an artist and director of 667 Shotwell whose work revolves around the reclamation and subversion of public space through interventions and performance. The results are documented using photographs, sculpture, and video that are integrated into mixed-media installations. Sollars is an Assistant Professor in Sculpture, Mills College, Oakland, CA. Awards include 2013 Guggenheim Fellowship, 2013 San Francisco Arts Commission: Individual Artist Commission Grant, 2012 Center for Cultural Innovation Investing in Artists Grant, 2007 Eureka Fellowship Award, 2007 San Francisco Bay Area Artadia Grant, 2009 Headlands Center for the Arts residency, & 2015 Recology Artist is Residence. Sollars in 2008 completed C RED BLUE J which screened at SFMOMA on Election Day and was included in CREATIVE TIME’s Democracy in America show at the NY Park Armory.

Beth Stephens is an artist, activist, and Chair of the Art Department at UC Santa Cruz. Her artworks, performances, films and writings explore themes of queer embodied environmentalism. Stephens’ collaborative visual and performative work, made with her partner Annie Sprinkle, have been exhibited, performed and screened at art venues nationally and internationally, including at the Walker Art Museum, the MACBA in Barcelona, the Venice Biennale in Italy, and Documenta 14. Together Stephens and Sprinkle are creating a new field of research called SexEcology. Their award winning documentary film about coal mining, Goodbye Gauley Mountain: An Ecosexual Love Story screened in the Sheffield Film Festival, Q Docs, Reina Sophia Museumand is available from Kino Lorber. It is also streaming on YouTube and iTunes. This was their first film collaboration and the first feature length queer environmental documentary. Their second film, Water Makes Us Wet: an Ecosexual Adventure premiered at documenta 14.

Abram Stern (aphid) is an artist and scholar whose work operates on collections of government-produced media, analyzing both the material produced by public bureaucracies and the apparatuses of sense-making that take part in this analysis. His work has been exhibited at Real Art Ways, the Beall Center for Arts and Technology, Works|San Jose, the McDonough Museum of Art, New Langton Arts and various online fora. Abram is a PhD candidate in Film and Digital Media at UC Santa Cruz.

Char Stiles is an artist, educator and programmer based in Brooklyn, NY. She works creatively in the lower levels of computational systems to bring to light how computers work. Char works and collaborates across mediums such as interactive installation, video, performance and web. She is a part of the Livecode.nyc collective, where she organizes shows, and livecodes music and visuals.She has given talks and led workshops at Carnegie Mellon University, Duke University, University of Limerick, MIT and NYU. She is currently at an NEA-funded artist residency at the Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University to develop an open-source toolkit for artists.

Chris Sugrue is an artist and programmer developing interactive installations, audio-visual performances and experimental interfaces. Her works experiment with technology in playful and curious ways and investigate topics such as artificial life, eye-tracking and optical illusions. She has exhibited internationally in such festivals and galleries as Ars Electronica, Sónar Festival, Pixel Gallery, Medialab-Prado, Matadero Madrid, and La Noche En Blanco Madrid. Sugrue holds a Masters of Fine Arts in Design and Technology from Parsons School of Design. She has worked as a creative engineer at the Ars Electronica Futurelab where she was the lead developer for a stereoscopic interactive dance performance with artist and choreographer Klaus Obermaier. Sugrue was the recipient of a year-long fellowship at the Eyebeam Art and Technology Center in New York, and has held artist residencies with Hangar in Barcelona, La Casa De Velázquez in Madrid and Harvestworks in New York.

Astria Suparak is an artist and curator based in Oakland, California. Her cross-disciplinary projects often address urgent political issues and have been widely acclaimed for their high level concepts made accessible through a popular culture lens. She has curated exhibitions, screenings, performances, and other live events for art institutions and festivals across ten countries, including The Liverpool Biennial, Museo Rufino Tamayo, MoMA PS1, Eyebeam, The Kitchen, and Expo Chicago, as well as for unconventional spaces such as roller-skating rinks, ferry boats, sports bars, and rock clubs. Suparak’s creative and collaborative projects, often taking the form of new tools and publicly accessible databases of subcultures and misunderstood histories, have been exhibited and performed at Artists Space (New York), ICA London, SFMOMA, Tensta Konsthall (Stockholm), Institute of Contemporary Art, Philadelphia, ISEA 2020, and The Warhol Museum. She co-edited the Sports (2017) issue of INCITE Journal of Experimental Media and edited The Yes Men Activity Book (2010), and her writing has appeared in The Getty blog, Art21 Magazine, VICE Magazine’s Noisey, Boing Boing, The Exhibitionist, Queer Threads: Crafting Identity and Community, and The Museum Is Not Enough. Her current research includes linguistics, diasporas, food histories, and sci-fi.

Cyrus Yoshi Tabar is an American filmmaker based in Oakland. He uses filmmaking to explore personal histories in perpetual motion. As an Iranian-Japanese-American, Cyrus externalizes the ambiguity of his multi-cultural identity into vibrant landscapes on the screen. His work has screened at Slamdance, CAAMFest, Antimatter Media Arts film festival. He currently teaches at California College of the Arts.

Thea Quiray Tagle, PhD is a Filipinx femme writer, scholar, teacher and curator whose research broadly investigates photography, socially engaged art and site-specific performance; visual cultures of violence and waste; urban planning and the environment; and grassroots responses to political crises and ecological collapse in the expanded Pacific Rim. She is a transdisciplinary feminist scholar and is an Assistant Professor in the Department of Women’s, Gender, and Sexuality Studies and the Program in Critical Ethnic & Community Studies at the University of Massachusetts Boston. She received her PhD in Ethnic Studies from the University of California, San Diego, and holds a BA in Political Science and Human Rights Studies from Barnard College, Columbia University.

The Black Aesthetic (TBA) is a creative organization, whose mission is to curate and assemble both a collective and distinct understanding of Black visual culture. They pose the question: What is the Black aesthetic sensibility and what does it look like to you? By working with artists, writers, filmmakers, and designers, they cultivate work that asks the audience to consider their relationship to Black art. Based in Oakland, TBA are invested in developing a community who will participate and engage with their mission. Through film screenings, publications, and product development, TBA wants to add to a growing collection of artistic visions that are grounded in place, body, lived-experience and are responsive to its respective environment.

Cassie Thorton I'm really interested in finding a way to work with you: to find a link between our interests in work, debt, value, self worth, feminism, care, racial and queer justice, and your imagination. I have worked with many groups, individuals, and institutions– helping them grind to a halt until we find a new way to unite their values and political intentions with their work. I am no expert, but I have been thinking and working on the relationship between the unconscious and money since before the financial crisis of 2008, sometimes while dressed as an asteroid. I am happy to talk to anyone (individuals or groups) who considers their work to be anti-capitalist. I am also interested in talking with you if you feel confused about capitalism, or if you are afraid of confronting that monster. My intention is to be 100% helpful to anyone who is brave enough to call bullshit on the hyper masculine, white neoliberal, totally abstract racist economic system that we have learn to eat and breathe.

MJ Tom is an interdisciplinary artist from Houston, TX interested in investigating alternative modes of kinship made possible via sex work, queer s/m, and digital landscapes. Operating semi-frequently under her chaos-for-pay alter ego, Empress Wu, she organizes events and exhibitions as a core producer with Veil Machine, Kink Out Events, and Red Canary Song. She and her work have appeared at the Leslie Lohman Museum, MoMA PS1, and Performa 19. She holds a BA in Art History and International Relations from the University of Texas and an MA in Arts Politics from NYU. In her spare time, she can be found preaching conspiracy theories about slime, furries, and Disney Pixar's Ratatouille (2007).

Sergio De La Torre has worked with and documented the manifold ways by which citizens reinvent themselves in the city they inhabit. These works often invoke collaborations with the subjects and invites both intimate and critical reflections on topics related to housing, immigration and labor. These works have appeared in the 10th Istanbul Biennial; Bienal Barro de America; Cleveland Performance Art Festival; Atelier Frankfurt; Centro Cultural Tijuana; YBCA; TRIBECA Film Festival; and El Festival Internacional de Cine de Morelia. He is also an Associate Professor at the University of San Francisco Art + Architecture Department.

Francis Tseng & Fei Liu (LRLX NYC) make up Public Science, a loose interdisciplinary conglomeration that uses storytelling, games, and satire to reconfigure new technologies for social and political purposes. Their projects include an interactive installation simulating quantified-self Taylorism, a video game demonstrating the absurdity of disruptive start-up logic, and tools for speculating alternative economies.

Anja Ulfeldt is an artist, educator, and curator with a hybrid practice that floats between installation, performance, and unconventional art facilitation. Anja grew up in Berkeley, CA, and earned her BFA from California College of the Arts in 2001 and her MFA from Stanford University in 2014. She’s a founding member of two artist-run alternative spaces in California, one a Mojave Desert based curatorial project and the other a floating venue for visual art, research and performance built atop a converted potato barge in the Sacramento River Delta. She’s a recipient of VBC Artist Award and Residency at Headlands Center for the Arts, the Visions from the New California Award, the TSFF & SOMArts Murphy and Cadogan Contemporary Art Award,The AAF/Seebacher Prize for Fine Arts, and the Joan Mitchell Foundation Emerging Artist Finalist Award. Anja is currently a Lecturer at Stanford University and UC Santa Cruz in the areas of Sculpture and Emerging Technology. She has exhibited in the Bay Area at SLAC National Laboratory, Pro Arts Gallery, Kala Art Institute, SOMArts, Root Division, The Museum of Craft & Design. Ulfeldt’s work has been collected by the Exploratorium Museum in San Francisco, Esplora National Interactive Science Centre in Malta, and Recology San Francisco among others.

Camille Utterback is an internationally acclaimed artist and pioneer in the field of digital and interactive art. Utterback’s work explores the aesthetic and experiential possibilities of linking computational systems to human movement and physicality in visually layered ways. Her work focuses attention on the continued relevance and richness of the body in our increasingly mediated world. To create her projects, Utterback combines various sensing and display technologies with the custom software she writes. Whether expressed in the form of architectural-scale projections, custom LED lighting, or intimate sculptures with embedded LCD screens, Utterback’s work engages participants in a process of embodied discovery as they explore the possibilities and behaviors of her physically engaged systems. Utterback is currently an Assistant Professor in the Art and Art History Department at Stanford University, where she also co-directs the Stanford Graduate Design Program.

Elia Vargas is an Oakland based artist and curator. He works in video, sound, projection, and situational experiences that explore information embodiment. He has collaborated with a wide range of artists and musicians including Bjork and Vincent Moon. He performs and exhibits work locally and internationally. Vargas is co-founder and co-curator of the Living Room Light Exchange, a monthly salon on new media art and digital culture; half of improvisational modular synthesis duo systemritual; board member of Mediate Art Group, organizer of the Soundwave Biennial; and a PhD student in Film and Digital Media at UC Santa Cruz. Vargas has a long history of community radio broadcasting and is interested in the relationship of transmission and cultural material flows. He is currently investigating the materiality of crude oil, frozen carbon dioxide, and obsolete projection technology in relationship to human time scales, temporalities, and flows.

Joe Veix (28/m/sf) is a writer and artist. He is currently a staff writer at Death and Taxes, and contributes to The New Yorker, Gawker, McSweeney's, The Awl, and the Internet. Most recently, he helped publish the indie humor collection PBQ, created a public Facebook account, and moderated an online chatroom for like-minded horses.

Stephanie Vidal is a writer, educator, and curator based in Paris. Her interest and practice explores and challenges the intersection of art, technology and information. Stephanie has worked as Chief Editor of Gaité Live, the online magazine of the Gaite lyrique, and has been writing for many French publications including Slate.fr, Mouvement or Nichons-nous dans l'Internet. For the last 3 years, she has been teaching at University Paris 8 and in various schools in topics such as the promotion of culture, the valorisation of innovation and design thinking. In her practice, she creates apparatus that makes human and technological connections sensible and tangible. Thought as collaborative experiences, these apparatus allow her to observe how we can produce, confront, appropriate or share stories.

Sophia Wang creates and performs movement-based works in collaboration with dancers, writers, and visual and sound artists. She has performed and presented her works at the Berkeley Art Museum, YBCA, ATA, the Lab, and LoBot. A founding member of the Brontez Purnell Dance Company, she has co-developed and performed works for the Garage, Counterpulse, Temescal Arts Center, KUNST-STOFF arts, and the Montreal Pop Festival. Artist-choreographers she has danced for include Xandra Ibarra/La Chica Boom, Hentyle Yapp, Amara Tabor-Smith, Tino Sehgal, and Jérôme Bel. Her practice includes improvised sound and movement scores with Bay Area experimental musicians and dancers, and an ongoing film and movement collaboration with Oakland-based artist tooth (Black Hole Cinematheque). She holds a PhD in English from U.C. Berkeley.

Xiaowei Wang is an artist and engineer. Their work focuses on the centrality of landscape and ecology in a digital world, building inquiry and community through public art, data visualization and writing. Their current research focus is technology use in rural China, Sinofuturism and the intersection of food systems and technology. Currently, they serve as Creative Director of Logic Magazine and co-run the Tech + Ecology Writer's Workshop at b4bel4b gallery, Oakland.

Leila Weefur (She/They/He) is an artist, writer, and curator who lives and works in Oakland, CA and received her MFA from Mills College. Weefur tackles the complexities of phenomenological Blackness through video, installation, printmaking, and lecture-performances. Using materials and visual gestures to access the tactile memory, Weefur explores the abject, the sensual and the nuances found in the social interactions and language with which our bodies have to negotiate space. Weefur is a recipient of the Hung Liu award, the Murphy & Cadogan award, and the Walter & Elise Haas Creative Work Fund. Weefur has worked with local and national institutions including SFMOMA, Southern Exposure, The Wattis, and Minnesota Street Project in San Francisco, Berkeley Art Museum and Pacific Film Archive, and Smack Mellon in Brooklyn, New York. Weefur is the Audio/Video, Editor In Chief at Art Practical and a member of The Black Aesthetic.

Maya Weeks is a writer, artist, and geographer working on oceans, waste, and gender, and capitalism. She is a PhD candidate in Geography at the University of California in Davis. Her dissertation studies marine debris as a form of capital accumulation and gendered violence. She lives and works on unceded Chumash land.

Grace T. Weiss is the Assistant Registrar for Media Arts at the San Francisco Museum of Modern Art (SFMOMA). She has presented internationally on media registration and her work with SFMOMA’s Media Arts collection, and is a contributing author of Museum Registration Methods, 6th Edition. Grace holds a M.A. in Museum Studies from New York University and dual B.A. degrees in Art History and Communications from Fordham University. Specializing in time-based media, her work focuses on how museums are adapting to collect and preserve the art of our time.

Gail Wight is a visual artist constructing biological allegories. Working across mediums – sculpture, video, interactive electronics and print – her art teases out the impacts of the life sciences on the living: human, animal, and other. The interplay between art and biology, theories of evolution, deep time, animal consciousness, and the vagaries of biochemistry are themes that have, over the past three decades, become central to her work. Wight’s recent works of art have turned to California’s wild northern coastline as a vibrant repository of these themes. Gail holds an MFA in New Genres from the San Francisco Art Institute where she was a Javits Fellow, and a BFA from the Studio for Interrelated Media at Massachusetts College of Art. Her works of art have been exhibited internationally and have been collected by numerous institutions, including New York’s MoMA, Yale University, the de Young in San Francicso, and the Centro Andaluz de Art Contemporaneo in Spain. Wight is a professor of Art Practice in Stanford’s Department of Art & Art History, where she focuses on Experimental Media.

The Womxn* Art Handlers is a group dedicated to the support and growth of POC, queer, non-binary, trans, and womxn* identifying individuals in the professional arts industry as preparators, art handlers, technicians, fabricators, and other industry support roles. W*AH aims to connect the community through mixers and to provide professional art handling and installation training in partnership with local institutions. W*AH instituted a regional hiring list and conducts surveys to encourage equitable and transparent hiring practices throughout Bay Area art spaces. These efforts forefront safe and non-tokenizing educational and healthy work environments as a way to further support inclusive professional pipelines in the arts. W*AH is based in San Francisco and was founded by Kat Trataris and Marcela Pardo Ariza.

Robert Yang is an indie game developer and academic based in New York City. He regularly teaches game development and design within NYU Game Center at New York University, IDM at NYU Poly School of Engineering, and MFADT at Parsons the New School for Design. He also occasionally writes about games for Rock Paper Shotgun and other British things. He has given talks about games at GDC, GDC Europe, A MAZE Berlin, IndieCade, IndieCade East, Queerness and Games Conference, and Games for Change. He holds a B.A. in English Literature from UC Berkeley, and an MFA in Design and Technology from Parsons the New School for Design.

Weidong Yang founded Kinetech Arts, a dance and science non-profit, and Kineviz, creating data solution in VR. He has a PhD in Physics and a MS in Computer Science. His experience encompasses academia research, industrial product development, artistic exploration, and entrepreneurship. He has eleven U.S. patents, over twenty peer-reviewed journal publications, and also created many performances.

Hyojin Yoo is an interdisciplinary artist, researcher, and designer. Her work begins with the awareness that concepts can only be understood if enacted in real time, with direct body involvement, and through the consensus of shared experience.

Jiayi Young is an Assistant Professor of Design at the University of California, Davis. Her inquiries lie within the emergent field of digital media, with an emphasis on the cross-disciplinary areas of design that integrate the arts and the sciences with cutting-edge technology. Her current research is focused on constructing data-driven sensor-enabled interfaces, installations, real-time projection graphics, participatory performances, and immersive environments in cultural and public places, a goal of creating generative energy to engage the public in social dialogue. Using multidisciplinary approaches, her work examines society including the culture of consumption, the programming and exploitation of the feminine, cultural assimilation, and personal identity. Her work invites the public to participate and come in close contact with an experience that engages the rethinking of the human condition.

Pamela Z is a composer/performer and media artist who makes solo works combining a wide range of vocal techniques with electronic processing, samples, gesture activated MIDI controllers, and video. She has toured extensively throughout the US, Europe, and Japan. Her work has been presented at venues and exhibitions including Bang on a Can (NY), the Japan Interlink Festival, Other Minds (SF), the Venice Biennale, and the Dakar Biennale. She's created installation works and has composed scores for dance, film, and new music chamber ensembles. Her numerous awards include a Guggenheim Fellowship, the Creative Capital Fund, the CalArts Alpert Award, The MAP Fund, the ASCAP Award, an Ars Electronica honorable mention, the NEA/JUSFC Fellowship, and a Djerrassi Resident Artist Program residency.

Tanya Zimbardo is a San Francisco-based curator. Her current exhibition, Future Histories: Theaster Gates and Cauleen Smith, is on view at the San Francisco Museum of Modern Art (SFMOMA) through May 23, 2021. Her next show Speculative Portraits will open in September 2021. As an assistant curator of media arts, she has co-edited publications and (co-)curated several solo and group exhibitions and commissions. This past year, Zimbardo organized two SFMOMA #MuseumFromHome series of artist film and video works; she independently co-organized the online series In Process. Zimbardo has guest (co-)curated exhibitions, screenings, and public programs for Bay Area nonprofit arts organizations, including Artists’ Television Access, Canyon Cinema Foundation, di Rosa Center for Contemporary Art, McEvoy Foundation for the Arts, Mills College Art Museum, San Francisco Cinematheque, and The 500 Capp Street Foundation. Her group survey Origin Stories: Expanded Ceramics in the Bay Area will be on view this spring at the Berkeley Art Center. She is guest organizing and moderating the panel Bay Area Media: A Curatorial Roundtable on April 22, 2021, as part of UC Berkeley's Arts + Design Thursdays series. Zimbardo has contributed to publications such as VoCA Journal and INCITE: Journal for Experimental Media.

Raheleh Minoosh Zomorodinia is an interdisciplinary artist working in video, photography, performance, and installation. She believes in and trusts the creative process to reveal her intuition and give form to unconscious and deeper mysterious truths. She employs photography and video to make visible what is in her mind’s eye, while reflecting on her emotional, psychological and subconscious experiences inspired by her surroundings. Zomorodina serves on the environmental artists group Open Five in Iran. She received an MFA in New Genres from San Francisco Art Institute (2015), an M.A. in graphic design (2006) and a B.A. in photography (1998) from the Art and Architecture Azad University in Tehran, Iran. She has been the recipient of several awards and residences such as MFA Fellowship from San Francisco Art Institute, Kala Art Institute Media Art Fellowship, Finalist Tosa Award, Djerassi Resident Artists Program and the Affiliate Program at Headlands Center for the Arts. Her work has been exhibited locally and internationally in Iran, USA, Finland, Romania, South Korea, Canada, England, Germany and Mexico.