Lily Alexander is currently a PhD candidate in the History of Art and Visual Culture Department at UC Santa Cruz. She is also a media arts curator. Recent shows included Life Science Art Technology (LAST) at the Lab, SFs; (e)MERGE, a ZERO1 2012 Biennial exhibition of emerging California artists working at the intersection of art and technology; Liquescent, an exhibition of both historic and new work by sound artist Bill Fontana's held at the Haunch of Venison Gallery in New York; and I've Got Something on Your Mind, the UCSC Digital Arts and New Media 2012 MFA show. Further, she is the director of the Prof. Christopher Alexander and Center for Environmental Structure (CES) Archives where she is spearheading a project to create a digital archive of Prof. Alexander's large body of work.
Morehshin Allahyari is a new media artist, art activist, educator, and cultural curator. She was born and raised in Iran and moved to the United States in 2007. Her work extensively deals with the political, social, and cultural contradictions we face every day. She thinks about technology as a poetic tool to document the personal and collective lives we live and our struggles as humans in the 21st century. Morehshin has been part of numerous national and international exhibitions, festivals, and workshops around the world. She has presented her work and creative research in various conferences and universities including TED conference, Nasher Sculpture Center, Dallas Museum of Art, CAA conference, Open Engagement, Prospectives ’12 International Festival of Digital Art, and Currents New Media Festival, and elsewhere. Her work has been featured in Rhizome, Hyperallergic, Animal New York, Art F City, Creators Project, Dazed Digital, Huffington Post, NPR, VICE, Parkett Art Magazine, Art Actuel magazine, Neural Magazine, Global Voices Online, Al Jazeera, and BBC among others. Morehshin is currently a Lecturer at San Jose State University and the Co-Founder and Assistant Curator in Research at Experimental Research Lab at Pier9/Autodesk.
LaTurbo Avedon is an artist-avatar whose existence and creative output resides entirely online. Without a real world referent, LaTurbo is a digital manifestation of a person that has never existed outside of a computer. Avedon’s digital sculptures and environments disregard this lack of physicality, and instead emphasize the practice of virtual authorship. Her works are regularly distributed online, and have been exhibited internationally - including shows at Transfer Gallery (New York City), Jean Albano Gallery (Chicago), Nomade Space (Hangzhou), and Galeries Lafayette (Paris).
Jeremiah Barber is a visual artist based in San Francisco who studies transcendence through near-impossible actions, absurdity, and humor. He make performances in sites that are significant to him, at times for an audience of none. His work calls upon a series of open questions—-Can one voice in the fog move a ship? How long can dust hold my father's face? Barber’s exploration into the absurd is inspired by scientific studies of outré brain phenomena, personal mythology, and the works of Kafka, Gogol, and Anna Swir. Through drawing, sculpture, and video, the artifacts of my art practice become the errata of a body passing through time and dissipating.
Dena Beard is the executive director of the Lab. Beard formerly served as Assistant Curator at the Berkeley Art Museum and Pacific Film Archive (BAM/PFA). She has organized important exhibitions with D-L Alvarez, Lutz Bacher, Anna Halprin, Desirée Holman, Barry McGee, Silke Otto-Knapp, and Apichatpong Weerasethakul, and worked on forty additional projects with artists such as Martha Colburn, Omer Fast, Jill Magid, Ahmet Ogut, Trevor Paglen, Emily Roysdon, Tomás Saraceno, and Tris Vonna-Michell. In addition to curating, Ms. Beard has served as a critic and educator internationally and on advisory committees for Bay Area organizations such as Yerba Buena Center for the Arts and Headlands Center for the Arts. She received her B.A. in Studio Art and Cultural Studies from Scripps College, California, and her M.A. in Art History, Theory, and Criticism from the School of the Art Institute of Chicago.
Liat Berdugo is an artist, writer, and curator based in Oakland, CA. Her work strives to create an expanded, thoughtful consideration for digital culture. Berdugo has been exhibited in galleries and festivals internationally, and her new book, The Everyday Maths, was published by Anomalous Press in 2013. She is the video art curator for Print Screen, Israel’s international festival of digital art, co-founded the Bay Area’s Living Room Light Exchange, and collaborates widely with individuals and archives. Berdugo holds a BA in mathematics and philosophy from Brown University and an M.F.A. in Digital + Media art from the Rhode Island School of Design. This fall she will be joining the faculty of the Art and Architecture department at the University of San Francisco.
Andrew Blanton is a media artist and percussionist. He received his BM in Music Performance from The University of Denver (2008) and a Masters of Fine Arts in New Media Art at the University of North Texas (2013). He is currently an Assistant Professor of Digital Media Art at San Jose State University in San Jose California teaching data visualization and a Research Fellow in the UT Dallas ArtSciLab in Dallas Texas. His current work focuses on the emergent potential between cross-disciplinary arts and technology, building sound and visual environments through software development, and and building scientifically accurate representations complex data sets as visual and sound compositions. Andrew has advanced expertise in percussion, creative software development, and developing projects in the confluence of art and science.
Sarah Brin is an art historian and curator based in the East Bay. She currently works as the Public Programs Manager at PIer 9, where she curates and commissions works at the intersection of art and technology. Prior to coming to Autodesk, Sarah has worked at and with a range of arts institutions, including Machine Project, SFMOMA, Babycastles, MOCA Los Angeles, the Armand Hammer and elsewhere.
Ingrid Burrington writes, makes maps, and tells jokes about places, politics, and the weird feelings people have about both. She studies the Internet's infrastructure and presented on The Realm of Rough Telepathy with Meredith Whittaker this past spring at Rhizome’s Seven on Seven. Additionally, she’s published a book with Melville House to share her findings and research titled "Networks of New York: An Illustrated Field Guide to Urban Internet Infrastructure".
Lark Buckingham is a filmmaker, performance artist, and critical designer. Using humor within a critical queer framework, Buckingham tackles implications of developing technology and the personal, political and social implications of the dissolving boundary between body and machine. Buckingham's video Tattletale Heart is a multi-faceted conceptual work & film that examines the digitization of the human heart. The work shines a bright light on uncomfortable truths about developing technologies by drawing out the ways that heart rate sensors might be problematic, pointing to information privacy and increasingly obligatory use of digital devices and social media platforms. Buckingham has shown at Frameline Film Festival, San Francisco International Arts Festival, SOMArts, Portland Community Media—to name a few—and has performed in more living rooms, bars and clubs than they can remember.
Jim Campbell was born in Chicago in 1956 and lives in San Francisco. He received degrees in Mathematics and Engineering from MIT in 1978. He transitioned from filmmaking to interactive video installations in the mid 1980s. His custom electronic sculptures and installations have made him a leading figure in the use of computer technology as an art form. Campbell's work is unique in that his media and message are inseparable. He uses technologies developed for information transfer and storage to explore human perception and memory. His recent work involves pixilated representations created with grids of L.E.D.s, which have such low perceived resolution as to defy comprehension. Exploring the line between representation and abstraction, Campbell plumbs the human ability to interpret information and "fill in the gaps" necessary to create a complete idea. His exploration of the distinction between the analogue world and its digital representation metaphorically parallels the difference between poetic understanding or "knowledge" versus the mathematics of "data." While Campbell's works typically use flat grids of evenly spaced L.E.D.s, he has recently begun to "pull apart" two-dimensional imagery, presenting it in a three-dimensional format. A recent outdoor installation, Scattered Light, in New York's Madison Square Park, and a commission for the atrium lobby of the San Francisco Museum of Modern Art, Exploded Views (4 Films), exemplify this new direction.
Joanna Cheung is an interdisciplinary artist and designer. She creates physical and virtual spaces that break down hierarchical balance between architecture and occupants. Mediated through tools such as rapid prototyping, open source hardware/software, and the internet, she creates objects which subvert our understanding of the object and questions our sense of interaction and relationship. Driven by ideas of virtuality and phenomenological reactions, she creates tangible products from the intangible qualities of perception, femininity, and existentialism.
Brian Christian is the author of The Most Human Human, which was named a Wall Street Journal bestseller and a New Yorker favorite book of 2011, and has been translated into ten languages. His writing has appeared in The New Yorker, The Atlantic, Wired, The Wall Street Journal, The Guardian, The Paris Review, and in scientific journals such as Cognitive Science. Christian has been featured on The Charlie Rose Show and The Daily Show with Jon Stewart and has lectured at Google, Microsoft, the Santa Fe Institute, and the London School of Economics. His work has won several awards, including fellowships at Yaddo and the MacDowell Colony, publication in Best American Science & Nature Writing, and an award from the Academy of American Poets. Born in Wilmington, Delaware, Christian holds degrees in philosophy, computer science, and poetry from Brown University and the University of Washington. He lives in San Francisco.
Paul Clipson is a San Francisco-based filmmaker and experimental film artist whose work involves projected installation and live collaborative performances with sound artists and musicians. His largely improvised, in-camera-edited films bring to light subconscious preoccupations and unexpected visual forms. His works have been exhibited and performed both nationally and internationally at such festivals as the New York Film Festival, Edinburgh Film Festival, and the Rotterdam International Film Festival.
CODAME (Bruno Fonzi and Jordan Gray): Inspired by the global network of creative coders, designers artists that Bruno Fonzi and Jordan Gray knew from around the world, CODAME was founded in 2010 to celebrate their passion for art and technology back home. The first CODAME ART+TECH Festival happened on a foggy rooftop in downtown San Francisco, setting the precedent for our immersive, engaging and out of the ordinary events.
James Cordas (b. 1986, United States) lives and works in Oakland, CA. An alumnus of California College of the Arts and Yale University, his exhibition history includes Et al. Gallery and Yerba Buena Center for the Arts, San Francisco, CA; Regina Rex and Human Gallery, Brooklyn, NY; Berkeley Art Museum, CA; In the Pines, Jackson, Wyoming; and Slow Culture and South of Sunset, Los Angeles, CA.
Alex Cruse teaches, writes, and makes art in and around Oakland, California. She and her husband Kevin Lo are DROUGHT SPA, a performative entity that combines poetry+critical theory with live, iterative visuals and sound. Her work abstractly investigates modes of surveillance, and articulations of governmentality within architectural/digital space. Cruse co-curates the Artists Television Access gallery; in 2014, she was made the curator and convener of Lost Landscapes of Oakland, an archival film project originated by Rick Prelinger. Her writing, illustration, collage, video, new media, and installation work have been exhibited nationally and abroad. Her first book of poetry, CONTRAVERSE, is forthcoming on Timeless, Infinite Light.
Andrew Culp is a Visiting Assistant Professor of Emerging Media and Communication at the University of Texas, Dallas. He is interested in the afterlives of media technologies born out of the anti-globalization movement. In his first book, Dark Deleuze (University of Minnesota Press, 2016), he offers a radical reinterpretation of the theorist Gilles Deleuze that challenges today's world of compulsory happiness, decentralized control, and overexposure. Since its publication in June, it has been translated into Spanish, Japanese, and German. In his next project, Metropolis, he explores anonymity, fugitivity, and opacity as responses to the 24/7 demands of an 'always-on' media-driven society. He serves on the General Board of the Cultural Studies Association. His work has appeared in numerous venues, including Radical Philosophy, Communication and Critical/Cultural Studies, Angelaki: Journal of the Theoretical Humanities, Quarterly Journal of Speech, parallax, and boundary 2 online.
Torreya Cummings uses an eclectic range of methods to investigate notions of history and place, complicated by memory and fiction. The work takes a variety of forms: sculptures may function as props; installations become sets for real or imagined activities, performances may become videos or photographs. Formally, she is interested in the double vision that happens when you can believe an illusion, but also see how it is constructed—and the inexact science of remakes, reenactments and reinterpretations. Conceptually, she works with the links between "irreconcilable differences": urban and rural, gay and straight, natural and artificial. One focus of these experiments has been the idea of the “wild west” and the conflict between a cultural ideology of liberty and a practice of enclosure. She has shown her work locally and internationally, in such venues as Southern Exposure and Silverman Gallery, (SF), Monty ABN in Antwerp, Belgium, and Galleria 1/9 Unosunove, Rome, Italy, along with other, more ad hoc guerilla exhibitions in San Francisco. She has an installation commissioned by the Oakland Museum of California in 2016-2018. Cummings hails from California's Central Valley, and that formative experience of being both rural and queer feeds into the work. Cummings holds an MFA in sculpture from the California College of the Arts, and a BA in ceramics and photography (with significant coursework in history) from UC Davis.
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 (FR) 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)
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)
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)
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)
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. FICTILIS works on a project basis, across many types of media and disciplines, with ongoing interests in materialism and waste flows, links between social and environmental issues, language, the process/politics of collecting, and capitalism as a historical phenomenon.
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.
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.
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.
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.
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)
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.
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.
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).
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.
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.
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.
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.
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.
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.
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.
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)
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.
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.
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.
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.
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.
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.
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)
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.
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.
Professor 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.
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.
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.
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.
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.
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.
Evan Roth (US) 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)
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.
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.
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.
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.
Melle Smets (NL) 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)
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.
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.
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.
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.
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.