Provocations and Workshops
Artist Heba Y. Amin (*1980, Cairo) engages with political themes and archival history, using mixed media, including film, photography, lecture performance and installation. Her artistic research takes a speculative, often satirical, approach to challenge narratives of conquest and control.
Amin is a professor of Digital and Time-Based Art at the ABK Stuttgart, the co-founder of the Black Athena Collective, curator of visual art for the MIZNA journal, and currently sits on the editorial board of the Journal of Digital War. She was awarded the 2020 Sussmann Artist Award for artists committed to the ideals of democracy and antifascism, and was selected as a Field of Vision Fellow in New York (2019). Amin’s work has been shown in numerous exhibitions, including The Mosaic Rooms, London (2021), the Böttcherstrasse Prize Exhibition, Bremen (2018), Eye Film Museum, Amsterdam (2020), Quai Branly Museum, Paris (2020), MAXXIMuseum, Rome (2018), Liverpool Biennial (2021), 10th Berlin Biennale (2018), 15th Istanbul Biennale (2017), and 12th Dak’Art Biennale (2016), to name only a few. Her latest publication, Heba Y. Amin: The General’s Stork, Anthony Downey (ed.), was recently published by Sternberg Press (2020), and her works and interventions have been covered by the New York Times, The Guardian, The Intercept, and BBC, among others. Furthermore, Amin is one of the artists behind the subversive graffiti action on the set of the Homeland television series, which received worldwide media attention. Amin lives in Berlin.
Dreaming Beyond AI is a multi-disciplinary and collaborative web-based project bringing together artists, researchers, activists, and policymakers to create new narratives and visions around AI technologies. The project aims to enable understanding of the impact AI technologies have on inequity. It questions mainstream AI narratives and imposed visions of the future.
At the Autumn School, Dreaming Beyond AI will be represented by:
R. Buse Çetin, who is an AI researcher, consultant, and creative. Her work revolves around the ethics, impact, and governance of AI systems. Buse’s work aims to demystify the intersectional impact of AI technologies through research, policy advocacy, and art.
Iyo Bisseck is a designer, researcher, and artist based in France. Her work explores the link between technologies and systems of domination, with a specific focus on gender and race discrimination in the realisation of virtual agents.
Sarah Ciston builds critical-creative tools to bring intersectional approaches to machine learning. Ciston is an AI Anarchies Fellow at the Akademie der Künste, a Mellon PhD Fellow in Media Arts and Practice at the University of Southern California, and an associate researcher at the Humboldt Institute for Internet and Society, plus the author of “A Critical Field Guide to Working with Machine Learning Datasets” from the Knowing Machines research project. Ciston’s projects include an interactive database to “rewrite” the inner critic and a bot that tries to explain feminism to online misogynists. Sarah Ciston leads Creative Code Collective, a community for co-learning programming using approachable, interdisciplinary strategies.
Sarah Ciston is an AI Anarchies fellow who started her residency in July 2022 at ZK/U – Zentrum für Kunst und Urbanistik.
Dr Eleanor Drage was previously a Christina Gaw Research Associate on the Gender and Technology Research Project, where she helped resolve AI ethics issues at a major technology multinational using feminist and anti-racist theory. She has presented findings to a range of audiences, including the United Nations, NatWest, The Open Data Institute (ODI), and the Institute of Science & Technology. Drage is the co-host of The Good Robot podcast, a programme in which she interviews top scholars and technologists about AI ethics. She has appeared on popular shows such as The Guilty Feminist and is a TikToker for the All the Citizens’ data rights channel. Drage holds an International Dual PhD from the University of Bologna at the University of Granada, where she was an early-stage researcher for the EU Horizon 2020 ETN-ITN-Marie Curie project “GRACE” (Gender and Cultures of Equality in Europe). As part of this project, She helped develop a software application conveying intersectional feminist ideas and methodologies to the general public. Her current research, published in top journals such as Philosophy and Technology, investigates how humanity defines and constitutes itself through socio-cultural processes such as race and gender and through its connection with computational networks and digital systems. She is the co-editor of the upcoming collection Feminist AI, published by Oxford University Press. Other projects can be found at www.eleanordrage.com.
Lex Fefegha spends most of his time leading a small team of designers and coders at COMUZI, a London-based design studio working with the world’s best companies to create positive human interactions with the services people use every day. In his spare time, Fefegha has been exploring AI & creativity projects, working with Google AI & Google Arts &Culture Lab to create The Hip Hop Poetry Bot, an AI research project, exploring speech generation trained on rap and hip hop lyrics by black artists. Fefegha was an associate lecturer at the creative computing institute, University of the Arts London, where he taught a module on computational futures and AI.
An artistic research project, the Feminist Health Care Research Group (FHCRG) develops empowering perspectives on health and healthcare in the form of exhibitions, workshops and zines. FHCRG aims to create a space where we can share our vulnerabilities, focus (access) needs and break through the competitive mode of working in the arts. FHCRG questions the internalised, ableist concept of productivity that is rewarded in the art field.
Currently, the Feminist Health Care Research Group consists of artist, mother and body worker Julia Bonn (she/her, *1975) and artist, mother, and deaf-blind-assistant Inga Zimprich (she/her, *1979).
Laura Forlano, a Fulbright award-winning and National Science Foundation scholar, is a writer, social scientist and design researcher. She is an associate professor of design at the Institute of Design, and affiliated faculty for the College of Architecture at Illinois Institute of Technology, where she is director of the Critical Futures Lab. Forlano’s research is focused on aesthetics and politics at the intersection between design and emerging technologies. She is an editor of three books: Bauhaus Futures (MIT Press, 2019), digitalSTS (Princeton University Press, 2019) and From Social Butterfly to Engaged Citizen (MIT Press, 2011). Forlano is currently writing a book on the subject of cyborgs (under contract with MIT Press). She received her PhD in communications from Columbia University.
Wesley Goatley is a sound artist and researcher based in London, UK. His critical practice examines the aesthetics and politics of data, machine learning, and voice recognition technologies and their power in shaping the world and our understanding of it. His work is exhibited and performed internationally, including venues such as Eyebeam in New York, Berghain in Berlin, The Nam June Paik Art Center in Seoul, and the Victoria & Albert Museum in London. He holds a doctorate in the philosophy of aesthetics and is a course leader of MA Interaction Design at the University of the Arts London.
Sarah Grant is an American artist and professor of new media based in Berlin at the Weise7 studio. Her teaching and art practice engages with the electromagnetic spectrum and computer networks as artistic material, social habitat, and political landscape. She holds a Bachelor of Arts in fine art from UC Davis and a Master’s in media arts from New York University’s Interactive Telecommunications Program. Since 2015, Grant has organised the Radical Networks conference in New York and Berlin, a community event and arts festival for critical investigations and creative experiments in telecommunications.
Dr Alex Hanna is director of Research at the Distributed AI Research Institute (DAIR). A sociologist by training, her work focuses on the data used in new computational technologies and how these data exacerbate racial, gender, and class inequality. Her work also addresses social movements, concentrating on the dynamics of anti-racist campus protests in the US and Canada.
Bianca Herlo is a design researcher and lecturer based in Berlin. She works in the field of social design at the Berlin University of the Arts and leads the research group “Inequality and Digital Sovereignty” at the Berlin Weizenbaum Institute for the Networked Society. Herlo teaches design theory and has been chair of the German Society for Design Theory and Research (DGTF) since 2021.
Louise Hickman is a research associate at the Minderoo Centre of Technology and Democracy, University of Cambridge. Previously, she was at the London School of Economics and the Ada Lovelace Institute’s JUST-AI Network on Data and AI Ethics. Her research draws on critical disability studies, feminist labour studies, and science and technology studies to examine the historical conditions of access work. She holds a PhD in Communication from the University of California, San Diego, and is currently working on a book manuscript tentatively titled Crip AI: The Automation of Access.
Jac sm Kee is a feminist activist working at the intersection of internet technologies, social justice and collective power. Kee’s activism includes sexuality and gender justice, feminist movement building in the digital age, internet governance, open culture and epistemic justice. Kee is located within these movements at hyperlocal, networked and global levels. Amongst the initiatives Jac sm Kee is proud of being part of is co-founding the Take Back the Tech! collaborative global campaign on ending online gender-based violence and stewarding the joint development of Feminist Principles of the Internet. She is a founding member of the Malaysia Design Archive and is currently making into reality with co-dreamers ‒ Numun Fund – the first fund on feminist tech in the Larger World.
Murad Khan is a course leader and senior lecturer at UAL's Creative Computing Institute. His research explores the relationship between pathology, perception and prediction across cognitive neuroscience and computer science, outlining a philosophy of noise and uncertainty in the development of predictive systems.
Martin Disley is an artist, researcher and software developer at Edinburgh University. His visual practice centres around critical investigations into emerging data technologies, manifesting their internal contradictions and logical limitations in beguiling images, video and sound.
Their collaborative research studio, Unit Test, explores the place of investigative methods in counter data-science practices.
Julia Kloiber is the managing director and co-founder of the feminist organisation SUPERRR Lab. She has launched a number of initiatives and organisations with a focus on public interest tech and digital public infrastructures. These include Prototype Fund, a public open source fund, and the network Code for Germany. Through her work, Kloiber explores just and fair digital futures. She is on the Advisory Board of Wikimedia Offene Wissenschaft and the Postcode Lottery Germany.
Elisa Lindinger works at the infamous intersection of technology and society. She is the co-founder of SUPERRR Lab, a Berlin-based feminist non-profit dedicated to building diverse and equal futures in tech and beyond. Her work focuses on digital civil society, emerging technologies’ societal impact, and open digital infrastructure communities (https://implicit-development.org/). As a trained archaeologist, Elisa appreciates long-term perspectives. As an activist, she also demands short-term political action.
Dr Kerry Mackereth (she/her) is a Christina Gaw postdoctoral researcher in Gender and Technology at the University of Cambridge Centre for Gender Studies. Her work uses feminist and critical race theory to examine how histories of race and gender shape contemporary technologies, specifically focusing on artificial intelligence. Her scholarship on this topic has appeared in journals such as Feminist Review and Philosophy and Technology (forthcoming). She is the co-editor of the upcoming collection Feminist AI, published by Oxford University Press, the co-host of The Good Robot podcast on feminism and technology, and the co-founder of the Race Talks seminar series. She has appeared on popular shows such as The Guilty Feminist and was recognised as one of the ‟100 Brilliant Women in AI Ethics” in 2022. In October 2022, Mackereth will join CFI on the Desirable Digitalisation Project to research anti-Asian racism and AI. In February 2023, she will be a Visiting Fellow at the Sarah Parker Remond Centre for the Study of Race and Racialisation at the Institute of Advanced Studies, UCL.
The Mycological Twist is a project by Eloïse Bonneviot and Anne de Boer, both based in Berlin. They take mycology as a source of inspiration in engaging with ecological and social practices. Their point of interest extends from the mushroom fruiting body to the rotting matter deep below ground level. DIY methods are woven into digital cultures to construct utopias for alternative modes of living. The Mycological Twist started in 2014 in London. Since then, the materialisation of the research has resulted in a programme of commissions, lectures, camping sessions, performances and works. Recent projects include: ECLIPSE, the 7th Athens Biennale, Athens; Quadrat Sampling E-Ecologies, HAU, Berlin; L’Académie des Mutants, CAPC musée d’art contemporain de Bordeaux; Myco TV, ICA, London; Bergen Assembly, Entrée, Bergen.
Pedro Oliveira is a researcher, sound artist, and educator whose work seeks to dismantle the articulations of colonial (sonic) violence perpetrated on the borders of the EU. He holds a PhD from the Berlin Universitty of Arts (UdK).
Pedro Oliveira is an AI Anarchies fellow who started his residency in July 2022 at ZK/U – Zentrum für Kunst und Urbanistik.
Mimi Ọnụọha is a Nigerian-American artist creating work about a world made to fit the form of data. By foregrounding absence and removal, her multimedia practice uses print, code, installation and video to make sense of the power dynamics that result in disenfranchised communities’ different relationships to digital, cultural, historical, and ecological systems. Ọnụọha has lectured and exhibited internationally and has been in residence at Studio XX (Canada), Data & Society Research Institute (USA), the Royal College of Art (UK), Eyebeam Center for Arts & Technology (USA), and Arthouse Foundation (Nigeria, upcoming). She lives and works in Brooklyn, New York.
Nelly Y. Pinkrah is a research assistant at Technical University in Dresden, Germany. Her doctoral thesis about Édouard Glissant and cybernetics is based at Leuphana University Lüneburg, where she is also associated with the Centre for Digital Cultures. In 2021 she was a lecturer at the Rijksuniversiteit Groningen; from October 2018 to May 2019, she was a doctoral fellow at the Global Emergent Media Lab at Concordia University, Montréal. She writes for magazines and creates workshops for organisations on topics such as racism, gender, media and technology. She has worked with many institutions and (community) organisations including EOTO e.V., Kulturstiftung des Bundes, Haus der Kulturen der Welt, Gunda-Werner-Institute, transmediale digital arts and culture festival, and many more.
Pinkrah co-edited the latest issue of the German Journal for Media Studies (ZfM) (together with Ömer Alkin and Jiré Emine Gözen): “X | Kein Lagebericht” (04/2022). Since June 2021, she has been on the steering committee of the German Forum Antiracism Media Studies (FAM). She is also a member of the DFG Network “Gender, Media, Affect” and a Humanity in Action senior fellow.
Join University of Cambridge Christina Gaw postdoctoral researchers Eleanor Drage and Kerry Mackereth as they ask the experts: What is good technology? Is ‟good” technology even possible? And how can feminism help us work towards achieving it? Each week, they invite scholars, industry practitioners, activists, and others to provide their unique perspectives on what feminism can bring to the tech industry and how we think about technology. With each conversation, The Good Robot asks how feminism can provide new perspectives on technology’s biggest problems.
Tiara Roxanne is a postdoctoral fellow at Data & Society in NYC ‒ a Tarascan Indigenous Mestiza scholar and artist based in Berlin, whose. Their research and artistic practice investigates the encounter between Indigeneity and AI by interrogating colonial structures embedded within machine learning systems. Currently, their work is mediated through the colour red. Tiara has presented at the Images Festival (Toronto), Squeaky Wheel Film and Media Art Center (NY), Trinity Square Video (Toronto), European Media Art Festival (Osnabrück), University of Applied Arts (Vienna), SOAS (London), SLU (Madrid), Laboratorio Arte Alameda, (Mexico City), Transmediale (Berlin), Duke University (NC), re:publica (Berlin), Tech Open Air (Berlin), AMOQA (Athens), Zurich University of the Arts (Zurich), Autonomous Intercultural Indigenous University (Columbia), Utrecht University (NL), University of California (San Diego), Münchener Kammerspiele (Munich), among others.
Sarah Sharma is associate professor of Media Theory at the ICCIT/Faculty of Information and incoming director of the Institute for Communication, Culture, Information and Technology at the University of Toronto. Her research and teaching focus on the relationship between technology, time and labour with a specific focus on gender, race, and class issues. She is the author of In the Meantime: Temporality and Cultural Politics (Duke UP, 2014).
Michelle Thorne (@thornet) is interested in climate justice and a fossil-free internet. As a sustainable internet leader at the Mozilla Foundation, Michelle directs research initiatives in Mozilla’s Sustainability Programme and a PhD programme on Open Design of Trust Things (OpenDoTT) with Northumbria University. She is a senior advisor to the Green Web Foundation and its Green Web Fellowship programme and a co-organiser of Open Climate. Michelle publishes Branch, an online magazine written by and for people who dream about a sustainable internet and recipient of the Ars Electronica Award for Digital Humanity. Michelle is a council member of the Billion Seconds Institute and a member of ClimateAction.Tech, a network of tech workers accelerating climate action, and a Thinker in Residence at Climate KIC. Thorne founded Mozilla’s Open Internet of Things Studio, Ding magazine, the Mozilla Festival and a web literacy programme called Maker Party. She managed the Creative Commons international affiliate network from 2007–10 and co-founded a sustainable fashion label, Zephyr Berlin.
Jackie Wang is a poet, multimedia artist, and scholar of the history and political economy of prisons and police. She is an assistant professor of American Studies and Ethnicity at the University of Southern California. Her poetry collection, The Sunflower Cast a Spell to Save Us From the Void (Nightboat Books, 2021), was a finalist for the National Book Award in Poetry. During her fellowship, her interest in researching prisons and police is rooted in the experience of having a brother who was sentenced as a teenager to Juvenile Life Without Parole (JLWOP). Wang’s first book, Carceral Capitalism (Semiotext(e) Press, 2018), is a widely cited collection of essays on the racial, economic, political, legal, and technological dimensions of the US carceral state.
Khyam Allami is an Iraqi-British multi-instrumentalist musician, composer, researcher and founder of Nawa Recordings. His artistic research and practice explore experimental composition and improvisation based on and inspired by the fundamentals of Arabic music and culture. Recent works include Requiem for the 21st Century, an immersive Oud-based installation for Opera North (UK), Ma-a aba ud mena gin Ma-a di-di-in, a string quartet for JACK quartet (US), and Apotome, a collaborative project with Counterpoint Studio which was awarded the inaugural Isao Tomita Special Prize at Ars Electronica 2021 (Austria). Allami holds a BA and Master’s in ethnomusicology from SOAS, University of London and a PhD in composition from Royal Birmingham.
Johanna Hedva (they/them) is a Korean-American writer, artist, and musician, who was raised in Los Angeles by a family of witches, and now lives in LA and Berlin. Hedva is the author of Minerva the Miscarriage of the Brain, a collection of poems, performances, and essays; and the novel On Hell. Their album Black Moon Lilith in Pisces in the 4th House, a doom-metal guitar and voice performance influenced by Korean shamanist ritual, was released in January 2021, and their 2019 album The Sun and the Moon had two of its tracks played on the moon. Their work has been shown in Berlin at Gropius Bau, Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; The Institute of Contemporary Arts in London; Performance Space New York; Gyeongnam Art Museum in South Korea; the LA Architecture and Design Museum; the Museum of Contemporary Art on the Moon; and in the Transmediale, Unsound, and Rewire Festivals. Their writing has appeared in Triple Canopy, frieze, The White Review, Topical Cream, Spike, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay Sick Woman Theory, published in 2016, has been translated into 10 languages.
Lauren Lee McCarthy is an artist examining social relationships amid surveillance, automation, and algorithmic living. She is the creator of p5.js, an open-source creative coding platform that prioritises inclusion and access, and a part of the Processing Foundation. She has received grants and residencies from Creative Capital, United States Artists, LACMA, Sundance, Eyebeam, Pioneer Works, Autodesk, and Ars Electronica. Lauren's work has been exhibited internationally, including at the Barbican Centre, Ars Electronica, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA, Science Gallery Dublin, and the Seoul Museum of Art. She is an associate professor at UCLA Design Media Arts.
Luiza Prado de O. Martins is an artist, writer, educator, and researcher investigating plant-human relations, reproduction, herbal medicine, and radical, decolonising care. Her ongoing artistic research project, In Weaving Shared Soil explores sites of encounter between human and more-than-human actors implicated in spiritual and medicinal reproductive care. She is an assistant professor and vice-director of the Centre for Other Worlds at the Lusófona University in Lisbon. She is one half of the artist duo We Work in the Dark and a founding member of Decolonising Design.
“The most original compositional voice to emerge from Ireland in the past 20 years.” (The Irish Times) and “Wild girl of Darmstadt” (Frankfurter Rundschau), composer and performer Jennifer Walshe was born in Dublin, Ireland. Her music has been commissioned, broadcast and performed all over the world. She has been the recipient of fellowships and prizes from the Foundation for Contemporary Arts, New York, the DAAD Berliner Künstlerprogramm, the Internationales Musikinstitut, Darmstadt and Akademie Schloss Solitude, among others. Recent projects include TIME TIME TIME, an opera written in collaboration with the philosopher Timothy Morton, and THE SITE OF AN INVESTIGATION, a 30-minute epic for Walshe’s voice and orchestra, commissioned by the National Symphony Orchestra of Ireland. THE SITE has been performed by Walshe and the NSO, the BBC Scottish Symphony Orchestra and also the Lithuanian State Symphony Orchestra. A Late Anthology of Early Music Vol. 1: Ancient to Renaissance, her third solo album, was released on Tetbind in 2020. The album uses AI to rework canonical works from early Western music history. A Late Anthology was chosen as one of the albums of the year in The Irish Times, The Wire and The Quietus. Walshe is currently a professor of Composition at the University of Oxford. Alex Ross recently profiled her work in The New Yorker.
Jon Leidecker (aka Wobbly) is a human in the loop, improvising with people and machines that listen. His work with sampling and feedback blurs any easy distinction between his solo and collaborative work, including touring and recording with Negativland, the Thurston Moore Group, Jennifer Walshe, Zoh Amba, Dieter Moebius & Tim Story, Matmos, People Like Us, Fred Frith and Huun-Huur-Tu, among others. Lectures on the various secret histories of electronic music have been presented at Mills, Stanford, Oxford, Peabody, UC Berkeley, and MACBA.
Gennet Beer is a master’s student at Studio Experimental Design at the Hamburg University of Fine Arts who works part-time as a UX designer. Previously, she studied fashion design at the Hamburg University of Applied Sciences. Her socially engaged design practice, carried out jointly with the Public Design Support at Studio Experimental Design in St. Pauli in Hamburg, led her to question the interconnections between design, technology and discrimination through artificial intelligence.
Peter Behrbohm is a Berlin-based artist and architect. Individually and in collective constellations, he explores future conflicts and speculative societies, designs operative obstacles and installs counter-institutions. His works are surgical interventions in public spaces, routines and discourses, in which he implants parallel realities that subsequently collide with everyday life. Among others, he received the BDA-SARP-AWARD from the Association of German Architects, the Elsa Neumann Scholarship (2016) and the “MAK Schindler Artists and Architects-in-Residence Programme, Los Angeles” (2019).
Together with Anton Steenbock he is part of SONDER which is is an amoebic company, offering tools to refine conflicts. "We intervene in public spaces and discourses with obstacles and counter-narratives, aiming to expose questionable developments hiding in normality. We substitute parts of the scenery to create situations against expectations."
SONDER is an AI Anarchies fellow starting their residency in January 2023 at ZK/U – Zentrum für Kunst und Urbanistik.
Bani Brusadin is a curator, educator and researcher. His interests cover contemporary art and the politics of technology, digital aesthetics, user cultures, and the utopias and dystopias of a networked society. He is currently a member of the curatorial team of the transmediale festival in Berlin. Between 2004 and 2019, he co-directed the Barcelona-based The Influencers festival with Eva & Franco Mattes. In 2018 he started to develop Freeport, an independent study programme about art, technology and planetary issues. He is the author of The Fog of Systems (Aksioma, 2021). Brusadin currently lives and teaches in Barcelona.
Chiara Carboni (she/her) is an early-career scholar based in the Netherlands, where she is pursuing her PhD at the Erasmus School of Health Policy & Management. With a background in literary studies, medical anthropology, and science & technology studies (STS), her current research focuses on the various ways digitalisation and automation (re)constitute work, care, sensing and sense-making in healthcare. Working at the intersection of critical data studies, STS, post-work and cultural theory, Carboni is interested in thinking through data’s embeddedness within sociotechnical practices and partial connections with bodies and materialities to disrupt entrenched imaginaries of AI.
Laura Cugusi is an artist, writer, researcher and producer. Her practice is nomadic across languages, disciplines, and media. She has worked in research and reporting, art production, documentary photography and video, project design and curation in Italy, Egypt, Europe, as well as the Mediterranean region. In her recent work she has focused on mapping media ecologies, tech literacies, governance infrastructures and institutional world-building strategies that shape and consolidate the imagination (or lack thereof) about the future.
Sara Culmann is a visual artist, who finished her studies at the Rijksakademie van beeldende kunsten in Amsterdam. Her research interests include game studies, the semantics of digital tools and media, and historical contexts and intersections. She reflects on the existential impact of the cult of progress, scientific knowledge and information bias in her work. She uses speculative narratives and works closely with cultural clichés and imprints as well as found content. Culmann is also a teacher of animation software at the Prague Media School, an educational institution that supports independent journalism in Eastern Europe.
Sara Culmann is an AI Anarchies fellow who started her residency in July 2022 at ZK/U – Zentrum für Kunst und Urbanistik.
D’Andrade is a non-binary musician, poet and writer, currently enrolled in the master’s programme “Art in Context” at Berlin University of the Arts. D’Andrade’s conceptual approach is oriented toward Afro-futurism and decolonial theory, the development of investigative works and new and counter-narratives through sound design, coding, archives, and interactions. The artist co-curated the interdisciplinary festival “Jardim Suspenso” in Brazil and founded the solo project “Noise Vivarium” in 2020. D’Andrade’s works have been exhibited at Prater Galerie, nGbK, Iwalwahaus, and the AKE ARTS & BOOK FESTIVAL in Nigeria, among other venues.
D’Andrade is an AI Anarchies fellow starting their residency in January 2023 at ZK/U – Zentrum für Kunst und Urbanistik
Grayson Earle is a contemporary artist and activist from the United States. His work deals with the role that digital technologies and networks can play in protest and political agency. He is known for his guerrilla video projections as a member of The Illuminator Art Collective and Bail Bloc, a computer programme that posts bail for low-income people.
George Fletcher is professor and chair of the Database Group at Eindhoven University of Technology. He studies data systems, increasingly focusing on people and lessening cruelty in applications of data and AI. Fletcher co-organised DataEd at SIGMOD 2022 and co-founded Social X, an interdisciplinary group studying fundamental questions around technology in society. The latter was highlighted during an invited keynote dialogue at Data Power 2022. Fletcher is interested in studying and collaborating on AI systems supporting imaginaries of local practice and personal and collective (re)imagination, e.g., empowering people to be multiple and de-individuated, and enabling data forgiveness and counter-data-categorisation.
GOVERNANCE (GVNC) is a collective research and art project based in the US that explores the cultural expressions of late capitalism through A/V performance, installation, custom electronic systems, and publication. GVNC is interested in the intersections of digital media and society, especially where the complexities of new media, social media, AI, and other predictive techniques manifest contradictions in matters of meaning, knowledge, and politics. GVNC is composed of Quran Karriem and Rebecca Uliasz, both PhD candidates in the department of Computational Media, Arts & Cultures at Duke University. Their performance documentation, works, and writings can be found at https://gvnc.tv/.
Catherine Griffiths is a media artist and researcher based in Detroit and London. By creating simulations, film installations, and critical software pieces, her practice attempts to make palpable invisible computational forces that shape power and structure social systems. Her work is driven by how the spatial, sensorial, and conceptual can produce new vocabularies in thinking and feeling to make the objects of politics felt. She currently teaches Digital Studies and Architectural Design at the University of Michigan. She received her PhD in Interdisciplinary Media Arts and Practice from the University of Southern California.
Clara Isakowitsch is a Berlin-based queer-feminist activist, researcher, and creative person. For the past five years, she has published zines about queer and Jewish identity, body image, and love under the pseudonym “_clarix”. Her research interests lie at the intersection of society and technology. Clara holds a BSc in mathematics and has recently completed an MSc in cognitive science at University College Dublin. Her final research study focused on the effects of Augmented Reality beauty filters on the self-perception of social media users.
Petja Rossenova Ivanova’s intersectional feminist and transdisciplinary practice combine biology, spirituality, computation and the poetic to promote the “poetic method” as a counterweight to the socially dominant “scientific method” of a capitalist, imperialist, white supremacist patriarchy. The Berlin-based Bulgarian artist graduated in 2015 from the Berlin University of Arts in the Computational Art/Generative Art class. She runs Studio Poetic Futures & Speculative Ecologies (SPF) out of a little caravan and teaches speculative design at HAW Hamburg and, at times, at Linnaeus University in Växjo, Sweden.
Dr Cathryn Klasto is a transdisciplinary theoretician and artistic researcher working within the field of critical spatial practice. They have a scholarly focus on future-orientated interiors and interiority processes, and are interested in how AI technology and its processes shape how interior space is produced, used and experienced. Klastro is currently a fine arts lecturer at HDK-Valand, University of Gothenburg, Sweden.
Diana Kozachek, *1991 in Saporischschja, Ukraine is currently coding and writing her thesis on the automation potential of future scenarios with GPT-3. She conducts research at the XR and Metaverse Research Lab at the National Taipei University of Technology (NTUT) and at the Fraunhofer Institute for Systems and Innovation Research (ISI). Her interest lies at the intersection of human-technology interaction, philosophy and participatory design. Her last project included sensory devices to measure biophysical signals in collaborative VR settings to get a grasp of stressful events in digital spheres.
Christina Lu is a researcher, technologist, and artist based in London, via Cupertino and Shanghai. She grounds AI systems in the material realities they shape and imagines the futures foreclosed and imminent if we continue down our current path. She is currently a software engineer at DeepMind, where she has most recently published on how machine learning immobilizes the autopoietic evolution of human identity.
Ioanna Papageorgiou (she/her) is a Marie Skłodowska-Curie Fellow at the “NoBIAS ‒ Artificial Intelligence without Bias” Innovative Training Network and a PhD researcher at the Institute for Legal Informatics, Leibniz University in Hanover. She holds a Bachelor of Law (Aristotle University of Thessaloniki) and a Master’s degree in German Law (University of Würzburg), focusing on algorithmic discrimination in recruitment. She is a research assistant in the research team “Digital Economy and Private Law” at Aristotle University of Thessaloniki and a research associate in the “SOCAI-Centre for Social Implications of Artificial Intelligence” at the University of Würzburg. Ioanna Papageorgiou is a lawyer (Thessaloniki Bar Association, Greece).
Damon Pham works with sound, computation, digital media, language, and science. He has lived in California’s San Joaquin Valley and Bay Area, as well as Indiana. He’s informed by experience working as a statistician; he’s guided by a respect for interiority, aesthetic pleasure, and just trying to do good in the world.
With a double background in computer science and performing arts, Diana Serbanescu works on interdisciplinary approaches to culture, society and technology, with a strong focus on human factors. As team leader of the group Criticality of Artificial Intelligence at the Weizenbaum Institute, she promoted culturally-aware research on the topics of bias, symbolic power and explainability in machine learning algorithms. As the co-founder and artistic director of REPLICA, she explores feminist approaches to knowledge creation, the potential of poetic machines, and the continued validity of traditions in an era of artificial intelligence and digital colonisation.
Miriam Simun is an interdisciplinary artist working at sites of collision ‒ of bodies and rapidly evolving socio-technical ecosystems. Simun’s practice spans multiple formats, including still and moving images, performance, installation and communal sensorial experiences. Simun’s work can be found at linktr.ee/mseamoon.
Xiaoji Song (Wuhan/Berlin) is a student, researcher, and creative practitioner based in Berlin. Currently, she is finishing her master’s in global communication focusing on political communication while working at IRI THESys. Working in the liminal spaces of political theory, practice, and art, Xiaoji Song’s research interests include techno-politics, networked social movement, border practices in post-nation states scenarios, and the performative aspect of political memory. She works on socially relevant and community-specific experiences mediated by texts, images, games, and performance.
Aarti Sunder is an artist living and working in India. She primarily works with moving images, writing and drawing. Her interest lies within technology and our relationship with it, concentrating on the study of digital infrastructure. So far, she has been focusing on contemporary labour practices, fictional edges of protest, myth and digital-terrestrial play.
Aarti Sunder is an AI Anarchies fellow starting her residency in January 2023 at ZK/U – Zentrum für Kunst und Urbanistik.
Swan Collective’s multidimensional oeuvre explores the soul in an artificial shell, searching for consciousness in the data stream. When does a room start thinking? Why does the app feel claustrophobic? When does my avatar break free from the human condition? Analog architectural paintings are digitised and provide the playing field for interactive virtual reality experiences. The Swan Collective’s books serve as stories for animations, and as 3D-scanned characters its members lead the way through the abyss of the coming technology (r)evolution. But what if artificial intelligence had preferred to stay stupid?
Grace Turtle is an Australian-Colombian designer, educator and artist whose work crosses over between critical design, research and applied foresight. Currently, Grace is completing a PhD through the DCODE Network, a European Union, Horizon 2020-funded initiative. Turtle’s research engages with design/ing for co-predictive relations and management of complex systems, where she explores notions of (queer) encoded AI, queer logic, and ethics. A proposition for how AI might be understood, designed, and used; otherwise, that is, in fair, responsible and imaginative ways.
Tin Wilke is an interdisciplinary artist and filmmaker from East Berlin whose work focuses on collective memory, dissident practice and speculative imagery of counter-narratives. Working mainly collaboratively at the intersection of digital new media, organic material and found footage within installations, gatherings, stages and experimental film, Wilke’s hybrid practice questions the binary and exploitative modes of production within patriarchal structures.
Wilke studied art and media at the Berlin University of the Arts (UdK) and has a Master’s degree in Theatre with New Media and Interactivity from the Universidad Nacional de las Artes (UNA) in Buenos Aires. Wilke forms part of the queer performance collective CC_Lab and is a board member of the association for social-ecological change (VSOW e.V.) as well as a member of the Mkv Berlin Media Art Association (medienkunst e.V.).
Alice Yuan Zhang 张元 is a Chinese-American media artist, researcher, and educator. Her practice operates on cyclical and intergenerational time. Along the peripheries of imperialist imagination, she examines technology through the lenses of ancestral remembering, interspecies relations, and networked solidarity. Currently, she is navigating the weight of digital infrastructure through experimental grief practices. Alice Yuan Zhang is a founding steward of the virtual care lab, a 2022 DWeb fellow, a recent research resident at 0x Salon, a Creative Wildfire artist, a resident artist at CultureHub, and a community member of NAVEL and Trust. She has taught Media Studies for Performance at Sarah Lawrence College, facilitated a study group on Digital Matterealities, and hosted lectures, workshops, and other learning engagements across academic institutions, including CalArts, Harvard, Duke, NYU ITP, and the University of Toronto, at art institutions such as Goethe-Institute, Iowa PS1, and MAK Center, and for independent cultural initiatives like SFPC, Tiny Tech Zines, Mehringplatz 20, and Creamcake Berlin.
Dr (des) Maya Indira Ganesh is a cultural scientist, researcher, and writer working on the social and cultural politics of AI, autonomous, and machine learning systems. She is a senior researcher at the Leverhulme Centre for the Future of Intelligence, and an assistant professor co-teaching a Master’s programme on AI, Ethics, and Society, at the University of Cambridge, UK. Ganesh earned her PhD in Cultural Sciences from Leuphana University, Lüneburg. Her work examined the reshaping of the “ethical” through the driverless car, an “apparatus” of automation and automobility, big data, cultural imaginaries of robots, and practices of statistical inference. Before turning to academic work, Maya Indira Ganesh spent a decade as a feminist activist working at the point of intersection of gender justice, digital security, and digital freedoms of expression. Her work has consistently brought questions of power, justice, and inequality to those of the body, the digital, and knowledge-making. Learn more about Maya Indira Ganesh here.
Nora N. Khan is a curator, editor, and writer of criticism on digital visual culture, the politics of software, and philosophy of emerging technology. She is the Executive Director of Project X for Art and Criticism, publishing X-TRA Contemporary Art Journal in Los Angeles. She is also the next Curator for the next Biennale de L’Image en Mouvement in 2023, with Andrea Bellini, hosted by Centre d'Art Contemporain Genève. In 2020, she curated Manual Override at The Shed, featuring Sondra Perry, Morehshin Allahyari, Lynn Hershman Leeson, Simon Fujiwara, and Martine Syms.
Khan’s short books are Seeing, Naming, Knowing (Brooklyn Rail) on the logic of machine vision, and Fear Indexing the X-Files (Primary Information), co-written with Steven Warwick. Forthcoming are No Context: AI Art, Machine Learning, and the Stakes for Art Criticism (Lund Humphries), The Artificial and the Real (Art Metropole), and a hybrid memoir about criticism from Strange Attractor Press. She frequently publishes in publications like Artforum and Art in America, and has written commissioned essays for major exhibitions at Serpentine Galleries, Chisenhale Gallery, and the Venice Biennale. Her practice extends to a wide span of artistic collaborations, producing scripts, librettos, films, and a tiny house (in A Wild-Ass Beyond: Apocalypse RN, with Sondra Perry, American Artist, and Caitlin Cherry at Performance Space, New York).
Her writing has been honoured by a Critical Writing Grant given through the Visual Arts Foundation and the Crossed Purposes Foundation and a Thoma Foundation Arts Writing Award in Digital Art, and supported by residencies at La Becque and Eyebeam. She has served as editor of Topical Cream, HOLO, and was a longtime editor at Rhizome. From 2018-2021, she was a professor at Rhode Island School of Design, in Digital + Media, teaching artists’ writing, technological criticism, and critical theory and artistic research. She studied literature and fiction writing at Harvard and the Iowa Writers’ Workshop.
Nada Bakr (she/her) is an independent curator, researcher, and cultural manager based in Berlin. Her research-driven projects straddle the fields of social justice, technology, digital art and culture and unfold between Berlin and Cairo. She is community programme curator and project manager at Disruption Network Lab, Berlin, and managing director and curator of Cairotronica. She holds a Master of Arts (MA) in Media Arts Cultures from Aalborg University, Denmark.
HOLO is an independent editorial and curatorial platform that explores disciplinary interstices and entangled knowledge as epicentres of critical, creative practice, radical imagination, research, and activism. Founded in 2012 and based in Berlin, London, and Toronto, HOLO is best known for its periodical and dozens of cultural and educational initiatives realised with leading organisations, institutions, and festivals, including Asia Culture Center (South Korea), Mapping (Switzerland), MUTEK (Canada), and Sonar+D (Spain).
Refuge Worldwide was started as a fundraising platform working in solidarity with grassroots and non-profit organisations. In January 2021 we launched Refuge Worldwide, a new radio station to amplify the music and issues we care about, broadcasting weekly from Weserstraße 166, 12045 Berlin Neukölln.
Since 2015, among others, we have worked with a young women’s centre, refugee housing support associations, a music school for marginalised persons, social equity groups, homelessness agencies, and a shelter for women and young persons fleeing domestic violence. From our home in Berlin Neukölln, we now host weekly workshops, training programmes, and classes in media, creative fields, and mental health.
These are free to attend as part of our community outreach. Refuge Worldwide is also involved in several global collaborative projects, with like-minded collectives, radio stations, and activists.
Since 2019, Clara Herrmann has been head of the JUNGE AKADEMIE, the international artist-in-residence programme of the Akademie der Künste, Berlin, with residencies in Berlin (Germany) and Olevano (Italy). For the JUNGE AKADEMIE, she developed the programme Human Machine and initiated the project AI Anarchies with a fellowship programme, Autumn School and exhibition. Herrmann coordinated the Digital Solitude programme of Akademie Schloss Solitude, Stuttgart, from 2015-19, where she founded and curated the project Web Residencies with guest curators, including Morehshin Allahyari, Tatiana Bazzichelli, Nora O Murchú, and Mary Maggic. She was a research associate in the department for cultural management at the European University Viadrina in Frankfurt (Oder) and is co-publisher of the anthology Der digitale Kulturbetrieb. Clara Herrmann studied literature, law and arts management in Berlin, London and Frankfurt (Oder).
Nataša Vukajlović is the AI Anarchies project coordinator and Broken Machines and Wild Imaginings curtatorial assistant at the JUNGE AKADEMIE. She previously worked at Humboldt Institute for Internet and Society executing the monthly discussion series Digitaler Salon about the impact of digitalisation on society. Working at the intersection of arts, culture and digitalisation, her interests lie in how technology shapes and changes present society. Nataša Vukajlović finished her master’s in museum management and communications with a thesis about representational strategies in exhibitions.
Artistic Director of transmediale festival, Berlin
Director of Research & Outreach and Professor of Aesthetics and Culture of Technologies, at ArtEZ University of the Arts, The Netherlands
Professor for Composition at the University of Oxford, UK, composer and musician, member of the Music Section of the Akademie der Künste, Berlin
Professor for Media Theory, Archaeology, and Variantology of the Media at the Berlin University of the Arts, member of the Visual Arts Section of the Akademie der Künste, Berlin Program