Angela Washko is Assistant Professor of Art, area Head Electronic Time-Based At, Carnegie Mellon Uni, Pittsburgh, PA. She received an MFA in Visual Art, from the University of California, San Diego, California and a BFA degree in Painting/Drawing/Sculpture from the Tyler School of Art, Temple University, Philadelphia, PA. She is an artist, writer and facilitator devoted to creating new forums for discussions about feminism in spaces frequently hostile toward it. Since 2012, Washko has facilitated The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft, an intervention inside the popular multiplayer online role-playing game. A recent recipient of the Creative Capital Award, Impact Award at Indiecade and the Franklin Furnace Performance Fund, Washko’s practice has been highlighted in The New Yorker, Frieze Magazine, Time Magazine, The Guardian, ArtForum, The Los Angeles Times, Art in America, The New York Times and more. Her projects have been presented internationally at venues including Museum of the Moving Image, Kiasma Museum of Contemporary Art, Los Angeles Museum of Contemporary Art, the Milan Design Triennale, the Shenzhen Independent Animation Biennial and the Rotterdam International Film Festival.
Anne-Marie Schleiner is a theorist, an educator, a new media and performance artist, a hacktivist, a scholar, a gamer, and a curator. Her work is focused on gender construction, ludic activism, situationist theory, political power struggles, experimental gaming design theory, urban play, the United States Military, avatar gender reification, the global south, and feminist film theory. Her work investigates avatar gender construction, computer gaming culture, hacker art and experimental game design. She has curated online exhibits of game mods and add-ons including the exhibits Cracking the Maze: Game Patches and Plug-ins as Hacker Art, Mutation.fem, and Snow Blossom House. She has designed the games Anime Noir and Heaven711. She runs a site focused on game hacks and open source digital art forms called opensorcery.net and has been actively involved in the anti-war game performance art initiatives Velvet-Strike and OUT. She has taught at universities and artist workshops and participated in art residencies in Germany, Belgium, Spain and Mexico. She has exhibited online and at the New Museum, NY, the Whitney, Centro de la Imagen Museum, Mexico City, and international galleries. Schleiner holds a doctorate in Cultural Analysis from the University of Amsterdam. Since 2017, she is a Lecturer at the University of California Davis. Her 2017 publication ‘The Player’s Power to Change the Game’ explores what she calls ‘ludic mutation,’ a transformative process in which the player experiences a power grab, and seizes back some of the power otherwise lost to the game itself, an important ramification for everything from social activism to contemporary warfare. Her book ‘Transnational Play: Piracy, Urban Art, and Mobile Games’ will be released in 2020 by Amsterdam University Press.
Bonnie Mitchell is a Professor of Digital Arts at Bowling Green State University, Ohio, USA. Her creative scholarship includes electronic interactive installation, experimental animation, environmental data visualization, net-art and cross-disciplinary collaboration. Mitchell’s artworks explore spatial and experiential relationships to our physical, social, cultural and psychological environment through interaction. Many of these installations explore the concept of presence and psychological states using computer graphics, sensors, projections, 3D particle systems, dynamics, and code. The installations often employ elements such as semi-transparent scrims, tree limbs, moss, mirrors, hundreds of fluorescent light bulbs and thousands of strands of yarn. Her experimental animations are often produced in collaboration with world renowned electroacoustic composer, Elainie Lillios. Mitchell’s works have been screened or shown at numerous festivals, conferences and exhibitions around the world and have won international awards. Bonnie Mitchell also co-directs the ACM SIGGRAPH Digital Art and International Symposium on Electronic Art’s Archive. She also serves on the SIGGRAPH Digital Arts Community Committee, ISEA Archive Committee and is a past SIGGRAPH and ISEA Board Member and SIGGRAPH Art Show Chair (2006).
Dena Elisabeth Eber is Chair and Professor of Digital Arts, School of Art Faculty Fellow, Graduate College at Bowling Green State University, Ohio. She received a Ph.D. from the University of Georgia in Art, in 1997. For her Ph.D. research, Dr. Eber explored the art and aesthetics of artistic virtual environments (VE). Her other research includes perception and the creative process surrounding other digital media. She has presented this work at national and international conferences and has many publications in national and international journals. She also curates international digital exhibitions such as SIGGRAPH and the International Digital Media and Arts Association’s (iDMAa) iDEAs. Her artistic endeavors include digital imaging, digital mixed media and interactive installations. As an artist, she works across three related areas: art making, art writing (both data based and theoretical) and art curation, using all three to create a support system that brings together diverse concepts and representation to build common narratives. Eber curated the 2019 Digital Arts Community online exhibition, ‘The Urgency of Reality in a Hyper-Connected Age’.
Elena Robles Mateo is researcher and cultural manager with expertise in all-women networks in new media arts. She is in the final stages of obtaining her PhD from Universitat Politècnica de València within the Art and Society program. Her dissertation is a mapping of all-women’s initiatives in arts and technology worldwide since 1986 to 2020. She has been a guest researcher at the Interface Cultures Department, Kunstuniversität Linz, Austria and at the Computer Science Department in Carnegie Mellon University, USA. She has international experience as project manager and curator, having worked at festivals and events related to new media arts and creative industries such as Ars Electronica, Transmediale, the Leonardo 50th Anniversary, Sónar+D, KIKK and currently for Sensorium. She is co-founder and program coordinator of Atenea, a mentoring and networking project for women in Arts and women in STEM, designing an annual international conference and exhibition, and with a special educational program focused on girls and people with disabilities. Elena Robles Mateo conducted extensive research in the Women in Media Arts archive at Ars Electronica.
Visualization of the mapping: https://bit.ly/38KiYC9
Elizabeth Leister is Assistant Professor, Multimedia Production, at the Mike Curb College of Arts, Media, and Communication, Department of Cinema and Television Arts at California State University Northridge. She engages a practice that includes video, performance, drawing and virtual reality. Time and memory are key themes that are woven together often through the gesture of drawing as a performative act. Temporality and connection to place are at the core of her work where travel, loss and memory are illuminated. Her work has been presented at the Torrance Art Museum, Philadelphia Museum of Art, The Morris Gallery at the Pennsylvania Academy of Fine Arts Museum, and the Delaware Museum of Art; The Drawing Center, Art in General, Apex Art and P.S. 122 in New York, Counterpath in Denver and Highways Performance Space and Gallery in Santa Monica in addition to various artist run spaces. Leister has performed at LACE, Perform Chinatown, Beyond Baroque and Electric Lodge in Los Angeles. Her networked performances have been presented at the Cardiff School of Creative & Cultural Industries in Wales, the Sheppard Fine Arts Gallery at the University of Reno, Outpost Artists Resources in New York and in Low Lives 2 & 4 among other venues. She has received an ARC grant from the Center for Cultural Innovation in Los Angeles, and grants through The Pennsylvania Council on the Arts and The Leeway Foundation of Philadelphia. She was awarded a 2014-15 COLA Fellowship grant from the Department of Cultural Affairs in Los Angeles. Leister earned an MFA from The Milton Avery Graduate School of the Fine Arts at Bard College and a BFA from Tyler School of Art at Temple University.
Federica Fontana is an independent researcher, professor and content creator. With a MA in Art History, a Master in Art and Culture: marketing and communication strategies, and a five-years experience in media relations, from 2016 up to 2020 she was a managing editor at Digicult, one of the main international platforms examining the impact of digital technologies and science on art, design, culture and contemporary society. Following her interest in making academic research accessible to the general public, in 2014 she founded Inanimanti, the first Italian blog entirely focused on Posthuman art. She has written about the arts for a number of websites: currently she has a section on the web portal Mediacritica, addressing the intersections between cinema and contemporary art, and on Collectible Dry fashion magazine. She regularly contributes with talks and publications. She teaches Visual Arts at Istituto Fellini – cinema institute in Turin.
Hye Yeon Nam is Assistant Professor of Art/Digital Art at the College of Art & Design, Louisiana State University, Baton Rouge. She is a digital media artist working on interactive installations, performance video, speculative design, and experimental games. She is a PhD candidate in digital media with a minor in computer science at Georgia Institute of Technology and holds an MFA in digital media from the Rhode Island School of Design. As assistant professor at New York Institute of Technology, Nam taught undergraduate and graduate courses in multimedia tools, interactive design, and visual imaging, and as a graduate instructor at Rhode Island School of Design, she lectured on introductory computer animation and 3D animation using Maya. Nam’s art has been displayed domestically and internationally at the Smithsonian National Portrait Gallery in Washington, DC; Times Square (as a runner-up for the Metropolitan Art Prize); FILE Festival in Brazil; Future Places Festival in Portugal; and Juan Media Festival in Korea. Her work was broadcast on the Discovery Channel in Canada and broadcast live on Good Day Sacramento; published in Leonardo Journal; and featured in Wired, We Make Money Not Art, Makezine, Business Insider, Slashdot, and Engadget, among other publications. Nam is a member of the ACM SIGGRAPH Digital Arts Community Committee.
Janice T. Searleman taught Computer Science at Clarkson University from 1978 until 2015 and is currently an Adjunct Research Professor. Her areas of research are Virtual Environments, Human-Computer Interaction, and Artificial Intelligence. She received her B.S. in Mathematics from the University of Massachusetts Amherst and an M.S. in Computer Science from Stony Brook University, New York. As a member of the Digital Arts Committee for ACM SIGGRAPH, Jan has been working with Bonnie Mitchell from Bowling Green State University along with a team of students on a Digital Art Archive (https:// digitalartarchive.siggraph.org/). Sponsored by the ACM and ACM SIGGRAPH, the archive contains Art resources from SIGGRAPH, SIGGRAPH Asia, and the Digital Arts Community Online Exhibitions, including all Art Show artwork from 1980 to the present, Art Papers, Art Talks, Panels, etc. It also contains profiles on all people who contributed to SIGGRAPH Art Shows and Art Papers, including artists, authors, art show chairs, art juries, and so on. The archive is an easy-to-use and highly interconnected resource for artists, educators, art historians, students, and the art community.
Kathrin C. Becker is a Berlin based curator and writer. From 2001 to 2019 she worked as a curator, managing director and head of the Video-Forum at Neuer Berliner Kunstverein (n.b.k.). Since February 2020, she is the artistic director of the KINDL – Center for Contemporary Art, Berlin. Having studied art history and Slavic languages in Bochum, Moscow, and St. Petersburg, she made her first experiences as a curator in the field of cultural exchange between Russia and the West. From the late 1990s, Becker developed an international curatorial profile and worked in the field of the interference of popular and high cultures, global visual languages, and institutional practice as a method of cultural foreign policies between Western, East European and Middle Eastern societies. Kathrin Becker has curated numerous exhibitions in institutions such as Neuer Berliner Kunstverein (n.b.k.), Berlin; National Centre For Contemporary Art, Moscow; P.S. 1 Museum / The Institute of Contemporary Art, New York; National Museum for Contemporary Art, Oslo; Fotomuseum Winterthur; Mies van der Rohe Pavillon, Barcelona; Contemporary Art Centre, Vilnius; Gallery of the Capital Prague; Kunst-Werke Berlin / KW Institute for Contemporary Art; Moscow House of Photography. She has curated solo shows including artists such as Bani Abidi, Halil Altindere, Nairy Baghramian, Rosa Barba, Ursula Biemann, John Bock, Louise Bourgeois, Candice Breitz, Kajsa Dahlberg, Claire Fontaine, Maryam Jafri, Laura Horelli, Allan Kaprow, Takuji Kogo / John Miller, Christiane Möbus, Andrei Monastyrski, Matthias Müller, Hajnal Németh, Elizabeth Price, Dmitri A. Prigov, Laure Prouvost, Oliver Ressler, Gerwald Rockenschaub, Ira Schneider, Anatoly Shuravlev, Ming Wong, Yevgeny Yufit, Vadim Zakharov / Niklas Nitschke, David Zink Yi, and Artur Zmijewski and group shows such as Stalin’s Choice – Soviet Socialist Realism 1932-1956; Flight – Departure – Disappearance. Moscow Conceptual Art; Can you hear me? 2nd Ars Baltica Triennial of Photographic Art; Remake Berlin; No more bad girls?; Feminismen; A Sense of History; and Facts and Fictions. In 2012, Kathrin Becker worked as the curator of the 3rd Moscow International Biennial For Young Art (MIBYA). In 2014, she realized the International Symposium Video Trajectories that looked at contemporary video art practice from the perspectives of presentation, technological change, production and the public. She has published widely in exhibition catalogues and magazines and served on numerous curatorial teams, advisory boards and juries.
Kathy Rae Huffman (Digital Power Curator) is a freelance curator, networker, and writer. Since the early 1980s, she has curated media exhibitions, juried competitions, lectured and coordinated events for international media art festivals and arts initiatives, including ISEA, Ars Electronica and EMAF. Her interest in artists’ television and video art, and her passion for feminist strategies in online environments, normally promote activist positions. Huffman co-founded FACES: Gender/Technology/Art, an online community for women (1997); VRML Art (later Web3D Art) with Van Gogh TV (1998-2003); and she co-authored Pop~Tarts, the multi-media column for the Telepolis Journal (1996-2000). Huffman has lived and worked in Long Beach (California), Boston, Vienna, Manchester (UK) and Berlin. She has traveled extensively in Central and Eastern Europe. She currently resides in Southern California.
Dr. Liliana Conlisk-Gallegos is from the Tijuana-San Diego border region in Southern California. She identifies as transfronteriza (transborderite), a sector of society who perpetually crosses borders. She specializes in the decolonization of current academic perceptions of knowledge. Through her experimentation with “live” research in both content and format she has designed projects involving multimedia and virtual reality production to curate interactive research performances for community healing. One of such performances is The Art of Dreaming which showcases live data in the form of art made by students and community members around the topic of being undocumented and the complex interplay between forms of trauma, resistance, and survival. Data is collected for a digital archive while the art pieces are auctioned off to fundraise for an emergency scholarship for undocumented students at CSUSB. She is Assistant Professor of Communication Studies, California State University San Bernardino.
Sue Gollifer is a Principal Lecturer at the University of Brighton, UK and the Executive Director of ISEA International. She is Chair of the ACM SIGGRAPH ‘Lifetime Achievement of Digital Arts’ and a member of the ‘ACM SIGGRAPH Digital Arts Community Committee’ and the ‘External Relations Committee.’ A pioneer of early computer art, she has continuously explored the relationship between technology and the arts and has written extensively on this subject. Her personal artworks are held in both national and international public and private collections. She has been the curator of a number of International Digital Art Exhibitions including the “Intuition and Ingenuity” art exhibition to celebrate the Alan Turing Centenary (2012), CAS50 Celebrating 50 years of the Computer Arts Society (2018). She is on several National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (DACs) the ACM SIGGRAPH Digital Arts Community. She has been a member of several SIGGRAPH Art Gallery subcommittees (from 1998 – current). In 2004 she was appointed Art Gallery Chair. More recently she has been a member of the onsite Art Gallery committees for SIGGRAPH Asia. This includes Shenzhen, China 2015; Kobe, Japan 2015; Macao, 2016; Tokyo, 2018; Los Angles, USA & Brisbane, Australia in 2019. She is on the Editorial Board of Digital Creativity, a refereed journal published by Routledge, and for the Leonardo Journal peer-reviewed academic journal published by the MIT. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her ‘Exceptional Services to the International New Media Community’.
Victoria Szabo is Research Professor of Art, Art History, and Visual Studies, Duke University Department of Art, Art History and Visual Studies, Durham, North Carolina. Her primary teaching and research interests are in the intersection of digital humanities and technology, media, and information studies, especially in relation to spatial, immersive, and interactive media forms. Her current focus is on the study and creation of augmented reality experiences in urban, exurban, and exhibition contexts. Recent collaborative, archives-driven digital projects include Digital Durham, NC Jukebox (NC mountain music), and Ghett/App (architectural history of the Venetian Ghetto). A new project, Visualizing Lovecraft, explores the digital remediation of fictive places and spaces as a form of literary adaptation. She co-creates video game based art installations with Psychasthenia Studio, and engages in digital arts curation projects as Chair of the ACM SIGGRAPH Digital Arts Community. Szabo also has a strong interest in interdisciplinary and lab-based approaches to scholarship and to the hybrid futures of higher education. She currently directs the Information Science+Studies Certificate Program and the Digital Art History/Computational Media MA in Art, Art History & Visual Studies, and was founding DGS for the interdisciplinary PhD in Computational Media, Arts & Cultures. She also collaborates in the Wired Lab for Digital Art History & Visual Culture. At the John Hope Franklin Humanities Institute she leads the Duke Digital Humanities Initiative, where she co-directs the PhD Lab in Digital Knowledge and the NCCU-Duke Digital Humanities Fellows Program. She is co-lead of the Bass Connections Information, Society & Culture theme, and partner in the Duke Game Lab. Prior to coming to Duke, she worked as an Academic Technology Specialist and Manager at Stanford University. She has a PhD from the University of Rochester in English, where she studied 19th century British literature and culture, sensationalism, and women’s authorship. She also has a Certificate from the Susan B. Anthony Institute for Research on Women and Gender.