Trans – what? Symposium Program

Trans – what? Symposium Program

Trans – what?
across and beyond (artistic) research

12.00 – 20.00, Sunday 28 July 2013
@ Supermarkt Creative Resource Centre, Brunnenstrasse 64,  Berlin


The prefix ‘trans-’ points to some of the problems of universal concepts and ongoing boundary disputes between epistemes. It modifies the meaning of what it is attached to: transaction, transcription, transgression, translocation, transmission, translation, transdisciplinarity, to name only a few of the many examples in contemporary culture. Transart Institute positions itself in these alternative name-spaces where art practice, knowledge production, and research processes operate in the tensions between, across, through, and beyond establishing paradigms. Rather than prefixing meaning, Hito Steyerl talks about artistic research speaking several languages at once – and as ‘an act of translation’. But if this is the case, the symposium asks how do we further translate ‘trans’ to account for the apparent normalisation of its application?
In the symposium, we wish to be reflexive (not least about the use of the term trans-art), and explore further acts of translation through short papers and alternative forms of presentation such as performance-lectures. Presenters explore new modes of communication and exchange, the spaces in which knowledge is formed, produced and disseminated, challenge forms and paradigms through which artistic research operates, and reflect on the deeper consequences of changing something to something else. In discussion we hope to uncover alternative models of knowledge production, excavate relatively forgotten histories, explore the potential of technological paradigms to redefine possibilities, and reveal examples of non-traditional methods, use of non-textual language, speculations, and actions.


12.00 – 12.05 // welcome: Klaus Knoll
12.05 – 12.15 // introduction: Geoff Cox – Trans What?
12.15 – 12.45 // keynote: Julia Moritz – What Trans?
12.45 – 13.00 discussion (moderated by Geoff Cox)

13.30 – 15.30 // trans-positions (moderated by Debbie Robinson)
Monika Jaeckel, with Yuko Matsuyama – Turn around, make a round turn
Thomas Baugh – Trans memory and trans-remembering
Rachelle Viader Knowles – Translocating art practice
Christopher Danowski and Laura González – Trance Art and Other Possessions

16.00 – 17.30 // trans-mutations (moderated by Geoff Cox)
Arianne Conty – Mediations
Emile Devereaux – Testing Vision
Helen Pritchard – Making Casper
break + screening // Mez Breeze – netwurker_mez + her cardboard avatar

18.00 – 19.30 // trans-missions (moderated by Debbie Robinson)
Michelle Lewis-King – Pulse Project
Charlie Tweed – Rewriting the overcode
Morten Riis – Operative magnetics
19.30 – 20.00 // plenary (moderated by Debbie Robinson)

20.00 // drinks
Francisco Javier Fernández Gallardo – Talking Dirty (tasting event)


Thomas Baugh – Trans memory and trans-remembering
In this paper I intend to explore the forms and paradigms through which artistic research operates, through my experiential enquiry that is concerned with achieving a material equivalence for experiences of Obsessive Compulsive Disorder. In this trans-disciplinary research I use repetition as method, in the context of art installation: to construct an art experience that is equal in value and meaning to particular somatic states directly related to my OCD – structures of my experiences relating to embodied perception, memory and recollection, made material through experiences enacted within constructed spaces and realised using filmic projection. This paper intends to further explore the space between memory and acts of remembering, which, I propose is where my equivalence is situated: components of my OCD that align directly with acts of obsession and compulsion – elements that interpenetrate each other through embodied action, a relationship that is ‘two-fold’ and constantly in flux within my consciousness. My aim is to use this paper to critique the term trans in relation to my current practice; where I position equivalence, and question whether the application of Trans to a personally situated research is sufficient? The paper will therefore examine methods of remembering and memory that align with my equivalence and support my proposal that it [equivalence] is located in the space(s) between the two experiences, as apposed to across memory and recollection. I will articulate this within the context of embodied perception, inspired by Richard Shusterman’s thinking regarding ‘conscious somatic perception’, which, I propose within my art practice, is able to bring memory forward into the present – behaviour I associate with Bergsonian thought regarding “spontaneous recollection”, a type of memory that is a pure state and belongs to the imagination – unpredictable in its reproduction, shifting within our consciousness according to emotion.

Arianne Conty – Mediations: Bruno Latour, Images, and the ontology of Trans-formation
Philosopher/ethnographer of science Bruno Latour defines the image as “any sign, work of art, inscription or painting serving as a mediation to reach something else.” According to this definition, TRANS- could very well be a synonym for image. Working in the field of philosophy of technology, I would like to use Latour’s work to argue for the crucial role that images play in overcoming a certain modern worldview that has divided the world into ontological essences that separate subject and object, nature and culture. Instead, Latour argues, “we have never been modern,” and nature/culture, subject/object have always formed hybrids, unholy alliances of discourse, politics, nature, science and art. It is precisely the erasure of the mediations, the images that connect these different forms of life together, that has led to the positing of the modern constitution of autonomous essences, cut off from the many agencies that give them life. Latour therefore calls for iconophilia to be adopted in science studies, to map the vast array of agencies (both made and born) that constitute us and are constituted by us. For Latour, this mapping is a creative endeavor, for we are what he calls “weavers of morphisms,” tracing trails of images to rediscover the hybrid sphinxes, satyrs and cyborgs that modernity tried to hide from view. Images thus play a central role in tracing the movement of event-ontologies through their many trans-formations. Using examples of images from science and art, I would like to show that it is precisely this mediating role of art that lends it such an interdisciplinary and universal phenomenological role in breaking down ideological walls in order to allow the invisible threads connecting these trans-mutations to be seen.

Emile Devereaux – Testing Vision: transforming bodies and the ‘test site’
This paper presentation examines the correlation between experiments with new technologies that test and transform live bodies, and the ways in which visual display frames, isolates and informs these tests. In 1994 a study of decommissioned U.S. government reports revealed a series of radiation experiments conducted unknowingly on medical patients, prisoners and other citizens from 1944-74. These human subjects were exposed to low levels of radiation so that the results could be watched and charted, sometimes over the course of decades. A product of the Cold War, radiation experimentation brought in close alliance the healing arts and the development of military weaponry (each targeted in opposite directions). The hopes and possibilities introduced by the development of atomic energy and ultraviolet technologies were also marked by the slow manifestation of intangible bodily symptoms and items like radioactive tracers that allow for the tracking of life processes within the body. A thinking through of Avital Ronell’s ‘test site’ (2005) as an expanded arena, imposed by technologies in everyday life, considers testing in light of its permutations beyond the laboratory and extension through mobile communication networks.

Christopher Danowski and Laura González – Trance Art and Other Possessions
How can one be reflexive when examining something from inside the object of research?
LG: In 2010, I finished a project researching seduction. The road to completion was tortuous, as I found that in studying seduction, I was being seduced that is, led astray. I was, simultaneously, subject and object of the research. I was in a trance, obsessed and possessed by the object of study. Rather than compromise, I turned this problem into an asset, devising a methodology to study slippery phenomena from within. I called this the self-reflexive methodology. It has three steps: recognition, capture and reflection, which can be enacted in a variety of fields, as well as methods or media. For this project, I chose writing, psychoanalytic practice and performative photography. Following a presentation of the methodology and the works produced as part of the seduction project, my aim is to see whether this methodology can be applied to the pedagogical practices I have developed at Transart, and in particular to PhD supervision.
CD: In 2010, I thought that a PhD program was beyond me. I would occasionally have flashes that this body of work might be leading to larger questions, but I was always sidetracked by Desire. Taking Desire as a theme, I would lose my navigational star over and over, as Desire’s etymology suggested, and I let myself be seduced into the possibility of going in the wrong direction consciously, in conscious repetitions. Following the constraints of being as unrestrained as possible, my navigational star’s replica brought me into a PhD program anyway, where I would recognize that a self-reflexive methodology might open doors, or keep open doors still open, or capture my attention, and that this would need further reflection. It was not midnight. It was not raining. It was not Transart. It was not a PhD program.

Francisco Javier Fernández Gallardo – Talking Dirty Workshop and Cocktail-book
My research project, building on the cultural and political analysis of wine, has been developing an alternative source of information about wine as a platform for experimentation. Tentatively entitled “Talking Dirty: tasting soil, ecosystems, diverse network of organisms (including humans) and politics through mixologies”, it builds descriptions of taste in a participatory manner and accounting for diverse species involved in this; a platform that can make meaningful soil conditions, air quality and species interactions. I am working in platforms that can change the politics of taste production, transparency, and accountability. Furthermore one that can extrapolate data readily available from the larger environment to personal and individual experience that wine provides. These taste-related evidences, produced and distributed by collective sense-making processes, aims to allow citizens to enter into environmental and political engagements and requires a discussion about what environment exactly means in institutional agency. This platform is intended to recognize that humans and non-humans are solving the same problems: we learn from each other and have similar conceptual resources. Drawn on DIY-DIWO and instructables culture, I am proposing to develop a “trans-species” tasting event and a small Cocktail-book for the former call I am redefining as “trans-species taste”. Both will constitute an alternative source of information that engages taste as a platform for environmental experimentation. I will hold a workshop, tentatively titled the Talking Dirty Workshop and Cocktail-book. There, I will develop (and document alongside participants) soft-drinks, cocktails, infusions and other delicious recipes that promote environmental health on humans and non-humans. One example for this cocktails is the: Soil Cola, which is based on prior Open Source Cola experiments—in which consumer chooses sugar derived sources, content of CO2, water dwelling sources, cola flavored extracts, etc. Soil-Cola will be brewed with the Rough variant NCTC 11659 strain of Mycobacterium Vaccae vastly present in healthy soils of parks and backyards. This strain is well studied for its interaction with serotonin, norepinephrine and dopamine receptors in humans and mice. Dr Chris Lowry from Bristol University has documented that ingestion of this bacteria alive or heat-killed reinforces brain learning processes and relieves anxiety, constituting a keystone organism for cross-species interaction with Soil: one of the slowest renewable resources humans share.

Monika Jaeckel, in collaboration with Yuko Matsuyama, performance artist (Berlin) – Turn around, make a round turn: Thinking through the transpositional options of movement
This proposal attempts to continue the series of transforming modes of presentation, that in its most recent setting has been presented as Thinking on the move: Diffractive practices as embodied ‘agential intra-action’, a lecture performance in collaboration with two dancers. The presentation focused on the specific movement instructions the choreographer L. Chétouane’ had handed to his dancers for ‘Sacré Sacre du Printemps’. These were based on ‘measuring’ the location in space through perception that enacts movement, and in return eventually enabled to act in a ‘non-representative’ in-between state.
These recently gained experiences are taken as point of departure in setting focus on what necessarily defines these specific movements, that seemingly demand a sort of limberness, an openness, that both embeds and reveals its potentiality within the inherent options of possibilities, emerging from an unknown horizon of yet undefined and thus frightening, as well as threatening moves. These observations become intertwined with recent ideas, from independently oriented sources, that define movement prior to thought as the very form of discourse between human and as well as non-human agencies. It is my attempt to explore a sort of ‘decentered’ proposition of experience that even might inherit K. Barad’s statement of the inherent ethics within the field of possibilities.
Drawing on K. Barad agential realism, and her method of diffractive strategies evolves into a setting of intertwined practices of knowing and becoming, that seeks correspondence in intertwining the aspects of measurement with movement as defining tools to delineate the space and possibilities of action. It indicates to examine the agent’s body as ‘thing’ and tool of measurement, that is part of the apparatus setting, though as the essential contributor in spacetimemattering – and for this very proposal even as an eventual almost still body, that rather might appear as a diffractive opponent in common streamlined settings.

Michelle Lewis-King – Pulse Project: a performance study at the intersections between art, science, east, west, self and other
This presentation explores Pulse Project, a performance series researching the relational interfaces between art production, medicine, technology, ’audience’, the modern and premodern and aims to extend the scope of the socially intimate relationship between artist and audience through conducting performance art as research.
About: Pulse Project places human touch and the somatic together with digital technology. Drawing upon experience as a clinical acupuncturist (trained in biomedicine), I use intuitive touch together with traditional Chinese medical and musical theories and SuperCollider (an open source realtime audio synthesis programming language) to compose bespoke algorithmic soundscapes expressive of the interior aspects of an individual’s embodied being. This approach offers an alternative to using biosensors and digital mapping as the golden mean for conveying embodiment. Each participant’s pulse is interpreted as an unique set of soundwave images based on the lexicon of traditional Chinese pulse diagnostics (a complex set of 28+ waveform images corresponding to physical states of being) and also in accordance with traditional Chinese music theory. Clinical/somatic impressions are notated and transposed into an algorithmic soundscape. Bespoke graphic notations and sound files are given to each participant as a document of the encounter.
Conclusions: Without overly subscribing to occidentalism, this performance study series aims to question the Cartesian axioms continuing to underpin contemporary medicine and digital technology through the exploration of its corollary ‘other’ traditional Chinese medicine and music theory in order to generate a new approach to embodiment and its representation in soundscape composition. See:

Rachelle Viader Knowles – Translocating art practice: reflecting on participation in the Mallorca Translocal Meeting, April 2013
The ‘trans’ that is central to my doctoral research is the ‘translocal’, and I am investigating the question of what might constitute translocal tactics within art practice. While we can understand translocal as simply meaning ‘across locals’, the concept of ‘translocality’ was introduced by anthropologist Arjun Appadurai (1996) within the context of furthering a theoretical discourse of ‘grounded transnationalism’. In ‘Translocal Geographies’ (2011) however, Katherine Bricknall and Ayona Datta argue for a multiscalar understanding of translocality beyond the discourse of national borders, enabling the term to be deployed as an expression of ‘simultaneous situatedness across different locales’ and ‘connectedness to a variety of other locales’, no matter the proximity.
In April 2013 I participated in the month long Mallorca Translocal Meeting (MTM) artists residency, an experience that has furthered my understanding of how the term is currently being deployed by some contemporary artists. Organized by Marcos Vidal Font, the MTM brought together a network of organizations from Bulgaria, the UK, Armenia, the Netherlands and Spain, each with a mandate to develop peer-to-peer, artist-run cultural projects that bypass standard art-world hierarchies and emphasize mobility, networks, and cultural exchange. Fourteen international artists spent the month living together in a traditional Mallorcan farmhouse, making art, developing an exhibition and negotiating the challenges of language difference, our new local, and cooking for fourteen.
The first section of this paper will provide a brief overview of the term ‘translocal’. In the second section I will address how artists’ networks and residencies such as the MTM contribute to an understanding and expanding of the term. Finally, I will address how translocal methods informed the two creative collaborative projects I produced for and at the residency: Neighbours Newspaper which Ken Hay, Mkrtich Tonoyan and I launched at MTM; and Our beds in Mallorca and our beds at home, a series of digital images printed in Mallorca at the Miro Foundation.

Mez Breeze – netwurker_mez + her cardboard avatar [who might be made up of Boxes, but is *not* Boxxy] (screening)
This video “netwurker_mez + her cardboard avatar [who might be made up of Boxes, but is *not* Boxxy]” employs virtual avatars and describes the art of mezangelle in electronic media, identity fluctuations, and the use of progressive collaborative game “interventions” that operate at a subversive level. It highlights the discrepancies between current creative pedagogical standards and new educational forms that act to utilise more relevant platforms like MMOs and mixed reality platforms. Additional points discussed include copyleft models and questions of legitimacy in knowledge formation and remix culture. The performance also discusses synthetic and mixed realities, including a demarcation of the geophysical and the virtual and how these categorisations can be leveraged to create new art forms. The video contains references to the importance of MMOE use in artistic interventions, with a case study outline and video documentation of the Third faction Collective and our DPS project/civil disobedience movement shown at the 4th Annual SubZero Festival. There’s also a discussion of Synthetics as valid extensions of the phenomenological via augmented personas, with references to coding structures and how they are relevant in these contexts.

Julia Moritz – What Trans?
What is the essence of “trans”? This talk aims to unpack this crucial contradiction. But can we get rid of a working definition of this prefix without succumbing to relativism? In order to tackle the dubious task of fixing the meaning of the unfixed, I will depart from a negative outline of “trans” in contrast to other methodological prefixes. It seems that the essence of trans might be movement – the opposite of stasis, and yet itself an overcoded signifier, ranging from physical movement (space), emotional movement (affect), social/political movement (dialectics). How do these notions of trans as movement operate as the apparent normalisation/relativism of its uses today? To (re-) move the work is to destroy it, says Richard Serra about his public mega sculptures. The artistic praxis of site-specificity emerges as an insistence of knowledge as contextual experience versus all commodification through flexibility. But what does this famous conceptual dictum disable? The talk will conclude with a contemporary perspective on the normalizing capacities of movement and mobility in relation to (artistic) processes of dematerialization such as those proliferating in “artistic research” today, harbouring the potential to enable and disable commodification simultaneously. Thus the main challenge of “trans” remains, as it is precisely in the realm of the discursive, shaped by increasingly capitalized educational-institutional boundaries, where it is to be decided whether the many “trans-es” of today will still be able to move (on all levels) or evaporate into meaninglessness (and/or critique on demand).

Helen Pritchard – Making Casper: the touching trouble of transgenic fish

This presentation focuses on the ‘touch/ing’ of ‘Casper’ the transgenic fish, in order to think through questions on the ‘transience of matter’ (Barad 2012) and the imbrication of biological and computational logics. As Karen Barad (2012) might ask when the genes of ‘Casper’ mutate, when they intra-act with another, when they touch one another whom or what do they touch? and what other infinite configurations of possible others, being and times have always already touched them? To grapple with these questions I draw on my specific fieldwork with ‘Casper’ the transgenic fish, who was produced by the artificial transfer of rearranged genes into newly fertilized eggs. I will discuss my engagement with a messy contingent mix of flashlights, tanks, gallons of waters, microinjectors, algorithms and microchips of the material world and the sensations of “making Casper” transgenic. Drawing on the etymological routes of ‘transfer’ as ‘bearing’ or ‘carrying’ matter across space, I consider the ‘carrying’ of pollutants between human and non human bodies in water, alongside the ‘bearing’ of historical logics of software and hardware in transgenic practices. Considering this transference as a transfer of ‘body burdens’ (Murphy 2008, Petryna 2002) between humans and non humans, I discuss water as in itself a technological medium of transient matter. Finally drawing on Barad’s Agential Realism (2007) I outline the material-discursive practices by which the differential constitutions of these transgenic fish such as “Casper” are marked, to consider how we ourselves might ‘bear’ or ‘carry’ the response-ability of “touching trouble” (Barad 2013) as a kind of trans-(art)-practice.

Morten Riis – Operative magnetics: a trans-archaeological excavation
This paper will investigate the relationship between documenting, representing, collecting, structuring and transforming the operational tape recorder into research material. When conducting practice-based research a problem arises: The notion of transferring – or transmitting – knowledge from an artistic practice to a more formal academic framing. Through the last 10 years there have been numerous attempts (Barrett & Bolt, 2007; Caduff, Siegenthaler, & Wälchli, 2010; Nowotny, 2011; Sullivan, 2005) to develop strategies for a meaningful and fruitful exchange of knowledge. In this paper I will investigate how to extract knowledge from the operational machine itself and how to transfer this operation very directly to an academic framing. The investigation takes it starting point in a case study of how machines represent, organise and structure data. Through this exposition questions regarding how the human researchers represent, organise and structure data raise themselves. From a media archaeological point of view it is only technical media that is able to register physically real signals. The phonograph – for instance – does not only preserve the memory of cultural semantics, but according to Wolfgang Ernst, also a kind of frozen media knowledge embodied in the operational technology (2010). Taking this media archaeological point to the extreme would then ultimately mean a proposition of alternative ways of decoding or translating these real signals into formal academic writing. Based on these conceptualisations of the relationship between shifting states of knowledge generation, I propose to transfer or transmit the tape recorder’s way of registering sound waves onto tape, onto academic writing. The data extracted becomes the operating tape machine itself and the way that data is analysed is a direct translation of the way the tape recorder represents and structures data. As an operational academic machine feedback loop, as a sound on sound loop, that constantly evolves in an ever-growing layering of sound.

Charlie Tweed – Rewriting the overcode: machinic modelling as artistic strategy
This paper will present my PHD research project which looks at developing new models for artists to intervene in and subvert the new technologies of overcoding and their modes of transmission. The research interrogates how integrated capital has allowed for a complex form of social and environmental control to be realised resulting in what Brian Holmes has described as the ‘noosphere’, an invisible sphere beyond the earth’s biosphere of fibre optic cables and electromagnetic waves moving around us, tracking us and reacting to our actions. This noosphere modulates affect which is transmitted onto its users, triggering unconscious reactions and it signals a new form of human control over the environment and its mapping. It also allows for the production of a sort of capitalist meteorology that is able to unpack the simple mechanics of sociality and utilise them as a means for predicting patterns of behaviour. In response I have developed an underground fictional research site and a series a series of conceptual machines which act as models for potential modes of post-human agency that begin to test out approaches that are embedded in my use of video as a performative medium.
These models focus on four key areas of exploration consisting of: Ecosophic Machines – which explore the potential of an ecosopic and vital materialist approach and look at Guattari’s ideas on geophilosophy where he notes that Integrated World Capital captures the unconscious and overcodes it at molecular level because its affects are so intense; Affective Machines – which think about the modulation of media and its affects and how the excess of affect has potential and the models focus on the use of rhythms, repetitions and intensities to explore this;
Transmission Signal Machines – focus on redeploying the signal and its modulation devices to effect network transmissions and take on the voice of their components and algorithms that encode and decode data. They also look at how to expose the realities of transmission, with its abstract waves, movements, flows, intensities, vibrations and rhythms and how these can be mutated into new shapes; Panspectric machines – I have also identified that there is potential agency in modelling the explicit technologies and mechanisms that are utilised within panspectric systems of observation. My idea here is to look at how to appropriate the ideas behind these technologies and begin to mutate them so that they begin to undermine themselves.


Thomas Baugh is currently a PhD student in Fine Art at the University of Plymouth in the final stages of a practice-led art research based in the UK. The research is concerned with defining and making material a visual equivalence of somatic experiences, in the context of Obsessive Compulsive Disorder, using methods of filmic projection within installation art. I am also an Associate Lecturer in Fine Art at the University of Plymouth; a subject tutor teaching across the undergraduate BA Fine Art programme.

Arianne Conty received her Ph.D. in Philosophy of Religion from the University of California, Santa Barbara. Her principal fields of specialization are in continental philosophy, comparative philosophy and philosophy of religion. Her research interests and publications focus on theories of subjectivity and the ways philosophic and religious ideas participate in identity formation and inform theories of textual and visual representation. Currently working in the philosophy of technology, she is studying the ways that emergence and hybridity impact human identity. From France, Professor Conty taught for seven years in Rome, Italy, before coming to the American University of Sharjah in 2011.

Christopher Danowski is a performance artist with a background in theater. He makes films to project on gallery walls, constructs rituals to be enacted in front of these films, and writes and creates theatrical events to play along with the films and the rituals. He is based in Phoenix, and his work has been shown locally, in New York, Minneapolis, Seattle, Yucatán, Mexico City, Dublin, Laval, Vienna, and Berlin. He is currently working on a practice-based PhD on the subject of desire, sorcery and new media performance at Transart Institute.

Emile Devereaux is a digital media maker and writer, whose research focuses on the impact of technological developments, economies, and systems of distribution on bodies and environments. Devereaux’s practice-as-research includes tactical media, site-specific interventions, and socially-engaged projects combining film, video, animation, performance and interactive media. Situational works have taken shape in such diverse locations as Riejka Crnojevica, Montenegro (2009), Buenos Aires, Argentina (2008) and Majdanpek, Serbia (2006). Devereaux’s published works analyse historical precursors to new media technologies and interrogate how changing technologies alter understandings of bodies and identities. He is currently a lecturer at Lancaster University, UK.

Francisco J. Fernández Gallardo (a.k.a. Fran Gallardo) is an architect, engineer and imaginative technologist whose background includes studies in design, physics, computing and precision engineering. He is a young active member of the Environmental Art Activism movement, and his work primarily explores the interface between Society, Environment and Technology. Currently, Fran Gallardo is a Ph.D. Candidate studying under the supervision of influential academics Natalie Jeremijenko and Matthew Fuller at the Cultural Studies Department of Goldsmiths University. Fuller is David Gee Reader in Digital Media at the Centre for Cultural Studies at Goldsmiths University. Jeremijenko is an Associate Professor of Visual Arts at the Steinhardt School at New York University. My research called “Talking Dirty: how to taste soil ecosystems, networks of organism (including humans) and politics” accounts for re-imagining food-soil dynamics and cross(x)species interactions. Fran Gallardo has exhibited at the Tabacalera Arts Centre, Museum Reina Sofia Art Center, Basque Museum of Contemporary Artium, Medialab Prado, and the Madrid College of Architects, among others. As a designer, he focuses on environmental phenomena he transforms through recent developments in Hypersociability, Critical Technical Practice, Environmental Computing, Organic Intelligence, FLOS architecture, Species-Human Interaction. These technologies have changed the way we perceive biodiverCITIES. His projects have attracted wide media coverage, in particular from news sources such as TVE1, TVE2, TeleMadrid, El Pais, El Mundo, Cadena Ser, Radio Círculo, El Correo and ABC.

Laura González is an artist and writer. When she is not following Freud, Lacan and Marx’s footsteps with her camera, she supervises students at the Glasgow School of Art and Transart Institute. She has written on the seductive qualities of Philippe Stack’s Juicy Salif. She is the author of an edited collection on madness to which she contributed a work on hysteria. She has performed with various dance companies, including Michael Clark. Her current research explores knowledge and the body of the hysteric through text, dance performance and video. She writes a blog with her thoughts on hysteria:

Monika Jaeckel, Berlin, Germany; works as artist and writer in the fields of performance and theory; studied video and performance with J. Jonas, Stuttgart; 2002 MA European Media with O. Lialina at the Merz-Akademie Stuttgart/University of Portsmouth. Currently I am developing an artistic research project around the self-invented notion of ‘memacism’ (concept of motion embedded mind agency), which emerged from my interest into movement and focuses on experiments that explore the body as an essential ‘tool’ or ‘extension’ for the world making (worlding) of mind. Portfolio at:

Michelle Lewis-King is an artist and lecturer exploring sound in relation to embodiment and was awarded a PhD studentship by the Cultures of the Digital Economy Research Institute at Anglia Ruskin University in 2011. Michelle’s research investigates the convergence between science, art, touch and technology via her creative practice which draws upon her transdisciplinary training in the fields of fine art, audio programming, Chinese Medicine, biomedicine and clinical practice. Michelle shows nationally and internationally. Recent group shows include, ‘Digital Futures’ at the V&A, ‘Artist’s Games’ at Spike Island, ‘Future Fluxus’ at Anglia Ruskin Gallery curated by Bronac Ferran/ futurecity.

Rachelle Viader Knowles is an artist, researcher and educator. Originally from Cardiff in Wales, she is currently Head of Visual Arts at the University of Regina, Canada; and a Transart Institute MPhil/PhD researcher with interests centred on dialogic and translocal strategies in visual and media art. Her works have been exhibited internationally, most recently at the Can Gelabert Cultural Centre, Mallorca, Spain (2013); the MacKenzie Art Gallery, Canada (2013); and the Gyumri Biennale, Armenia (2012). In 2007 she was a finalist for the Sobey Art Award, Canada’s contemporary art prize. Examples of her work can be found at:

Mez Breeze “does for code poetry as jodi and Vuk Cosic have done for ASCII Art: Turning a great, but naively executed concept into something brilliant, paving the ground for a whole generation of digital artists.” (Florian Cramer). The impact of her unique code works – constructed via her pioneering net-language “mezangelle” – has been likened to that of Shakespeare, James Joyce, Emily Dickinson, and Larry Wall. Mez has exhibited extensively since the early 1990’s: her awards include the 2001 JavaMuseum Artist Of The Year, 2002 Newcastle New Media Poetry Prize and the Burton Wonderland Gallery Winner 2010 (judged by Tim Burton). Mez is also a Technology and Culture Journalist, Futurist and Game Theorist. See

Julia Moritz is an Art historian and curator who was Head of ‘Maybe Education and Public Programs of dOCUMENTA (13)’ until very recently. The department pursued new methods in art education and reassessed the successful public programs of past documenta exhibitions. Before she was the curator of University of Lüneburg, where she was responsible both for the exhibition and events program of the university’s art space, Kunstraum, and also taught seminars in the cultural studies teaching program. In the course of her postgraduate studies in Vienna, New York and Bilbao she wrote a doctoral thesis on issues relating to institutional conditions in contemporary art. She previously worked for major exhibitions such as Manifesta 7 in Trentino/Alto Adige (2008) and the German Pavilion at the 52th Biennale di Venezia (2007). Independently curated projects include the group show Critical Complicity (with Lisa Mazza) in Vienna, Ljubljana and Bolzano (2010). The volume Question of the Day (2007), jointly edited with Nicolaus Schafhausen and published by Sternberg Press gives insight into Moritz’ ongoing dialogical inquiry into the formats used for art production and reception.

Helen Pritchard is an artist and researcher whose interdisciplinary work brings together the fields of Computational Aesthetics, Software Studies, Environmental Practice and New Feminist Materialisms. Her practice is both one of writing and production and these two modes mutually inform each other in order to consider the impact of computational regimes. Central to her work is the consideration of knowledge practices, participation and the performativity of code. Her dissertation contingently titled “Animal Hackers: Articulation in Earth Observation – A New Materialist account of computational ecologies” arises from embedded arts-based research. In her dissertation she use specific fieldwork examples generated through embedded arts-based research. These accounts focus on animals monitored by remote cameras, Air Sensing through the use of augmented insects and the use of Transgenic Fish to monitor water quality, in order to consider issues raised by the entanglement of non-humans with ubiquitous computing and network culture. The aim is to make apparent the relative invisibility of non-human forces/writers in these assemblages and to work towards developing a set of practices as a manifesto for ‘Morethan- human’ collective computing. She is currently a PhD candidate at High Wire DTC, Lancaster University, and a visiting research fellow at School of Creative Media, City University of Hong Kong.

Morten Riis (born 1980) holds a PhD degree from Aarhus University where his research primarily is situated within the media archaeological research tradition. He currently holds a post doc position at Aarhus University. Besides his academic work he is a very active sound artist having received numerous grants and commissions, released several albums, played numerous concerts and exhibited sound installations in Denmark, England, France, Poland, Germany and China. In his recent work Riis tries to implement the notion of programmability, control and execution – the fundamentals of electronic and computer music, into a physical mechanical context in an attempt to search for the elementary elements of digital and mechanical control.

Charlie Tweed is currently an AHRC funded PhD researcher in Fine Art at Kingston University, London. He graduated with an MFA in Art Practice from Goldsmiths, University of London in 2008. Recent group exhibitions include The London Open, Whitechapel Gallery, 2012. Solo exhibitions include Notes I, II & III, Spike Island, Bristol and Alma Enterprises, London, 2011 and ‘I am Algorithm’, Aspex Gallery, Portsmouth, 2013.
Video Works: