Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012). He researches and teaches principles of cultural analytics and digital humanities in the School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010–12 Post-Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, and received his PhD from the Program of Art and Media History, Theory, and Criticism at the University of California in San Diego.
Owen Gallagher received his PhD in Visual Culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online community archive of remix videos, and a cofounder of the Remix Theory & Praxis seminar group. He is the author of a number of research papers and book chapters on remix culture, intellectual property, and visual semiotics. Owen is a lecturer of Web Media at Bahrain Polytechnic.
xtine burrough is a media artist and educator. She has authored or edited several books including Foundations of Digital Art and Design (New Riders, 2014) and Net Works: Case Studies in Web Art and Design (Routledge, 2012). She believes in the transformative power of participatory, digital art. xtine bridges the gaps between histories, theories, and production in new media education.
Janneke Adema is a Research Fellow in Digital Media at Coventry University where she is writing a PhD thesis on the future of the scholarly monograph. She is the author of the OAPEN report Overview of Open Access Models for eBooks in the Humanities and Social Sciences (2010) and has published in New Formations; The International Journal of Cultural Studies, New Media & Society, New Review of Academic Librarianship; Krisis: Journal for Contemporary Philosophy; Scholarly and Research Communication; and LOGOS, among other publications. Together with Pete Woodbridge she has co-edited a living book on Symbiosis (Open Humanities Press, 2011). Her research can be followed on http://www.openreflections.wordpress.com
Mark Amerika is an artist whose work has been exhibited internationally at venues such as the Whitney Biennial of American Art, the Denver Art Museum, the Institute of Contemporary Arts in London, and the Walker Art Center. In 2009-2010, The National Museum of Contemporary Art in Athens, Greece, hosted Amerika’s comprehensive retrospective exhibition entitled UNREALTIME. In 2009, Amerika released Immobilité, generally considered the first feature-length art film ever shot on a mobile phone. He is the author of many books including remixthebook (University of Minnesota Press, 2011 — remixthebook.com) and his collection of artist writings entitled META/DATA: A Digital Poetics (The MIT Press, 2007). His latest art work, Museum of Glitch Aesthetics [glitchmuseum.com], was commissioned by the Abandon Normal Devices Festival in conjunction with the London 2012 Olympics. The project was recently remixed for his survey exhibition, Glitch.Click.Thunk, at the University Art Galleries at the University of Hawaii. Amerika is a Professor of Art and Art History at the University of Colorado at Boulder. In Fall 2013, he was the Labex-H2H International Research Chair at the University of Paris 8. More information can found at his website, markamerika.com and at his twitter feed @markamerika.
Kevin Atherton is an artist, fine art educator and writer. A pioneering video and performance artist in Britain in the 1970s, in the 1980s Atherton went on to contribute to the redefinition of public art in the UK through his emphasis on the importance of site-specificity and produced a number of permanent public sculptures in a variety of media for a range of locations in the UK. In the 1990s he was Head of Fine Art Media at Chelsea College of Art London where he established and ran the research project ‘Virtual Reality as a Fine Art Media’ and in 2014, after fifteen years of teaching in the Fine Art Faculty, he retired as the Head of Post Graduate Pathways at the National College of Art and Design, Dublin. In 2014/15 he exhibited a new version of “In Two Minds” in the exhibition Primal Architecture at the Irish Museum of Modern Art, Dublin.
Patricia Aufderheide is University Professor in the School of Communication at American University in Washington, D.C. She is the co-author with Peter Jaszi of Reclaiming Fair Use: How to Put Balance Back in Copyright (University of Chicago Press, July 2011), and author of, among others, Documentary: A Very Short Introduction (Oxford, 2007), The Daily Planet (University of Minnesota Press, 2000), and of Communications Policy in the Public Interest (Guilford Press, 1999). She has been a Fulbright and John Simon Guggenheim fellow and has served as a juror at the Sundance Film Festival among others. Her awards include the Preservation and Scholarship award in 2006 from the International Documentary Association, a career achievement award in 2008 from the International Digital Media and Arts Association, and the Woman of Vision Award from Women in Film and Video (DC) in 2010.
Mette Birk is a graduate from the Department of Media, Cognition and Communication at University of Copenhagen. She has been active within the Remix Theory & Praxis online seminar group and on behalf of this group presented a paper on artist motivations at the Remix Cinema Workshop hosted by the Oxford Internet Institute. In 2012 she wrote her dissertation on ethics in video remixing communities as a follow up on her bachelor’s thesis on motivations among trailer remixers. Currently she is working as a media researcher at the Danish Broadcasting Corporation with a primary focus on younger demographics.
Margie Borschke is a Senior Lecturer in Journalism and Media at Macquarie University in Sydney, Australia. Her research focuses on media use and circulation with an emphasis on questions related to copies, copying practices and material culture.
xtine burrough is a media artist and educator. She has authored, co-authored, edited, and co-edited several books including Foundations of Digital Art and Design and Net Works: Case Studies in Web Art and Design. She uses social networking, databases, search engines, blogs, and applications in combination with popular sites like Facebook, YouTube, or Mechanical Turk, to create web communities promoting interpretation and autonomy. xtine is passionate about creating works that transform social experiences. She is a Webby Honoree, has received a Terminal commission and an award from the UK Big Lottery fund. She is an associate professor at California State University Fullerton, where she bridges the gap between histories, theories, and production in new media education. Her website is missconceptions.net.
Jonah Brucker-Cohen is an award winning researcher, artist, and writer. He received his Ph.D. in the Disruptive Design Team of the Electronic and Electrical Engineering Department of Trinity College Dublin. He has taught at Lehman College, New York University, Trinity College Dublin, Parsons The New School for Design and more. His work and thesis is titled Deconstructing Networks and includes creative projects that critically challenge and subvert accepted perceptions of network interaction and experience. His work has been exhibited and showcased at venues such as San Francisco Museum of Modern Art, MOMA, ICA London, Whitney Museum of American Art (Artport), Palais du Tokyo,Tate Modern, Ars Electronica,Transmediale, and more. His writing has appeared in publications such as WIRED, Make, Gizmodo, Neural and more. His Scrapyard Challenge workshops have been held in over 14 countries in Europe, South America, North America, Asia, and Australia since 2003.
Vito Campanelli (http://vitocampanelli.eu) is a writer and a new media theorist. His main research interest is technological imaginary. He is also a freelance curator of digital culture events and co-founder of MAO—Media & Arts Office. His essays are regularly published in international journals.
Roy Christopher was assistant editor of Paul D. Miller a.k.a. DJ Spooky’s edited collection Sound Unbound: Sampling Digital Culture and Music (MIT Press, 2008). His first book is an anthology interviews entitled Follow for Now: Interviews with Friends and Heroes (Well-Red Bear, 2007), which Disinformation named one of the most important books published in 2007, and which Erik Davis called, “a crisp and substantial remix of the major memes of the last decade or so.” Christopher is currently a Visiting Lecturer in the Department of Communication at The University of Illinois at Chicago and a Ph.D. candidate in Communication Studies at The University of Texas at Austin. He is also working on a book about technological mediation and culture, titled The Medium Picture and will be out in the near future on Zer0 Books. He lives in Chicago and writes regularly at roychristopher.com.
Scott H. Church frequently teaches courses in popular culture, music, and media studies. His research primarily uses cultural criticism, aesthetics, and rhetorical theory as analytic lenses for digital media and mediated popular texts, as evidenced by his 2013 dissertation All Living Things are DJs: Rhetoric, Aesthetics, and Remix Culture. During his graduate studies in the Department of Communication Studies at the University of Nebraska-Lincoln, his research earned him the departmental Phyllis Japp Scholar Award, a top paper honor from the Western States Communication Association, and a competitive invitation to present his research on remix at the National Communication Association’s Doctoral Honors Seminar. His research has also been published in The Information Society and The Journal of Information Technology & Politics. He currently teaches at the University of Utah and resides in the Salt Lake Valley with his wife and four children.
Olivia Conti is a Ph.D. student in Rhetoric, Politics, and Culture in Department of Communication Arts at the University of Wisconsin-Madison. Her research focus is digital rhetoric, specifically the ways in which users encounter and attempt to shape policy through their everyday online behavior and content production.
Desiree D’Alessandro is a professor at the University of Tampa where she teaches classes in art and technology, digital video production, and digital citizenship. She has exhibited works at the Santa Barbara Museum of Art and Contemporary Arts Forum in California and the Brevard Art Museum, Atlantic Center for the Arts, and Tampa Museum of Art in Florida. Additionally her video works have screened at the European New Media Art Festival in Germany; the Experiments in Cinema Festival in New Mexico, the RE/MixedMediaFestival in New York, the Rogue Political Remix Festival in California, and the Festival of the Moving Image in Florida. Her writing has been published in ArtUS and Transformative Works and Cultures and has presented at diverse conferences including the Open Video Conference in New York, International Conference on Arts and Humanities in Hawaii, Media Fields: Contested Territories in California, and Digital (De-)(Re-)Territorializations in Ohio.
Cicero Inacio da Silva has been a leading researcher in the Brazilian digital media art field for more than 20 years. He coordinates the Software Studies Initiative group in Brazil in partnership with the University of California, San Diego (UCSD) and CUNY. He was digital art curator for the Brazilian Digital Culture Forum, digital communities honorary mention at the Prix Ars Electronica in 2010. He was a visiting researcher at the Center for Research in Computing and the Arts (CRCA/UCSD) from 2006 to 2010 and a visiting scholar at Brown University (2005). He was a digital media art curator for several media art festivals including the Electronic Language International Festival (FILE) and the Digital Culture Festival in Brazil. His vitae includes associations with key digital media thinkers such as Ted Nelson, Lev Manovich and George Landow. He currently holds an appointment as a digital media tenured adjunct professor at the Federal University of São Paulo (UNIFESP).
Nicola M. Dusi, Ph.D. in Semiotics, is Senior Lecturer of Media Semiotics at the University of Modena and Reggio Emilia (Italy), Department of Communication and Economics. He is the author of the semiotic essay Il cinema come traduzione (Turin: Utet, 2003). He co-edited the essay Remix-Remake. Pratiche di replicabilità (Rome: Meltemi, 2006) and the essay Matthew Barney. Polimorfismo, multimodalità, neobarocco (Milan: Silvana Editoriale, 2012). He also co-edited some monographic issues of international journals: Versus (85-87, 2000) dedicated to “Intersemiotic Translation;” Iris (30, 2004) dedicated to “Film Adaptation: Methodological Questions, Aesthetic Questions;” Degrés (141, 2010) about “Dance Research and Transmedia Practices.”
Jesse Drew’s research and practice centers on alternative and community media and their impact on democratic societies, with a particular emphasis on the global working class. His audio-visual work, represented by Video Data Bank, has been exhibited at festivals and in galleries internationally. Open Country is his current film project, a feature documentary on the politics of American Country music. His writings have appeared in numerous publications, journals and anthologies, including Resisting the Virtual Life (City Lights Press), At a Distance (MIT Press), Collectivism After Modernism (University of Minnesota), West of Eden (PM Press). His new book is A Social History of Contemporary Democratic Media (Routledge). He is currently professor of Cinema and Technoculture at UC Davis, where he teaches media archaeology, radio production, documentary studies, electronics for artists, and community media. Before coming to UC Davis he headed the Center for Digital Media and was Associate Dean at the San Francisco Art Institute.
Emily Erickson is an award-winning teacher who specializes in media law and has taught and developed several original communications courses as well. Dr. Erickson’s research focuses on First Amendment jurisprudence and the role of journalists in public records policy, an interest propelled by her work in helping create Alabama’s first freedom of information group. She is the co-editor of Contemporary Media Issues and has published legal and communications research in a number of academic journals. In 2014 she authored “The Watchdog Joins the Fray: The Press, Records Audits, and State Access Reform” for Journalism & Communication Monographs.
Eric S. Faden is an Associate Professor of English and Film/Media Studies at Bucknell University (Lewisburg, PA). He studies early cinema and digital image technologies. He also creates film, video, and multimedia projects that imagine how scholarly research might appear as visual media. These works appear in a variety of modes including traditional documentary, scholarly video essays, and avant-garde remixes. In addition, he also works as a commercial filmmaker with a broad range of clients from a biotech start-up to a U.S. Federal Judge as well as advocacy groups like the Electronic Frontier Foundation and the Independent Film & Television Alliance.
Rachel Falconer is a curator, writer and producer operating at the intersections of technology, networked behavior and contemporary art. She is Head of Art and Technology at The White Building, London’s Centre for Art, Technology and Sustainability and structures an Internationally acclaimed residency programme in association with Eyebeam, LUX , The Goethe-Institut, IASPIS,and Bloomberg. As Co-Editor at Furtherfield she regularly contributes articles to the Furtherfield network and is a founding member of the collective Hardcore Software. She is regularly invited to participate in exhibitions, panel discussions and events in her field – including at Tate, Barbican, the Royal College of Art, Rhizome, Furtherfield, and Goldsmiths University. Her practice is hybrid and interdisciplinary in approach, and she draws on her International experience in the viral advertising and gaming industries to inform her systems-based practice. Her ongoing research focuses on the pathologies surrounding distributed knowledge production and consumption and networked behavior patterns.
Katharina Freund completed her Ph.D. in digital communication at the University of Wollongong in Australia. Her dissertation analyzed the online community of fan vidders, discussing how fanvids reimagine televisual texts. She is now pursuing an alt-ac career as a digital learning developer at the Australian National University and writes about fanvids and online communities in her spare time.
Owen Gallagher received his Ph.D. in visual culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online community of video remixers and archive of remix videos. He is a co-founder of the Remix Theory & Praxis seminar group and author of a number of research papers, articles and book chapters on remix culture, intellectual property and visual semiotics. Owen is a lecturer of web media at Bahrain Polytechnic, where he teaches audio & video post-production, 3D animation and advanced interactive applications, as well as producing and publishing his own remix videos.
Nate Harrison is an artist and writer working at the intersection of intellectual property, cultural production, and the formation of creative processes in modern media. He has both exhibited and lectured internationally. Harrison serves on the faculty at the School of the Museum of Fine Arts, Boston. He is the recipient of the 2011 Videonale Prize as well as the 2013 Hannah Arendt Prize in Critical Theory and Creative Research. Nate is completing his doctoral dissertation “Appropriation Art and Intellectual Property: Rethinking Authorial Agency in Postmodernity and Beyond” at the University of California, San Diego.
Martin Irvine is the Founding Director of the graduate program in Communication, Culture & Technology at Georgetown University where he has been a professor for over 20 years. His research, publications, and teaching span a wide range of fields, including classical and modern languages and literature, philosophy, semiotics, art history, media theory, and the Internet and digital media. He has a Ph.D. from Harvard University, where he also learned computing and became the first liberal arts student to write a dissertation on a computer. He has been a pioneer and advocate of Internet and Web computing in the university since the early 1990s. He has recently published on street art and the city, and is currently working on a book that presents a new interdisciplinary view of semiotics and media theory. Martin Irvine has also been active in the art and music communities as a gallery curator and promoter of contemporary music.
Elisa Kreisinger is a Brooklyn-based pop culture hacker mashing up Mad Men into feminists and The Real Housewives into lesbians. Her 2012 US Copyright Office testimony helped win crucial exemptions to the Digital Millennium Copyright Act, decriminalizing DVD ripping for artistic statements. She is a contributor to The Book of Jezebel and The Future of Now: Making Sense of Our Always On, Always Connected World. A former fellow at the Center for Social Media at American University and artist-in-residence at Public Knowledge and Eyebeam Art and Technology Center, Elisa currently speaks around the world on the power of remix and remaking pop culture.
Meryl Krieger’s research into remix and mashup video is a logical extension of earlier research. She began exploring the ways that media creators and culture producers interact with recording and production technologies, first in face to face audio recording sessions and later in online production spaces. Her current research explores how creative and improvisatory modes of performance are translated through online media technologies including remixing, pre-, and post-production issues of crowdfunding and crowdsourcing, and the impact of these technologies on local performing communities in the United States. She teaches part-time on issues of gender, technology, and popular culture as sociological issues at Indiana University Purdue University Indianapolis.
John Logie is an Associate Professor of Rhetoric in the Department of Writing Studies at the University of Minnesota in Minneapolis. His work has centered on authorship, copyright, and rhetorical invention, with a particular emphasis on these topics as informed by the advent of networked digital media. His 2006 book Peers, Pirates, and Persuasion: Rhetoric in the Peer-to-Peer Debates focused on the mischaracterizations of peer-to-peer technologies as facilitators of “piracy” and “sharing.” This book was made freely available (and remains freely available) via a Creative Commons license. Logie’s work is directed at maximizing access to creative work — for creators and consumers — by streamlining and recalibrating copyright laws to reflect the realities of 21st Century technologies.
Diran Lyons produces political remix videos which have been featured by Billboard, BoingBoing, Entertainment Weekly, Huffington Post, Mashable, MSN, NY Magazine, OC Weekly, SF Weekly, Slate, TIME, VIBE, Wired, and the IMDb most popular short film ratings, where he was the first remix artist ever to reach #1. Examples of his remix work have been presented at Ars Electronica in Linz, Austria, Cut Up at Museum of the Moving Image in New York, and ROFLconat Massachusetts Institute of Technology. Lyons’ participation in notable film festivals and video exhibitions includes LA Shorts Fest in Hollywood, CA; Athens Video Art Festival in Athens, Greece; RE/Mixed Media Festival in Brooklyn, NY; Antimatter Film Festival in Victoria, British Columbia, Canada;Reuse Aloud at The NewBridge Project in Newcastle Upon Tyne, UK; SAME OCEAN at The Armory Center for the Arts in Pasadena, CA; amongst others. His viral video 99 Problems (Explicit Political Remix) won the Pirate Flix Video Remix contest, juried by Cory Doctorow.
Lev Manovich is the author of Software Takes Command (Bloomsbury Academic, 2013), Soft Cinema: Navigating the Database (The MIT Press, 2005), and The Language of New Media (The MIT Press, 2001) which was described as “the most suggestive and broad ranging media history since Marshall McLuhan.” Manovich is a Professor at The Graduate Center, CUNY, and a Director of the Software Studies Initiative which works on the analysis and visualization of big cultural data. In 2013 he appeared on the List of “25 People Shaping the Future of Design” (between Casey Reas at no. 1 and Jonathan Ive at no. 3).
Conor McGarrigle is an Irish new media artist, researcher and educator working at the intersection of digital networks and real space. His work is concerned with the integration of digital technologies into the everyday, the spatial implications of location aware mobile devices, and the social, political and cultural implications of big data. His practice is characterized by urban interventions mediated through digital technologies that explore the avant-garde legacy of walking as art re-imagined for the smartphone age. Projects have included a derive along the longest street in the US documented by satellite, data-mining Vine to create a 24 hour portrait of social media as performance, iPhone apps that create spatial remixes of literary texts and augmented reality mappings of the geography of the Irish financial collapse. His work has been exhibited in over 70 exhibitions worlwide including the 2011 Venice Biennale, Fundació Miro in Mallorca, the St. Etienne Biennale, EVA International, SIGGRAPH, Site Santa Fe and FILE São Paulo. He is an Assistant Professor in the Emergent Digital Practices program at the University of Denver.
Kembrew McLeod is a writer, filmmaker, and Professor of Communication Studies at the University of Iowa. He has published and produced several books and documentaries about music, popular culture and copyright law—including Pranksters and Freedom of Expression®, which received the American Library Association’s Oboler book award. Copyright Criminals aired on PBS’s Emmy Award-winning documentary series Independent Lens, and McLeod’s writing has appeared in the New York Times, Los Angeles Times, Village Voice, Slate, Salon, SPINand Rolling Stone.
Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer 2012). He implements methodologies of cultural analytics and digital humanities to research the crossover of art and media in culture. He has been a juror for Turbulence.org (Boston) in 2004, Rhizome.org (NYC) in 2006-07, and Terminal Awards in 2011. He was a nominee for the 2005 Rockefeller Foundation New Media Fellowship. Navas was also consultant for Creative Capital (NYC) in 2008-09. He was Gallery Coordinator, Researcher and Senior Writer for gallery@calit2, UC San Diego in 2008. He has lectured on art & media theory, art history as well as studio practice at various colleges and universities in the United States. Navas currently researches and teaches in The School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010-12 Post Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway. He received his Ph.D. from the Program of Art History, Theory, and Criticism at the University of California in San Diego.
Rachel O’Dwyer is a lecturer in the school of computer science in Trinity College Dublin where she teaches masters courses in media theory, technology studies and physical computing. She is the founding editor-in-chief of the journal Interference www.interferencejournal.com, the leader of the Dublin Art and Technology Association and the curator of the openhere festivalwww.openhere.data.ie. She is a regular contributor to neural magazine www.neural.it and has published broadly on issues including open source, the digital commons and sound studies, most recently in Fibreculture and Ephemera.
Paolo Peverini is assistant professor in Media Semiotics at Luiss Guido Carli University of Rome, Department of Political Science and member of CMCS (Centre of Media and Communication Studies “Massimo Baldini”). In 2013, as a visiting professor, he participated to the XIX Colóquio do Centro de Pesquisas Sociossemióticas. He gave lectures at the University Tuiuti do Paraná of Curitiba and at the ESPM of São Paulo. His publications include Social guerrilla. Semiotica della comunicazione non convenzionale (in press), “Environmental issues in unconventional social advertising. A semiotic perspective” («Semiotica» vol. 2014, issue 199), “A efetividade das imagens na comunicação de interesse público: estratégias de veridicção” («19° Caderno de Discussao do Centro de Pesquisas Sociossemioticas» PUC-SP), “Manipulaciones en la red. El mashup como consumo creativo” («Revista de Occidente», n° 370, 2012), I media: strumenti di analisi semiotica (2012), Unconventional. Valori, testi, pratiche della pubblicità sociale (2009), Il videoclip. Strategie e figure di una forma breve (2004).
Gustavo Romano is an artist and curator who was born in 1958 in Buenos Aires, and lives and works in Madrid. In 1995 he founded Fin del Mundo, one of the first platform for net art in Latin America. He was curator of the Virtual Space of the Centro Cultural Center of Buenos Aires, where he created and directed its Medialab. In 2006 he published the book Netart.ib, an overview of digital production in Ibero-America. He coordinates the NETescopio project, an archive of digital works of the MEIAC, a contemparary art museum in Spain. As an artist he has taken part in numerous international events, among them: the 7th Havana Biennale; the 1st Singapore Biennale; the 2nd Mercosur Biennale; the 1st Fin del Mundo Biennale, Ushuaia [Argentina]; la Videonale 11, Bonn; Transmediale 03 Berlin; Ars Electronica 97, Vienna; Madrid Abierto; Transitio MX. He has received numerous prizes, among them, a Guggenheim Fellowship and a VIDA Prize of Telefonica Foundation.
Byron Russell is an artist, writer and educator deeply interested in the creative potential and human implications of technology. In addition to remix theory, practice and curating, his artistic practice includes site-specific interactive installations. The most recent of which, “The Master Control Station and Heptagon Server Monolith,” was exhibited at the 2014 Bay Area Maker Faire and received an Editor’s Choice award. An adjunct faculty member at Fresno City College, he teaches Digital Video Production, 2D and 3D Animation and Storyboarding. He received his BA in Art from Pomona College and his MFA in Motion Picture Producing from the Peter Stark Program of the USC School of Cinema/Television.
Aram Sinnreich is an assistant professor at Rutgers University’s School of Communication and Information, and the author of the 2010 book Mashed Up: Music, Technology and the Rise of Configurable Culture, as well as the 2013 book The Piracy Crusade: How the Music Industry’s War on Sharing Destroys Markets and Erodes Civil Liberties. He has written about music, media and technology for The New York Times, Billboard, and Wired, has testified as an expert witness in several cases including the Supreme Court file sharing suit MGM vs. Grokster, and has offered his expertise as an analyst and consultant to hundreds of companies, from the Fortune 500 to fledgling startups, since 1997. Sinnreich holds an MS from the Columbia University School of Journalism, as well as an MA and a PhD in Communication from the USC Annenberg School for Communication & Journalism.
Stefan Sonvilla-Weiss is professor and head of the international Master of Arts program ePedagogy Design – Visual Knowledge Building at Aalto University/ School of Art and Design Helsinki. The last 20 years he worked as art and design teacher, media artist, graphic designer, author, multimedia-developer and university professor. His international activities as researcher, artist and speaker brought him to many institutions around the world, including Oxford University–Internet Institute, Seoul National University–Design Talks, National Institute of Multimedia Education Tokyo, University of the Arts London, Zurich University of the Arts, University of Arts and Industrial Design Linz, ZKM Karlsruhe. He is the author of Synthesis & Nullification. Works 1991 – 2011 (Springer Wien/New York, 2012), (In)visible. Learning to Act in the Metaverse (Springer Wien/New York, 2008), Virtual School – kunstnetzwerk.at (Peter Lang, 2003), and he has edited Mashup Cultures (Springer, 2010) and (e)Pedagogy Design – Visual Knowledge Building (Peter Lang, 2005).
Monica Tavares is Associate Professor at the Department of Visual Arts at School of Communications and Arts at University of São Paulo, Brazil. She is a Visiting Scholar at Cornell University (2013-2014) and at Pennsylvania State University (2008-2009). She received a Ph.D. in Arts from the University of São Paulo (2001) and a Master’s degree in Multimedia from the State University of Campinas (1995). She is licensed architect from School of Architecture and Urbanism at Federal University of Bahia (1982) and has experience in Communication, focusing on Visual Communication, acting on the following subjects: design, media art and aesthetics.
Tom Tenney is a New York based producer, arts journalist, educator, and the founder and director of the RE/Mixed Media Festival. His work as a producer, director, and performer has been seen in New York, Chicago, Los Angeles, Boston, and several cities throughout Europe. Tom received his M.A. in Media Studies from the New School in NYC and his B.F.A. (Bachelor of Fun Arts) from Ringling Brothers & Barnum & Bailey Clown College. He has been a guest lecturer at the School of Visual Arts (SVA), and currently teaches a variety of media studies courses at Hofstra University.
Tashima Thomas is a Ph.D. Candidate in the Art History department at Rutgers, the State University of New Jersey. She specializes in the art of the African Diaspora in the Americas and her work focuses on food pathways, commodity fetishism, and the consumption of culture. She holds a B.A. in Art History from the University of Houston and an M.A. in Art History from San Diego State University. She is a Ford Foundation Pre-Doctoral Fellow and the recipient of the Goldman Sachs Multicultural Afrolatino Junior Fellowship at the Smithsonian. Her interests include: visual culture, fashion, film, music, food studies, popular culture, remix theory, and critical race theory.
Erandy Vergara is an independent curator and a PhD candidate in Art History at McGill University. She is a recipient of the Doctoral Fellowship from the SSHRC and the FQRSC. Her research interests include media art, global art histories, curatorial studies, Latin American studies; postcolonialism and critical race studies. Her writing has been published in books and journals including: “[Ready] Media: Towards an archeology of Media and Invention in Mexico;” and “Points, Pixels and Inches: Fragments of a Discourse of Digital Images.” Some of her curatorial projects include “Parallel Visions” held at the Manchester Digital Laboratory, U.K. and “Curating Mexican Video Art: A Historical Survey,” held at the Laboratorio Arte Alameda, Mexico. She blogs at http://heartelectronico.org.
Nadine Wanono has a research tenure position at the CNRS: Institut des Mondes africains. She took part at the workshop organized by Jean Rouch in Mozambique (1977-1979). She conducted her field work among the Dogon people in Mali, where she produced several films which were selected in numerous ethnographic film festivals and broadcast on Arte. As Visiting Associate Professor at UCSB, she started research on the role and impact of digital technologies in visual anthropology. In 2005-2007, she conducted a seminar on the subject Singularités et Technologie. From 2011 she initiated a collaboration with Le Cube, digital art center (www.lecube.com), to present an encounter entitled Digital Anthropologies. In 2012, she co edited a special issue of the Journal des anthropologues entitled Creation and Transmission in Visual Anthropology N°130-131.