CURATING IMMERSIVE WORLDS: AI VISIONS, SPATIAL NARRATIVE, AND SPECULATIVE MEDIA ARCHITECTURES

A rethinking of the New Media Architectures (NMA) conceptual framework emerges as media arts research and technology continue to evolve through a series of curatorial investigations situated at the intersection of art, design, education, and immersive virtual environments (IVE) research. This presentation explores a journey through the language of experimental media design practices and speculative spatial systems that examine the future of artistic production, technological and sensory culture, and interdisciplinary research.

The presentation frames an Art, Architecture, and Media Arts & Sciences research practice grounded in immersive design-engineered environments, computational worldmaking practices, and augmented media curatorial experiments. A range of creative research collaborations will be discussed, from investigations developed through the AlloSphere Research Facility to exhibition and community engagement initiatives presented through ACM SIGGRAPH conferences. The presentation will also reflect on a continuing series of online dialogues initiated at the beginning of the pandemic that explored AI, architecture, emerging media cultures, and science, organized in collaboration with Digital Futures.

Gustavo Alfonso Rincon, Ph.D., is educated as an architect, artist, curator, and media arts & design-engineering research scholar. He is an advocate for education and research as a human right. His academic and creative work has been exhibited nationally and internationally, while his professional practice has served clients across the globe.

His dissertation, Shaping Space as Information: A Conceptual Framework for New Media Architectures, investigates the limits and possibilities of immersive virtual environments (IVEs) for real-time arts–science research and creative practice. As a curator, educator, and research practitioner, Rincon continues to develop experimental media exhibitions with the ACM SIGGRAPH Digital Arts Community (DAC), alongside online programming initiatives supporting Digital Futures International.

Rincon is affiliated with the Media Arts and Technology Program, where he contributes to curatorial and research initiatives in collaboration with Dr. JoAnn Kuchera-Morin, the inventor of the AlloSphere Research Facility, which is housed inside the CNSI at UCSB.

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JoAnn Kuchera-Morin, PhD, Director and Chief Scientist of the AlloSphere Research Facility and Distinguished Professor of Media Arts and Technology and Music (Composition), in the California NanoSystems Institute at the University of California, Santa Barbara (UCSB). Also is the Founding Director of the Center for Research in Electronic Art Technology at UCSB.

Kuchera-Morin’s research focuses on composition,creative computational systems, content, and facilities design. Her 35 years of experience in digital media research led to the creation of a multi-million dollar sponsored research program for the University of California—the Digital Media Innovation Program. She was Chief Scientist of the Program from 1998 to 2003. The culmination of her creativity and research is the AlloSphere, a 30-foot diameter, 3-story high metal cylinder inside an echo-free cube, designed for immersive/interactive scientific/artistic investigation of multi-dimensional data sets.

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Kon Hyong Kim, PhD, is a researcher and media artist specializing in immersive virtual environments and projection-based virtual reality systems. His work focuses on developing and optimizing highly immersive VR experiences, blending cutting-edge technology with interactive design to push the boundaries of how humans engage with digital environments.

His research contributed to a range of topics such as large-scale immersive displays, real-time interactive systems, and neurological spatial perception. His scholarly work reflects a deep engagement with both the technical and experiential aspects of virtual reality. He helped engineer the AlloSphere, one of the most prominent VR facilities in the world, and developed various multimedia software systems such as allolib.

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Joshua Dickinson is a programmer and computational artist interested in blurring the boundary between humans and machines. He received a BA in music composition from Columbia University in 2010 and an MS in Multimedia Engineering from the Media Art and Technology department at UC Santa Barbara in 2013. His research centers around human-computer interaction, cultural analytics, computer vision, and the exploration of large or otherwise unique datasets. He enjoys trying to digitally quantify and simulate things we normally consider very “organic,” hopefully as a way of getting closer to what actually makes us human.

In 2012 he founded Unfiltered Audio, a company that has released dozens of instruments and effects used throughout the music industry. In 2023 he founded SoundLabs.ai, dedicated to pushing the boundaries of human creativity through novel generative AI algorithms. SoundLabs has formed a research-partnership with Universal Music, with which they created a Spanish language AI recreation of “Rockin’ Around the Christmas Tree” by Brenda Lee, a first in the industry and featured in Rolling Stone Magazine.

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VISUALIZING DURATION: A QUANTUM PERSPECTIVE

This presentation offers an artist’s perspective on the fascinating interplay between science and fine art, particularly exploring the roles of duration, observer, chance, and uncertainty. Throughout the 20th century, radical experimental artists have challenged the fundamental questions brought to the surface by quantum mechanics, highlighting the invisible forces at play. Here, the observer is integral to quantum physics, becoming part of what is observed, shaping the visualisations of the elusive quantum phenomena.

Drawing examples of two artists, Thomas Wilfred, and Takis from the David Bermant Foundation, and artwork from Dr. Paul Thomas’ own practice, he will discuss the concepts of duration from a quantum perspective in connection to related visualising phenomena. The artworks create visual sensations and expressions of the immense complexity of visualising the invisible, ineffable, and intangible.

Dr. Paul Thomas, Honorary Professor at UNSW Art and Design and founder of the Studio for Transdisciplinary Art Research as well as the founder and series-chair of the Transdisciplinary Imaging Conference series 2010-2022. In 2000 he instigated and was the founding Director of the Biennale of Electronic Arts Perth 2002, 2004 and 2007. As an artist he is a pioneer of transdisciplinary art practice. His practice led research takes not only inspiration from nanoscience and quantum theory, but actually operates there.

Thomas’s internationally exhibited research projects have been based on working with scientists inquiring into specific areas of physics. The current creative practice ‘Quantum Chaos’ artworks in collaboration with the Centre for Quantum Computation and Communication Technology, UNSW. Publications, Concerning the Quantum in Art (2026), Quantum Art and Uncertainty (2018), Nanoart: The Immateriality of Art (2013).

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New York based Austrian artist Kurt Hentschläger creates performative installations for both physical and virtual venues. Hentschläger’s works have characteristically been visceral and immersive, as in ZEE, FEED & more recently in FLUX, EKO, SUB and SOL, and are known for their perceptual effects. They challenge an audience psychologically but also offer a meditative respite from the many stresses of today’s life. His representational body of work, like EVER MORE, ORT & MEASURE, suggests a semi-synthetic form of nature, in the Anthropocene. Hentschläger’s work practice embraces experiment and interdisciplinary approach, most prominently displayed in his ephemeral audiovisual environments and live shows in between fine arts, music and theater.

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ANDREA RASSELL is a filmmaker, media artist and creative researcher in science art. She creates documentaries and moving image installations that explore technological mediation and the multisensory perception of the sub-molecular realm. Her work has been shown at the New York Imagine Science Festival, Oaxaca FilmFest in Mexico, the New Zealand International Film Festival, White Night in Australia and Sónar+D in Spain. Andrea was the 2019 recipient of the Australian Network for Art and Technology’s Synapse residency. She has been a Research Fellow at SymbioticA, University of Western Australia and a Creative and Performance Leadership Fellow at the Curtin HIVE (Hub for Immersive Visualisation and eResearch).

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BILL SEAMAN is a media artist and a computational media researcher. He is pioneer in the field of interactive media. In particular, his PhD (1999) explored emergent meaning production in a specific generative virtual environment. This research focused on new forms of highly complex interactive generative computation and related articulated visualization. He began collaborating from the mid 1980s with media computer scientists / programmers, articulating new experimental forms of interactive media production. He has collaborated on a number of Art/Science publications and projects. In 2021 Seaman was awarded a lifetime achievement award from ACM SIGGRAPH for his pioneering work in “Recombinant Poetics / Recombinant Informatics / Neosentience.”

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SHAPING EXPERIMENTAL ARTS 1982-2025

CAROL PARKINSON, Executive Director of Harvestworks, NY, for 37 years since 1987, has focused on the development of experimental artworks that explore sound, data, and other emerging technologies. Parkinson’s professional services include panel participation at the New York Foundation for the Arts, the New York State Council on the Arts, and the National Endowment for the Arts. Parkinson is the Executive Producer of the New York Electronic Art Festival, a series of workshops, concert performances, and exhibitions centered on art and technology. Parkinson is a founding member of TELLUS, the Audio Cassette Magazine, a cassette–based magazine of experimental music and sound art published between 1982 and 1996.

In her talk, Shaping the Experimental Media Arts in New York City, former Executive Director and current Board Member Carol Parkinson will discuss works from artists in the collection, including Blue Morph by Victoria Vesna in the New York Electronic Art Festival (2011), Alan Rath in The Interactive Show (1992), and Christian Marclay in SoundWave NYC (1987), as well as a few current exhibitions.

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PAUL GELUSO is the director of Music Technology program at NYU Steinhardt. work focuses on the theoretical, practical, and artistic aspects of sound recording and reproduction. He has been credited as producer, recording engineer, mastering engineer, and/or musician on hundreds of commercially released recordings, including Grammy nominated and Latin Grammy nominated titles and award winning films. His research focusses on new ways to capture, mix, and process immersive audio for playback on multi-channel sound systems, recently co-editing “Immersive Sound: The Art And Science of Binaural and Multi-channel Audio” published by Focal Press-Routledge. He has taught classes in music production and technology at Bard College and the Peabody Institute, in addition to serving as the chief sound engineer at Harvestworks NY for more than 2 decades.

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IVANA DAMA  is a sound artist and researcher holding an MFA from Yale University. She previously graduated from UCLA’s School of the Arts and Architecture with a degree in Design Media Arts and Digital Humanities. Her current research explores the development of a tool that signals urgency for both social and ecological issues, tracing connections between the two as they often occur simultaneously. Her work has been featured in over thirty group shows, and she has presented solo exhibitions in Portland and Los Angeles. In addition to her artistic practice, she previously served as Assistant Director of the UCLA ArtSci Center and has been a visiting critic and professor in the Sound Art MFA program at Columbia University. Currently, she is the interim director at Harvestworks NY.

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TENDER BODIES: HYBRID MEDIA + VERDANT KIN

Isabel Beavers (they/she) is a transdisciplinary artist based in Los Angeles working at the intersections of new media, ecology, and collective action. Across artistic production, curatorial practice and teaching, their research challenges us to imagine adaptive climate futures–ones that rely on alternative modes of knowing as structures for living. Embodied and site-specific research are central to their practice through which they have explored Arctic sea ice melt, plant and human adaptation to wildfire in the American west, deep sea mining, the ethics of artificial intelligence, and eco-feminist re-imaginings of Western mythologies.

Beavers’ work on deep sea mining was recently included in Getty’s 2024 PST Art + Science Collide as part of Transformative Currents: Art and Action in the Pacific Ocean. Beavers is the Artistic Director of Supercollider LA, and the Hixon-Riggs Early Career Fellow in STS at Harvey Mudd University. Through artistic practice, teaching, and curating, they foster communities of care and experimentation, inviting audiences to sense the unseen and imagine new eco-futures.

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VERA PETUKHOVA  is an independent curator from Minsk, Belarus, currently based in Los Angeles. She is the co-founder of RIP Space, a project space in Downtown LA dedicated to new media, future-oriented practices, and emergent art forms. Her curatorial work focuses on performance, media, experimental practices, futurity, food, and research around sensory and immersion in artistic practice.

She has curated exhibitions at The Bronx Museum, CalArts, Young Curators: New Ideas V at Detroit Art Week, AC Institute, CP Projects Space, and the SVA Gramercy Gallery. She received her MA in Curatorial Practice from the School of Visual Arts in 2017 and has worked with the curatorial teams at Visions2030, Performa, The Kitchen, Northwest Film Forum, and the Tribeca Film Festival. Her exhibitions have been reviewed in Hyperallergic and The Art Newspaper, and her writing has appeared in Blouin Artinfo, OnCurating Magazine, and Performa Magazine

MARCELA VIEIRA is cofounder and curator of the art website aarea (www.aarea.co), a curatorial platform founded in 2017 that commissions and exhibits artworks designed especially for the internet. aarea’s activities also extend into a public program of curatorial projects, courses and seminars.

The first internet native art institution in Brazil, aarea has been developing projects in collaboration with other institutions such as Jeu de Paume, São Paulo Biennial, CCA Wattis Institute, Pivô, Macba, Sesc, Pro Helvetia, Salón Nacional de Bogotá, NT2, among others.

With multidisciplinary interests, Marcela is also one of the editors of Revista Rosa and a literary translator (French-Portuguese). She has a PhD in semiotics at the University of Paris 8, in partnership with the University of São Paulo.

Composer JOANN KUCHERA-MORIN is Director and Chief Scientist of the AlloSphere Research Facility and Professor of Media Arts and Technology and Music at the University of California, Santa Barbara. Her research focuses on creative computational systems, multi-modal media systems content and facilities design. Her years of experience in digital media research led to the creation of a multi-million dollar sponsored research program for the University of California—the Digital Media Innovation Program. She was Chief Scientist of the Program from 1998 to 2003. The culmination of Professor Kuchera-Morin’s creativity and research is the AlloSphere, a 30-foot diameter, 3-story high metal sphere inside an echo-free cube, designed for immersive, interactive scientific and artistic investigation of multi-dimensional data sets. Scientifically, the AlloSphere is an instrument for gaining insight and developing bodily intuition about environments into which the body cannot venture—abstract higher-dimensional information spaces, the worlds of the very small or very large, and the realms of the very fast or very slow. Artistically, it is an instrument for the creation and performance of avant-garde new works and the development of new modes and genres of expression and forms of immersion-based entertainment. JoAnn Kuchera-Morin earned a Ph.D. in composition from the Eastman School of Music, University of Rochester in 1984.

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FREDERICK JANKA is a queer latinx arts advocate and cultural producer based in Santa Barbara, California, on the unceded traditional lands of the Chumash. He specializes in organizing and fundraising for artists and exhibitions, advocating for the preservation of cultural resources, and centering Black, Brown, and Indigenous solidarity as a practice of healing. With close to 20 years in the contemporary art world, his vast experience in administrative, fundraising, and curatorial roles at galleries, museums, and arts nonprofits in the US and Mexico include Carolyn Glasoe Bailey Foundation, Museum of Contemporary Art Santa Barbara, SculptureCenter, New Art Dealer’s Alliance and the NADA Art Fair, among others. His current roles include Board President of the Museum of Contemporary Art Santa Barbara and cohort member of the Readying The Museum initiative.

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Our two co-presenters will be discussing four objects from the David Bermant Foundation Collection: Nam June Paik, Participation TV, 1969; Otto Piene, Light Ballet I; Marcel Duchamp, Rotorelief (optical discs) 1935-1953, edition c. 1965, and Alejandro & Moira Sina, Spinning Shaft 1978, 1983. Drawing connections between these artworks and current and upcoming artworks and projects at the Allosphere and the Museum of Contemporary Art Santa Barbara, including DJ Javier: San Milano Drive (October 2025) and Falling into the Future: Kinetic Art at the Edge of the World (October 2026).

SHANNON KENNEDY is best known in the documentary field as an accomplished editor whose feature credits include award winning films featured on HBO, POV, CBC, BBC, Arte and others. These include films that have been shortlisted, nominated and/or won Emmys, Independent Spirit Awards, Academy Awards, DuPont Awards, and premiered and won awards at prestigious festivals such as Sundance, Berlin, Tribeca, Hot Docs, SXSW, the Viennale, Locarno and many more. She’s also been a fellow and an advisor at the Sundance Institute. Shannon has had a parallel career as a visual artist. She’s received numerous grants and fellowships for her experimental photography and film work, including from the Jerome Foundation, the McKnight Foundation and Creative Capital. Her work has been shown at museums and galleries around the world, including solo shows at the Yerba Buena Center for the Arts and the St. Louis Art Museum, to name a few. She lives and works outside of Boston.

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MANJARI SHARMA is an internationally recognized LA-based Visual Artist exploring ritual, identity, memory, and mythology. Manjari was born and raised in Mumbai, India, and she uses photography, sound, motion, projection, and collage in her storytelling. Manjari’s project ‘Darshan’ (Published by Nazraeli Press) is a photographic re-imagining of Hindu deities that has garnered her wide critical acclaim. Her works can be found in The New York Times, Vice Magazine, CNN, LA Times, The Huffington Post, and NPR, to name a few, and her projects have been published and exhibited in galleries, museums, and festivals worldwide. Manjari is a proud recipient of the prestigious Pollock Krasner Foundation grant (2024), and her works are in the permanent collection of The MET, MFA, Houston, Carlos Museum, and Birmingham Museum of Art, amongst various private collections.

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VAL RAVAGLIA is Curator, Displays and International Art at Tate Modern, London, and Curator of Electric Dreams: Art and Technology before the Internet. They assisted with the complete rehang of Tate Modern’s Collection Displays in 2015-16 and have curated numerous collection display rooms since 2012. They co-curated the Tate Modern exhibition A Year in Art: Australia 1992 (2021-2023) and led the touring Tate exhibition The Dynamic Eye: Beyond Op and Kinetic Art. They were the Assistant Curator for the 2017 Turbine Hall Commission by SUPERFLEX and Tate Modern’s Nam June Paik retrospective. Their research interests include the intersections of art, science, and technology, as well as non-anthropocentric philosophies and the posthumanities.

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FRANCESCA FRANCO, PhD, is an independent curator, art historian, and producer based in the UK and Italy. Her research on the history of early computer art and its pioneers has been widely published and translated. Her recent books include Generative Systems Art (Routledge, 2018), The Algorithmic Dimension (Springer, 2022), and Computer Art at the Venice Biennale (Springer, 2025). Notable curatorial projects include Vera Molnár: Icône 2020 at the 59th Venice Biennale, Algorithmic Signs (Venice, 2017), and Vera Molnár: Variazioni Icône (Rome, 2023). She has commissioned significant new works, such as Molnár’s first glasswork in Murano, Icône 2020 (2021), Roman Verostko’s St Mark’s Apocalypse(2017), and Ernest Edmonds’s Growth and Form (2017). Francesca will serve as the 2025 SIGGRAPH Art Gallery Chair.

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DARKO FRITZ is an artist, independent curator, and researcher specializing in the history of New Tendencies and early digital art. His curatorial work and research have gained international recognition, with notable exhibitions at HDLU, Zagreb (2000), Neue Galerie, Graz (2007), ZKM, Karlsruhe (2008–09), and Akbank, Istanbul (2014). Fritz edited Media Art in Croatia for the Culturenet portal and conducted pioneering research on The Beginning of Digital Arts in the Netherlands (1955–1980), a project awarded a grant by the Mondriaan Foundation.

His book, Digital Art in Croatia 1968–1984, published by the Technical Museum Nikola Tesla in Zagreb (2020), was accompanied by an exhibition. An English edition was released in 2022. Since 2006, Fritz has been the founder and programmer of grey) (area, a space dedicated to contemporary and media art.

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AMBER STUCKE is an interdisciplinary artist based in Los Angeles, California. She identifies her work within ideas of social relationships situated between artistic research, science and imagination. Through materials of sound and language, performance, installations, embodied and appropriated drawings, scientific prints and DIY artist books, her research interests include questions of symbiotic and rhizomatic relationships, Native American ethnobotany, local knowledge systems, plant-human relationships, evolutionary biology, consciousness, and the appropriation of visual scientific classification structures.

Since 2019, her interdisciplinary practice advocates for the preservation of Native American language, which is inspired by her early and continuing relationships with both Anishinaabeg and Lakota Sioux from growing up in the Chicago Metropolitan area.

Stucke holds a Master of Fine Arts degree from the California College of the Arts in San Francisco and has also had additional studies at Goldsmith’s College in London and The School of the Art Institute of Chicago. Her work has been exhibited at the Palm Springs Art Museum (Palm Springs, CA), Akron Art Museum (Akron, OH), Satellite Berlin (Berlin, Germany), BAK (Utrecht, Netherlands), University of Oporto (Oporto, Portugal), Cain Schulte Contemporary Art (San Francisco, CA), Punch Gallery (Seattle, WA), Kala Art Institute (Berkeley, CA), and Zacatecas Cultural Center (Zacatecas, Mexico); solo shows include: Electric Works (San Francisco, CA), The David Brower Center (Berkeley, CA), The LAB (San Francisco, CA), Clay Street Press (Cincinnati, OH), and 2731 Prospect Gallery (Cleveland, OH).

She is a recipient of the 2016/2017 Curtis Gates Lloyd Research Fellowship at the Lloyd Library & Museum and an invited artist for the 2024/2025 Getty PST UCLA Art Sci exhibition.
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MARK PATSFALL  is an artist, printmaker, and publisher. He received his MFA from the University of Cincinnati in 1979 and founded what is now Clay Street Press in 1981. As a publisher and printer, he has created editions with international, national, and local artists. While working with Carl Solway Gallery (1983–2003), he served as chief designer and technician for video artist Nam June Paik, creating video sculptures and public projects. His archive of work with Nam June Paik is currently on view in Busan, Korea.

In 2002, he was awarded an artist residency in Prague, Czech Republic, by the Ohio Arts Council and Jelini Foundation. In 2011, he executed a video sculpture commission for the American Broadcast Museum in Chicago.

He is a former adjunct professor of art at the University of Cincinnati and served as an executive member of the Board of Directors of the Art Academy of Cincinnati from 2011–2020. His work has been exhibited locally, nationally, and abroad, and is held in numerous public and private collections.

In the Belly of the Beast – Southern California Art, Technology, Science and Society Nexus – A Historical Landscape

MARKO PELJHAN is a distinguished artist, researcher, and professor whose work spans the fields of art, technology, and science. Born in 1969 in Slovenia, he has significantly contributed to new media art through his innovative projects and research. Peljhan co-founded the arts and technology organization Projekt Atol in 1992 and played a crucial role in establishing the Ljubljana-based new-media laboratory Ljudmila a year later.

One of his most notable projects is Makrolab, an autonomous communications and research laboratory focused on weather, climate, telecommunications and migrations research, First presented at Documenta X in Kassel in 1997. Makrolab has since operated in various locations around the world, including Western Australia, Venetian Lagoon and the Scottish Highlands. Peljhan’s work often addresses themes of surveillance, geopolitics, and environmental issues. Among others he co-founded the Interpolar Transnational Art Science Constellation in 2002 and in 2008 with fellow artist and colleague Matthew Biederman the Arctic Perspective Initiative. He is the recipient of many prizes for his work, including the 2001 Golden Nica Prize at Ars Electronica with Carsten Nicolai and his work has been exhibited internationally at multiple biennales (Venice, Lyon, Istanbul, Gwangju, Johannesburg, Moscow…) exhibitions and festivals, such as documenta, ISEA, Ars Electronica and museums and art institutions worldwide YCAM, ICC-NT, PS.1. MOMA, GARAGE…). In 2019 he was the representative of the Republic of Slovenia at the Venice Biennale with the work “Here we go again…SYSTEM-317”.

Since 2002, Peljhan also serves as professor and director of the Systemics Lab located in the California Nano Systems Institute at UCSB, he was co-director of the UC Wide Institute for Research in the Arts from 2008-2014 and from 2017-2022 he served as Chair of the Media Arts and Technology Graduate Program at the University of California Santa Barbara. He also served as the coordinator of international cooperation for SPACE-SI Slovenian Centre for Space Sciences and Technologies and helped to conceive and launch the first Slovenian remote sensing satellite, NEMO-HD in 2020. He is also editor at large of the music label rx:tx and is known to operate in the radio spectrum as S54MX.

DARKO FRITZ (b. 1966) is a visual artist and freelance curator. He has presented his work at more than thirty solo and over a hundred group exhibitions worldwide, and was also active in the artistic groups The Imitation of Life Studio (with Željko Serdarević, 1987–1990) and Cathedral (Katedrala, 1988). He critically observes the society- changing technology, while his work bridges the gap between contemporary art, media art and network culture, thereby taking over topics such as glitch and monitoring. In 2006, he initiated the association siva) (zona [grey) (area], as part of which he has curated more than 50 exhibitions. The list of over a hundred exhibitions he has hitherto curated includes I am Still Alive (digital art of the 1960s and the 1970s, and the recent lotech and internet art), Zagreb, 2000; CLUB.NL — Contemporary Art and Art Networks from the Netherlands, Dubrovnik, 2000; bit international — [New] Tendencies — Computers and Visual Research, 1961–1973, Neue Galerie, Graz, 2007, and ZKM, Karlsruhe, 2008–2009; Angles and Intersections (co-curated with Nina Czegledy, Elena Rossi and Peter Dobrila, art director: Christiane Paul), MMSU, Rijeka, 2009; and Histories of Post-Digital, Akbank Sanat, Istanbul, 2014. He authored the book Digital Art in Croatia (1968 –1984), Technical Museum Nikola Tesla, Zagreb, 2021, and the eponymous exhibition in 2022, as well as the thematic segment Media Art for culturenet.hr, 2002. He co-edited (with M. Gattin, M. Rosen, and P. Weibel) the book A Little-Known Story About a Movement, a Magazine, and the Computer’s Arrival in Art: New Tendencies and Bit International, 1961–1973, ZKM, Karlsruhe / MIT Press, Cambridge, Mass., 2011. He is a member of the professional organisations AICA, HDLU and HZSU, and an honorary member of ULUPUH.
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ANDREAS BROECKMANN is an art historian and curator who lives in Berlin. He is engaged in the DFG-funded research and documentation project Les Immateriaux Research at Leuphana University Lüneburg (2021-2024). He teaches at the Academy of Fine Arts, Leipzig (HGB – Hochschule für Grafik und Buchkunst) where he holds an Honorary Professorship, and was Visiting Professor for Art History and Media Theory (2017-2020). Visiting Professor for Art and Media Studies at Oldenburg University (2016-2017). He was the Artistic Director of the Leuphana Arts Program (2011-2016), the founding director of Dortmunder U – Centre for Art and Creativity (2009-2011), and has curated exhibitions and festivals in major European venues, incl. transmediale and ISEA2010 RUHR. He holds a PhD in Art History from the University of East Anglia, Norwich/UK, and lectures internationally about the history of modern and contemporary art, media theory, and digital culture. He is the author of „Machine Art in the Twentieth Century“ (MIT-Press, 2016).
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PATRICK MCCRAY  is a Professor in the Department of History. Dr. McCray’s research focuses on different technological and scientific communities and their interactions with the public and policy makers – especially newly emerging technologies. McCray was elected to be a Fellow by the American Association for the Advancement of Science and the American Physical Society. His most recent book, Making Art Work examines the interactions between artists, engineers, and scientists from the 1960s to the present.
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Ingeborg Reichle | Jean Tinguely’s Kinetic Sculptures and Living Machines

INGEBORG REICHLE is a Berlin-based contemporary art historian and curator at the intersection of art and technoscience. In 2004 she gained her Ph.D. from the Humboldt University Berlin with the dissertation Art in the Age of Technoscience: Genetic Engineering, Robotics, and Artificial Life in Contemporary Art (Springer 2009). In recent years she served as Professor in the Department of Media Theory at the University of Applied Arts in Vienna, Austria, and as founding chair of the Department of Cross-disciplinary Strategies (CDS), where she designed an integrated BA study program on applied studies in art, science, philosophy, and global challenges. Recent curatorial projects include the sci-art program NaturArchy at the Joint Research Centre (JRC) in Ispra, Italy, the European Commission’s science and knowledge service and the sci-art program NanoARTS by the Swiss Arts Council Pro Helvetia. In 2022 she joined the Board of Trustees of the ZKM Center for Art and Media Karlsruhe and since 2023 she serves on the Board of Trustees of Fritz and Trude Fortmann Foundation for Building Culture and Materials.

Reichle’s recent book Plastic Ocean: Art and Science Responses to Marine Pollution (De Gruyter 2021) brings together numerous international art projects related to marine plastic pollution, environmental emergencies, and climate science, and draws attention to the irreversible destruction of our marine ecosystems.

More about Ingeborg Reichle.

MARÍA ANTONIA GONZÁLEZ VALERIO holds a PhD in Philosophy. She is a full-time professor at the Faculty of Philosophy and Literature at the National Autonomous University of Mexico (UNAM). Her academic pursuits are situated within the intersection of ontology and aesthetics, as well as the interdisciplinary realm of arts, sciences, and humanities, with a specific focus on art involving biomedia. As the director of the Seminar Arte+Ciencia, she facilitates collaborative engagements between artists, academics, and scientists, fostering interdisciplinarity that yields graduate education, specialised theoretical research, artistic creations, and exhibitions. Additionally, she is a curator and the driving force behind the artistic collective Bios ex Machina. She is the author of the books (selection): Through the Scope of Life. Art and (Bio)Technologies Philosophically Revisited (Springer, 2023), Cabe los límites: Escritos sobre filosofía natural desde la ontología estética (México: UNAM/Herder, 2016), Un tratado de ficción (México: Herder, 2010), and El arte develado (México: Herder, 2005).

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