Building Bridges

Marisa Caichiolo is an artist and curator who studied art history and curatorial studies, she holds a PhD in art history and psychology.

Her research focuses primarily on the impact on social and political changes in society. She focuses on cultural exchanges researching cultural production fluctuating between theory and practice.

Her curatorial projects have been shown internationally, including MUSA Museum of Arts of the University of Guadalajara(Mexico); Kirchner Cultural Center, Buenos Aires, (Argentina); DOX Center for ContemporaryArts, Prague (Czech Republic); Frost Science Museum, Miami (USA); PVAC PalosVerdes Art Center, Palos Verdes (California); Building Bridges Art Foundation,Los Angeles (California); KATARA Cultural Center, Doha (Qatar); Sharjah Museum of Contemporary Art, Dubai (United Arab Emirates); Anaheim Muzeo Museum andCultural Center, Anaheim (California); Telefónica Art Foundation, Santiago(Chile); among others.

She is the founder of Building Bridges International Art Foundation an international non-profit organization based in SantaMonica, Los Angeles County. The foundation is conceived to be a platform for critical thinking, and researching; local and

Organic Machines: Nam June Paik’s Cyborg Poetics

ANURADHA VIKRAM is a writer, curator, and educator born in New York and based in Los Angeles. They are co-curator of the 2024 Portland Biennial and guest curator of the Getty Pacific Standard Time Art and Science exhibition Atmosphere of Sound: Sonic Art in Times of Climate Disruption (2024–25) at UCLA Art Sci Center. Recent curatorial projects include Jaishri Abichandani: Flower-Headed Children at Craft Contemporary, Los Angeles, Swept Away: Love Letter to a Surrogate at Guild Hall, East Hampton, New York, and eX-aMEN-ing Masculinities with LA Freewaves at Los Angeles State Historic Park in 2022.

Vikram’s book Decolonizing Culture (Sming Sming Books, 2017) helped initiate a global movement to decolonize arts institutions and monuments. They have written for art periodicals and publications from Paper Monument, Heyday Press, Routledge, and Oxford University Press. They are an Editorial Board member at X-TRA and an editor at X Artists’ Books.

Vikram is faculty in the UCLA School of the

MARCO PINTER creates artwork and performances which fuse physical kinetic form with live visualizations. He has a PhD in Media Arts and Technology from the University of California, Santa Barbara, and an undergraduate degree from Cornell University. His work integrating graphics with robotic sculpture is supported by grants from the Interdisciplinary Humanities Center, the Santa Barbara Arts Collaborative, and the UC Institute for Research in the Arts. He has exhibited artwork and performances at cities around the world, including Dubai, New York, Montreal, Tehran, Hong Kong, Anaheim, San Diego and Santa Barbara. Wired magazine’s online UK site published a feature on Pinter’s work that explores perception through kinetic sculpture and graphics. Pinter is a contributing author to The McGraw Hill Multimedia Handbook and The Ultimate Multimedia Handbook. He is an inventor on over 70 patents, issued and pending, in the areas of live video technology, robotics, interactivity and telepresence.

A native Minnesotan, JAMIE DUFEK fell in love with nonprofits at a young

The Question of Attention and Thomas Wilfred’s Lumia

ELLEN K. LEVY is a multimedia artist and writer known for exploring art, science and technology interrelationships since the mid-1980s. Levy highlights them through exhibitions, educational and curatorial programs, and publications. Her graduate studies were at the School of the Museum of Fine Arts, Boston following a B.A. from Mount Holyoke College in Zoology. She was President of the College Art Association (2004-2006) before earning her doctorate (2012) from the University of Plymouth (UK) on the art and neuroscience of attention. She then was Special Advisor on the Arts and Sciences at the Institute for Doctoral Studies in the Visual Arts (2012-2017). She was a Distinguished Visiting Fellow in Arts and Sciences at Skidmore College (1999), a position supported by the Luce Foundation, and has taught many transdisciplinary classes and workshops (e.g., at The New School, Cooper Union, Brooklyn College, Banff). She has exhibited widely in the US and abroad.

Levy’s solo

Hands-on, Minds-on: Informal STEAM Learning

ROBIN GOSE has been a STEM educator for more than 20 years, in both classroom and museum settings. She joined the MOXI team in November 2017 during its inaugural year as Santa Barbara’s newest hands-on science museum and destination for families. In this role, she oversees the museum’s operations, finances, fundraising, outreach, and programming to ensure alignment with the organization’s mission, “to ignite learning through interactive experiences in science and creativity.” She also cultivates relationships with supporters, business and civic leaders, schools, community partners, media, and more to further promote MOXI as a world-class institution for informal science learning.

Robin came to MOXI after three years as director of education at Thinkery in Austin, Texas where she cultivated the pedagogical vision of the institution and oversaw all programming, exhibits and facilities at the latest iteration of what was once the Austin Children’s Museum. Robin’s passion is to

Creating in an Elastic Umwelt

LIZ PHILLIPS is a New York-based artist that has been making interactive multi-media installations for the past 50 years. She creates responsive environments sensing wind, plants, fish, audience, dance, water, and food. Sound is her primary descriptive material. Audio and visual art forms combine with new technologies to create elastic time-space constructs.

Phillips has exhibited interactive sound installations at art museums, alternative spaces, festivals, and public spaces. These include; The Academy of Natural Sciences, The Milwaukee Art Museum, Queens Museum of Art, The Jewish Museum, The Whitney Museum of American Art, the San Francisco Museum of Modern Art, the Spoleto Festival USA, the Walker Art Museum, Ars Electronica, Lincoln Center, Jacob’s Pillow, The Kitchen, Rene Block gallery and Frederieke Taylor Gallery. Phillips has also collaborated with the Merce Cunningham Dance Company, Nam June Paik, Heidi Howard, Earl Howard, Simone Forti and Robert Kovich. Her work was presented by Creative Time, the Cleveland Orchestra, IBM Japan, and

Floating Reflections

CRISTINA ALBU is an art historian, educator, and writer focusing on crossovers between contemporary art, cognitive sciences, and technology. She is Associate Professor of Contemporary Art History at University of Missouri-Kansas City (UMKC). Albu is the author of Mirror Affect: Seeing Self, Observing Others in Contemporary Art (Minnesota University Press, 2016) and the co-editor (with Dawna Schuld) of Perception and Agency in Shared Spaces of Contemporary Art (Routledge, 2018). Her writings have appeared in scholarly anthologies (e.g. Nervous Systems, Hybrid Practices, Framings, The Permanence of the Transient, Crossing Cultures) and journals (e.g. Afterimage, Artnodes, Camera Obscura, and the Comparative Media Arts Journal). At UMKC, Albu teaches courses on global contemporary art, participatory and site-specific tendencies, museum studies, and the role of emotion in art reception. She is currently working on a book which charts how artists have paired neurofeedback technology with sounds and video images to cultivate an embodied understanding of our entanglement in more or less

Motion as Sentience and the Pygmalion Complex

Considered an innovator in the field of interactive and immersive narrative, New York-based artist TONI DOVE creates hybrid performance, installation and screen-based art that fuses film, game or instrument-based interaction with experimental theater. In her work, performers and participants interact with an unfolding narrative, using technologies such as motion sensing or machine learning to connect with on-screen characters.
Projects include Spectropia: feature length live-mix movie performance: premiered: Wexner Center for the Arts; REDCAT, LA Nov 2007; EMPAC, Troy NY, 2008, the Kitchen, NYC, 2010, Roulette, NY, 2012. Lucid Possession, a live mix music cinema performance, a co-production with Issue Project Room, Roulette and HERE, premiered in NYC in 2013 after a preview show at Center for the Arts at Virginia Tech. An interactive cinema and robotics installation ‘The Dress That Eats Souls’, premiered in a survey of 20 years of Dove’s interactive work “Embodied Machines” at The Ringling Museum in Sarasota, Florida, 2018.
Dove

Otto Peine’s Light Ballet

ANN McCOY is a New York-based sculptor, painter, and art critic, and Editor at Large for the Brooklyn Rail. She was awarded a John Simon Guggenheim Foundation Fellowship in 2019. She taught art history, the in the graduate design section of the Yale School of Drama until May 2020, and the Art History Department at Barnard College from 1980 through 2000.

Ann McCoy’ work is included in the following collections: the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Modern Art, the National Gallery of Australia, the Roy L. Neuberger Museum, the San Francisco Museum of Modern Art, and the Whitney Museum of American Art, among others. Ann McCoy has received the following awards: the John Simon Guggenheim Fellowship, the Asian Cultural Council, the Pollock Krasner Foundation, the Adolph and Esther Gottlieb Foundation Award, the Award in the Visual Arts, the Prix de Rome,

Using low-tech tools like homemade projectors and a camera obscura, TED VICTORIA creates illusory images and installations known for their lifelike qualities. For example, with Infestation(2009), Victoria transformed a museum facade into an aquarium brimming with sharks; it was actually projections of brine shrimp swimming around in small aquariums on the inside of every window. Likewise, in a series of intricate projections mimicking boxed displays, Victoria questioned perceptions of reality: what appeared to be framed objects (a ring, a feather, a pair of pliers) in motion were actually reflections of the objects’ image created on glass, made possible by a hidden construction of lights, timed motors, lenses, and mirrors. The effect is that the isolated objects—truly seeming as if they were contained in the boxes—come across as simultaneously disconnected from reality and very real.