Speakers

• Agnes Chavez, STEMarts Lab, USA
• Alan Tod, Forest Artist, Cultivamos Cultura, PT
• Alison Powell, Colectivo O Bosque, PT
• Ana Barroso, CEAUL -Universidade de Lisboa, PT
• Anastasiia Melai, Hochschule Darmstadt, UA
• Andrea Gogova, Tomas Bata University in Zlín, CZ
• Anita McKeown, SMARTlab Skelligs, University College Dublin, IR
• Carolyn Angleton, SacBioArts;ARC-BAC,USA
• Cat Jones, Sansom Institute, AU
• Catarina Pombo Nabais, CFCUL, PT
• Cathrine Kramer, Center for Genomic Gastronomy, NO
• Cecilia Vilca, Microscopía Electrónica y Aplicaciones en el Perú, PE
• Clarissa Ribeiro, CrossLab, University of Fortaleza, BR
• Claudia Jacques, ArtSci Center, UCLA, USA
• Clio Flego, MediaAC programme, IT
• Cosima Herter, writer and science consultant, CA
• Cynthia White, The Pennsylvania State University, USA
• Dalila Honorato, Ionian University, PT/GR
• Dipali Gupta, Artist, Lasalle College of the Arts Singapore, SG
• Dolores Steinman, University of Toronto, CA
• Elizabeth Littlejohn, Sheridan College Institute of Technology and Advanced Learning, CA
• Ellen K. Levy, Independent Artist, USA
• Giulia Tomasello, Freelance Designer, UK
• Hege Tapio, Curator and Independent Artist, NO
• Heidi-Annica Ljungqvist, Aalto University, FI
• Helena Ferreira, Faculty of Fine Arts of the University if Lisbon, PT
• Hined Rafeh, Rensselaer Polytechnic Institute, USA
• Ionat Zurr, University of Western Australia, AU
• Isabel Burr Raty, Artist, NL/BE
• Itziar Zorita, University of País Vasco, ES
• Jacqueline Simon, Independent Artist at Jackie Neon, USA
• Jane Prophet, University of Michigan, USA/UK
• Jimena García Álvarez-Buylla, Independent artist, MX
• Jo Wei, Curator, CN
• Joan Linder, University at Buffalo SUNY, USA
• Joana Magalhães, Institute of Biomedical Research of A Coruña (INIBIC), SP/PT
• João Henrique Lodi Agreli, UFU – Universidade Federal de Uberlândia, BR
• Karolina Żyniewicz, Artes Liberales Faculty, University of Warsaw, PO
• Kathleen Rogers, University for the Creative Arts, UK
• Kathy High, Rensselaer Polytechnic Institute – Troy, USA
• Kris Casey, Fulcrum Point New Music Project,USA
• Laura Beloff, IT University of Copenhagen, FI/DK
• Lisa Cartwright, UCSD, USA
• Liz Lessner, Fulbright/ University at Buffalo/ University of Fortaleza, USA/BR
• Lucile Olympe Haute, UNÎMES + EnsAD, FR
• Maria Francisca Abreu Afonso, Faculdade de Belas Artes Universidade de Lisboa, PT
• Maria Manuela Lopes, Instituto de Investigação e Inovação em Saude i3S, PT
• Mariana Perez-Bobadilla, City University of Hong Kong, CN
• Marne Lucas, Independent Artist, USA
• Marta de Menezes, Cultivamos Cultura, PT
• Maya Fernandes Kempe, Independent Artist, PT
• Maya Minder, Hackteria, CH
• Merete Lie, Norwegian University of Science and Technology, NO
• Melanie King, Royal College of Art, UK
• Michela Villani, Fribourg University, CH
• Michelle Lewis-King, Roy Ascott Technoetic Arts Studio, DeTao Masters Academy, Shanghai Institute of Visual Art, CN
• Michelle Sales, UFU – Universidade Federal de Uberlândia, BR
• Minna Långström, Independent artist, FI
• Mirela Alistar, University of Colorado Boulder, USA
• Mónica Mendes, Faculdade de Belas-Artes da Universidade de Lisboa, PT
• Nathalie Dubois Calero, Milieux, the Institute for Arts Culture and Technology at Concordia University, CA
• Nina Czegledy, University of Toronto, CA
• Nora Vaage, Maastricht University, NL
• Olga Majcen Linn, Kontejner,HR
• Paula Pin, Independent Artist, ES
• Paz Tornero,University of Granada , ES
• Pepa Ivanova, LUCA, Ghent, BE
• Rachel Mayeri, Harvey Mudd College, USA
• Rebecca Cummins, University of Washington, USA
• Reno Almeida, Federal University of Ceará, BR
• Roberta Buiani, York University, CA
• Sanja Vodovnik, University of Toronto, CA/SI
• Sarah Hermanutz, Bauhaus University Weimar, CA/DE
• Saša Spačal,  Independent Artist, SI
• Stephanie Rothenberg, University of Buffalo, USA
• Sujata Majumdar,  Independent Artist, NL
• Suncica Ostoic – Kontejner, HR
• Susana Gómez Larrañaga, University of Greenwich, UK
• Teresa Almeida, IT University of Copenhagen, DK
• Vanessa Lorenzo Toquero, Hybridoa, CH
• Verena Friedrich, Academy of Media Arts Cologne, DE
• Victoria Vesna, UCLA, USA
• Wendy Tyrer, Picta Creative, AU
• Yeon Kyoung Lim, City University of Hong Kong, CN

Agnes Chavez is Cuban-American interdisciplinary  artist and educator based in Taos, New Mexico, Berlin and Lisbon. Chavez experiments with data visualization, sound and projection art to create participatory experiences that explore at the intersection of art and science, nature and technology. She collaborates with artists, scientists and youth to create sensorial experiences that reveal new solutions to personal, social and environmental challenges. In 2015 she was invited to the Havana Biennial to present the Origination Point, an installation that evolved from a research stay at ATLAS@CERN. She is currently completing Fluidic Data, a permanent installation at the CERN Data Center that will visualize the data from the Large Hadron Collider in real time. As curator/educator she is co-founder of The PASEO Festival, an outdoor participatory art festival in Taos New Mexico whose mission is to transform community through art and art through community.  In 2009 she founded the STEMarts LAB a Research and Innovation project that applies the latest arts, science and technological innovations to youth programming through interdisciplinary artist-led collaborations.  The STEMarts Curriculum Tool is an online hybrid platform that complements real world interdisciplinary science/art exhibits and events. She is the developer of SUBE, a multisensory language curriculum for teaching Spanish and English to kids through art, music and games now in its 23rd year. http://www.agneschavez.com

Alan Tod is the artistic identity of Julien Isoré, French painter and director involved in Total art. After graduate in comparative intellectual property law in Paris in 2001, Julien Isoré worked for 7 years for the media- TV- business industry as story editor and director. In 2005, he open his first painting studio in Paris and start the international campaign for LOVE (2007-2012) where he experimented total art. (www.artforlove. fr) In 2007 he inter the school of fine art of Lisbon (CIEBA) as independent researcher In comparative anatomy in collaboration with school of medicine of Lisbon, with School of sociology of imaginary of La Sorbonne university and with Les cahiers européens de l’imaginaire edition CNRS. In 2015, Julien Isoré became Alan Tod, the forest artist and since, he never stop to be. http://www.alantod.com

Alison Powell is an agrarian advocate and community organizer, living part-time in Lisbon and part-time at the countryside home of the O Bosque Collective in northern Alentejo. Prior to moving to Portugal, she spent 6+ years as a Program Manager for language understanding and machine learning research projects at Google in San Francisco. She graduated from Columbia University in New York City in 2009 with a degree in Environmental Policy and a focus on climate change mitigation policies in agriculture and local food movements. She has also worked in environmental education programs in the United States, India, Costa Rica and Ecuador. Currently, she is focused on collective urban and rural agriculture, collaborative projects, and meetings that promote the intersection of culture, economy and sustainability.

Ana Barroso is a researcher at CEAUL, University of Lisbon. She has been participating in international conferences and she has also published on film and art in national and international magazines/books. Her video works have been screened in museums, art galleries, film festivals and building facades in many countries around the world. She is the recipient of 4 international awards.

Anastasiia Melai.  Born in 1994 in Odessa, Ukraine, young curator and artist. After obtaining a Master degree in Management and working in a marketing department for several years, I decided to change my career path and get involved into art and cultural project management.  I work with different media, including video, sound, photography. My works have been shown at MovingLab festival (Venice, Italy), Open Eyes 2017 film festival (Marburg, Germany), “Schönheit Warheit, Paradies: Digitale Kommentare zur Sehnsucht” exhibition (Dieburg, Hesse) etc. I have been conducting the cultural mediation at the collateral event of Architecture Biennale 2018, “Time Space Existence” exhibition. Currently, I am involved into developing the concept of AR-exhibitions and implementing it in the museums, galleries and other cultural institutions.

Andrea Gogova is a PhD. candidate of Multimedia and Design, FMK UTB in Zlin. Her previous Studies of Natural Sciences has led her to focus in inter/transdisciplinary research, spanning Art & Design, Technology and Sciences.
She is interested in the research of process based theoretical paradigm into typographical design. Her reflection based on “ontology of becoming” is applied into approach of design theory. She focus in the post-digital text layout, which is based on the operational logic that emerges in the interplay between data, process, interface, interaction, author and reader.

Anita McKeown (PhD, FRSA, MAAG) is an interdisciplinary artist, curator, scholar and educator, interested in Creative Placemaking and Open Source Culture and Technology. As a long-term associate researcher of SMARTlab she continues to work across the intersection of arts, technology and social change through arts-led education, outreach and PhD supervision. Her recent research (2015) explored emergence and self-organisation within Creative Placemaking, through the development of a bespoke systemic framework including a practical toolkit piloted in the UK, Ireland and USA. As Art Services Unincorporated (ASU, 2004) an itinerant strategic platform, Anita employs a range of tactics including situated arts practice, publication and STEAM education to co-create local-scale interventions that are context-responsive and ecologically sensitive, which arise from extended relationships with people and place. She has worked for a number of organisations within the arts, including ART.e @ the art of change, Lewisham Youth Theatre, Irene Taylor Trust/Music in Prisons, Razor Edge Theatre Company and Heart N Soul Theatre Company, utilising her extensive experience of project development and management as well as cross-arts experience within a range of contexts. In 2016, Anita began a long-term collaboration with Amigos Bravos’ Beautiful Midden project; an arts activism project that applies arts-led systemic thinking to the issue of water and waste. In 2013, she became part of the The Paseo core development team, who initiated The Paseo arts festival, NM (2013) and continues as an advisory board member and her relationship with LEAP, beginning in 2013 includes artistic collaborations, project development and management. Recognition of her artistic practice includes appointment as the first Artist in Residence in the Rio Grande Del Norte National Monument, (2013) and recipient of a BRAVO award, for Memphis 45s, a digital AV motion sensor project (Memphis, TN. USA (2004) and the only non-American citizen awardee. As an elected fellow to the Royal Society of Arts (2008) with over 80 exhibitions, performances and residencies to date she presents her collaborative, participatory practice nationally and internationally within arts and non-arts arenas. As an educator within formal (MA and PhD supervision) and informal learning situations; prisons, youth and community organisations Anita utilises a systemic approach through project / practice based learning. Elected to the Placemaking Leadership Council, an international placemaking initiative in 2013, led to her invitation to contribute to the development of the Pratt Institute’s MA in Urban Placemaking and Public Space Management, the USA’s first Masters programme in Placemaking. Previously, Director of the CATALYST initiative at SMARTlab, UCD, she has been involved in technology for social change projects since 2000, working to develop formal and informal learning across art, ecology and STEM subjects. In 2011 / 12 she was education co-theme leader for ISEA 2012 Machine Wilderness with Agnes Chavez who she continues to work with as an education consultant on STEAM projects e.g. Open Source STEAM curriculum 1.0: an arts-led curriculum exploring next generation science concepts through design thinking (2011 / 12) and the LANL STEM Arts challenge utilising LANL lab projects, 21st century blended arts-led learning to engage NM high school students in a real world project to design the future. Working across the Arts and Social Science paradigms, she develops and evaluates interdisciplinary research projects across a range of scales, data set scales and research topics with a particular focus on innovative methodologies and projects. Recent preliminary research for Census of the Heart, (2016) to gain insights into themes and familiarity with the data set to indentified research directions for further investigation. She has also undertaken independent evaluation for Dublin City Council / UCD (2015) TURAS WP3, Urban/Industrial Regeneration, Land Use planning and Creative Design. The TURAS project is a 5 year European Union funded project that involves 28 partners in Europe: http://www.turas-cities.org/. In 2012 – 14, the Danceability research project positioned the role of integrated dance research within a research-intensive university with a widening participation agenda to explore the triple-helix approach to knowledge production. Anita continues to collaborate with a range of arts and education organisations in Ireland and the USA, working at the intersection of expanded art practices, community development and local, national and international policy making.

Carolyn Angleton is a bioartist, researcher and experimental gardener. She holds a MFA from Rhode Island School of Design, a BFA from Colorado State University and is currently pursuing a degree in biotechnology. She is retired from a professorship at Sierra College in Rocklin, California, and has taught art, critical theory and feminist studies at California State University, Fresno and CSU Stanislaus, both in the central valley of California. She is the founder of SacBioArts, an art/science studio, and co-founder of ARC-BAC, a synthetic biology collaborative at American River College in Sacramento, California. Her artwork has been shown throughout California and internationally, including venues at the Yerba Buena Center for the Arts, Ca, the Crocker Art Museum, Ca, the National Museum for Women and the Arts, Washington D.C. and the Japan Media Festival. She is a recipient of a Djerassi residency award. As an active participant in the biohacking community, she serves on the organizing committee for the MIT Biosummit, and has received project funding from “BioHack the Planet” in Oakland, California for her research project “Rendering a Biosynthetic Carotenoid Pathway”. She speaks internationally at conferences on the topic of artistic desire and CRISPR technology.

Cat Jones is an interdisciplinary artist, writer and researcher thinking across social, biological and metaphysical realms. She investigates transformation through the subversion of science, history, language and the senses. Her projects manifest as live, media, site-specific, olfactory and edible art. She collaborates with neuroscientists, biologists, gastronomists and is informed by queer, feminist, inclusive and accessible considerations and practices. Cat receives regular commissions including Sydney Festival, Proximity Festival, The WIRED Lab and Vitalstatistix and has presented her work internationally in UK, USA, Czech Republic and Germany. Her work Anatomy’s Confection was featured in ABC Iview’s Shock Art Series: Fear of the Female. She has worked with experimental artists and groups including Chicks on Speed, pvi collective, Blast Theory, Experimenta, The League of Imaginary Scientists and many others. Cat was Artistic Director, PACT centre for emerging artists 2009-2012 and prior to this Co-Director then inaugural chair of Electrofringe international festival of electronic arts and media.
She is affiliate artist researcher, Sansom Institute, Body In Mind, UniSA, alumni of SymbioticA and ANAT’s Synapse, creative comrade of pvi collective, winner of the Sadakichi Art and Olfaction Award, previously Creative Australia Fellow 2012 and current Create NSW Fellow researching medicine + feminist futures.

Catarina Pombo Nabais was born in Lisbon in 1976. Degree in Philosophy from the Classic University of Lisbon Faculty of Arts (1998), obtained the  Diplôme d’Études Approfondies in philosophy at Université d’Amiens, France (1999) and completed his PhD in Philosophy Université Paris VIII, under the guidance of the philosopher Jacques Rancière (2007) have obtained the maximum degree for a PhD thesis in France. In 2013, he published his first book, entitled  Gilles Deleuze: Philosophie et Littérature, the publisher  L’Harmattan, Paris. It scholarship Post-Doc at the FCT Center of Philosophy of Science, University of Lisbon (CFCUL) that is integrated member since 2006. From 2007 to 2014 was head of the research group “Science and Art”. It is currently head of the subject line Sci Art Philo-LAB.

Cathrine Kramer is a Norwegian artist and curator working internationally. She is the co-founder of the Center for Genomic Gastronomy, an artist-led think tank that investigates the mysterious corners of the food system. As such, her work has been exhibited at MU artspace, V2_, World Health Organization, Kew Gardens and the V&A among others. More recently she also co-founded the Office of Life and Art, and curated the Open Labs exhibition at Science Gallery, Dublin under this name. She has previously also created exhibitions about food, strange weather and the future of the human species for Science Gallery. The exhibition Human+ that she curated has been shown at the Center of Contemporary Culture, Barcelona (CCCB), ArtScience Museum, Singapore, and Palazzo delle Esposizioni, Rome. She has lectured at numerous academic institutions around the world, and holds degrees from the Royal College of Art, London and the University of Technology, Sydney. Cathrine works at the intersection of art and science, with a focus on the ecological and cultural dimensions of life on Spaceship Earth.

Cecilia Vilca (Lima, Peru, 1972) has a Master’s Degree in Digital Arts, Universitat Pompeu Fabra, Barcelona, Spain (2009-2010). Full scholarship GIS and Atlas Design, University of Twente, The Netherlands (2005). Graphic Design Degree, Toulouse-Lautrec Design School, Peru (1998). Her artistic work is made with technology in concept and realization and explores its relations with gender, society and nature. Her main goal and poetic is to encourage reflection through revelation using technology. Her projects range from those that are built with public participation and interactivity, to those that combine scientific methods such as electron microscopy and cartography. Founding member of PatriaLab, division of MyAP, Electron Microscopy Laboratory dedicated to develop digital heritage projects. Exhibitions and lectures in Peru, Mexico, Bolivia, Argentina, Spain, Cuba, Chile, Norway, Brazil and Colombia. She was selected as an artist in residence in five Art Residency Programs in Mexico, Bolivia and Brazil and recently for ISEA2018 Festival, Durban, South Africa.

Clarissa Ribeiro, Ph.D., is an Architect, Media Artist, and Researcher, teaching experimental design strategies in Architecture for first and final year students in Brazil, where she is the director of the CrossLab, at the University of Fortaleza. As an independent artist, she has been producing and exhibiting experimental interactive installations exploring complex affectiveness through macroscale metaphorical translations of subatomic scale phenomena. Working in collaboration with other artists, research groups and art collectives in her home country, Brazil, and abroad, she has been exhibiting and presenting her works and ideas in several countries in important symposiums and conferences, weaving a dialogue with an international community that produces and discusses critically cutting edge perspectives in media arts and sciences.  Her artistic practice is viscerally linked to her research interests that, for the last 20 years, have been focused in investigating and understanding the influences, connections and cross contaminations between the sciences of complexity – cybernetic, information theory, systems theory – and artistic expressions and poetics in media arts. This effort implies the construction of a perspective that allows observing the complex observer-observation – the artist and his/her object; it is a strategy of integrating the self-observation to a system that is the creative process itself. From 2014 to 2015 she was an Associate Professor for Roy Ascott Studio in Shanghai, China. Recently, from 2013 to 2014, she was awarded a Fulbright grant in Arts, and was living in Los Angeles, California, as a Postdoctoral Research Scholar, connected to the UCLA Art| Sci Center and Lab. During her Ph.D. in Visual Arts by the University of Sao Paulo, Brazil, by the time she was together with Professor Gilbertto Prado’s group, from 2006 to 2011, she was a visiting research member of the CAiiA-Hub of the Planetary Collegium, living for one year in the UK.

A Brazilian-American interdisciplinary artist, designer, educator and researcher, Claudia Jacques de Moraes Cardoso holds an MFA in Computer Art and a PhD in Integrative Art with focus on Interactive Art. Intersecting art, technology and science, she designs interactive hybrid art and information environments that aim to explore perceptions of space-time and the digital-physical in the pursuit of human consciousness and expansion of human knowledge. She collaborates with many artists exhibiting and presenting both nationally and internationally. She has published in Leonardo, TEKs, Art & Engine, etc., and serves as Art+Web Editor for Cybernetics and Human Knowing journal. She has been part of UCLA Art|Sci Center Collective since 2011 collaborating as Information and Instructional Designer and since 2007 also as associate director for the SciArt Lab+Studio Summer Institute. Jacques teaches studio, digital and communication arts at Westchester Community College and at Bronx Community College. Her studio is in Ossining, NY.

Clio Flego (Turin, Italy, 1987) is a curator, researcher, tech-artists and activist. She studied at IUAV University in Venice and received a graduate degree in Visual and Performing Arts. Clio has collaborated with international festivals and events such as, among others, 7th International Histories of Media Art, Science and Technology Conference in Austria (2017), Madeira Film Festival (2015, 2016), and LEM Experimental Music Festival in Barcelona (2014). As creative and critical thinker, she has also cooperated with Universities and cultural institutions based across Europe, including EPFL, FACT Liverpool, Digital in Berlin, Roma Trial, MACBA Barcelona, and the Venice Biennale.

Cosima Herter is a science consultant who specializes in the history and philosophy of science, technology and medicine. She is known for her science and story consulting on the award-winning BBC America sci-fi television series Orphan Black.

Cynthia White is a filmmaker and multimedia artist whose work has been screened, broadcast and presented at conferences in the US, Australia, Mexico and Chile. In addition to festival awards, she has received funding and artist residencies through government and academic agencies both in Australia and the US. White is currently a Research Associate in the Arts and Design Research Incubator at Pennsylvania State University where she is collaborating with researchers from the biological sciences to investigate aspects of the microbiome. She is also an instructor in documentary film and social practice.

Dalila Honorato, Ph.D, is a facilitator of safe spaces for hosting the interaction of ideas around liminal issues in the frame of Art&Sci. Her research focus is on embodiment, monstrosity, the uncanny and the acrobatic balance between phobia and paraphilia. She is Assistant Professor in Media Aesthetics and Semiotics at the Ionian University, Greece, guest faculty at Alma Mater Europaea, Slovenia, collaborator at the Center of Philosophy of Sciences, University of Lisbon, Portugal and member of the Steering Committee of the conference “Taboo-Transgression-Transcendence in Art & Science”. http://ionio.academia.edu/DalilaHonorato

Dipali Gupta is a multidisciplinary artist incorporating sound, technology and materials to deconstruct socially lived realities to regenerate new meanings. Currently living in Malaysia and Singapore, a graduate from the Lasalle College of the Arts, Singapore, accredited by Goldsmiths UK, Dipali is the winner of the Chan Davies Art Prize 2018, a panel speaker at S.E.A Focus 2019 and has presented her research at Trans/Missions 2018, McNally School Of Fine Arts. Besides this she has been a docent at the Singapore Art Museum and also contributes by writing for Art&Market and for Lasalle Praxis Press. Her art practice is an exploration of societal constructs from the domain of the feminine. Her work has been showcased in Singapore, Hong Kong, New Delhi and Malaysia. Dipali’s recent project entitled ‘O Her!’, exhibited at Chan+Hori Contemporary, is an endeavour to denaturalize the muted notion of female sexuality and reorient it in an atypical manner. Her ongoing project on Singapore Soundscapes is her way of exploring the island city as daily acoustics, an audible impression of a space which she would want to call home. Find her on Instagram @ dipalianurag.

Dolores Steinman was trained as a Paediatrician and, upon relocating to Canada, obtained her PhD in Cell Biology. Currently she is a Research Associate in the Department of Mechanical Engineering at the University of Toronto and a volunteer Docent at the Art Gallery of Ontario. In her research she observes the rapport and the connection between medical imagery and its non-scientific counterparts. Her pursuit is driven by her keen interest in placing the ever increasingly technology-based medical research in the larger context of the humanities.

Elizabeth Littlejohn is a communications professor, human rights activist, photojournalist, and documentary film-maker, who teaches at Sheridan ITAL in Toronto. She has written for Rabble.ca for the past eleven years on social movements, sustainable urban planning, and climate change. As a running gun social movement videographer, she has filmed internationally. Her articles, photojournalism, and videos have been published widely to document the Occupy and Climate Change movements, LGBTQIA* rights, and Idle No More, and printed in NOW Magazine, the Toronto Star, and Our Times. She has an unending passion to protest the rise of the right in the U.S. and Canada, and has filmed on the frontline of the queer resistance of Work for Peace during the inauguration, and for five years, the reign of Toronto’s notorious right wing ex-Mayor, Rob Ford. Recently she has directed, filmed and produced ‘Leelah’s Highway’, a broadcast half hour focusing on the suicide of trans youth, Leelah Alcorn, and ‘Frolic’s Haunt’, a nine-minute film about a queer, accessible haunted house with its own unique scare system.

Ellen K. Levy is a visual artist whose focus is complex systems in evolution. She often juxtaposes still representations and dynamic animations that together create unanticipated meanings; her practice encompasses experiential mixed-media installations, innovative forums, art and science curatorial projects, and writing in the interface between art, science, and technology (e.g., Leonardo Journal, Frontiers of Human Neuroscience). She was President of the College Art Association ( 2004-2006) and was Special Advisor on the Arts and Sciences at the Institute for Doctoral Studies in the Visual Arts (IDSVA) (2012-2017). She has taught courses and conducted many workshops on various aspects of art and science, especially the neuroscience of attention.

Giulia Tomasello is an interaction designer specialised in women’s healthcare combining technology, bio material and wearable innovation. Winner of STARTS Prize 2018, an award commissioned by the European Commission that honours innovation for outstanding work of art with strong potential to influence or alter the use, development and perception of technology. By designing alternative scenarios and acting as a creative thinker, Giulia questions our notions of wellbeing to develop innovative tools in the intersection of medical and social sciences. These intersections are enabled by her multidisciplinary collaborations and the symbiosis between her creative and scientific work, generating knowledge exchange and social integrations in healthcare. www.gitomasello.com

Hege Tapio (NO) is based in Stavanger, the oil capital of Norway. During her artistic and curatorial practice she has for a long time pursued her interest in the intersection of art, technology and science. With a kitchen bench DIY attitude and through artistic practice she has been inspired to how apparatuses, new technology and life science opens to renewed interpretation, creative misuse and critical thinking. Tapio is the founder and director of i/o/lab – Centre for Future Art. She has curated six editions of the Article biennial, and developed curatorial projects like Public Art Screens, Art-Science & Cocktails and arranged several workshops and events.  Her artistic research and practice is focused on body matter, desire, and extreme ecology. Her latest work, HUMANFUEL, was presented at Hybrid Matters, a Nordic art and science network program exhibited at Kunsthall Grenland, Norway and Kunsthal Nicolai, Copenhagen. The work was also presented as an artist presentation during the International Symposium ISEA in Hong Kong 2016,  the exhibition “Body Esc” at the National Gallery of Corfu in 2017 and the exhibition “This Mess We`re In” Perth, Australia 2018.

Heidi-Annica Ljungqvist (1983, Vantaa, Finland) is Bachelor of Art Education. She has studied photography in basic vocational level and fine arts in folk high school. After that she stayed home with their three daughters for eight years before her Bachelor and Master studies in Art Education in Aalto University, School of Arts, Design and Architecture and minor in University of Helsinki, the Faculty of Educational Sciences, Finland, to widen her material knowledge in multidisciplinary handcrafts. She is not exactly self-taught artist, but also not graduated from Fine Arts. She will soon graduate to have Master of Art Education degree and is interested in feminism, politics and environmental approach, that connects both her art and art teaching interest. In her installations she often combines different physical materials with light or sound, and she builds it on sight only for a short period of time. Her art has been shown for example in Lux Helsinki Lantern Park 2012-2013 and in Visit Helsinki-Visit Vuosaari Joulupolku every year since 2016. Currently she is working as a substitute art teacher in several schools.

Helena Ferreira (Lisbon, 1982) is an artist that develops mixed media installations in the scope of video, sculpture and drawing. She is graduated in Sculpture from Faculty of Fine Arts of Lisbon University, holds a master degree in Visual Art Teaching and is currently developing her PhD in Art Installation with a FCT Scholarship. Over the past decade Ferreira has shown her artwork in Portugal and abroad, has curated art exhibitions, has been invited to present conferences, seminars and workshops, and has taught Descriptive Geometry. She has co-edited essay books and catalogues, as well as published some findings of her research on screens and projection, public art, art research. Helena was also co-coordinator of the Post-Screen: International Festival of Art, New Media and Cybercultures.

Award winning Artist and Researcher, Dr. Ionat Zurr formed together with Oron Catts the internationally renowned Tissue Culture & Art Project in 1996. Ionat is the Chair of the Fine Arts Discipline at the School of Design The University of Western Australia and SymbioticA’s academic co-ordinator. She is a Visiting Professor at Biofilia – Based for Biological Arts, Aalto University, Finland (2015-2020). Ionat’s interest is Life, more specifically the shifting relations and perceptions of life in the light of new knowledge and its applications. Often working in collaboration with other artists and scientists (mainly Oron Catts), she has developed a body of work that speaks volumes about the need for new cultural articulations of evolving concepts of life.She is considered pioneer in the field of Biological Arts; she publish widely and exhibit internationally. Her work was exhibited and collected by museums such as Pompidou Centre in Paris,  MoMA NY, Mori art Museum, NGV, GoMA, Yerba Buena Center for the Arts, San Francisco, Ars Electronica, National Art Museum of China and more. Zurr ideas and projects reach beyond the confines of art; their work is often cited as inspiration to diverse areas such as new materials, textiles, design, architecture, ethics, fiction, and food.

Isabel Burr Raty is a filmmaker and performance artist, exploring the ontological crack between the organic and the artificial, between the unlicensed knowledge of minority groups and the official facts. Since 2013 Isabel is based in Brussels, where she develops her second feature film, set in Easter Island (supported by Media Fund). Her artistic work interweaves new media, body art, lectures and participatory performance, proposing hybrid narratives and bio-autonomy practices that play with synthetic magic and compose in situ Sci-Fi. She is associate researcher in a.pass.be, New Media Art lecturer at École de Recherche Graphique Brussels; and one-year artist in residency in Waag and Mediamatic Amsterdam, after obtaining a grant for outstanding international artist given by the ministry of culture of this city. Isabel has shown her works and collaborations in venues such as: KVS (Royal Flemish Theater), Constant_V, ZSeene Art Lab, Beursschouwburg, Limal (Brussels); Palais de Tokyo Paris and ISEA Hong Kong; and presented her artistic research in festivals/conferences such as: Ecofutures Festival London, FEMeeting Portugal, Taboo Transgression Transcendence in Art and Science (Corfu Greece) and Human Enhancement Clinic at Border Sessions (The Hague).

Jacqueline Simon is artistically known as Jackie Neon, she grew up in New York City in a multi-ethnic and multicultural family.  She is a graduate of the School of the Art Institute of Chicago with a BFA where she concentrated in sound art and later went on to attend
Parsons School of Design where she graduated with an MFA in Design and Technology.  A common theme in her work is identity and perception. Science and technology have greatly influenced her as well. Fascinated by the juxtaposition of expectations and reality she has found that combining common materials, images or sounds creates moments of
introspection. Jackie Neon is an artist and designer who enjoys problem solving and research in order to create enjoyable and engaging experiences for people. Over the years Jackie has adapted and grown with the times working with a variety of mediums hands on. She has a deep love for learning and believes strongly in inclusion and aims to
create work that everyone can enjoy, regardless of background, culture or education.

Professor Jane Prophet is a visual artist at Stamps School of Art & Design, University of Michigan. Her practice-based research and writing emerges through collaborations with life scientists such as neuroscientists, stem cell researchers, mathematicians and heart surgeons.  She works across media and disciplines to produce objects and installations, frequently combining traditional and computational media. Her research with neuroscientists into memento mori was supported by a Humanities and Social Sciences Prestigious Fellowship Award from the Hong Kong Research Grants Council. Prophet’s papers position art in relation to contemporary debates about new media and mainstream art, feminist technoscience, artificial life and ubiquitous computing. Professor Prophet received a PhD in arts education from Warwick University in 1995. She has contributed widely to debates about art in higher education, in particular interdisciplinary and practice-based PhDs and the role of the academic artist-researcher. Her current research includes an international quantitative survey of PhD research methods in Art and Design.

Jo Wei (CN) is a curator, researcher and the founder of the Pan Bio-Art Studio (PBS). She is currently a researcher of Art, Science and Technology (AST) in the Central Academy of Fine Arts (CAFA), Beijing. Her recent research interests include AST in a posthuman context, bio art/bio design, and others. Among the list of her many curations are Quasi-Nature: Bio Art, Borderline, Laboratory (2019, Hyundai Motorstudio, Beijing), Kairos (2018, Ars Electronica, Linz) and When Forms do not Become Attitude (2016, CAFAM, Beijing). Wei was the co-curator of 1st and 2nd edition of Beijing Media Art Biennale and International Adviser for the European Commission’s 2019 STARTS Prize.

Joan Linder. Known for drawings packed with thousands, even hundreds of thousands of tiny, energized marks, Linder’s large-scale images of quotidian subjects find inspiration from her immediate surroundings. Her most recent project, Operation Sunshine, explores the toxic chemical and radioactive waste sites on Buffalo / Niagara Falls. The work was exhibited in solo exhibitions at Mixed Greens Gallery, NY; the Albright Knox Art Gallery, Buffalo, The Faulconer Gallery, Grinnell College, IA. Other past notable exhibitions venues include Kunstahallen Brandts, Odense, Denmark; the Aldrich Museum, the Gwanjgu Art Museum, the Bronx Museum, the Queens Museum, and The Museum of Fine Arts Boston. She has received residency fellowships at Yaddo, MacDowell, Villa Montalvo, and a Pollock Krasner Foundation grant. Linder is Chair and Associate Professor of Drawing in the Department of Art at the University at Buffalo SUNY and is co-curating an exhibition Hot Spots: Radioactivity in the Landscape, opening at the University of Buffalo Art Galleries in September 2018. https://www.joanlinder.com

Joana Magalhães is a biomedical researcher in the field of Regenerative Medicine and Osteoarthritis. She has a PhD in Biochemistry and Molecular Biology (University Complutense of Madrid), obtained whilst a Marie Curie Fellow. She holds a BSc in Biology (University of Aveiro). She also works in science communication developing STEAM-for-health media strategies from a gender perspective. She is highly interested in the field of art and science: she was a scientist-in-residence at Fundación Luis Seoane and Artesacía Theatrical Company for “TRANSCÉNICA” during the summer of 2015. She participated in the collective exhibition “Ollo da Arte” at NORMAL, with “I publish therefore I am”. She is a board member of the Spanish Association of Women in Science and Technology (AMIT), the Portuguese Association Viver a Ciência(VAC), and a Representative of the Young Scientist Forum – European Society of Biomaterials.

Karolina Żyniewicz is an artist (2009 graduated from the Academy of Fine Arts in Łódź, Department of Visual Arts), and a PhD student (Transdisciplinary PhD Programme at Artes Liberales Faculty, University of Warsaw). Working in a laboratory (mostly at Institute of Genetics and Biotechnology, Faculty of Biology, University of Warsaw) locates her works in the field of bio art. She tries to use her artistic projects as a research method. Her artistic activity is focused on broad understood life (its biological and cultural meaning). Her projects have mostly conceptual character. The visual site of them is rather limited and has sources in laboratory practice. The main point of her research interest are multilevel relations emerging during realization of bio art projects. She tries to put her observations, as an artist, in the context of Science and Technology Studies (STS) and Actor-Network Theory by Bruno Latour.  karolinazyniewicz.com

Kris Casey is a visual artist and creative researcher from Chicago, IL. Her work draws heavily from various fields of philosophical and scientific inquiry, including evolutionary developmental biology, bio-aesthetics, evolutionary aesthetics, and genetics. Her research and practice examines relationships between biology and technology, natural and artificial, material and immaterial, subject and object. Her paintings can be seen as assemblages or accumulations of natural and technological elements whereby the biological concepts of mutation, contamination, decay, generation, emergence and metamorphosis become modes of inquiry into the production of novel forms. Kris has a BFA in Painting from Columbia College, an MA in Digital Media: Technology & Cultural Form from Goldsmiths, University of London, and an MA in Letters, Art, and Contemporary Thought from Universite Paris 7 Diderot in Paris, France. Kris was an artist-in-residence at the Cite Nationale des Art in Paris in 2015.  She was awarded the Individual Artist Project grant from the Department of Cultural Affairs and Special Events in 2016 and an Individual Artist Support grant from the Illinois Arts Council in 2018. Exhibitions include “Abstract Mind” at the CICA Museum in 2019, as well as “Art Teleported, Brooklyn” in which she presented her project “Posthuman Painting”. She is a Phd Candidate in Philosophy, Art & Critical Thought at the European Graduate School.

Laura Beloff (Finland) is an internationally acclaimed artist and researcher who functions inbetween academic research and artistic practice with a core in artistic methods. She has been actively producing art works and exhibiting worldwide in museums, galleries and art events since the 1990’s. The exhibitions in the last decade include Ireland, Denmark, Norway, Belgium, Finland, Germany, Austria, Brazil, Russia, Italy… Her research interests that are located in the cross section of art – technology – science include practice-based investigations into a combination of technology, biology, biotechnology, and philosophical questions concerning manipulation of living matter. The outcome of the research and artistic practice is in a form of process-based and participatory installations, programmed conceptual structures and networked wearable objects, parallel to publications and academic papers. The research typically involves collaboration with various experts in their specific fields, institutions, artists and international universities. Throughout the years she has been professionally active and has influenced many art projects and initiatives, especially in Scandinavia. She has also engaged in numerous international activities including: participation in international research and art projects, in organizing international conferences and art events, invited speaker in many institutions, events and conferences, international reviewer of publications and funding applications, and invited art & research visits (in Portugal 2014, Mexico 2015, Shanghai 2017, Estonia 2018, Italy 2018). She has been a recipient of art and research grants, art residencies and awards throughout the years. Recently her artistic research has concerned of protocells, ticks, plants, (soft)robotics and microbial fuel cells. 2002-06 she was Professor for art & technology at the Art Academy in Oslo, Norway. 2007-11 she was awarded a five-year artist grant by the Finnish state. 2009-2010, 2011 she has been a visiting Professor at The University of Applied Arts in Vienna. 2012-until spring 2019 she has been Associate Professor and also head of PhD School at IT University in Copenhagen. http://www.realitydisfunction.org/

Lisa Cartwright is Professor of Visual Arts, Communication and Science Studies at the University of California, San Diego, where she teaches history and theory of media and speculative design across theory and practice. She is a writer and theorist of feminist technoscience, art and technology whose books include Screening the Body, Practices of Looking, and Moral Spectatorship. With Merete Lie, Christina Lammer, and Nora Vaage, she is working on a new book about women sci-artists, written from a feminist science and technology studies perspective. It is a revisionist history and a mixed ethnography of dynamics of practice and care across the lab, the clinic, and the field.

Liz Lessner is a sculptor and installation artist whose work combines traditional fabrication techniques and emerging technologies to create sensory experiences that reframe common occurrences and routine encounters. She is currently a Fulbright Scholar affiliated with the CrossLab Research Group and the Lab for Innovation and Prototyping at the University of Fortaleza in Ceará, Brazil. Lessner has had solo shows at Honfleur Gallery in Washington, D.C.; Big Orbit, a Center for Exploratory and Perceptual Arts Project Space in Buffalo, NY; The University of Oregon’s Eric Washburne Gallery in Eugene, OR; and an upcoming show at VisArts in Rockville, MD. She has exhibited her sculptures and installations nationally and internationally including the Guapamacátaro Center for Art and Ecology in Michoacán, Mexico, A.I.R. gallery in Brooklyn, NY, and Everard Read’s Circa Gallery in Cape Town, South Africa. She has an MFA in Media Study from the University at Buffalo. Her research into embedded electronics ability to create novel sensory experiences has been supported by grants like the Mark Diamond Research Fund, fellowships like the Eyeo Artists Fellowship, and awards like a 2019 Fulbright Research Award to Brazil. — www.lizlessner.com

Lucile Olympe Haute is an artist, PhD in fine arts, lecturer in Design in Nîmes University (France) and associate researcher at the Paris National Art and Design School (EnsadLab-PSL). Her approach is a research by and through art & design. She uses actual tools and techniques, from the more traditional ones (ritual, drawing, wood, photography) to more modern ones (digital technologies, video, virtual reality, apps). As witch as cyborg, she studied the habitability of the modern world through performances. She also studies graphic, editorial and interactive design. She is a member of the informal group PrePostPrint and the ecofeminist group Reclaiming France.

Maria Manuela Lopes is a visual artist whose practice is transdisciplinary, investigating relations of memory and identity informed by the biological sciences and medical research; her work appears in a varied format within the visual arts resulting in multimedia installations, drawings and performances – occasionally including biological materials. Maria Manuela Lopesstudied sculpture at FBA-UP and did an MA at Goldsmiths College in London. She has a Doctorate in Fine Arts and New Media at the University of Brighton and UCA-Farnham in the UK. She has developed a Postdoctoral Art Research Project at the University of Aveiro and Porto (ID + Institute of Research in Design, Media and Culture) and i3S Institute of Research and Innovation in Health. Her project Art Making with Memory Matter – explores and expands the strategies of representation of memory studies in the laboratory through artistic practice alluding to the fluid, complex and multiple nature of memory and its study of functioning, loss and potentiation. She is currently a researcher at i3S Instituto de Investigação e Inovação em Saúde  as co-responsible for the Cultural Outreach Art/Science interface of the Institution. She has curated several international exhibitions namely: Matter Thought Time Shape (2018); EmMeio # 9. FBA-UP Museum (2017); Look and Experience: Interference in the Archive, Museum of Penafiel (2017); Enhancement: MAKING SENSE, I3S (2016); Matter and Media of the Invisible: Archeology of Memory, Museum of Penafiel (2016); EmMeio # 7.0, Museum of the City of Aveiro, House of Captaincy, Museum of New Art, Aveiro (2015). She is the author of articles and book chapters in several national and international publications (as well as invited as a speaker), further Her work has been shown nationally and internationally since the 90’s. Maria Manuela Lopes is also co-founder and Deputy Director of Portuguese artistic residency programs: Ectopia – Laboratory of Artistic Experimentation (initially at the Gulbenkian Institute of Science, now operating within various institutions) and Cultivamos Cultura, artistic residency program and research in visual arts in São Luís, Odemira.

Born in Mexico City, Mariana Pérez Bobadilla is an Art Historian and DIYBiologist concerned with the intersections of Art, Science and Technology. She received an Erasmus Mundus Scholarship to study a Master in Gender Studies at the University of Bologna, Italy, researching Feminist Epistemology and Contemporary Art. She has presented her work in ISEA 2012, and has been involved in the Mexican Pavilion of the 56th Venice Biennale. Her academic training includes courses with Rosi Braidotti, Magali Arreola and the international curators course of the 2014 Gwangju Art Biennale, in South Korea. Awarded by the Hong Kong PhD Fellowship Scheme, her research in the School of Creative Media revolves around Art and Biology, Epistemology, History of Science, deep time histories of representation, New Materialism, Biohacking, Wetware and bacteria.

Marne Lucas aka CuntemporaryArtist is a multidisciplinary artist based in New York, USA who uses photography, video and sculpture in her creative investigations at the intersection of art, feminism and health, working in conceptual overlaps: life’s energy, the environment, beauty, the body, identity, intimacy and mortality.
An infrared video pioneer, Marne uses military-grade thermal imaging technology to reference surveillance culture and the fragility of human existence. Her recent black & white infrared short film on menopause Haute Flash (2017), was made for Transitional States: Hormones at the Crossroads of Art and Science, a video exhibition series at Space Plus, Lincoln, U.K, Peltz Gallery, London, Centre de Cultura Contemporània de Barcelona, and Sala Borsa, Bologna. Previous infrared video collaborations with Jacob Pander are Incident Energy (2013) and The Operation (1995).
Lucas’ current social practice endeavor Bardo ∞ Project explores creativity as a form of spiritual palliative care, collaborating with terminally ill artists and hospice patients to best represent their legacy. Inspired by the Dharma Art, and palliative care movements, the aim is to illuminate the positive effects of art as mind and body are integrated; coupled with relics from those journeys. Towards this work she became an end-of-life doula, a role acting as liaison to the dying and their families. Marne steadily exhibits nationally such as ‘Then She Did” at Plaxall Gallery, NYC and internationally, and has received a 2018 grant from the Upper Manhattan Empowerment Zone Development Corp. administered by the LMCC, Regional Arts & Culture Council project grants, a 2016 Arts/Industry Kohler Co. factory residency (Foundry, Pottery), the Land Art Mongolia 360 Residency + Biennial, 2012 CentralTrak experimental film residency, the Portland2010 Oregon Biennial, and a public art commission for the PSU Smith Memorial Student Union Public Art + Residency Projects: State of Oregon % for Art Program’ (2009). Lucas is in training to be an INELDA certified end-of-life doula, and serves as a client board member to URAM, a Harlem United health agency. Marne is a co-founder of Cuntemporary Artists Presents…a New York-based feminist artist collective.

Marta de Menezes is a Portuguese artist with a degree in Fine Arts by the University in Lisbon, a MSt in History of Art and Visual Culture by the University of Oxford, and a PhD candidate at the University of Leiden.She has been exploring the intersection between Art and Biology, working in research laboratories demonstrating that new biological technologies can be used as new art medium. In 1999 de Menezes created her first biological artwork (Nature?) by modifying the wing patterns of live butterflies. Since then, she has used diverse biological techniques including functional MRI of the brain to create portraits where the mind can be visualised (Functional Portraits, 2002); fluorescent DNA probes to create micro-sculptures in human cell nuclei (nucleArt, 2002); sculptures made of proteins (Proteic Portrait, 2002-2007), DNA (Innercloud, 2003; The Family, 2004) or incorporating live neurons (Tree of Knowledge, 2005) or bacteria (Decon, 2007). Her work has been presented internationally in exhibitions, articles and lectures. She is currently the artistic director of Ectopia, an experimental art laboratory in Lisbon, and Director of Cultivamos Cultura in the South of Portugal. http://martademenezes.com

Maya Fernandes Kempe is a ceramist, sculptress, art pedagogue. Founder of espaço azul in Lisbon, worked 9 years in several artistic and educational projects in the museums of Berlin, teaches art pedagogy and ceramic sculpture at the Lisbon based art school nextart. Founder (with Ana Baleia, João Veiga and Sérgio Fernandes) and member of the recent art-center Ateneu do Catorze in São Luis.

Maya Minder‘s (b. 1983, lives in Zürich) combines artistic, curatorial, and activist interests into communal culinary events at various locations. She concepts dinner performances and also offers a series of workshops, including biohacking and fermentation workshops. Fermentation repeatedly features as a central aspect of her work, not only literally but also in the metaphor of social fermentation, agitation, and incitation to resistance. Minder opposes the structures of food industry by promoting local selforganization, ecological sustainability, and community. Threw the Global Hackteria Network she emphazise the fact, that by gardening and cooking humans have always been biohackers by the use of creativity and invention. Her interests span the fields of art, politics, ethnobotanics and biohacking, and she often invites other protagonists from these and various other fields to participate in the process of communal exchange. Facilitating transdisciplinary and transcultural dialogue amongst the participants is one of the primary goals of her practice.

Merete Lie, Dept. of Interdisciplinary Studies of Culture, Norwegian University of Science and Technology. Her field of research is feminist technoscience. With a background in social anthropology she has been working across the interdisciplinary fields of Gender Studies and Science and Technology Studies. Her research started with changing technologies in working life and globalization of work with fieldwork in SE Asia and China. During the last years, her interests are biopolitics, assisted reproductive technologies and bioart.

Melanie King is an artist and curator with a specific focus on astronomy.  She is co-Director of super/collider, Lumen Studios and the London Alternative Photography Collective.  She is a lecturer on the MA programme at the Royal College of Art, and on the BA Photography course at University of West London. Melanie is a part time doctoral student at the Royal College of Art. Melanie’s solo exhibitions include Leeds Art University and the Blyth Gallery, Imperial College London. She has exhibited in group shows at The Photographers’ Gallery, Argentea Gallery, Guest Projects, Space Studios and the Sidney Cooper Gallery. Melanie has also exhibited in a wide range of international galleries, such as the Williamson Gallery in Los Angeles, CAS Gallery in Japan and Unseen Amsterdam.  Melanie has attended residencies organised by Bow Arts, Grizedale Forest, Joya Arte and Ecologica, Spain and SIM Reykjavik, Iceland. Melanie has been involved in a number of large scale commissions, including Green Man Festival, Vivid Projects, Bompas and Parr X Citizen M Hotel,  Mayes Creative, Design Miami x COS Stores, Chelsea Flower Fringe and the Wellcome Trust. Melanie regularly presents her work at conferences, universities and galleries. Notable venues include the Victoria and Albert Museum, The Photographers’ Gallery, Tate Modern, Art Center Pasadena, University of the Arts Helsinki, The European Geosciences Conference: Vienna, Kosmica: Mexico, Kosmica: Paris, Helsinki Photomedia and Second Home. Melanie has provided guest lectures to Bath Spa University, Leeds Art University, London South Bank University, London College of Communication,  Central Saint Martins International Space University: Space Studies Programme. Melanie has demonstrated Moholy Nagy’s photogram process on-screen for the BBC4 Bauhaus Rules documentary. Melanie has also provided an on-screen interview and telescope demonstration for the “She Takes The Night” film produced by Museum of London and Photofusion. Melanie also organises participatory workshops in relation to her practice. She has developed workshops for the TATE Modern, Whitechapel Gallery, The Photographers’ Gallery, TATE Exchange, the Institute of Physics, East Street Arts, Kosmica: Mexico, SALT Festival: Norway,  London College of Communication Short Courses,  Photofusion, Phytology, Hackney Arts, Ditto Press and Brighton Photo Biennal.

Michela Villani is visual artist and sociologist. She is Senior Researcher at the Department of Social science of the University of Fribourg (Sociology). Primarily based in Switzerland, her work joins discussions in the fields of sexuality, gender and migration through a critical analysis of the new forms of displacement of practices and representations and their effects in terms of inequalities. She previously worked on female genital mutilation as public problem (EHESS, 2005-2006), on women’s journeys to clitoral reconstruction after excision in France (EHESS, 2006-2012); on the secrecy of the HIV status of sub-Saharan women living in Switzerland (FEMIS, FNS/2012-2014); on racial prejudices and their effects on sexual health of young sub-Saharan people living in Switzerland (JASS, FNS/2015-2018). Her current projects bring on sexual dynamics, socialisation processes, representations and practices as well as the embodiement of reproductive technologies and the experiences of Italian couples undergoing IVF-procedures (ETHOPOL, ANR 2015-2019). Alongside qualitative sociological methods, she explores in her works the visual representations and the images of gender and sexuality produced by, and circulating in, scientific imagery as well and the public sphere. She directed a Special Issue entitled Visuals. Producing, distributing and circulating images of gender and sexuality recently published in the Journal Genre, Sexualité & Société. Her new interests bring on sensitive research methodologies. She is interested in developping and implementing research and art’s methods through new tehnologies.

Michelle Lewis-King is an artist, acupuncturist and Associate Professor in Technoetic Arts. By adapting Chinese medicine practice into a performance research tool, she investigates interconnections between art, medicine and technology in globalised society. Michelle collaborates with 4DSOUND Institute of Spatial Sound on creating spatially dynamic soundscapes reflective of the infrasonic processes of the human body according to Chinese medical philosophy. Recent exhibitions include: Chinese medicine and cosmotechnics  CAFA Beijing 2019, A Question of Oscillation Digital Suzhou 2018, Reflections from the Inner Mirror 4DSOUND (2017), ISEA 2016 (Hong Kong), TodaysArt NL 2015 (Den Haag), Drawing Towards Sound (2014 – with John Cage, Cornelius Cardew, Aura Satz) University of Greenwich, Show but also Tell Anatomy Museum – King’s College London (2014), Digital Futures – the V&A Museum (2013). Michelle’s research has also been published in Digital Creativity/Taylor & Francis, Technoetic Arts Journal, Journal of Sonic Studies and ELSE Journal of Artistic Research.

Minna Långström is a media artist and film maker from Helsinki, Finland. Her artistic work consists of participatory cinematic installations, short films and documentaries. Her work processes tend to be extensively researched and interdisciplinary. Her latest film The Other Side of Mars brought her in contact with geologists, astrobiologists and Nasa engineers involved with the current Mars missions. Premiering at the DocPoint Documentary Film Festival 2019, the film looks at the role of images in these missions. Her previous films and artwork have been selected to numerous film festivals and exhibited at museums and galleries such as Kiasma, Frankfurter Kunstverein and InterAccess Gallery in Toronto. Långström was an assistant professor in Moving Image at the Academy of Fine Art in Helsinki 2008-2012, where she also developed course concepts critially connecting art, science and technology. She was as chairperson of the board of the Bioart Society 2013-2017 where she is currently a member.

Mirela Alistar (assistant professor, ATLAS Institute, Computer Science) investigates the extent to which we can change healthcare to make it a personal process. Her research focuses around microfluidic biochips, devices that enable direct interaction of humans with their microbiome for diagnosis purposes. So far Mirela has built systems based on biochips to serve as personal laboratories: small portable devices that people can own and use to develop customized bio-protocols (“bio-apps”). Mirela is an active contributor to the DIYBio movement, having led and co-founded community wetlabs. In this context, she organizes interactive performances, art installations and open workshops, in order to engage the public in direct interaction with living materials (e.g., bacteria, viruses, fungi).

Mónica Mendes is a digital media artist, multimedia art professor at the University of Lisbon and researcher at the Interactive Technologies Institute ITI/LARSYS. Interested in designing for a more sustainable world, she created the ARTiVIS project, exploring real-time interactive systems at the intersection of Art, Science and Technology. The research has been carried out with multidisciplinary collaborations from research institutions, hackerspaces and local populations, and has taken place in community, culture and art events such as art residencies, meetings and workshops, conferences and exhibitions. Mónica is currently coordinating the Multimedia Art PhD and collaborating in the Sustainability Sciences PhD of the University of Lisbon. She is also collaborator at CIEBA, a member of F3 College and she co-founded altLab, a hackerspace dedicated to independent experimentation in alternative media.

Nathalie Dubois Calero. One foot in arts (graduated in Fine Art-BFA), one foot in science (Ph.D. in plant science), the head in stars, I try to keep an uncertain balance. My preferred media are airborne microorganisms -growing over a 10-foot floating fabric, in co-culture with Rochelle crystals, as an absurd security system or as underwear-  or micro propagated cultures. My works are a reflection about the world we construct around us to “protect” us, the man-made nature we try to impose to the other organisms, and to ourselves, our fears of any organisms – especially the smallest and invisible ones as bacteria and fungi- we cannot dominate or control, but that are intimately in us. Here is the question: are we bacteria or humans? And what if bacteria were a metaphorical ‘us’? Born in France and living in Montreal, Canada, I am affiliated to MILIEUX, the Institute for Arts Culture and Technology at Concordia University, in the Speculative Life Lab Cluster.

Nina Czegledy, artist, curator, educator, works internationally on collaborative art & science & technology projects. The changing perception of the human body and its environment as well as the paradigm shifts in the arts informs her collaborative projects. She has exhibited and published widely, won awards for her artwork and has initiated, researched, lead and participated in forums and symposia worldwide.

Nora S. Vaage is an art historian turned philosopher of art and culture, with aPhD in philosophy of science and ethics. From this interdisciplinary perspectiveshe writes and teaches on a number of topics at the intersection between culture,society and technology. She is particularly interested in questions of values andknowledge views (ethics and epistemology). Nora is currently working on across-institutional initiative to develop an artistic research PhD trajectory inMaastricht, which has provided her with some new perspectives on persistentacademic ideas about knowledge and research.

Olga Majcen Linn (1975) graduated Art History and Comparative literature at the Faculty of Humanities and Social Sciences, University of Zagreb. Engaged in curatorial work since 2002 through NGO KONTEJNER, as the founder of the NGO and author of many renowned international projects (Device_art, Touch Me, Extravagant bodies). She curated more than 100 exhibitions, festivals, conferences and lectures in Croatia and internationally. Since 2003 she also works at the Gallery VN in Zagreb which she presents young and emerging Croatian artists, where she organized and curated more than 200 exhibitions. She is teaching as a guest lecturer at the Academy of Fine Arts in Zagreb (Art at the Intersection of Science and Technology). She is also active in the field of social theory and critique, and is a member of AICA. Currently she is working on PhD these on the topic of subversive art practices.

Paz Tornero from University of Granada (SPAIN). Faculty of Fine Arts. Department of Drawing. She is an artist working on art, technology and science fields. She is interested in transdisciplinary research and learning as well as artistic collaboration and innovation processes. She was visiting researcher at the Institute of Microbiology in Ecuador during two years. She has worked with scientists and engineers, and she created a course about transdisciplinary learning (synergies between art, tech and sicence), at the University of San Francisco in Quito, Ecuador.

Pepa Ivanova is an interdisciplinary artist creating site-specific installations, light and sound compositions, transient sculptures, and performed interventions in the public space. Pepa is a Ph.D. candidate in LUCA, Ghent/KULeuven. Her doctoral research focuses on the translation of radio-astronomy data from the Sun through analog and digital art methods. It places emphasis on the sun-earth symbiosis and the cultural phenomena embodied by science communication. 

Rachel Mayeri, an LA-based artist working at the intersection of art and science. Her videos, installations, and writing projects explore topics ranging from the history of special effects to the human animal. The multi-year project “Primate Cinema” investigates the boundary between human and non-human primates in a series of video experiments. This work has shown at Sundance, Berlinale, Ars Electronica, and dOCUMENTA (13). Recent commissions include the environmental art project “Critters Speak” about the Gulf of Mexico ecosystem seven years after Deepwater Horizon, with Brandon Ballengée, funded by National Academy of Sciences Keck Futures Institute; and the animated opera “Ofeo Nel Canale Alimentare” about the digestive tract, supported by Imagine Science Films. As professor of media studies at Harvey Mudd College, she teaches courses such as Animal Media Studies, Art & Science, and Stories from the Anthropocene.

Rebecca Cummins explores the sculptural and experiential possibilities of light and natural phenomena, often referencing the history of optics and science. Currently, she is utilizing microscopy in the Wordeman Lab, University of Washington. She is a Professor (Chair – Photomedia) and the Floyd and Delores Jones Endowed Professor in the Arts, School of Art + Design + Art History, University of Washington, Seattle, WA. She is active in public art and cross-disciplinary collaborations with artists and scientists. Exhibits include: Art Center Nabi Special Exhibition, Asia Culture Center (ISEA 2019) Gwangju, Republic of Korea and Exhibition Retícula, ASKVII: UCSC Culture Gallery, Universidad Católica de la Santísima Concepción, Concepción Arte y Ciencia Biennial, Chile, 2019. Previous exhibitions include the 2006 Shanghai Biennial, Shanghai Museum; The Museum of Contemporary Art KIASMA, Helsinki, Finland, 2004 and the 2008 Biennial of Seville, Spain. Public commissions include the City of Seattle, the Washington State Arts Commission and the Exploratorium, San Francisco. She was introduced to tissue culture at SymbioticA, School of Anatomy and Human Biology, University of Western Australia, Perth, WA, Australia (2015).

Roberta Buiani is an interdisciplinary artist, media scholar and curator based in Toronto. She is the co-founder of the ArtSci Salon at the Fields Institute for Research in Mathematical Sciences (Toronto) and a co-organizer of LASER Toronto. Her research-creation work is mobile, itinerant and collaborative, exploring how scientific and technological mechanisms translate and transform the natural and human world, and what happens when they are taken outside of their traditional context and relocated through artistic and cartographic practices. Her work was exhibited in Toronto at the Ryerson University Faculty of Architecture and Artscape Youngspace; and was featured at Transmediale, the Hemispheric Institute Encuentro, Immigrant Movement International (Queens), and RPI among other. Recently, she has launched a series of curatorial experiments in “squatting academia”, aiming at repopulating abandoned spaces inside the university with collaborative works in art and science and at filling formal spaces of research with site-specific installations and performances. She teaches communication and cultural studies at York University. http://atomarborea.net

Sanja Vodovnik is a PhD candidate at the University of Toronto. Her research interests include but are not limited to examining various outlets of staging and performing science fiction: its cultural history, dramaturgy, ethics, and the performance of sci-fi in fan communities.

Sarah Hermanutz is a Canadian artist based in Berlin and Weimar, Germany. Her artistic research explores the disorientations and intensities of contemporary media environments, through projects combining dance, animation, VR, site-specific installation, and live performance.  Her favorite research methods include book osmosis, montage, distraction, collaboration, and productive confusion. Topics of interest include social cognition, neurodiversity, embodiment, gender and ecology. Her work frequently involves amphibians and wetlands.  She is Berlin’s axolotl patient zero.  Sarah is a founding member of Lacuna Lab, an art-science-technology collective in Kreuzberg, Berlin, and contributes to Art Laboratory Berlin’s Hack the Panke project.  She studies at Bauhaus University Weimar in the department of Media Environments.  Her work has been supported by residencies such as Cultivamos Cultura in Portugal (2017) and Critical Media Lab, Basel (2019), and her installations, lectures, performances, and workshops have been presented across Europe, North America, and Australia.

Saša Spačal [www.agapea.si] is a postmedia artist working at the intersection of living systems research, contemporary and sound art. Her artistic research focuses on entanglements of environment-culture continuum and planetary metabolism. By developing technological interfaces and relations with organic and mineral soil agents she tries to address the posthuman condition that involves mechanical, digital and organic logic within biopolitics and necropolitics.
Her work was exhibited and performed at venues and festivals such as Ars Electronica Festival (AT), Prix Cube Exhibition (FR), Transmediale Festival (DE), Athens Digital Arts Festival (GR), Perm Museum of Contemporary Art (RUS), Onassis Cultural Center Athens (GR), Chronos Art Center (CHN), Eyebeam (USA), Cynetart Festival (DE), National Art Museum of China (CHN), Museum of Contemporary Art Metelkova (SI), Kapelica Gallery (SI), Device_art (CRO), Art Laboratory Berlin (DE), Kiblix Festival (SI), Gallery of
Contemporary Art Celje (SI), Museum of Contemporary Art Vojvodina (SRB), Lisboa Soa Festival (PT), Sonica Festival (SI). She was awarded Prix Ars Electronica Honorary Mention and nominated for Prix Cube.

Stephanie Rothenberg’s interdisciplinary artworks make visible the physical and imaginary networks that create technological utopias. Moving between real and virtual spaces, she explores how new technologies mediate our everyday experiences and connect us to larger global systems. Her work has been exhibited in venues including House of Electronic Arts (HeK), MASS MoCA, LABoral, Sundance Film Festival, Transmediale and ZKM. In addition, she has participated in and organized numerous events and conferences on economic themes including Baltan Lab’s “Economia” in Eindhoven and MoneyLab #2 and #3 in Amsterdam, and co-organizing #5 in Buffalo April 2018. She is a recipient of numerous grants and awards including a Creative Capital. Residencies include the LMCC Workspace program, Eyebeam and the Santa Fe Art Institute. Her work is in the collection of the Whitney Museum and has been widely reviewed including Artforum, The Brooklyn Rail and Hyperallergic. Stephanie received her MFA from The School of the Art Institute of Chicago. She is Associate Professor and Director of Graduate Studies in the Department of Art at SUNY Buffalo where she teaches courses in design and emerging technologies.

Sujata Majumdar (b.1976, London) is a visual artist based in Amsterdam. She is interdisciplinary by nature, with a background in Physics, Photography, and Information Technology. Sujata’s artistic investigations show her fascination for the shifting boundary of man-made and nature, and over time this has led her towards image-led artistic research which includes other media. Currently she is Crossing Parallels (TU Delft & TodaysArt) Artist in Residence, in a collaboration with Professor Stephen Picken on ‘A Cure for Concrete’. This evolved directly from a photography series ‘Concrete Abstraction’ (aka ‘scapes II). Her project ‘Signature Print’ part of the Textiel Factorij (reviving a Netherlands – India textile collaboration), for which she used motion and sound data for new block print imagery, finds a balance between modern, global FabLab technology and local, traditional textile printing techniques of Gujarat (block printing, using intricate hand-made wooden blocks) to revitalise the craft with the younger generation. In 2014 she was awarded an ICT-Art Connect Residency from the European Commission for which she co-created ‘Healthcare through a data lens’. Since this time she has also been Head of Conceptual Photography at the Institute of Unnecessary Research. http://www.sujata.nl

Sunčica Ostoić (1976) is a cultural worker from Zagreb, Croatia where she graduated Art History and Philosophy at the Faculty of Humanities and Social Sciences. She is currently a PhD candidate of Transdisciplinary Studies of Contemporary Art and Media at the Faculty of Media and Communications in Belgrade. Her interests cover the field of theory and practice of extreme, extravagant and radical art practices in the 21st century. She is a guest lecturer at the Academy of Fine Arts in Zagreb (Art at the Intersection of Science and Technology). In 2002 she co-founded NGO KONTEJNER | bureau of contemporary art praxis where she has worked as the author and curator of three festivals – Extravagant Bodies, Touch Me, Device_art – and numerous other projects in the field of art-science-technology and the body in Croatia and internationally (Zagreb, Ljubljana, Belgrade, London, San Francisco, Beijing, Tokyo, Glasgow, Perth, Sydney, etc.).

Susana Gómez Larrañaga (Santander, Spain) A.K.A Susi Disorder is an artist and a PhD student at the University of Greenwich, London. In 2015, Susana was awarded with the Firstsite Collectors’ Bursary Award for the site-specific hologram: Flying Land; the project featured at the 2nd Death Online Conference (Kingston University) and at the RE:PRINT/RE:Present symposium/book and exhibition (Cambridge School of Art). She was one of the artists at the Digital Factory Residency in conjunction with Andy Warhol’s exhibition (2016) at Firstsite. In 2018, her generative work was on display at Tate Britain as part of Echoes. She was commissioned by the Mayor of London and Tate Collective to create a site-specific public artwork as part of LDN WMN. Fascinated by derelict sites and their entropic assemblages, her art-led research inquiry investigates research investigates the materiality of the digital and its relations with the natural world. Her practice involves generative processes, print media and site-specific installation. Susana creates environments where manufactured objects meet organic processes, a condition where the boundaries of natural and human-systems merge.

Teresa Almeida is an artist, designer and researcher interested in interdisciplinary approaches to designing interactions and prototypes as catalysts for discussion mainly on topics of taboo in, on, and within the female body. Her current work includes developing a methodology for woman-centered design and a creative practice centered around new materialities in intimate care, in which she is interested in exploring advanced textiles and biotechnology as proposals for trans-disciplinary engagement and as contemporary art and science approaches to mitigate disparities in women’s health. She is the founder of Bitness, a platform that aims to empower women and girls by applying research to improving quality of life and social equity through design. Currently, she is a postdoctoral researcher in Interaction Design at IT University of Copenhagen, in Denmark. www.banhomaria.net / bitness.care

Verena Friedrich is an artist creating time-based installations in which organic, electronic and sculptural media come into play. Theoretical research and practical hands-on experiments are the starting points of her artistic work. Furthermore, she is interested in direct interaction with scientists and hands-on work in the bioscientific laboratory. She was an artist in residence i. a. at “SymbioticA – Centre of Excellence in Biological Arts” at the University of Western Australia and at the Max Planck Institute for Biology of Ageing Cologne in Germany. Verena Friedrich´s projects have been presented internationally in the context of exhibitions, media art festivals and conferences. She received the International Media Award for Science and Art from ZKM Karlsruhe 2005; a special mention in the VIDA 13.2 Art and Artificial Life Awards; an honorary mention in the Prix Ars Electronica 2015; a jury mention in the Japan Media Arts Festival 2015 and the Transitio_MX award in 2017. In recent years she has been teaching at the University of Art and Design Offenbach and the Bauhaus University Weimar, both in Germany. Together with two other colleagues she is currently running the „exMedia Lab“ (her focus being on DIY technologies, biological and ecological arts) at the Academy of Media Arts Cologne. http://www.heavythinking.org

Victoria Vesna, Ph.D., is an Artist and Professor at the UCLA Department of Design Media Arts and Director of the Art|Sci Center at the School of the Arts (North campus) and California NanoSystems Institute (CNSI) (South campus). Although she was trained early on as a painter (Faculty of Fine arts, University of Belgrade, 1984), her curious mind took her on an exploratory path that resulted in work can be defined as experimental creative research residing between disciplines and technologies. With her installations she investigates how communication technologies affect collective behavior and perceptions of identity shift in relation to scientific innovation (PhD, CAiiA_STAR, University of Wales, 2000). Her work involves long-term collaborations with composers, nano-scientists, neuroscientists, evolutionary biologists and she brings this experience to students. Victoria has exhibited her work in 20+ solo exhibitions, 70+ group shows, has been published in 20+ papers and gave 100+ invited talks in the last decade. She is the North American editor of AI & Societyjournal (Springer Verlag, UK) and in 2007 published an edited volume – Database Aesthetics: Art in the Age of Information Overflow (Minnesota Press) and another in 2011 — Context Providers: Conditions of Meaning in Media Arts (co-edited with Christiane Paul and Margot Lovejoy) Intellect Ltd, 2011. Currently she is working on a series Art Science & Technology based on her online lecture class. http://victoriavesna.com

Wendy Tyrer is Creative Director of a Picta Creative, a Melbourne-based graphic design company working increasingly with educators, academics and scientists.  With twenty years of industry experience as an interactive web designer (Wendy began designing back when there were only 256 web colours), art director, account manager and branding specialist, Wendy began Picta Creative in 2012. Her vision was to provide great design that is thoughtful, not just fad driven. Wendy believes in the power of story, and the dominant role good design plays in a project’s narrative. Working with clients to identify and cater to their audience, and provide strong visual branding and strategies is one of Wendy’s strengths. With a post graduate degree in animation and interactive multimedia from RMIT, Wendy also uses her illustration and animation skills to create multimedia presentations. Wendy’s focus on the end user, and her multimedia design experience, enables her to provide digital solutions that work across many platforms and devices. With a growing focus on education and science, Wendy seeks the intellectual rigor of disseminating complex ideas into palatable communication outcomes. When she’s not dreaming up creative ideas, Wendy continues work on her graphic novel while listening to Debbie Millman podcasts.

Yeon-Kyoung Lim is a PhD candidate in the School of Creative Media, City University of Hong Kong, and moving image practitioner, working on the intimate relationship between the human and the computational. Her doctoral research lies at the intersection of critical media theories, visual art studies, and feminist/queer theories. It aims at understanding how human beings sense technical things as their companions, with a focus on media art and technoculture. Her academic papers were presented at several international conferences: The Society of Fellows in the Humanities: Contacts, Collisions, Conjunctions 2018; Crossroads in Cultural Studies 2018; Society of Cinema and Media Studies 2019 (SCMS19) and so on. She is a co-editor of Journal of Queer and Humanities Vvira– a journal presenting discourses on queer politics and aesthetics in Korea and beyond.