Anne Balsamo serves as the Dean of the School of Media Studies at The New School in New York City. Previously she was a faculty member at the University of Southern California in the Annenberg School of Communication and the Interactive Media Division of the School of Cinematic Arts. In 2002 she co-founded Onomy Labs, Inc., a Silicon Valley technology design and fabrication company that builds cultural technologies. From 1999 to 2002 she was a member of RED (Research on Experimental Documents), a collaborative research/design group at Xerox PARC that created experimental reading devices and new media genres. Her book Designing Culture: The Technological Imagination at Work (2011) offers a manifesto for rethinking the role of culture in the process of technological innovation in the 21st century. Her first book, Technologies of the Gendered Body: Reading Cyborg Women (1996), investigated the social and cultural implications of emergent biotechnologies.

Konrad Becker is a researcher, artist, and organizer. He is director of the Institute for New Culture Technologies/t0 and World-Information.Org, a cultural intelligence provider. As co-founder of the Public Netbase project in Vienna (1994–2006) he initiated numerous pioneering media projects in various domains, including electronic music. He has conceptualized and produced international conferences, as well as exhibitions and cultural interventions, and his work has been characterized by extensive cooperation with collectives and protagonists of new artistic practices. As an interdisciplinary researcher he investigates cultural and social implications of technology in information societies. His publications include texts on the politics of the infosphere that have been translated into several languages. His latest books in English include Dictionary of Operations (2012), Strategic Reality Dictionary (2009), Critical Strategies in Art and Media, co-edited with Jim Fleming (2010), Deep Search: The Politics of Search beyond Google, co-edited with Felix Stalder (2009). http://www.world-information.net.

Max Bense (1910–1990) was a German writer and philosopher of science, logic, aesthetics, and semiotics. Bense studied mathematics, physics, and philosophy in Bonn, Cologne (Germany), and Basle (Switzerland). From 1949 onward he was a professor of the philosophy of technology, scientific theory, and mathematical logic at the Technical University of Stuttgart where he taught until 1976. In the late 1950s and the 1960s he was the key figure of the Stuttgart School, thought of as an experimental testing ground for rational aesthetics. Influenced by cybernetics and computer art, Bense devoted himself to creating a foundation for aesthetics based in information theory. He coined the term “information aesthetics” and tried to develop a scientifically sound and quantifiable aesthetic. Among his publications are Aesthetic Information (1957), Mathematics and Beauty (1960), Aesthetica: An Introduction to New Aesthetics (1965), An Introduction to Information Theoretical Aesthetics (1969), and The Representation and Grounding of Realities: The Sum of Semiotic Perspectives (1986).

Kyle Chayka is a writer and curator living in Brooklyn. He has contributed to publications including The New Yorker, The New Republic, ARTnews, and Modern Painters, covering art’s intersection with technology and the rise of artists working on the Internet. His writing can be found in Reading Pop Culture: A Portable Anthology (2013) and he is the author of The Printed Gun: How 3D Printing Is Challenging Gun Control (2013). Chayka is the curator of Dying on Stage: New Painting in New York at Garis & Hahn Gallery and co-curator of Shortest Video Art Ever Sold and National Selfie Portrait Gallery at Moving Image art fair in New York and London.

Sarah Cook is a curator of contemporary art, writer, and new media art historian. She is the author (with Beryl Graham) of Rethinking Curating: Art After New Media (2010) and co-editor (with Sara Diamond) of Euphoria & Dystopia (2011), an anthology of texts about art and technology drawn from over a decade’s research at the world-renowned Banff New Media Institute. Sarah Cook received her PhD in curating new media art from the University of Sunderland (2004) where she co-founded the online resource for curators CRUMB (http://www.crumbweb.org). She lectures and publishes widely and has curated exhibitions in Canada, the USA, New Zealand, Mexico City, across Europe, and online, which have been reviewed in publications including Art Monthly, ArtForum, Mute, Rhizome, and we-make-money-not-art. She has been invited an speaker at museums and galleries worldwide including Stedelijk Museum (Amsterdam), Tate (London), Centro Nacional de las Artes (Mexico), National Gallery of Canada (Ottawa), Istanbul Modern (Istanbul), and Fundacion Telefonica (Buenos Aires).

Sean Cubitt is Professor of Film and Television at Goldsmiths, University of London, Professorial Fellow of the University of Melbourne, and Honorary Professor of the University of Dundee. His publications include Timeshift: On Video Culture (1991), Videography: Video Media as Art and Culture (1993), Digital Aesthetics (1998), Simulation and Social Theory (2001), The Cinema Effect (2005), and EcoMedia (2005). He is the series editor for Leonardo Books at MIT Press. His current research focuses on the history and philosophy of visual technologies, media art history, as well as ecocriticism and mediation.

Annet Dekker is an independent researcher, curator, and writer and core tutor at Piet Zwart Institute, Rotterdam. In 2009 she initiated the online platform http://aaaan.net with Annette Wolfsberger; they coordinate artists-in-residences and set up strategic and sustainable collaborations with (inter)national arts organizations. Previously Annet worked as web curator for SKOR (2010–2012), was program manager at Virtueel Platform (2008–2010), head of exhibitions, education, and artists-in-residence at the Netherlands Media Art Institute (1999–2008), and editor of several publications on digital art and issues of preservation. In 2008 she began PhD research into strategies for documenting net art at the Centre for Cultural Studies, Goldsmiths University, London.

M. Beatrice Fazi is Research Fellow in Digital Humanities & Computational Culture at the Sussex Humanities Lab (University of Sussex, UK). Her research explores questions at the intersection of philosophy, science, and technology. Her current work investigates the limits of formal reasoning in relation to computation, and addresses the ways in which these limits shape the ontology of computational aesthetics. Through doing so, she aims to offer a reconceptualization of contingency within formal axiomatic systems, vis-à-vis technoscientific notions of incompleteness and incomputability.

Ben Fino-Radin is a New York-based media archaeologist specializing in the preservation of digital contemporary art and culture. Fino-Radin serves as Digital Repository Manager at the Museum of Modern Art’s department of conservation, and as Adjunct Professor in NYU’s Moving Image Archiving and Preservation program. In private practice Fino-Radin has advised museums and artists, including the Whitney Museum of American Art, artist Cory Arcangel, and the art collective JODI. Fino-Radin holds an MS and MFA in Library and Information Science and Digital Art, respectively, from Pratt Institute and is an alumnus of Rhizome at the New Museum where he formerly served as Digital Conservator.

Mary Flanagan pushes the boundaries of medium and genre across writing, visual arts, and design to innovate in these fields with a critical play-centered approach. As an artist she has created over twenty major works ranging from game-inspired systems to computer viruses and embodied interfaces to interactive texts,which are exhibited internationally. As a scholar interested in how human values are in play across technologies and systems, Flanagan has written more than twenty critical essays and chapters on games, empathy, gender and digital representation, art and technology, and responsible design. Her recent books include Critical Play (2009) and Values at Play in Digital Games, with Helen Nissenbaum (2014). Flanagan’s work has been supported by grants and commissions from organizations including the British Arts Council, the National Endowment for the Humanities, the ACLS, and the National Science Foundation. Flanagan is the Sherman Fairchild Distinguished Professor in Digital Humanities at Dartmouth College, Massachusetts.

Rudolf Frieling graduated from the Free University in Berlin and received a PhD from the University of Hildesheim, Germany. As a curator, he worked at the International VideoFest Berlin (1988–1994) and at the ZKM Center for Art and Media in Karlsruhe (1994–2006). During that period he directed and co-edited the multimedia and publishing projects Media Art Action (1997), Media Art Interaction (2000), Media Art Net 1/2 (2004/2005), and 40yearvideoart.de-part 1 (2006). Since 2006 he has been Curator of Media Arts at SFMOMA where he has curated the survey shows In Collaboration: Early Works from the Media Arts Collection (2008), The Art of Participation: 1950 to Now (2008/2009), and Stage Presence: Theatricality in Art and Media (2012). He also collaborated on the SFMOMA presentation of Exposed: Voyeurism, Surveillance and the Camera (2010). Frieling’s recent commissions for SFMOMA’s public spaces include Bill Fontana: Sonic Shadows (2010) and Jim Campbell: Exploded Views (2011/2012). He also is Adjunct Professor at the California College of Art in San Francisco and the San Francisco Art Institute.

Darko Fritz is an artist and independent curator. He studied architecture in Zagreb and fine art at the Rijksakademie in Amsterdam. Since 2000 his research on histories of international media art has resulted in several publications and exhibitions. In 2000 he curated the first retrospective exhibition of international, historical digital art, titled I am Still Alive (early computer-generated art and recent low-tech and Internet art) in Zagreb. He also curated the exibition CLUB.NL—Contemporary Art and Art Networks from the Netherlands (Dubrovnik, 2000); Bit International—Computers and Visual Research, [New] Tendencies, Zagreb 1961–1973 (Neue Galerie, Graz, 2007 and ZKM, Karlsruhe, 2008); Reconstruction: private=public=private=public= (Belgrade, 2009); and co-curated Biennale Quadrilaterale 3: Angles and Intersections (Museum of Modern and Contemporary Art, Rijeka, 2009). In 2002 he published A Brief Overview of Media Art in Croatia (Since the 1960s) and edited the related database at the portal Culturenet. Supported by a grant from the Mondriaan Foundation, Amsterdam, he started the research project The Beginning of Digital Arts in the Netherlands (1955–1980) in 2010. Fritz is founder and program coordinator of the grey) (area – space for contemporary and media art (since 2006).

Matthew Fuller is the author of various books including Media Ecologies, Materialist Energies in Art and Technoculture (2007), Behind the Blip, Essays on the Culture of Software (2003), and Elephant & Castle (2011). He co-authored Urban Versioning System v1.0 (2008) with Usman Haque and Evil Media (2012) with Andrew Goffey. Fuller is the editor of Software Studies, a Lexicon (2008) and co-editor of the journal Computational Culture. He is involved in a number of projects in art, media, and software and works at the Centre for Cultural Studies, Goldsmiths, University of London.

Philip Galanter is an artist, theorist, and curator. As assistant professor at Texas A&M University he conducts graduate studios in generative art and physical computing. Galanter creates generative hardware systems, video and sound art installations, digital fine art prints, and light-box transparencies, which have been shown in the United States, Canada, the Netherlands, Peru, Italy, and Tunisia. His research includes the artistic exploration of complex systems and the development of art theory bridging the cultures of science and the humanities. Galanter’s writing has appeared in both art and science publications, and more recent publications have focused on computational aesthetic evaluation and neuroaesthetics. As a curator he collaborated with Douglas Repetto on the first ArtBots exhibits (2002 and 2003)—covered by CNN, NBC, NPR, New York Times, Wired, and Nature—and with Ellen Levy on COMPLEXITY, the first traveling fine art museum exhibition focused on complex systems and emergence.

Charlie Gere is Professor of Media Theory and History in the Lancaster Institute for Contemporary Arts, Lancaster University. He is the author of Digital Culture (2000/2008), Art, Time and Technology (2006), and Community without Community in Digital Culture (2012), co-editor of White Heat Cold Logic: British Computer Art 1960–1980 (2009) and Art Practice in a Digital Culture (2010), as well as having written many chapters and papers on technology, art, and culture. In 2007, along with Jemima Rellie and Christiane Paul, he co-curated Feedback, an exhibition of art responsive to instructions, input, or its environment, at the LABoral Center in Gijon, Spain.

Olga Goriunova is an assistant professor at the Centre for Interdisciplinary Methodologies, University of Warwick. She is the author of Art Platforms and Cultural Production of the Internet (2012) and editor of Fun and Software: Exploring Pleasure, Pain and Paradox in Computing (2014). She curated the Fun and Software exhibitions in 2010–2011 (Arnolfini, Bristol, UK, and MU, Eindhoven, The Netherlands) and was previously involved in running the Runme.org software art repository and organizing the Readme software art festivals (2002–2006).

Beryl Graham is Professor of New Media Art at the School of Arts, Design and Media at the University of Sunderland and co-editor of CRUMB. She curated the international exhibition Serious Games for the Laing and Barbican art galleries, and has also worked with The Exploratorium, San Francisco, and San Francisco Camerawork. Her books include Digital Media Art (2003) and the edited anthology New Collecting: Exhibiting and Audiences after New Media Art (2014), and she co-authored, with Sarah Cook, Rethinking Curating: Art After New Media (2010). She has published chapters in many books including New Media in the White Cube and Beyond (2008), Theorizing Digital Cultural Heritage (2010), and The ‘Do-It-Yourself' Artwork (2010). Dr. Graham has presented papers at conferences including “Navigating Intelligence” (Banff), “Museums and the Web” (Vancouver), and “Decoding the Digital” (Victoria and Albert Museum). Her PhD concerned audience relationships with interactive art in gallery settings and she has written widely on the subject for books and periodicals including Leonardo, Convergence, and Art Monthly. http://www.berylgraham.com.

Oliver Grau was appointed first Chair Professor for Image Science in the German-speaking countries at the Department for Image Science at Danube University in 2005. He has received several awards and his publications have been translated into thirteen languages. His main research areas are the history of media art, immersive images, emotion and immersion, the history of telepresence and artificial life, as well as digital humanities. His publications include Virtual Art (2003), Mediale Emotionen (2005), MediaArtHistories (2007), and Imagery in the 21st Century (2011). Grau has given keynotes at conferences and events worldwide, including the Olympic Games and the G20 Summit, and was founding director of the MediaArtHistories Conference Series. He conceived new scientific tools for image science, among others the first international archive for digital art (ADA, https://www.digitalartarchive.at/, since 1999). Since 2005 Grau has also been head of the Goettweig’s Graphic Print archive (http://www.gssg.at). He serves as editorial board member of several international journals and was among the first elected members of the Berlin-Brandenburg Academy of Science.

Erkki Huhtamo is Professor of Media History and Theory in the Departments of Design Media Arts and Film, Television, and Digital Media at at the University of California Los Angeles. He is considered one of the founders of the discipline of media archaeology. His publications include Media Archaeology, Approaches, Applications, and Implications, co-edited with Jussi Parikka (2011), Illusions in Motion: Media Archaeology of The Moving Panorama and Related Spectacles (2013). He has curated numerous exhibitions and events, among them the major international exhibition Alien Intelligence (KIASMA Museum of Contemporary Art, Helsinki, 2000).

Jon Ippolito is a new media artist, writer, and curator and recipient of Tiffany, Lannan, and American Foundation awards. At the Guggenheim he curated Virtual Reality: An Emerging Medium (1993), the first art museum exhibition of virtual reality, and the 2000 Nam June Paik retrospective with John G. Hanhardt. As Associate Professor of New Media at the University of Maine, Ippolito founded a peer-to-peer digital badges initiative and a graduate Digital Curation program. At the Still Water lab, co-founded with Joline Blais, he helped build social software such as the Variable Media Questionnaire, The Pool, ThoughtMesh, and the Cross-Cultural Partnership. In over a hundred presentations, Ippolito has spoken out on copyright maximalism, academic insularity, and technological obsolescence. He has published articles in periodicals ranging from the Art Journal to the Washington Post and chapters in over twenty books. Ippolito co-authored the book At the Edge of Art (2006) with Joline Blais and Re-collection: Art, New Media, and Social Memory (2014) with Richard Rinehart.

Aneta Krzemień Barkley is a researcher and curator who completed a collaborative PhD at the Centre for Architecture and Visual Arts (CAVA), University of Liverpool and FACT (Foundation for Art and Creative Technology) in Liverpool, UK. As part of her research—funded by the Arts and Humanities Research Council, UK—she co-curated Turning FACT Inside Out (2013), FACT’s ten-year anniversary exhibition. Previously Aneta was Research Assistant at the Electronic and Digital Art Unit (EDAU) at the University of Central Lancashire (UClan) where she co-organized and co-curated a series of exhibitions and conferences (Digital Aesthetic 2007, 2012) and lectured in the School of Art, Design and Performance.

Machiko Kusahara started writing and curating in the field of digital art in the early 1980s. Since then she has written, lectured, curated, and served as a jury member internationally in the field of media art. Her research is focused in two related fields: media art in Japan today, including device art, and its relation to Japanese postwar avant-garde art; and media-archaeological research on early Japanese visual entertainment from the Edo-era magic lantern show and late 19th-century panorama to prewar optical toys. Kusahara is Professor of Media Art and Media Studies at Waseda University’s School of Culture, Media, and Society in Tokyo. She holds a PhD from the University of Tokyo with a research focus on correlations between art, technology, and culture.

Lev Manovich is the author of Software Takes Command (2013), Soft Cinema: Navigating the Database (2005), and The Language of New Media (2001), as well as 120 articles on the history and theory of media, software culture, and digital art. Manovich is a professor at The Graduate Center, CUNY, and a Director of the Software Studies Initiative that works on the analysis and visualization of big cultural data. Manovich was born in Moscow where he studied fine arts, architecture, and computer programming. He moved to New York in 1981, receiving an MA in Experimental Psychology from New York University (1988) and a PhD in Visual and Cultural Studies from the University of Rochester (1993). Manovich has been working with computer media as an artist, computer animator, designer, and programmer since 1984. His art projects have been presented by venues such as Chelsea Art Museum (New York), ZKM (Karlsruhe), The Walker Art Center (Minneapolis), KIASMA (Helsinki), Centre Pompidou (Paris), ICA (London), and the Graphic Design Museum (Breda, NL).

Armin Medosch is a curator, writer, and artist working on topics such as media art, political avant-gardes, network culture, and interdisciplinary social and political theory. He was the founding editor of the award-winning international online magazine Telepolis (1996–2002) and has a track record as cultural producer, ranging from the curation of large exhibitions such as Waves (Riga, 2006 and Dortmund, 2008) to collaborative curatorial projects such as Kingdom-of-Piracy (2001–2006), co-curated with Shu Lea Cheang and Yukiko Shikata; and the organization of conferences such as Good Bye Privacy!, Ars Electronica’s 2007 theme conference, and Networks and Sustainability (Riga, 2010). He earned a PhD in Arts and Computational Technology (ACT) from Goldsmiths, University of London in 2012 for his work on the international art movement New Tendencies. Current work includes the exhibition Fields as part of Riga Culture Capital 2014 and research on a new book on political art in the digital field.

Christiane Paul is Associate Professor at the School of Media Studies, The New School, and Adjunct Curator of New Media Arts at the Whitney Museum of American Art. Her recent books are Context Providers—Conditions of Meaning in Media Arts (Intellect, 2011; Chinese edition, 2012), co-edited with Margot Lovejoy and Victoria Vesna; New Media in the White Cube and Beyond (University of California Press, 2008); and Digital Art (Thames & Hudson, 2003 / 2008 / 2015). At the Whitney Museum she curated exhibitions including Cory Arcangel: Pro Tools (2011), Profiling (2007), Data Dynamics (2001), and the Net art selection for the 2002 Whitney Biennial, and is responsible for artport, the Whitney Museum’s web site devoted to Internet art. Other curatorial work includes The Public Private (Kellen Gallery, The New School, 2013), Eduardo Kac: Biotopes, Lagoglyphs and Transgenic Works (Rio de Janeiro, Brazil, 2010); Biennale Quadrilaterale 3 (Rijeka, Croatia, 2009–10); and Feedforward—The Angel of History (co-curated with Steve Dietz; LABoral, Gijon, Spain, October 2009).

Richard Rinehart is Director and chief curator of the Samek Art Gallery at Bucknell University. He has served as Digital Media Director and Adjunct Curator at the UC Berkeley Art Museum and as curator at New Langton Arts and for the San Jose Arts Commission. He juried for the Rockefeller Foundation, Rhizome.org, and other organizations. Rinehart has taught courses on art and new media at various institutions, among them UC Berkeley, UC Santa Cruz, and the San Francisco Art Institute. He served on the boards of the Berkeley Center for New Media, New Langton Arts, and the Museum Computer Network. He led the NEA-funded project “Archiving the Avant-Garde” to preserve digital art, and co-authored, with Jon Ippolito, Re-collection: Art, New Media, and Social Memory (2014). Rinehart’s papers, projects, and more can be found at http://www.coyoteyip.com.

Edward A. Shanken writes and teaches about the entwinement of art, science, and technology with a focus on interdisciplinary practices involving new media. Recent academic posts include Visiting Associate Professor, DXARTS, University of Washington; Faculty of Media Art Histories, Donau University Krems; Hohenberg Chair of Excellence in Art History, University of Memphis; and Universitair Docent, New Media at University of Amsterdam. He edited and wrote the introduction to a collection of essays by Roy Ascott, Telematic Embrace: Visionary Theories of Art, Technology and Consciousness (2003). His critically praised survey Art and Electronic Media (2009) has been expanded with an extensive, multimedia Online Companion at www.artelectronicmedia.com. His most recent book, Inventing the Future: Art—Electricity—New Media, was published in Spanish in 2013 and is forthcoming in Portuguese and Chinese. Many of his essays are available on his web site, www.artexetra.com.

Nathaniel Stern is an artist, writer, and teacher. He is an associate professor of Art and Design in the Peck School of the Arts at the University of Wisconsin–Milwaukee; a research associate at the Research Centre, Faculty of Art, Design and Architecture, University of Johannesburg; and author of Interactive Art and Embodiment: The Implicit Body as Performance (2013).

McKenzie Wark is the author of A Hacker Manifesto (2004), Gamer Theory (2007), The Beach Beneath the Street (2011), Telesthesia: Communication, Culture & Class (2012), The Spectacle of Disintegration (2013), and various other publications. He teaches at the The New School in New York City.

Jennifer Way is an Associate Professor of Art History at the University of North Texas. Her recent publications about art and technology include “Back to the Future: Women Art Technology” in Cyberfeminism 2.0 (2012); “Women Art Technology” in Media N: Journal of the New Media Caucus Association 2 (2012); and, with Morehshin Allahyari, “Digital/New Media Art and Contemporary Iran: Questions of Gender” in Media N (2013); as well as “Romantic Self-Exiles” in Anglistica, An Interdisciplinary Journal (2013). She serves on the editorial board for Moebius, Journal of Critical Approaches to Culture and Technology. “Women Art Technology,” her ongoing research project, trains students to create an expanding digital database of oral history interviews with women who use digital technology in any capacity in the artworld.