A group of intermedia artists based in Braunschweig, Germany. Members of the group are Elke Utermoehlen, Martin Slawig and Martin Kroll. blackhole-factory develops performances and installations utilizing the creative tension between information technology and the physical presence of bodies in space, exploring possible methods of augmented space and perception. Generally the projects are using found materials, field recordings, interviews, lo-tech electronics, custom software, sensors and custom interfaces. In their investigative and site specific arts projects the group is exploring aspects of everyday live and identity, focusing on urban space and ethnologic/ anthropologic questions. Some of the works have been created in open processes as participatory art projects. Since 2001 they are directing a group of performers with learning difficulties, creating live art with the use of low-tech electronics and digital media. blackhole-factory cooperates in an international network with artists, scientists and cultural organizations. 2010 they founded an integrative center for theatrical research, rehearsals and performances in Braunschweig called„Theaterhaus Kunstmühle“ www.blackhole-factory.com      

He is an artist, researcher and curator whose pioneering work with the Tissue Culture and Art Project which he established with Ionat Zurr in 1996 is considered a leading biological art project.   In 2000 he founded SymbioticA, an artistic research centre housed within the School of Anatomy, Physiology and Human Biology, The University of Western Australia. Under Oron’s leadership SymbioticA has gone on to win the Prix Ars Electronica Golden Nica in Hybrid Art (2007) and became a Centre for Excellence in 2008. Catts’ interest is life, more specifically the shifting relations and perceptions of life in the light of new knowledge and it application.   Often working in collaboration with other artists (mainly Ionat Zurr) and scientists, Catts have developed a body of work that speak volumes about the need to for new cultural articulation of evolving concepts of life. Oron was a Research Fellow in Harvard Medical School and a visiting Scholar at the Department of Art and Art History, Stanford University.   He is currently the Director of SymbioticA, a Visiting Professor of Design Interaction, Royal College of Arts, London, and a Visiting Researcher/consultant at Aalto University’s Future Art Base, Helsinki. Catts’ ideas and projects reach beyond the confines of art; his work is often cited as inspiration to diverse areas such as new materials, textiles, design, architecture, ethics, fiction, and food.   www.tcaproject.org  

New media and sonic artist, performer and teacher, Marco Donnarumma was born in Italy and is based in London.   Weaving a thread around biomedia research, musical and theatrical performance, participatory practices and subversive coding, Marco looks at the collision of critical creativity with humanized technologies. His biophysical system Xth Sense won the first prize in the Margaret Guthman Musical Instrument Competition and was named the 2012 “world’s most innovative new musical instrument” by the Georgia Tech Center for Music Technology, US.  Marco has performed and spoken in 40 countries including US and South America, Europe, India, China, South Korea and Australia. His works have been selected at leading art events (ISEA, Venice Biennale, WRO Biennale), specialized festivals (FILE, Sonorities, Némo, Mapping, Piksel, Re-New, Laboral, EMAF) and major academic conferences (NIME, ICMC, Pure Data Convention, Linux Audio Conference@Stanford CCRMA, SICMF). His projects have been reviewed on BBC, Reuters, Wired, Create Digital Music, We Make Money Not Art, Rhizome, Weave, El Pais, Digicult, and appeared in the book “New Art/Science Affinities” (CMU and Studio for Creative Enquiry, US). He was artist in residence at STEIM (NL), Inspace (UK), and the National School of Theatre and Contemporary Dance (DK). His work has been funded by the European Commission, British Council, Creative Scotland, New Media Scotland, and the Danish Arts Council. Currently, Marco is a PhD student for the Embodied Audio Visual Interaction (EAVI) Research Group at Goldsmiths, University of London, supervised by Professor Atau Tanaka, and fully funded by the European Research Council (ERC). In the last two years Marco has taught over thirty www.marcodonnarumma.com/teaching workshops for international academic institutions and media labs on a regular basis, including: Ha

(born 1970 in Oslo, Norway) is an artist working with drone technology since 2007. Among his works is the seagull based MUAV, commissioned by The Norwegian Data Protection Authority. He has exhibited drone based works at among other the Manifesta Biennale (2010), Les Rencontres Internationales (2012) andVestfossen Kunstlaboratorium (2014). He designs his own aircrafts, exhibiting them together with politically charged aerial videos. Eiebakke also writes essays on drones, and is used as an analyst for Norwegian public radio and other news media. He is currently working on a group show in Kunstnernes Hus, Oslo, discussing the relationship between art and war. Eiebakke is also a member of the Norwegian National Team in radio controlled precision aerobatics. http://www.anderseiebakke.no/    

(b. 1968, Innsbruck) – studied art history and philosophy at the University of Innsbruck. He works as an artist and author in the fields of fine art and media art. Since 1997 he has held posts as a university lecturer and visiting professor. Thomas Feuerstein’s projects are realised using various media. They comprise installations, drawings, paintings, sculptures, photography, radio plays and netart. Some of the crucial aspects in his work are the interplay between verbal and visual elements, the unearthing of latent connections between fact and fiction, and the interaction between art and science. His works have been exhibited at museums and galleries worldwide, including the ZKM Zentrum (Karlsruhe), MUMOK (Vienna), MUSEION | Museum of odern and Contemporary Art (Bolzano), Galeria Zachęta (Warsaw), Chronus Art Center (Shanghai), Medialab Center (Madrid), as well as the Frankfurter Kunstverein (Frankfurt am Main) and 4th Moscow Biennale of Contemporary Art (Moscow).  

graduate of the Fryderyk Chopin Academy of Music in Warsaw. Since 1998 he writes music for different instrument constellations (“Diversification” two fagots and a clarinet, “Rondo a la krakowiak” a screaming pianist and bass clarinet, “Painting” two clarinets, a fagot, a contrabass and singing) and theatres (about 25 performances for drama and puppet theatres). He used to perform as a soloist with groups like: de Ereprijs, Kwartet Śląski, „Aukso” Orchestra, Podlaska Filharmony. He creates installations, theoretical texts about his authorial concepts, radio auditions and underground movies. Since 2008 he works on expanding the sound possibilities of the bass clarinet, gaining inspirations from beatbox. He is the author of the “composed education” concept and holder of the Warsaw City and the Ministry of Culture and National Heritage scholarships  in scope of the program of creating alternative education textbooks. http://www.edukacjakomponowana.pl/

Was born in 1965 in Bristol and grew up in Leeds. In 1984 he moved to London, where he worked in construction before studying for a BA in Fine Art at Goldsmiths college from 1986 to 1989. Whilst in his second year, he conceived and curated a group exhibition entitled Freeze. The show is commonly acknowledged to have been the launching point not only for Hirst, but for a generation of British artists. Since the late 1980s,Hirst has used a varied practice of installation, sculpture, painting and drawing to explore the complex relationships between art, life and death, explaining:  “Art’s about life and it can’t really be about anything else… there isn’t anything else.” Through work that includes the iconic shark in formaldehyde, The Physical Impossibility of Death in the Mind of Someone Living (1991) and For the Love of God (2007), a platinum cast of skull set with 8,601 flawless pavé-set diamonds, he investigates and challenges contemporary belief systems, and dissects the uncertainties at the heart of human experience. Hirst lives and works in Gloucester, Devon and London.  Since 1987, over 80 solo Damien Hirst exhibition have taken place worldwide, and his work has been included in over 260 group shows. Hirst’s solo exhibitions include: Qatar Museum Authority, ALRIWAQ Doha (2013-2014), Tate Modern London (2012), Palazzo Vecchio, Florence (2010), Oceanographic Museum Monaco (2010), The Wallace Collection, London (2009 –10),  Galerie Rudolfinum, Prague (2009), Rijksmuseum, Amsterdam (2008), Astrup Fearnley Museet for Moderne Kunst, Oslo (2005), Museo Archeologico Nazionale, Naples (2004).  

An electronic artist conducting experiments in derelict electronics, possession trance, retro-death-telegraphy and hylozoistic neural computation. His work focuses on self-built hardware, signal aesthetics, and the physical/material nature of experience. Jordan’s live performances make excessive use of stroboscopic light, high volume noise, and electronic stimulation of rocks in an attempt to induce hallucinatory and trance like states. He has presented his work internationally in a wide range of venues from art and academic institutions to derelict warehouses and squats at places such as Sight + Sound Festival (Montreal, Canada); LACMA (Los Angeles, USA); Subtle Technologies (Toronto, Canada); Transe(s) Symposium (Strasbourg, France); SPILL Festival (Ipswich, UK); Resonant Chamber (Riga, Latvia); FACT (Liverpool, UK); Belluard Festival (Friburg, Switzerland); CTM Festival: CTM.12 (Berlin, Germany); Pure Data Convention (Sao Paulo, Brazil); Piksel Festival (Bergen, Norway); ISEA (Istanbul, Turkey); and NEXT Festival (Bratislava, Slovakia). Jordan runs noise=noise, a research laboratory and live performance platform aimed at developing a network of artists, programmers, and researchers working in the areas of noise, experimental, exploratory, and outsider arts.  http://nnnnn.org.uk/ http://ryanjordan.org/    

Studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano. After having worked as a flutist for contemporary music, she started to perform her own pieces, often combined with video. Since the end of the 70’ she focused on sound installations, sound sculptures and works with light. Her compositions are mostly electroacoustic, but she has written for ensembles as well and produced several audio works for radio. She received numerous grants and awards, such as the composition grant of the city of Berlin (1995), the honorary award of the German Sound Art Award (2008), Ars Electronica honorary mention (2008), SR Media Art Award (2009), City Sound Art Bonn / Beethovenstiftung (2013). Since 1974 she had solo exhibitions in Europe, USA, Australia, Japan and South America. She participated in several international festivals and group exhibitions such as: Pro Musica Nova, Bremen (1976 and 1980), Biennale of Venice (1980 and 1982), Ars Electronica, Linz (1987), Musik und Raum, Lucerne Festival (2004), European Capital of Culture project (2010). Her music has been released by various labels such as Cramps Records, Edition RZ, ampersand, semishigure, Die Schachtel, Olof Bright, AA Records, Important Records, Gruenrekorder and others. Christina Kubisch has been a visiting professor in Maastricht, Paris, Oxford and Berlin. From 1994 to 2013 she was professor for Audiovisual Art at the Academy of Fine Arts, Saarbrücken, Germany. Since 1997 she is a member of the Akademie der Künste Berlin. 2013/2014 she is a Senior Research Fellow at Oxford Brookes University. www.christinakubisch.de  

Consultant Neurosurgeon, Department of Neurosurgery, Pomerian Traumatology Center, Gdansk, Poland His interest in neurosurgery started in 1998, when he began research and later individual studies at the Department of Neurosurgery and Neurotraumatology of the Jagiellonian University School of Medicine in Cracow, being awarded a scholarship of the Minister of Health. After graduation in 2001 he continued education on PhD studies at the Jagiellonian University School of Medicine (2002-2006). During neurosurgical residency (2003-2010) he participated in multiple international courses and conferences including fellowship in stereotactic and functional neurosurgery at the Department of Neurosurgery, University of Rochester, USA (2005-2006). Combining clinical work and research, he performs several hundred surgical procedures a year being involved in several scientific projects. He is an author or co-author of around hundred scientific publications. His research on mechanisms of action of deep brain stimulation, published in Nature Medicine and Nature Neuroscience was awarded best oral presentation during ASSFN Meeting in Vancouver in 2008. He is certified by Polish Board of Neurological Surgery.    

Film editor. He graduated at the Film and Television Academy in Warsaw. After the graduation he started commercial work (Open Productions since 2006, lazniak.com since 2010). In the commercial film projects he also works on the creation of image and sound, but his main field of interest is creative montage. Till 2013 he had been working on projects for MTV, VIVA, 4fun.TV, Extreme Sports Channel, Polsat, Polsat Sport, ESPN, TVN, TVN Turbo, TVN24, TVP, Discovery Channel (USA) and many others. http://lazniak.com/  

(b. 1969, Atlanta) – is the Marcello Lotti Professor of English and Director of the Center for Interdisciplinary Studies in Science and Cultural Theory at Duke University (US). He earned a PhD from the University of Washington in 2001. He is co-author of Tissue Economies (Duke University Press, 2006), Sympathy and the State in the Romantic Era (Routledge, 2007), Bioart and the Vitality of Media (University of Washington Press, 2010) and Experimental Life: Vitalism in Romantic Science and Literature Johns Hopkins University Press, 2013). Robert Mitchell has guest lectured in the US and internationally, including Stanford University (Palo Alto) The New School (New York), University of Toronto (Toronto), Université de Montréal (Montreal), Oxford University (Oxford), London School of Economics (London), The Nottingham Trent University (Nottingham) and others. His current research focuses on the relationships among biopolitics, the logic of populations, and the arts.  

Sound and recording artist. His work is based on the sounds of nature and its effect on humans. He primarily uses field recordings and electronic composition as a working method. He has worked for film, television, theatre, dance productions and as a sound designer. His newest album for Touch titled “Eye Of The Microphone” is a personal audio rendition based on the sound of London. Currently he is working on “The Acoustic City A Book Publication with CD”, co-edited with Matthew Gandy. www.bjnilsen.com  

Sound artist, culture and media theorist. Since the early nineties he’s been involved in experimental music scene of Poland. Founder of many bands (Spear, Ben Zen, Aural Treat, Sub Spa, Quantum Vacuum Oscillator, Nonstate i.a.). He works in the field of live multimedia performance, interactive installations and video art. In his solo performances he critically explores the limial territory between body physical activity and invisible electric infrastructure of hybrid space. He uses custom designed instruments and devices as well as digital and analogue electronics. Ożóg is an author of numerous articles concerning aesthetics of new media art, critical art, avant-garde film, video, and experimental music. His research focuses on surveillance studies, information and network society, tactical media, bio art and posthumanism. He teaches at the Department of Electronic Media, University of Łódź, Poland. In 1998-2002 he ran a record label Ignis Project dedicated to electronic and electroacoustic music. Ignis released records by: Francisco Lopez, Ultra Milkmaids, Vance Orchestra, Indra Karmuka, Crawl Unit, Origami Arktika, Chaos As Shelter, EA and Spear. He curated such events as four editions of the exhibition “Die Kunst Ist Toth”, concerts by Coil, Noise Makers Fifes, Column One, Troum, Xaviere Charles, Z’ev, Zbigniew Karkowski, Aube, Tetsuo Furudate, Asmus Tietchens, Marco Donnarumma and many others.  https://soundcloud.com/maciej-ozog  

A project created by a duo – Mateusz Wysocki (also known as Fischerle) and Lech Nienartowicz. They willingly explore all kinds of audio glitches, however, they like to focus also on the organic nature of sound and listeners perception, for example a cooperation with Justyna Kociszewska had brought to life “Fungus & Sequoia” – an audiovisual installation presented at the Reworks Festival in Greece. Their sound works have been presented in Poland, Ireland, Spain, Canada and in the United States. They created an experimental label Pawlacz Perski. pawlaczperski.org  

Czech sound artist, musician. He studied musicology at the Charles University in Prague and composition at the Academy of Performing Arts in Prague, where he earned his Ph.D. in 2005. Since 2006 he is assistant professor and runs electroacoustic music theory and composition classes. Michal Rataj also works as radio art producer at the Czech Radio, where he curates the program slot Radioatelier and the website rAdioCUSTICA for contemporary radioart activities. www.michalrataj.com    

Graduated music theory studies at the Academy of Music in Cracow. She gained experience during lectures focused on computer composition in the Electroacoustic Music Studio (under prof. Marek Chołoniewski supervision) and creating multimedia forms in the Intermedia Studio at the Academy of Fine Arts in Cracow. She composed music for several film forms such as „Żółtodzióbstwo”(2002), „Kotlet” (2005) and for the sound installation „Choroba morska” (2002). She cooperates with Zorka Wollny since 2004, they created projects as „Koncert na Wysokie Obcasy” (2004), „Concert for Landesmuseum” (2005) „Music from the White Cube” (2010), „Słopiewnie” (2010), „Przesilenie letnie” (2010), „Songs of the Sublime” (2011).

A French artist and scientist who investigates human artistic activity, computational creativity and our relation to machines, in particular our relations with robotic entities. In the context of his art practice, Patrick uses robotics to create autonomous robotics entities that are evocative representations of the artist, and in a certain manner a representation of himself. His robots are based on advanced technologies using research findings from robotics, computer vision, artificial intelligence and cognitive computing. Patrick encountered and practiced computing, painting, drawing and sculpture from an early age in France. Following a degree in Business Computing, he migrated to London to become a painter. Between 1991 and 2003 his work was exhibited in solo and group shows in London and Paris. In 2003, Patrick lost his ability to paint and draw, he has since been working on computational and robotic systems that are able to simulate these artistic activities. Patrick’s research led him to join Goldsmiths, University of London, to study for a Master of Sciences in Arts Computing and until 2013, he codirected the AIkon II project with Prof. Frederic Fol Leymarie. The AIkon II project investigated the observational sketching activity through computational modeling and robotics. Patrick also created the creative robotics course taught to postgraduatestudents at Goldsmiths as part of the MFA Computational Arts programme. Patrick was recently a Senior fellow at the Zukunftskolleg, University of Konstanz in Germany and is a currently a visiting research fellow at Goldsmiths University of London, United Kingdom. As a researcher he has published academic papers in the fields of artificial intelligence, computational aesthetics, computational creativity, social robotics, drawing research, digital arts and computer graphics. Patrick’s work has been internationally exhibited in solo and group shows, in association with major museums suc

An interdisciplinary artist, screen critic/theorist and educator.  Her art projects employ the technologies and strategies of the moving image, performance and bio-art to explore the cultural and philosophical terrains that consume her.  Much of her obsessions deal with the Life and Death Instincts, Identity Politics and the pioneering possibilities, as well as side effects, spawned from New Technologies.   The formation of a revolutionary audiovisual culture via digital technologies is embodied by much of Visosevic’s creative undertakings, present in her interactive mobile phone performances (such as Oh Bon! Commissioned by Fremantle Arts Centre in 2008 for the Bon Scott Project), through to Bio-Kino’s The Living Screen project (researched and developed at SymbioticA – The Centre of Excellence in Biological Arts).  These works possess an evolved poetics that situates her art practice within a swelling circuit of new genres and moving-image experiences.  Visosevic is a lecturer for the School of Communications and Arts at Edith Cowan University, where she combines her research in new media platforms with educating students in understanding the nature and experience of the moving image.  

Artist educated in Fine Art at Goldsmiths College in London, with a background in mathematics and chemistry from the University in Oslo. Since 1993 she has worked as an artist, curator and producer. She currently lives and works in Oslo. Jana Winderen researches the hidden depths with the latest technology – her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding and revealing sounds from hidden sources, both inaudible for the human senses and sounds from places and creatures difficult to access. Recent sound works include “Out of Range” commissioned by Deutschlandradio, Kultur, Germany (2014), “Ultrafield” commissioned by MoMA, The Museum of Modern Art, New York (2013), “Water Signal”, commissioned by The Guggenheim Museum and the Unsound festival in New York for the Stillspotting project, “ultraworld”, a commission by Sound and Music for the listening room at BEOPEN, Trafalgar Square, London (2012), a concert and talk at MIT, Boston, in relation to the Tribute to Commemorate Electro-acoustic pioneer Marianne Amacher; “Survivors of the Waterworld – Measuring Pollution by Sound” for Gøteborg International Biennial for Contemporary Art (2011); “Energy Field” live at ARS Electronica Festival for receiving the Golden Nica in 2011; “Between Dry Land”, commissioned for the installation “The Morning Line” (by Matthew Ritchie) for the Thyssen-Bornemisza Art Contemporary, opened in Istanbul May 2010. “Spawning Ground – from Coquet Head to the North Sea” was also commissioned for the AV festival in Newcastle (2010), and in the same year Jana also opened a permanent sound installation at the Knut Hamsun Centre in Hamarøy, Norway. Recent releases include the 12” Vinyl, &ldq

Visual artist, director, producer of documentary films. Since 1995 he creates performances, video performances, multimedia installations, movies, photography and experimental music. He is the author of over 150 projects, exhibitions participant and creator of authorial activities. Professionally he focuses on film and television art, working as a director and journalist. He owns a company producing film materials. He has been working for over 20 year with artists as Dominik Lejman and institutions as the Baltic Opera, Laznia CCA, Academy of Fine Arts in Gdańsk preparing video visualizations and project documentations. http://www.marekzygmunt.art.pl/