Jason Adams is a cultural and political theorist. He is a Co-Organizer of The New Centre for Research & Practice and a Professor at Kendall College of Art & Design. He is the author of Occupy Time: Technoculture, Immediacy, and Resistance After Occupy Wall Street (Palgrave Macmillan, 2013), and has published in Critical Inquiry, In These Times, Radical Philosophy, and Truthout, amongst other venues.
Julieta Aranda is an artist born in Mexico City, who currently lives and works between Berlin and New York. Central to Aranda’s multidimensional practice is her involvement with circulation mechanisms; her interest in science-fiction, space travel, zones of friction; and her interest in the possibilities for the production of political subjectivities by way of all of the above. As a co-director of e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental, all of which started in the e-flux storefront in New York, and have traveled to many venues worldwide. Since 2008, Julieta Aranda has been the editor of e-flux journal, together with Anton Vidokle and Brian Kwan Wood.
Armen Avanessian studied philosophy and political science in Vienna and Paris. After completing his dissertation in literature, he worked at the Free University Berlin from 2007-2014 . He has previously been a Visiting Fellow in the German Department at Columbia University and in the German Department at Yale University and visiting professor at various art academies in Europe and the US. He is editor in chief at Merve Verlag Berlin. In 2012 he founded a bilingual research platform on Speculative Poetics, including a series of events, translations and publications (www.spekulative-poetik.de ).His monographies include Irony and the Logic of Modermity (DeGruyter, 2015), Speculative Drawing (together with Andreas Töpfer, Berlin: SternbergPress, 2014), Present Tense. A Poetics (together with Anke Hennig, Bloomsbury 2015), Metanoia. Ontologie der Sprache (together with Anke Hennig, Berlin: Merve, 2014) and Überschreiben. Ethik des Wissens – Poetik der Existenz (Berlin: Merve 2015).
Diann Bauer is an artist and writer based in London who’s practice functions both independently and collaboratively. Her work spans a range of disciplines, including drawing, sculpture, painting, writing, printmaking, installation, architecture and video and has been screened and exhibited internationally in institutions, art galleries as well as non-traditional spaces and contexts. Most notably at Tate Britain, The Showroom and The Drawing Room (London), as well as Deste Foundation and Benaki Museum (Athens), and numerous others. She is has been involved in several recent collaborative projects including Real Flow, The Office for Applied Complexity and AST (the Alliance of the Southern Triangle) and Fixing the Future. She is a member of Laboria Cuboniks, a collaborative project redefining a feminism adequate to a global 21st century with whom she will soon publish a book as an elaboration of the on line publication of Xenofeminism, A Politics for Alienation.
Amanda Beech is an artist and writer living in Los Angeles. Her work has been featured in What Hope Looks Like After Hope, Beirut City Forum, 2015, Agitationism, the Irish Biennial, L’Avenir, Montreal Biennale, both 2014 and Speculative Aesthetics, Tate Britain, 2015. Beech’s writing includes essays for the anthologies Speculative Aesthetics, (Urbanomic 2014) Realism, Materialism, Art, (Sternberg Press 2015) and catalogue contributions for the Irish and the Montreal Biennale. Her artists’ books include First Machine (2015) Final Machine 2013 and Sanity Assassin 2010 (Urbanomic). She is Dean of Critical Studies at CalArts, California, USA.
Martin Brabec, PhD. is a political and social philosopher. He is a research fellow at the Center of Global Studies at the Institute of Philosophy of the Czech Academy of Sciences as well as being a lecturer at the Technical University of Liberec, where he teaches Contemporary Political Philosophy, the History of Political Thought, and Introduction to Political Science. In his research he focuses on several interrelated themes: the origin of capitalism and its unique features; the distinction between two traditions of democracy (the ancient concept of democracy, and our contemporary tradition of democracy, originating in European feudalism and culminating in liberal capitalism); and Universal Basic Income as a tool which would extend real freedom, and improve the contemporary political situation.
Federica Bueti is a writer, art critic, and editor living in Berlin. She is editor of …ment journal. Her interests focus on the politics of writing and the legacy of feminist practices. Her writing has appeared in magazine such as frieze, X-TRA magazine, Flash-Art, Carla magazine as well as in many critical anthologies and artist monographs. She is currently a PhD candidate at the Royal College of Art, London.
Bassam El Baroni is a curator, teacher and writer based in Alexandria, Egypt. In 2005 he co-founded the non-profit art space Alexandria Contemporary Arts Forum (ACAF) which he subsequently directed. He was co-curator of Manifesta 8, The European Biennial of Contemporary Art, 2010, Region of Murcia, Spain for which he curated OVERSCORE, an exhibition project in three different venues in the cities of Murcia and Cartagena. In 2015 he curated an exhibition for the HOME WORKS 7 Forum in Beirut, Lebanon. El Baroni also curated Eva International – Ireland’s Biennial, Limerick, 2014, under the title of AGITATIONISM and was Co-Curator (with Anne Szefer Karlsen and Eva González-Sancho) of the Lofoten International Art Festival (LIAF), 2013, in the Lofoten Islands, Norway. He has been a theory tutor at the Dutch Art Institute, Arnhem since 2013.
Marek Hrubec holds a PhD in philosophy from Charles University. He has studied in Germany and the USA, as well as taking part in a year-long scholarship program at Oxford University, UK. In his research he especially focuses on social and political philosophy. He deals with issues of social and political justice, various kinds of recognition, legitimacy, participation, and democracy. In his theories he is working on formulating a conception of extraterritorial and intercultural recognition. He teaches political philosophy at the Department of Political Science at Charles University in Prague.
Victoria Ivanova is a curator. She is currently Assistant Curator for Public Programmes at Tate, London. Having previously worked in the human rights field, in 2010 she co-founded a multidisciplinary cultural platform in Donetsk, Ukraine, which critically explored the intersection between activism, education and artistic production. Ivanova is also one of the founding members of Real Flow. Her practice is largely informed by systems analysis and her interest in infrastructures as mechanisms for shaping and (re)producing socio-economic and political realities. Ivanova’s recent publications include Turborealism: Neither Bow nor Arrow (co-edited with Agnieszka Pindera) and ‘Art’s Values: A Détente, a Grand Plié’ in Parse 2: The Value of Contemporary Art. Ivanova holds a BA in Politics and Philosophy from the University of Leeds, MSc in Human Rights from London School of Economics, and MA in Curatorial Studies from the Center for Curatorial Studies Bard College.
Katerina Kolozova, PhD. is a professor of gender studies at the University American College Skopje and the director of the Institute in Social Sciences and Humanities, Skopje. She is also a visiting professor at several universities in Former Yugoslavia and Bulgaria where she teaches continental philosophy and gender studies. In 2009, Kolozova was a visiting scholar at the Department of Rhetoric (Program of Critical Theory) at the University of California Berkeley. She is the author of “The Cut of the Real: Subjectivity in Poststucturalist Philosophy,” NY: Columbia University
Antonia Majaca is a researcher and curator and the Visiting Professor at the IZK Institute for Contemporary Art at the Graz University of Technology, where her work focuses on the art-based transdisciplinary investigation and the epistemology of art in the age of algorithmic governmentality. Her three-year research and publishing project ‘The Incomputable’, funded by FWF – Austrian Science Fund, is currently being developed through an international platform involving Graz University of Technology, Goldsmiths University of London and the Department of Human and Social Sciences at the University of Naples. She recently curated ‘Knowledge Forms and Forming Knowledge – Limits and Horizons of Transdisciplinary Art-Based Research’ (with Patricia Reed and Mohammad Salemy) at the Halle für Kunst & Medien, Graz and ‘Memorial For(u)ms – Histories of Possibility’ for DAAD and HAU, Berlin.
Luciana Parisi is Reader in Cultural Theory, Chair of the PhD programme at the Centre for Cultural Studies, and co-director of the Digital Culture Unit, Goldsmiths University of London. Her research is a philosophical investigation of the ontological and epistemological functions of technology in culture, aesthetics and politics. . She is interested in cybernetics, information theory and computation, complexity and evolutionary theories and in the technocapitalist investment in artificial intelligence, biotechnology, nanotechnology. She has written within the field of Media Philosophy and Computational Design. In 2004, she published Abstract Sex: Philosophy, Biotechnology and the Mutations of Desire (Continuum Press). In 2013, she published Contagious Architecture. Computation, Aesthetics and Space (MIT Press). She is currently researching the history of automation and the philosophical consequences of logical thinking in machines.
Ana Teixeira Pinto is a lecturer at UdK (Universität der Kunste) Berlin and her writings have appeared in publications such as e-flux journal, Art agenda, Mousse, Frieze/de, Domus, Inaethetics, Manifesta Journal, or Texte zur Kunst. She is the editor of The Reluctant Narrator, published by Sternberg Press (2014) and more recently contributed to Alleys of Your Mind: Augmented Intelligence and its Traumas, edited by Matteo Pasquinelli and published by Meson Press (2015)
Patricia Reed is an artist and writer. Exhibitions have included those at South Kiosk (UK); Home Works 7 (LB); Witte de With (NL); Haus der Kulturen der Welt (DE); Württembergische Kunstverein (DE); Audain Gallery (CA); and 0047 (NO), amongst others. As a writer she has contributed to several books and periodicals including: Dea Ex Machina; Mould Magazine; #ACCELERATE – The Accelerationist Reader; The Psychopathologies of Cognitive Capitalism Vol. II; Intangible Economies; Cognitive Architecture; and Fillip Journal. Lectures have included those at Goldsmith’s (UK); Ashkal Alwan (LB); Les Laboratoires d’Aubervilliers (FR); Maerz Musik (DE); Aleppo (BE); Gertrude Contemporary (AU); The Institute of Modern Art (AU), and numerous others. She sits on the board/teaches at the New Centre for Research & Practice; and is part of the Laboria Cuboniks and the Office for Applied Complexity (OfAC) working groups.
Mohammad Salemy is an independent New York-based artist, critic, and curator. His writings have been published in e-flux, Flash Art, Third Rail, and Brooklyn Rail. He has curated exhibitions at the Morris and Helen Belkin Art Gallery, Access Gallery, and Satellite Gallery in Vancouver. In 2014, he organized the Incredible Machines conference. Salemy holds an MA in critical curatorial studies from the University of British Columbia and is one of the organizers of The New Centre for Research & Practice.
Nick Srnicek is the co-author of “#ACCELERATE Manifesto for an Accelerationist Politics” (2013) as well as Inventing the Future (Verso, 2015 with Alex Williams) and the editor of The Speculative Turn (Re.press, 2011 with Levi Bryant and Graham Harman). He is currently working on projects related to infrastructures, hegemony, and central bank macroeconomic modelling.
Dr. Peter Wolfendale is an independent scholar based in England’s East Midlands. Dr. Wolfendale got both his undergraduate degree and his Ph.D in Philosophy at the University of Warwick. His Ph.D thesis offered a re-examination of the Heideggerian Seinsfrage, arguing that Heideggerian scholarship has failed to fully do justice to its philosophical significance, and supplementing the shortcomings in Heidegger’s thought about Being with an alternative formulation of the question. Wolfendale’s signal achievement is his strategic mobilization and rational reconstruction of concepts from major figures from the continental tradition (above all, Heidegger, Deleuze and Foucault) which are put in the service of an ambitious revival of rationalism in philosophy and politics, unapologetically proposing contemporary reformulations of classical concepts like Truth, Beauty and Freedom.
Tony Yanick is a co-organizer of The New Centre for Research & Practice. Philosopher, media-theorist, computer engineer, multimedia artist, and musician from the United States. He holds a Master of Science in computer engineering with a concentration on mobile robotics and artificial intelligence, as well as an interdisciplinary Master of Arts in philosophy and world literature. He has spoken on philosophy, film, media, and technology internationally. Tony’s research is driven by transdisciplinary methodologies and currently is involved in two projects: one is focused on the relation between fiction and philosophy; another is interested in the development of platforms for collaborative research and digital pedagogy. He is the publisher of the transdisciplinary journal and publishing platform &&& (tripleampersand.org), as well as the production editor for the Deleuze Audio/Visual Journal (Deleuze A/V) since 2013.
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