Pedro Oliveira is a researcher and sound artist whose work is committed to an anticolonial study of listening and its material intersections with the violences of the European border. His work was exhibited and performed at the Akademie der Künste, Berlin; Send + Receive Festival, Winnipeg; CTM Festival, Berlin; Festival Novas Frequências, and Akademie Schloss Solitude, Stuttgart, among others. He held fellowships at the Leuphana Institute for Advanced Studies, the Helsinki Collegium for Advanced Studies, and taught at the Humboldt University Berlin and Heinrich-Heine University Düsseldorf. Currently he is a guest faculty in Sound Studies and Sonic Arts at the Universität der Künste Berlin.

Özge Çelikaslan’s visual and scholarly work centres on counter-media narratives of social struggles, overlooked moving image artefacts and mapping archival gaps through orphan images. She completed her PhD at Braunschweig University of Arts, focusing on archives as commons, which led to her book Archiving the Commons: Looking through the Lens of bak.ma (2024). Her testimonial experimental videos and documentaries have been showcased across various platforms. As co-founder of the bak.ma digital media archive in 2014, she remains an active member. She teaches at Hochschule Mannheim Faculty of Design and is a research fellow at the Center for Arts, Design and Social Research.

Lori Emerson is an Associate Professor of Media Studies and Director of the Intermedia Arts, Writing, and Performance Program at the University of Colorado Boulder. She is also Director of the Media Archaeology Lab. Emerson is author of the forthcoming Other Networks: A Radical Technology Sourcebook (Anthology Editions, early 2025), co-author of THE LAB BOOK: Situated Practices in Media Studies (University of Minnesota Press, 2021), author of Reading Writing Interfaces: From the Digital to the Bookbound (University of Minnesota Press June, 2014), and editor of numerous collections.

Maryam Monalisa Gharavi is an artist, poet, and technologist. Her book Bio (Inventory Press, 2018) was the first to be written on a social media platform while bypassing “big data” storage sites. Other books include The Distancing Effect (BlazeVOX, 2016), Secret Catalan Poem (The Elephants, 2018), and the co-authored Oil News 1989-2020 (Sonic Acts Press, 2022). Exhibitions of her work include Sonic Acts, Amsterdam; Nottingham Contemporary, Nottingham; New Museum, New York City; Serpentine Cinema, London; Paço das Artes, São Paulo; and Recess, New York City, among others. She is the founder of Oil Research Group (ORG), a one-woman collective investigating oil and data. ORG was awarded an Anonymous Was a Woman Environmental Art Grant in 2023. She lives and works in New York City.

Kat Mustatea is a transmedia playwright and artist who experiments with language, live performance, and the computational uncanny to reconfigure what it means to be human in the digital age. Her hybrid digital artistic and literary project, Voidopolis (2023, The MIT Press / Leonardo), a first-of-its kind augmented reality book made to disappear, was shortlisted for the Lumen Prize and won the Arts and Letters ‘Unclassifiable’ Prize for Literature. Her work has been presented at Ars Electronica Linz, New Images Festival Paris, Stanley Picker Gallery London, Fabrica Treviso, CPH:DOX Copenhagen and New York Live Arts, among others.

Jonas Zilius is head of the media database and department head of media production at the Karlsruhe Institute of Technology (KIT). After his diploma in architecture (KIT), he studied media art with a focus on artistic photography at the Karlsruhe University of Arts and Design (HfG), where he worked as a lecturer for “Bildproduktion” from 2017 to 2020 after his second degree. As a photographer, Jonas Zilius explores questions about objects and artefacts and their observation and reproduction, mostly based on long-term research in scientific and historical contexts. Despite its apparently documentary characteristic, his work transforms the material into more open forms of narration.

Bruno Moreschi is a researcher and artist. He holds a PhD in Arts from the State University of Campinas (Unicamp) with a period of study at Uniarts Helsinki. His investigations are related to the deconstruction of systems and the decoding of procedures and social practices in the fields of the arts, museums, visual culture and technology. Since 2023, he has been a fellow conducting research at LIAS – Leuphana University Institute for Advanced Studies. His projects have been recognised with grants and exhibitions, such as ZKM | Center for Art and Media, Karlsruhe, Van Abbemuseum, Eindhoven, Collegium Helveticum, Zurich, 33rd Bienal de Arte de São Paulo, Rumos Itau Cultural, Funarte, and the Bauhaus Fellowship.

Nathalia Lavigne works as a researcher, curator and writer. Post-doctoral fellow at MAC USP (Museo de Arte Contemporáneo de la Universidad de São Paulo), she has a PhD from FAUUSP (Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo), and a master's degree in Critical Theory and Cultural Studies from Birkbeck, University of London. Her research interests involve topics such as social documentation and circulation of images on social networks. As a curator, she has organised exhibitions such as Against, Again: Art Under Attack in Brazil, Anya and Andrew Shiva Gallery (John Jay College, CUNY, NYC, 2020), and Tactics of Disappearance, Paço das Artes (São Paulo, 2021). She is currently a junior fellow at the Käte Hamburger Kolleg: Cultures of Research (c:o/re) at RWTH Aachen University in Aachen.

Ofri Cnaani is an artist and researcher who works across performance and media. Cnaani’s work has been exhibited internationally at institutions such as the Metropolitan Museum, New York City; Venice Architecture Biennale; PS1 MoMA, New York City; Tate Britain, London; BMW Guggenheim Lab, New York City; Amos Rex Museum, Helsinki; Kunsthalle Wien, Vienna; and Kiasma Museum, Helsinki, among others. She holds a PhD from the Visual Cultures department at Goldsmiths, University of London, where she also served as an associate lecturer. Currently, she is a visiting scholar at the Institute of Visual Culture, TU Wien, and a research fellow at the Amsterdam School for Cultural Analysis (ASCA) at the University of Amsterdam.

Inge Hinterwaldner holds a professorship for art history at the Karlsruhe Institute of Technology in Karlsruhe, Germany. In 2023-2024, she is Senior Fellow at Collegium Helveticum, Zurich. Her research focuses on interactivity and temporality in the arts, computer-based art and architecture, tectonics of programmed art, image and model theory, expressiveness of fluid dynamics, and the interdependence between the arts and the sciences since the 19th century. She is Principal Investigator of the research group Coded Secrets: Artistic Interventions Hidden in the Digital Fabric (2022-2027), dealing with net-based artworks from a variety of perspectives and disciplines: art, art history, computer science, media informatics, digital conservation, and visual cultural studies.

René G. Cepeda is a Mexican multidisciplinary designer/artist/art historian specializing in new media art. His studies include Information Design and software development, museum studies and art history master’s degrees in the UK, and a Ph.D. that combines design and curatorial practice to help curators engage with interactive new media art and create exhibitions that retain the meaning and interaction of such works. As a curator, he combines his artistic background including 5 years as an artist’s apprentice to create immersive and interactive exhibitions that combine formal curatorial practice with creativity in the design and implementation of spaces and objects to create exhibitions that can both entertain and educate audiences. His current research interests lie in the preservation and dissemination of new media art, particularly in the field of interactive art.

Charlotte Eifler is an artist and filmmaker who explores the politics of representation in relation to technology. Her works in the fields of moving image, extended reality, installation and performance address the intersections of digitality, archival practices and speculative futures. Eifler's projects utilise experimental storytelling techniques to question existing power structures and imagine alternative forms of history production and social coexistence. Her work has been shown internationally, including Sapporo International Art Japan, ACM Siggraph Digital Art, Los Angeles; Staatliche Kunsthalle Baden Baden, Art Basel, Haus der Kulturen der Welt Berlin, IMPAKT Utrecht, Kurzfilmtage Oberhausen, and RENCONTRES INTERNATIONAL Paris, among others.

Barbara Filser is an art and media historian and has taught at various universities in Germany and Austria. She is currently based at the Institute for History of Art and Architecture at KIT – Karlsruhe Institute of Technology, Germany, and working on her research project CD-ROM Art: Exploring Images of the Digital Imaginary, funded by the German Research Foundation since 2023. Her other main areas of research are video art, documentary and essay film, and the history and theory of photography

Andrew Hoskins is Interdisciplinary Professor at the University of Glasgow, UK. He has been researching the relationship between media, war and memory for over 20 years. He is founding Co Editor-in-Chief of the Cambridge Journal of Memory, Mind & Media, founding Editor-in-Chief of the Journal of Digital War, and founding Editor-in-Chief of the Journal of Memory Studies. He is author/editor of 10 books, including: Radical War: Data, Attention & Control in the Twenty-First Century (Hurst/OUP 2022, with Matthew Ford) and The Remaking of Memory in the Age of the Internet and Social Media (OUP 2024, co-edited with Qi Wang).

Gabriel Menotti is Associate Professor and chair of the Screen Cultures and Curatorial Studies program at Queen’s University. He works as an independent curator in the field of media practices and has written extensively on various themes related to image, institutions, and technology. His most recent publication is the historical anthology Barbarian Currents: Documents, Inventories and Ideas from Brazilian Media Arts (co-edited with German Nunez, forthcoming with Open Humanities Press). He also coordinates the Besides the Screen network.

Thiago Leiros-Costa is an artist, psychologist, neuroscientist and educator. Born in the northeast coast of Brazil, he has been performing live since 1998. He currently works as a researcher and professor at the Politecnico di Milano, Milano-Bicocca and Verona Universities, studying attention, perception and the psychology of art. As a musician he uses voice, stringed instruments (classical or prepared) and electronics, exploring concepts around Latin American folk, American ancestral guitar, free improvisation, sound design and Pauline Oliveros’ Deep Listening. His current aim as an educator and performer is to seamlessly merge scientific and artistic practices and to encourage a critical look at normative institutional practices.

Paula Pérez-Roda is a researcher, editor, and artist. A current Postdoctoral Fellow in the Madrid Institute for Advances Studies, they have been an Artistic Research Fellow at Hangar (IX Fundaciò Banc Sabadell-Hangar Fellowship) with the project Formas de matar el mundo, which studies the cultural history of writing at social networks. Their research explores the technological order of verbal and textual arts and collective creative practices, touching on research areas like Cultural History, Literary Theory, Book History and the intersection of literacy, media, writing and the arts. They hold a Ph.D. in cultural and literary studies from Princeton University (2023), and have participated in artistic programs and exhibitions at Matadero-Madrid, Santa Mònica Museum, La Capella, Lugaradudas or La Madraza, among other institutions.

Víctor Fancelli Capdevila works as a digital archivist at the Open Resource Centre (ORC) in Karlsruhe. Originally, he worked in the field of website development and maintenance before gaining work experience at the university archive of the Karlsruhe Institute of Technology (KIT) and the ZKM | Center for Art and Media Karlsruhe. He completed a master's degree in media philosophy and art history at the Karlsruhe University of Arts and Design and has since dedicated his research to the (political) relationships between people, technology, education, and shared memory. This is reflected in his contributions to various conferences on archiving and teaching as well as in digital literacy workshops for NGOs as part of the EU3Digital project. He is part of the organisational team of Sobtec Congrés Sobirania Tecnologica in Barcelona.

Giselle Beiguelman is an artist and a professor at FAU-USP. She is the author of Políticas da imagem: vigilância e resistência na dadosfera (UBU Editora, 2021) and Memória da amnésia: políticas do esquecimento (Edições Sesc, 2019), among others. Her artistic works are part of museum collections in Brazil and abroad, including ZKM, Karlsruhe, the Jewish Museum Berlin, MAC-USP, São Paulo, and the Pinacoteca de São Paulo. In her recent projects, she investigates the construction of the colonialist imaginary in arts and sciences using artificial intelligence resources.

Bruno Moreschi is a researcher and artist. He holds a PhD in Arts from the State University of Campinas (Unicamp) with a period of study at Uniarts Helsinki. His investigations are related to the deconstruction of systems and the decoding of procedures and social practices in the fields of the arts, museums, visual culture and technology. Since 2023, he has been a fellow conducting research at LIAS – Leuphana University Institute for Advanced Studies. His projects have been recognised with grants and exhibitions, such as ZKM | Center for Art and Media, Karlsruhe, Van Abbemuseum, Eindhoven, Collegium Helveticum, Zurich, 33rd Bienal de Arte de São Paulo, Rumos Itau Cultural, Funarte, and the Bauhaus Fellowship.

Giselle Beiguelman is an artist and a professor at FAU-USP. She is the author of Políticas da imagem: vigilância e resistência na dadosfera (UBU Editora, 2021) and Memória da amnésia: políticas do esquecimento (Edições Sesc, 2019), among others. Her artistic works are part of museum collections in Brazil and abroad, including ZKM, Karlsruhe, the Jewish Museum Berlin, MAC-USP, São Paulo, and the Pinacoteca de São Paulo. In her recent projects, she investigates the construction of the colonialist imaginary in arts and sciences using artificial intelligence resources.

Ofri Cnaani is an artist and researcher who works across performance and media. Cnaani’s work has been exhibited internationally at institutions such as the Metropolitan Museum, New York City; Venice Architecture Biennale; PS1 MoMA, New York City; Tate Britain, London; BMW Guggenheim Lab, New York City; Amos Rex Museum, Helsinki; Kunsthalle Wien, Vienna; and Kiasma Museum, Helsinki, among others. She holds a PhD from the Visual Cultures department at Goldsmiths, University of London, where she also served as an associate lecturer. Currently, she is a visiting scholar at the Institute of Visual Culture, TU Wien, and a research fellow at the Amsterdam School for Cultural Analysis (ASCA) at the University of Amsterdam.

Thiago Leiros-Costa is an artist, psychologist, neuroscientist and educator. Born in the northeast coast of Brazil, he has been performing live since 1998. He currently works as a researcher and professor at the Politecnico di Milano, Milano-Bicocca and Verona Universities, studying attention, perception and the psychology of art. As a musician he uses voice, stringed instruments (classical or prepared) and electronics, exploring concepts around Latin American folk, American ancestral guitar, free improvisation, sound design and Pauline Oliveros’ Deep Listening. His current aim as an educator and performer is to seamlessly merge scientific and artistic practices and to encourage a critical look at normative institutional practices

Pedro Oliveira is a researcher and sound artist whose work is committed to an anticolonial study of listening and its material intersections with the violences of the European border. His work was exhibited and performed at the Akademie der Künste, Berlin; Send + Receive Festival, Winnipeg; CTM Festival, Berlin; Festival Novas Frequências, and Akademie Schloss Solitude, Stuttgart, among others. He held fellowships at the Leuphana Institute for Advanced Studies, the Helsinki Collegium for Advanced Studies, and taught at the Humboldt University Berlin and Heinrich-Heine University Düsseldorf. Currently he is a guest faculty in Sound Studies and Sonic Arts at the Universität der Künste Berlin.

Elisabeth Krämer studied art history, music, and media studies and worked on various projects, including based in Berlin and documenta(13). During the past years, she has primarily worked at Haus der Kulturen der Welt (HKW), where she coordinated various exhibitions, conferences and publications, such as Past Disquiet and 2 or 3 Tigers. Her recent projects include the collective learning and artistic research platform New Alphabet School and the community of practice Investigative Commons. She joined ECCHR in February 2024 as the project coordinator of the Living Open Archive and is responsible for the Activism & Arts program.

Federico Protto is an interdisciplinary artist whose practice spans performance, sound, installation, and research. Their work intertwines choreography, music, fashion, and their South American heritage, exploring themes of migration, colonialism, and cross-continental kinship. Federico weaves together myths, fiction, and ancestral notions, creating dynamic installations such as Dress-Rehearsals (2022) and the ongoing MAPA project. They have exhibited at institutions internationally, including DeSingel and MOMU (both in Antwerp) and Centro Cultural de España, Montevideo in Uruguay. Federico studied fashion design at the University of Applied Arts,Vienna and artistic research at a.pass, Brussels, where the artist is also based.

Lisa Deml [she/her] is an independent curator and writer based in Berlin. Initially trained as a journalist, she subsequently worked for public institutions and non-profit organisations, including Haus der Kulturen der Welt (HKW), Berlin; Haus der Kunst, Munich; and Ashkal Alwan, Beirut. Her texts have been featured in exhibition catalogues, such as Rabih Mroué: Interviews (ed. Nadim Samman, KW Institute for Contemporary Art / Hatje Cantz, 2022), as well as in journals, including Third Text, PARSE, and Critical Arts. From 2025, she will take up the co-directorship of the Halle für Kunst Lüneburg together with Marie-Sophie Dorsch

Maryam Monalisa Gharavi is an artist, poet, and technologist. Her book Bio (Inventory Press, 2018) was the first to be written on a social media platform while bypassing “big data” storage sites. Other books include The Distancing Effect (BlazeVOX, 2016), Secret Catalan Poem (The Elephants, 2018), and the co-authored Oil News 1989-2020 (Sonic Acts Press, 2022). Exhibitions of her work include Sonic Acts, Amsterdam; Nottingham Contemporary, Nottingham; New Museum, New York City; Serpentine Cinema, London; Paço das Artes, São Paulo; and Recess, New York City, among others. She is the founder of Oil Research Group (ORG), a one-woman collective investigating oil and data. ORG was awarded an Anonymous Was a Woman Environmental Art Grant in 2023. She lives and works in New York City.