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(Artist)

Interests: Societal implications of AI technology, Bias in Data, Data Ethics & Privacy, Visual representation of AI, Human Computer Interaction, Misinformation/Disinformation.

Evelyn Hriberšek creates interactive, hybrid worlds at the interface of reality and virtuality for an audience from high culture to mainstream. The visionary XR-Pioneer deals with "Serious Content in a playful way" to create social change. O.R.PHEUS and EURYDIKE are award-winning, forward-looking and mind-altering experiences that "leave scratches in the minds and hearts and send its recipients back to the real world in a changed form." Believing in an ethical code and responsibility in dealing with new technologies the artist writes, lectures and talks internationally, e.g. as a speaker at conferences such as SXSW, AWE Europe and re:publica.

EURYDIKE Trailer: https://vimeo.com/251072500

Instagram: https://www.instagram.com/evelyn.hribersek

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Eurydike | O.R.pheus II | Evelyn Hriberšek München

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EURYDIKE - ART INSTALLATION. MUSIC THEATRE. REAL LIFE GAME. MIXED REALITY EXPERIENCE. augmentedreality - virtualreality - womanintech - game - art - munich - exhibition - sxsw - tech - contemporaryart - innovation - installation - immersive - orpheus - key notes - work shops - speaker

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interests: Societal implications of AI, the nature of bias in machine learning, adversarial tactics & facial recognition, notions of the creative machine

Conor McGarrigle is an artist,educator and researcher whose work explores the implications of pervasive networked devices and computational processes through the lens of critical art practice. This work is rooted in a historical analysis of the intersections of art and technology, demonstrating how contemporary and historical practices develop new readings and critical understandings of networked technologies and emergent user practices. He lectures in Fine Art in the Dublin School of Creative Arts at TU Dublin and is a fellow of the European Culture and Technology Laboratory - ECT Lab+

Recent research looks at generating bias in AI,  the process of  training neural networks, emotion in and facial recognition and ideas of the creative machine.

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Website of media artist Conor McGarrigle

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Interests: Misinformation / disinformation, Bias in data, Trust in science, technology and research, Human-computer Interaction,
My PhD was on Bias and Credibility, specifically how the visual presentation of information affects individuals perception of bias.

Journalists, sub-editors (digital and layout), and editors all influence the news that we consume. Common methods include deciding which news story is reported on, the amount of coverage, editorial commentary, the slant of a news article, or the use of language. I am interested in exploring some of the lesser known ways in which news agencies knowingly or unknowingly bias news to influence consumers. Specifically I am interesting in exploring the use of images that accompany news articles. Images are increasingly important as they set the tone of the article, because they are placed in prominent positions to attract attention, and can even influence users who are only browsing. Questions include whether different news agencies favour certain politicians or political parties, sports stars, or celebrities by using favourable and unfavourable images, whether this is linked to institutional factors or context factors such as favourable polls and political victories, media darling/demon effect, sporting achievements, frontrunner biases etc., and how consumers can be made aware of their own biases and how they compare to others. Working with the science gallery provides the opportunity to develop informative experiments, to directly engage with the public about this important topic, and to help increase their awareness of a lesser known ways in which news agencies may bias the news. Collaborating with an artist will bring new insights and methods to create a thought provoking and informative piece of interactive art which engages with the public and contributes to science.

The easiest way to contact me is via email: brendan.spillane@adaptcentre.ie

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The ADAPT Centre combines the know-how of industry partners with the expertise of researchers at Trinity College Dublin, Dublin City University, University College Dublin, and Dublin Institute of Technology.

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Interests: Misinformation / disinformation, Bias in data, Trust in science, technology & research, Societal implications of AI.

My formational experience of noxious unconscious bias in practice occurred during a research project, where progress had stalled due to what we later realised was epistemic biases leading to incompatible definitions of the word 'data.'  Now, a lot of my work has bias at its heart: how does the view of the identity of a technology user as a consumer blind us to the relational aspects of their identity?

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Publications and Further Research Outputs

Peer-Reviewed Publications

Non-Peer-Reviewed Publications

CENDARI Team, 'CENDARI Note-Taking Environment', Univer, 2016, -

Research Expertise

Description My research career has been diverse and highly transdisciplinary, balancing discovery research with applied and service-based work promoting cultural change in the research ecosystem around me. It has moved through roughly three phases: First, in the time of my doctoral training and just after, I was focussed on basic research in the field of German/Austrian literature and culture. Although far from my current work, my publications from this time continue to be used, with two works still being cited in 2018 and 2019. My increasing interest in the impact of technology on my discipline and the humanities in general gradually eclipsed this discipline-specific work, however. Although I spent much of my career in this phase outside of wholly academic positions, this focus was nonetheless realised in the form of a number of successful, large-scale, funded research projects, including CENDARI (FP7), Europeana Cloud (FP7), PARTHENOS (H2020), and PROVIDE DH (CHIST-ERA). This body of research explores how we support the 'digital turn' for humanists, respecting their strong tradition of qualitative methods and cultural sources. It is for this work I am best known, and which led to my appointment as President of the Board of Directors of the DARIAH ERIC. Currently, however, I am finding very fruitful ground in the exploration of how understanding the intersection of technology with the study of the humanities provides new insight into social challenges, in particular as pertains to the use of information and communication technologies. This was the focus of the SPECTRESS Network (FP7) and the KPLEX project (H2020), as well as a number of initiatives currently in application stage. This career path has enabled me to publish across a broad spectrum of fields, ranging from literature and history to digital humanities, to scholarly communications, library science, computer science and science and technology studies, among others.

Keywords

Cultural Identity; Digital Humanities; interdisciplinary collaboration; research infrastructure; Technology and Society

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Jennifer Edmond : Trinity Research - Trinity College Dublin

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Peer-Reviewed Publications CENDARI Team, 'CENDARI Note-Taking Environment', Univer, 2016, - Description My research career has been diverse and highly transdisciplinary, balancing discovery research with applied and service-based work promoting cultural change in the research ecosystem around me.

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Interests: Misinformation / disinformation, Trust, HCI, Societal implications of AI technology, Search and Recommendation, Affective AI

Bias can arise in people's understanding and interpretation of information depending on how it is selected for presentation. Bias can emerge from phenomena such as the filter bubble effect and self-selecting echo chambers. Individual personalisation and group-based selection of information in search and recommendation algorithms can lead to biased views and understanding. The physical presentation of information, e.g. colours, fonts, arrangement, media, can bias people's affective response to information.

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Content Analytics and Preservation
Bio
Professor Gareth Jones is an ADAPT PI whose research encompasses an extensive portfolio of activities in Information Retrieval ranging from fundamental technologies to diverse areas of application.

He has published extensively with more than 400 papers covering many topics in multimedia and multilingual information retrieval, with application areas including search of life-logs, personal content, radio and TV broadcasts, public presentations and lectures, patents, content relating to cultural heritage, and medical archives. In addition he has been the recipient of a number of Best Paper Awards for his research, and was previously a Toshiba Fellow based in Japan.

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Content Analytics and Preservation Bio Professor Gareth Jones is an ADAPT PI whose research encompasses an extensive portfolio of activities in Information Retrieval ranging from fundamental technologies to diverse areas of application.

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Interests: AI, Bias in data, Machine learning, Visual representation of AI, Data analytics, Human-computer Interaction

Interested in exploring ways to improve user's awareness of bias and misinformation when interacting with personalisation systems, such as news or movies recommendations (Medium/Netflix/Amazon), content on social networks (Facebook/Twitter), health habits (FitBit), etc.

Contact:
annalina.caputo@adaptcentre.ie
Twitter: @headlighty

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Annalina Caputo

Assistant Professor

Research Theme

Publications

Profile

Dr. Annalina Caputo is an Assistant Professor in the School of Computing, Dublin City University. Prior to this appointment, Annalina held an EDGE COFUND Marie Skłodowska-Curie Action Research Fellowship in the ADAPT Centre at Trinity College Dublin, with a secondment in Ryanair, working in the domain of Temporal Aware Personalised Information Retrieval. She holds an MSc and PhD in Computer Science from the University of Bari Aldo Moro, Italy. During her PhD. she completed a visiting period at the Glasgow Information Retrieval Group, School of Computing Science, University of Glasgow. Her research interests are in the areas of Natural Language Processing, Information Access and Retrieval, Personalisation and Machine Learning.

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Annalina Caputo Assistant Professor Research Theme Publications Profile Dr. Annalina Caputo is an Assistant Professor in the School of Computing, Dublin City University. Prior to this appointment, Annalina held an EDGE COFUND Marie Skłodowska-Curie Action Research Fellowship in the ADAPT Centre at Trinity College Dublin, with a secondment in Ryanair, working in the domain of Temporal Aware Personalised Information Retrieval.

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Interests: Machine translation, Machine Learning, Data analytics, Human-computer Interaction, Societal implications of AI technology

An AI system can be as good as the quality of its input data. If you can clean your training dataset from conscious and unconscious assumptions on race, gender, or other ideological concepts, you are able to build an AI system that makes unbiased data-driven decisions.  We should acknowledge that AI biases can only happen due to the prejudices of humankind and we should focus on removing those prejudices from the data set. However, it is not as easy as it sounds.

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Biography: Dr Haithem Afli is a faculty member at Cork Institute of Technology and has over 12 years of R&D experience in the Machine Learning (ML) and Deep Learning research and applications space in industry and academia. He is one of the Funded Investigators in the Science Foundation Ireland (SFI) funded ADAPT Centre for Digital Content Technology, where his primary focus is on ML and Natural Language Processing (NLP). He is leading the Machine Learning research group ADAPT@CIT and lectures in the area.

After completing his undergraduate degree in Computer Science, he obtained an MSc in Computational Linguistics from Grenoble University (France) in 2010 and a PhD in Computer Science from Le Mans University (France) in 2014.

As an academic researcher, he is keen to commercialize his research with industry partnerships and he is actively involved in managing academia-industry partnership projects.

He is currently supervising five PhD students and two postdoctoral researchers all working in the application of ML and NLP.

Dr Afli is involved in several national, European (H2020) and International projects focussed respectively on the application of ML and NLP in Digital Health, 5G technology, AgriTech and security. He also has close working relationships and joint projects with a range of companies in the Machine Learning and NLP and its applications space both in Ireland and Europe.

Research Interests: Natural Language Processing, Deep Learning, Digital Health, AgriTech and Fintech.

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Biography: Dr Haithem Afli is a faculty member at Cork Institute of Technology and has over 12 years of R&D experience in the Machine Learning (ML) and Deep Learning research and applications space in industry and academia.

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Interests: AI, HCI, Accented Speech Recognition & Understanding

I think there is a lot of scope for audio-based technology to contribute meaningfully on both an aesthetic and exploratory level - I would be very interested in working towards an artistic goal in the field of speech & AI that has implications for the science underpinning it!  For reference, I am primarily interested in fingerprinting human speech, from the perspective of opening up accessibility and interactivity pathways, and I like to think that this might be something that can be applied in a way that isn't just as a medium for something fundamentally unrelated, but would instead lend itself to the body of the artistic piece itself!

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Interests: AI, Bias in data, Machine learning, HCI, Automatic Speech Recognition (ASR)
My research is in BIAS related to ASR, specifically in the area of accented English. Speech recognition technology simply does not work well when it encounters unusual styles of speaking, and accent is just one such style issue.  My research also touches on issues such as BIAS related to gender, age, disabilities and race.

Contact Emails:
edward.storey@adaptcentre.ie
storeyed@tcd.ie

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Interests: Machine translation, Machine Learning, Data analytics, Human-computer Interaction, Societal implications of AI technology, cognitive sciences, psycholinguistics

My research interests are related to BIAS because they focus on the impact of technology in the brain's cognitive functioning.

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Experienced Researcher with a demonstrated history of working in the research industry and research academy. Skilled in Python (Programming Language) and R, Linguistics, Natural Language Processing (NLP), Deep Learning/Machine learning. Strong research professional with a Doctor of Philosophy - PhD focused on Psycholinguistics, Machine Translation and Machine Learning.

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Natalia Resende - Postdoctoral Researcher - ADAPT Centre | LinkedIn

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Experienced Researcher with a demonstrated history of working in the research industry and research academy. Skilled in Python (Programming Language) and R, Linguistics, Natural Language Processing (NLP), Deep Learning/Machine learning. Strong research professional with a Doctor of Philosophy - PhD focused on Psycholinguistics, Machine Translation and Machine Learning.

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Interests: Consent, Privacy Risks, Data Ethics, Societal implications of AI technology
Contact: me@harshp.com | @coolharsh55
We are reaching a critical stage where 'consent' can no longer be a vague button that permits surveillance and rampant misuse without the person's understanding. My area of research relates to exploring how privacy risks are associated with the core aspects of technologies across domains and progress. At the same time, my research also concerns how 'consent', as a representative of the person and their choice, can indirectly cause harm due to lack of knowledge or negligence - and the propensity of bad actors taking advantage of this situation. Expressing these or conveying them to people needs constant change in narrative and dialogue because of the topic's complexity and depth. Something an artistic expression can greatly help with.

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I am Harshvardhan J. Pandit, and this is my personal website. I work as a Researcher at Trinity College Dublin and live in Dublin, Ireland. I primarily work in the areas of Consent, Privacy Risks, GDPR compliance, and semantic web. I read a lot, find productive ways to be unproductive, and aim to do more than I possibly can.

On this site, you can find:

1. list of all posts by date

2. my research activities including publications, projects, and activities such as supervision, reviewing, organisation, memberships

3. my research blog where I write about academic matters concerning my research, and distinct from my personal blog

4. my blog where I write personal opinions and articles

5. my hobbies: which currently include reading books, playing games, watching movies, creative writing such as stories and poetry

6. fascination with food, in particular cheese, tea, coffee, and cuisines

7. my quest to be a polymath through autodidactism

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I am Harshvardhan J. Pandit, and this is my personal website. I work as a Researcher at Trinity College Dublin and live in Dublin, Ireland. I primarily work in the areas of Consent, Privacy Risks, GDPR compliance, and semantic web. I read a lot, find productive ways to be unproductive, and aim to do more than I possibly can.

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Interests: Human-computer Interaction, speech interfaces

My research area is significantly focused on the domains relevant to BIAS. In particular I focus on how people use heuristics and habits from human interaction in speech interface interaction, potentially biasing their responses/actions.

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Aphra Kerr (researcher Maynooth University and ADAPT)

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Aphra Kerr (researcher Maynooth University and ADAPT)

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My ADAPT research focuses on: Public expectations of AI, Data Ethics, Data Justice & Privacy, Structural and Semiotic Bias in data and tech, Data governance, transparency, autonomy, public engagement methods. Other research which might offer connections: social and care robots, the social value of money, the production of digital games, including games of chance/hazard, technology workers and technology policy. Long running interest in the practice, history and cultures of photography.

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Professor Aphra Kerr is based in the Department of Sociology, co-convenes the university's Technology and Society interdisciplinary research network, and is a member of the Maynooth Social Sciences Research Institute and the Assisted Living and Learning Institutes, all at Maynooth University. She is also the Maynooth lead and a funded investigator with the SFI ADAPT Centre for Digital Content Technology, phase 2 (2021-2027) a multi-institutional research centre in Ireland ( https://www.adaptcentre.ie/).

Her research focuses on the design, governance and impact of media and technology in everyday life. Media technologies, and technologies as media, pervade every aspect of contemporary life in advanced societies, and play an increasingly important role in governing social and individual behaviour. It is critically important that we question the values that inform technological innovations and their governance and that social scientists understand, educate and inform the design and use of next generation technologies. Aphra has particular expertise in digital content and network technologies and has worked on interdisciplinary projects for over two decades. Her research on digital games was recognised with a Distinguished Scholar award from the international Digital Games Research Association in 2016 and membership of Academia Europaea in 2020.

Aphra is the author of two monographs on digital games published by Sage and Routledge respectively (2006 and 2017), was associate editor of the Digital Communication and Society three volume encyclopaedia (2015), and has published over 60 peer reviewed publications. Her journal articles have appeared in Critical Studies in Media Communication, Internet Policy Review, Information, Communication and Society, Media, Culture and Society, New Media and Society, Convergence, Surveillance and Society, International Journal of Cultural Policy, International Journal of Cultural Studies, European Planning Studies and Ethics and Information Technology.

She was recently co-PI on the Refiguring Innovation in Digital Games project funded by the Canadian SSHRC ( http://www.refig.ca/) which explores diversity and inclusion in the digital games industry. The Irish project has a focus on informal education in creative technologies and diversity (2016-2020). She was also co-PI on a project exploring data, trends and services for gambling in Ireland (2019/2020).

She was on the organising committee with colleagues from MU, TU Dublin and UCD of the Association of Internet Researchers 2020 and given COVID she is back on the committee for the second attempt in 2022 which will hopefully take place in person in Dublin. She is also a member of the Media Literacy Network in Ireland and an invited advisory expert for the Pan European Game Information System (PEGI).

Aphra has over 20 years' experience of educating at universities in Ireland, the UK and the United States. At MU she teaches undergraduate and postgraduate courses on media & society, technology & culture, the business and cultures of the internet, games and play, the datified society, and digital research methods. She is programme chair of the MA Internet and Society programme (since 2015).Prior to coming to Maynooth in 2005, she worked as a postdoctoral research fellow at the From 2001-2003 she was a Government of Ireland post-doctoral fellow working on the project My PhD (DCU, 2000) examined
Centre for Media Research at the University of Ulster in Northern Ireland, and at the Contemporary Digital Media: The Emergence of Digital Games. That began my research into digital games (the PS1 era!).

Ireland in the Global Information Economy: Innovation and Multimedia Content Industries with a focus on the barriers to innovation in global and local multimedia content services. During my PhD I spent six months at UNU/INTECH in Maastricht, the Netherlands, working on science, technology and innovation policy in Ireland. My MA (DCU, 1994, by research) examined lead users of an advanced telecommunications network called ISDN - which was quickly overshadowed by the internet. Society, Technology and Media research centre at Dublin City University in Ireland working on a range of projects including public service broadcasting policy, media literacy and digital inclusion.

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Professor Aphra Kerr is based in the Department of Sociology, co-convenes the university's Technology and Society interdisciplinary research network, and is a member of the Maynooth Social Sciences Research Institute and the Assisted Living and Learning Institutes, all at Maynooth University.

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Trust in science, technology and research, Trust in patient generated health information.

My PhD research is on Trust in Patient Generated Health Data. I believe an artistic representation of the topic would be a good addition to the exhibit.

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My PhD focuses on informatics aspects of Patient Generated Health Data (PGHD), exploring how to allow for the incorporation of PGHD in EHRs and clinical systems, taking account of data interoperability issues, ensuring standardisation of the non-clinical data, and the appropriate representation of metadata about quality, governance, provenance. The research will be grounded in the Irish national health system and will seek to align with the national EHR project.

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Alfredo Ormazabal - PHD Candidate - ADAPT Centre | LinkedIn

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My PhD focuses on informatics aspects of Patient Generated Health Data (PGHD), exploring how to allow for the incorporation of PGHD in EHRs and clinical systems, taking account of data interoperability issues, ensuring standardisation of the non-clinical data, and the appropriate representation of metadata about quality, governance, provenance.

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(Artist)

Interests: AI, Machine Learning, Ethics

An interdisciplinary creative working across documentary and photography. I'm conscious of biases and advocate of tech for humanity, championing diversity for a more inclusive world. There now exists four entities – humans, nature, machines, consciousness. I'm interested in how these cross-pollinate. I’ve questions around bias, autonomous warfare and AI ethics. Elon Musk reckons there’s a 1 in billions chance that we’re NOT living in a simulation created by an AI. That raises a LOT of philosophical questions for me
https://www.thenicethings.com/

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Marion Bergin is an award winning creative director, art director and stylist.

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(Artists)

Interests: Societal implications of AI technology

Annelie Berner and Monika Seyfried are designers and artistic researchers who create work at the intersection of science, experiential design and data representation. Their research focuses on designing ethical futures, where they use a unique framework to look at current and near-future  technologies through multiple lenses. Their mediums are visualisations, films, immersive experiences and design tools.

https://monikaseyfried.com/

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(Artist)

Interests: Artificial Intelligence, Machine learning, Data Ethics, Bias, Analytics, and societal implications are not separable if we aspire to develop systems that don’t reproduce and amplify existing social inequalities.

Ben Bogart is a non-binary adisciplinary artist working for nearly two decades with generative computational processes (including physical modelling, chaotic equations, feedback systems, evolutionary algorithms, computer vision and machine learning) and has been inspired by knowledge in the natural sciences (quantum physics and cognitive neuroscience) in the service of an epistemological inquiry. Ben has produced processes, artifacts, texts, images and performances that have been presented at galleries, art festivals and academic conferences in Canada, the United States of America, the United Arab Emirates, Australia, Turkey, Finland, Germany, Ireland, Brazil, Hong Kong, Norway and Spain.

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Office for Joint Administrative Intelligence

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Office for Joint Administrative Intelligence

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Gary Farrelly & Chris Dreir
(Artists)

Interests: Disinformation, Conspiracy theories, institutional fiction, archival fiction, performative archiving, counterfeit research and institutional neurosis

Office for Joint Administrative Intelligence is the collaborative practice of artists Chris Dreier (DE) and Gary Farrelly (IRE/BE). The work is fueled by a recurring obsession with architecture, infrastructure, finance, conspiracy theory and institutional power. O.J.A.I. pursues a strategy of self-institutionalisation where tools and codified rules of engagement are appropriated from economic and political infrastructures. Their monthly radio show is transmitted on Dublin Digital Radio and Cashmere Radio, Berlin. O.J.A.I. has presented work at AAIR Antwerpen, Damien and the Love Guru, Laura Mars Gallery, Grölle Pass Projects, Gold and Beton and Marres House for Contemporary Culture (Maastricht)

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Office of Joint Administrative Intelligence

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(Artists)

Interests: Algorithmic bias, shared space, inclusivity, human-computer interaction, algorithmic agency. Data Ethics & Privacy.

Wealgo is a new online playground which leverages Face Recognition AI & Group Video Meetings to create fluid, hybrid spaces and to encourage transient identities. We merge human and non-human visual language to play not to profile. We believe machine is as man teaches it. We strive for an open, fair and just playground for all of man and unmanned .

WeAlgo uses face recognition to protect our screen privacy, instead of violating it. It lets you move freely through a truly shared space. A ball masqué, anonymous yet truly there. Without storing and sharing personal data, WeAlgo makes transparent the information our effigies implicitly provide. The use of vectors instead of video stream results in a 95% reduction in bandwidth, and therefore our CO2 footprint.

About Martine:

I am interested in the entanglement of image, gaze and technology. Point of departure in my work is the photographic image; the voyeuristic act: photography (verb) and the autonomic product: photo (noun). Whilst using the medium (and moving away from it) I researche its role in the perception of reality.

Cultural framing interests me and how visual truths prove to be obverse. I am also interested in the universal need to take and cherish pictures of loved ones.

I have a teaching position at the Master Institute of Visual Cultures, Den Bosch. I co-founded the practice and research-based art foundation Radical Reversibility. WeAlgo is one of the outcomes of a artistic research project I did at Caradt, Centre of Applied Research for Art, Design and Technology, Breda

Two of four will attend - Martine Stig & Stef Kolman

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Wealgo blends face recognition software with video-meetup spaces. It's an online gathering of customized biometric avatars driven by face recognition algorithms ... a carnivalesque public playground, where Alter Algos meet.

Wealgo enables you to customise your biometric self and meet other Alter Algo's. Anonymous yet creating embodied experiences, it invites to playfully operate in the shadow or empowers to reinvent identity. Between face and mask, the biometric self merges former dichotomies and consolidates occupant and cloak, alter and ego, creating real experiences in a magical world.

we'll help you explain the basic concepts

Basic Concepts Explained

We believe Wealgo is a novel space that may require some explanation to use. Our Help Section hopes to make you comfortable with basic concepts such as our: Fitting Room, Meeting Room & Lobby. It will also tell you more about the Mask Editor and features to invite friends to Wealgo.

Ready to taste your appetite?

Embrace Your Algorithmic Self

Wealgo is all about experiment. To learn, discover, explore ... the thrills, the horrors, the blind spots. We don't really know where this is going, other than a joy and excitement and an endless stream of ideas, use cases and applications; the experiment itself has no real practical direction.

Have you enjoyed the Playground? Does it clash with your ideals? Would you allow your kids to play? Do you trust it? Can it help to serve any of your needs?

Our Get Involved section hopes to capture some of your feedback. Any input is much appreciated.

how we came to create wealgo

Why Wealgo

Martine had been researching and working with face algorithms for her project ' Art for Machines' when we were invited to a party ... then came Corona and the party happened in Zoom. We decided to go as Stick Woman & Stick Man. We danced our shoes off that night and had a strange uncanny happy experience of being some other self.

The next morning we woke up and knew we needed to extend our experience to others. To make this public Playground were Alter Algos Meet.

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Wealgo blends face recognition software with video-meetup spaces. It's an online gathering of customized biometric avatars driven by face recognition algorithms ... a carnivalesque public playground, where Alter Algos meet. Wealgo enables you to customise your biometric self and meet other Alter Algo's.

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(Artist)
Interests: Bias, visual representations of AI, emotion recognition, ethics and privacy, and automated decision making.

Caroline Sinders is a critical designer and artist. For the past few years, she has been examining the intersections of artificial intelligence, abuse, and politics in digital conversational spaces. She has worked with the United Nations, Amnesty International, IBM Watson, the Wikimedia Foundation and others. Sinders has held fellowships with the Harvard Kennedy School, Google's PAIR (People and Artificial Intelligence Research group), the Mozilla Foundation, the Weizenbaum Institute Pioneer Works, Eyebeam, Ars Electronica, the Yerba Buena Center for the Arts, the Sci Art Resonances program with the European Commission, and the International Center of Photography. Some of her research fellowships and funded research work has focused on dark patterns, community health, online harassment, AI inequity, and the labor and systems in AI and platforms.Currently, she is a fellow with Ars Electronica AI Lab with the Edinburgh Futures Institute in collaboration with Anna Ridler.  Her work has been featured in the Tate Exchange in Tate Modern, Victoria and Albert Museum, MoMA PS1, LABoral, Wired, Slate, Quartz, the Channels Festival and others. Sinders holds a Masters from New York University's Interactive Telecommunications Program.

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Caroline Sinders is a machine-learning-design researcher and artist. For the past few years, she has been examining the intersections of technology's impact in society, interface design, artificial intelligence, abuse, and politics in digital, conversational spaces.

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(Artist)

Interests: Societal Implications of AI, Trust, Ethics

Max is an ethicist, activist, and artistic researcher. He has studied Communication Science and Critical Thinking and worked as research assistant on Strong Artificial Intelligence and Innovative Capability at RWTH Aachen. With his _Embassy of the Republic of Užupis_
He publishes political impulses, creates interactive installations and organizes semi-legal interventions to make AI more accessible and ethical.

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(Artist)

Interests: Data bias & Societal implications of AI technology

Iris Qu 曲晓宇 (b. 1993, China)  is a computer programmer, technologist, and artist based in Brooklyn, NY. She works at the intersection of software engineering, generative art, mixed reality, and data; and uses her work to examine the poetic, environmental, and speculative aspects of technology. Currently, she works as a user experience engineer at Google Research, building a website that helps people pursue their long-term interests. Before that, she worked at Google Jigsaw, making tools and data visualizations that examine toxicity and disinformation on the internet.

In my current experimentations, I'm exploring how surveillance and data bias shifted our perception of the self, and how AI technology can alter our narrative of the human experience.

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Iris is a computer programmer, creative technologist, and new media artist based in Brooklyn, NY.

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(Artist)

Interests: Societal implications of AI technology, Data Ethics & Privacy, Bias in data, Trust in science, technology and research

Lena is a Chinese American writer and artist working across performance and social practice. Named “Best Emerging Talent” at the B3 Biennial of the Moving Image (Frankfurt), she has performed and exhibited at Transmediale (Berlin), Die Digitale (Düsseldorf), Museum of Modern Art (Antwerp), Färgfabriken (Stockholm), Tempting Failure (London), and Baltimore Museum of Art, among others. Lena researches gendered experiences of intimacy, identity, and labour under surveillance capitalism. Her current work explores how sex workers are organizing against digital censorship and discrimination

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(Artists)

Interests: AI, ML, HCI, Societal Implications of AI

An interdisciplinary / intercultural collective. Our four core members – Provides Ng, Eli Joteva, Ya Nzi, and Artem Konevskikh – are architects / researcher / artist / CG specialist / engineer / data analysts / particle physicist / maker from China / UK / Bulgaria / USA / Russia. ‘The Current Team’ also indicates its broader network of creative commons / collaborators from all around the world, where the virtual space is, at the same time, what enabled our cross-territorial collaborations and what constantly reminds us of the importance of treasuring the affective values from physical interactions.

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Current Cam - Current is a speculation on the future of broadcasting cinema. It emerges from the intersection of contemporary trends in live streaming culture, volumetric cinema, AI deep fakes and personalized narratives.

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It emerges from the intersection of contemporary trends in live streaming culture, volumetric cinema, AI deep fakes and personalized narratives.

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(Artist)

Interests: Bias in Data, Societal implications of AI, Data governance, HCI

I’m a Freelance Designer and Interaction and Experience Design Student at NCAD. I design in multi-media forms which aim to curate an environment where the user can critique their way of being. I utilize Data Visualisations, User Interactions of UI screens and Products, Graphic Design, and Moving Images within my work. I’ve recently done a project where I explored social media’s effect on Beauty within the subconscious mind and I’m looking to further look into the exploration of ways to improve user awareness within the data realm.

Data is people and we navigate the data's input and outputs so can this be done to help create a symbiotic relationship between humans and technology but also with the planet?

I look forward to the potential collaboration as I believe we grow our knowledge and skills through collaboration with others.

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Interaction & Experience Designer | Virtual Assistant "Bringing meaningful change through Discussion in Design & Technology"

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Interests: Fashion AI and Bias

Aim of the gallery: Raising awareness of possible bias in fashion

How: We may consider bias in fashion by addressing: 1) Skin colour and its projection/contrast on outfit colours and design, and 2) The way people perceive the dress code, especially of other cultures.

Gallery idea: Posters highlighting bias in fashion, via examples where fashion recommendations, across online stores, have been shown to exhibit unwanted bias.
mohammed.alrawi@adaptcentre.ie

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Mohammed Al-Rawi

Research Fellow

Research Theme

Profile

Mohammad Al-Rawi is a Research Fellow on the ELITE-S Programme under the supervision of Prof Joeran Beel. Rawi is a researcher in the field of computer vision and machine learning and is interested in analysing images and other data. Throughout his career, Rawi has worked in a few academic institutions, e.g., IBILI - University of Coimbra, DETI - University of Aveiro (Portugal); and his latest research position before moving to Dublin was at the Computer Vision Center - Autonomous University of Barcelona (Spain). Lately, he has been using deep learning to develop and test different AI models; e.g., those related to word-spotting, text embedding, text generation, sentiment analysis, image classification, multitasking, etc. He is very interested in applying AI in the fashion field, focusing on fashion data standardisation, computer vision techniques and natural language processing; and ultimately, fashion recommender systems. Rawi's research focuses on his project idea "Digital Data Organisation and Exchange in Fashion (DDOEF)". The project aims to develop an ICT Standard supporting the application of artificial intelligence (AI) in fashion and related clothing industries. Through DDOEF, he wants to bridge the gap in data exchange between various fashion manufacturers and third-party AI companies aiming to provide fashion-related services. He will also take advantage of DDOEF to facilitate building a fashion recommender system. The project is funded under the EU Marie-Sklodowska-Curie CO-FUND Action - ELITE-S and will be hosted at the ADAPT Centre, Trinity College Dublin.

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Mohammed Al-Rawi Research Fellow Research Theme Profile Mohammad Al-Rawi is a Research Fellow on the ELITE-S Programme under the supervision of Prof Joeran Beel. Rawi is a researcher in the field of computer vision and machine learning and is interested in analysing images and other data.

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Interests: Bias in data, Societal implications of AI technology

AI is rapidly permeating all aspects of medicine. It is critical that we recognise and highlight areas where it can cause societal or individual harm.

Bias arises because doctors can recommend treatments different to standards elsewhere (i.e. the training is not location sensitive). In the gallery you could conceptualize the idea using a fictitious disorder (say unhappyhappiness) and let attendees choose from one of 10 datasets (by global geography) on an interactive menu and look at the suggested treatment predictions/recommendations that would be made for them.

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Research Summary

I run a translational medicine research programme focused on investigation of pathogenesis and discovery of biomarkers of disease in glomerulonephritis. My principal research interest is in ANCA-associated vasculitis, an autoimmune condition that causes multi-organ failure as a consequence of overwhelming necrotising inflammation affecting small blood vessels. We are addressing the following questions: 1. What urinary biomarkers accurately track glomerular inflammation in ANCA associated vasculitis? 2. What molecular and cellular events prevent resolution of vasculitic injury after the initial insult? 3. What underpins the large variability in clinical phenotype obeserved in ANCA associated vasculitis? 4. How can we minimise the adverse events associated with existing immunosuppressive therapies? To assist in answering these questions, we have set up infrastructure that allows collection of longitudinal clinical data in the form of a national registry and biobank, which is linked to a basic science laboratory.

For further information about Professor Mark Little please view his CV Profile

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I run a translational medicine research programme focused on investigation of pathogenesis and discovery of biomarkers of disease in glomerulonephritis. My principal research interest is in ANCA-associated vasculitis, an autoimmune condition that causes multi-organ failure as a consequence of overwhelming necrotising inflammation affecting small blood vessels. We are addressing the following questions: 1.

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(Artist)

Interests: HRI, AI, ML

Artist, researcher, experimenter based in Poznan, Poland combining art with science and technology. Member of HAT Research Center at Adam Mickiewicz University. He creates installations, objects, drawings and photographs.

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Born 18.02.1970 in Poznań

Education:

Sculpture at Academy Of Fine Arts in Poznań 1989-1994
Master degree/diploma 1994 sculpture in prof. Jan Berdyszak studio and drawing in prof. Jarosław Kozłowski studio

Residencies:

2003 - The Gallery, International Artist in Residency Center, Guernsey, Great Britain
2004 - Lucas Artists Residency in Montalvo, California, USA
2010 - Gyeonggi Creation Center, South Korea
2012 - Tokyo Wonder Site, Tokyo, Japan
2013 - Creative Fusion Residency, Sculpture Center, Cleveland Ohio, USA

Conferences:

2014 - Post-technological experiences. Art-Science-Culture, Poznan, Poland
2016 - Technarte, Bilbao, Spain
2018 - Artobots, CODAME, San Francisco, USA
2018 - Technarte, Los Angeles, USA
2019 - Art&Science: The Future is Here, Le Guern Gallery, Warsaw
2019 - Artist Talk. Living with Machines (AI), ISEA, Gwangju, South Korea
2019 - Rigid Paper Construction, SIAF, Sapporo, Japan
2019 - Artist Talk: Sztuczne natury jako archiwa Antropocenu. Akademia Miasta, Malta Foundation, Poznań

Workshops:

2018 - MOCAK, Kraków, Poland
2019 - Armenia Art Fair, Yerevan, Armenia
2019 - Rigid Paper Construction (workshops + exhibition), SIAF, Sapporo, Japan
2019 - Sztuczne natury jako archiwa Antropocenu. Akademia Miasta, Malta Foundation, Poznań

Selected solo exhibitions:

1994 - To hear the sound of an angel wings and to measure it (Academy of Fine Arts, Poznań)
1997 - Sounds of my room - installation (Potocka Gallery, Cracow)
1998 - To see the sound of an angel wings (Laboratory Gallery, Warsaw)
1999 - To see the sound of an angel wings - Hollywood version (Potocka Gallery, Cracow)
2003 - Earth Rotation Speed Control Unit (OPTICA Centre for Contemporary Art, Montreal, Canada)
2003 - To see the sound of an angel wings - anatomical version (The Gallery, International Artist in Residency Centre, Guernsey, Great Britain)
2004 - Earthquake Control Unit (Lucas Artists Residency in Montalvo, California, USA)
2006 - Hi-Fi (Oko/Ucho Gallery, Poznań)
2006 - White Noise (AT Gallery, Poznań)
2008 - Ukukula (Munandi Art Center, Lusaka, Zambia)
2009 - Drawings Of Something Completely Else (Le Guern Gallery, Warsaw)
2010 - Global Warming Control Unit (Gyeonggi Creation Center, Seongamdo, South Korea)
2011 - Opportunity (Skolska28 Gallery, Prague, Czech Republic)
2012 - Paper Bridge Over Stone Water (Tokyo Wonder Site, Tokyo, Japan)
2013 - Analog Immigration (CSU Galleries Cleveland Ohio, USA)
2014 - Leviathan (Le Guern Gallery, Warsaw)
2019 - Photo Robotoid (Le Guern Gallery, Warsaw)
2020 - Oracle (AT Gallery, Poznań)

Selected group shows:

1992 - Project Istropolitana (Bratislava, Slovakya)2018 - do it (Superkurator, WI-MA, Łódź)
1993 - Ideas without ideology (CSW Ujazdowski Castle, Warsaw)
1996 - Generation 96 (BWA Gallery, Katowice)
1998 - Partie 6 (Drewen, Germany)
2000 - New Media Art from Poland (Oldenburg, Germany)
2004 - Nature of/and art (Bunkier Sztuki, Cracow)
2007 - At last, Something new! Collections of Modern art from Malopolska (National Museum, Cracow)
2008 - 8784h Project (X-RAY Gallery, Luboń)
2011 - Not In Place (CSW Ujazdowski Castle, Warsaw)
2012 - Drawings Of Something Completely Else (BWA Zielona Góra)
2013 - Black Suns (Wschodnia Gallery, Łódź)
2013 - Transnature Is Here (Malta Festival, Poznań)
2013 - homeMade (CSW Łaźnia, Gdańsk)
2014 - Post-Technological Experiences. Art-Science-Technology (Zamek Culture Centre, Poznań)
2014 - Machined Senses (The Sculpture Center, Cleveland Ohio, USA)
2015 - Nonsense Technologies, Przemysław Jasielski & Rainer Prohaska (MONA Inner Spaces, Poznań)
2016 - Apparat.Retrogression Through Technological Progress, Przemysław Jasielski & Rainer Prohaska (The Sculpture Center Cleveland Ohio, USA)
2016 -„L'arte differente: MOCAK al MAXXI" MAXXI - (Roma, Italy)
2017 - Not To Be Seen, Przemysław Jasielski & Rainer Prohaska (WRO Art Center, Wroclaw)
2017 - Draft Systems (WRO 2017 Biennale, Wroclaw)
2017 - Nonsense Technologies (MOCAK Museum of Contemporary Art in Krakow, Kraków)

2019 - Lux Aeterna. Special Exhibition (ISEA, Gwangju, Korea)
2019 - Posthuman_Data (HAT Research Center/PCSS, Poznań)
2020 - Anthropocenes. Reworking the Wound (SLSA, online conference)
2020 - Of Roots and Clouds - online presentation (SIAF, Sapporo, Japan - exhibition cancelled)

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Born 18.02.1970 in Poznań Education: Sculpture at Academy Of Fine Arts in Poznań 1989-1994Master degree/diploma 1994 sculpture in prof. Jan Berdyszak studio and drawing in prof.

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(Artist)

Interests: bias contained within the datasets used to train machine learning models

Much of my work to date has explored the flattening of complex behaviours by AI-powered classification systems, with an emphasis on applications such as recommendation algorithms, surveillance/facial recognition, and lifestyle-automation tools. I am particularly interested in using interactive tools and installations as means of untangling the quirks, blind-spots, and biases baked within prominent platforms and datasets.

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'[data, set]' is an installation in which the smells, lighting conditions, audio and visuals within the environment monitor and respond to the moods of visitors to the space in real time, in order to gradually evolve into the most captivating exhibit possible.

'2% Of Spaces You Could Possibly Encounter' uses machine learning to classify a scene in real-time as visitors modify the layout of the space. Using MIT's Places database of 10 million images, a live feed is taken from the camera, ran through a neural network trained on the dataset, then filed into one of 365 spacial categories, ranging from amusement parks to operating theatres

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I helped design and build a pop-up boutique modelled on the tourist souvenir shop for Célia Fröhlich's ABBILD project, designed in collaboration with Célia Fröhlich and Lucy Anderson. Exhibited at All At Once , Royal College of Art's 2019 fashion show, as covered in Dazed & Confused

A research-led speculative design project that critiques methods of 'soft control' used by sharing-economy business's that rely on maintaining consistent pools of contractors, day and night.

'Two Heartbeats' uses readings from two heartbeat monitors -- placed on the index finger of two individuals -- to control the rhythm of a ferrofluid heartbeat. Collaboration with Jaz Affleck.

The Antidetox Kit (and accompanying recipe book) provides an easy means for expelling essential vitamins and minerals from the body.

A one-off photo book exploring two distinct London office spaces, designed to be read on an office ceiling panel light that has been modified for home use.

A collection of eleven hypothetical concepts for essays outsourced to content mills; bulk producers of textual content specifically written to satisfy search engine ranking algorithms, often mass-generated via semi-automated content spinning software. Each essay is printed as it was originally received by the content producer.

Pages: 36
Format: Self-published hardback
Published: 2014

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Your browser does not support the video tag. '[data, set]' is an installation in which the smells, lighting conditions, audio and visuals within the environment monitor and respond to the moods of visitors to the space in real time, in order to gradually evolve into the most captivating exhibit possible.

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(Artist)

Interests: Societal implications of AI  technology, Trust in science, technology and research, Misinformation /  disinformation, Bias in data, technology and research.

What  if data was physical? Imagine if sleep was a catching, What if a non  human organism has control?

The  focus of my practice is in collaborative, transdisciplinary projects,  crossing boundaries between Science and Design. In my work I explore how  biomedicine can be investigated, materialized,  translated and  transformed  through creative technology. How might, for example,  the  function of stem cells be manifested tangibly and emotionally? My creative practice incorporates scenographic and performative aspects with creative technology. I create the conditions and   choreograph some of the behavior but leave space for randomness,  happenstance and creativity.

For me the nexus between  scientific and creative practice offers a vibrant opportunity to connect  different ways of knowing and to explore ways of expanding the unique  scientific insights through creative practice. I see the creative  exploratory energies of scientists as analogous to the impulse I have as  a creative researcher. I’m excited about bringing the world views of creative practice and science together in novel manners, finding new  audiences and
ways of sharing and creating insights into emerging areas.

https://www.biolumenlab.com/
different website hyperlinked below

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All sorts of stuff, Polymath, objects that light up, Light festivals, film making, animation, arm waving and human cannonball.

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(Artist)

Interests: HCI, AI, Bias in data, Trust, Technology oppression

Carlotta Aoun is a Venezuelan-born / French-embraced artist, a disillusioned physicist and a keen observer of digital mutations. She explores the (in)materiality of technology as it progressively blends in with organic structures. Often research based, her work combines fine art techniques with scientific experimentation and technology to create alternative realities, possibilities or dimensions.  Following her Fundamental Physics degree at the UPMC in Paris, she graduated from the MFA Design and Technology at Parsons - The New School. Her background in Physics, merged with Art + Tech, sees collaboration as an essential tool for all areas in a trans-disciplinary era.

I want to create an art, social and scientific experiment closely entwined with tech and science, so it can give back as much as it takes in. Recently, my curiosity has lead me to explore breath through different forms: in isolation, in distance, as a social movement, as an oppressive force, as a healing action... As our smartphones and computers become ever more invasive, I am interested in creating a breathing-interface.

email: carlottaaoun@protonmail.com

instagram: @carlottaaoun

whatsapp/telegram/signal: +336 69 12 81 99

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(Artist)

Interests: HCI, Trust

Ross Dowd is a multi-disciplinary, award-winning industrial & interaction designer based in Dublin. He creates products, experiences, and installations that facilitate meaningful interactions between people, as well as between users and their environment.

Having worked in the fields of cutting edge wearable sensor design to enhance performance for everyone from artists to athletes, his work explores our intimate relationship with our devices. In his current research, Ross is interested in human computer interaction, how we perceive, trust, and interact with the augmented structures that populate our lives.

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Ross Dowd - Industrial & Interaction Designer

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Ross Dowd is a multi-disciplinary, award-winning industrial & interaction designer based in Dublin.

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(Artist)

Interests: Societal implications of AI technology, Trust in science, technology and research.

Bill Balaskas is an artist, theorist and educator. Originally trained as an economist, his work is located at the intersection of contemporary politics, digital media, and visual culture. He is an Associate Professor and Director of Research, Business and Innovation at the School of Art and Architecture of Kingston University, London.

In his current research, Bill is interested in the role of algorithms in both directly and indirectly manipulating policymaking and public perception related to political issues such as race and climate change.

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Born in 1983 in Thessaloniki, Greece. Lives and works in London, UK.

2011-16 PhD Critical Writing in Art & Design, Royal College of Art, London, UK (by thesis)

2008-10 MA Communication Art & Design, Royal College of Art, London, UK (CHS Distinction)

2005-08 BA Video Arts Production, University for the Creative Arts, Maidstone, UK (First Class)

2000-04 BSc Economics, Aristotle University of Thessaloniki, Greece

'Farewell to Thee', Phoenix, Leicester, UK

'Red Air', Cork Opera House & National Sculpture Factory, Cork, Ireland

'Squared', UKYA City Takeover Festival, Nottingham (multiple locations), UK

'The Assassination of Guy Debord', European Convention Center, Luxembourg (Performance)

'Remains of a Summer Bliss', Kalfayan Galleries, Athens, Greece

'The Market Will Save Us', ArtWeek Boston, Boston Common, USA (Performance)

'Blindness', De Bijloke Muziekcentrum, Ghent, Belgium (Lecture-performance)

'No Rest for the Wicked', ArtInternational Istanbul, Institutions Section, Istanbul, Turkey

'Critical Mass', ReMap 4, Athens, Greece

'The Market Will Save the World', Kasa Gallery, Sabanci University, Istanbul, Turkey

'New Positions', Art Cologne, with Kalfayan Galleries, Cologne, Germany

'The Digital Courtyard', 11th Sharjah Biennial, March Meeting, Sharjah, UAE (Lecture-performance)

'The artist as critic. The critic as artist', Tate Liverpool, Liverpool, UK (Lecture-performance)

'Parthenon Rising', Kalfayan Galleries, Athens, Greece

'Le Temps Spectaculaire', 3rd Thessaloniki Biennale of Contemporary Art, Institut Français, Thessaloniki, Greece

'Postmodernism After Video. Video After Postmodernism', Victoria & Albert Museum, London, UK (Lecture-performance)

'In Between Bubbles', Sketch, London, UK

'Ray of Light', Jewish Museum, London, UK (with Oana Camilleri)

Selected Group Exhibitions

'Visual and Materialised Perception', Piraeus Municipal Gallery, Greece

'Art Athina', Daata Section, with Kalfayan Galleries, Athens, Greece

'MK Calling', MK Gallery, Milton Keynes, UK

'Images of a Floating World', Primarolia Festival, Aigio, Greece

'the HOLD' by We Are Publication, Stanley Picker Gallery, Kingston University, UK

'A.O. - B.C. An Audiovisual Diary', Athens School of Fine & State of Concept, Athens, Greece

'The Future of the Past', Kalfayan Galleries, Athens, Greece

'Archive: Between the Public and the Private', Med Photo Festival, Museum of Contemporary Art of Crete, Rethymno, Greece

'51 Zero Festival', Canterbury and Rochester (various locations), UK

'Platforms Project', Athens School of Fine Art, Greece

'European Investment Bank Institute Artist Awards', European Investment Bank, Luxembourg

'Quando scoppia la pace', World War I centenary exhibition, Vittorio Veneto, Italy

'Theorimata', EMST National Museum of Contemporary Art, Athens, Greece

'Trajectories', Watermans Arts Centre, London, UK

'RCA Secret', Royal College of Art, London, UK

'Opening', Marmo, Forlì, Italy

'When All is Said... and Done', Agnus-Hughes Centre for Contemporary Curation, London, UK

'Platforms Project', Athens School of Fine Art, Greece

'Gestures of Resistance', Romantso Cultural Centre, Athens, Greece

'Thread', Kalfayan Galleries, Athens, Greece

'SHOW RCA 2017', Royal College of Art, London, UK

'Balance Exercises: Plannings and Concretization', Special Projects, Art Thessaloniki, Greece

'RCA Secret', Royal College of Art, London, UK

'PUNK: Its Traces in Contemporary Art', MACBA Museu d'Art Contemporani de Barcelona, Barcelona, Spain

'PIGS', ARTIUM Museum of Contemporary Art of the Basque Country, Vitoria-Gasteiz, Spain

'RCA Secret', Royal College of Art, London, UK

'Devalue, Value, Surplus Value: Between Work and Art', ISET Contemporary Greek Art Institute, Athens, Greece

'PIGS', Almeida Garret Galeria Municipal do Porto, Oporto, Portugal

'Fireflies in the Night Take Wing', Stavros Niarchos Foundation Cultural Center, Athens, Greece

'De Regreso a la Isla', Fundació Palma Espai d'Art, Casal Solleric, Palma de Mallorca, Spain

'Good Night, And Good Luck', A Plus A Gallery, Venice, Italy

'nEUROsis', NeMe Arts Centre, Limassol, Cyprus

'PUNK: Its Traces in Contemporary Art', CA2M Centro de Arte Dos de Mayo, Madrid, Spain

'Tous Pour Tous', Les Chiroux, Liège, Belgium

'1st Biennial of the South', Museo de Bellas Artes, Caracas, Venezuela

'Videozoom Greece: On Πause!', MUSPAC, L' Aquila, Italy

'Rencontres du Film d'Art', The Regent Cinema, Saint-Gaudens, France

'10th Mildura Biennale', Mildura Arts Centre/Rio Vista, Mildura, Australia

'Art Brussels', Young Section, with Kalfayan Galleries, Brussels, Belgium

'Videozoom Greece: On Πause!', C/E Contemporary, Milan, Italy

'Art Athina', with Kalfayan Galleries, Athens, Greece

'PUNK: Its Traces in Contemporary Art', ARTIUM Museum of Contemporary Art of the Basque Country, Vitoria, Spain

'Videozoom Greece: On Πause!', State of Concept, Athens, Greece

'No Country for Young Men: Contemporary Greek Art in Times of Crisis', BOZAR, Brussels, Belgium

'The Small Infinite', John Hansard Gallery, Southampton, UK

'Future Past - Past Future', Transmediale 2014, Supermarkt, Berlin, Germany

'Passé Simple, Futurs Composés', Le CENTQUATRE, Paris, France

'The Value of Nothing', TENT, Rotterdam, The Netherlands

'An Opera of Labour and Revolution', Kasa Gallery, Istanbul, Turkey

'SelfConscious', The American College of Greece Art Gallery, Athens, Greece

'Art Cologne', Film Cologne, with Kalfayan Galleries, Cologne, Germany

'Show Me the Money', Northern Gallery for Contemporary Art, Sunderland, UK

'Videozoom Greece: On Πause!', Museo di Roma in Trastevere & Sala 1, Rome, Italy

'Athens Video Art Festival', Technopolis, Athens, Greece

'Art Basel Hong Kong', Film Section, with Kalfayan Galleries, Hong Kong

'Sound Matters', The Red Room, Baltimore, USA

'Show Me the Money', John Hansard Gallery, Southampton, UK

'Art Basel Miami Beach', Film Section, with Kalfayan Galleries, Miami Beach, USA

'Everywhere But Now', 4th Thessaloniki Biennale of Contemporary Art, Thessaloniki, Greece

'Art Basel Miami Beach', Film Section, with Kalfayan Galleries, Miami Beach, USA

'Disruption', Royal College of Art Research Biennial, Gulbenkian Galleries, London, UK

'Afresh: A New Generation of Greek Artists', EMST National Museum of Contemporary Art, Athens, Greece

'Art Brussels', The Cinema Section, with Kalfayan Galleries, Brussels, Belgium

'India Art Fair', Video Lounge Section, with Kalfayan Galleries, New Delhi, India

'In Case of Emergency Break Glass', Vetlanda Museum, Vetlanda, Sweden

'Celebration: 50 Years of Video Art', Nordic House, Reykjavik, Iceland

'World Event Young Artists', London 2012 Cultural Olympiad, Surface Gallery, Nottingham, UK

'Cultural Embassies', Maribor 2012 European Capital of Culture, Vetrinj Mansion, Maribor, Slovenia

'Traverse Vidéo: Faut Voir', Lycée des Arènes, Toulouse, France

'Level', Talbot Rice Gallery, Edinburgh, UK

'Berwick Film and Media Arts Festival', The Main Guard, Berwick Upon Tweed, UK

'Shape Open', Portobello Gallery, London, UK

'Miden Video Art Festival', Kalamata, Greece

'Art:Screen', Bio Roxy, Örebro, Sweden

'Time Based Media: 1972-2012', University for the Creative Arts, Maidstone, UK

'Vessel', KARST, Plymouth, UK

'Leeds International Film Festival', Leeds, UK

'Iraqi Memorial', Elizabeth Foundation for the Arts, New York, USA

'The Constance Fairness Foundation Prize Exhibition', Royal College of Art, London, UK

'Time and Travel', Ku'Damm 101 Hotel, Berlin, Germany

'Iraqi Memorial', Works/San Jose, San Jose, USA

'Acoustic Images', British Film Institute, London, UK

'Traverse Vidéo: Ça Vaut La Peine', Musée des Abattoirs, Toulouse, France

'Mare Street Biennale', London, UK

'Art Karlsruhe', Trade Fair Centre, Karlsruhe, Germany

'Iraqi Memorial', Sheppard Gallery, Reno, Nevada, USA

'Wrong Love', A Foundation, Liverpool, UK

'Festival des Cinémas Différents et Expérimentaux de Paris', France

'Territorial Play', Broadway Media Centre, Nottingham, UK

'EMERGEANDSEE', Stattbad Wedding, Berlin, Germany

'SHOW RCA 2010', Royal College of Art, London, UK

'Time is Love', Werk-Raum Gallery, Berlin, Germany

'ZOOart', Fresia Gardens, Cuneo, Italy

'Rough Machines', Animate Projects/APEngine, London, UK

'Pixelpops', BolteLang Gallery, Zurich, Switzerland

'Images Contre Nature', Marseille, France

'Synch Festival', Technopolis, Athens, Greece

'Let's Rule Out Aliens for Now and Concentrate on What We Know', Royal College of Art, London, UK

'Work in Progress Show', Royal College of Art, London, UK

'Palimpsest', Thurloe Place, London, UK

'Crash Fest', Thessaloniki, Greece

'In Transit', Luda Gallery, St Petersburg, Russia

'All Art Now International Video Art Festival', Damascus, Syria

'Strange Screen', Macedonian Museum of Contemporary Art, Thessaloniki, Greece

'Eat Our Shorts', British Film Institute, London, UK

'Show Me the Light Show', Candid Gallery, London, UK

'Roll Up Art', Bucharest, Romania

'Crash Fest', Thessaloniki, Greece

'Discurs', Giessen, Germany

'Girona Film Festival', Girona, Spain

'Video Militia', National Gallery, Jakarta, Indonesia

'Traverse Vidéo: La Re-Visite', Musée des Abattoirs, Toulouse, France

'Trenton Film Festival', Trenton, New Jersey, USA

'Crash Fest', Thessaloniki, Greece

'Girona Film Festival', Girona, Spain

'Festival de Vidéo Expérimental', Marseille, France

'Cinecity Brighton Film Festival', Brighton, UK

'Séquence Court-Métrage', Toulouse, France

'Exposures Film Festival', Manchester, UK

Australian National University Humanities Research Centre Visiting Fellowship

London Southbank University Research Grant

Association for Art History Research Grant

Nomination for the BLOOOM Award of Art Düsseldorf, Germany (long list)

Honorary solo exhibition as a distinguished alumnus of UK Young Artists in the context of the inaugural UKYA City Takeover Festival: Nottingham 2019 ('Squared', Nottingham, UK)

Winner of the TOYOTAYA Commission by the Cork Opera House & the National Sculpture Factory, Cork, Ireland

Nottingham Trent University Research Fund

European Investment Bank Institute Artist Development Award

Representation of Greece at Italy's permanent World War I centenary exhibition ('Quando scoppia la pace', Vittorio Veneto, Italy)

Advisor to Arts Council England (Midlands Higher Education & Culture Forum)

Invitation to participate in 'RCA Secret 2018', Royal College of Art, London, UK

Nottingham Trent University Research Fund

University for the Creative Arts Research Fund

Invitation to participate in 'RCA Secret 2017', Royal College of Art, London, UK

Commission of Anarchy near the UK by Museu d'Art Contemporani de Barcelona ('PUNK', MACBA, Barcelona, Spain)

Invitation to participate in 'RCA Secret 2016', Royal College of Art, London, UK

University for the Creative Arts Research Fund

Mildura Biennale Residency Award ('10th Mildura Biennale', Mildura, Australia)

University for the Creative Arts Research Fund

Nomination (longlist) for the Prix de la Jeune Scène Artistique Méditerranéenne (Jean-Luc Lagardere Foundation & HYam)

Commission of Ou la mort by the John Hansard Gallery ('The Small Infinite', John Hansard Gallery, Southampton, UK)

Royal College of Art Research Methods Fund

Royal College of Art School of Humanities Event Fund

University for the Creative Arts Research Fund

Nomination for the AUDI Art Award for the most innovative young artist ('Art Cologne', Cologne, Germany)

Royal College of Art Research Methods Fund

Nomination for the ALICE Award for the most important emerging artist (Global Board of Contemporary Art)

Representation of the UK in the London 2012 Cultural Olympiad ('World Event Young Artists', Surface Gallery, Nottingham, UK)

Representation of the UK in Maribor 2012 European Capital of Culture ('Cultural Embassies', Vetrinj Mansion, Maribor, Slovenia)

Comité International d'Histoire de l'Art Bursary (33rd Congress of the International Committee of the History of Art - CIHA 2012)

Royal College of Art Bursary

Nomination of Parthenon Rising (II) for The Constance Fairness Foundation Prize

European Cultural Foundation/Open Society Institute Travel Grant

Association of Art Historians Conference Grant

Royal College of Art Bursary

Commission of Darkness as the first ever project of contemporary art presented by the Jewish Museum of London

Commission of In Between Bubbles by Sketch ('In Between Bubbles', Sketch, London, UK)

Commission of Melting Point by Animate Projects/APEngine ('Rough Machines' commissions)

Best Experimental Film Award for The Origin of the Complex of Identification in Crash Fest, Thessaloniki, Greece

Royal College of Art Bursary

Royal College of Art Travel Award

Jury Member in EMERGEANDSEE Film Festival, Berlin, Germany

Distinction for Reminiscent Light (Project Proposal) in 'Iraqi Memorial' International Call for Artists

Royal College of Art Bursary

Gold Remi Award for Eros (Screenplay) in 'Worldfest Houston International Film Festival', Houston, Texas, USA

Distinction for Faraway from Theoklymenos' Country (Short Story) by the British Council of Greece

Lectures in Conferences & Artist's Talks

'12th International Association of Word and Image Studies Conference', University of Luxembourg, Esch-sur-Alzette, Luxembourg

'The Museum on Show', Musée du Louvre, Paris, France

'Practice Research: Interdisciplinary Methodologies in Cultural Institutions and HEIs', Birmingham City University, Birmingham, UK

'Orbiting the Liverpool Biennial', Transart Institute, Liverpool John Moores University, Liverpool, UK

'(Un)Occupied: On Collective Authorship, Institutions and Care', Institut Français, Athens, Greece

'Motif', Nottingham Trent University, Nottingham, UK

'Artists on Board and Fluid Postmodernities', Primarolia Festival, Aigio, Greece

'A Breath of Red Air', Cork Opera House, Ireland

'45th Annual Association for Art History Conference', University of Brighton, Brighton, UK

'Farewell to thee', Phoenix, Leicester, UK

'What is Research?', Nottingham Contemporary, Nottingham, UK

'On Technology and the Nature of Truth', Watermans Arts Centre, London, UK

'Against the Slow Cancellation of the Future', Goldsmiths University, London, UK

'Forming Collectives: Strategies in Modern and Contemporary Art', Warburg-Haus, Hamburg, Germany

'Disobedience and Complex Systems: Art, Design and Media and the Political', Iklectik Art Lab, London, UK

'PIGS: North and South', ARTIUM Museum of Contemporary Art of the Basque Country, Vitoria-Gasteiz, Spain

'Art is a Time Machine', La Trobe University, Mildura, Australia

'The Cuts Have Been Made: Welcome to the Aesthetic of Capitalistic Vampirism', Goldsmiths University, London, UK

'Breaking the Bank', TENT, Rotterdam, The Netherlands

'The Aesthetics of Scale: Or on How to Grasp the Little Things', John Hansard Gallery, Southampton, UK

'Art Out of Time', University of Oxford, Oxford, UK

'The Secret Life of Data and the Future of Value', Mozilla Festival, Ravensbourne, London, UK

'Art After the Crash', Northern Gallery for Contemporary Art, Sunderland, UK

'Radical Gestures: Designing Protest, Resistance & Refusal', Central St Martins College of Art & Design, London, UK

'Red Tape: Ways of Changes' Discussion Series, Royal College of Art, London, UK

'The Challenge of The Object', 33rd World Congress of Art History - CIHA 2012 (Comité International d'Histoire de l'Art), Germanisches Nationalmuseum, Nurnberg, Germany

'38th Annual Association of Art Historians Conference', The Open University, Milton Keynes, UK

'Guy Debord: Dernier Stratège de la Revolution?', Institut Français, Thessaloniki, Greece

'ReLiving Disaster: Film - History - Identity', The London Consortium, Birkbeck University of London, UK

'Expanded Cinema', Central Saint Martins, London, UK

'Reading Images: Frames and Frameworks', Association of Art Historians, University of Bristol, Bristol, UK

'Literature, Art and Culture in an Age of Global Risk', Cardiff University, Cardiff, UK

'Bodies of Evidence', Association of Art Historians, Oxford Brookes University, Oxford, UK

Chairmanships of Panels & Academic Sessions

'Institution as Praxis: In Conversation', Institute of Contemporary Arts, London, UK

'47th Association for Art History Annual Conference', University of Birmingham, UK (Chair in academic session: "The Real Price: Between Art and the (Art) Market")

'Artists and the Garden: New Perspectives', Hestercombe House, Taunton, UK (Chair of conference)

'Architectures of Education', Nottingham Contemporary, UK (Chair of conference)

'Mapping the Midlands', Empire, Coventry, UK (Chair of "Collaborative Research" panel)

'Post-Representational Curating: Militating History (Archaeology of the Final Decade)', Nottingham Trent University, Nottingham, UK (Chair of "Creative Innovation Across Disciplines" Seminar)

'What is Research?', Nottingham Contemporary, UK (Chair of conference)

'42nd Association of Art Historians Annual Conference', Edinburgh University, Scotland, UK (Chair in academic session: "In and Out of Art History: The Video Games Conundrum")

'Board Meeting', Guest Projects/Yinka Shonibare Studio, London (Chair in panel discussion)

'Red Art', Royal College of Art, London, UK (Chair in panel discussion)

'The Cost of Living', Royal College of Art, London, UK (Chair in panel discussion)

'ISEA 2011', Sabanci University, Istanbul, Turkey (Panel chair in 2 academic sessions: "From New Media to Old Utopias: 'Red' Art in Late Capitalism?" & "Art and Activism in Digital Age II")

Associate Professor & Director of Research, Business and Innovation, School of Art & Architecture, Kingston University, London (From May 2019)

Associate Professor in Visual Communication & Research Coordinator, School of Art & Design, Nottingham Trent University, Nottingham, UK (2017-2019)

Editor of the Leonardo Electronic Almanac, ISAST / The MIT Press (Since February 2012)

Advisor to Arts Council England (Midlands Higher Education & Culture Forum, since July 2018)

Leader of Critical Theory of BA (Hons) Digital Film and Screen Arts & BA (Hons) Computer Games Arts, University for the Creative Arts, Farnham, UK (2013-2017)

Lecturer at the MA Programmes of the School of Film and Media, University for the Creative Arts, Farnham, UK (2014-2015)

Visiting Lecturer in Professional Practice, University for the Creative Arts, Maidstone, UK (2011-2012)

'Disruption', Royal College of Art Research Biennial, Gulbenkian Galleries, Royal College of Art, London, UK

'Postponed Ascendancy', for Eat Our Shorts, British Film Institute, London, UK

'Six Lies and Video Art', DVD Collection of Experimental Films and Videos, Maidstone, UK

Selected Bibliography

Bill Balaskas, "The Hackers of the Streets: Art, Networks and Post-Crisis Urbanity", in Espace Art Actuel, No 127, Winter 2021 (Article)

Bill Balaskas & Carolina Rito (eds), Fabricating Publics: The dissemination of culture in the post-truth era, Liverpool: Open Humanities Press (Book)

Bill Balaskas & Carolina Rito (eds), Institution as Praxis: New Curatorial Directions for Collaborative Research, Berlin: Sternberg Press (Book)

Nick Axel, Bill Balaskas, Nikolaus Hirsch, Sofia Lemos, and Carolina Rito (eds), "Architectures of Education", on e-flux Architecture (Online Special Issue)

Bill Balaskas, "O kosmos tis technis to 2020", in Ta Nea tis Technis, Issue 248, January-March 2020 (Article - in Greek)

Bill Balaskas, "The Imaginary Reconstitution of Leadership", in A Return to the Island, edited by Helena Lugo, London: Goldsmiths University (Book)

Bill Balaskas, "David Hockney's auction record: a triumph of nostalgia over spectacle", in The Conversation, 20 November 2018 (Article)

Bill Balaskas, "Liberating Speculation: Art, the Currency of Capitalism and the Death of Currencies", in Journal of Visual Culture, Volume 14, Number 2, August 2015 (Article)

Bill Balaskas, "Blindness", in The Dark Precursor, Orpheus Institute, Ghent, Belgium (Conference Proceedings)

Lanfranco Aceti, Bill Balaskas, Susanne Jaschko and Julian Stallabrass (eds), "Red Art: New Utopias in Data Capitalism", Leonardo Electronic Almanac / LEA Books, London: Goldsmiths University / The MIT Press (Book)

Bill Balaskas, "British Art", in Revista Arta, Issue 12, December 2014 (Article)

Bill Balaskas, "Living in a Global 'Society of the Spectacle': From Guy Debord to the Economic Crisis through an Exhibition of Contemporary Art", in Third Text, Volume 27, Issue 4, July 2013 (Article)

Bill Balaskas, "Antonin Artaud's Cinema of Cruelty and the Impossible Search for the Authentic Medium. A Lesson for the Digital Age", in The Challenge of The Object, 33rd Congress of the International Committee of the History of Art, Germanisches Nationalmuseum, Nurnberg, Germany (Conference Proceedings)

Bill Balaskas, "From New Media to Old Utopias: 'Red' Art in Late Capitalism?", in ISEA 2011, Sabanci University, Istanbul, Turkey (Conference Proceedings)

Bill Balaskas, Postponed Ascendancy, in Eat Our Shorts, British Film Institute, London, UK (Curatorial Statement)

Bill Balaskas, "Faraway from Theoklymenos' Country", in Tales from the City, Stories from the Sea, Athens: Periplous Publications (Book - in Greek)

Selected Publications, Press & Media

Max L. Feldman, 'a.O. - b.c.: An Audiovisual Diary at Athens School of Fine Arts and State of Concept', in ArtReview, January-February 2020 (Review)

Maria Ksypolopoulou, 'Entretien avec Bill Balaskas', in Revue Point Contemporain, Issue 15 (Interview - in French)

Melina Sidiropoulou, "I kinitikotita kai oi opseis tis", in To Vima, 30 August 2020 (Article - in Greek)

'Bill Balaskas Awarded the TOYOTAYA Commission, Cork', in Visual Arts Ireland, 21 May 2019 (Article)

'Spectacular world premieres for 2019 Cork Midsummer Festival', in HiStyle, 2 May 2019 (Article)

'Cork Midsummer Festival 2019', Cork Opera House, Cork, Ireland (Catalogue)

Maria Ksypolopoulou, 'Bill Balaskas: Red Air', in Point Contemporain, 10 November 2019 (Article - in French)

'Unique art installation created in city from iconic Toyota sign', in The Echo, 14 June 2019 (Article)

Spyros Staveris, 'MedPhoto Festival 2019-2020', in LIFO, 24 October 2019 (Article)

Cristín Leach, 'Review: visual art exhibitions at the Cork Midsummer Festival 2019', on RTE Radio 1 ('Arena' with Seán Rocks), 17 June 2019 (Review)

'Theorimata', EMST National Museum of Contemporary Art, Athens, Greece (Catalogue)

Valentina Poli, 'Un progetto internazionale per ricordare la Battaglia di Vittorio Veneto', in Artribune, Issue 44, July - August 2018, p. 18 (Article - in Italian)

Roberta Durante, 'The opening of the first Centenary of International Contemporary Art: 12 public art artworks enlighten historical Vittorio Veneto', in JULIET, 2 November 2018 (Article)

Helena Lugo, 'De regreso a la isla', in Revista LATE, 17 February 2018 (Article)

'Vittorio Veneto, atelier per 13 artisti da tutto il mondo', in Oggi Treviso, 8 June 2018 (Article)

'Partner, la sfida vinta dal territorio', in La Tribuna di Treviso, 27 June 2018 (Article)

Ioli Tzanetaki, "Living Forward, Looking Backward", in Archipelago, Issue 4, "Melancholia", London: Goldsmiths University, 2017, pp. 20-25 (Review)

'An Odyssey Through Greece in Recession: Nadja Argyropoulou, Apostolos Georgiou, Bill Balaskas and Sylvia Kouvali', on RCA and BBC Radio, 1 May 2017 (Podcast Interview)

Lanfranco Aceti, "End of a Summer Bliss: Or How We Capitalized on the Spectacle of Our Death at the Beach", in End of a Summer Bliss, Cambridge, MA: LEA / MIT Press (Book)

'SHOW 2017', Royal College of Art, London, UK (Catalogue)

"Romantso Cultural Centre, Athens, Holds Gestures of Resistance Exhibition", in The National Herald, 17 April 2017 (Article)

Sakis Ioannidis, "Nimata you sindeoun ton 19o aiona me to simera", in Kathimerini, 10 May 2017 (Article - in Greek)

Yiannis Zouboulakis, "Eikastikes Askiseis Isorropias" in BHMA, 19 November 2017 (Article - in Greek)

'Art Thessaloniki', Special Projects, Thessaloniki, Greece (Catalogue)

Eva Kekou, "I Jean Wainwright milaei gia tis Chironomies Antistasis", in Art22.gr, 8 October 2017 (Article - in Greek)

Thomas Büsch, "The Assassination of Guy Debord", in Inenart, 10 May 2017 (Article)

Maria Nicolacopoulou, "Metamorphosis", in Frieze, 5 July 2016 (Review)

Anastasia Voutsina, "Eksi ekthesis gia to Athinaiko kalokairi", in Athens Voice, 11 August 2016 (Article - in Greek)

'PIGS', ARTIUM Museum of Contemporary Art of the Basque Country, Vitoria, Spain (Catalogue)

Ioanna Gomouza, "I Ellada mou thimizei sychna ena skili pou trechi giro apo tin oura tou", in In2Life.gr, 12 September 2016 (Interview - in Greek)

Mathilde Urfalino, "Le moment Grec au prisme de l'art", in Les Inrocks, 24 September 2016 (Review- in French)

Maria Ksypolopoulou, "O rolos tou kallitechni einai simera pio politicos apo pote", in Art22.gr, 23 September 2016 (Interview - in Greek)

'Devalue, Value, Surplus Value: Between Work and Art', ISET Contemporary Greek Art Institute, Athens, Greece (Catalogue)

Pavlos Papadopoulos, "To thriller tou Brexit kai oi Ellines" in BHMagazino, Issue 820, 3 July 2016, (Article - in Greek)

Noemi Mendes, "PIGS: Si los cerdos hablasen", in ABC, 17 March 2016 (Review - in Spanish)

Marilena Astrapellou, "Poso kostizi i techni?" in BHMagazino, Issue 809, 17 April 2016, (Article - in Greek)

Eli Anapur. "Group exhibition 'Good Night And Good Luck' is open at A Plus A Gallery", in Widewalls, 20 September 2016 (Article)

Santiago Zabala, "Art for the Troika", in Public Seminar, 27 April 2016 (Review)

Meropi Moiseos, "Ikastiki nEUROsi", in Politis tis Kyriakis, 'Parathyro', 6 November 2016 (Review - in Greek)

"Epiloges tis evdomadas", in Kathimerini, 10 September 2016 (Article - in Greek)

'De Regreso a la Isla', Fundació Palma Espai d'Art, Casal Solleric, Palma de Mallorca, Spain (Catalogue)

"Remains of a summer bliss", in COZYHOME, Issue 23, Autumn 2016 (Article - in Greek)

'Good Night, And Good Luck', A Plus A Gallery, Venice, Italy (Catalogue)

Marilena Astrapellou, "Ta apominaria mias eftichias", in BHMagazino, Issue 832, 25 September 2016 (Article - in Greek)

Eleni Zymaraki Tzortzi, "Interview with Bill Balaskas", in Ex_Posure, 4 October 2016 (Interview)

Ioanna Gomouza, "Vrechi ekthesis ton Septemvrio", in In2Life.gr, 23 September 2016 (Article - in Greek)

Emmanuel Saulnier (ed.), Greek Moment / Moment Grec, Paris: Editions du Regard (Book)

Sergio C. Fanjul, "El punk no ha muerto", in El País, 27 March 2015 (Review - in Spanish)

Siska Lyssens, "Politics, popularity and painting: Katerina Gregos provides us with some new perspectives at Art Brussels", in Wallpaper, 27 April 2015 (Article)

Sheridan Stewart, "A preview of the 10th Mildura Biennale - Jonathan Kimberley, Bill Balaskas and Junichiro Iwase", on ABC Radio, 3 August 2015 (Interview)

Matylda Krzykowski, Display, Maastricht: Charles Nypels Lab / Jan van Eyck Academie (Book)

Michael DiFabrizio, "Biennale unites artists around world", in Sunraysia Daily, 10 August 2015 (Article)

Gregorio Roldán, "PUNK in La aventura del saber", on TVE - Spanish National Television, 15 September 2015 (Review)

Federica Lonati, "Punk never dies. Una mostra al CA2M", in Artribune, 7 June 2015 (Review - in Italian)

Lorenzo Taiuti, "Rassegna di videoarte itinerante Videozoom: Grecia", in D'ARS Magazine, 27 September 2015 (Article - in Italian)

'1st Biennial of the South', Museo de Bellas Artes, Caracas, Venezuela (Catalogue)

Alexia Amvrazi, "Outshining the spectacle", in My Greek Review, 22 March 2015 (Interview)

Estefanía Vasconcellos, "El punk no se acaba nunca", in El Mundo, 7 April 2015 (Article - in Spanish)

'PUNK: Its Traces in Contemporary Art', CA2M Centro de Arte Dos de Mayo, Madrid, Spain (Catalogue)

'10th Mildura Biennale', Mildura Arts Centre/Rio Vista, Mildura, Australia (Catalogue)

Luis Cornago, "El punk y sus rastros", in Letras Libres, 19 August 2015 (Review - in Spanish)

Paul Carey-Kent, "The Small Infinite", in Frieze, Issue 166, October 2014 (Review)

Lunettes Rouges, "Ruines et catastrophes au 104", in Le Monde, 1 October 2014 (Review - in French)

Despina Zefkili, "Afresh", in Frieze, Issue 163, May 2014 (Review)

Evrim Altuğ, "80 galeride devr-i âlem", in Cumhuriyet, 26 September 2014 (Article - in Turkish)

Janssen Adriaans, "The Value of Nothing", in Domus, 22 September 2014 (Article)

Katerina Zacharopoulou, "I Epochi ton Ikonon - No Country for Young Men", on ERT - Greek National Television, 17 September 2014 (Review - in Greek)

Jan Van Hove, "Een volk op de dool", in De Standaard, 30 March 2014 (Review - in Dutch)

'No Country for Young Men: Contemporary Greek Art in Times of Crisis', BOZAR, Brussels, Belgium (Catalogue)

Maria Pappa, "Transmediale", in LIFO, 30 January 2014, pp. 26-27 (Interview - in Greek)

'The Value of Nothing', TENT, Rotterdam, The Netherlands (Catalogue)

Juliette Bouveresse, "Festival Temps d'images, exposition "Passé simple, futurs composés. Des images en contrechamp"", in Les clés du Moyen-Orient, 10 October 2014 (Article - in French)

'Show Me The Money: The Image of Finance From 1700 to the Present', eds Paul Crosthwaite, Peter Knight and Nicky Marsh, Manchester: Manchester University Press (Book)

Bonnie E. Engel, "Artists' creativity captured on film as Art Basel goes behind the scenes", in South China Morning Post, 15 May 2014 (Article)

Despina Zefkili, "Why 'Afresh' is not simply another exhibition of Greek young artists", in Athinorama, 9 January 2014 (Review - in Greek)

'Videozoom Greece: On Πause!', Museo di Roma in Trastevere, Rome, Italy (Catalogue)

'Art Cologne', Film Cologne, with Kalfayan Galleries, Cologne, Germany (Catalogue)

'Art Basel Hong Kong', Film Sector, with Kalfayan Galleries, Hong Kong (Catalogue)

Pac Pobric, "Art Basel's best artist videos" in The Art Newspaper, 6 December 2013, p.19 (Review)

"New Positions of Art Cologne 2013", on Eiskellerberg TV, 21 April 2013 (Interview)

Ginevra Bria, "Quarta Biennale di Salonicco. Everywhere intersections", in Artribune, 27 September 2013 (Article - in Italian)

Coline Milliard, "Greek Student Unfurls 23-meter Banner on RCA Façade to Protest Against Finance's Dominance" in BLOUIN ARTINFO, 15 January 2013 (Article)

'Afresh: A New Generation of Greek Artists', National Museum of Contemporary Art, Athens, Greece (Catalogue)

Vivi Vourtsa, "Bill Balaskas: Art Sans Frontieres" in 2board, Issue 21, pp. 88-89 (Interview)

'4th Thessaloniki Biennale of Contemporary Art', Thessaloniki, Greece (Catalogue)

'Art Basel Miami Beach', Film Sector, with Kalfayan Gelleries, Miami Beach, USA (Catalogue)

"Vingt-deux jeunes artistes sélectionnés pour Art Cologne" in Le Quotidien de l' Art, Issue 345, 25 March 2013, p. 3 (Article - in French)

George Efremidis, "Bill Balaskas: Critical Mass" in REVma -/+, 19 September 2013 (Review - in Greek)

'Disruption', Royal College of Art Research Biennial, Gulbenkian Galleries, London, UK (Catalogue)

'Art Cologne', with Kalfayan Galleries, Cologne, Germany (Catalogue)

Marilena Astrapellou, "Greek personalities of 2013" in BHMagazino, Issue 688, 22 December 2013, pp. 24-41 (Article - in Greek)

'Art Brussels', The Cinema Sector, with Kalfayan Galleries, Brussels, Belgium (Catalogue)

Nancy Aggelopoulou, "Bill Balaskas at ReMap 4", on Athens 9.84 Radio, 11 September 2013 (Interview - in Greek)

'India Art Fair', Film Sector, with Kalfayan Galleries, New Delhi, India (Catalogue)

"I taksi tou 2013" in Ependytis, 'Passe Par Tout', Issue 39, 11 January 2013 (Article - in Greek)

Elena Dolcini, "Bill Balaskas: Nuove Strategie Situazioniste" in ESPOARTE, Issue 77, pp. 54-55 (Article - in Italian)

Yiorgos Karouzakis, "Playing with Symbols" in LIFO, Issue 314, 1 November 2012, p. 55 (Article - in Greek)

Katia Papadopoulou, "Future Makers: Bill Balaskas" in Ependytis, 'Passe Par Tout', Issue 26, 12 October 2012 (Interview - in Greek)

Alexia Amvrazi, "Bill Balaskas and the Parthenon", on Athens International Radio, 12 October 2012 (Interview)

Kaja Kraner, "Svetovni dogodek mladih" in Vecer, 24 July 2012 (Article - in Slovenian)

'Berwick Film and Media Arts Festival', The Main Guard, Berwick Upon Tweed, UK (Catalogue)

Petra Skok, "Bill Balaskas in Maribor 2012, European Capital of Culture", on RTV - Slovenian National Television, 12 July 2012 (Interview)

'Traverse Vidéo: Faut Voir', Lycée des Arènes, Toulouse, France (Catalogue)

'Time and Travel', Ku'Damm 101 Hotel, Berlin, Germany (Catalogue)

'Mare Street Biennale', London, UK (Catalogue)

'Traverse Vidéo: Ça Vaut La Peine', Musée des Abattoirs, Toulouse, France (Catalogue)

'SHOW 2010', Royal College of Art, London, UK (Catalogue)

'Iraqi Memorial', Sheppard Gallery, Reno, Nevada, USA (Catalogue)

'ZOOart', Fresia Gardens, Cuneo, Italy (Catalogue - in Italian)

'Images Contre Nature', Marseille, France (Catalogue)

'Crash Fest', Thessaloniki, Greece (Catalogue)

'Strange Screen', Macedonian Museum of Contemporary Art, Thessaloniki, Greece (Catalogue)

'Eat Our Shorts', British Film Institute, London, UK (Catalogue)

'Crash Fest', Thessaloniki, Greece (Catalogue)

'Girona Film Festival', Girona, Spain (Catalogue)

Simone Dompeyre, "Reality of Love" in Traverse Vidéo: La Re-Visite, Toulouse, France (Catalogue - in French)

'Video Militia', National Gallery, Jakarta, Indonesia (Catalogue)

'Crash Fest', Thessaloniki, Greece (Catalogue)

'Girona Film Festival', Girona, Spain (Catalogue)

'Exposures Film Festival', Manchester, UK (Catalogue)

# data[].attributes.attachment_link.description
Born in 1983 in Thessaloniki, Greece. Lives and works in London, UK.

# data[].attributes.body
(Artist)

Interests: Societal Implications of AI Technology

Laura is an artist and humorist staging her work as The Institute For Comedic Inquiry. She applies critical wit to create participatory performances. Her work often illustrates the unintended consequences of emerging technologies through humorous activities. Each is designed to invite audiences to question, debate, and subvert the situations they may find themselves in. Her work isn't complete without the audience’s participation, ensuring it has agency to reveal something to us.

Broadly, she’s interested in exploring how applications of AI can shift our behaviors and interactions, at large and individually. Do the motives powering AI applications align with ours? In polite society, what will be the emerging etiquette around AI? What happens when there are persistent nudges, but we don’t behave according to plan?

http://www.comedicinquiry.com

# data[].attributes.attachment_link.readable_text
Lately, i've been thinking about...

David Ewing Duncan's use of ' present near-future tense' in his book Talking To Robots-I love how it places us on the cusp of change, able to look back and forward from moment to moment. It's a technique I often use in my work, most recently in performances of 2022: Gait Augmentation Seminar. Michelle Wolf on the Good One podcast talking about a comedian's role in times of rapid societal change and how we need to take our time in exploring grey areas. Scrolling over this interactive emotion map, as a reminder of the potential topography of people's emotions, something I think about when I'm designing projects that invite public participation. Remembering that feelings change people, not just facts as Sarah Silverman puts it: it's kindness that brings people's 'porcupine needles' down. How we've evolved to use humor to deal with our complex world, as articulated in this book by Scott Weems entitled Ha! The Science of When We Laugh And Why. This Elastic City walk prompt from 2015, Daddy Warbucks, Please Adopt Me (AKA the Annie Tour), where Erin Markey led a performance of the song Tomorrow to an unsuspecting audience in a park. I love the way she set an imagined picture of the audience to build commitment with walk participants: "That guy is here every single night exclusively to observe this part of our walk. Everyone wave to him! People love it because of what you bring to it, so please do not disappoint."

IFCI is an artist-led research institute that uses humor to point out absurdities. Collaborating with experts, technologists, and performers, we create satirical alternate realities that can't exist without your participation. We take things too far to question, explore, and debate the situations we may find ourselves in. Lately we've been focused on emerging technologies-they are radically reshaping the way we live, often go unchecked, and can come with social side effects we didn't know we agreed to. Through our collaborative speculations, we aim to put the future on our terms and conditions.

We've MADE...

A surveillance combating walking workout. A synthHAsizer that lets you remix your fake laugh to a 'real' one. Love matches with hümr, a humor-first dating program in a sea of appearance-first apps. Fashionable pollination accessories, that turn people into honeybees to draw attention to colony collapse. And, secured insecurities through our patented scanning protocol. See more experiments here.

We've Staged Our Work At:

The Victoria & Albert Museum in London, Science Gallery in Dublin; CCCB in Barcelona; ArtScience Museum in Singapore; Creative Time Summit X on Truth in NYC; PRIMER19: Futures For All conference in NYC ; The International Society For Humor Studies Conference 19 in Austin; Palazzo delle Esposizioni in Rome; Design Week Portland; Risk/Reward Pavement Festival in Portland; Bridgetown Comedy Festival; Portland Fashion Week. It's been featured in Wired UK, The Guardian, GOOD, Dwell, and Design Bureau Magazine.

I'm an experience designer.

I collaborate with clients on projects that address 21st century challenges-especially emerging technologies. I enjoy conducting research and translating complex ideas into unexpected experiences that are often staged as interactive exhibitions at museums or public events. I specialize in participatory experiences that inform and give visitors agency to express their perspectives.

My offerings include: workshop facilitation, research, concept ideation, experience design, journey mapping, prototyping, content strategy, and copywriting.

I have over 10 years of experience designing award-winning interactive installations and exhibitions for museums and brands that push the boundaries of storytelling, design and technology. I spent six years at Second Story Interactive Studios, most recently as an Associate Creative Director, specializing in Experience Design and Content.

Notable projects include:

Thomas Cole Historic Site: The Parlors; Design Week Portland: Lovejoy Fountain Activation; AIGA: 100 Years of Design; Museum of Fine Arts Boston: Triumph of the Winter Queen ﻿.

Want to shake up your creative process? Connect with teammates and clients in new ways? Get better at responding in the moment?

These workshops apply the tools of comedy and performance to all facets of the creative process with zero obligation to make people laugh. They are designed for creatives of all stripes: designers, artists, makers, strategists, writers, producers, coders, architects, filmmakers, animators, etc.

They work well for team trainings (offsite or onsite) and are designed for all skill levels (leaders or young guns).

# data[].attributes.attachment_link.description
David Ewing Duncan's use of ' present near-future tense' in his book Talking To Robots-I love how it places us on the cusp of change, able to look back and forward from moment to moment. It's a technique I often use in my work, most recently in performances of 2022: Gait Augmentation Seminar.

# data[].attributes.body
(Artist)

Interests: HCI, diversity and empowering tech

My academic background is transdisciplinary with strong roots in film and interactive arts. Other disciplines, like cognitive science and archaeology, gave a deeper understanding of communication (narrative) and technology (interaction). Pre-university I studied Dance, Organisation & Leadership, Business Economy, Web Design, Image & Form, Drama and Digital Arts. I started my first company while studying in 2007, and my first jobs as a teenager were in IT and data bases at a time when employees still had to take a computer drivers licence, and internet modems started to be common in households. Most of the time I have chosen to work with new experience designs, including doing research in VR, AR, AI and developing cyborg interfaces as well as games, fashion and stage performances controlled by things like brainwaves, NFC implants and bionics.

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Got included in the London-based collective of pioneers in digital arts 2020.

Published a dialogue on transformation, diversity & design fiction in Glänta 3/20

GOTHENBURG BOOK FAIR
Sept 2020
Co-curator the digital culture track (games, esports etc) at Scandinavia's largest cultural event.

Talks:
- Digital culture, Karlstad University
- Game Innovation, University of Southampton Winchester School of Art
- Game Design, Hyper Island
- Augmented bodies, AHA Chalmers

Nov-Jan Stockholm.
Teaching Advanced Game Design at FutureGames, Design Fiction at Berghs and Digital Management at Hyper Island.

July 6-7 London. Augmented bodies and future humans, Isdrake, Rebecca Allen and Douglas Rushkoff, moderator Ghislaine Boddington.

Playcentric Studios

Game innovation, experience design and production, cyborg interfaces, diverse, inclusive tech and narratives.

Idun Design

Fine arts, performance, curation, fashion.

Creative Director &
Game Designer

Art house to AAA, research in immersive media and metaverses, LARPs, transmedia, experience design, physical installations, character costumes, cosplay, archaeology of game culture, scientific consultation (Viking culture, story architectures etc). Game jams, esport shows, incubation/start-up support through my lab Collaboratory. Games for social innovation and learning, diversity and inclusion, HCI and cyborg interfaces. Co-initiator of IGDA Sweden, initiator of Diversi Gothenburg, advisor at Game Dev Force, and other activities for inclusive gaming. Advisor and report writer for cities interested in esports and game events.

Film Director

Art house, music video, VR/AV/AR/MR, video art and installations, projection mapping, interactive, feature, short, web series, documentary, transmedia, commercials. I also have experience in script writing, editing, audio, producing, production design, casting, costume, mask, location scouting, photography and basic cinematography, mocap and light design.

Experience Director

Directing for any venue and experience, large installations, projections, fire shows, circus, arena openings, concerts, esports, theatre, opera, mixed reality/digital layers, using technology as extensions of performers, innovation in interfaces and interactivity.

Audiovisual experiments

Audiovisual performance based on the Ray Bradbury novel There will come soft rains.

Audio art based on neuron signals recorded during microneurography tests at the Institute for Physiology and Neuroscience in Gothenburg.

Epic Unidragon

A game art gallery by Isdrake, initially built as a container gallery when I was asked to design a temporary part of the Gothenburg centre while construction plans were being set.

GIBCA

Invited artist at Göteborg International Biennial for Contemporary Art (GIBCA), held every second year and has today become one of the leading art biennials in the Nordic region. Round table discussion in House of words, at Röda sten art hall.

Sealand Multiversity Living Lab

Traveled to micronation Sealand for directing a film, doing a workshop on sustainable living solutions for a space like this, and breathing some fire.

Radio show NYC

2010, The Real Radio speaker and exhibition at Time Square New York, with members from music bands Misfit and Toxic.

Startups

Playcentric, Story Architect and Collaboratory are actively supporting the start up scene in Gothenburg. Partnering with the Gbg Startup Hack since their start, founding spaces like Collaboratory Gbg and arranging inclusive, forward thinking business competitions.

Makerspaces

Collaboratory consulted many spaces in Sweden in their process of building labs and permanent and mobile makerspaces. A long list of companies (Ericsson, Volvo, Dassault systems etc), schools, universities, government orgs and unions (Business Region, VGR, Unionen, Engineers Union, Science Parks etc), and researchers came for guided tours and inspiration.

We also developed an idea about a maker car for experiential learning with the Collaboratory community, Engineers without borders and BUKE.

Confusion

Jury cosplay costume contest, keynote and Collaboratory pop-up makerspace.

Reboot Stories

Creative producer at Reboot Stories and collaborator at educational projects like the story of robot Lyka that empowers students to reboot their education.

The BUKE is a people-powered bike bus that serves as the symbol of how youth drive change and progress in their community. From an idea on a napkin at Learn Do Share Los Angeles 2013, to several prototypes, to a business plan, to a youth-run cyclery: The BUKE, as envisioned and imagined by a group of former high school dropouts, is a vehicle for economic sustainability and community transformation.

Interview at German Radioeins / Strom und Drang, by Dennis Kastrup, about my cyborg art. www.radioeins.de

Svenska Dagbladet

Game reviews

Listed games that are not the mainstream or AAA kind that people usually write about in this section www.svd.se

Article and news broadcast by Yle https://yle.fi/uutiset/3-9953104

SVT interview about a stunt course for driving and proper police acting for the film industry.

Articles about Art & Game Obstruction exhibition 2015
zenitkultur.com
sverigesradio.se

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Got included in the London-based collective of pioneers in digital arts 2020. Published a dialogue on transformation, diversity & design fiction in Glänta 3/20 GOTHENBURG BOOK FAIR Sept 2020Co-curator the digital culture track (games, esports etc) at Scandinavia's largest cultural event.

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Interests: Data Ethics & Privacy, Bias in Data, Trust, Data Governance, Societal Implications of AI, Ethics, Technology and the Global South

Bias in data, technology and particularly AI and other advanced technologies comes partly from the way these advanced technologies have been developed (in the Global North by highly educated white males), and is particularly evident when these technologies are used by minorities, the marginalised/disadvantaged, and those in the Global South.

I'm interested in thinking about ways of visualising these biases using the same AI and technologies that are themselves based.