Conference „Coding the Gaze – Technology, Art and Society: Feminist perspectives“

BIOGRAPHIES

Annet Dekker is a curator and researcher. Currently she is Associate Professor Archival and Information Studies and Comparative Cultural Analysis at the University of Amsterdam and Visiting Professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. She has published numerous essays and edited several volumes, among others, Documentation as Art (co-edited with Gabriella Giannachi, Routledge 2022) and Curating Digital Art. From Presenting and Collecting Digital Art to Networked Co-Curating (Valiz 2021). Her monograph, Collecting and Conserving Net Art (Routledge 2018) is a seminal work in the field of digital art conservation.

Jelena Guga is a theorist of new media art and culture currently working as a research fellow and coordinator of the Digital Society Lab at the Institute of Philosophy and Social Theory, University of Belgrade. She was a postdoctoral fellow at the Department of Interdisciplinary Activities, Research Center for New Technologies, University of West Bohemia (Plzen, Czech Republic) and a visiting researcher at the SPECS Lab at Pompeu Fabra University (Barcelona, Spain). She explores the issues of identity, corporeality, agency, and perception in technologically mediated interactions and immersive environments through an interdisciplinary approach, combining art theory, (new) media theory, cultural studies, critical posthumanism, philosophy of mind, as well as dystopian science fiction narratives. She is also engaged in curatorial work at the intersection of art, science, and technology. She is the author of Digital Self: How We Became Binary and a number of academic articles in international publications. 

Hinda Haned is a Responsible AI advisor, founder of Owls & Arrows, a company specialized in data science consultancy and algorithmic auditing. She is also a leading advocate for responsible AI practices and advises companies on building efficient and ethical data science processes.

Zorica Đergović-Joksimović is a full professor in the Department of English Studies, Faculty of Philosophy, University of Novi Sad, Serbia, where, among other courses, she teaches Utopia in English Literature, Dystopia in Literature and Film, and Science Fiction. Zorica Đergović-Joksimović is the author of Utopija: alternativna istorija (Utopia: An Alternative History). She has published numerous articles, including “Serbia Between Utopia and Dystopia“, “The Poetry of Estrangement or Utopia Suviniana“ (both in Utopian Studies), and “Teachers and Students of Utopia: Lessons from Serbia” in Liam Benison (Ed.), Utopian Possibilities: Models, Theories, Critiques (U. Porto Press, Portugal, 2023). She edited Embracing Utopian Horizons, a collection of her MA students’ utopian stories, and was a guest editor of the thematic issue „Konteksti: Utopija“ („Contexts: Utopia“) in the journal Književna istorija (Literary History). The most recent book publication edited by Zorica Đergović-Joksimović is Anglofona naučna fantastika kod Srba (Anglophone Science Fiction in Serbia).

Uroš Krčadinac (b. 1984) is a digital artist, software engineer, author and educator. His transdisciplinary practice includes programming, writing, animation and artistic cartography. He holds a PhD in Informatics from the University in Belgrade. Uroš published his research papers in the M21 IEEE journals, while he exhibited his artistic works at numerous solo and group exhibitions, festivals and conferences in Serbia and abroad. As an educator and public lecturer, he designed and held over a hundred public lectures, forums and workshops. He has held several solo exhibitions in Serbia and abroad. He is the co-author of one infographic travel novel. He currently works as an associate professor of digital arts and computing at the Department of Digital Art, Faculty of Media and Communications in Belgrade. He also works as a research associate at the „GOOD OLD AI“ laboratory of the Faculty of Organizational Sciences, University of Belgrade and as a visiting professor at the Department of New Media Art at the Academy of Arts in Novi Sad.

Web: krcadinac.com

Computational Mama’s work explores coding, art and generative AI as a form of camaraderie, friendship, motherhood and self-care. She develops and facilitates beginner content and workshops for creative computation, new approaches to computational thinking and the use of generative AI tools. Her generative AI work explores the biases inherent in large data and generative AI, and she has been exploring the spaces where motherhood and AI converge.

She was a 2021 Processing Fellow and 2020 BeFantastic Fellow, a speaker at Assembling Intelligence, HEAD, Geneva, NYU, Shanghai, BIC, Bump Festival 2023 and more; she has been featured in Casey Reas’ (co-founder Processing) recent list of generative artists doing interesting work.

Her work has been featured in Bangalore International Center (2024), India Art Fair (2022) and Vorspiel / transmediale & CTM (2021).

She also co-runs a creative technology studio called Ajaibghar and Head Developer Relations at Gooey.AI. 

Darija Medić is a tactical media artist, practice-based researcher and media designer investigating contemporary agential labyrinths of cohabiting with technical infrastructures and their sociopolitical ecosystems. In particular, her work addresses the barriers to equitable user experience design from a critical materialist and disability justice standpoint. Combining a range of media into low tech participatory installations, interventions and performances she creates collective processes for sensitizing, sometimes absurd, politically laden points behind the space where technical mediation and prosumer habituation meet.

She is currently a Tenure Track Assistant Professor of Digital Design in the Department of Visual Arts at the College of Arts & Media, University of Colorado Denver and is completing her Ph.D. at the Intermedia Art Writing and Performance Program at the University of Colorado Boulder. She is also a lecturer at the SHIFTA Creative Computing Master program for the module Internet Equalities.

Selena Savić is an Assistant Professor for Proto-history of Artificial Intelligence and Machines in the Arts at the University of Amsterdam. After a PhD at EPFL and an SNSF-funded postdoc at ATTP, TU Vienna, Savoić was a senior researcher and the Head of the Make/Sense PhD programme at the Basel Academy of Art and Design. Her recent publications include two edited volumes, Radio Explorations, and Teaching Artistic Strategies, 2024, transcript Verlag. Selena Savić teaches and writes and conduct researches about digital archives, computational modelling, feminist materialism and posthuman networks in the context of art, design and architecture. Her research interests animate a practice at the intersection of computational processes and posthumanist and postcolonial critique of technology. Her current research addresses data and measurement, offering a generative perspective on the interrelations between technicity for making and circulating art. 

Steph Maj Swanson (@supercomposite) is a multimedia artist and writer based in Sweden. She is best known as the creator of Loab, an AI-generated cryptid which quickly became a subject of online debate, videos, podcasts, fan art, academic writing, and international media coverage—with The Atlantic dubbing Loab “a form of expression that has never existed before” and Wired drawing comparisons to the work of de Sade. Steph’s visual art has been described by Galleries West as “the merging of repulsive with beautiful.” Her writing, which has appeared in Vice, takes a critical stance towards AI. After its debut last year at DEF CON, Steph’s deepfake film Suicide III was selected to screen at New York’s Museum of the Moving Image and at this year’s Videomedeja festival in Novi Sad.

Anica Tucakov is an art historian and editor of (O)GLED magazine for contemporary art. She received her BA and MA degree from the Department of Art History at the Faculty of Philosophy in Belgrade. She has implemented a large number of projects both within official institutions and events, and within the independent sector. She initiated, conceived and produced a large number of research and exhibition projects within the organization „anonymous said:“, of which she is a co-founder.