His latest book, 'Split and Splice: A Phenomenology of Experimentation' (University of Chicago Press, 2023) provides an innovative look at the experimental protocols and connections that have made the life sciences so productive, and brings into English what has already been a critical hit in the German speaking academia.
Professor Brooke Belisle researches and teaches the comparative history and theory of media aesthetics. Her work focuses on the recurrent disruptions and possibilities of “new media”, exploring emergent formats and experimental practices that echo across different periods of technological and social transformation. She is the Graduate Program Director for Stony Brook’s MA and PhD in Art History, directs the interdisciplinary Graduate Certificate in Media, Art, Culture, and Technology, and is Affiliated with the Institute for Advanced Computational Science. Belisle has published on contemporary photography and media art; experimental cinema; 19th century visual culture; immersive and interactive media from the panorama to VR; and the interwoven histories of art, science, and technology. Her book Depth Effects: Dimensionality from Camera to Computer uses phenomenological and media-archeological methods to relate A.I.-driven techniques of computational imaging to overlooked spatial strategies of early photography.
Juan Llamas-Rodriguez is an assistant professor at the Annenberg School for Communication, where he researches and teaches global media cultures, digital technologies, border studies, infrastructure studies, and Latin American media. His first book, Border Tunnels (University of Minnesota Press, 2023) examines how media forms and technologies shape perceptions about the borderlands and help reimagine the stakes of border-making practices.
Iván Chaar López is an assistant professor in Digital Studies in the Department of American Studies at the University of Texas at Austin, where he also leads the Border Tech Lab. His first single-authored book, The Cybernetic Border: Drones, Technology, and Intrusion (Duke University Press, 2024), shows how US borders are more than than instruments of blockage like walls or fences; since the mid-twentieth century they are regimes of datafication and racialization.
Prof. Ted Striphas (University of Colorado Boulder) studies the history, culture and politics of technology, focusing on the relationship between emergent technologies and patterns of social and linguistic change. His research and teaching are at the intersection of cultural studies, communication, the digital humanities and science and technology studies.
Striphas’ first book, The Late Age of Print, was published in 2009 by Columbia University Press and won the Book of the Year Award from the National Communication Association’s Critical-Cultural Studies Division. His research has appeared in leading scholarly journals including Communication and Critical/Cultural Studies, Critical Studies in Media Communication, Cultural Studies, European Journal of Cultural Studies, International Journal of Communication, New Media and Society, New Formations and Television and New Media.
Kilbane is currently extending this focus on lyric techniques and technologies in two newer projects: an edited collection of essays exploring how social media platforms are reshaping poetry’s publics around the world, and a study of community-based writing workshops and other marginalized institutions of verse making.
Through reading, teaching, and writing, she endeavors to link conversations in sociocultural anthropology with other fields of inquiry, including science and technology studies, media studies, cultural geography, environmental humanities, and history of science and technology. Her research has been featured in The New York Times, The Los Angeles Times, The Guardian, Wired, The Atlantic, Slate, CNN, PBS, and more.
Jim Malazita (Ph.D. Drexel University) is Associate Professor of Science & Technology Studies and the Associate Director of the Games and Simulation Arts and Sciences Program at Rensselaer Polytechnic Institute. He studies the co-production of technological and social elements of games and creative software, with a particular focus on game engines, gender, and race. His current work examines the role of game companies and game engines in shaping the infrastructural and legal standards of the future web.
His new book, discussed here, Enacting Platforms: Feminist Technoscience and the Unreal Engine was released by the MIT Press in July 2024. This first scholarly book on the Unreal game engine explores one of the major contemporary game development platforms through feminist, race, and queer theories of technology and media, revealing how Unreal produces, and is produced by, broader intersections of power. Malazita’s writing has been featured in a wide variety of academic venues, including in Digital Creativity, Design Issues, Digital Humanities Quarterly, Debates in the Digital Humanities, and Feminism in Play. His research and teaching have been supported by the NEH Office of Digital Humanities, the NEH Division of Educational Programs, the Popular Culture Association, The New Jersey Historical Commission, Red Hat Inc., and Rensselaer’s Teaching and Learning Collaboratory.
Dr Jussi Parikka is Professor in Digital Aesthetics and Culture at Aarhus University in Denmark where he leads the Digital Aesthetics Research Centre (DARC). He is also visiting professor at Winchester School of Art (University of Southampton) and at FAMU at the Academy of Performing Arts in Prague where he leads the project Operational Images and Visual Culture (2019-2023, funded by the Czech Science Foundation). In 2021 he was elected as member of Academia Europaea. His published books include Insect Media (2010), Digital Contagions (2007/2016), A Geology of Media (2015), and A Slow, Contemporary Violence (2016). Recently, he co-edited Photography Off the Scale (2021) and is the co-author of The Lab Book: Situated Practices in Media Studies (2022). His book Operational Images was published in May 2023. Parikka’s books have been translated into 11 languages including Japanese, Korean, Chinese, Czech, Italian, French, Spanish and Portuguese. He has also worked as curator, including as part of the curatorial team of transmediale 2023 and Helsinki Biennial 2023, as well as the co-curator of the forthcoming Motores del Clima (Laboral, Gijon, 2023). http://jussiparikka.net.
Joanna Zylinska is a writer, lecturer, artist and curator, working in the areas of digital technologies and new media, ethics, photography and art. She is Professor of Media Philosophy + Critical Digital Practice in the Department of Digital Humanities at King's College London. She is also a member of Creative AI Lab, a collaboration between King's and Serpentine Galleries. Prior to joining King's in 2021, she worked for many years at Goldsmiths, University of London, including as Co-Head of its Department of Media, Communications and Cultural Studies. She has held visiting positions as Guest Professor at Shandong University in China, Winton Chair Visiting Scholar at the University of Minnesota, US, and Beaverbrook Visiting Scholar at McGill University in Canada. Zylinska is the author of nine books - most recently, The Perception Machine (MIT Press, 2023, open access available), AI Art: Machine Visions and Warped Dreams (Open Humanities Press, 2020, open access) and The End of Man: A Feminist Counterapocalypse (University of Minnesota Press, 2018, open access). Her work has been translated into Chinese, Czech, Korean, French, German, Italian, Norwegian, Polish, Portuguese, Russian, Spanish and Turkish. Zylinska combines her philosophical writings with image-based art practice and curatorial work. In 2013 she was Artistic Director of Transitio_MX05 'Biomediations': Festival of New Media Art and Video in Mexico City. She has presented her work at many art and cultural institutions, e.g. Ars Electronica in Linz, CCCBarcelona, Centre Culturel International de Cerisy, Fotomuseum Winterthur, Serpentine Galleries in London, SESC Sao Paolo and Transmediale in Berlin. Her book The Future of Media, co-edited with Goldsmiths Media, came out in 2022 - and is also available on an open-access basis.
Francesco Casetti is the Sterling Professor of Humanities and Film and Media Studies at Yale University. Among his books are Inside the Gaze; Theories of Cinema, 1945–1995; Eye of the Century: Film, Experience, Modernity; and The Lumière Galaxy: Seven Key Words for the Cinema to Come. Francesco Casetti currently teaches courses on Semiotics, on Film and Media Theories, on Post-Cinema and Technical Images, and on Media and Space. He is the author of six books, translated into (among other languages) French, Spanish, Czech, and Korean; he is also co-author of two books, editor of more than ten books and special issues of journals, and author of more than sixty essays.
Jill Walker Rettberg is Professor of Digital Culture and Co-Director of the Center for Digital Narrative (CDN), a Norwegian Center of Research Excellence that has received a €15 million grant from the Norwegian Research Council (2023-2033). She is also Principal Investigator of the ERC project Machine Vision in Everyday Life: Playful Interactions with Visual Technologies in Digital Art, Games, Narratives and Social Media (2018-2024). Her most recent book is 'Machine Vision: How Algorithms are Changing the Way We See the World' (Polity Press, 2023).
James E. Dobson, assistant professor at Dartmouth College, is a literary and cultural critic who specializes in intellectual history and U.S. autobiographical writing in the nineteenth and twentieth centuries. He uses a number of approaches--theoretical, historical, formalist, and computational (sometimes called "digital humanities" or "cultural analytics")--to answer persistent intellectual problems. He is thus also interested in the critical analysis of twentieth-century and contemporary computation methods including machine learning, computer vision, and various approaches to text and data mining. The Birth of Computer Vision (University of Minnesota Press, 2023), his third monograph, is a genealogy of computer vision and machine learning. It traces the development of a series of important computer-vision algorithms, uncovering the ideas, worrisome military origins, and lingering goals reproduced within the code and the products based on it, and examines how these became linked to one another and repurposed for domestic and commercial uses.
Joanna Zylinska is a writer, lecturer, artist and curator, working in the areas of digital technologies and new media, ethics, photography and art. She is Professor of Media Philosophy + Critical Digital Practice in the Department of Digital Humanities at King's College London. She is also a member of Creative AI Lab, a collaboration between King's and Serpentine Galleries. Prior to joining King's in 2021, she worked for many years at Goldsmiths, University of London, including as Co-Head of its Department of Media, Communications and Cultural Studies. She has held visiting positions as Guest Professor at Shandong University in China, Winton Chair Visiting Scholar at the University of Minnesota, US, and Beaverbrook Visiting Scholar at McGill University in Canada. Zylinska is the author of nine books - most recently, The Perception Machine (MIT Press, 2023, open access available), AI Art: Machine Visions and Warped Dreams (Open Humanities Press, 2020, open access) and The End of Man: A Feminist Counterapocalypse (University of Minnesota Press, 2018, open access). Her work has been translated into Chinese, Czech, Korean, French, German, Italian, Norwegian, Polish, Portuguese, Russian, Spanish and Turkish. Zylinska combines her philosophical writings with image-based art practice and curatorial work. In 2013 she was Artistic Director of Transitio_MX05 'Biomediations': Festival of New Media Art and Video in Mexico City. She has presented her work at many art and cultural institutions, e.g. Ars Electronica in Linz, CCCBarcelona, Centre Culturel International de Cerisy, Fotomuseum Winterthur, Serpentine Galleries in London, SESC Sao Paolo and Transmediale in Berlin. Her book The Future of Media, co-edited with Goldsmiths Media, came out in 2022 - and is also available on an open-access basis.
James E. Dobson, assistant professor at Dartmouth College, is a literary and cultural critic who specializes in intellectual history and U.S. autobiographical writing in the nineteenth and twentieth centuries. He uses a number of approaches--theoretical, historical, formalist, and computational (sometimes called "digital humanities" or "cultural analytics")--to answer persistent intellectual problems. He is thus also interested in the critical analysis of twentieth-century and contemporary computation methods including machine learning, computer vision, and various approaches to text and data mining. The Birth of Computer Vision (University of Minnesota Press, 2023), his third monograph, is a genealogy of computer vision and machine learning. It traces the development of a series of important computer-vision algorithms, uncovering the ideas, worrisome military origins, and lingering goals reproduced within the code and the products based on it, and examines how these became linked to one another and repurposed for domestic and commercial uses.
- The Apple II Age: How the Computer Became Personal, a software history of the iconic Apple II personal computer, University of Chicago Press, Spring 2023
- Before We Were Gamers: Remembering and Forgetting an Industry's Dawn, which charts the rise, demise and unexpected resurgence of the flagship computer game company Sierra On-Line
Nooney’s work has been published in Game Studies, Feminist Media Histories, Information and Culture, American Journal of Play, Journal of Visual Culture, The Atlantic, and Digital Creativity. They are a founding editor of ROMchip: A Journal of Game Histories and the Vice-Chair of Meetings for SIGCIS [the Special Interest Group for Computing, Information and Society].
Her second book, Novels by Aliens: Weird Tales and the Twenty-First Century (forthcoming University of Chicago Press, 2023), looks back on two decades of twenty-first century cultural production to account for the rise of genre hybridity in literary fiction.
She serves as the Associate Dean for Research and Strategic Initiatives and the Director of the Institute for Scholarship in the Liberal Arts at Notre Dame while also serving on the faculty of the History and Philosophy of Science, and on the steering committee for the Moreau College Initiative, a transformative prison education program. She is also on the faculty of the Bread Loaf School of English, and co-edits the Post45 book series at Stanford UP.
Pippin Barr is a video game maker, educator, and critic who lives and works in Montréal. He is a prolific maker of videogames, producing games addressing everything from airplane safety instructions to contemporary art and has collaborated with diverse figures such as performance artist Marina Abramovic and Twitter personality @seinfeld2000. Pippin is a well-known figure in the independent games world, serving as a judge or juror for many festivals, and his games have been covered in publications from the New York Times to Slate to Kotaku. He is an assistant professor in the Department of Design and Computation Arts at Concordia University, the associate director of the Technoculture, Art, and Games (TAG) Lab, and a visiting lecturer in the Institute of Digital Games at the University of Malta. He holds a Ph.D. in Computer Science from Victoria University of Wellington, New Zealand on the subject of "videogame values." Pippin also writes a blog of game and game design criticism at pippinbarr.com and his book, How to Play a Video Game, introduces the uninitiated and culturally curious to the world of video games. His new book, The Stuff Games Are Made Of, came out with MIT Press recently.