Authors #14

Miriam Akkerman is Junior Professor in Empirical Musicology at the TU Dresden. Her research areas include music of the 20th and 21st century, computer music and music technology, digital musicology, musical performance practices and archiving music. A special emphasis lies on examining the intersection of music research and artistic practice. Within the framework of “Lullabyte,” the researches focus is set on the effect of music on sleep. She received a PhD in musicology from the Berlin University of the Arts, and completed her habilitation at Bayreuth University.

sasha arden is the Conservation Fellow, Time Based Media at the Solomon R. Guggenheim Foundation and Museum. They graduated in 2022 from the dual-degree Master’s program in art history and conservation at the Institute of Fine Arts NYU, with a focus in time-based media. sasha embraces the long-term thinking and development of appropriate stewardship practices while negotiating ecosystems of stakeholders and values unique to each artwork. Their ongoing research examines the intersection of technical capabilities and the philosophical and ethical questions arising through the conservation process, often questioning conventional approaches in pursuit of a holistic outlook on the integrity of cultural assets.

Sarah Cook is a curator, writer and researcher based in Scotland. She is Professor of Museum Studies in Information Studies at the University of Glasgow. From 2023 she is a guest professor in Art and AI with UmArts at University of Umeå as part of the WASP-HS programme. Sarah has curated and co-curated over 50 international exhibitions of contemporary art, new media art and digital art for museums, galleries and festivals. From 2013 to 2020 Sarah was one of the curators behind Scotland’s only digital arts festival NEoN Digital Arts and was founder/curator of LifeSpace Science Art Research Gallery in the School of Life Sciences, University of Dundee (both as part of her role as Dundee Fellow at Duncan of Jordanstone College of Art & Design, 2013–2018). In 2021–2022 Sarah was a senior academic research fellow at TATE as part of the Mellon-funded project Reshaping the Collectible: When Artworks Live in the Museum. Together with Beryl Graham, Sarah co-founded CRUMB, the longstanding online resource and network for curators of new media art, hosting workshops and courses worldwide.

Annet Dekker is Assistant Professor Archival and Information Studies and 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. Expanded Digital Practices (co-edited with Gabriella Giannachi, Routledge 2023) 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.

Olivia Eriksson is a postdoctoral researcher in Cinema Studies at the Department of Media Studies, Stockholm University. Her research focuses on contemporary art and the moving image, with a special interest in spectatorship and questions concerning site specificity. Her dissertation Gallery Experience: Viewers, Screens and the Space In-Between in Contemporary Installation Art (2021) examines the situated viewing practices of film installation in a gallery context. Eriksson’s current research project focuses on the cinematic image as a social situation and studies the curatorial processes involved in the exhibition of contemporary moving image art.

Gabriella Giannachi has published Virtual Theatres (2004); The Politics of New Media Theatre (2007); Performing Nature: Explorations in Ecology and the Arts, ed. with Nigel Stewart (2005); Archive Everything (2016 and, in Italian, 2021); Histories of Performance Documentation, co-edited with Jonah Westerman (2017); Documentation as Art, co-edited with Annet Dekker (2022) and Technologies of the Self-Portrait (2022 and, in Italian, 2023). She has been funded by AHRC, EPSRC, EU, NLHF, Nesta, Innovate UK, and collaborated with Tate, Science Museum, Natural History Museum, Imperial War Museum, San Francisco Modern Art Museum, RAMM, and LIMA (Netherlands), among others. She is currently working on a monograph on environmental art.

Carlijn Juste is an art historian and PhD candidate in Art History at the University of Groningen (Netherlands) and in Visual Arts at the University of Lille (France). Her research is interested in new curatorial practices that have been developed for the exhibition of interactive digital installations over the last thirty years and looks at profound transformations caused by these practices in institutions exhibiting contemporary art. She is editor of the special issue of Déméter – théories & pratiques artistiques contemporaines, Online/Offline : Nouvelles stratégies curatoriales pour œuvres numériques, investigating new types of spatiality and materiality in digital art exhibitions resulting from the hybridisation of the material and the immaterial, the physical and the virtual.

Carlijn Juste teaches art history and theory with a focus on digital culture at University of Lille.

James Newman, PhD is Research Professor in Media and a University Teaching Fellow. Over the past 20 years, he has written widely on aspects of videogames, players and fans, game sound and music, and media histories and has spoken across the world at events for academics, policy-makers, game developers and players. His books on videogames and gaming cultures include Videogames; Playing with Videogames; and Best Before: Videogames, Supersession and Obsolescence (for Routledge); and 100 Videogames and Teaching Videogames (for BFI Publishing). In 2018, James co-authored A History of Videogames (Carlton) which is the first volume to explore and draw on the collections of the National Videogame Museum where James also works as Senior Curator.

Bilyana Palankasovais a curatorial researcher, currently a PhD candidate in Information Studies at the University of Glasgow. Her doctoral work is concerned with the relationship between computational arts, curatorial methods and institutional conditions in contemporary art and draws on curatorial practice, history of art, and science and technology studies. Bilyana holds MA History of Art and Digital Media from the University of Glasgow, MSc Modern and Contemporary Art from The University of Edinburgh and graduated with Distinction from the MLitt Curatorial Practice (Contemporary Art) programme at The Glasgow School of Art. She’s worked with organisations such as Jupiter Artland, FutureEverything, NEoN Digital Arts and The Centre for Contemporary Art Derry~Londonderry.

Katrina Sluis is associate professor in the School of Art and Design, Australian National University and adjunct research curator at The Photographers’ Gallery, London. As a writer, curator and researcher, she has published and developed numerous public projects on machine vision, synthetic imaging and computational culture. With Andrew Dewdney she is the editor of The Networked Image in Post-Digital Culture (2022).

Maria Tane is a Comparative Cultural Analysis graduate student at the University of Amsterdam with a main research interest in environmental humanities and critical disability studies. She is also an associate editor with Green Writers Press, and her writing appears in publications such as Edge Effects and The Homesick Project.

Gaia Tedone is a curator and researcher with an expansive interest in the technologies and apparatuses of image formation and in the shifting definition of curating within computational culture. In 2019, she completed her PhD at the Centre for the Study of the Networked Image, London South Bank University. She writes and teaches on the topics of online curation, digital culture and post-critical museology. She carries out her curatorial practice independently, also under the moniker ://ftp, a curatorial agency she started with Marialaura Ghidini in 2021.

Aga Wielocha is a researcher, conservator, and collection care professional specializing in contemporary art. Currently, she is a postdoctoral fellow in the research project "Activating Fluxus" at the Bern Academy of the Arts, Switzerland. She holds a PhD from the University of Amsterdam. Her doctoral research, situated at the crossroads of art history and theory, conservation, museology, and heritage studies, investigated the lives and futures of contemporary art in institutional collections. Her research interests lie in processes of institutional collecting with a focus on processual, contemporary art formats, such as art projects, participatory art, and performance. She regularly lectures, gives presentations and writes on this topic. Previously, Aga worked as a Conservator at M+ Museum in Hong Kong and the Museum of Modern Art in Warsaw, Poland.

Wang-Yun Yen is a filmmaker and currently a PhD candidate in Amsterdam School for Cultural Analysis, University of Amsterdam. His research interest lies at the intersection between film and media materiality, performativity, and art practices related to moving images. Yen has a background in literary theory and holds a MA degree in film aesthetics and documentary filmmaking from Lumière University Lyon 2. He is also a member of the artist-run film lab Filmwerkplaats based in Rotterdam.