Editorial Board

Dr. Peter J. Bentley is an Honorary Senior Research Fellow at the Department of Computer Science, University College London (UCL), Collaborating Professor at the Korean Advanced Institute for Science and Technology (KAIST), Visiting Research Fellow at Goldsmiths College, a contributing editor for WIRED UK, a consultant and a freelance writer.

Paul Brown is an artist and writer who has specialised in art, science & technology since the late-1960s and in computational & generative art since the mid 1970s. His early work involved creating large scale lighting works for musicians and performance groups (Meredith Monk, Music Electronica Viva, Pink Floyd, etc…) and he has an international exhibition record that includes the creation of both permanent and temporary public artworks dating from the late 1960s. He has participated in shows at major venues like the TATE, Victoria & Albert and ICA in the UK; the Adelaide Festival; ARCO in Spain; the Substation in Singapore and the Venice Biennale. His work is represented in public, corporate and private collections in Australia, Asia, Europe, Russia and the USA. In 1996 he won the Fremantle Print Award.

I have … * … studied Physics and Mathematics at the Universidad de Buenos Aires and did an MSc in a Nuclear Engineering at theInstituto Balseiro (National Atomic Energy Agency and University of Cuyo). I did … * … my DPhil (PhD) in COGS, Univesity of Sussex, within the Evolutionary and Adaptive Systems group, under the supervision of Prof Phil Husbands. I was … * … a research fellow at the German National Research Center for Information Technology, GMD, in Sankt Augustin within the Autonomous Intelligent Systems (AiS) institute.

Ernest Edmonds was born in London and studied Mathematics and Philosophy at Leicester University. He has a PhD in logic from Nottingham University, is a Fellow of the British Comuter Society, a Fellow of the Institution of Engineering and Technology and a Charted Engineer. He is a practicing artist. He lives and works in Sydney Australia. His art is in the constructivist tradition and he first used computers in his art practice in 1968. He first showed an interactive work with Stroud Cornock in 1970. He first showed a generative time-based computer work in London in 1985. He has exhibited throughout the world, from Moscow to LA.

Science photographer Felice Frankel holds concurrent positions at Harvard University, Harvard Medical School’s Systems Biology, the Wyss Institute and the Massachusetts Institute of Technology. Working in collaboration with scientists and engineers, Frankel’s images have been published in over 300 journal articles and/or covers and various other publications for general audiences such asNational Geographic, Nature, Science, Angewandte Chemie,Advanced Materials, Materials Today, PNAS, Newsweek,Scientific American, Discover Magazine, New Scientistamong others.

Craig Harris is a composer, new media artist and designer, writer and consultant in the non-profit arts community, with expertise in new media arts, creative facilities development, organizational development, strategic planning, project management, and program development.

Gary Hall is a London-based cultural and media theorist working on new media technologies, continental philosophy and cultural studies. He is Professor of Media and Performing Arts in the School of Art and Design at Coventry University, UK

Sibel Irzık received her BA in English Literature from Boğaziçi University, and her MA and PhD in Comparative Literature from Indiana University. She is currently teaching in the Cultural Studies Program of Sabancı University. She is the author of Deconstruction and the Politics of Criticism (NY&London;: Garland Publishing, 1990) and the co-editor of Relocating the Fault Lines: Turkey Beyond the East-West Divide, a special double issue of the South Atlantic Quarterly, 2003.

Janis Jefferies is an artist, writer and curator, Professor of Visual Arts in the Department of Computing, Goldsmiths University of London, Director of the Constance Howard Resource and Research Centre in Textiles and Artistic Director of Goldsmiths Digital Studios.

Marina Jirotka is Reader in Requirements Engineering, Director of the Centre for Requirements Engineering, Associate Director of the Oxford e-Research Centre and Fellow of St Cross College. Her research interests are concerned with bringing a richer comprehension of socially organised work practice into the process of engineering technological systems with a focus on supporting everyday work and interaction.

Beau is a Reader in neuroscience and head of lottolab at University College London. He received his undergraduate degree from the University of California, Berkeley, in anatomy physiology, a PhD from Edinburgh’s Medical School in cellular and molecular developmental neurobiology, and was a research fellow at Duke University. He is co-author of the book entitled Why We See What We Do, and his colour illusions have been used by many other scientists, artists, teachers and science museums internationally. The work at lottolab includes computational, behavioural and physiological studies on human, bee, and robot vision.

Roger Malina is an astrophysicist at the Laboratoire d’Astrophysique de Marseille CNRS in France were he is a member of the Observational Cosmology Research Group involved in the study of dark matter and dark energy in the Universe. He is Director of the Observatoire Astronomique de Marseille Provence and is a former Executive Director of the Center for EUV Astrophysics at UC Berkeley.

Director of Creative Industries at Northeastern University Author : “CG101: A Computer Graphics Industry Reference” (Second Edition) http://www.cg101.com With 20 years of production experience Terrence’s work includes feature film (Star Wars), interactive (SimCity4) and award-winning short animated films (Bunkie & Booboo). He also single-handedly developed the CG pipeline for SouthPark. Terrence consults with major production studios on creative development and pipeline efficiency, is a member of the Producers Guild of America, the Visual Effects Society and active in SIGGRAPH since 1988, including 2006 Computer Animation Festival Chair and currently as SIGGRAPH 2010 Conference Chair. (http://www.visualfx.com)

Jon McCormack is an Australian-based electronic media artist and researcher in Artificial Life and Evolutionary Music and Art. His research interests include generative evolutionary systems, computational creativity, machine learning, L-systems and developmental models. McCormack is also a practising electronic media artist. He holds an Honours degree in Applied Mathematics and Computer Science from Monash University, a Graduate Diploma of Art from Swinburne University and a PhD in Computer Science from Monash University. He is currently Associate Professor in Computer Science and co-director of the Centre for Electronic Media Art (CEMA) at Monash University in Melbourne, Australia. CEMA is an interdisciplinary research centre established to explore new collaborative relationships between computing and the arts.

Sally Jane Norman is Professor in Performance Technologies and Founding Director of the Attenborough Centre for the Creative Arts at the University of Sussex, which is developing the University’s established strengths in radical interdisciplinary research through academic programmes due to invest a major refurbished arts centre on campus from early 2013. Before moving to Sussex in 2010, Sally Jane worked from 2004 as founding director of Culture Lab at Newcastle University, piloting the physical and strategic building of a pioneering digital research laboratory, and shaping its spectacular award-winning early years. She was previously Director General of the Ecole européenne supérieure de l’image (Angoulême/ Poitiers), where she set up the first art school led practice-based PhD programme in France.

Mark Nash is Head of Department of Curating Contemporary Art at the Royal College of Art. He is a well-known specialist in contemporary fine art moving image practices, avant-garde and world cinema. He was co-curator of DOCUMENTA 11 (2002) and film curator of the BERLIN BIENNIAL (2004). He has most recently curated Experiments with Truth (Fabric Workshop and Museum, Philadelphia, 2004-5) and a conference on Film and Ecology for the Royal Society of Arts. Prior to joining the Royal College of Art, Mark was Director of Fine Art Research at Central St Martins, He has also been a Senior Lecturer in Film History and Theory at the University of East London, and visiting lecturer on the Whitney Museum Independent Study Programme. He holds a PhD from Middlesex University.

Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art, and the Director of Intelligent Agent, a service organization and information resource dedicated to digital art. She has written extensively on new media arts and her book, Digital Art (part of the World of Art Series by Thames & Hudson, UK) was published in July 2003. She teaches in the MFA Computer Arts Department at the School of Visual Arts in New York and has lectured internationally on art and technology. At the Whitney Museum, she curated the show Data Dynamics (2001), the Net art selection for the 2002 Whitney Biennial, as well as the online exhibition CODeDOC (2002) for artport, the Whitney Museum’s online portal to Internet art for which she is responsible. Other curatorial work includes eVolution (Art Interactive, Boston); CODeDOC II (Ars Electronica, 2003), and the Net art exhibitions Mapping Transitions (Boulder, Colorado, 2002) and Re-media (Fotofest, Houston, Texas, 2002).

Simon Penny is an Australian practitioner in the fields of Digital Cultural Practices, Embodied Interaction and Interactive Art. Over the last twenty five years, his practice has included five main aspects: artistic practice, technical research, theoretical writing, pedagogy and institution building. He makes interactive and robotic installations utilising novel sensor arrays and custom machine vision systems. These works address critical issues arising around enactive and embodied interaction, informed by traditions of practice in the arts including sculpture, video-art, installation and performance; and by theoretical research in ethology, neurology, ethnology, situated cognition, phenomenology, human-computer interaction, ubiquitous computing, robotics, critical theory, cultural and media studies. Informed by these sources, he designs and builds custom technologies with custom code, electronic, electro-mechanical and structural components.

Jane Prophet was born in Birmingham in 1964. She graduated in Fine Art in 1987 (Sheffield Hallam University), completing her MA in Electronic Graphics in 1989 (Coventry University) and a PhD in Arts Education in 1995 (Warwick University).

Since the late 60’s Jeffrey Shaw has pioneered the use of interactivity and virtuality in his many art installations. His works have been exhibited worldwide at major museums and festivals. From 1991 till 2003 he was director of the Institute for Visual Media at the ZKM Center for Art and Media Karlsruhe, Germany. Since 2003 he is founding co-director of the Center of Interactive Cinema Research (iCinema) at the University of New South Wales, Sydney, Australia.

Associate Professor Paul Thomas has a joint position as the Head of Painting at the College of Fine Art, University of New South Wales and Head of Creative Technologies at the Centre for Culture and Technology at Curtin University.

I’m professor and director of Comparative Media Studies [CMS] at MIT, a program that continues to define the frontiers of media study. And I’m professor of comparative media history at Utrecht University in the Netherlands in a department with uncanny resemblances to CMS. At the moment, I’m also a visiting professor at the University of Science and Technology of China and Bonnier Professor of Journalism, Media and Communication at Stockholm University.