Renate is a conceptual media artist who toggles between the creative skins of old and new technologies. Her artistic practice reflects critical interactivity incorporating social and theoretical paradigms of the psychological and sociological condition with networks of technology. At the heart of her most recent research interests, Ferro critically engages the corporal body’s symbiotic relationship with technology. By aligning artistic, creative practice with critical approaches to cyber configurations, she permits emerging creative skins of networks whose resulting configurations range from drawing and text to performance, installation, and interactive, net-based projects.
Most recently her work has been featured at The Freud Museum (London), The Dorksy Gallery (NY), The Hemispheric Institute and FOMMA (Mexico), The Janus Pannonius Muzeum (Hungary), and The Free University Berlin (Germany). Her image-based work has been published in Diacritics and Theatre Journal. Her most recent text On Collaboration: A Conversation is forthcoming in the anthology, Uncertain Practices Unsitely Aesthetics published by Errant Bodies Press. She is also the managing co-moderator for the online new media list serve –empyre- soft-skinned space.
Renate Ferro is a Visiting Assistant Professor in the Department of Art at Cornell University teaching digital media and theory. She also directs the Tinker Factory a creative research lab for Research Design, Creativity, and Interdisciplinary Technology.
Tim is Curator of the Rose Goldsen Archive of New Media Art, Director of the Society for the Humanities and Professor of Comparative Literature and English at Cornell University. He sits on the Executive Board of the Humanities, Arts, Science, and Technology Advanced Collaboratory (HASTAC).
A curator, theorist, and critic, his curatorial projects include CTHEORY MULTIMEDIA and Contact Zones: The Art of the CD-ROM. He is the author of Digital Baroque: New Media Art and Cinematic Folds (Minnesota 2008); Zonas de Contacto: el arte en CD-ROM (Centro de la imagen, 1999); Drama Trauma: Specters of Race and Sexuality in Performance, Video, Art (Routledge, 1997); Like a Film: Ideological Fantasy on Screen, Camera, and Canvas (Routledge, 1993); Theatrical Legitimation: Allegories of Genius in XVIIth-Century England and France (Oxford, 1987). He is editor of Mimesis, Masochism & Mime: The Politics of Theatricality in Contemporary French Thought (Michigan, 1997) and, with Alan Smith, Repossessions: Psychoanalysis and the Phantasms of Early-Modern Culture (Minnesota, 1997).
Simon is a media artist, writer and curator with interests in digital poetics, auto-generative/interpretive (affective) systems, interactive and performative environments, interdisciplinary research and co-creation. His work has been widely presented, including at Tate Modern, London's Institute of Contemporary Arts, Glasgow's Centre for Contemporary Arts, Kettles Yard Cambridge, Pompidou, Academy de Kunste, Berlin Kulturforum, Rijksmuseum Twenthe, Kunsthalle Bergen, Maxxi Rome, Macau Arts Museum, Oi Futuro Rio, San Francisco Cameraworks, Walker Art Center and Art Gallery of New South Wales. He has been keynote at many conferences and lectured internationally, including ISEA, ePoetry, SLSA, ELO and FILE conferences and Cambridge, Brown, Newcastle, Cornell, UC Davis and Santa Barbara, Paris8, Sorbonne and Bergen Universities, amongst others. Publications include Autopoeisis (with James Leach, 2004), Great Wall of China (1999), Halo (1998), Magnet (1997) and Book of Shadows (1996). He is currently editing Remediating the Social (2012). He is lead investigator on a number of major international research projects and Professor of Interdisciplinary Arts, Edinburgh College of Art, University of Edinburgh, where he directs the Masters by Research in Interdisciplinary Creative Practices and several PhD students.
Patrick is a technologically based conceptual artist, writer, independent curator, animator for the activist group, The Yes Men, co-founder of the virtual performance group, Second Front, and Executive Editor of Intelligent Agent Magazine. He began showing technological media art in 1989, and deals with works and writing that explore the social relations of media. Venues in which Lichty has been involved with solo and collaborative works include the Whitney & Turin Biennials, Maribor Triennial, Performa Performance Biennial, Ars Electronica, and the International Symposium on the Electronic Arts (ISEA).
He also works extensively with virtual worlds, including Second Life, and his work; both solo and with his performance art group, Second Front, has been featured in Flash Art, Eikon Milan, and ArtNews.
He is also an Assistant Professor of Interactive Arts & Media at Columbia College Chicago.