Christopher Manzione is an American artist who founded and ran the Virtual Public Art Project (10’), an organization that used augmented reality to produce original artist works in public space. His Activatar app (18’) hosted a range of new media artists projects through monthly shows via a mobile app. His most recent film project A Universe within Itself (23’) explored the potential of artificial intelligence (AI) in the realm of creative arts. The aim of this project was to allow AI to generate as much of the film as possible, minimizing human intervention and truly showcasing the capabilities of these advanced tools. Manzione’s work also includes sculpture, installation, virtual reality, 3D printing and performance; World and Place Evaporating as part of the Moving Image Art Fair (17) along with curating and showing in Space Between the Skies at Apex Art (16). In addition he has received a 2014 Fellowship through Franconia Sculpture, he was a 2013 Fellow for New Jersey State Council on the Arts, artist-in-residence at William Paterson University’s Center for Computer Art and Animation (11), Socrates Sculpture Park (Emerging Artist Fellowship, 2010). He has shown nationally and internationally at venues such as the Boston ICA, Abington Arts Center, Kim? Art Center in Riga, Alt Art Space in Istanbul, Philadelphia International Festival of the Arts, the Surry Hills Festival in Melbourne, and Gurzenich Koln Museum in Cologne. He is currently an Associate Professor in Visual Arts and Technology at Stevens Institute of Technology in Hoboken, NJ.

Ira Greenberg is a full-time faculty member at SMU, with a joint appointment in the Meadows School of the Arts and the Lyle School of Engineering. He is also the director of the Center of Creative Computation. He holds a BFA from Cornell University and an MFA from the University of Pennsylvania. With an eclectic background combining studio arts and computer science, Dr. Greenberg has been a painter, 2-D and 3-D animator, print designer, web and interactive designer/developer, programmer, art director, creative director, managing director, art and computer science professor, and author. He wrote the first major language reference on the Processing programming language, Processing: Creative Coding and Computational Art (Berkeley, CA: friends of ED, 2007).

Linda Dounia is an artist, designer, and writer investigating the philosophical and environmental implications of technocapitalism. Her work mediates her memories as alternative realities and evidence of excluded ways of being and doing. It is formed through the dialogue and tensions between lived experience, code, and AI. She is an advocate for greater agency over algorithms, how we perceive them, and are perceived by them. In 2023, Linda was recognized on the TIMEA100 list of most influential people in AI for her work on speculative archiving — building AI models that help us remember what is lost. In 2024, she was also the recipient of Mozilla’s RISE25 award for her work in AI.

Rachel Jackson (b. Harrisburg, PA) is an artist, designer, and publisher based in Long Beach and Los Angeles, California. Her practice involves the use of digital imaging, time-based media, and additive/subtractive technologies to create works that reflect evolving relationships within networked society. Examining how the simulated image situates itself within natural perception, Jackson often looks to the false artifact as a manifestation of this phenomena, using it as a tool to express the anachronisms and dubious authenticity present within collective memory. She is interested in the speculative power of images and objects, particularly in their potential to alter a canonically held interpretation of history. She is the co-founder of Special Effects, an independent publisher of art books and editions regarding the intertwine of information technology, economy, conspiracy, and visual culture within postindustrial society. In addition, she is currently pursuing her M.F.A. at the University of California Riverside and organizes exhibitions at Timeshare.

Inès Kivimäki (b. 1990, France) is a Finnish - Algerian artist that lives and works in Los Angeles. She is currently pursuing her MFA from UC Riverside and received her BFA from Art Center College of Design in Pasadena. Beginning with research, her projects expand through a variety of mediums: her work is interested in emerging and ancient technologies, device dependency and its implications to self- image. Kivimäki’s solo and group exhibitions include the Culver Museum in Riverside (2024), Fulcrum Press (2024), Phase Gallery (2023), Human Resources (2023), Gallery 2A, Art Center DTLA, Roberts Projects in Los Angeles and Arkadia Gallery in Helsinki. She currently co-runs project space Timeshare in Lincoln Heights, Los Angeles.

Riccardo Arena (Milan, 1979) is an artist, teacher, and independent researcher. His artistic practice is dedicated to creating evocative environments that, combining theoretical and visual research, are conceived as cultural devices of imaginative knowledge. Installations, films, visual reflections, narratives, seminars, and workshops intertwine in a constellation of expressive languages aimed at contemplating in the accidental the universal components that link distant stories, cultures, theories, and myths in time and geography. Animated by these tensions over the years, he has dedicated himself to the development of long-term investigations in various countries around the world: China “Four Times a Tree” (2006–2008); Argentina “Dual Death Ellero and Visual Ecosystem” (2009–2012); Russia “Vavilon” (2013–2017); and Iran, Armenia, and Ethiopia “LuDD! - Topography of Light” (2017–2020). He is currently working on the “Geranos” project, born in 2021 from research on the history and archives of Monte Verità, Fondazione Eranos, Warburg Institute, and the Anthropological Museum of Mexico City.

Keion Kopper is a 26-year-old artist from Brooklyn, New York, with a passion for recreating fossil pieces. Inspired by the mysteries of the past, he meticulously crafts each piece with care and attention to detail, capturing the essence of prehistoric life. Excavating Ancient Treasures: Keion's interest in fossils takes him to remote parts of the world where ancient remnants lie buried. He spends time excavating relics from these desolate areas, each one telling a story of a bygone era. Keion's dedication to preserving and recreating these pieces reflects his passion for connecting the past with the present through art.

Anne Horel is a Polymorphic Digital Collage Artist specialized in Creative Technologies & Social Media. 💻Her work has been seen in prestigious institutions in France : Le Palais de Tokyo (Paris), La Friche Belle de Mai (Marseille), La Gaîté Lyrique (Paris), Galerie Julie Caredda (Paris), NFT Factory (Paris), Galerie W (Paris), Le Bel Ordinaire (Pau), Le Lavoir Numérique (Gentilly), but also all around the world like SPRING/BREAK Art Show & Time Square (New-York), Art in Space & TODA (Dubai), Art Basel (Miami), The EYE Museum (Amsterdam), Mapping Festival (Geneva), Minato AR Art Festival (Yokohama, Japan), Sickhouse (Enschede), Saint Benoît Gallery & 212 Festival (Istanbul Turkey), Cologne Film Festival (Germany), Festival de la Imagen (Bogota, Colombia).

Andre Oshea is a digital creator known for 3D modeled animations exploring futuristic notions of spirituality and transcendence. An artist since childhood, Oshea left the traditional art school track to focus on establishing his own voice and following as a digital artist, working with clients such as Netflix, Adult Swim, and Snapchat before entering Web3 with his first mint in February 2021. Since then, he has become a leading 3D animator, with work appearing in the pages of Vogue and in sales at Christie’s. Other highlights include collaborations with the Grammys, Meta, and TIMEpieces, and recognition as part of the NFT Now 100.

Jason Bailer Losh’s (b. 1977, Denison, Iowa) work embraces the distinct history of found objects as a subject and material to discuss class, labor, and craft. Through his unique sequences and arrangements, Losh’s common, commercial, and domestic objects such as chair legs, faux fruit, or decorative bowls are exposed of their sculptural, formal and physical dimensions provoking a sense of intimate familiarity. In a recent return to painting, Losh’s current works incorporate his own sculptures and materials into domestic interiors reflecting on narrative, nostalgia, and preservation of memory. By offsetting these compositions on the canvas, Losh challenges notions that idealize the past and contests popular representations of ‘the American dream.’