<p><ahref="clara/a-LOVTRQ_CBalaguer_by-Adria_Canmeras.jpeg"><imgsrc="clara/a-LOVTRQ_CBalaguer_by-Adria_Canmeras-320x.webp"alt="Photo by Adria Canmeras"/></a></p>
<p>Clara Balaguer is a cultural worker and grey literature circulator. From 2010 to 2018, she articulated cultural programming with rural, peri-urban, and diasporic communities from the Philippines through the OCD, a residency space and social practice platform. In 2013, she co-founded Hardworking Goodlooking, a cottage industry publishing hauz interested in the material vernacular, collectivizing authorship, and the value of the error. Currently, she builds and publishes curriculums at BAK basis voor aktuele kunst as head of Civic Praxis (Community Portal); at Willem de Kooning Academy as research lecturer in Social Practices; at Piet Zwart Institute as a midwife for Experimental Publishing; and at Sandberg Institute as teacher at the Dirty Art Department. Frequently, she operates under collective or individual aliases that disclose her stewardship in any given project, the latest of which is To Be Determined: a transitional, migratory, neighborly structure of sleeper cells (Trojan horse networks) that activate–deactivate for leaking access to cultural capital. Cultural worker and vernacular designer.</p>
<p>Manetta Berends works with forms of networked publishing, situated software and collective infrastructures. She is a member of Varia, a member based organisation working on everyday technology in Rotterdam, and an educator at the master Experimental Publishing at the Piet Zwart Institute. <ahref="https://manettaberends.nl"class="uri">https://manettaberends.nl</a></p>
<p>Cristina Cochior is a researcher and designer. She is a member of the everyday technology collective Varia, as well as part of the tutor team in the Hacking department of the Willem de Kooning Academie and in the Experimental Publishing department of the Piet Zwart Institute. Her work revolves around situated software, and poetics and politics of computational logic, with a focus on digital knowledge organisation and transmission. Together with other members of Varia, she works on collective, non-extractive digital infrastructures. With Jara Rocha and Karl Moubarak, she is currently part of a research group around digital discomfort. Recent projects she’s been part of include VLTK - Vernacular Language Toolkit, Digital Solidarity Networks, and Bots as Digital Infrapunctures. <ahref="https://randomiser.info/"class="uri">https://randomiser.info/</a></p>
<p>Michael Murtaugh(US), designs and researches community databases, interactive documentary, and tools for new forms of (collaborative) reading and writing online. He is a member of <ahref="https://constantvzw.org">Constant</a>, an art and media collective based in Brussels, and of the <ahref="https://vandal.ist">Institute for Computational Vandalism</a>, a collective that works at the intersection of the visual arts archive and new forms of narrative through algorithmic exploration. His work has been shown at Documenta 13, the Stedelijk Museum, and Kunsthal Aarhus. He is a regular participant in events related to digital archiving and free software and design. Murtaugh has a Bachelors degree in Computer Science, and a Masters degree from the Interactive Cinema group, both at MIT in the US. In 1997, he moved to the Netherlands and began teaching in the Media Design Master of the WDKA in 2003, and the Experimental Publishing Master from its inception in 2016.</p>
<p>Lídia Pereira [PT] is an artist and researcher whose work focuses on the political economy of the internet, algorithmic governance and labour in and around corporate social networks. She is currently a candidate in the PhDArts programme of the Leiden University Academy of Creative and Performing Arts and the Royal Academy of Art (KABK) in The Hague where she is investigating the uses of videogames as feminist tactical media. <ahref="https://phdarts.eu/Doctoral-Students/Lidia-Pereira"class="uri">https://phdarts.eu/Doctoral-Students/Lidia-Pereira</a></p>
<p>amy pickles is an artist and loosely formed educator. In her work, she experiments with ways to hold onto, and consider, pervasive colonial infrastructures we are a part of. In our work, redistribution - of knowledge, tools, finances - and collaboration are ways to refuse individual ownership. Recent collective organising includes the co-curation of ‘On Coloniality’, a pedagogical programme for a.pass, and assisting the reading group That Might be Right, both based in Brussels, BE. She co-facilitates the workshop series Performance Lab and Read & Repair in Varia, a collective of which she is a part of. She teaches at the Willem de Kooning Academy in Autonomous Practices, and recently collaboratively made a film about beekeeping in a shared studio garden in Rotterdam West.</p>
<p>Steve Rushton is a writer and editor based in Rotterdam. Rushton’s publications include <em>Experience, Memory, Re-enactment</em>, 2005 (co-editor); <em>The Milgram Re-enactment</em>, 2003 (contributing editor) <em>Masters of Reality</em> (2011). He has written essays and stories for numerous artists’ publications. He has collaborated with a number of artists and writers, including Rod Dickinson, Thomson & Craighead, Everything Editorial and Dexter Sinister. He is a co-founder of the research group Signal:Noise (2010-12), which investigated the prevalence of notions of feedback in contemporary culture. His ongoing project, a wiki entitled <em>The Fabulous Loop de Loop, a cybernetic discourse as read through seven feedback machines</em> (2020-present), builds on these interests</p>
<p><strong>Current project (perpetually <imgsrc="images/Construction.gif"/> in-process)</strong><em>The Fabulous Loop de Loop</em><br/>
<p>Marloes de Valk (NL) is a software artist and writer in the post-despair stage of coping with the threat of global warming and being spied on by the devices surrounding her. Surprised by the obsessive dedication with which we, even post-Snowden, share intimate details about ourselves to an often not too clearly defined group of others, astounded by the deafening noise we generate while socializing with the technology around us, she is looking to better understand why.</p>
<p>She is a PhD researcher at the <ahref="https://www.centreforthestudyof.net/">Centre for the Study of the Networked Image at London South Bank University</a>, in collaboration with <ahref="https://thephotographersgallery.org.uk/">The Photographer’s Gallery</a>, looking into the material and social impact of the networked image on the climate crisis, with special attention to the entanglements between greenwashing - the misdirection of attention and efforts in tackling the crisis - and the increasing energy and resource consumption associated with the circulation of networked images. Typical of those in the post-despair stage, she experiments with sustainable ways of publishing her findings.</p>
<p>Marloes has participated in exhibitions internationally, teaches workshops, gives lectures (a.o. at Transmediale and Chaos Communication Congress) and has published articles on Free/Libre/Open Source Software, free culture, art and technology (a.o. in the Contemporary Music Review and Artnodes). In 2018 she was the winner of the Hash Award, an international production award granted by ZKM and Akademie Schloss Solitude. As a member of artist collective GOTO10, she has helped develop the puredyne GNU/Linux distribution and Make Art festival. Together with Aymeric Mansoux she is editor of the publication FLOSS+Art, published early 2009. She is part of Plutonian Corp., La Société Anonyme and Iodine dynamics.</p>
<p>Aymeric Mansoux (FR), Artist and Writer. Founder and director of XPUB 2016-2022, currently <ahref="https://www.hogeschoolrotterdam.nl/onderzoek/lectoren/willem-de-kooning-academy/lectoren/aymeric-mansoux/">Lector in Commercial Practices</a></p>
<p>Florian Cramer (DE), director of Networked Media (2009-2013) and currently <ahref="https://www.hogeschoolrotterdam.nl/onderzoek/lectoren/willem-de-kooning-academy/lectoren/dr.-florian-cramer/">Lector in Autonomous Practices</a></p>
<li>Séverine Dusollier (BE), head of the Research Center in Information, Law and Society (CRIDS)</li>
<li><ahref="https://ultrahobbycomplex.hotglue.me/">Peter Fengler</a> (NL), artistic director of DE PLAYER</li>
<li><ahref="http://www.furtherfield.org/">Marc Garrett</a> (UK), a net/media artist, curator and writer</li>
<li><ahref="http://www.esat.kuleuven.be/~sguerses">Seda Guerses</a>, researcher and engineer working on privacy in social networks</li>
<li>Olia Lialina (RU/DE), course director of the Pathway New Media at Merz Akademie, <ahref="http://art.teleportacia.org/olia.html">Teleportacia</a></li>
<li><ahref="http://www.constantvzw.com/copy.cult/home">Nicolas Malevé</a> (BE/ES), Constant; artist, software programmer and data activist</li>
<li><ahref="https://roelof.info/">Roel Roscam Abbing</a> (NL) is an artist and researcher whose work engages with the issues and cultures surrounding networked computation</li>
<li><ahref="http://www.yugo.at/processing/">Gordan Savicic</a> (AT), artist, gamer, researcher of the effects of new media on subjectivity & social implications</li>
<li>Dubravka Sekulic (AT) is an architect researching transformations of contemporary cities, at the nexus between production of space, laws and economy</li>
<li><ahref="http://compressorheadband.com/">Mr.Stock</a> (NL/DE), electronic and sound engineer</li>
<li><ahref="http://www.pzwart.nl/blog/2016/11/16/renee-turner/">Renee Turner</a> (USA/NL) artist and member of the <ahref="http://www.geuzen.org/">De Geuzen</a></li>
<li><ahref="http://k0a1a.net/">Danja Vasiliev</a> (RU/DE), artist & Critical Engineer</li>
