Art, technology and new ways of seeing

She is a Ukrainian-born media scholar researching the role of information and communication technologies in shaping public perception and outcomes of wars. Currently, she is an Australian Research Council DECRA Fellow working on a project that maps colonial topographies of digital sovereignty in Ukraine, as well as chief investigator on a suite of research projects that explore digital and social media in a geopolitical context.

He is a co-director of the UNSW Media Futures Hub, a founding member of the Infrastructural Inequalities research network, a co-editor of the publishing collective Rosa Press, and one half of the critical art collective Snack Syndicate. He is the author of Year of the Ox (Cordite Books), Inferno (Rosa), and the co-author of Homework (Discipline).

He teaches art history at the University of Sydney, and is the Events and Programs Officer at the Power Institute. He is one of the editors of Memo Review.

Her research currently focuses on new ways to theorise machine learning experience, emphasising critical artistic interventions into AI. Her book Deepaesthetics: On Computational Experience in a Time of Machine Learning (Duke, 2025) has won the Anne Friedberg Prize for Innovative Scholarship. She has written An Aesthesia of Networks (MIT, 2013) and Materialising New Media (2006, Dartmouth University). She is a practicing artist working across sound, video, and autonomous systems.

He is a Professor in Media and Culture at UNSW, where he co-directs the Media Futures Hub and the Autonomous Media Lab, and an Associate Investigator with the ARC Centre of Excellence on Automated Decision-Making + Society. His research examines technology, power, witnessing, trauma, and affect in contexts of war, security, and surveillance. His latest book is Nonhuman Witnessing: War, Data, and Ecology after the End of the World (Duke University Press, 2024).

His current work confronts and channels both the desire for land and minerals at the core of our national identity and what today appear as progressive identity formations.

Her research focuses on the political economy and politics of expertise, militarism, emerging weapons technologies, Australian defence and foreign policy, and theories of trust in international relations.

He is a co-director of the UNSW Media Futures Hub, a founding member of the Infrastructural Inequalities research network, a co-editor of the publishing collective Rosa Press, and one half of the critical art collective Snack Syndicate. He is the author of Year of the Ox (Cordite Books), Inferno (Rosa), and the co-author of Homework (Discipline).

He teaches art history at the University of Sydney, and is the Events and Programs Officer at the Power Institute. He is one of the editors of Memo Review.

The collective works across writing, installation, performance, music, software, curation, pedagogy and radio.

His work draws upon critical media theory and science and technology studies (STS) to investigate the technical inscription of the body. His work focuses especially on the relation between error and surveillance in the medical clinic, the workplace, and the (smart) home. His first monograph, Cultural Techniques of Biosensing: A History of the Body in Error, will be published with Stanford University Press in 2026.

His practice combines performance, video, electronic music, speculative fiction, websites, curatorial projects and critical writing. Thomas’ work is concerned with the social effects of computational systems, the politics of creative economies, emerging digital subjectivities and electronic music as a mode critical inquiry. Thomas is a member of the Trackwork label collective alongside Utility, with whom he released the collaborative album Nexus Destiny in 2019. He also runs independent record label Sumac with Jarred Beeler (DJ Plead) and Jon Watts.

Her background is in gender and sexuality studies, and her current research focuses on popular histories and representations of science, medicine and technology, collaborations between the arts and sciences and the critical medical humanities. Elizabeth is author of over 100 publications, including four books: Artificial Life: The Art of Automating Living Systems (University of Western Australia Press, 2025), co-authored with Oron Catts, Sarah Collins, and Ionat Zurr, A Critical Genealogy of Normality (University of Chicago Press, 2017), co-authored with Peter Cryle; Anatomy as Spectacle: Public Exhibitions of the Body from 1700 to the Present (Liverpool University Press, 2011), and Queer Writing: Homoeroticism in Jean Genet's Fiction (Palgrave 2009).

He is a co-director of the UNSW Media Futures Hub, a founding member of the Infrastructural Inequalities research network, a co-editor of the publishing collective Rosa Press, and one half of the critical art collective Snack Syndicate. He is the author of Year of the Ox (Cordite Books), Inferno (Rosa), and the co-author of Homework (Discipline).

He teaches art history at the University of Sydney, and is the Events and Programs Officer at the Power Institute. He is one of the editors of Memo Review.

He is the author of an academic monograph, Human rights for the data society: Big Tech, the UN and the datafication of rights (CUP, 2026). His debut novel, Anam, won the Prime Minister’s Literary Award for Fiction, the NSW Premier’s Literary Award for New Writing, and was shortlisted for the Miles Franklin Literary Award and the Voss Literary Award.

A Gumbainggir man, Gary Foley was born in Grafton, northern NSW. After being expelled from school aged 15, Foley moved to Sydney as an apprentice draughtsperson. Since then, he has been at the centre of major political activities including the Springbok tour demonstrations (1971), Aboriginal Tent Embassy in Canberra (1972) and Commonwealth Games protests (1982) among many others.

Founded in 2022 by Shunji Davies, Claire Evans, and Tom Siddall, Junior Major’s practice sits at the intersection of art and technology, creating experiences that challenge perception and invite reflection.

It is named after Megan Alice Clune’s short-lived yet seminal zine World’s Only, which explored the intersection of classical music, experimental subgenres and the indie ethos. The septet explores intertwining instrumentation, internal worlds and the distortion of time, a collaborative practice focused on site-specific musical works that only exists in the liminal space that happens with live improvisation.

She is a DECRA Fellow and Lecturer in Sociology at the Australian National University (ANU). Thao has published on topics including whiteness and the aesthetics of AI, big-data-driven techniques of racial classification, and the commercial capture of AI ethics research.