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<p>Hello CSAA list - in case you are around Canberra in November.
This may interest you.<br>
</p>
<p>Ned<br>
</p>
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<th valign="BASELINE" align="RIGHT" nowrap="nowrap">Subject:
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<td>full program of Platform Blues, November 21, 2024</td>
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<th valign="BASELINE" align="RIGHT" nowrap="nowrap">Date: </th>
<td>Thu, 10 Oct 2024 08:08:01 +0200</td>
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<tr>
<th valign="BASELINE" align="RIGHT" nowrap="nowrap">From: </th>
<td>Geert Lovink <a class="moz-txt-link-rfc2396E"
href="mailto:geert@xs4all.nl" moz-do-not-send="true"><geert@xs4all.nl></a></td>
</tr>
<tr>
<th valign="BASELINE" align="RIGHT" nowrap="nowrap">To: </th>
<td>Ned Rossiter <a class="moz-txt-link-rfc2396E"
href="mailto:ned@nedrossiter.org" moz-do-not-send="true"><ned@nedrossiter.org></a></td>
</tr>
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<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Platform
Blues - November 21, 2024</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">One
day conference at University of Canberra</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Building
1, Level A, Room 21 (Theatre), Bruce (ACT), Australia</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; color: rgb(220, 161, 13);"><span
style="color: #000000">More information: <a
href="https://networkcultures.org/events/platform-blues-one-day-conference-at-university-of-canberra/"
moz-do-not-send="true" class="moz-txt-link-freetext">https://networkcultures.org/events/platform-blues-one-day-conference-at-university-of-canberra/</a></span></p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; color: rgb(220, 161, 13);"><span
style="color: #000000">Free entrance but please register here:
<a href="https://events.humanitix.com/platform-blues"
moz-do-not-send="true" class="moz-txt-link-freetext">https://events.humanitix.com/platform-blues</a></span></p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Opening:
10:00 – 10:15am<br>
Welcome – Geert Lovink and Denise Thwaites</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Session
1: 10: 15 – 11:15am<br>
<b>Hiding in and from the internet: Avoidance and Dissociation</b><br>
Moderator: Nicole Curato</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><br>
Ella Barclay – ‘Unkempt Cognition’, re: Doomscrolling,
Dissociating from World</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">This
talk provides an overview of her current research, including her
recent institutional solo exhibition <i>Unkempt Cognition</i>
at Canberra Contemporary Art Space and her research as a 2024
fellow at ZK/U: The Centre of Art and Urbanistics, Berlin.
Ella’s work engages with thematics of agency and fatigue in a 21<sup>st</sup>
Century connected landscape. </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"> </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Caroline
Fisher – Young People, Internet and News Avoidance</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">More
than two-thirds of Australians actively avoid the mainstream
news, higher than in many other countries. News avoidance is
particularly high among Gen Z and Y, who have the lowest
interest in mainstream news and feel the most ‘worn out’ by it.
This sense of fatigue is strongly linked to the use of social
media and feeling unable to avoid unwanted news in their feeds.
Drawing on ten years of news consumption data and qualitative
research, this presentation examines these news avoidance trends
among young Australians in the context of an everchanging hybrid
media landscape.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"> </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Morning
break (15mins)</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Session
2: 11:30 – 1:30pm<br>
<b>Volatile Spaces: Toxicity and Transformation</b><br>
Moderator: Ashley van den Heuvel</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Erin
K. Stapleton – Catastrophic Loss in Computational Systems: Mass
Accumulation </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><i>My
personal archive is on Instagram.<br>
I rely on cloud computing for my externalised visual memory. <br>
And at any moment, it could all be lost. <br>
And that is completely beyond my control. </i></p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">The
term ‘catastrophic loss’ describes total, <i>irretrievable</i>
destruction. While it is a term generally used to describe
environmental disasters, the mechanics of digital storage
beckons for archival loss on a parallel scale. Here, I explore
catastrophic loss as the tension between permanence and
instability in digital systems and the constant threat of
accumulative overwhelm, irretrievable glitches, absolute
obsolesce they offer, while operating in response to the
processes of material destructions that loom across our material
and social worlds. Computational systems are designed for
automation, smoothing difference and complexity into binary,
hierarchical and comparative data categories. The storage of
digital data operates through reduction of complexity and
automated efficiencies, risking the complexities of the
information it stores. Simultaneously, digital storage
efficiencies encourage the mass production, dissemination and
accumulation of data across social media platforms. An abundance
of images, videos, sound, artefacts, the possibilities of access
to these overwhelm, mirroring and distracting from the material
destructions that produced them.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">David
Nolan – A Fast-Moving Slow-Motion Car Crash: The 2023 Voice
Referendum in Today’s Media Ecology</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">14
October 2023 was one of the bluest days in recent memory, taking
its place among a roll call of dates of extreme
settler-colonial violence in Australian history. This paper
reflects on the dynamics of a media ecology that constituted
both a structure and vehicle of that violence, positioning it as
a moment of realism and disillusionment. We have lived through
two decades in which resistant practices deploying the
affordances of social media have offered crumbs of hope that
platforms might offer an ‘innovative’ alternative space to
contest and disrupt oppressive mediated politics. This paper
reflects on findings relating to the communicative dynamics at
play during the 2023 Referendum on an Indigenous Voice to
Parliament to argue that this position is fundamentally flawed.
Despite, and in some respects because of, the desire,
celebration and performance of fresh online voices and
interventions, the contemporary media ecology contributes to and
constitutes a politics that remains and is increasingly -
perhaps overwhelmingly - dank in nature.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Temple
Uwalaka – Social Media Activism in Nigeria</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Socio-political
activism and its relationship with digital media diffusion are
an ongoing subject of considerable debate among observers and
scholars of social movement. This work discusses the research
trajectory on the impact of networked activism. Using the
Nigerian economic and socio-political arena as a case study, the
paper investigates the contributions of social media in the
implementation of contentious politics in Nigeria. It argues
that social media platforms play significant roles in the
success of socio-political protest movements in the country. The
paper discusses how social media platforms give voice and
visibility to Nigerians and how this prominence is eroding the
power of the political class, as well as creating alternative
deliberative arenas. The paper demonstrates how this innovative
use of technology has shaken the political nerve centre of
Nigeria. Finally, reactions from the political elites about
these changes are outline.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><br>
Phoebe Quinn – Live Polis Experience: Tackling Academic Flying
and Climate Change</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">This
interactive session invites participants to experience Polis, a
digital democracy platform that has been touted as a
'pro-social' alternative to conventional social media. Drawing
from recent research, we’ll have a mini-conversation on a hot
topic within universities: what to do about staff air travel
emissions. Through this hands-on demo, we'll experience the
platform’s design features and critically examine Polis'
capacity to foster productive democratic discussions.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Lunch
(1hr)</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Session
3 : 2:30 – 4:30pm<br>
<b>Bittersweet Stories: Making Sense of Uncertainty and Chaos</b><br>
Moderator: Geert Lovink</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Sophie
Dumaresqu – Inter-Species Connection to Find Joy and Love Among
Platform Blues</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">What
is in a postcard? Baby, I Just Want to Make You Smile is an
ongoing series of recorded and live cinematic endurance
performances. The performances consist of the artist (Sophie
Dumaresq) attempting to share a sunset with her handmade 100
kilo, 5 metres long mechanical shark(Baby) by pulling the shark
up a hill. Frankie, the artists' dog is equipped with their own
camera recording and sharing in the performance with Dumaresq.
In this talk, the artist will discuss their experience in
collaborating with both humans and non-humans in creating the
different iterations in which the work exists. The artist
explores how the goofy and vulnerable nature of hybrid material
and digital collaborative performance work can liberate the
romantic from the Romantic with a capital R.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Catherine
Page Jefferey – Collective Anxiety and Media Panics in an Age of
Social and Digital Media</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"> </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Collective
concern about young people’s access to digital media
technologies has increased significantly in recent years,
culminating in widespread calls to ban social media completely
for young people under a certain age both in Australia as well
as overseas. These concerns are based on a range of purported
harms including the impacts of social media on young people’s
mental health, online bullying, exposure to pornography and
violent content, algorithmic profiling, and online extremism.
These calls have emerged against the backdrop of a long history
of media panics about young people and digital media.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"> <br>
Tyne Sumner – TLDR: The Failure of the Internet Novel</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">What
would happen if we read the internet like a novel? Or, what
happens when novelists write about the internet? The rise of the
so-called ‘internet novel’ genre suggests that there is
something worth pausing at in the relation between the novel and
contemporary online culture—its immediacy, its banality, its
humour, its loneliness, and its fragmentation. But why would
someone want to read about the dystopian hellscape that many of
us now actively try to get away from? Is it possible to find
leisure in the very thing that produces so much anxiety? Perhaps
the proliferation of the internet novel can be explained by the
innately masochistic drive in human nature. As Sylvia Plath, for
instance, wrote: ‘I desire the things which will destroy me in
the end.’ This paper begins by asking why several recent
internet novels are so terrible. It ends with an attempt to be
reasonable, and possibly even optimistic. </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Mathieu
O’Neil – Countering Platform Blues: Strategies against
Disinformation, Toxicity and Polarisation </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">When
people can no longer tell truth from fiction, we are in an
epistemic crisis. For Haidder and Sundin this primarily stems
from algorithmic curation by online platforms: information is
increasingly <i>volatile</i> (the origins or status of
fast-changing newsfeed content is uncertain), <i>fragmented</i>
(complex knowledge is re-arranged in continuously shifting
shapes), and <i>personalised</i> (access is individualised).
Aggravating factors are hostile influence campaigns seeking to
worsen social divisions. The crisis increases distrust towards
the institutions of liberal democracy such as the news media,
science, and representative politics. Alternative sources are on
the rise. Health influencers have huge audiences; toxic
masculinists are idolised by boys and young men. How can
democratic education systems counter platform blues? In this
talk will I outline three strategic avenues: against
disinformation: instilling effective information processing and
curating skills; against toxicity: reclaiming martial arts;
against polarisation: fostering collaborative values.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Afternoon
break (15 mins)</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>I
got the Right to Sing the Blues</b></p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Session
4: 4:45 – 6:30pm<br>
Moderator: Denise Thwaites</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Melinda
Rackam – The Tawdry Nostalgia for Past Forms</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">I
didn’t care about the legacy of -empyre- global media arts list
founded in 2002 as part of my PhD in Virtual Worlds. Then, after
22 years of robust dialogues between many hundreds of guests and
thousands of members, books, in-person meet ups and exhibitions
including <i>Documenta</i> <i>12</i>, it went silent. A
cybersecurity sweep of the servers at UNSW Art & Design had
disappeared it and they weren’t talking (to me). My simultaneous
umbrage and tawdry nostalgia for the lost -empyre- has generated
an internal debate on list death as an urgent loss to research
culture necessitating reconstruction, or a prompt to forget it
and move on?</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Litia
Roko – Performance</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Questioning
examples of institutional trolling as community-building praxis
or fleeting antidote in the face of a culture of 24/7 networked
dejection, this lecture-performance will pick at the ways that
museums relate to platforms. In an all-consuming landscape of
doom-scrolling, fragmentation, and the general misery of the
bind in which we find ourselves, why do institutions continue to
approach platforms and the internet as a tool rather than a
culture, and how can we intervene? </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"> </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Geert
Lovink – From Sad by Design to Platform Brutalism</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">Brutalism
is the title of Achille Mbembe’s 2020 book. Known as the 1950s
rough-concrete architecture style, Mbembe presents the concept
as a ‘thought image’ that can be seen as a not-so elegant
synonym for the economic laws associated with the term
capitalism in which the emphasis shifts from profit to violence.
Mbembe explains: “Brutalism is the name given to this gigantic
process of eviction and evacuation as well as to the draining of
vessels and emptying of organic substances.” This results in
naturalizing social war, a development many see unfolding since
Covid and the wars in Ukraine and Gaza. In this lecture I will
map my own trajectory, from Zoom fatique and the use of memes as
copium to the weaponization of social media today. Once we’re
stuck on the platform long enough, will the mood inevitably turn
violent?</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";">—</p>
<p
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</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Speaker
biographies:</b></p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Ella
Barclay</b> is a Senior Lecturer at ANU’s School of Art and
Design on unceded Ngunnawal and Ngambri Country, Australia. Her
written, curatorial, and contemporary art practices engage with
network aesthetics and the politics of technological
development. Recent exhibitions include Unkempt Cognition,
Canberra Contemporary Art Space (2024); Openhaus, ZK/U, Berlin
(2024); No Easy Answers, MAMA, Albury (2023); The Ramsay Art
Prize, Art Gallery of South Australia (2021); Stacks and
Sleeves: a PostHuman Landscape, Gallery Lane Cove, Sydney
(2019); Experimenta Make Sense: International Triennial of Media
Art (2017-2020); Curious and Curiouser, Bathurst Regional Art
Gallery (2018-19); Soft Centre, Casula Powerhouse Arts Centre,
Western Sydney (2018); Light Geist, Fremantle Art Centre
(2016-17); Bodies Go Wrong, Orgy Park, NY (2016); That Which
Cannot Not Be, Vox Populi, Philadelphia (2016); Almost, Instant
42, Taipei (2016); I Had to Do It, UTS Art, Sydney (2016); and
Elemental Phenomena, Griffith University Art Museum, Brisbane
(2015). Her work resides in multiple government, institutional,
corporate, and private collections and she has received several
commissions, residencies, scholarships, and awards.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Nicole
Curato </b>is a Fillpina sociologist best known for her
academic work on deliberative democracy, and her media work
providing academic commentary on politics in the Philippines.
She took her bachelor's degree of Sociology at the university of
the Philippines Diliman and her Master's and Doctoral Degrees in
Sociology in the UK.<b> </b>Curato is the recipient of
Discovery Early Career Research Award Fellowship at the Centre
for Deliberative Democracy and Global Governance at the
University of Canberra. The award is funded by the Australian
Research Council.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Sophie
Dumaresq</b> is an interdisciplinary artist who brings
perspectives of absurdity, queerness and humour to creative,
critical robotics, automata and mechanics. Working across
photography, video installation, sculpture and performance, her
work explores what it is to try and communicate in a universe
filled with beings whose brains, existence and or bodies are
built inherently differently to that of your own. Her artistic
practice explores what it means to share joy, love and laughter
in our relationships with both other humans and non-humans.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Caroline
Fisher</b> is an Associate Professor of Communication, and
core member of the News and Media Research Centre at in the
Faculty of Arts and Design. Caroline is a co-author of the
annual Digital News Report: Australia and CI on two ARC
Discovery Projects: ‘The rise of mistrust: Digital platforms and
trust in news media’; ‘Valuing News: Aligning Individual,
Institutional and Social Perspectives’. Prior to academia
Caroline worked in journalism and politics.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Ashley
van den Heuvel</b> teaches in the Heritage and Indigenous
Studies program at the University of Canberra. She is completing
a PhD at UC called 'Flight across Country' under an ARC Linkage
project called Heritage of the Air. Her research interests link
visual culture, technology, connections to Country and storying.
Her research interests link visual culture, technology,
connections to Country and storying. These interests are linked
to her cross-cultural experiences as a Walbanja woman from the
South Coast of NSW.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Geert
Lovink </b>is a Dutch media theorist, internet critic and
activist. His recent books: Organization after Social Media
(with Ned Rossiter, 2018), Sad by Design (2019), Stuck on the
Platform (2022) and Extinction Internet (2022). He studied
political science at the University of Amsterdam (UvA) and
received his PhD from the University of Melbourne. In 2003 he
was postdoc at the University of Queensland. In 2004 he founded
the Institute of Network Cultures at the Amsterdam University
of Applied Sciences (HvA). In 2022 he was appointed Professor of
Art and Network Cultures at the University of Amsterdam (UvA),
art history department.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>David
Nolan</b> is Associate Professor in the News and Media
Research Centre at the University of Canberra. His work focuses
on journalism studies and contemporary mediated politics,
particularly in relation to the politics of race, ethnicity and
belonging. He has led major research projects and produced a
wide range of international research outputs related to these
themes, and in 2021-2022 was President of the Australia and
Aotearoa New Zealand Communication Association (AANZCA).</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Mathieu
O’Neil </b>is Professor of Communication in the University of
Canberra’s Faculty of Arts and Design and Honorary Associate
Professor of Sociology at the Australian National University.
His research interests lie at the intersection of political
communication and sociology. Mathieu co-founded the Australian
National University’s Virtual Observatory for the Study of
Online networks.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Catherine
Page Jefferey</b> is a lecturer and researcher in the
Discipline of Media and Communication at the University of
Sydney. Catherine’s current research addresses digital media and
families, with a particular focus on parenting in the digital
age. She is currently a Chief Investigator on an ARC funded
Discovery Project exploring digital sexual literacy amongst
Australian adults.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"> </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Phoebe
Quinn</b> is a Research Fellow and PhD candidate at the
University of Melbourne, and associate of the Centre for
Deliberative Democracy and Global Governance at the University
of Canberra. Her work focuses on community wellbeing in the
context of climate change and disasters. Through her doctoral
research, she is exploring the role of innovations in digital
democracy in addressing these challenges, conducting action
research using the platform Polis. </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Melinda
Rackham</b> is adjunct research professor at UniSA Creative
in Adelaide. She woves tales of intimacy and identity in
networked and virtual worlds when the net was young. Founder of
<i>-empyre-</i>, an online platform for other voices in media
arts, their practice expanded to curate, direct, mentor and
produce. Melinda’s latest book <i>CoUNTess: Spoiling Illusions
since 2008, </i>co-authored with Elvis Richardson, probes the
persistence of gender asymmetry in Australia’s artworld.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Litia
Roko </b>is an artist interested in the politics of art, the
politics of technology, and the politics of art + technology.
She lives and works on unceded Ngunnawal land. </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Erin
K Stapleton</b> is a Lecturer in Communication and Media at
the University of Canberra. They research in the intersections
between gender, colonialism and queer theory, digital and media
cultures, critical theory, and continental philosophy. Their
book <i>The Intoxication of Destruction in Theory, Culture and
Media: A Philosophy of Expenditure After Georges Bataille</i>
was published by Amsterdam University Press in 2022. </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Tyne
Sumner</b> is an Australian Research Council DECRA Fellow in
English & Digital Humanities at the Australian National
University. Her primary research areas are C20th and C21st
literature, surveillance studies, and digital humanities. She
also has expertise in poetry and poetics, critical
infrastructure studies, and digital culture. Her current project
is <a href="https://www.surveilit.com/" moz-do-not-send="true"><span
style="color: rgb(220, 161, 13);">SurveiLit</span></a>,
which examines the representation of new and emerging forms of
surveillance in contemporary global literature. She has
published widely on topics ranging from facial recognition
technology and surveillance software to Australian poetry and
cultural databases. She is President of the Australasian
Association for Digital Humanities (aaDH) and is on the
international steering committee of the <a
href="https://www.unimelb.edu.au/caide/research/caide-art,-ai-and-digital-ethics"
moz-do-not-send="true"><span style="color: rgb(220, 161, 13);">Art,
AI & Digital Ethics</span></a> research collective. </p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Denise
Thwaites </b>is a curator, writer and researcher specialising
in contemporary cultural economies, who is currently Senior
Lecturer in Interdisciplinary Arts at the University of
Canberra. Denise was awarded her PhD in Aesthetics through The
University of New South Wales (Australia) and l’Université Paris
8, Vincennes – Saint-Denis (France), before joining UNSW iCinema
Research Centre as a Postdoctoral Fellow. She has worked in the
contemporary arts sector at Roslyn Oxley9 Gallery, Australia
Council for the Arts and the Museum of Contemporary Art
Australia, and has curated independent projects for cultural
organisations across Australia and internationally. Her research
harnesses poetic, experimental and collaborative modes of
working to destabilise political, cultural and economic
imaginaries.</p>
<p
style="margin: 0px; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue"; min-height: 15px;"><br>
</p>
<p
style="margin: 0px; text-align: justify; font-stretch: normal; font-size: 13px; line-height: normal; font-family: "Helvetica Neue";"><b>Temple
Uwalaka</b> is a Research Fellow at the Centre for
Deliberative Democracy and Global Governance and a Research
Associate at the News and Media Research Center. He also
lectures at the School of Arts and Communication, Faculty of
Arts and Design, University of Canberra, Australia. His research
interests include digital activism, digital journalism, brand
activism, social marketing campaigns and the use of online and
mobile media to influence political change.</p>
<p
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</p>
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