Andres Burbano was elected to serve as the chair of the 2024 51st annual SIGGRAPH conference by leadership within ACM SIGGRAPH. He is a native of Pasto, Colombia and an associate professor in Universidad de los Andes’s School of Architecture and Design, where he has been on faculty since 2013. Burbano has presented research within the Art Papers program (in 2017), and as a volunteer, has served on the SIGGRAPH 2018, 2020, and 2021 conference committees. Most recently, he served as the first-ever chair of the Retrospective Program in 2021, which honored the history of computer graphics and interactive techniques. His career spans research and artistic exhibitions on topics from the history of photography and media archaeology to climate change and information visualization. He holds a Ph.D. in media arts and technology from the University of California, Santa Barbara. His artistic and technical work has often been featured in publications like WIRED, Leonardo, and Artnodes, and his next book, Different Engines: Media Technologies from Latin America, is due from Routledge next year.
Bonnie Mitchell is a Professor of Digital Arts at Bowling Green State University, Ohio, USA. Her creative scholarship includes electronic interactive installation, experimental animation, environmental data visualization, net-art, and cross-disciplinary collaboration. Mitchell’s artworks explore spatial and experiential relationships to our physical, social, cultural, and psychological environment through interaction. Many of these installations explore the concept of presence and psychological states using computer graphics, sensors, projections, 3D particle systems, dynamics, and code. The installations often employ elements such as semi-transparent scrims, tree limbs, moss, mirrors, hundreds of fluorescent light bulbs, and thousands of strands of yarn. Her experimental animations are often produced in collaboration with world renowned electroacoustic composer, Elainie Lillios. Mitchell’s works have been screened or shown at numerous festivals, conferences and exhibitions around the world and have won international awards. Bonnie Mitchell also co-directs the ACM SIGGRAPH Digital Art and International Symposium on Electronic Art’s Archive. She also serves on the SIGGRAPH Digital Arts Community Committee, ISEA Archive Committee and is a past SIGGRAPH and ISEA Board Member and SIGGRAPH Art Show Chair (2006).
www.siggraph.org/member-profile/bonnie-mitchell
Charlene Villaseñor Black is Professor of Art History and Chicana/o Studies at the University of California, Los Angeles, Associate Director of the Chicano Studies Research Center, editor of Aztlán: A Journal of Chicano Studies, and founding editor-in-chief of Latin American and Latinx Visual Culture (UC Press). Her research focuses on the art of the early modern Ibero-American world as well as contemporary Chicanx visual culture. Winner of the 2016 Gold Shield Faculty Prize and author of the prize-winning and widely-reviewed 2006 book, Creating the Cult of St. Joseph: Art and Gender in the Spanish Empire, she is finishing her second monograph, Transforming Saints, from Spain to New Spain, under contract with Vanderbilt University Press. Professor Villaseñor Black publishes on a range of topics related to the early modern Iberian world, Chicanx studies, and contemporary Latinx art. Her most recent books include, with Dr. Mari-Tere Álvarez of the Getty Museum, Renaissance Futurities: Art, Science, Invention (UC Press, 2019); the new Chicano Studies Reader (2020); Knowledge for Justice: An Ethnic Studies Reader (2019); and Shifra M. Goldman’s final book, Tradition and Transformation: Chicana/o Art from the 1970s to the 1990s (2015). Several more titles in Art History and Chicanx studies are forthcoming, among them Autobiography without Apology: The Personal Essay in Latino Studies (2020); and Antonio Bernal: Witness to the Chicano Movement (2021). She has held grants from the Fulbright, Mellon, Borchard, Terra, and Woodrow Wilson Foundations, the NEH, the ACLS, and the Getty. Most recently, she is PI of “Critical Mission Studies at California’s Crossroads,” a $1.03 million dollar grant from the University of California’s Multicampus Research Programs and Initiatives. Her upbringing as a working class, Catholic Chicana/o from Arizona forged her identity as a border-crossing early modernist and inspirational teacher.
While much of her research investigates the politics of religious art and global exchange, Villaseñor Black is also actively engaged in the Chicana/o art scene. Her upbringing as a working class, Catholic Chicana/o from Arizona forged her identity as a border-crossing early modernist and inspirational teacher.
https://arthistory.ucla.edu/faculty-profiles/charlene-villasenor-black/
Dr. Gustavo Alfonso Rincon (Ph.D., M.Arch., M.F.A., B.S, B.A.) earned his doctorate in Media Arts and Technology (MAT) Program at University of California, Santa Barbara (UCSB). Rincon is educated as an architect, artist, and media arts researcher. His current affiliations include Digital Futures International/World, and the Guild of Future Architects. His current role for the AlloSphere Research Group at the California NanoSystems Institute (CNSI) at UCSB, is Associate Research Curator of Design, Media Arts, & Science and Outreach.
Rincon’s dissertation titled “Shaping Space as Information: A Conceptual Framework for New Media Architectures,” launches a new field of inquiry, integrating the Arts, Architecture, and the Sciences. As a Ph.D. researcher, he developed curatorial projects, educational/community outreach programs, exhibitions, events, and research works traversing the domains of the Arts, Computational Design, Engineering, & Sciences.
Rincon’s work in architecture serving multiple roles as an Architectural Designer, Computational Design, and Media Researcher, served clients from China, Europe, Korea, South America, and United Arab Emirates. Rincon’s research works and contributions are published in catalogs, online media, proceedings, and journals which include, ACMMM, Art in America, Computers and Graphics, Computer Music Journal, Institute of Electrical and Electronics Engineers, Virtual Reality (IEEE VR), ISEA, LA Times, Leonardo/MIT Press, and SIGGRAPH. He has contributed, moderated or presented works in panels for Ars Electronica @ ArtSci Center UCLA, College Art Association (CAA), Contemporary & Digital Art Fair (CADAF), Leonardo/ISAST, Digital Futures World/Young, SIGGRAPH, and Society For Cinema and Media Studies (SCMS).
https://w2.mat.ucsb.edu/grincon/
Janice T. Searleman taught Computer Science at Clarkson University from 1978 until 2015 and is currently an Adjunct Research Professor. Her areas of research are Virtual Environments, Human-Computer Interaction, and Artificial Intelligence. She received her B.S. in Mathematics from the University of Massachusetts Amherst and an M.S. in Computer Science from Stony Brook University, New York. As a member of the Digital Arts Committee for ACM SIGGRAPH, Jan has been working with Bonnie Mitchell from Bowling Green State University along with a team of students on a Digital Art Archive (https:// digitalartarchive.siggraph.org/). Sponsored by the ACM and ACM SIGGRAPH, the archive contains Art resources from SIGGRAPH, SIGGRAPH Asia, and the Digital Arts Community Online Exhibitions, including all Art Show artwork from 1980 to the present, Art Papers, Art Talks, Panels, etc. It also contains profiles on all people who contributed to SIGGRAPH Art Shows and Art Papers, including artists, authors, art show chairs, art juries, and so on. The archive is an easy-to-use and highly interconnected resource for artists, educators, art historians, students, and the art community.
Johannes DeYoung is a multidisciplinary artist who works at the intersection of computational and material processes. His moving-image works have been exhibited internationally in galleries and museums in countries such as Australia, Brazil, Canada, Germany, Ireland, Spain, Taiwan, and the USA, as well as being featured in The New York Times, The New York Post, The Huffington Post, and Dossier Journal. He is Assistant Professor of Electronic and Time-Based Media at Carnegie Mellon University. He previously taught at Yale University School of Art (2008–2018), where he was appointed Senior Critic and Director of the Center for Collaborative Arts and Media, and at the Yale School of Drama, where he was appointed Lecturer in Design.
http://www.art.cmu.edu/people/johannes-deyoung/
Kathy Rae Huffman is a freelance curator, networker, and writer. Since the early 1980s, she has curated media exhibitions, juried competitions, lectured and coordinated events for international media art festivals and arts initiatives, including ISEA, Ars Electronica and EMAF. Her interest in artists’ television and video art, and her passion for feminist strategies in online environments, normally promote activist positions. Huffman co-founded FACES: Gender/Technology/ Art, an online community for women (1997); VRML Art (later Web3D Art) with Van Gogh TV (1998-2003); and she co-authored Pop~Tarts, the multi-media column for the Telepolis Journal (1996-2000). Huffman has lived and worked in Long Beach (California), Boston, Vienna, Manchester (UK) and Berlin. She has traveled extensively in Central and Eastern Europe. She currently resides in Southern California.
https://en.wikipedia.org/wiki/Kathy_Rae_Huffman
https://www.siggraph.org/member-profile/kathy-rae-huffman/
Liliana Conlisk-Gallegos (The Future Past vs. Coloniality Curator), aka. Dr. Machete or Mystic Machete is from the Tijuana-San Diego border region in Southern California. With the goal of advancing the certain decolonial turn, her live, interactive media art production and border rasquache new media art pieces and performances generate culturally specific, collective, technocultural creative spaces of production that reconnect Chicana/o/x “Mestiza” Indigenous wisdom/conocimiento to their ongoing technological and scientific contributions, still “overlooked” through the logic of the decaying Eurocentric project of Modernity. In her Tijuana-San Ysidro transfronteriza (perpetual border crosser) perspective, the current limited perceptions of what research, media, and technology can be are like a yonke (junkyard), from which pieces are upcycled and repurposed to amplify individual and collective expression, community healing, and social justice. She has organized and curated over 14 community-centered, interactive, decolonial, community building, and environmentalist, research-based multimedia artivism and critical intervention performances and her work has been exhibited at SIGGRAPH, The García Center for the Arts in San Bernardino, Human Resources Art Museum in Los Angeles, the PAMLA Arts Matter of the Pacific Ancient and Modern Language Association, and the Guizhou Provincial Museum in China.
She is Associate Professor of Decolonial Media and Communication Studies at CSU San Bernardino and a member of the ACM SIGGRAPH Digital Arts Committee. Her writings have appeared in Critical Storytelling from Global Borderlands: En la línea, Vol. 8, 2022 (Brill Publishers), Re-Activating Critical Thinking amidst Necropolitical Realities: Politics, Theory, Arts and Political Economy for a Radical Change, 2022 (Cambridge Scholars Publishing), A Love Letter to This Bridge Called My Back, 2022 (The University of Arizona Press), Departures in Critical Qualitative Research 3 Vol. 10, 2021 (UC Press), and Journal of Latinos in Education Vol. 20, 2018 (Taylor and Francis).
https://www.csusb.edu/profile/liliana.gallegos
https://www.instagram.com/drmachete/
https://www.youtube.com/c/TransBorderscapes
Rebecca Ruige Xu’s artwork and research interests include artistic data visualization, visual music, experimental animation, interactive installations, digital performance and virtual reality. Her recent work has been exhibited internationally at: SIGGRAPH & SIGGRAPH Asia Art Gallery; ISEA; Ars Electronica; IEEE VIS Arts Program; Museum of Contemporary Art, Italy; Los Angeles Center for Digital Art, USA; CYNETart, Germany; International Digital Art Exhibition, China and Boston Cyberarts Festival, USA. Xu was the co-founder of the China VIS Arts Program (China VISAP) and is currently a professor in Computer Art and Animation at Syracuse University.
Raul Moarquech Ferrera-Balanquet is an interdisciplinary artist, writer, curator, Fulbright scholar, and community activist born in Havana, Cuba. Ph.D. Duke University. MFA, University of Iowa. Co-Executive Director of Howard University Gallery of Art.
Author of Aestesis Decolonial Transmoderna Latinx_MX, FONCA- Instituto Kanankil (2019); editor of the anthology Andar Erotico Decolonial (2015), Ediciones del Signo, Buenos Aires, Argentina. His writings have appeared in Latino Book Review Magazine, 2022; Aztlán: Journal of Chicano Studies, Vol. 44, No. 2, UCLA, Los Angeles, California; Sisters in the Life: A History of African American Lesbian Media-Making, Duke University Press, Durham, North Carolina; Bienal de La Habana Para leer, Universitat De Valencia, Spain; Public No. 41, Toronto, Canada.
Ferrera-Balanquet artworks, installations, videos, and performances have been exhibited at Haceres Decoloniales, Galeria ASAB, Bogota, Colombia; BE.BOP 2013 Black Europe Body Politics, Ballhaus Naunynstraße, Berlin, Germany; DysTorpia Media Project, Queens Art Museum, New York; Cuba: La Isla Posible, Centro de Cultura Contemporánea de Barcelona, Spain; MIX New York, Film Anthology, Nueva York, USA.
Executive curator of Arte Nuevo InteractivA (2001-2014), Ferrera-Balanquet has organized numerous art, video, and new media exhibitions. Among them are Africana Hemispheric Performance, Actions, Socially Public Participations, Rituals, and Ceremonies, Center for Afrofuturist Studies, Iowa City, Iowa, USA; Indigeneity | Decoloniality | @rt, Jameson Gallery, Duke University, Durham, North Carolina.
In addition to a Fulbright Fellowship, Ferrera-Balanquet has been awarded grants from Critical Minded, FONCA, Foundation for Contemporary Art, Prince Claus Foundation, US/Mexico Cultural Fund, ANAT Australia, NEA, and The Lyn Blumenthal Video Foundation.
http://www.labcartodigital.org/moarquech
Ricardo Dominguez was a founding member of Critical Art Ensemble (http://critical-art.net/) and a cofounder of Electronic Disturbance Theater 1.0 (EDT), a group who developed virtual sit-in technologies in solidarity with the Zapatistas communities in Chiapas, Mexico, in 1998 (https://anthology.rhizome.org/floodnet). His recent Electronic Disturbance Theater 2.0/b.a.n.g. lab project with Brett Stalbaum, Micha Cardenas, Amy Sara Carroll, and Elle Mehrmand, the Transborder Immigrant Tool – https://tbt.tome.press/ – (a GPS cell phone safety net tool for crossing the Mexico/US border) was the winner of “Transnational Communities Award” (2008), an award funded by Cultural Contact, Endowment for Culture Mexico–US and handed out by the US Embassy in Mexico. It also was funded by CALIT2 and the UCSD Center for the Humanities. The Transborder Immigrant Tool has been exhibited at the 2010 California Biennial (OCMA), Toronto Free Gallery, Canada (2011), The Van Abbemuseum, Netherlands (2013), ZKM, Germany (2013), and more recently, Art in the Age of Anxiety, Sharjah Art Foundation (SAF) UA (2020), Under a Different Sky, Blideside Gallery, Australia (2021), Intergalactix: against isolation/contra el aislamiento, LACE, CA (2021), as well as several other national and international venues.
The Transborder Immigrant Tool was also under investigation by the US Congress, the FBI, Homeland Security, UCSD and UCOP in 2009-2010 and was reviewed by Glenn Beck in 2010 as a gesture that potentially “dissolved” the U.S. border with its poetry. Dominguez is an associate professor at the University of California, San Diego, in the Visual Arts Department, a Hellman Fellow, and Principal/Principle Investigator at CALIT2/Qi, UCSD. He also is co-founder of *particle group*, with artists Diane Ludin, Nina Waisman, Amy Sara Carroll, whose art project about nano-toxicology entitled *Particles of Interest: Tales of the Matter Market* has been presented at the House of World Cultures, Berlin (2007), the San Diego Museum of Art (2008), Oi Futuro, Brazil (2008), CAL NanoSystems Institute, UCLA (2009), Medialab-Prado, Madrid (2009), E-Poetry Festival, Barcelona, Spain (2009), Nanosférica, NYU (2010), and SOMA, Mexico City, Mexico (2012). He was a Society for the Humanities Fellow at Cornell University (2017-18), a Rockefeller Fellow (Bellagio Center, Italy) during the summer of (2018), and a UCLA Luskin Institute on Inequality and Democracy Fellow (2021). He took part in a video series entitled An Oral History of the Internet, for the NYUAD Art Gallery, (https://www.nyuad-artgallery.org/en_US/resources/watch/an-oral-history-of-the-internet/), (2021). Ricardo is also chair of the Department of the Visual Arts. Many of his articles and essays can be found at:
https://ucsd.academia.edu/RicardoDominguez
Sue Gollifer is a Principal Lecturer at the University of Brighton, UK and the Executive Director of ISEA International. She is Chair of the ACM SIGGRAPH ‘Lifetime Achievement of Digital Arts’ and a member of the ‘ACM SIGGRAPH Digital Arts Community Committee’ and the ‘External Relations Committee.’ A pioneer of early computer art, she has continuously explored the relationship between technology and the arts and has written extensively on this subject. Her personal artworks are held in both national and international public and private collections. She has been the curator of a number of International Digital Art Exhibitions including the “Intuition and Ingenuity” art exhibition to celebrate the Alan Turing Centenary (2012), CAS50 Celebrating 50 years of the Computer Arts Society (2018). She is on several National and International Committees, including (CAS) the Computer Arts Society, (DAM), Digital Art Museum, (DACs) the ACM SIGGRAPH Digital Arts Community. She has been a member of several SIGGRAPH Art Gallery subcommittees (from 1998 – current). In 2004 she was appointed Art Gallery Chair. More recently she has been a member of the onsite Art Gallery committees for SIGGRAPH Asia. This includes Shenzhen, China 2015; Kobe, Japan 2015; Macao, 2016; Tokyo, 2018; Los Angles, USA & Brisbane, Australia in 2019. She is on the Editorial Board of Digital Creativity, a refereed journal published by Routledge, and for the Leonardo Journal peer-reviewed academic journal published by the MIT. In 2006 she was awarded an iDMAa Award, The International Digital Media Arts Award for her ‘Exceptional Services to the International New Media Community’.
https://research.brighton.ac.uk/en/persons/sue-gollifer
Victoria Szabo is Research Professor of Art, Art History, and Visual Studies, Duke University Department of Art, Art History and Visual Studies, Durham, North Carolina. Her primary teaching and research interests are in the intersection of digital humanities and technology, media, and information studies, especially in relation to spatial, immersive, and interactive media forms. Her current focus is on the study and creation of augmented reality experiences in urban, exurban, and exhibition contexts. Recent collaborative, archives-driven digital projects include Digital Durham, NC Jukebox (NC mountain music), and Ghett/App (architectural history of the Venetian Ghetto). A new project, Visualizing Lovecraft, explores the digital remediation of fictive places and spaces as a form of literary adaptation. She co-creates video game-based art installations with Psychasthenia Studio and engages in digital arts curation projects as Chair of the ACM SIGGRAPH Digital Arts Community. Szabo also has a strong interest in interdisciplinary and lab-based approaches to scholarship and to the hybrid futures of higher education. She currently directs the Information Science+Studies Certificate Program and the Digital Art History/Computational Media MA in Art, Art History & Visual Studies, and was founding DGS for the interdisciplinary PhD in Computational Media, Arts & Cultures. She also collaborates in the Wired Lab for Digital Art History & Visual Culture. At the John Hope Franklin Humanities Institute, she leads the Duke Digital Humanities Initiative, where she co-directs the PhD Lab in Digital Knowledge and the NCCU-Duke Digital Humanities Fellows Program. She is co-lead of the Bass Connections Information, Society & Culture theme, and partner in the Duke Game Lab. Prior to coming to Duke, she worked as an Academic Technology Specialist and Manager at Stanford University. She has a PhD from the University of Rochester in English, where she studied 19th century British literature and culture, sensationalism, and women’s authorship. She also has a Certificate from the Susan B. Anthony Institute for Research on Women and Gender.