Laura Tripaldi (1993) is a writer and independent researcher working at the intersection of science, technology, new materialisms, and contemporary feminist theory. She holds a PhD in Materials Science and Nanotechnology and has taught courses, seminars, and workshops in several cultural and academic institutions across Europe and beyond. She is the curator of the magazine Not (NERO editions) and of the newsletter Soft Futures. She is the author of the book Parallel Minds. Discovering the Intelligence of Materials (Urbanomic, 2022).

Assmann received the Witteveen+Bos Art+Technology Oeuvre Award 2020. Her work Wervel [Turmoil] was nominated for the Spatial Media Award at The Media Architecture Biennale 2020 and longlisted for the Aesthetica Art Prize 2023. Her work Solace gained an Honorary Mention in the 2011 StartPoint Prize.

She has exhibited her work in solo and duo shows at TENT Rotterdam, Centre des Arts, Teatro del Canal, Gallery 254Forest and together with Macular collective at the MOCA Yinchuan [China], Wood Street Galleries [Pittsburgh] and Boxes Art Museum [China], and in group exhibitions at ao. the Saatchi Gallery [London], National Taiwan Museum of Fine Arts, Art Rotterdam Week, Quartier 21 [Vienna], V2_Institute for the Unstable Media [Rotterdam], Exit Festival [Paris] and the Biennial of Carrara. She made her first permanent public artwork, the LED video sculpture Wervel [Turmoil] for Forum Groningen in 2019

Assmann holds a Bachelor of Arts in Film Science from the University of Amsterdam and a Master in ArtScience from the Interfaculty of the Royal Conservatoire & the Royal Academy of Art in The Hague. Next to her own practice she is also part of the Macular collective, which focuses on art, technology, science, and perception.

Paaijmans expresses with his series of work Automatic Signum [2013-2015] that a drawing is essentially a registration of movement in time. A dot is created with a single movement in a single moment; the length of a line reflects the duration of the contact between pen and paper; the articulation of the line indicates how much pressure has been applied, or what the thickness or the angle of the pen has been; a pattern reflects the repetition of movement over a certain length of time. Automatic Signum consists of five drawing devices, Linear, Punctatum, Circular, Quattor Punctatum and Curvarum Linearum. With these fully automated mechanical sculptures, Paaijmans radically replaced the movement of his human drawing hand with mechanics. Each device explores a different basic formal aspect of drawing: dot, line or plane. Paaijmans taught himself to engineer and manufacture these intricate mechanical devices, employing technology as a means to understand the essence of the discipline.
With his recent works Rhombi movens [2015] and Linearis Objectum [2016] Paaijmans focusses on the drawing line, deploying it as an autonomous object. These installations both play with the eye of the beholder, using composition, linear perspective and shadow to create abstract patterns of line arrangements. With these works he has further developed the scale of his work from sculpture to installation.

Joost Rekveld is an artist and researcher who wonders what humans can learn from a dialogue with the machines they have constructed. In a form of media archeology he investigates modes of material engagement with devices from forgotten corners in the history of science and technology. The outcomes of these investigations often take the shape of abstract films that function like alien phenomenologies. In their sensuality they are an attempt to reach an intimate and embodied understanding of our technological world.

His work centres on systems that use data as a medium for design while exploring social and technical issues and the agencies between humans and machines. It is multidisciplinary, touching on computer science, design theories, design ethnography and digital sociology. This involves questions such as how to design the interactions that let machine learning algorithms develop amicable co-dependencies with humans, how artificial intelligence can make sense of human behaviour to support design insights, and how designerly approaches can improve the understanding and creation of data driven systems and improve the societal functioning of AI as a discipline.

Claire Williams (1986) lives in Brussels. after a master degree in textile design (La Cambre) she followed a post master at Le Fresnoy studio national des arts contemporains. She exhibits and gives workshops in international venues and regularly teaches in an art and design schools.

Her work has been exhibited in digital, sound art festivals and group shows such as Bozar (Be), Le Fresnoy (FR), Centre Wallonie Bruxelles (Paris), La friche de belle de mai (FR), Biennal Chroniques (FR), Ososphère (FR), Festival Scopitone (FR) Red Room (TWN), Moulins Paillards(FR), Tamat (BE), Transnumériques (BE) Digital Encounters (UK), Festival voix de femmes (BE), Hangar (ES), Halles Saint Géry (BE), Le Signe (FR), Site St Sauveur (FR) etc. As well as solo shows at Le Vecteur(BE), la Manufacture(FR), Constant(BE) and the Centro Cultural Puerta de Castilla(ES).

Rhyw turned heads with the heavyweight two-tracker ‘Biggest Bully’ in 2019, earning himself sets at Berghain, Berlin Atonal, and Boiler Room Tokyo, along with tours in Asia and the US. Online and on-air, he’s guested on Hessle Audio’s Rinse FM show and Mixmag’s ‘In Session’ mix series, and contributed podcasts to Crack and FACT. Even when they leave the gate at full pelt, these sets showcase Rhyw’s subtle sense of intricacy, balancing airy atmospheres against tougher tackle. But whatever the energy level, there’s always an alien presence in Rhyw’s sound—a shapeshifter whose twin motives are to bewitch and disorientate the listener.

For almost twenty years Bas was a member of the Rotterdam underground collective ‘Strictly Techno’, creators of over a hundred legendary parties since the late nineties. Bas has always been a hard working and devoted producer, releasing music on respected labels such as Mote Evolver, Perc Trax, Pole Group, 47, CLR, Sleaze Records, Planet Rhythm and of course his own imprints Audio Assault and Mord Records. With Mord Records turning 10 in 2023, Bas shows no sign of slowing down.

Afra is a true crate digger and vinyl lover. The imperfections that come with the medium and the focus that is needed to mix black gold give her endless energy and a rush of goosebumps. The last year has seen her play Boiler Room and cult clubs Bassiani and Berghain as well as hold down a residency at much loved Amsterdam queer party Spielraum. At any of these places, you can be sure she will serve up unpolished, emotive sounds that pack an emotional as well as physical punch, all with tight technical skills and a knowledge of exactly what to play and when, whether playing time bangers or deeper warm-up sets.

Since setting up the Pinkman sublabel Mindri with Marsman after the COVID pandemic, Afra has established it as a cutting-edge place for fresh electronic sounds from artists like Pluto Junkies, Univac and The Hacker. It is another outlet for her to showcase her unique sense of style and taste as she continues to play some of Europe's most clued-up parties. Right now, there is no stopping her.

Entangled Others Studio are Feileacan McCormick and Sofia Crespo.

Entanglement is a complex state one where no single entity can be said to be separate, or somehow unaffected, by any other present entangled, we cannot consider ourselves without others, act without interacting, speak without being heard. It is a multitude of you, and others, equally present and alive, together.

The rich substrate of the uncanny, eerie spaces between us and the non-human world cannot remain as an aesthetic space, our world cannot bear this self-imposed distance and denial of our inter-twined state of us and others.

Becoming entangled others studio is about moving further into an entanglement with the more-than-human world of us & others. A world where diversity and inter-connectedness are nurtured and engaged.

The immaterial and intangible character of light, colour and motion forms the starting point of Nicky Assmann's spatial installations, in which she endeavours to heighten our perception. With a background in Film and ArtScience, she combines artistic, scientific and cinematographic knowledge in experiments that use physical and chemical processes, such as turbulence and fluid dynamics. Topics that serve as a metaphor for the turbulent and fluid times in which we live. The changing climate and its turbulent consequences are a recurring theme in her work. In the lineage of expanded cinema, Assmann experiments in her work with the different components of the cinematic apparatus. By implementing natural and optical phenomena she creates visual compositions for a sensorial experience. The resulting visual, kinetic, and spatial compositions evoke sensory interference in self-created and often ephemeral macro-universes.

Her work takes shape in the form of kinetic light installations, video-installations and performances. Besides expanded cinema, her work is embedded in a context of visual music, synaesthesia and what Assmann calls hypercolour. The sun inspires her in a perpetual quest for these very intense colours – which are brought out by its light and occur both in nature and the digital colour spectrum. In using distorted mirroring materials, she challenges preconceived notions of our surroundings to open up space for other possibilities in our perception. Set against the backdrop of a visual culture whose reality is increasingly perceived in the virtual domain, she returns to the physical foundations of seeing in which the embodied experience and the notion of affect are central.

Assmann received the Witteveen+Bos Art+Technology Oeuvre Award 2020. Her work ‘Wervel [Turmoil]’ was nominated for the Spatial Media Award at The Media Architecture Biennale 2020 and longlisted for the Aesthetica Art Prize 2023. Her work ‘Solace’ gained an Honorary Mention in the 2011 StartPoint Prize. She has shown her work worldwide at various art institutes, museums and galleries.

Daan Johan is an artist who explores the technology from the past to create new instruments, often with a form of sculptural value and craftsmanship.

Starting out in graphic design at St. Lucas in Boxtel, he soon got interested in electronic music. After making electronic music for a while, he soon realized that the technology behind the music was of greater interest to him. Since 1997 he’s been exploring the guts of analog synthesizers, lab equipment, and hifi equipment to create unique and often unexplored forms of sound creation. First by means of circuit bending, and later, after some studying and experimenting, by modifying and creating his own mechanical and electronic equipment. Using these techniques together with software, he started creating interactive installations. At the same time he kept on drawing and made his first steps into stop motion animation.

In 2006 he entered the Image & Sound / ArtScience program at the Royal Academy of Art and the Royal Conservatory, where he received his BFA in 2010 and earned his MFA at the Royal Conservatory in The Hague in 2012.

Joris Strijbos is a Rotterdam-based artist whose work focuses on the synaesthetic relation and interaction between moving image and sound.

His work consists of a series of kinetic audiovisual installations and new media performances inspired by an ongoing research into cybernetics, emergent systems, artificial life and communication networks within groups. In his installations he combines artificial, electronic and digital media with models and algorithms based on biological systems. In many of the pieces, the viewer witnesses a process in which machines, computer programs and the physical world interact with each other, resulting in a generative and multi sensorial composition.

Daan Johan is an artist who explores the technology from the past to create new instruments, often with a form of sculptural value and craftsmanship.

Starting out in graphic design at St. Lucas in Boxtel, he soon got interested in electronic music. After making electronic music for a while, he soon realized that the technology behind the music was of greater interest to him. Since 1997 he’s been exploring the guts of analog synthesizers, lab equipment, and hifi equipment to create unique and often unexplored forms of sound creation. First by means of circuit bending, and later, after some studying and experimenting, by modifying and creating his own mechanical and electronic equipment. Using these techniques together with software, he started creating interactive installations. At the same time he kept on drawing and made his first steps into stop motion animation.

In 2006 he entered the Image & Sound / ArtScience program at the Royal Academy of Art and the Royal Conservatory, where he received his BFA in 2010 and earned his MFA at the Royal Conservatory in The Hague in 2012.

Joris Strijbos is a Rotterdam-based artist whose work focuses on the synaesthetic relation and interaction between moving image and sound.

His work consists of a series of kinetic audiovisual installations and new media performances inspired by an ongoing research into cybernetics, emergent systems, artificial life and communication networks within groups. In his installations he combines artificial, electronic and digital media with models and algorithms based on biological systems. In many of the pieces, the viewer witnesses a process in which machines, computer programs and the physical world interact with each other, resulting in a generative and multi sensorial composition.

Eric Parren (NL/US) is an interdisciplinary artist operating out of Shanghai. His practice is situated at the intersection of art, science, and technology. Using a combination of digital and analog media, he investigates our understanding of the ideas and technologies that shape the future. Eric's works are often visceral, sensory experiences exploring modes of perception and the physics of light and sound. Informed by a deep knowledge of the histories of media arts, electronic music composition, and expanded cinema, his work makes links between the past, the present, and what is to come.

Eric is an Assistant Arts Professor in Interactive Media Arts at NYU Shanghai where he conducts research and teaches courses on programming and electronics for artists, real-time audiovisual systems, and kinetic light art. He is a founding member of the art collective Macular and runs the experimental music show La Force Sauvage.

Eric studied at the Interfaculty ArtScience of the Royal Academy of Art and Royal Conservatory in The Hague, where he received his BFA in 2009. He went on to study at the Design Media Arts department of the University of California Los Angeles, where he was awarded his MFA in 2012. His works have been shown at galleries and festivals across Europe, North America, and Asia.

Nicky Assmann and Joris Strijbos are Rotterdam-based artists whose work stems from an interest in nature, science, technology and perception. They are both part of the Macular collective and create multi-sensorial artworks in the form of light and kinetic sculptures, videos and audiovisual performances. Their work has been shown worldwide at art festivals, museums and galleries.

The immaterial and intangible character of light, colour and motion forms the starting point of Nicky Assmann's spatial installations, in which she endeavours to heighten our perception. With a background in Film and ArtScience, she combines artistic, scientific and cinematographic knowledge in experiments that use physical and chemical processes, such as turbulence and fluid dynamics. Topics that serve as a metaphor for the turbulent and fluid times in which we live. The changing climate and its turbulent consequences are a recurring theme in her work. By implementing natural and optical phenomena she creates visual compositions for a sensorial experience. The resulting visual, kinetic, and spatial compositions evoke sensory interference in self-created and often ephemeral macro universes.

Joris Strijbos’s work focuses on the synaesthetic relation and interaction between moving image and sound. His work consists of a series of kinetic audiovisual installations and new media performances inspired by an ongoing research into cybernetics, emergent systems, artificial life and communication networks within groups. In his installations he combines artificial, electronic and digital media with models and algorithms based on biological systems. In many of the pieces, the viewer witnesses a process in which machines, computer programs and the physical world interact with each other, resulting in a generative and multi sensorial composition.

Jorrit Paaijmans (1979) works at the intersection of craftsmanship and technology. His artistic practice is an ongoing exploration of the drawing discipline: he plays with perceptions and expectations of what drawing can be. Draughtsmanship serves as the springboard for all of his works, whether it concerns a drawing, a performance or a kinetic installation. Paaijmans regularly outsources the production of drawings to handmade machines. He mechanizes the act of drawing to research the role of the body, and to bring attention to craft as a concept. In doing so, Paaijmans touches upon a larger debate on the position of craft – and the craftsman – in today's technological society.

Jorrit Paaijmans (1979) works at the intersection of craftsmanship and technology. His artistic practice is an ongoing exploration of the drawing discipline: he plays with perceptions and expectations of what drawing can be. Draughtsmanship serves as the springboard for all of his works, whether it concerns a drawing, a performance or a kinetic installation. Paaijmans regularly outsources the production of drawings to handmade machines. He mechanizes the act of drawing to research the role of the body, and to bring attention to craft as a concept. In doing so, Paaijmans touches upon a larger debate on the position of craft – and the craftsman – in today's technological society.

Louis-Philippe Demers makes large-scale installations and performances with technologies, AI and Robotics in particular. He participated in more than seventy artistic and stage productions and has built more than 400 machines. Demers’ works have been shown worldwide and primed at Ars Electronica, Vida, Japan Media Arts Festival and at Helpman Awards (Australia). Demers’ academic journey brought him to the Superior School of Design/Zentrum für Kunst und Medientechnologie (ZKM), the Nanyang Technological University, the Queensland University of Technology, the University of the Arts London, the Central Academy of Fine Arts (Beijing) and the University of Applied Arts in Vienna.

Dmitry Gelfand (b.1974, St. Petersburg, Russia) and Evelina Domnitch (b. 1972, Minsk, Belarus) create installations and performances that merge physical phenomena with uncanny philosophical practices. Current findings, particularly regarding wave phenomena, are employed by the artists to investigate questions of perception and perpetuity. Such investigations are salient because the scientific picture of the world, which serves as the basis for contemporary thought, still cannot encompass the unrecordable workings of consciousness.

Having dismissed the use of recording and fixative media, Domnitch and Gelfand's installations exist as ever-transforming phenomena offered for observation. Because these rarely seen phenomena take place directly in front of the observer without being intermediated, they often serve to vastly extend the observer's sensory envelope. The immediacy of this experience allows the observer to transcend the illusory distinction between scientific discovery and perceptual expansion.

The artworks of Claire Williams take the form of woven antennas, glass sculptures filled with plasma or devices that sense the invisible.

Data of radio telescopes and scanners materialise themselves in knitted stitches, sound vibrations or through luminous plasma. She sculpts her electronic components to make visible the electromagnetic movements from the cosmos, through our magnetosphere, to radio waves that cross our terrestrial environment or the ones emanating from our bodies.

She is currently working on the exploration of ether, at the cross roads of experimental and occult science practices. In this way she explores our relationship to the world of the invisible and their instruments by reviving abandoned leads of certain scientific and researches of the mid 19th century.

Claire Williams (1986) lives in Brussels. after a master degree in textile design (La Cambre) she followed a post master at Le Fresnoy studio national des arts contemporains. She exhibits and gives workshops in international venues and regularly teaches in an art and design schools.

Her work has been exhibited in digital, sound art festivals and group shows such as Bozar (Be), Le Fresnoy (FR), Centre Wallonie Bruxelles (Paris), La friche de belle de mai (FR), Biennal Chroniques (FR), Ososphère (FR), Festival Scopitone (FR) Red Room (TWN), Moulins Paillards(FR), Tamat (BE), Transnumériques (BE) Digital Encounters (UK), Festival voix de femmes (BE), Hangar (ES), Halles Saint Géry (BE), Le Signe (FR), Site St Sauveur (FR) etc. As well as solo shows at Le Vecteur(BE), la Manufacture(FR), Constant(BE) and the Centro Cultural Puerta de Castilla(ES).

Matthijs Munnik develops new technology that aims to realize sensory experience and compositional possibilities. Mostly working with light, his installations and performance range from hallucination inducing flickering landscapes, to serene infinite colour spaces, spinning holographic forms and singing micro-organisms. He graduated from the Royal Academy in Den Haag, and finished a two year residency at the Rijksakademie in Amsterdam in 2016/17. His work consists of performances and installations which play with the perceptions of spectators. He has shown his work in museums like Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Fries Museum Leeuwarden, and festivals internationally, like Sonic Acts (NL), Ars Electronica(AU), TodaysArt (RU), Mapping Festival(CH). He received a Prix Cube Award (FR) in 2013 and Designers & Artists 4 Genomics Award (NL) in 2010.

Matthijs Munnik develops new technology that aims to realize sensory experience and compositional possibilities. Mostly working with light, his installations and performance range from hallucination inducing flickering landscapes, to serene infinite colour spaces, spinning holographic forms and singing micro-organisms. He graduated from the Royal Academy in Den Haag, and finished a two year residency at the Rijksakademie in Amsterdam in 2016/17. His work consists of performances and installations which play with the perceptions of spectators. He has shown his work in museums like Stedelijk Museum Amsterdam, Centraal Museum Utrecht, Fries Museum Leeuwarden, and festivals internationally, like Sonic Acts (NL), Ars Electronica(AU), TodaysArt (RU), Mapping Festival(CH). He received a Prix Cube Award (FR) in 2013 and Designers & Artists 4 Genomics Award (NL) in 2010.

Drew McDowall's works are sacraments to alterity. An artist who has refused to conform in music and in life, McDowall mines the hallucinatory spaces that exist between reality and celestial otherness. His meditative compositions are haunting and spiritual, melding intricate modular soundscapes with cut-up samples, and deconstructing sounds into their most basic shuddering structures and shapes. The disorienting ambient mirages that result elicit terror, tender melancholy, and heavenly flickers of expansive beauty.

His backstory reads like a primer of psychedelic fiction woven into statements of the unbelievable, superhuman, and outright insane. Growing up in the gangs of 1970’s Scotland, McDowall—fatigued by years of daily violence and the chaotic madness of that life—sought aggressive self-expression in punk and found a home in Glasgow's rich underground music community. After a stint with The Poems, a band he started with his then-wife Rose McDowall, he joined the ranks of UK avant-gardists Genesis P-Orridge, David Tibet, Peter “Sleazy” Christopherson, John Balance, and countless others who would come to define the industrial music's blossoming experimental vanguard. McDowall eventually collaborated with Psychic TV and became a full-time member of the cult outfit Coil, where his influence shaped the group's later output: exercises in magical practice and music-as-psychoactive effect.

While McDowall has adhered to electronics throughout his career, he has escaped making music confined to any one genre. This is partially because of his diverse collaborations; since moving to Brooklyn 20 years ago, he has worked with esteemed acts like Hiro Kone, Puce Mary, Croatian Amor, Varg, Uniform, Rabit and Shapednoise, and toured a live AV reinterpretation of Coil's seminal drone work, Time Machines, at festivals across the world.

His performances and showcases led to his first studio album on Dais Records in 2015, Collapse, which was quickly followed by Unnatural Channel and The Third Helix. September 2020 will see his fourth release on the label, Agalma—his most expansive and imaginative work yet. Its seven tracks include contributions from Caterina Barbieri, Robert Aiki Aubrey Lowe, Kali Malone, Maralie Armstrong-Rial, Bashar Suleiman, Elvin Brandhi and MSYLMA. Together, they create a keeling sound synonymous with McDowall's traditional production method, but integrate aria, pipe organ, and choral mass to strike a fresh—and nearly devotional—chord.

Leila is a dedicated improviser and “rising figure in New York’s improvised music scene” (The Chicago Reader).
As per the tradition of improvised music, she has maintained a very active concert schedule sharing the stage with a wide range of artists including Marina Rosenfeld, Lee Ranaldo, Eli Keszler, Anthony Coleman, Peter Evans, Thurston Moore, Nate Wooley, SENYAWA, C. Spencer Yeh, Toshimaru Nakamura, Tetuzi Akiyama, Susan Alcorn, Ingrid Laubrock, Zeena Parkins, Weasel Walter, Kim Gordon, Chris Corsano, Aki Onda and more.
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Her collaborative projects are notoriously numerous and diverse, and include duos with Bill Nace (Body/Head), Japanoise artist Tamio Shiraishi (Fushitutsa), techno producer Bookworms, bassist Zach Rowden, sound-artist Julia Santoli, saxophonist Michael Foster, and a freely improvised trio with Sean Ali and Joanna Mattrey.

Her work has been showcased at notable venues such as The Whitney Museum, The Kitchen, MoMA PS1, Issue Project Room, Lincoln Center, the Stone, Roulette, Pioneer Works, Le Guess Who (Utrecht), Cafe Oto (London, UK), All Ears Festival (Oslo, NO), KRAAK Festival (Brussels), Sound of Stockholm Festival, BRDCST Festival (Brussels), Control Club (Bucharest), Ausland (Berlin, DE), Ftarri (Tokyo, JP), the Heresy Series for Women in Sound (Manila, PHL), and countless basements across the U.S.A.

Leila is a 2021 Jerome Foundation Artist Fellow and an Artist in Residence at the GRM, Paris. Past residencies include Exploring the Metropolis (NYC), E.M.S, Stockholm (2019), Les Brasseries Atlas, Brussels (2018), the MacDowell Colony (2017), Issue Project Room (2016) and the Atlantic Center for the Arts (2013).

Telcosystems is an experimental art collective based in Rotterdam. In their audiovisual works they research the relation between the behavior of programmed numerical logic and the human perception of this behavior; they aim at an integration of human expression and programmed machine behavior. This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and in live performances. The software they write enables them to compose ever-evolving audiovisual worlds. Telcosystems’ installations and films focus on real-time, self-structuring, generative processes, in their live performances they focus on the interaction with these processes. Their work is the result of an ongoing search for an own language of non-referential image and sound, and is characterized by lucid and restrained aesthetics, closely related to the technology they use. In interaction with machines Telcosystems fuse the auditive and visual domains into one immersive spatial experience that explores the limits of the human sensory apparatus.

Ulla is a Philadelphia-based ambient artist. She started releasing music in 2016. and within a short time produced an output that is impressive both in quantity and quality. In 2020, starting with the album Tumbling Towards A Wall, she changed her artist name from Ulla Straus to Ulla. Her latest album is foam from 2022.

Nan Wang is a multi-disciplinary visual artist, her practice focuses on material-based abstract works. She often finds beauty and philosophical meanings in unwanted objects or substances and creates works that revolve around the topic of identity, technology, and social interactions. She uses both digital and analog techniques and her works take the form of interactive projection installations, optical devices, live audiovisual performances, and experimental films.

Fani Konstantinidou is a composer and performer interested in the sonic imprints of cultural, cross-cultural, and social identities. Her work is characterized by urban and rural sonic environments, culturally associated musical instruments, and computer-generated sounds. She produces shifting sonic textures that circulate between drones, noise, arrhythmic melodies and atonal rhythms. With her music she explores the potential and the antitheses between analogue versus digital and aims at musical dialogs and public communication through sound. Her latest solo album 'Bacterial Dance' is available by the Manchester based record label Decaying Spheres.

Anne La Berge's passion for the extremes in both composed and improvised music has led her to the fringes of storytelling and sound art as her sources of musical inspiration. She performs as a multimedia musician and is one of the composer/performers in the Amsterdam based ensemble MAZE. She works as an improvisation and live electronics coach worldwide and is currently coaching at the Royal Conservatory in the Hague. She can be heard on the Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, esc.rec., Intackt, Data, verz, Real Music House, Relative Pitch, Carrier, Present Sounds Recordings and Splendor Amsterdam labels. Her music is published by Frog Peak Music and Alry Publications; and her Max-patch based compositions are available from her privately.

Joost Rekveld is an artist and researcher who wonders what humans can learn from a dialogue with the machines they have constructed. In a form of media archeology he investigates modes of material engagement with devices from forgotten corners in the history of science and technology. The outcomes of these investigations often take the shape of abstract films that function like alien phenomenologies. In their sensuality they are an attempt to reach an intimate and embodied understanding of our technological world.

Acidic Male has an interest in industrial sounds, hypnotic drum patterns and experimental vocals. Having her performer name as a revenge title, she searches to “other” herself into the position of a poetic perpetrator. Her sounds have been described as “elegant industrial”, yet in her selections she attempts to showcase her love for genre-wide experimentalism.

Visual artist Jelmer Noordeman develops his hypnotic visuals with analogue video experiments. His compositions flow, disintegrate and transform into abstract landscapes. With his work, he explores changing experiences of time and the possibility of signal noise and fragmentation.

Michela Pelusio's work seeks to realize spatial and temporal experience through immersive installations and multisensory performances questioning the possibility of an intimate connection between the participants and nature, triggering astonishment and new perceptions of natural phenomena. She creates immersive audiovisual performances with her custom made instruments, installations, and kinetic sculptures. Her research explores human perception, physical phenomena, art, and science. http://www.michelapelusio.org/SpaceTimeHelix/

In 2000 she graduated with Laude in Sculpture at the Academy of Fine Art of Carrara in Italy. In 2004 she moved to The Netherlands to study and got her Master's degree from the Interfaculty of ArtScience. This unique program considers art and science as a continuum and promotes the development of new art forms and artistic languages. The ArtScience Interfaculty is embedded in both the Royal Conservatoire, The Royal Academy for Fine Arts in The Hague, and Leiden University, in The Netherlands. She graduated in 2006 with a Master in ArtScience and subsequently started teaching at the same Interfaculty for three years. In 2010 she moved to Crete in Heraklion and started a 5 years project called ResidenceSEA- Sensing your Environment through Art. She currently lives in Athens, Greece.

Michela Pelusio performs and exhibits worldwide at spaces such as NXT Museum in Amsterdam, Onassis Foundation Stegi Theater, Bozar Center of Fine Arts Brussels, Max-Planck Institute of Astrophysics in Munich, all Mutek festivals in the world, Chroniques Biennale des Imaginaires Numériques, Gmem Center National de Création Musicale in Marseille, TodaysArt festival in Den Haag, Electrones Libres at Stereolux in Nantes, Miraikan The National Museum of Emerging Science and Innovation in Tokyo, Lexus Hybrid Art Exhibition in Moscow, Museum Quartier Q21 A.I.R. in Vienna among many others.

Originally trained as a biologist, Olivier de Sagazan turned to painting and sculpting with the ever-present idea of questioning organic life. From his passion to give life to matter came the idea for him to cover his own body with clay in order to observe the resulting “object”. This experiment gave rise to the creation of a solo, « Transfiguration », in 1998, in which we see a man gradually disfiguring himself with clay into a kind of half-man, half-beast searching beneath his masks for who he is.

Encor is an art studio founded in 2016 by swiss artists Mirko Eremita, David Houncheringer , Valerio Spoletini & Manuel Oberholzer.

They use light and acoustics as messenger and symbolic value to project themselves into a world which like the properties of light itself are still mainly mysterious and out of reach of our full understanding.

Their work documents our place in time by creating kinetic sculptures, motion design, contemporary architecture, installation art, sound visualizations and its distributions. By developing and combining their own tools and technologies with social processes and high- and lo-fi materials they redefine the limits of all used mediums.

The very strong group identity is built upon each member contributing his own skill set and sensibilities when approaching each project.

Mint Park is a Seoul-born, sound, and new media artist who works at an intersection of music, technology, science, and art. In recent years she has been researching the phenomenon of turbulence and making a weather-like ecosystem of fluid dynamics with sound, air, and lights. Her audio-visual practice focuses on the experience of the inter-weaving physical environment and virtual spaces within immersive environment created with sound, light, and spatial apparatuses. By designing her own audio-visual systems and instruments that is spatial and site-specific, she makes live performances and compositions to question and understand the constantly fluctuating existential qualities in today’s binary space and machine-quantified time. Besides her own projects, Mint has been running Unheard Records, an electronic music label focusing on experimental music and sound practices of femme, queer and P.O.C artists. She is currently based in Amsterdam.

Starting out in graphic design at St. Lucas in Boxtel, Daan Johan got interested in electronic music. After making electronic music for a while, he soon realized that the technology behind the music was of greater interest to him. Since 1997 he’s been exploring the guts of analog synthesizers, lab equipment, and hifi equipment to create unique and often unexplored forms of sound creation. First by means of circuit bending, and later, after some studying and experimenting, by modifying and creating his own mechanical and electronic equipment. Using these techniques together with software, he started creating interactive installations. At the same time he kept on drawing and made his first steps into stop motion animation.

In 2006 he entered the Image & Sound / ArtScience program at the Royal Academy of Art and the Royal Conservatory, where he received his BFA in 2010 and earned his MFA at the Royal Conservatory in The Hague in 2012.

Joost Rekveld is an artist who is motivated by the question of what we can learn from a dialogue with machines. In his work, he explores the sensory consequences of systems of his own design, often inspired by forgotten corners in the history of science and technology. These systems combine temporary dogma’s in the form of procedures or code, with more open-ended elements such as material processes or networks of interactions that are too complex to predict. His films, installations and performances are composed documentaries of the worlds opened by such systems. In their sensuality they are an attempt to reach an intimate and embodied understanding of our technological world.

His abstract films have been shown world-wide in a wide range of festivals and venues for experimental film, animation or other kinds of moving image. He had retrospectives at the Barbican in London and the Ann Arbor film festival amongst others, and in 2017 he was filmmaker in focus at the International Film Festival Rotterdam. Individual films were screened at hundreds of venues, including the ICA and the Tate Modern in London, The Centre Pompidou in Paris and the Moderna Museet in Stockholm. His film “#11, Marey <-> Moire” was the first Dutch film ever to be shown at the Sundance Film Festival.

He has realized several installations and was involved in many collaborative projects involving composers, music ensembles, theatre companies, dance companies and artist’s labs. These included dance company Emio Greco | PC (Amsterdam / Marseille), music theatre ensemble De Veenfabriek (Leiden), contemporary music ensembles such as ASKO / Schonberg (Amsterdam) and ensemble Intercontemporain (Paris), Opera North (Leeds) and The Royal Opera (London) and electronic art and music laboratories such as IRCAM (Paris), STEIM (Amsterdam) and the V2 Institute for Unstable Media (Rotterdam).

Pandelis Diamantides is an electronic music composer, new media artist, and researcher who splits his time between Cyprus, Greece, and the Netherlands. His music compositions and audiovisual performances are carefully crafted to provide audiences with a truly immersive experience. Diamantides is the author of several acclaimed series of works, including Green, False Awakenings, Go Back to Hiding in the Shadows, Quickly Photographed and Released Unharmed, and the recent Παλμός. Through a series of collaborations he has created sound, visuals, and software for contemporary dance and theater, interactive audiovisual installations, and audiovisual performances co-creating artworks such as Drowning, plplpl.pl, Mutual Wave Machine, Polaris, Anima, In Circles and Tune In. His work has been showcased in many prestigious venues, including international festivals, concert halls, clubs, theaters, galleries, and museums in Europe, the Middle East, Asia, South America, and the United States.