Samuel Bianchini, an artist and researcher, is Associate Professor at the École Nationale Supérieure des Arts Décoratifs (EnsAD), PSL Research University Paris where he is the head of the "Reflective Interaction" Research Group of EnsadLab, the school's laboratory. Erik Verhagen, an independent curator and an art critic, is Associate Professor of Contemporary Art History at Université de Valenciennes. Margit Rosen is a Researcher and Curator for ZKM Center for Art and Media Technology. Simon Penny is Professor of Art at the Claire Trevor School of the Arts at the University of California, Irvine, teaching mechatronic art, media art history and theory, and interdisciplinary seminars interfacing contemporary cognitive science and philosophy of mind with the arts. Trained as a sculptor, he has spent much of his career building interactive art environments with custom robotic and sensor-based systems. Anna Dezeuze, is the editor of The 'Do-it-yourself' Artwork: Participation from Fluxus to New Media and co-editor, with Julia Kelly, of Found Sculpture and Photography from Surrealism to Contemporary Art. Her writing has appeared in Oxford Art Journal, Women & Performance, Performance Research, Mute, and Art Monthly. She is a Lecturer in Art History at the Ecole Supérieure d'Art et de Design Marseille Méditerranée. Diedrich Diederichsen is Professor of Theory, Practice, and Communication of Contemporary Art at the Academy of Fine Art in Vienna. Peter Lunenfeld is Professor of Design Media Arts at UCLA. Sarah Cook is a curator and researcher working at the intersection of art, digital and electronic media, and science. She is the coauthor (with Beryl Graham) of Rethinking Curating: Art After New Media (MIT Press), and in 2004 cocurated the touring exhibition, “Database Imaginary.” She is Dundee Fellow at Duncan of Jordanstone College of Art and Design, University of Dundee. Anna Dezeuze, is the editor of The 'Do-it-yourself' Artwork: Participation from Fluxus to New Media and co-editor, with Julia Kelly, of Found Sculpture and Photography from Surrealism to Contemporary Art. Her writing has appeared in Oxford Art Journal, Women & Performance, Performance Research, Mute, and Art Monthly. She is a Lecturer in Art History at the Ecole Supérieure d'Art et de Design Marseille Méditerranée. Catherine Wood is Curator of contemporary art/performance at Tate Modern and is currently curating, with Jessica Morgan, the upcoming exhibition, "The World as a Stage." Recently, she programmed "Theatre Pieces," a series of live works for the Tate Triennial 2006. She has regularly published articles in Afterall, Frieze, Art Monthly, and Untitled and has contributed numerous essays to exhibition catalogs. Janet Kraynak is a New York-based art historian. Erik Verhagen, an independent curator and an art critic, is Associate Professor of Contemporary Art History at Université de Valenciennes. Peter Weibel is Chairman and CEO of the ZKM Center for Art and Media Karlsruhe. With Bruno Latour, he coedited ICONOCLASH and Making Things Public as well as other ZKM volumes, including, most recently, Sound Art and Global Activism (all published by the MIT Press). Thomas Hirschhorn (b. 1957) is a Swiss artist known for large sculptures and ambitious projects, often constructed of everyday, makeshift materials. Bruno Latour, a philosopher and anthropologist, is the author of We Have Never Been Modern, An Inquiry into Modes of Existence, Facing Gaia, Down to Earth, and many other books. He coedited (with Peter Weibel) the previous ZKM volumes Making Things Public, ICONOCLASH, and Reset Modernity! (all published by the MIT Press). Samuel Bianchini, an artist and researcher, is Associate Professor at the École Nationale Supérieure des Arts Décoratifs (EnsAD), PSL Research University Paris where he is the head of the "Reflective Interaction" Research Group of EnsadLab, the school's laboratory. Nicolas Bourriaud was the co-director of the Palais de Tokyo in Paris and an art advisor for the Victor Pinchuk foundation in Kiev. His previous books include L'ère tertiaire, Esthétique relationnelle, and Formes de vie . Claire Bishop is the author of Installation Art: A Critical History and a contributor to many art journals, including ArtForum, Flash Art, and October. She is a Lecturer in History of Art at the University of Warwick.
