Transart Institute

I am Professor of Art and Computational Culture, Director of the Digital x Data Research Centre, and co-Director of Centre for the Study of the Networked Image (CSNI) at LSBU. Previously I worked at University of Plymouth, where I did my PhD (2006). I worked at Aarhus University (2010-17) and am now Honorary Professor in Digital Design and Information Studies in the School of Culture and Communications. In addition, I am adjunct faculty of Transart Institute, an independent art school registered in the New York (since 2006). Previously I have held curatorial positions at Camerawork in Education/Outreach (1994-98) and Arnolfini as adjunct for online projects (2008-13) and was co-Director of MA Curating Art and Public Programmes, in partnership with Whitechapel Gallery (2020-24). I have held Visiting Scholar positions at the Computer Lab, University of Cambridge (2016), and Digital Visual Studies, Max Planck/University of Zurich (2022). Published books include Speaking Code (with Alex McLean, MIT Press, 2013), Aesthetic Programming (with Winnie Soon) published by Open Humanities Press (2020), and Live Coding (with Alan Blackwell, Emma Cocker, Thor Magnusson, Alex McLean, MIT Press, 2022). I am an advisor for the online journal Computational Culture, and AI in Society and Culture, an initiative of Oxford University Press. As an outcome of The Contemporary Condition research project (co-PI, Danish Research Foundation), I co-wrote The Contemporary Condition: Introductory Thoughts on Contemporaneity and Contemporary Art (with Jacob Lund, Sternberg Press, 2016), the first in a book series that I continue to co-edit. I also co-edit (with Joasia Krysa) the open access DATA browser book series published by Open Humanities Press.

Sarah Bennett is a UK based artist with over 40 year’s teaching and academic leadership experience in Fine Art, most recently at Kingston School of Art, London, where she was Head of the School of Art and Architecture 2016-2021. In 2018 Bennett joined EQ-Arts, NL, as a Board Member and has since chaired multiple enhancement and accreditation panels for EQ-Arts and national quality assurance agencies in art schools across Europe, most recently at KABK in Den Haag, Netherlands and TSAA, Tbilisi, Georgia. She has contributed to a number of interdisciplinary and international educational research projects, such as the EU funded CALOHEX tuning project 2020-2024, and her papers relating to contemporary art practice and archives have been presented in international conferences and publications. Bennett has supervised artistic research doctorates since 2010.

Bennett’s artistic research traverse fine art practice, archival studies, cultural geography, architecture, and museology, and she employs a range of artistic research methods and material processes including digital recording and projection; facsimile object making; observational drawing; and embodied actions. Through these she aims to reveal how diverse institutional systems operate, and to question the level of complicity society affords such systems, i.e. how we are implicated in their continuance. At the same time, in her methods of making and installing work, she endeavors to imbue the artwork with an affective 'charge' that may elicit critical, interpretative and associative responses on the part of the audience. Recent artistic research projects have centered on historical and contemporary institutional archives, with specific focus on nineteenth-century psychiatry: Safe-keeping (custodia) and the Museo Laboratorio della Mente, Rome, and at the Museo Manicomio di San Servolo, Venice; and 'Bummock: the Tennyson Research Centre' at The Collection, Lincoln, UK – documented in Bennett, S. Bracey, A. Maier, D. (2023) ‘Controlled Rummage Approaches for Bummock: Tennyson Research Centre’ Journal of Artistic Research, Society of Artistic Research. Bennett’s PhD was completed at Plymouth University in 2010 and disclosed new understandings of the workings of a former asylum that was redeveloped as exclusive housing.

Simon Pope is an artist and researcher whose practice has focused on the social relations of walking as art, networked technologies, and the politics of more-than-human social worlds. He has a DPhil from the Ruskin School of Art, University of Oxford, and previously served as Reader and MFA Director at Cardiff School of Art & Design and visiting researcher at Hogeschool Sint Lukas, Brussels. He has held fellowships at Birkbeck, Queen Mary University of London, Goldsmiths, and the British Library. He is currently an Associate Researcher in Food Studies at the University of Exeter, and Dean of Transart Institute’s postgraduate programmes. Pope's was a recipient of a UK government NESTA Fellowship (2002–2005), and represented Wales at the 50th Venice Biennale of Fine Art. He co-founded net.art collective I/O/D, winners of a Webby Award, and Honorary Mention at the Prix Ars Electronica.

James Charlton is New Zealand-based trans-disciplinary artist whose research has developed out of an established sculptural practice. His work spans a spectrum of work that includes object-based sculpture, stereo-lithography, installation, robotics, interactive screen-based, and performance work. He lectures on post-material practices and interactive installation, topics that parallel his PhD research into digital materiality with Plymouth University (UK).

Recent projects include: Thrown (Te Uru, Auckland, 2020), Rebound, (KARST, Plymouth, UK, 2017), Catch|Bounce, (LJMU, Liverpool ,2017), Three Action in 56 Bytes, (Berlin, 2014), Waiting event: 64 bytes, ( Lisbon, 2014), Body Tok Quintet, (NZ, with Dadson, ongoing since 2012 ), iForm, (Boras, 2011), Inside Out, (AUS, UK).

Zealand-based,

Recent publications include: Psychedelic Intent, 2024. Getting It Straight: Contact, in Resetting the Coordinates, 2024. Catch/bounce: Stack Overflows and Digital Actions. In Digital Movement. Palgrave MacMillian, 2015. Add to Shopping Basket (ARPA for Transmediale, DE, 2015), Post Screen Not Displayed (Post Screen Festival, PT, 2014), Remembering a Post-Digital Future (ARPA for Transmediale, DE, 2013), Acts of Materiality (Making Futures, Plymouth, UK, 2013).

Susie Quillinan is a co-curator, editor and researcher based in Peru. Deeply curious about knowledges shaped through practices of accompaniment, Susie is curatorial director and editor of publications at Hawapi, an organisation that since 2012 has been mapping artistic responses to sites of ecosocial conflict in the Andean region. She founded sala de lectura (Lima) and the Mundos habitables research platform—an initiative for practices, textures, resources, and imaginaries of accompaniment, and in 2026-27, is invited curator of the inaugural edition of PIBA - Proyecto Integraciones Bosque Arte (Peru), a research creation project supported by Pontifica Universidad Católica del Perú (PUCP). As an arts editor Susie has worked on projects for La Biennale di Venezia, Sternberg Press, Mousse Publishing, Art Jameel, Govett-Brewster Art Gallery, Art Gallery of Western Australia, the Art Museum of Guangzhou Academy of Fine Arts, Archive Books, Onomatopee, amongst others.

Formerly, Susie was also Head of Masters Studies at Transart Institute for Creative Research, where she oversaw the research of MFA students, while curating and implementing four annual research residencies in Berlin, Liverpool, New York and Mexico City, as well as online programming. She has developed encuentros, exhibitions, editorial projects, symposia & educational programming with Monash University (Melbourne), Goldsmiths University (London), Centre of Visual Art (University of Melbourne), Parsons School of Art, Media and Technology (Parsons School of Design, The New School), Liverpool John Moores University (UK), Essex University (UK), Museo de Arte Contemporaneo (Lima), PS122 Gallery (NYC), The 8th Floor (NYC), SOMA (Mexico City), Elizabeth Foundation for the Arts (NYC), Uferstudios (Berlin), Goethe Institut (Barcelona) and others in Lima, Bogotá, Mexico City, Berlin, New York City, Cusco, Oaxaca, Liverpool and Melbourne. She has received funding from Gwaertler Foundation, Arts Collaboratory, Stiftung Arts Edu, Ministry of Culture Peru, Goethe Institut, ICPNA (Peru), PS122 Painting Space Foundation (NYC), University College London, amongst others.

Susie recently completed her PhD in Curatorial Practice at MADA (Monash University) and is a member of several collectives including Study Pattern Curatorial Collective (Australia / Peru / Serbia), transfeminist art and activist collective Retablos por la Memoria (Peru), Colección Cooperativa (Peru) and textile cultures research project, Espacio Textil Contemporaneo (Peru). Meanwhile, she lives in a cloud forest in northern Peru with a small flock of sheep and an unruly vegetable garden.

Anthi Kosma is an architect whose research focuses on drawing as exploration, as a means of sentimental expression, embodied experience, and poetic force through improvisation.

She holds a PhD (2014 Cum Laude & special honor) and DEA (2008),in architecture from the School of Architecture of Madrid (ETSAM) under the supervision of Javier Seguí de la Riva, with scholarships from IKY and Triandafyllidis Foundation respectively. Since 2019 is giving classes as visiting professor at the Department of Architecture at the University of Thessaly, (Volos) and during the academic year 2022-23 at National Technical University of Athens. She is also an advisor at TransArt Institute since 2020. She has organized several workshops, named "Imprográfika", on experimental drawing (digital and analogical) and graphic improvisations, in Spain and abroad, such as online courses at the Mexican platform of visual arts, “Taller Multinacional”.

I am Professor of Art and Computational Culture, Director of the Digital x Data Research Centre, and co-Director of Centre for the Study of the Networked Image (CSNI) at LSBU. Previously I worked at University of Plymouth, where I did my PhD (2006). I worked at Aarhus University (2010-17) and am now Honorary Professor in Digital Design and Information Studies in the School of Culture and Communications. In addition, I am adjunct faculty of Transart Institute, an independent art school registered in the New York (since 2006). Previously I have held curatorial positions at Camerawork in Education/Outreach (1994-98) and Arnolfini as adjunct for online projects (2008-13) and was co-Director of MA Curating Art and Public Programmes, in partnership with Whitechapel Gallery (2020-24). I have held Visiting Scholar positions at the Computer Lab, University of Cambridge (2016), and Digital Visual Studies, Max Planck/University of Zurich (2022). Published books include Speaking Code (with Alex McLean, MIT Press, 2013), Aesthetic Programming (with Winnie Soon) published by Open Humanities Press (2020), and Live Coding (with Alan Blackwell, Emma Cocker, Thor Magnusson, Alex McLean, MIT Press, 2022). I am an advisor for the online journal Computational Culture, and AI in Society and Culture, an initiative of Oxford University Press. As an outcome of The Contemporary Condition research project (co-PI, Danish Research Foundation), I co-wrote The Contemporary Condition: Introductory Thoughts on Contemporaneity and Contemporary Art (with Jacob Lund, Sternberg Press, 2016), the first in a book series that I continue to co-edit. I also co-edit (with Joasia Krysa) the open access DATA browser book series published by Open Humanities Press.

Beth Krensky is a Utah-based artist who traverses the borderlands between spirit and matter. She is a Distinguished Professor of Art Teaching at the University of Utah who received her formal art training from the School of the Museum of Fine Arts at Tufts University and MIT’s Center for Advanced Visual Studies.

She is also a scholar of community-based art education. She holds an M.Ed. form the Harvard Graduate School of Education and a Ph.D. in Educational Foundations, Policy and Practice, from the University of Colorado-Boulder.

The Yale Institute of Sacred Music recently mounted a 20-year retrospective of Krensky’s art and she was selected as one of five performance art finalists for the 16th Arte Laguna Prize. Her work has been exhibited or performed in numerous international biennials and currently is traveling across Australia for 20 months as part of the International Textile Biennial.

Susanne Martin, PhD

Susanne is a Berlin-based choreographer, performer, researcher, and teacher in contemporary dance. She presents her work internationally in solo performances and collaborative stage works. Her dance practice and research focus on improvisation, contact improvisation, critical practices and narrations of age(ing), artistic research methods, and improvisation-based approaches to knowledge production and knowledge dissemination. Festivals that presented her performances include: International Dance and Theatre Festival (Gothenburg), Aerowaves (London), Nottdance (Nottingham), Opera Estate (Bassano del Grappa), Tanec Praha (Prague). Her PhD dissertation Dancing Age(ing): Rethinking Age(ing) in and through Improvisation Practice and Performance was published 2017 by transcript. In her postdoctoral research at EPFL, Switzerland (2018-2021) she examined dance improvisation in its potential to rethink and advance processes of learning and researching in a technical university. Susanne publishes in the fields of dance, improvisation, age and aging and education. 2018 – 2021 she supervised MfA students for Transart Institute. Since 2021 she supervises PhD students for Transart Institute. More information: www.susannemartin.de

I am a Professor of Artistic Research in the School of Arts and Social Sciences, at London South Bank University. I work on performance and migration as researcher and performance practitioner. I am predominantly interested in the relationship between performance, politics of migration and environmental cultural studies. My approach to teaching, research and work priorities an ethos that is collaborative and feminist.

I am a distinguished emeritus professor of social sciences at Cardiff University, UK. My background was in psychology and I have a high profile research career in this field. I am editor of the journal Subjectivity (Palgrave). As a young child I really wanted to study art but was not encouraged as it was not clear that it would lead to a job. Even as a professor I pursued my dream and completed a Diploma in Art and Design (winning a major prize for my work) and an MFA. I like to work in mixed media - performance, film, pastels and to undertake research combining this with humanities and social science. In both I pursue themes relating to inequalities and injustice. I combine writing and image-making.

Sarah Bennett is a UK based artist with over 40 year’s teaching and academic leadership experience in Fine Art, most recently at Kingston School of Art, London, where she was Head of the School of Art and Architecture 2016-2021. In 2018 Bennett joined EQ-Arts, NL, as a Board Member and has since chaired multiple enhancement and accreditation panels for EQ-Arts and national quality assurance agencies in art schools across Europe, most recently at KABK in Den Haag, Netherlands and TSAA, Tbilisi, Georgia. She has contributed to a number of interdisciplinary and international educational research projects, such as the EU funded CALOHEX tuning project 2020-2024, and her papers relating to contemporary art practice and archives have been presented in international conferences and publications. Bennett has supervised artistic research doctorates since 2010.

Bennett’s artistic research traverse fine art practice, archival studies, cultural geography, architecture, and museology, and she employs a range of artistic research methods and material processes including digital recording and projection; facsimile object making; observational drawing; and embodied actions. Through these she aims to reveal how diverse institutional systems operate, and to question the level of complicity society affords such systems, i.e. how we are implicated in their continuance. At the same time, in her methods of making and installing work, she endeavors to imbue the artwork with an affective 'charge' that may elicit critical, interpretative and associative responses on the part of the audience. Recent artistic research projects have centered on historical and contemporary institutional archives, with specific focus on nineteenth-century psychiatry: Safe-keeping (custodia) and the Museo Laboratorio della Mente, Rome, and at the Museo Manicomio di San Servolo, Venice; and 'Bummock: the Tennyson Research Centre' at The Collection, Lincoln, UK – documented in Bennett, S. Bracey, A. Maier, D. (2023) ‘Controlled Rummage Approaches for Bummock: Tennyson Research Centre’ Journal of Artistic Research, Society of Artistic Research. Bennett’s PhD was completed at Plymouth University in 2010 and disclosed new understandings of the workings of a former asylum that was redeveloped as exclusive housing.

Angela Bartram is an artist and artistic researcher who investigates thresholds of the human body, gallery or museum, definitions of the human and animal as companion species and strategies for documenting the ephemeral. The research, made individually and through collaboration, is made public through exhibitions, events and published texts. Bartram is Professor of Contemporary Art and Co-Lead for the Creative and Cultural Industries Academic Theme and Research Centre at the University of Derby. Amongst other board affiliations, she is Vice President of the Society for Artistic Research and Trustee of the Board of Directors of the Live Art Development Agency. Her PhD in Fine Art and Visual Culture is from Middlesex University.

Simon Pope is an artist and researcher whose practice has focused on the social relations of walking as art, networked technologies, and the politics of more-than-human social worlds. He has a DPhil from the Ruskin School of Art, University of Oxford, and previously served as Reader and MFA Director at Cardiff School of Art & Design and visiting researcher at Hogeschool Sint Lukas, Brussels. He has held fellowships at Birkbeck, Queen Mary University of London, Goldsmiths, and the British Library. He is currently an Associate Researcher in Food Studies at the University of Exeter, and Dean of Transart Institute’s postgraduate programmes. Pope's was a recipient of a UK government NESTA Fellowship (2002–2005), and represented Wales at the 50th Venice Biennale of Fine Art. He co-founded net.art collective I/O/D, winners of a Webby Award, and Honorary Mention at the Prix Ars Electronica.