Helen Pritchard (co-head of programme)
Helen is joint head of BSc Digital Arts Computing and a lecturer in Computational and Digital Arts. As an artist and geographer Helen’s interdisciplinary work brings together the fields of Computational Aesthetics, Geography, Design and Feminist TechnoScience. Her practice is both one of writing and making and these two modes mutually inform each other in order to consider the impact of computational practices on our engagement with environments. Central to Helen’s work is the consideration of co-research, participation and environmental practices. Helen’s practice often emerges as workshops, collaborative events and computational art. She is the co-editor of Data Browser 06: Executing Practices, published by Autonomedia. NY (2017).
Audrey Samson (co-head of programme)
Audrey is joint head of the BSc Digital Arts Computing and a lecturer in Fine Arts (Critical Studies) in the Art Department. Resident at the Somerset House Studios, she is a critical technical practitioner in the métis duo FRAUD which develop forms of art-led inquiry into the multiple scales of power and necropolitics that flow through physical and cultural spaces.
Simon is a digital artist with a background in music and a strong preoccupation with games and play. His work incorporates hidden mechanisms, emergent behaviour, paradox, self-reference, inconsistency, abstract humour, absurdity and wonder. He makes software which creates musical odysseys through exploring animated worlds and design games in which the players unwittingly become performers of bizarre and occasionally daft rites.
Rebecca is a faculty member at Goldsmiths, and a member of the Embodied AudioVisual Interaction (EAVI) group. She also supervises research in the Soundlab at Princeton University. Her research work encompasses a variety of projects developing new technologies to enable new forms of human expression and creativity. Much of this combines techniques from human-computer interaction, machine learning and signal processing to allow people to apply machine learning more effectively to new problems such as the design of new digital musical instruments and gestural interfaces for gaming and health.
Atau bridges the fields of media art, experimental music, and research. Active in the Tokyo noise music and media arts scenes, he moved to Paris with a residency at the Cité des Arts to work at IRCAM, was Artistic Ambassador for Apple France, and was researcher at Sony Computer Science Laboratory Paris. Atau creates sensor-based musical instruments for performance and exhibition, and is known for his work with biosignal interfaces. His recent work seeks to harness collective musical creativity in mobile environments, seeking out the continued place of the artist in democratised digital forms.
Theodoros is a senior lecturer in computational arts and the course leader of the MA/MFA in Computational Arts. He completed his PhD in face recognition at Imperial College after which he returned to Greece where he started the premiere computational media course at the Athens School of Fine Arts. He is the co-founder and director of Random Quark, a creative technology studio where they develop experiences for artists and brands that delight and impress.
Edgar is senior lecturer in Fine Art (Critical Studies) at Goldsmiths. He is an artist and co-director of A Conversation in Many Parts, the international discursive platform for contemporary art and concepts. Recent exhibitions include British Art Show 7, Hayward Gallery, ICA London. His book on ambient attitudes is under negotiation with Sternberg Press, Berlin/ NY.
Michael is an academic in the Department of Computing. He teaches perception & multimedia computing. He has been a software developer at Avid, SoundHound, Cycling ’74, and Keith McMillen Instruments. He has also taught live electroacoustic music, real-time interaction and socialist realism.
Sylvia is a Lecturer in Virtual Reality. Working in VR for more than 10 years she developed a unique interdisciplinary research profile with journal and conference publications in both VR technology and social neuroscience. Her work in training and education in VR has been featured multiple times in the media, including BBC Horizon and the New Scientist magazine. More info can be found on Xueni Pan's website.
Richard's main area of scholarly interest is in visual art that engages in one way or another with the political; he is interested in the political impact of visual art and also the boundaries between aesthetics and politics. His interests are primarily philosophical, but over the course of the last four years he has written about a fairly wide range of artists as well as the theoretical problems associated with art and politics.
Catherine is currently researching the re-enactment of histories of feminism in contemporary art. Her work explores re-enactment as a way of learning from history, as well as a place of fantasy and possibility for the future. Drawing on thinking about temporalities and history-making from queer and feminist theorists, as well as the construction of ‘the contemporary’ and ‘contemporary art’ in philosophy and art history, she has written a number of essays that explore strategies of re-enactment, re-writing and community-building across temporal divides. The beginning of this research has been published as “Fans of Feminism: re-writing histories of second-wave feminism in contemporary art” and “A Time of One’s Own" in the Oxford Art Journal.
Ros is Senior Lecturer in Fine Art, Critical Studies in the Art Department at Goldsmiths. Her research explores the trajectories of militant filmmaking, particularly in relation to liberation struggles and revolutionary movements in Mozambique, Angola, Portugal, Guinea-Bissau and Burkina Faso, and more recently with the intersections between artistic practices and decolonial environmentalism.
Stephen has worked in collaboration with Graham Ellard since 1993. Their work is concerned with the relationship between pre-cinematic spectacle and immersive space and abstract film and cinematic spectacle. This body of work exists at the intersection of architecture and film and draws on and emphasises the architectural qualities of the projected video image to create an immersive and dynamic space that the spectator experiences as a kind of performer. Most recently, their work has engaged with the conventions of representing architectural space in film.
Susan is a writer, artist, organiser and educator. She researches the relationships between art and micropolitics: where the production of subjectivity becomes a crucial site for analysing and intervening in the reproduction of capitalism, imperialism, art and culture. She has worked in performance, video, installation, drawing, and public / site-based intervention. More recently, she has been focused on writing and co-producing workshops and research processes using various forms of participatory militant investigation.