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The New Centre for Research & Practice, in collaboration with Richmond Art Gallery, will host the Incredible Machines 2022: Model Is the Message on October 1 and 2, 2022. If you want to purchase the book containing the proceedings of this conference, please visit THIS LINK.
BACKGROUND: The original Incredible Machines conference was a two-day live, in person and online gathering on March 7-8, 2014, in Vancouver, Canada. Conceived as a transdisciplinary event for discussions about the transformative role of computational technologies, it brought together a large group of thinkers and artists in a new presentational format that challenged conventional thinking about technology inside and outside the world of contemporary art. Organized by Mohammad Salemy and Access Gallery, Incredible Machines 2014 was the first academic conference with both online and IRL presentations. It featured guest speakers and a sizable audience from different parts of the world and set the stage for the establishment of The New Centre for Research & Practice in the following September as an online platform with year-round programming dedicated to the questions of technology and futurity, now in its 9th year of operation.
DESCRIPTION: While keeping the discussions of the original event in the rearview mirror, the Incredible Machines 2022 will be looking at the technological developments of the last decade in the broadest sense, especially those with ontological roots in scientific, social, cultural, and political technologies. Our current epoch is marked by techno-capitalism's instrumental logic and unsatiated thirst for human attention, leaving less and less time for us to produce, contemplate, or even value original and extensive explanations, reflections, and critiques of the existing world.
If the declining value of meaningful content in the postwar world was summarized by Marshall McLuhan's famous words that "the Medium is the Message," today we are confronted with a changing world in which, according to the Philosophers of Technology Benjamin Bratton and the computer engineer Blaise Agüera y Arcas, "The Model is the Message." Can a shift from the medium to modeling enable us to circumvent observations and critiques to instead arrive at alternative modes of operation that bring forth consequential interventions in the world?
Models are characterized by their deep foothold in the techno-scientific world and their prevalent role in executing tasks. They emblemize the interplays and tradeoffs between representational fidelity and practical constraints. Models not only signify the friction between our theoretical and practical resources versus reality but also navigate conflicts and conformities between various theoretical and practical frameworks.
In this sense, models are not mere idealizations, useful fictions, or indirect ways of talking or acting upon the world but encapsulations of know-whats and know-hows inherent to theoretical and practical commitments pertaining to framing and unframing the world, namely knowing and acting upon it. Given their entanglement with the suppositions and partialities—whether implicit or explicit—embedded in theoretical and practical frameworks, models can either reveal or surreptitiously carry and reinforce these elements. They create what is often called black box systems or black box societies in which programmatic schemes of operations have been not only automated but kept away from our awareness and intervention.
Incredible Machines 2022 will also examine the possibility that the fields of design and architecture via model making can function today as a space of refuge for artists and thinkers to embed their own descriptive and critical observations directly as speculative yet practical and implementable models. This approach might allow us to reformulate the function of models not just as developmental blueprints but as technologies to protect innovative ideas for their future access and implementation.
Incredible Machines 2022 is conceived as a space for experimenting with new ideas through meaningful interactions between conference guests and researchers from multiple fields of knowledge. Thus, the number of attendants will be limited, and observers will be shortlisted based on their research interests and fields of practice.
If you are interested in being an observer, please complete this form, and we will contact you soon with instructions for attending the conference.
Incredible Machines 2022: Model Is the Message: October 1–2
IMAGE: Modulating Ramp, Justin Lincoln, 2022
Conference Abstracts
CONFERENCE ABSTRACTS
-DESIGNING THE PROBLEM, MODELING THE SOLUTION
Ross McElwain & Jay Springett
Decentralized Autonomous Organisations were originally imagined by cybernetics and later realized on the blockchain. An alegal organizational model ideal for coordinating both large and small groups across territorial borders, DAOs have become a design space explored notably by gamers, artists, and activists, especially in the field of governance. We foresee DAOs playing a crucial role in the passage between what might be termed hybrid realities, both on and offline. This is a natural consequence of internet-native generations’ sharp awareness of living inside political, fictional and other models, and will constitute a powerful form of critique from within.
Mi You
My contribution focuses on Chinese scientist Qian Xuesen and the recent retro-futuristic sci-fi Qian Xuesen and the Yangtze River Computer (2021) by artist Shi Qing. Qian Xuesen was the scientist behind China’s missile and space program since the 1950s, and no less importantly, he ventured into more speculative realms of somatic sciences in the 80s. His inquiry into technologies that integrate with the human remains understudied today, a point to which Shi Qing pays tribute through the fictive Yangtze River Computer based on the mobilization of the masses. The talk brings together both alternative histories of computation and tech imaginaries, and highlights their idiosyncrasies against the backdrop of current (artist and speculative) accelerationist tech imaginaries on the left. With this, I ask what it means to reclaim computation technology from a non-West and left perspective today.
Zenobio Almeida
One of the great difficulties in designing with formal models is concretizing them in the objective world as functional tools or techniques. Inspired by Fuchs-Kittowski, a pioneer in the theory and methodology in regards to designing information systems, I will question the field of tensions between formal models and the nonformal world. If the model is the message, what is between the message and the world? Which messages are we throwing to our worlds, and through which models are we not just perceiving our always mediated cognitions but also creating and recreating the new worlds? Which systems of interaction between artifacts, users, and environments can enhance cognition, recursively improving the systems?
Benjamin Bratton
At what point does the performance of reason become a kind of reason? As Large Language Models, such as LaMDA, come to animate cognitive infrastructures, the questions of when a functional understanding of the effects of “language”— including semantic discrimination and contextual association with physical world referents — constitute legitimate understanding, and what are necessary and sufficient conditions for recognizing that legitimacy, are no longer just a philosophical thought experiment. Now, these are practical problems with significant social, economic and political consequences. One deceptively profound lesson, applicable to many different domains and purposes for such technologies, may simply be (several generations after McLuhan): the model is the message.
Ed Keller
Where does thinking take place, and what is the relationship between symbolic or metasymbolic systems and levels of sapience? How does current work in VQGAN/Clip* and Diffusion**, connect to a deeper ecosystemic thinking or an architectural/urban thinking about systems intelligence? This talk, in the context of AI/ML generated imagery produced using tools such as NightCafe, will touch on subjects including the overview effect, ubiquitous cognition, metalinguistics, latent space, the geopolitics of the multiverse, and ultraconserved gestures as a partial response to some of the mechanisms of cognitive capture. *VQGAN (Vector Quantized Generative Adversarial Network): VQGAN is a GAN architecture which can be used to learn and generate novel images based on previously seen data. **The diffusion model works by adding Gaussian noise to the training data and then learning to recover it.
Patricia Reed
In this presentation, we'll examine the interplay between two distinct pictures of models: the model as epistemological mediator (Margaret Morrison), and the model as performative driver (Donald MacKenzie). In combining these two model picturings, we can come to understand the function of models as a form of cognitive interference, that is, as an enabling thought-prosthetic mingling the activities of discovery and manipulation. This framework allows us to better understand Alain Badiou’s premise that models induce 'participation', where participation is understood as a mixture of the sensible and the intelligible.
Valentin Golev
The most impressive technologies we’ve been facing recently go beyond achieving particular technical goals and objectives, expressing vague but important notions that would hitherto fall under the purview of philosophy: truth and meaning (formal logical systems), fairness and honesty (blockchains), intelligence or creativity (machine learning). Recognition of a familiar structure behind technology can help us critically understand its mythological functioning without losing the perspective of its metaphysical ambitions that influence and mirror the social consequence of technology. We have to learn to read technologies as modern myths to avoid mistaking their posits for the truth.
Daniel Young
My presentation proposes the systems-based photography with which I have experimented in the past few years in my projects. I will be speculating on the limits to these strategies and the presisting need for problematic cognitive shortcuts of heuristics, and the narrative functions of the descriptions of systems.
-WHEN TO MODEL, HOW TO KNOW
Elie Ayache
Recent propositions in derivative pricing and stochastic volatility modeling suggest that truth exists below the surface of derivative and asset prices, truth as seen from God's point of view. Technically, it is the 'rough volatility model'. They call it ‘God’s model’. By contrast, the ‘Market models’ approach finds no place for such underlying truth, or indeed an underlying stochastic process, and believes only in surface models, where derivatives are themselves the underliers and their price is the only fact, produced solely by the machinic, automatic, autonomous and anonymous logic of the market.
Anna Longo
On the one hand, economic growth is fueled by the innovations and advances in the sector of information technology, on the other hand, the expansion of platforms has been favorizing the spread of the so called “gig economy”. Will the Platform Economy, the reorganization of markets, enterprises, and social organization it portends, catalyze economic growth and a surge in productivity driven by a new generation of entrepreneurs? Or will the reorganization concentrate gains in the hands of those who generate the platforms and possibly even stifle future entrepreneurs? Will it spark a wave of entrepreneurial possibilities, or an avalanche of dispossessed workers trying to make their way with gigs and temporary contracts?
Franziska Aigner
My contribution deals with how models and other practical forms are capable of addressing planetary-scale transformations caused by technological change, through asking about the underlying, technical conditions of possibility of models, practical forms, and ultimately schemata. The route of questioning will take its starting point from Adorno and Horkheimer’s critique of the culture industry, and specifically Hollywood cinema, in their 1944 Dialectic of Enlightenment, which hinges on the claim that its “prime service to the customer is to do his schematizing for him [sic].” Hollywood cinema is here said to have finally deciphered and gained control over what, according to Kant in the Critique of Pure Reason was essentially characterized as a “hidden art in the depth of the human soul.” How, then, is it possible for the culture industry to ‘schematize’ for us, and what are the consequences (political, social, moral, epistemological, ontological) of an externalized and industrialized schematization?
Katerina Kolozova
I will revisit the notion of technē in Aristotle's Poetics and seek for correspondences between the understanding of art, technology and mechanics in the European history of ideas that draws on the Aristotelian tradition or could be related to it indirectly, namely via the materialist, empiricist and other approaches. They do not necessarily need to be relegated to the materialist as opposed to the idealist philosophical and scientific legacies but do occupy such niches even within the opposing traditions of thought. In Aristotle, the creation of the work of art is no different than any other form of cognition: consider the notion of mimesis rendering art, technology and philosophy closely interlocked.
Jean-Pierre Caron
In the Atlas of Experimental Politics, The Subset of Theoretical Practice Collective offered a toolkit for navigating the social worlds of concrete political practice. In this presentation, I flesh out one of the ideas proposed in the Atlas, namely, how political organizations can yield information about the worlds we inhabit, which we can call the epistemic mediation aspect of an organization. By trying to quickly reconstruct the mediations through which a cognitive function can be assigned to political organizing I will perform a critique of the way “worldmaking” has been used in connection to political matters recently.
AA Cavia
The 'frame problem' was first articulated by Patrick Hayes & John McCarthy in 1969, in the context of artificial intelligence for situated robotics at Stanford University. This talk examines both the epistemological and computational aspects of the problem through the lens of topology. I will discuss two notions of frame, the first from model theory, and the second from constructive mathematics, proceeding from the theory of locales.
Reza Negarestani
A precursor to the philosophy of modeling, Hans Vaihinger is often credited for foreseeing a systematic inquiry into the nature of models as artifices (Kunstgriffe) which express the fictive (phantasizing) activity of the mind. Composed as a series of annotations on text-to-image generation algorithms, this presentation attempts to look at such machine learning models through a synthesis between the model as a fictive activity and fictive activity as a function of what Edmund Husserl has called phantasy and its affiliates, memory and image-consciousness. This synthesis allows us to look at the interaction with models as itself a rich territory largely unexplored—a territory where the function of phantasy or imagination (in the Husserlian sense) is exteriorized or turned inside out. Such an exteriorization marks the beginning of the lengthy process of unimagining imagination, an unlearning necessary for re-imagining imagination stripped from centuries of grime accumulated around it in the name of the human impression of human creativity.
Cássia Siqueira
My presentation deals with the sex class system as a constitutive - though contingent - feature of culture, and points to a project in which it is designed as a trap. Following Shulamith Firestone's analysis of the aesthetic/technological dialectics of cultural history and Helen Hester's xenofeminist reading of her work, conjoined with an infrastructural treatment of grammar as embedded in the logical-material concept of forms of life, I approach gender abolition and the end of culture as we know as a neorationalist project, aligned with a throughgoing critique of the human's transcendental structures.
-CONTEMPORARY ART MODELING NOVELTY, FORMING KNOWLEDGE
Jason Mohaghegh
There are a growing number of theories that revolve around the machine's relation to the unconscious thus opening doors to discourses on the psychoanalysis of virtual worlds, multiverses, algorithms, and artificial intelligence itself. However, one often forgets the hidden lineage of the psyche that resides within hypnosis. This obscure paranormal domain of inquiry -which consists of experiments with ideas of positive and negative hallucinations, magnetism, mesmeric seizures, suggestion, telepathy, telekinesis, intuition, identity-switching, ideomotor reflexes, and "communities of sensation"- is also strangely the resurrected yet hidden promise behind many technologies of the future. Nevertheless, my presentation will explore the lost component of this connection between hypnotic methodologies and machinic devices: namely, a unique relation to "the black" (i.e. to darkness, silence, and the nothing), like that of the sensory deprivation chamber, which always formed such atmospheres of persuasion and entrancement in the past. The question therefore arises: Can the machine master black thought/space in order to summon extraordinary powers found only in blindness?
Judy Radul
Reflecting on a few of my artworks structured by questions of listening and speech, this event provokes me to speculatively question the effect of AI listening as a model of reception. If listening is not only, and perhaps not primarily, about interpretation, but a receptive feedback system profoundly conditioning the very possibilities of speech, how does the listening of chatbots, AI Therapists, surveillance systems and virtual assistants enable/disable and upload/download subjectivities. “Reception” as a sort of indexical passivity, does not correspond to this model of listening. My interest is to interrogate a cultural orientation toward conceptualizing discourse as self-generating and to consider what is opened/closed in new computational forms of reception.
Rodolfo Sousa Ortega
In this presentation, I will work with the idea of transformational inventions dealing with physical erosion to mesoamerican religious sculptures caused by archeological and architectural policies in the Gulf of Mexico. I will be focusing specifically on a case study of Zapotal, a shrine that has been part of my research since 2019. The aim of my presentation is to rethink and reshape the archeological devices with new models enhanced by digital tools on one side and advancements resulting from the material and ecological turns, instead of the anthropocentric modern melancholy prevailing the heritage policies around the world.
Cécile Malaspina
My contribution to thinking about the model as the message will be to return to a moment in the history of thought when some of the most basic aspects of today’s modeling of intelligence were far from self-evident. What I want to show is that the conceptual solutions that have imposed themselves, as a result of impassioned and sophisticated debates, are not the result of indelible progress, but only one among other possible outcomes. In turn, the consequences of such modeling decisions truly become the message when they are naturalized and begin to determine what intelligence can be.
Erica Love & Joao Enxuto
It has been ten years since Alix Rule and David Levine published International Art English (IAE), an essay that produced an explanatory model for the language of contemporary art. Rule and Levine’s findings were derived from an analysis of press releases served up by e-flux and were much debated in its aftermath. It is not our aim to revive specific, periodized arguments but rather to consider which features of IAE persist today. Are the misapplications of intellectual forebears such as French poststructuralism and the Frankfurt School still at the root of IAE? Or has the IAE framework been comprehensively overwritten by discourses which have dominated the past decade, such as: affect theory, decolonization, care, contagion, cryptocurrency, and climate change?
Romulo Moraes
This presentation will cover the idea of portable listening devices as virtual reality devices, exploring how auditory technologies produced an opaque psychoacoustic space that enveloped its users decades before VR goggles came into existence. The sonic atmosphere enforced by portable listening devices, when paired with the visual movements of reality, seems to create a cinematographic effect. The user then gets the impression of "being inside a film". The lecture will try to understand the history of listening-as-cinema and how it can be a model for future aesthetic experiences.
Stephanie Wakefield
This presentation will discuss resilience ecology's concept of the back loop, both its uses and limits, as a means for understanding the current historical moment of the Anthropocene. It will also examine emergent models for responding to the Anthropocene back loop within art and urban design while asking whether these domains remain trapped in the Holocene and what models adequate to the Anthropocene might look like.
Xenia Benivolski
In the 1960s, radicals practicing the Workers’ Inquiry built on Marx's “Fragment on Machines" offered to workers and intellectuals an ant’s-eye view of capitalism, revealing workers’ power. This method portrays the worker as futurist project: (Haiven, Webb, Benivolski) Amazon contains all the elements of a sci-fi story: merciless subordination, frivolous space travel, an evil-villain out of touch with reality, and an unforgiving world increasingly consumed by class struggles. What narratives could the workers themselves propose? With workers, the project (Haiven, Webb and Benivolski) explores what radical hope and praxis might be found in science fiction texts.
IMAGE: Modulating Ramp, Justin Lincoln, 2022
Conference Program
CONFERENCE SCHEDULE
(All times are in Eastern time ET)
-DESIGNING THE PROBLEM, MODELING THE SOLUTION
SATURDAY OCTOBER 1, MODERATED BY AANACHEL SAXENA9:00 9:10 Introduction Shaun Dacey
9:10 9:20 Introduction Mohammad Salemy
9:20 9:25 Moderator Introduction
9:25 9:40 Ross McElwain & Jay Springett
9:40 9:55 Mi You
9:55 10:10 Zenobio Almeida
10:10 10:25 Benjamin Bratton
10:25 10:55 Q&A
11:10 11:25 Ed Keller
11:25 11:40 Patricia Reed
11:40 11:55 Valentin Golev
11:55 12:10 Daniel Young
12:10 12:40 Q&A
-WHEN TO MODEL, HOW TO KNOW
MODERATED BY MSTYSLAV KAZAKOV13:30 13:40 Introduction by Mohammad Salemy
13:40 13:45 Moderator Introduction
13:45 14:00 Elie Ayache
14:00 14:15 Anna Longo
14:15 14:30 Franziska Aigner
14:30 14:45 Katerina Kolozova
14:45 15:15 Q&A
15:30 15:45 Jean-Pierre Caron
15:45 16:00 AA Cavia
16:00 16:15 Reza Negarestani
16:15 16:30 Cássia Siqueira
16:30 17:00 Q&A
-MODELING NOVELTY, FORMING KNOWLEDGE
SUNDAY OCTOBER 2, MODERATED BY NICK VON KLIEST11:00 11:10 Introduction Mohammad Salemy
11:10 11:15 Moderator Introduction
11:15 11:30 Jason Mohaghegh
11:30 11:45 Julieta Aranda
11:45 12:00 Judy Radul
12:00 12:15 Rodolfo Sousa Ortega
12:15 12:30 Cécile Malaspina
12:30 13:00 Q&A
13:15 13:30 Erica Love & Joao Enxuto
13:30 13:45 Romulo Moraes
13:45 14:00 Stephanie Wakefield
14:00 14:15 Xenia Benivolski
14:15 14:30 Vali Mahlouji
14:30 15:00 Q & A
Conference Sponsors
CONFERENCE SPONSORS
Incredible Machines 2022: The Message is the Model is generously sponsored by Canada Council for the Arts & Richmond Art Gallery.
We would also like to thank the organizations, institutions, and individuals below for their continued support of Thew Centre that would make events like this possible:
Artez, Artworks, CalArts, Escola Superior Artística do Porto (ESAP), General Context,
Simon Fraser University
Aanchal Saxena, Aarti Sunder, Adam Burke, Adam Hulbert, Adam Klein, Adam Stein, Adnan Yildiz, Agata Szymanek, Akshat Khare, Aladin Borioli, Alan Diaz, Alberto Morreo, Alejandra Rodriguez-Bolanos, Alex Cruse, Alex Macqueen, Alexander Bard, Alexandra Collins, Alexandra Collins, Alexandra Taranu, Alexandre Damasceno, Alfredo Lozano, Ali Ebrahimi, Aliaksei Babets, Alvin Li, Ana Lourenço, Anders Aamodt, Andrew Copolov, Andrew McCarrell, Ankur Yadav, Anna Longo, Anna Riga, Ariana Kalliga, Arman Selahvarzi, Artemis Papachristou, Atefeh Ahmadi, Benito Maramaldi, Bertrand Coube, Bob Goodrich, Bradley Kaye, Brennan McDaniel, Brian Wong, Bruce Demedici, Bryan Smiegelski, Calvin Walds, Carlos Amador, Caroline Ballegaard, Caroline Elbaor, Casey Tang, Cassia Figueiredo, Cecile Malaspina, Charles Bertsch, Chris Hopper, Chris Moffett, Christopher Breu, Clareese Hill, Claudia Richoux, Cristian Dominguez, Dagmar Kestner, Dana Burns, Dana Burns, Daniel Jenatsch, Danna Albanyan, Daria Getmanova, David McKerracher, David McKerracher, Deborah Levitt, Defne Ayas, Denise Luna, Denisse Vega, Derek Hales, Di Chen, Diego Moreno, Dilshad Murad, Edna Amador, Eduarda Camargo, Eduarda Neves, Eduardo Vinuesa, Elizabeth Downey, Ella Barclay, Ellie Audet, Emiddio Vasquez, Emile Wilmar, Emma Stewart, Emma Stewart, Enda O'Riordan, Eric Meier, Esen Küçüktütüncü, Evrim Bayindir, Federico Nieto, FengQi Guo, Filipe Felizardo, Frederick Arias, Freya Haberlein, Freya Haberlein, Gabor Szalatnyai, Georgia Skartadou, Georgiana Cojocaru, Georgiana Cojocaru, Gio Lingao, Gio Lingao, Greg Ponchak, Gregory Kan, Gregory Vanwagenen, Guilherme Coelho, Hanna Hallam-Eames, Harry Duran, Henrique Darlim, Henrique Luciani, Hernan Blumenthal, Hernan Blumenthal, Ian Ross, Icaro Gabriel Cunha, Ioana Tomici, Ivan Loginov, Ivan Niccolai, Jack Taylor, Jack Taylor, Jake Dexheimer, Jake Harrison, James Boyd, Jared Alford, Jason Adams, Jason Hoffman, Jason Mohaghegh, Jean-Paul Sara, Jean-Pierre Caron, Jeannette Petrik, Jeffrey Higgins, Jeffrey Ligman, Jeremy Knickerbocker, Jerina Hajno, Jernej Kaluza, Jeronimo Reyes-Retana, Jesper Alvaer, Jesse Benjamin, Jessica Gullion, Jesus Ponce, Jil Gielessen, Jisoo Seo, Joao Carlos Martins, Joel Blanco, John Platt, Johnathan Shaw, Jonah Dempcy, Jonathan Garcia, Jonathan Khosravani, Jonathon Emery, José Antonio R. Magalhães, Joseph Turner, Joshua Westerman, Julia Rijssenbeek, Julian Dupont, Julieta Aranda, Kamran Moshref, Karen Oliver, Kasra Rahmanian, Kateryna Volochniuk, Katherine Adams, Keli Maksud, Kelly Andres, Kenneth Pietrobono, Kerby Ferris, Kim Panagos, Kris Casey, Kurt Reinartz, Kurt Reinartz, Kyrie Mason, Laura Wexler, Lenka Soukupova, Levi Sorenson, Lika Kareva, Lina Krämer, Linda Stewart, Loren Britton, Louis Chude-Sokei, Luc Hagopian, Luja Simonovic, Maks Valenčič, Mani Nilchiani, Marc Halatsis, Maria Jesus Maury, Maria Koroleva, Mariana Marangoni, Mariel Medic, Martin Grondin, Martina Cavalot, Masoud Ahmadi, Matheus Ferreira, Matheus Lazzarotto, Matsumoto Ryota, Matthew Raymond, Meilin Chinn, Micah Sapp, Michael Wells, Michael Zink, Mohammad Salemy, Mohsen Shakoori, Monica Mandeville, Mostafa Elbaroody, Mostafa Elbaroody, Mstyslav Kazakov, Nadia John, Nejat Kedir, Nguyen Minh Ngoc, Niamh Vlahakis, Nicholae Cline, Nicholas von Kleist, Nikita Nechaev, Nikki Roach, Nima Bahrehmand, Njue Kamwangi, Nkhensani Mkhari, Noah Balushi, Oliver Odner, Organizers , Pablo Emilio Aguilar, Paige Emery, Paige Emery, Patrick Schabus, Paul Feigelfeld, Pedro Moraes, Philip Wohlstetter, Philipp Wagner, Qid Love , Rachel Klipa, Rachel Pump, Rafael Pedroso, Raphael Belfiore, Raviv Sarch, Razvan Anghelache, Razvan Hazeart, Regis Alves, Richard Hames, Robert King, Roberto Soundy, Rodolfo Ortega, Rodolfo Sousa, Roman Pankow, Romulo Moraes, Saeedeh Asadipur, Sasha Shestakova, Scott Watson, Sean Han, Sebastian Yaniz, Sebastjan Brank, Selma Boskailo, Sergey Ershov, Shilpy Lather, Stefano Moioli, Susanne Kass, Susie Quillinan, Swatee Sinha, Sydney Callaway, Tal Messing, Teagan Dorsch, Tejomay Gadgil, Tony Yanick, Tracy Susheski, Veronika Hanakova, Veronika Hanakova, Vincent Ardidon, Will Fraser, William Hallett, William Harris, Xiaoyao Xu, Xuan Ha, Yaminay Chaudhri, Yasamin Ghalehnoie, Yasamin Ghalehnoie, Ygor Anario, Yip Kai Chun, Yusi Liu, Zenobio Almeida, Zlata Mechetina.
We would also like to thank the organizations, institutions, and individuals below for their continued support of Thew Centre that would make events like this possible:
Artez, Artworks, CalArts, Escola Superior Artística do Porto (ESAP), General Context,
Simon Fraser University
Aanchal Saxena, Aarti Sunder, Adam Burke, Adam Hulbert, Adam Klein, Adam Stein, Adnan Yildiz, Agata Szymanek, Akshat Khare, Aladin Borioli, Alan Diaz, Alberto Morreo, Alejandra Rodriguez-Bolanos, Alex Cruse, Alex Macqueen, Alexander Bard, Alexandra Collins, Alexandra Collins, Alexandra Taranu, Alexandre Damasceno, Alfredo Lozano, Ali Ebrahimi, Aliaksei Babets, Alvin Li, Ana Lourenço, Anders Aamodt, Andrew Copolov, Andrew McCarrell, Ankur Yadav, Anna Longo, Anna Riga, Ariana Kalliga, Arman Selahvarzi, Artemis Papachristou, Atefeh Ahmadi, Benito Maramaldi, Bertrand Coube, Bob Goodrich, Bradley Kaye, Brennan McDaniel, Brian Wong, Bruce Demedici, Bryan Smiegelski, Calvin Walds, Carlos Amador, Caroline Ballegaard, Caroline Elbaor, Casey Tang, Cassia Figueiredo, Cecile Malaspina, Charles Bertsch, Chris Hopper, Chris Moffett, Christopher Breu, Clareese Hill, Claudia Richoux, Cristian Dominguez, Dagmar Kestner, Dana Burns, Dana Burns, Daniel Jenatsch, Danna Albanyan, Daria Getmanova, David McKerracher, David McKerracher, Deborah Levitt, Defne Ayas, Denise Luna, Denisse Vega, Derek Hales, Di Chen, Diego Moreno, Dilshad Murad, Edna Amador, Eduarda Camargo, Eduarda Neves, Eduardo Vinuesa, Elizabeth Downey, Ella Barclay, Ellie Audet, Emiddio Vasquez, Emile Wilmar, Emma Stewart, Emma Stewart, Enda O'Riordan, Eric Meier, Esen Küçüktütüncü, Evrim Bayindir, Federico Nieto, FengQi Guo, Filipe Felizardo, Frederick Arias, Freya Haberlein, Freya Haberlein, Gabor Szalatnyai, Georgia Skartadou, Georgiana Cojocaru, Georgiana Cojocaru, Gio Lingao, Gio Lingao, Greg Ponchak, Gregory Kan, Gregory Vanwagenen, Guilherme Coelho, Hanna Hallam-Eames, Harry Duran, Henrique Darlim, Henrique Luciani, Hernan Blumenthal, Hernan Blumenthal, Ian Ross, Icaro Gabriel Cunha, Ioana Tomici, Ivan Loginov, Ivan Niccolai, Jack Taylor, Jack Taylor, Jake Dexheimer, Jake Harrison, James Boyd, Jared Alford, Jason Adams, Jason Hoffman, Jason Mohaghegh, Jean-Paul Sara, Jean-Pierre Caron, Jeannette Petrik, Jeffrey Higgins, Jeffrey Ligman, Jeremy Knickerbocker, Jerina Hajno, Jernej Kaluza, Jeronimo Reyes-Retana, Jesper Alvaer, Jesse Benjamin, Jessica Gullion, Jesus Ponce, Jil Gielessen, Jisoo Seo, Joao Carlos Martins, Joel Blanco, John Platt, Johnathan Shaw, Jonah Dempcy, Jonathan Garcia, Jonathan Khosravani, Jonathon Emery, José Antonio R. Magalhães, Joseph Turner, Joshua Westerman, Julia Rijssenbeek, Julian Dupont, Julieta Aranda, Kamran Moshref, Karen Oliver, Kasra Rahmanian, Kateryna Volochniuk, Katherine Adams, Keli Maksud, Kelly Andres, Kenneth Pietrobono, Kerby Ferris, Kim Panagos, Kris Casey, Kurt Reinartz, Kurt Reinartz, Kyrie Mason, Laura Wexler, Lenka Soukupova, Levi Sorenson, Lika Kareva, Lina Krämer, Linda Stewart, Loren Britton, Louis Chude-Sokei, Luc Hagopian, Luja Simonovic, Maks Valenčič, Mani Nilchiani, Marc Halatsis, Maria Jesus Maury, Maria Koroleva, Mariana Marangoni, Mariel Medic, Martin Grondin, Martina Cavalot, Masoud Ahmadi, Matheus Ferreira, Matheus Lazzarotto, Matsumoto Ryota, Matthew Raymond, Meilin Chinn, Micah Sapp, Michael Wells, Michael Zink, Mohammad Salemy, Mohsen Shakoori, Monica Mandeville, Mostafa Elbaroody, Mostafa Elbaroody, Mstyslav Kazakov, Nadia John, Nejat Kedir, Nguyen Minh Ngoc, Niamh Vlahakis, Nicholae Cline, Nicholas von Kleist, Nikita Nechaev, Nikki Roach, Nima Bahrehmand, Njue Kamwangi, Nkhensani Mkhari, Noah Balushi, Oliver Odner, Organizers , Pablo Emilio Aguilar, Paige Emery, Paige Emery, Patrick Schabus, Paul Feigelfeld, Pedro Moraes, Philip Wohlstetter, Philipp Wagner, Qid Love , Rachel Klipa, Rachel Pump, Rafael Pedroso, Raphael Belfiore, Raviv Sarch, Razvan Anghelache, Razvan Hazeart, Regis Alves, Richard Hames, Robert King, Roberto Soundy, Rodolfo Ortega, Rodolfo Sousa, Roman Pankow, Romulo Moraes, Saeedeh Asadipur, Sasha Shestakova, Scott Watson, Sean Han, Sebastian Yaniz, Sebastjan Brank, Selma Boskailo, Sergey Ershov, Shilpy Lather, Stefano Moioli, Susanne Kass, Susie Quillinan, Swatee Sinha, Sydney Callaway, Tal Messing, Teagan Dorsch, Tejomay Gadgil, Tony Yanick, Tracy Susheski, Veronika Hanakova, Veronika Hanakova, Vincent Ardidon, Will Fraser, William Hallett, William Harris, Xiaoyao Xu, Xuan Ha, Yaminay Chaudhri, Yasamin Ghalehnoie, Yasamin Ghalehnoie, Ygor Anario, Yip Kai Chun, Yusi Liu, Zenobio Almeida, Zlata Mechetina.
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