Issue 13.3 - 14.1 | 2016 / Guest edited by Patrick Keilty and Leslie Regan Shade

About the Contributors

Shannon Bell is a Professor of Political Science at York University, Toronto, Canada. Her books include: Fast Feminism (2010); Reading, Writing and Rewriting the Prostitute Body (1994); Bad Attitude/s on Trial, co-authored (1997); The Book of Radical General Semantics (2016); Subversive Itinerary: The Thought of Gad Horowitz, co-edited (2013); and New Socialisms, co-edited (2004). Bell is currently working on shooting theory–video-imaging philosophical concept such as Heidegger’s ‘stillness’, Husserl’s ‘epoché’, Batialle’s ‘waste’ and ‘expenditure’, Weil’s ‘attention’, Deleuze’s ‘deterritorialization’, Virilio’s ‘vision machine’ and ‘accident’, Levinas’ ‘elemental’ and Mallin’s ‘sinuosity’. For more information, see or on Vimeo at FastBodies.

micha cárdenas directs the Poetic Operations Collaborative, a design research lab applying technological creativity to advance social justice. She is Assistant Professor of Interdisciplinary Arts & Sciences and Interactive Media Design at the University of Washington, Bothell. cárdenas is an artist/theorist who creates mobile media to reduce violence and increase health. cárdenas’ forthcoming book, Shifting Poetics, uses practice-based research to understand trans of color movement in digital media, where movement includes migration, performance and mobility. cárdenas has been described as one of “7 bio-artists who are transforming the fabric of life itself” by

Lisa Cartwright is Professor of Visual Arts and Communication and Science Studies at the University of California, San Diego. She is the co-author of the book Practices of Looking: An Introduction to Visual Culture (Oxford) and author of the books Screening the Body: Tracing Medicine’s Visual Culture (Minnesota) and Moral Spectatorship (Duke). She is at work on three projects about visual technology and affect: a historical study of film and digital humanism in postwar transnational child welfare; viral intersectionality and the hepatitis alphabet’s emergence; and cinematic photography, wind, and power in the US Grain Belt.

Anna Watkins Fisher is an Assistant Professor in the Department of American Culture and the Residential College at the University of Michigan. Her teaching and research examine the theories, aesthetics, and politics of digital culture with particular attention to how experimental artists and media interventionists forge tactics that test the limits of radical politics in contemporary network culture. ​She is currently completing her first book, which theorizes parasitism as an ambivalent mode of resistance in 21st-century art and politics. She is the co-editor, with Wendy Hui Kyong Chun, of the new and expanded edition of New Media, Old Media: A History and Theory Reader (Routledge, 2015).

Jennifer Jenson is Professor of Pedagogy and Technology in the Faculty of Education and Director of the Institute for Research on Digital Learning at York University, Canada. She currently holds a 2.5 million dollar (Canadian) research grant that is working to change the misogynistic and sexist culture of game making and playing.

Patrick Keilty is Assistant Professor in the Faculty of Information at the University of Toronto. His monograph project examines the political and economic implications of digital infrastructures in the pornography industry. He is co-editor of Feminist and Queer Information Studies Reader (Litwin 2013). He has published on embodiment and technology, data science, the history and political economy of information retrieval, design and experience, and taxonomies of pornography.

Janine Marchessault is Professor at York University where she was the inaugural Director of Sensorium, Centre for Digital Arts and Technology. She is the author of Ecstatic Worlds: Media, Utopias, Ecologies (forthcoming MIT Press). Recent co-edited publications include Reimagining Cinema: Film at Expo 67 (McGill-Queen’s Press, 2014); Cartographies of Place: Navigating the Urban (McGill-Queen’s Press, 2013); and 3D Cinema and Beyond (Intellect Press/University of Chicago Press, 2013). She has been involved in curating large-scale site-specific public art exhibitions in heritage locations that seek to develop layered vernacular histories of place utilizing old and new forms of human and non-human embeddedness—the most recent was Land|Slide: Possible Futures in a 25 acre heritage Village in Southern Ontario.

Shaka McGlotten is an anthropologist and artist and is currently an Associate Professor of Media, Society, and the Arts at Purchase College-SUNY. His publications include Virtual Intimacies: Media, Affect, and Queer Sociality, the edited volumes Black Genders and Sexualities and Zombie Sexuality, as well as numerous articles and chapters. He is currently at work on two projects. Black Data brings queer of color critique to bear on debates about big data and mass surveillance. The Political Aesthetics of Drag is a multi-sited ethnography of drag in New York City, Israel/Palestine, and Berlin.

Michelle Murphy is a feminist technoscience studies scholar and historian of the recent past. She is the author of The Economization of Life (forthcoming 2016), Seizing the Means of Reproduction: Entanglements of Feminism, Health, and Technoscience (2012) and Sick Building Syndrome and the Politics of Uncertainty: Environmental Politics, Technoscience, and Women Workers (2006). She is Professor of History and Women and Gender Studies at the University of Toronto, Director of the Technoscience Research Unit, and, is organizer, alongside Natasha Myers, of the Technoscience Salon. Her website is

Safiya Umoja Noble is an assistant professor in the Department of Information Studies in the Graduate School of Education and Information Studies at UCLA. She also holds appointments in the Departments of African American Studies, Gender Studies, and Education. Her research on the design and use of applications on the Internet is at the intersection of race, gender, culture, and technology. She is currently working on a monograph on racist and sexist algorithmic bias in search engines like Google (forthcoming, NYU Press). She currently serves as an Associate Editor for the Journal of Critical Library and Information Studies, and is the co-editor of two books: The Intersectional Internet: Race, Sex, Culture and Class Online (Peter Lang, Digital Formations, 2016), and Emotions, Technology & Design (Elsevier, 2015).

Zabet Patterson specializes in the intersection of contemporary art and computational media in the postwar period. Her book, Peripheral Vision: Bell Labs, the S-C 4020, and the Origins of Computer Art, was published by MIT Press in 2015. It received the Anne Friedberg Award for Innovative Scholarship from the Society for Cinema and Media Studies. Her work has been published in journals including Grey Room, Animation and Media-N, and in a number of anthologies. She was awarded the Warhol Foundation / Arts Writers Grant in support of her forthcoming book, Metamorphose Yourselves: USCO, Techno-Utopia and Technocracy.

Kavita Philip is Associate Professor of History with affiliate faculty positions in Anthropology and Informatics at the University of California, Irvine. She has worked in environmental studies, colonial history, postcolonial studies, history of technology, political economy, and science fiction studies. She is the author of Civilizing Natures (2003 and 2004), and co-editor of four volumes curating interdisciplinary work in radical history, political science, art, activism, gender, and public policy. She has a Ph.D. in Science and Technology Studies from Cornell, an M.S. in Physics from the University of Iowa, and a B.Sc. in Physics (with Chemistry and Mathematics minors) from the University of Madras, India.

David J. Phillips is Associate Professor in the Faculty of Information at the University of Toronto. His work investigates the political, economic, social, and technical configuration of surveillance and ubiquitous computing. His overarching question is whether and how these infrastructures of data exchange and knowledge production can be made amenable to democratic action, non-normative identities and ideals, and queer world-making. With Kate O’Riordan, he is co-editor of Queer Online: Media Technology and Sexuality (Peter Lang, 2007). His theoretical approach is informed by the political economy of communication, science and technology studies, surveillance studies, and queer theory. Most recently, his work employs theatre performance as research method.

Praba Pilar is a diasporic Colombian artist keen on disrupting the overwhelmingly passive participation in the contemporary ‘cult of the techno-logic.’ For the last two decades Pilar has presented cultural productions integrating performance art, street theatre, electronic installations, digital works, video, websites, and writing. These projects have traveled widely to museums, galleries, universities, performance festivals, conferences, public streets, and radio airwaves around the world. After extensive travels and erstwhile lives in Colombia, Mexico, India, Spain, Greece, and the United States, she now resides in Winnipeg, Canada. She has a PhD in Performance Studies from the University of California at Davis.

Leslie Regan Shade is a Professor at the University of Toronto in the Faculty of Information. Her research focus since the mid-1990s has been on the social and policy aspects of information and communication technologies (ICTs), with particular concerns towards issues of gender, youth and political economy.

Margaret Rhee has published academic articles and reviews in Cinema Journal, Visual Cultures and the Americas, Debates in the Digital Humanities, and Amerasia Journal. She co-edited a special issue of Ada: A Journal of Gender, New Media, and Technology titled “Hacking the Black/White Binary,” with Dr. Brittney Cooper. Currently, she is working on a monograph How We Became Human: Race, Robots, and the Asian American Body. She received her Ph.D. from UC Berkeley in ethnic and new media studies in 2014. Currently, she is a Visiting Assistant Professor in Women’s and Gender Studies at the University of Oregon.

D. Andy Rice is a nonfiction filmmaker and Communication PhD whose research focuses on documentary practices in simulation contexts. He is working on a book manuscript provisionally titled Performative Camerawork: Documentary Theory for Digital Culture that draws from feminist theories of embodiment to highlight documentary camerawork as a performative repertoire and mode of everyday interaction in digital culture. He has published in Catalyst: Feminism, Theory, Technoscience, and has articles forthcoming in the Journal of Film and Video and the edited volume Disability and Social Media (Routledge). As the ASPIRE Fellow in Socially Engaged Media at UCLA, he designs and implements media practice for social change curriculum in the liberal arts. Recent works include Spirits of Rebellion (101 min., 2016, Co-Producer, Cinematographer, and Editor, Directed by Zeinabu irene Davis), Unhooked (24 min., 2016), and Teaching Entomophagy (6 min., 2016).

Lucy Suchman is Professor of Anthropology of Science and Technology in the Department of Sociology at Lancaster University. Before taking up her present post she was a Principal Scientist at Xerox’s Palo Alto Research Center, where she spent twenty years as a researcher. Her current research extends her longstanding engagement with the field of human-computer interaction to the domain of contemporary war fighting, including the figurations that animate military training and simulation, and problems of ‘situational awareness’ in remotely-controlled weapon systems. She is the author of Human-Machine Reconfigurations (2007) published by Cambridge University Press.

Scott Webel is project coordinator at the South Asia Institute, University of Texas at Austin, and co-founder and co-curator of Austin’s Museum of Natural & Artificial Ephemerata ( His ethnographic research concerns creative reuse of urban waste at various scales, including DIY art environments, informal waste infrastructures, compost heaps, and wastewater ponds. His work addresses overlaps and antagonisms between ecological systems, formal economies, and informal economies in times of ecological crisis and economic precarity.