20:00 / Pixels, Noise and Blenders Gene Kogan Gene Kogan is an artist and programmer who is interested in generative systems, emerging technology, and artificial intelligence. He writes code for live music, performance, and visual art. He is a contributor to numerous open-source software projects, and leads workshops and demonstrations on topics related to code and art. Gene is currently developing ml4a, a free book about machine learning for artists. He is a contributor to openFrameworks and Processing, an adjunct professor at ITP-NYU and Bennington College, and a former artist-in-residence at The School for Poetic Computation and Eyebeam. Recent works applying deep learning research to visual and sound art, and an introduction to ml4a.github.io, a free, online book about ML for artists

21:00 / On Hybridity Margherita Pevere Margherita Pevere is a visual artist and PhD candidate at AaltoUniversity / Biofilia Laboratory in Helsinki. Her artistic practice features a unique combination of of both human and non-human matter:she grows bacterial cultures, manipulates paper and photographic film, collects organic relics, captures ephemeral lights with digital video and plans to store a digitized collection of memories on bacterial genome. She is member of the Finnish Bioart Society and collaborates with Berlin DIYbio group BioTinkering e.V.. Most recent exhibitions include the Article Biennial – i/o lab, Stavanger (NO), curated by Hege Tapio and Nora Vaage; the Dutch Design Week – BioArt Laboratories, Eindhoven, curated by Jalila Essaidi; State Festival, Kühlhaus Berlin, curated by Daniela Silvestrin. What role does hybridity play in art practices that mediate biological and technological materials? What can hybridity tell us about relationships, disruption, violence, and regeneration? What are its implications at an aesthetic, relational, and political level?

22:00 / Hearing Environmental Affect Samuel Hertz Samuel Hertz is a Berlin-based composer, researcher, and curator working at the intersections of psychoacoustics and expanded listening practices through electro-acoustic works, live electronics, collaborations with performance companies, and essays. He received his MFA at Mills College, studying composition with Pauline Oliveros, Fred Frith, and Zeena Parkins, and producing/performing with Morton Subotnick. His work has recently been performed in France, Germany, and Belgium, as well as Center for New Music, BAM/PFA, Gray Area Foundation for the Arts, and Harvestworks (USA), among others. He was an international Composer-in-residence at Elektronmusikstudion (SE), and is currently Artist/Curator-in-residence at the experimental music project space/venue Liebig12 (Berlin, DE). As a recent recipient of the DARE Prize for Radical Interdisciplinarity (University of Leeds/Opera North: Leeds, UK), his current research project concerns affective crossings between humans and environment, ecological soundings, and geophysical/atmospheric infrasonic sound. Upcoming research includes publications in association with Studio Tomas Saraceno and the Royal College of Art/Imperial College (London, UK), and a paper entitled 'Toxic Music' to be delivered at the American Association of Geographers in April 2017 (Boston, MA). Infrasound, Environmental Affect, Human body as listening apparatus, Ecological/Human crossings