Originally trained as a scuptor, since 2010 Méryll Ampe has worked as a sound artist creating a body of experimental musical works. With field recordings as the catalyst, she chooses sounds both for their acoustic and aesthetic qualities, using techniques drawn from her previous sculptural work – carving, modeling, chiseling with digital sound processing tools. In an attempt to capture the initial contours of recorded sounds, her approach is one of extreme proximity, sculpting them in real time. Her compositions are conceived of in terms of space, matter and time in order to imagine new sound landscapes, combining cinematographic intentions and new interactive possibilities, inviting the listener to delve into a personal sound space anchored in a poetic continuum.

Jean-Philippe Antoine teaches aesthetics and the theory of contemporary art at the University of Paris 8. Recently he published La traversée du XXe siècle. Joseph Beuys, l’image et le souvenir at the Editions du MAMCO/Presses du Réel and participated on The Quilt and the Truck. Nancy Shaver (Publication Studio, 2011). An artist, he works in many formats and media – painting, constructions, installations, and sound-based performance works, notably in collaboration with Leif Elggren. He recently released The Worried Ones (Antoine-Elggren) Live at 64 (2013), Nouvelles musiques anciennes (CD, 2011) and Objet Métal Esprit (EP, 2010) on the Firework Edition Records label.

Philippe Baudouin is broadcast director at France Culture and the author of features for Arte Radio. He has a master's degree in the philosopy of art and is the author of “Au microphone - Dr. Walter Benjamin” (Inathèque Prize 2009), in the Philia collection, éditions MSH. He recently published a collection of unpublished radio pieces by Walter Benjamin, "Ecrits radiophoniques", éditions Allia. He is currently preparing a book on the archeology of radio, which will be published by the Presses Universitaires de France.

Born in 1986, lives and works in Paris. Thomas Bethmont is an artist, operator, and production manager, as well as a signature, a label and a folder name. In his work, he explores digital culture and different types of music which are linked to it.

Jean-Louis Boissier is emeritus professor of art and aesthetics and director of research at the University of Paris 8. He also teaches at the EnsadLab - École nationale supérieure des arts décoratifs. Since the 1980s, he has been curator of new media exhibitions as well an artist working with interactive video programs and installations. His main articles on the question of interactivity in artistic practices were published in the book, La Relation comme forme, Mamco-Genève/Presses du réel, 2009.

Olivier Bosson is a French artist, filmmaker and performer. A graduate of Le Fresnoy – Studio national des arts contemporains, he produces in turn performances and participatory films involving large numbers of untrained actors (200%, Le Forum Possession, Le Stop le soir). This shuttling between performance and film informs both his practice and theoretical reflection, a summary of which was published under the title L’échelle 1:1, pour les performances conférences et autre live (Van Dieren, 2011).

Pierre Cassou-Noguès, philosopher and professor at the Université Paris 8, is the author of a number of essays which blend philosophy, literature and sciences including Les Démons de Gödel, logique et folie, Mon zombie et moi, la philosophie comme fiction, La Mélodie du tic-tac and Les Rêves cybernétiques de Norbert Wiener.

Born in 1980, lives in Aubervilliers, France. Mathilde Chenin's work emphasizes versions over finished forms, and privileges collaboration as a important aspect of her research. The collective space of being and working together is explored through an idea of expanded writing practices navigating between bodies, techniques and language. Her work is an elaboration of different kinds of systems, geneologies, scores and other Collective Large Objects which draw from a number of domains - binary logic, Object-oriented programming, tensegrity, and the theory of Rough Sets.

Dieter Daniels, born 1957 in Bonn (D); 1984 co-founder of the Videonale Bonn; numerous projects, exhibitions and symposia in the field of media art; 1991–1993 head of the Mediatheque at the ZKM, Karlsruhe; since 1993 professor for Art History and Media Theory at the Academy of Visual Arts (HGB) in Leipzig; 2001 – 2005 concept and co-editor of "Media Art Net" (www.mediaartnet.org); 2005 - 2009 director of the Ludwig Boltzmann Institute Media. Art. Research in Linz. Many publications on art of the twentieth-century, on Marcel Duchamp, Fluxus, Mediart; book publications include - Kunst als Sendung (2002) Vom Ready-Made zum Cyberspace (2003); Netpioneers 1.0. Contextualizing early net-based Art (2009) Audiovisuology, An Interdisciplinary Survey of Audiovisual Culture, Vol. 1 Compendium (2010) Vol. 2 Essays (2011) Sounds like Silence - John Cage – 4’ 33’’ – Silence today (2012)

Artist, writer and professor at the École Nationale Supérieure des Arts Décoratifs (Paris). Researcher at the LATTS (École des Ponts Paris Tech) laboratory. Co-founder of the projects Nogo voyages and LOPH. His research questions the notion of humanity after Man, the city after public space, architecture after pleasure, the Umwelt of data. He has produced numerous video installations, film works and sound pieces exhibited in France and abroad.

Vanessa Desclaux graduated from Sciences Po, Paris and has a Master's degree in exhibition curating from Goldsmiths College, University of London, where she is currently pursuing her PhD in Art. Her research is centered on artistic practices which developped at the end of the 1970s and which articulate complex relationships between visual phenomena on the one hand and language and discursive practices on the other. In particular, she has worked on the artists David Lamelas, Guy de Cointet and Matt Mullican, developping her critical project through exhibitions, programs and performances and the publication of texts. Her recent projects include monographic and group exhibitions including - In a sentimental mood at the Galerie des galeries and Anna Barham, Agnès Geoffray, Nathania Rubin at Jousse Entreprise, in the framework of the festival Nouvelles vagues at the Palais de Tokyo.

Active since the end of the 1970s, Leif Elggren is a conceptual artist working with sound and video. He is also a writer, performer and composer and has produced numerous albums, both solo and in collaboration with others. Elggren's music, at times used as a soundtrack for his visual installations or his experimental performances, explores a wide aural spectrum. His audio sources are anchored in the physical, organic and socio-political aspects of daily existence, and give rise to a poetical and dreamlike potential.

Vincent Epplay, artist and musician, has since the 1990s produced a body of experimental works blending visual art and music by creating dispositifs for sound and image amplification, situations for listening, and immersive spaces. Using détournement and sampling, he practices musical hypnosis in the form of installations or live sessions. He has a vast collection of recordings without music and super 8 films on pedagogical methods, that he uses to make short cameraless films. He performs in concerts on a regular basis, either solo or in collaboration with other artists – as a trio with Jac Berrocal and David Fenech, with Samon Takahashi creating sound for rare films by Pierre Clémenti, or with Fred Galliay in a duo for analogical synthesizers... He has released a dozen albums on different labels - PPT Stembogen, AKA, Brocolis, LDDR, Grautag Record… His artwork has been presented in various institutions and art centers in France and abroad - "Printemps de Septembre", Toulouse, "Le temps de l’écoute", Centre d’art de la Villa Arson, Nice, "Ouverture de Chantier", le 104, Paris, "Son et Lumière", Beaubourg, Paris, "Kunst-Werke", Art France, Berlin, "Live", Palais de Tokyo, Paris….

Renaud Evrard is a clinical psychologist working in adult psychiatry and associate member at the psychology laboratory EA 3071 at the University of Strasbourg, France. In 2012, he obtained a Ph.D. in psychology at the University of Rouen, with a thesis on clinical differential practice with exceptional experiences published under the title "Madness and Paranormal" (PUR, 2014). With Thomas Rabeyron, he co-founded in 2009 the Center for Information, Research and Counselling on Exceptional Experiences(www.circee.org).

Raphaël Faon is an artist priveleging no particular medium. His work questions contemporary images, what haunts them and which remains unseen in them. Following a university degree in Literature, he has continued his studies at the École Nationale Supérieure d'Arts de Paris Cergy (ENSAPC) where he received his Licence in 2012 and is currently working on his Master's degree. In his projects, fiction and documentary practice come together as a an exploration of different kinds of catastrophies laced with a certain cinematography melancholy. His theoretical writings, a more political extension of his work, are a reflection on the modern/post-modern paradigm.

With installations, performances and operational images, Galdric Fleury and Antoine Fontaine explore ideas of multitudes, multiphrenic subjects, amalgams, coordination and dialogue. This is linked to the predominantly collaboratif aspect of their practice as a duo and with others. An additional emphasis on information technologies, memory and classification and communication systems, provides the theoretical basis for their various experiments.

Born in 1989, Gabriel Gelineo is a self-taught musician of experimental music. His work explores ways of linking sound and image and more recently is oriented towards the exploration of the urban sonic landscape in view of distilling its musical essence. In parallel, he also creates short films using found footage from the Internet.

Nicolas Gourault's practice focuses on the mechanics of vision and on non-human points of view. In his computer generated movies, the use of the subjective camera within a continuous shot leads to a blurring of the identity of the camera. He adresses the dematerialisation of the point of view that virtual camera potentially offers and anchors it within the history of camera technologies. He is currently in his fourth year at the École Nationale Supérieure d'Arts de Paris-Cergy.

Jeff Guess is an artist and professor of digital media at the École Nationale Supérieure d'Arts Paris-Cergy. His work, be it in photography, expanded cinematic forms, or software-based installations and performances, is predominantly an investigation of the technical image and its multifarious entanglements with language and voice. Some of his most recent exhibitions include - Nouvelles acquisitions, (Les Abattoirs, Toulouse, 2014), Poetics of Light - Pinhole Photography (New Mexico History Museum, Santa Fe, 2014), Ladies and Gentlemen We Are Floating in Space (Young Projects, Los Angeles, 2013). His work will also be included in the upcoming exhibition (Mis)Understanding Photography - Works and Manifestos (Museum Folkwang, Essen, 2014).

Emmanuel Guez is an artist and philosopher. He directs the research laboratory PAMAL (Preservation – Archaeology – Media Art Lab) at l'Ecole Supérieure d'Art d'Avignon.

Martin Howse is occupied with an artistic investigation of the links between the earth (geology), software and the human psyche, proposing a return to animism within a critical misuse of scientific technology. For the last ten years he has collaborated on numerous open-laboratory style projects and performed, published, lectured and exhibited diversely.

Jean-François Jégo is a user experience designer of virtual reality applications. He has a PhD in computer science from Mines ParisTech and a Master’s degree in contemporary arts from Université Paris 8. He creates interactive art installations that question human perception and natural user interaction. His work is applied to rehabilitation using virtual environment and digital art, and focuses on embodiment in virtual worlds.

He has received awards from the French Society of Dramatic Authors and Composers (SACD), from Le Cube (French center for digital creation) and from the Spanish festival FIB Benicássim. His work was presented in several cultural centers in Paris such as the Cent-Quatre art center, the Forum des Images, and the IRCAM Centre-Pompidou institute, and also in ACM Multimedia (USA) and Cyberfest (Russia) conferences.

Professor at the École Superieure d’Arts du Havre, adjunct professor at the Université de Paris 8, and guest lecturer at the Esac de Pau, the Eesi d’Angoulême, the Erba de Rennes, Ensci/Les Ateliers, and the e-Artsup Institute. Researcher on the project TEAMeD (Théorie Expérimentation Arts Médias et Design). Artist and programmer of a dozen interactive artworks. Co-author, with Jean-Michel Géridan, of the book, Processing - Le code informatique comme outil de création, Pearson, 2011 and author of Entre la plèbe et l’élite, Perrousseaux Atelier, 2012 and Les Fins du Monde, de l’antiquité à nos jours, Bourin, 2012.

Nicolas Maigret exposes the internal workings of media, through an exploration of their dysfunctions, limitations or failure thresholds which he develops sensory and immersive audio visual experiences. As a curator, he initiated the disnovation.net research, a critique of the innovation propaganda. After completing studies in intermedia art, Maigret joined the LocusSonus lab in Aix France, where he explored networks as a creative tool. He teaches at Parsons Paris and cofounded the Art of Failure collective in 2006.

Born in Australia in 1982, Lauren Moffatt began her studies in painting at the College of Fine Arts in Sydney in 2001. In 2004 she relocated to Berlin where she lived for six years working as a translator and artist's assistant. In Berlin she began working with experimental video. In 2010 she moved to Paris to resume her studies in new media and to begin training in stereoscopic filmmaking before commencing a residency at Le Fresnoy. Her work has been presented in more than 10 countries on four different continents.

Ayuko Nishida is a student in her fourth year at the École Nationale Supérieure d'Arts Paris-Cergy. Her work, primarily photograph and photograms, questions notions linked to abstraction, time and the trace.

π-Node is an experimental platform for hybrid Web/FM radiophonic composition. π-node is a multi-dimensional radio infrastructure platform that experiments the narrative, participative and imaginary possibilities of Radio through the use of both historic and new, digital technologies. The interconnectedness of these various dimensions, tools and networks allow for the establishment of a decentralized and hitherto unseen diffusion structure, where each of the network's nodes serve to both receive and diffuse information. Such a structure creates a break with the classic one-way Radio format, substituting it with a horizontal peer-to-peer model that creates room to play with new potentials for multi-diffusion and superposition, as well as room to rethink the Radio network's topology. π-node aims to explore the many dimensions of the Radio format and of radio diffusion - its physicality (ether, radio waves, and the electromagnetic spectrum), its spatiality (bandwith, frequencies), its infrastructure (network of radio receivers/emitters), its methods of creation and editorial content management (programming boards/teams, recording studios), its methods of metadata reception (RDS/SDR), its history (radio libres and pirate radio movements, ...), its legislation, and most importantly, π-node also wishes to examine Radio's future role at a time when everything is moved towards "the All Digital".

Born in 1974, Grenoble, France. Represented by the gallery Jousse Entreprise, Paris and the gallery West, La Haye. Work, management, economics, politics, control systems, state-of-the-art technologies and the culture industry are the many ‘worlds’ that Julien Prévieux’s activities involve. As in the Lettres de non-motivation (Letters of Non-Application) that he has been sending out to employers regularly since 2000 – in which he responds to newspaper advertisements and details his reasons for not applying for the jobs in question – his work often appropriates the vocabulary, mechanisms and modus operandi of the sectors by which it is informed, the better to highlight their dogmas, excesses and, when all is said and done, their vacuousness. Julien Prévieux’s work is exhibited in art centers, galleries and museums in France and abroad on a regular basis. He has held solo exhibitions at the Frac Basse-Normandie in 2012, at the Galerie Jousse Entreprise and the Galerie Edouard Manet in 2011, at the Galerie West and the Chateau des Adhémar in 2010, and at the Delme Synagogue in 2008 amongst others. He has also participated in numerous group shows like “Side Effects”, the Contemporary Art Museum, Estonia in 2013, “Lost (in L.A.)” at the Los Angeles Municipal Art Gallery in 2012, “Miracles” at the Krems Kunsthalle in 2011, “Love at First Sight” at the Kaohsiung Museum, Taiwan in 2010 and the 10th Istanbul Biennale in 2007.

Born in 1983. Lives and works in Paris. Drawing from a large collection of documents and presented as lectures, videos or installations, the work of Sébastien Rémy sits at the crossroads of a variety of disciplines (theories of language, history of science, communication with the dead...). Each work is presented as one of many ways of envisaging the idea of transmission while at the same time dealing with questions of form and figures of withdrawal. Among his most recent exhibitions - Le Nouveau festival (Centre Pompidou, 2014), La Nuit des Musées (MAC/VAL, 2013), L'apparition des images (Fondation d'entreprise Ricard, 2013), Brigadoon (La Tôlerie, 2013), Le Tamis et le sable 3/3 - La Méthode des lieux (Maison Populaire, 2013), and Bye Bye Ducks and Drakes! [Ricochets] (La Villa du Parc, 2013).

Pascal Rousseau is professor of the History of Contemporary Art at the Université Paris I Panthéon-Sorbonne. He is a specialist of the historical avant-gardes and the origins of abstraction, as well as on the links between the imaginary, science and technology in contemporary culture (20th and 21st centuries). As a curator, he has organized Robert Delaunay. De l’impressionnisme à l’abstraction (Centre Pompidou, 1999) and Aux origines de l’abstraction. 1800-1914 (Musée d’Orsay, 2003) and more recently, Sous influence. Résurgences de l’hypnose dans l’art contemporain (Musée cantonal des Beaux-Arts de Lausanne, 2006) and Fabrice Hyber. Pasteur’Spirit (Institut Pasteur, 2010). He is currently preparing Cosa Mentale, an exhibition on the links between art and psychic cultures in the 20th century (Centre Pompidou, Metz, 2014).

RYBN.ORG is an extra-disciplinary artistic research platform, funded in 2000 as a web entity, disseminated into several servers all over the internet and physically present in Paris, Montréal, Berlin and Bruxelles. RYBN.ORG operates through interactive & networked installations, digital/analog visual cross-performances and pervasive computing. Their projects refer as well to the codified systems of the artistic representation (aesthetic, painting, architecture, avant-garde, music) as to the socio-politic and physical phenomenons, exploring various fields such as economics, data mass analysis, perverted artificial intelligence, disrupting auto-learning, language and syntaxes, sensory perception and cognitive systems. Their work has been shown in numerous contemporary art exhibitions and media art festivals, such as Ars Electronica, Transmediale, ISEA, Elektra, Cellsbutton, and museums and institutions like the ZKM, LABoral, le Centre Pompidou, La Gaîté Lyrique, ZKM.

Jérôme Saint-Loubert Bié is an artist and book designer. He holds a master's degree in photography from the Université de Paris 8 and a Master of Fine Arts from the California Institute of the Arts. Solo exhibitions include Galerie Claire Burrus, Paris, Command-N, Tokyo, Cardenas Bellanger, Paris, and MAC/VAL, Vitry-sur-Seine, and author or coauthor of several artist’s publications. As a graphic designer, he specializes in exhibition catalogues and books by artists. He is currently a professor at Haute école des arts du Rhin, Stasbourg.

Jeffrey Sconce is Associate Professor of Screen Cultures at Northwestern University. He is the author of "Haunted Media - Electronic Presence from Telegraphy to Television" (Duke 2000) and the editor of "Sleaze Artists - Cinema at the Margins of Taste, Style, and Financing (Duke 2007)." His forthcoming book project examines the historical relationship between electronic media and delusional psychosis.

Gauthier Tassart is an artist and teaches video at the Villa Arson, École Nationale Supérieure d'Art de Nice. His work is engaged principally with moving images and sound. He has participated in defferent events such as Brussels 2000 with Thurston Moore and Charlemagne Palestine or more recently in the exhibition Joyeux bordel with Noël Dolla. He is a member of the group I Apologize with Jean-Luc Verna and Julien Tibéri. He also conducts the Orcheste Inharmonique de Nice (Loin), an orchestra for improvised music with a rotating membership and which will play with the participation of Lee Ranaldo in Nice in April.

Noah Teichner is an American filmmaker, writer, and translator based in Paris. His current research and film projects examine the history of recorded sound from the perspective of the moving image.

Suzanne Treister is an artist working in London. Initially recognized in the 1980s as a painter, she became a pioneer in the digital/new media/web based field from the beginning of the 1990s, making work about emerging technologies, developing fictional worlds and international collaborative organisations. Utilising various media, including video, the internet, interactive technologies, photography, drawing and watercolour, Treister has evolved a large body of work which engages with eccentric narratives and unconventional bodies of research to reveal structures that bind power, identity and knowledge. Often spanning several years, her projects comprise fantastic reinterpretations of given taxonomies and histories that examine the existence of covert, unseen forces at work in the world, whether corporate, military or paranormal.

Nicholas Vargelis is a visual artist living and working in New York City. He is a founding member of the artist group Et al. His work combines various contemporary practices -- social organization, technological development, narrative histories, the iconography of forms (such as the history of the light bulb), and the role of the artist as a kind of trickster or "situation inventor", altering contexts in order to provoke different orders of thought.

Gwenola Wagon is an artist and professor in the Art Department of the Université de Paris 8 since 2008. Graduate of the Ecole Nationale Supérieure des Arts Décoratifs, Paris and of the Atelier de Recherches Interactives, she is currently a researcher on the FDM (Formes de la Mobilité) of the TEAMeD (Théorie Expérimentation Arts Médias et Design) project within the EnsadLab. She received a PhD on the Utopias of Interctive cinema. She is co-founder with Alexis Chazard of the artist's group Cela Étant. She co-founded the project Nogo Voyages with Stéphane Degoutin in 2007 as well as the project LOPH in 2011. She has produced numerous sound and moving image installations in France and abroad including Blackpool Manchester, Globodrome, Hypnorama, le Musée de l’imaginaire terroriste, Discothèque sauvage, Mute, and Cyborgs dans la brume. She was recently curator of the exhibition, Voyages dans les données du monde, at the Rencontres de la photographie, Marseille 2013. She is currently working on a new project with Stéphane Degoutin, World Brain.

Anne Zeitz is currently working on her PhD within the research group Esthétiques des Nouveaux Médias at the Université de Paris 8. She organized the exhibition and film program Mouvement-observation-contrôle at the Goethe-Institut in 2007 and wrote a Master's thesis entitled, Le point aveugle de la surveillance. Her research is focused on the mechanics of observation and surveillance and the way in which these devices are redeployed in artistic, literary and cinematographic productions since the 1960s. Her current focus is on artists who devise "counter-observations" in regards to state surveillance and the behavior produced by this reversal in the observational relation.