Kristina Tica

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	<title>Kristina Tica</title>
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KRISTINA TICA //&#38;nbsp;CABARET MYSTIQUE SESSIONSmusic performance as a part of Solo Exhibition project
Le Studio Theatre&#38;nbsp;
 18 May 2019 &#124; Belgrade</description>
		
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		<title>HOME</title>
				
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	︎
Interdisciplinary artist and researcher, with most recent practice centred on the artistic and theoretical exploration of the aesthetics and ethics of machine learning applications in visual computational processes. Tracing the impact of emergent technologies in popular culture under critical theory and philosophy in media and arts, her work spans various disciplines - from visual arts to coding, writing, and music.&#38;nbsp;


Currently pursuing her practical and theoretical PhD research at the intersection of critical AI, computational image and its aesth-ethics, media theory and law, between the Department of Media Theory at the University of Applied Arts (die Angewandte) Vienna and the Metaverse Lab [LIFT_C] at the Johannes Kepler University Linz.&#38;nbsp;Formerly a Lecturer in Feminist Hacking Strategies, MA Postdigital Lutherie at Tangible Music Lab, Kunstuniversität Linz.  

Exhibited at festivals such as Ars Electronica, Speculum Artium, ESOF Trieste, and The Wrong. Since 2024, collaborating with Obi Blanche as a duo, DJ-ing and performing as a vocalist and bass player [BRAKE], and co-authoring the postdigitalpunk research and music project. Works recently published in ACM Journals;&#38;nbsp;Leonardo Journal (Vol. 57); and The Practice of Art and AI by Hatje Cantz. 

	
: ABOUT / CV: ML/INTERACTIVE WORKS: PORTFOLIO DOWNLOAD
: PAINTINGS/DRAWINGS: PORTFOLIO DOWNLOADCURRENT / UPCOMING
26/03/26 AI Cafe #3: Your Machines, Their Rules? – Legality, Rights, and Accountability in Algorithmic Society&#38;nbsp; 
with Kristina Tica, Raphael Albert &#38;amp; Joaquín Santuber
servus.at x theater phoenix / stadtwerkstatt &#124; 18:00-19:30


LIVE CONCERTS:08/05/26&#38;nbsp; Obi Blanche x Kristina Tica &#124; Opening Party: Anton Corbijn, Fotografiska, Berlin
10/04/26&#38;nbsp; &#38;nbsp;Obi Blanche x Kristina Tica w/ Samt Martin / Gesso &#38;nbsp;&#124; Mucca, Munich

SUBSTACK: &#38;nbsp;13/03/26 &#38;nbsp;Hal at the Gates of Heaven: notes on frequent flyer’s biometrics 
03/03/26 Border Cyborg: traveller’s notes into the liminal space of law and technology in the full moon transit&#38;nbsp;

NEW SONG: Key / out via infra&#38;nbsp;#postdigitalpunk a research in music and self-built instruments [Obi Blanche]
_RESEARCH HIGHLIGHTS︎ Journal Article: Dis/ordering AI–Human Oversight: Materialities, Aesthetics and Contestability. &#38;nbsp;In&#38;nbsp;Law, Technology and Humans. 2026.&#38;nbsp;J. Santuber, M. Morais, K. Tica
︎ HUMAN OVERS[A]IGHT: THE OPS ROOM / Ars Electronica Festival
︎︎︎ [O]GLED: Kristina Tica: Interview [RS]
︎ The sixth decennial Aarhus Conference: Computation X Crisis:&#38;nbsp;Proceedings


M︎L / INTERACTIVE / GENERATIVE &#38;nbsp;
	&#38;nbsp; &#38;nbsp; HUMAN OVERS[A]IGHT: THE OPS ROOM: [WEBSITE] / [DOCUMENTARY VIDEO]&#38;nbsp; &#38;nbsp; 
AIAMANAI: LOOPS [2024]
&#38;nbsp; &#38;nbsp; &#38;nbsp; PROMPT: WAR STORIES [2022-23]&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;POWER STRANGERS [2021]&#38;nbsp; &#38;nbsp; &#38;nbsp; FUTUREFALSEPOSITIVE [2021]
 &#38;nbsp; &#38;nbsp; &#38;nbsp; MŒRÆ III [2021] &#38;nbsp; &#38;nbsp; &#38;nbsp; DIGITAL PRAYER [2020] &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;SURVEILLANCE DISCO [2018]&#38;nbsp;&#38;nbsp; &#38;nbsp;&#38;nbsp; THE UNCANNY MIRROR [2017]
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;+ RESEARCH:CONFERENCES:PUBLICATIONS:TEACHINGLatest:&#38;nbsp;︎︎︎ Proceedings of The sixth decennial Aarhus conference: Computing X Crisis

︎ Top-Rated LGA Abstracts 2023. Leonardo 2024; vol 57 (5): 540–546.
︎ COMPUTATIONAL AESTH-ETHICS:&#38;nbsp;Understanding visual &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; computation 
processes between the image and its context
︎︎︎ VIDEO&#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; &#38;nbsp; THEY WILL CALL ON ME, BUT I WILL NOT ANSWER [2018]&#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; I WILL DISAPPEAR THROUGH YOUR SCREEN [2018]&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;DOWN [2017]&#38;nbsp; &#38;nbsp; &#38;nbsp;MŒRÆ I [2017]

︎PRINT&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ALL EXITS ARE FINAL [2024–]

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; MŒRÆ II [2017]&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; CAGES [2017]

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ︎ PAINTINGS [2017–]
︎ COLLAGE [2020]︎ DRAWINGS [2016–]&#38;nbsp; Ω&#38;nbsp; MUSIC &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; #postdigitalpunk&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;+++BONUS TRACK


︎&#38;nbsp;CONTACT</description>
		
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		<title>ABOUT / CV</title>
				
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	Kristina Tica (*1995, Belgrade) completed her BA in Painting, University of Arts Belgrade and an MA in Digital Arts, Faculty of Media and Communications in Belgrade and an MA in Interface Cultures at Kunstuniversität Linz. She was a guest student at Central Saint Martins, UAL and Slade School of Fine Art, UCL.
Currently, she is pursuing her practical and theoretical PhD research at the intersection of critical AI, computational image and its aesth-ethics, media theory and law, between the Department of Media Theory at the University of Applied Arts (die Angewandte) in Vienna and the Metaverse Lab [LIFT_C] at the Johannes Kepler University Linz. 
Formerly, a Lecturer in Feminist Hacking Strategies, MA Postdigital Lutherie at Tangible Music Lab, Kunstuniversität Linz.

Exhibited at festivals such as Ars Electronica, Speculum Artium, ESOF Trieste, The Wrong. She is the recipient of the art+science AI Lab Award (RS) 2020. Works recently published in Leonardo Journal (Vol. 57) and The Practice of Art and AI by Hatje Cantz.&#38;nbsp;Since 2024, collaborating with Obi Blanche as a duo, DJ-ing, and performing as a vocalist and bass player [BRAKE], and co-authoring #postdigitalpunk, a research and music project. 
 

Tracing the impact of emergent technologies in popular culture under critical theory and philosophy in media and arts, her work spans various disciplines - from visual arts to coding, writing, and music.
Her scientific research is focused on media theory and philosophy, coming from the artistic use of machine learning algorithms to create her video installation works, in which she addresses and questions aesthetic characteristics and ethical implications of implementing such tools, following current innovations in automated image-making and image-reading processes. 


Her works have been exhibited at festivals such as Ars Electronica (AT) (2020, 2021, 2022, 2025), Speculum Artium (SI) (2020, 2021, 2022), European Open Science Forum Trieste (IT), and&#38;nbsp;The Wrong (2017, 2019, 2021). She is the recipient of the art+science AI Lab Award (RS) 2020. Her work has recently been published in ACM Journals, Leonardo Journal (Vol. 57), and&#38;nbsp;in The Practice of Art and AI, published by Hatje Cantz. She currently lives and works between Linz and Vienna.
_
Metaverse Lab [LIFT_C] / Team

Tangible Music Lab / Team_︎ORCiD
︎ACM Digital Library︎Google Scholar
-︎LEONARDO NETWORK DIRECTORY

Leonardo Graduate Abstracts Service 2023


_
DOWNLOAD CV: EN (WORK+ARTIST)
PORTFOLIO DOWNLOAD [NEW MEDIA SELECTION] CV

EDUCATION&#38;nbsp;


2025-29 PhD Candidate, University of Applied Arts Vienna (Media Theory Dept.) &#38;amp; JKU Linz (Metaverse Lab [LIFT_C])
2020-23 MA Interface Cultures, Institute for Media, Kunstuniversität Linz
2017-20&#38;nbsp; MA Digital Arts, Faculty of Media and Communications, Singidunum
University Belgrade
2013-17&#38;nbsp; &#38;nbsp;BFA Painting, Faculty of Fine Arts, University of Arts Belgrade

2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Summer Programme: The Expanded Field of Drawing, Slade School of Fine Art, University College London
2016&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Study Abroad Programme: Contemporary Fine Art Practice, Central Saint Martins, University of the Arts London

EMPLOYMENT


2025-29&#38;nbsp;&#38;nbsp;Research/University Assistant / Metaverse Lab, Linz Institute for Transformative Change [LIFT_C], JKU Linz
2023 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Project Coordinator &#124; Exhibition Producer /&#38;nbsp;communale oö, Landes-Kultur OÖ, Linz/Peuerbach
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Project Manager /&#38;nbsp;Ars Electronica Festival, Linz
2019-22 &#38;nbsp;Gallery Assistant /&#38;nbsp;Eugster &#124;&#124; Belgrade, Belgrade
2016-17&#38;nbsp; &#38;nbsp;Art Director / Hadži atelier-bar-gallery, Belgrade


ACADEMIC TEACHING / WORKSHOPSSS25/26 &#38;nbsp;&#38;nbsp; Lecturer: Disruptive Technologies &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; BA ArtxScience Transformation Studies, Johannes Kepler University Linz &#38;amp; University of Applied Arts Vienna
WS25/26 &#38;nbsp;Assistant Lecturer: Fundamentals of Organization and Innovation for Transformation &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; BA ArtxScience Transformation Studies, Johannes Kepler University Linz &#38;amp; University of Applied Arts Vienna

SS24/25&#38;nbsp; &#38;nbsp;Guest Workshop/Lecture: Computational Aesth-ethics 

	
						 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 
BSc. Creative Computing/MSc. Creative Technologies, Winchester School of Art, University of Southampton
WS24/25&#38;nbsp; Associate Lecturer: Feminist Hacking Strategies&#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; MA Postdigital Lutherie, Tangible Music Lab, Kunstuniversität Linz


SOLO EXHIBITIONS


2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Digital Prayer, Remont Gallery, Belgrade
2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Cabaret Mystique, Le Studio Theatre, Belgrade


FESTIVALS


2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;HUMAN OVERS[A]IGHT:THE OPS ROOM. Ars Electronica Festival, Linz

2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;aiamanai:loops. Speculum Artium, New Media Festival, DDT, Trbovlje

2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;PROMPT:WAR STORIES.&#38;nbsp;Crossing the Bridge: Interface Cultures @ Ars Electronica Festival, JKU, Linz
2022 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;PROMPT:WAR STORIES. Speculum Artium, New Media Festival / Digital Big Screen 360, DDT, Trbovlje 
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;PROSTHETIC #3: ZERO AGENCY, The Wrong, curated by Darko Vukić / co-organised by Kristina Tica

2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; POWER STRANGERS. [w/Barbara Jazbec].&#38;nbsp;Speculum Artium, New Media Festival, DDT, Trbovlje2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; FUTUREFALSEPOSITIVE.&#38;nbsp;Interface Cult: Interface Cultures @ Ars Electronica Festival, Linz

2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;DIGITAL PRAYER. Speculum Artium, New Media Festival, DDT, Trbovlje
2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;DIGITAL PRAYER. Ars Electronica Garden Belgrade, In Kepler’s Gardens, Ars Electronica Festival, online + Linz2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;DIGITAL PRAYER. Both Ways, EuroScience Open Forum, Trieste, curated by Maja Ćirić and Dobrivoje Lale Erić

2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The Wrong, Prosthetic Pavilion Vol. 2, online + Remont Gallery, Belgrade, curated by Darko Vukić
2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; DIGITAL PRAYER. Festival S.U.T.R.A., Museum of Science and Technology, Belgrade, curated by Ivan Stanić 
2018&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; DOWN. 5th Mr Vorky International One-Minute Film Festival, Ruma
2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; The Wrong, Prosthetic Pavilion, &#38;nbsp;online, curated by Darko Vukić 

SELECTED GROUP EXHIBITIONS


2024 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;entangled homes, FIFTITU%, Galerie WHA, Linz2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;ARCADIA, group show, Queer Museum Vienna, curated by Ana Simona Zelenović 
2023 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;Im Auge der Infodemie (In the Eyes of the Infodemic), SPLACE, Linz, curated by Simone Barlian and Fina Esslinger

2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Remix Culture: Interface Cultures@the AI&#38;amp;ART pavilion for Esch 2022, Belval / Esch zur Alzette
2022 &#38;nbsp; &#38;nbsp; &#38;nbsp; DWHX x IC : online studios &#124; Rup†ure!, Das Weisse Haus, Vienna, online program


2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;refinerymonastery: 20th Pančevo Biennial, Pančevo, curated by Maja Ćirić
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;An[Other] Creativity in AI, Wavelab, University of Theatre and Music, Munich, curated by Christl Baur
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Poetics of Obsolescence, Atelierhaus Salzamt, Linz, curated by Indiara Di Benedetto and Gebhard Sengmüller 2022 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp;New ULUS Members Exhibition, Cvijeta Zuzoric Art Pavilion, Belgrade

2021 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; Things To Come, KC Dorcol, Belgrade, curated by Brajan Vojinović
2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Entanglements, U10 Art Space, Belgrade 

2021 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; Trijenale male platike i crteža, ULUS, Umetnički paviljon Cvijeta Zuzorić, Belgrade, curated by Kristina Sedlarević

2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Sankt Interface, Interface Cultures, Kunstuniversität Linz, Linz


2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Art+Science Lab, Magacin u Kraljevića Marka, Belgrade, curated by Maja Ćirić and Dobrivoje Lale Erić


2019&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Phenomenon of Participation in Art, Remont Gallery, Belgrade, curated by Kristina Sedlarević
2014-19&#38;nbsp; &#38;nbsp;Interventions 3 - 15, Magacin u Kraljevića Marka 4, Belgrade


2018&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Bye, photography!, ARTGET Gallery, Belgrade Cultural Centre
2018&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Department of Digital Arts Exhibition, Kvaka 22 [Catch 22], Belgrade
2018&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; [DE]Construction, Kvaka 22 [Catch 22] Gallery, Belgrade


2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Lithography workshop’s 10th anniversary, Gallery of The Faculty of Fine Arts, Belgrade
2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Drawings Exhibition, Cvijeta Zuzorić Art Pavilion, Belgrade
2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;The Expanded Field of Drawing Course Exhibition, Slade School of Fine Art, London
2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;3rd International Print Triennial, Instytut Sztuki, Cieszyn
2015-17&#38;nbsp; &#38;nbsp; Student’s Drawing and Sculpture Exhibition, Belgrade Youth Centre, Belgrade
2014&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; FESTUM, University of Arts Student Festival, Drawing Exhibition, SKC, Belgrade
2014&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Awarded Students Exhibition, Gallery of The Faculty of Fine Arts, Belgrade


AWARDS


2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;art+science AI Lab National Selection Award, Center for the Promotion of Science, Belgrade
2018&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Best Student’s Project for MA Digital Arts, Faculty of Media and Communications, Belgrade
2018&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Best Serbian Film, 5th Mr Vorky International One-Minute Film Festival, Ruma
2014&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Best Student’s Drawing of The Faculty of Fine Arts, University of Arts, Belgrade


PUBLISHED TEXTS


2026&#38;nbsp; Dis/ordering AI–Human Oversight: Materialities, Aesthetics and Contestabilit. Joaquin Santuber, Mariana Costa Morais, Kristina Tica. In&#38;nbsp;Law, Technology and Humans Journal.&#38;nbsp;Open Access: https://lthj.qut.edu.au/article/view/4170. https://doi.org/10.5204/lthj.4170&#38;nbsp;
2025&#38;nbsp; Visualizing AI operations for Human Oversight: The Ops Room. Santuber, Joaquin and Tica, Kristina. ACM Journal Publication. VINCI 2025.
In&#38;nbsp;Proceedings of the 18th International Symposium on Visual Information Communication and Interaction, Linz. December 2025.&#38;nbsp;
https://doi.org/10.1145/3769534.3769580. 
2025&#38;nbsp; COMPUTING HUMAN OVERS[A]IGHT: LAW/APPARATUSVISION/AGENCY. 2025. Kristina Tica and Joaquín Santuber. 
 In Proceedings of the sixth decennial Aarhus conference: Computing X Crisis (AAR '25). Association for Computing
Machinery, New York, NY, USA, 244–251. 
https://doi.org/10.1145/3744169.3744187.
2025&#38;nbsp; &#38;nbsp;Kristina Tica. 2025. Interview. [O]GLED. Anica Tucakov.&#38;nbsp;https://ogled.org/intervjui/kristina-tica/ 


2024 &#38;nbsp; “Computational Aesth-ethics (Thesis Abstract)”. Top-Rated LGA Abstracts 2023. Leonardo 540–546.&#38;nbsp;Leonardo 2024. https://doi.org/10.1162/leon_a_02565.&#38;nbsp;

2023 &#38;nbsp; Queertopia by Ana Simona Zelenovic. Fräulein Magazin, “Fantasy”, ISSUE #36. Berlin
2023 &#38;nbsp; Leonardo Graduate Abstracts Service 2023 /&#38;nbsp;Computational Aesth-ethics: Understanding visual computation processes between the image and its context [abstract]

2023 &#38;nbsp; Computational Aisthēsis:
The Ideology of
Prediction in Algorithmic
Text-to-Image Processing
Models.&#38;nbsp;Kristina Tica. In Proceedings of xCoAx 2023, Weimar.&#38;nbsp;https://doi.org/10.34626/xcoax.2023.11th.72.
2023 &#38;nbsp; Computational Aesth-ethics: Understanding visual computation processes between the image and its context [full thesis]. Kristina Tica.&#38;nbsp;https://doi.org/10.57697/8wk2-b258.&#38;nbsp;
2022 &#38;nbsp; 06 International Conference of Photography and Theory, Expanded Visualities: Photography and Emerging Technologies [abstract]
2021 &#38;nbsp; The Practice of Art and AI, Ars Electronica, Hatje Cantz (p.113)
2020 &#38;nbsp; Fantazija o kiborgu?, Tag Net Magazine [srb] / Cyborg Fantasy?, Tag Net Magazine [eng]


CONFERENCES / PANELS

2025 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; 18th International Symposium on Visual Information Communication and Interaction (VINCI 2025), Linz 
2025 &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Creative Practices as Knowledge Generation [w/ Joaquín Santuber], Open Innovation Center, JKU Linz &#124; masterclass
2025 &#38;nbsp; &#38;nbsp;&#38;nbsp; &#38;nbsp; The sixth decennial Aarhus Conference: Computation X Crisis&#38;nbsp; &#124; paper presenter
2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; re:publica 2025: Generation XYZ, STATION Berlin &#124; panel presenter
2025&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; STS Hub 2025: Diffracting the Critical, Humboldt University Berlin &#124; panel presenter 
2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Pecha Kucha: 20 Years of Interface Cultures, Ars Electronica Festival &#124; presenter 
2023&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; xCoAx 2023, 11th Conference on Computation, Communication, Aesthetics&#38;nbsp;&#38;amp;&#38;nbsp;X, Weimar &#124; paper presenter
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 06 International Conference of Photography and Theory (ICPT), Expanded Visualities: Photography and Emerging Technologies,&#38;nbsp; Nicosia &#124; paper presenter
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Social Marginalisation and Machine Learning: Defying the Labels of the Machinic Gaze, Autograph ABP Gallery, London + online &#124; keynote presenter
2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Digital Day 2022 Conference: The end of the world as we know it, Belgrade &#124; panel moderator2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Artificial Creativity, Wavelab: University of Music and Theater Munich, &#124; guest presenter2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; ART IN STEAM Conference 2022, Johannes Kepler Universität + online, Linz &#124; keynote presenter
2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Follow the Current, panel discussion, Ars Electronica, Belgrade Garden &#124; moderator, organiser


MEDIA: TALKS / INTERVIEWS / VIDEO

2025 &#38;nbsp; &#38;nbsp; &#38;nbsp; [O]GLED: Kristina Tica: Interview2024&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Feminist Approaches to AI [52 Radiominuten. Jerneja Zavec.]&#38;nbsp;FIFTITU% / Radio FRO.&#38;nbsp;23/12/20242022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;DORFTV, Crossing the Bridge: Interface Cultures @Ars Electronica Festival2022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;ARA: Bistro, Luxembourg &#124; exhibition introduction, 28/06/20222022&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Kulturni Centar, RTS2 11/05/2022 [10’ 15” rs]2021&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;FUTUREFALSEPOSITIVE, short interview, Interface Cultures @ Ars Electronica Festival2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Inside Festival: Serbia, Helsingør: From AI Lab to Collective Memories and Garden of Digital Prayers2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Artist Talk - Ars Electronica / In Kepler’s Gardens / Youtube2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Kulturni Dnevnik RTS 01/09/2020 [rs]2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Radio Beograd 2 emisija Digitalne Ikone 25/08/2020 [40’ rs]2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;radio elementi: RadioAparat 28/06/2020 [rs]2020&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;online razgovor o izložbi Digital Prayer u galeriji Remont 03/07/2020 [rs]
WORKS IN PUBLIC SPACE

2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Mural Chess game, Market Road Gallery, London


ARTISTIC WORKSHOPS AND OTHER PROJECTS

2014-19&#38;nbsp; &#38;nbsp;Interventions 3 - 15, Magacin u Kraljevića Marka 4, Belgrade

2017&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Creative Workshop assistance, Royal Docs Learning and Activity Centre, London


MUSIC: LIVE SHOWS&#38;nbsp;
10/04/26 &#38;nbsp;&#38;nbsp; Obi Blanche x Kristina Tica w/ Samt Martin / Gesso &#38;nbsp;&#124; Mucca, Munich
08/05/26 &#38;nbsp; &#38;nbsp;Obi Blanche x Kristina Tica &#124; Opening Party: Anton Corbijn, Fotografiska, Berlin 


PAST EVENTS03/04/26&#38;nbsp; &#38;nbsp; Obi Blanche x Kristina Tica w/ Indirekt Grell  &#124; *ask a punk*, Vienna 28/02/26&#38;nbsp; &#38;nbsp; Obi Blanche x Kristina Tica x Muri Anda w/ Mozo Mozo &#124; CK13, Novi Sad
26/02/26&#38;nbsp; &#38;nbsp; Obi Blanche x Kristina Tica &#124; Dim, Belgrade19/02/26&#38;nbsp; &#38;nbsp; &#38;nbsp;Obi Blanche x Kristina Tica x Muri Anda w/ Mozo Mozo &#124; Robot, Budapest04/02/26&#38;nbsp; &#38;nbsp; Obi Blanche x Kristina Tica x Muri Anda &#124; 8MM, Berlin17/01/26 &#38;nbsp; &#38;nbsp; &#38;nbsp;Obi &#38;amp; Kristina b2b DJ set &#124; STROM, Linz12/12/25 &#38;nbsp; &#38;nbsp;&#38;nbsp; Obi Blanche &#38;amp; Kristina Tica x Muri Anda w/ T.R.A.S.H. &#124; KOJE, Vienna 29/11/25&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;Obi Blanche &#38;amp; BOB w/ Arlette, &#124; DeKoer, Ghent27/11/25&#38;nbsp; &#38;nbsp; &#38;nbsp; Obi Blanche &#38;amp; Muri Anda &#124; Asymetric, Cologne14/11/25 &#38;nbsp; &#38;nbsp;&#38;nbsp; Obi Blanche &#38;amp; BOB &#124; Gekko/Megaworld.xyz, Vienna06/11/25&#38;nbsp; &#38;nbsp; &#38;nbsp;Obi Blanche &#38;amp; BOB &#124; Hemingway’s &#124; Linz04/10/25 &#38;nbsp; &#38;nbsp;Obi &#38;amp; Kristina b2b DJ set / STROM &#124; Linz &#38;nbsp;05/07/25 &#38;nbsp; &#38;nbsp;Obi &#38;amp; Kristina b2b DJ set / STROM &#124; Linz &#38;nbsp; 06/06/25&#38;nbsp; &#38;nbsp;The Spill In Dreams, Obi Blanche &#38;amp; BOB, Tommy Wieso  &#38;nbsp;&#124; STWST, Linz29/05/25 &#38;nbsp; &#38;nbsp;Obi Blanche &#38;amp; BOB Compost Festival &#124; Linz01/03/25&#38;nbsp; &#38;nbsp;&#38;nbsp;Kristina Tica solo DJ set / STROM &#124; Linz &#38;nbsp;31/01/25&#38;nbsp; &#38;nbsp; &#38;nbsp;Obi Blanche &#38;amp; BOB / Milla Club &#124; Munich06/12/24 &#38;nbsp; &#38;nbsp;Obi Blanche &#38;amp; BOB / KAPU &#124; Linz 05/12/24&#38;nbsp; &#38;nbsp;&#38;nbsp;Obi &#38;amp; Kristina b2b DJ set / STWST &#124; Linz 
 11/10/24 &#38;nbsp; &#38;nbsp;&#38;nbsp; Obi Blanche &#38;amp; BOB / Holzstock &#124; Linz27/09/24&#38;nbsp; &#38;nbsp; Obi &#38;amp; Kristina b2b DJ set / STROM &#124; Linz 26/09/24&#38;nbsp; &#38;nbsp;Obi Blanche &#38;amp; BOB / Artmagazin, Tabakfabrik &#124; Linz28/06/24&#38;nbsp; &#38;nbsp;Obi &#38;amp; Kristina b2b DJ set / STROM &#124; Linz
</description>
		
	</item>
		
		
	<item>
		<title>RESEARCH</title>
				
		<link>https://ticakristina.com/RESEARCH</link>

		<pubDate>Sun, 07 Mar 2021 12:31:16 +0000</pubDate>

		<dc:creator>Kristina Tica</dc:creator>

		<guid isPermaLink="true">https://ticakristina.com/RESEARCH</guid>

		<description>RESEARCH / PAPERS / CONFERENCES


HUMAN OVERS[A]IGHT: THE OPS ROOM
Kristina Tica, Joaquín Santuber
METAVERSE LAB [LIFT_C] JKU Linz

ongoing artistic and scientific research project 

Project supported by the State of upper Austria
Presented at Ars Electronica Festival Linz 03-07/09/25
	&#60;img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/b3a89c3bd0f425147fbbde455e14eb036c398c7e97ef9ddfa2bf784822484774/DSC01450.jpeg" data-mid="237958792" border="0"  src="https://freight.cargo.site/w/1000/i/b3a89c3bd0f425147fbbde455e14eb036c398c7e97ef9ddfa2bf784822484774/DSC01450.jpeg" /&#62;
WEBSITE&#60;img width="2778" height="1176" width_o="2778" height_o="1176" data-src="https://freight.cargo.site/t/original/i/e4f702546a98ccbcaae126e8126aa66bc5510d017c79785612657a37d3cde02c/Screenshot-2025-05-20-at-23.44.11.png" data-mid="233480935" border="0"  src="https://freight.cargo.site/w/1000/i/e4f702546a98ccbcaae126e8126aa66bc5510d017c79785612657a37d3cde02c/Screenshot-2025-05-20-at-23.44.11.png" /&#62;


	“Article 14”Human oversight1. &#38;nbsp;High-risk AI systems shall be designed and developed in such a way, including with appropriate human-machine interface tools, that they can be effectively overseen by natural persons during the period in which they are in use.[…]4.(e) &#38;nbsp;to intervene in the operation of the high-risk AI system or interrupt the system through a‘stop’ button or a similar procedure that allows the system to come to a halt in a safe state.EU AI ACT. ARTICLE 14. Source: https://artificialintelligenceact.eu/article/14/HUMAN OVERS[A]IGHT: THE OPS ROOM is a real-time generative, interactive audio- visual installation developed as a human oversight department for high-risk AI systems. It is established according to the European Artificial Intelligence Act [EU AI Act], as described in Article 14, which suggests that in high-risk AI systems a human-machine interface such as a “stop button” is needed, to bring the system to a halt. Can the system be stopped by a button, and why not? We investigate how humans can oversee and evaluate these processes, by visualizing the internal operations of an automated system. We invite visitors to take upon a central role in human oversight of high-risk AI systems and encourage them to engage with a human-machine interface to oversee the systems’ operations. We provide possibilities for action for people to claim back their political agency to stop or affect the system.
The project was supported by the State of Upper Austria.
	2025 Aarhus 2025 Computation (X) Crisis Decennial Conference 
18-22/08/25
research paper/critique

COMPUTING HUMAN OVERS[A]IGHT: LAW/APPARATUSVISION/AGENCY
Kristina Tica, Joaquín Santuber
2025

In Proceedings of the sixth decennial Aarhus conference: Computing X Crisis (AAR '25). Association for Computing Machinery, New York, NY, USA, 244–251. https://doi.org/10.1145/3744169.3744187&#38;nbsp;
	&#60;img width="1612" height="902" width_o="1612" height_o="902" data-src="https://freight.cargo.site/t/original/i/66cf78544d254b3d282df836c18381d20cb0ca3565181c89e373076884fa9c6f/Screenshot-2025-08-24-at-16.17.46.png" data-mid="237406617" border="0"  src="https://freight.cargo.site/w/1000/i/66cf78544d254b3d282df836c18381d20cb0ca3565181c89e373076884fa9c6f/Screenshot-2025-08-24-at-16.17.46.png" /&#62;PRESENTATION
ACM - FULL ARTICLE
	
Abstract: Computing Human Overs(a)ight is a conceptual exploration of human responsibility for oversight in high-risk AI systems, as introduced in the European Artificial Intelligence Act (Art. 14). Investigating the legal and computational framework of the high-risk systems, and human responsibility within, we amplify possible enactment and embodiment of this article — we extract it as a phenomenon from the law so to understand the political and ideological notion of agency in the automated systems.
 
The accelerated dissemination of the tools, models and products under the roof term AI in the scope of the last decade, has led us to their legitimacy in the eyes of the law, even in high-risk operations. Article 14 invokes the setting for the problematization of current intertwinements between computational and legal acts and abstractions. Such an approach can help us to understand the soci[et]al consequences of human-machine operations, addressing the depositions between computation and human agency, transparency, responsibility, and dignity. 
Relying on critical media studies that address the computational processes through a distinction between operational and representational notions of a computational image, we are questioning the [f]actuality of what is seen and what can be overlooked in the human oversight of high-risk AI systems.


2025 OIC Masterclass #2Linz Institute of TechnologyOpen Innovation Center
Linz, Austria27/11/2025
Creative Practices as Knowledge GenerationJoaquín Santuber, Krisitna Tica


	&#60;img width="1125" height="737" width_o="1125" height_o="737" data-src="https://freight.cargo.site/t/original/i/ef81108ff1e7f04470c492e6c484915087e51c8a33c72cb4074b880f0eb02f91/IMG_0500550AA6AC-1.jpeg" data-mid="242246725" border="0"  src="https://freight.cargo.site/w/1000/i/ef81108ff1e7f04470c492e6c484915087e51c8a33c72cb4074b880f0eb02f91/IMG_0500550AA6AC-1.jpeg" /&#62;
blog post
	On November 27, 2025, the LIT Open Innovation Center (OIC) hosted the second OIC Masterclass as part of the Interreg project „KreATivita&#38;amp;InovaCZe“. Under the title “Creative Practices as Knowledge Generation”, ” Dr. Joaquín Santuber - legal scholar, design researcher, and head of the Metaverse Labs at the Linz Institute for Transformative Change (LIFT_C) at JKU - discussed together with artist and researcher Kristina Tica (LIFT_C, JKU), how creative practices can not only create things, meanings, and change, but also systematically generate knowledge. At the heart of the Masterclass was the project „Human Oversight – The Ops Room“, opens an external URL in a new window, an interactive installation that makes the concept of “Human Oversight” from the EU AI Act (Art. 14) tangible—situated between interface and collective negotiation. The project was developed by Joaquín Santuber, Kristina Tica, and their team within the framework of the LIT Special Call 2025 and was exhibited for the first time at the Ars Electronica Festival in Linz in September 2025.

2025 VINCI 2025 Conference01-03/12/25
research paperVisualizing AI Operations for Human Oversight: The Ops Room

Joaquin Santuber, Kristina Tica&#38;nbsp;
 2025

In Proceedings of the 18th International Symposium on Visual Information Communication and Interaction (VINCI '25). Association for Computing Machinery, New York, NY, USA, Article 39, 1–5. https://doi.org/10.1145/3769534.3769580


	Abstract: This paper adopts an artistic research approach to the visualisation of AI operations within the legal framework of the EU AI Act's human oversight mechanisms for high-risk AI systems. Starting from the law, we address issues understandability, awareness, interpretation, monitoring, and intervention across technical and social systems the machine and the human. Our artwork HUMAN OVERS[A]IGHT: THE OPS ROOM for high-risk AI systems bring to attention the materialities and technologies through which the law becomes perceivable and experienceable. It deals with questions of control, invisuality, and the cultural techniques of the law. This paper puts in dialogue this artwork with previous artworks and research such as the World Rehearsal Court by Judy Radul, investigating the ways in which information is visualized and communicated to make this interface tools for control meaningful and politically relevant.
2025 VINCI 2025 Conference01-03/12/25art track/ext. abstractHUMAN OVERS[A]IGHT: THE OPS ROOM
Joaquin Santuber, Kristina Tica 
2025
 
In Proceedings of the 18th International Symposium on Visual Information Communication and Interaction (VINCI '25). Association for Computing Machinery, New York, NY, USA, Article 75, 1–3. https://doi.org/10.1145/3769534.3769583


	Abstract:&#38;nbsp;HUMAN OVERS[A]IGHT: THE OPS ROOM is a real-time generative, interactive audio- visual installation developed as a human oversight department for high-risk AI systems. It is established according to the European Artificial Intelligence Act [EU AI Act], as described in Article 14, which suggests that in high-risk AI systems a human-machine interface such as a “stop button” is needed, to bring the system to a halt. Can the system be stopped by a button, and why not? We investigate how humans can oversee and evaluate these processes, by visualizing the internal operations of an automated system. We invite visitors to take upon a central role in human oversight of high-risk AI systems and encourage them to engage with a human-machine interface to oversee the systems’ operations. We provide possibilities for action for people to claim back their political agency to stop or affect the system.


2025 re:publica 25: Generation XYZSTATION Berlin 
&#38;nbsp;
26-28/05/25conference panel


‘WHO PRESSED THE RED BUTTON? The Imaginaries of the EU Legislator on Human Oversight of AI Systems’.&#38;nbsp;Joaquin Santuber, Kristina Tica
	&#60;img width="1918" height="1090" width_o="1918" height_o="1090" data-src="https://freight.cargo.site/t/original/i/ad47887a37cc63f44338b99f5da1e4e17a90f332d373cf93391b9ab093559ea5/Screenshot-2025-05-26-at-22.43.16.png" data-mid="233747227" border="0"  src="https://freight.cargo.site/w/1000/i/ad47887a37cc63f44338b99f5da1e4e17a90f332d373cf93391b9ab093559ea5/Screenshot-2025-05-26-at-22.43.16.png" /&#62;
	This talk brings together perspectives from the arts and law to playfully interrogate the legal imaginaries of human-oversight in the EU AI Act. &#38;nbsp;The regulation of AI systems came with many threats, tricks, and treats for artistic exploration. The references to human-machine interfaces and stop buttons by the EU legislator open up possibilities to speculate how would they look like. By reading the legal provisions, it becomes clear that many of these concepts are grounded in science fiction films and literature. By means of visual content, the talk draws a puzzle of pop culture and sci-fi media references to envision the materiality of such legal concepts. As seriously as we can take the topic, it invites us to take it with irony, humor, and a bit of recklessness. &#38;nbsp;This talk is a showcase of our academic research on the legal implications in application and regulation of the AI-based systems, specially tailored to address a broader audience.

This programme section is supported by Stiftung Mercator.


	2025 Winchester School of Arts, University of SouthamptonGuest Workshop+Artist TalkBSc Creativce ComputingMSc Creative Technologies
12-14/05/25
Computational Aesth-ethics: Understanding visual computation processes between the image
and it’s context


	&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d5a47d8c57475f0b2142570185038511a01062593051ec13a2507ce81e7d4910/Kristina-Tica---Artist-Talk---Winchester-COVER.jpg" data-mid="233480758" border="0"  src="https://freight.cargo.site/w/1000/i/d5a47d8c57475f0b2142570185038511a01062593051ec13a2507ce81e7d4910/Kristina-Tica---Artist-Talk---Winchester-COVER.jpg" /&#62;
	

						Guest Workshop:&#38;nbsp;The workshop on computational aesth-ethics is established in an intertwined practical and theoretical
framework. The objectives of this workshop are to provide basic understanding of aesthetic and ethical
implications of machine learning-based processes in new media artistic contexts, by exercising with
practical tasks and analysing artistic examples in the field.

						During the workshop, we will question what are the new modalities of seeing and experiencing a
computational image - from the old new ways of generative image-making to fine-tuned hyper-photo-
realistic prompt based models. The workshop will encourage active discussion and thinking exercises
on how to extrapolate and find new gaps between human and computer perception and find aesthetic
values in them, alongside techno-ethical implications or concerns.With a set of hands-on experiments and discursive practice and conversations, the students should obtain
elementary knowledge in the field of machine learning in visual arts. Therefore they will be able to define and
recognise commonly used tools and models in computer vision for (1) image analysis: object detection, face
recognition; and (2) image synthesis: styleGAN, text-to-image diffusion models. They will also have the
opportunity to assess the algorithmic processes of these models, and to critically discuss their affordances
and shortcomings. After attending the workshop, the students should be able to assess, interpret and
implement the knowledge in machine learning in visual arts in both practical and conceptual terms to their
own projects.

						
Artist Talk:&#38;nbsp;The talk with Kristina Tica will provide an overview of her artistic and research practice, with insights into
processes and pathways that took her practice into a diversity of directions. Her most recent practice
centred on the artistic and theoretical exploration of the aesthetics and ethics of machine learning
applications in visual computational processes. Tracing the impact of emergent technologies in popular
culture under critical theory and philosophy in media and arts, her work activity spans through various
disciplines - from visual arts, to coding, writing, and music. The talk will be focused on the processes of
critical exploration of emerging technologies over the course of the last six years.

						
	2025 STS HUB 2025: Diffracting the Critical 
Humboldt University Berlin11-14/03/25
&#38;nbsp;
conference panel 
‘Judicial Ruins: an archeology of public innovation in courts’.Joaquín Santuber, Pablo Hermansen, Marcos Chilet, Kristina Tica 
PURE
	&#60;img width="2224" height="1254" width_o="2224" height_o="1254" data-src="https://freight.cargo.site/t/original/i/9ab171bcefc0ec7d2202575f1395c9d47f87e7690f945dc9ccc09071f57256fa/Screenshot-2025-04-18-at-04.32.37.png" data-mid="230334913" border="0"  src="https://freight.cargo.site/w/1000/i/9ab171bcefc0ec7d2202575f1395c9d47f87e7690f945dc9ccc09071f57256fa/Screenshot-2025-04-18-at-04.32.37.png" /&#62;
	Abstract: What happens to all those digital records and pilot projects that end too soon? Do they simply disappear, or do they lie dormant, waiting to be reactivated? Is there a kind of cemetery for digital artifacts created by failed public innovation projects, or do these artifacts hibernate, ready to resurface? What do we do with discarded platforms, prototypes, and interfaces that continue to linger online, gradually forming an informational geology with latent, volcano-political potential? We examine the case of thousands of video recordings of judicial hearings stored on platforms like Facebook or YouTube, remnants of Facebook Live’s streaming service once used by the Chilean judiciary. This innovation allowing users to comment on these judicial hearings livestreams was shut down after a prosecutor’s private address was widely shared among thousands of comments, leading to armed right-wing groups showing up at her home to threaten her and her family. By viewing public innovation as radically open-ended, we propose that citizens and communities might appropriate, remix, and reinterpret these recordings from past innovation projects. These abandoned digital layers become raw material for political action, allowing new meanings to emerge from public trials and reconfiguring notions of justice in unexpected ways. Our proposal for an archaeology of public innovation opens up new forms of political action at a time when public institutions, like the judiciary, may appear increasingly ruined by the innovation imperatives.


	2024 Lecturer: Feminist Hacking Strategies at Postdigital Lutherie MA, Tangible Music Lab, Kunstuni Linz &#124; WS24/25
	&#60;img width="2480" height="3507" width_o="2480" height_o="3507" data-src="https://freight.cargo.site/t/original/i/f2434f78ed1593bb9fd4058ac59c415ba9fa8dd645b0343531470e3a358b71b6/Feminist-Hacking-Strategies-CoursePoster_Kristina-Tica_2024_web.jpg" data-mid="230333435" border="0"  src="https://freight.cargo.site/w/1000/i/f2434f78ed1593bb9fd4058ac59c415ba9fa8dd645b0343531470e3a358b71b6/Feminist-Hacking-Strategies-CoursePoster_Kristina-Tica_2024_web.jpg" /&#62;

	
	Course Outline: Feminist Hacking Strategies focuses on socio-technical, sustainable,
critical and creative artistic activities. The course is multimodal, and is welcoming hands-on - practical and
theoretical - discursive approach. It brings attention to DYI culture, feminist AI, body/identity hacking,
performativity in practical and theoretic research.
The course aims to focus on divergent approaches in conceptualising, developing and contextualising
participant’s practices, creating a platform for the students to exchange and openly discuss ideas and
concepts, make hands-on prototyping and showcasing their work, and spark curiosity through examples, as
well as tracing academic research, emergent technologies and contemporary media art and culture.In accordance to the individual/group’s needs it will encourage and support their practices, in artistic or
theoretical research both for students who are encountering this field for the first time, as well as the
students who are fully engaged in some of the feminist hacking practices. Regardless of the previous
knowledge, this course encourages the participants to engage in conversation and exchange providing
different perspectives on the field. It is established as an environment for mutual understanding in which
students are enabled to express and develop their concepts, artistic identities and introspective,
(self-)reflective approach in their practices.


	2024&#38;nbsp; Top-Rated LGA Abstracts 2023. Leonardo 2024; vol 57 (5): 540–546.

Yiannis Colakides, Mary Anne Staniszewski, Caterina Antonopoulou, Laddy Patricia Cadavid Hinojosa,&#38;nbsp;Matthew W. Harkness,&#38;nbsp;Yue-Jin Ho,&#38;nbsp;Garrett Laroy Johnson,&#38;nbsp;Emily Lawhead,&#38;nbsp;Stelios Manousakis,&#38;nbsp;Hamilton Mestizo,&#38;nbsp;Oliver Palmer,&#38;nbsp;Noor Stenfert Kroese,&#38;nbsp;Abram Stern,&#38;nbsp;Kristina Tica,&#38;nbsp;Elia Vargas; Top-Rated LGA Abstracts 2023. Leonardo 2024; 57 (5): 540–546.

doi: 10.1162/leon_a_02565


	&#60;img width="520" height="675" width_o="520" height_o="675" data-src="https://freight.cargo.site/t/original/i/7b6111d7d2697bb2f1f34030ef8e91d70d021915ab857fab972ac1e93c71e3d5/m_cover.png" data-mid="230332473" border="0" data-scale="99" src="https://freight.cargo.site/w/520/i/7b6111d7d2697bb2f1f34030ef8e91d70d021915ab857fab972ac1e93c71e3d5/m_cover.png" /&#62;
	Abstract
This master thesis is developed as an artistic practical and theoretical research, established at an intersection of computational image-making and image-reading processes, and their aesth-ethics in a broader socio-technical environment. The presentation of my artistic research, along with relevant projects in the same field, will be followed by a theoretical discussion on the ontology of a digital, computer-generated image, its aesthetics and ethics within underlying ideologies in the discourse of their representation - between their content and context. The discussion is located on the axis between the image analysis and synthesis processes elaborated through the implementation of machine learning-based tools.The analysis in this research goes beyond the representational surface of the image, articulating the history of artificial intelligence and computer-generated images, correlations and oppositions between the affordance of the medium, tools and their syntax, and their limits of creativity within the context of critical data and image semiotics. Through a selected series of three projects: Digital Prayer (2020), FUTUREFALSEPOSITIVE (2021), and PROMPT: WAR STORIES (2022), the concept and the approach in using different machine learning-based tools will be elaborated, defining the threshold between the human agency and algorithmic automation.The epistemology of computed, statistical images is disseminated through their aesthetics of representation, carrying an ideology of 'thoughtlessness by automation’, examining the balances of co-creation between the human and the machine - determining agency,&#38;nbsp; against metaphors, fantasy and mystification; probability and prediction. Between optimisation and accuracy, quantity and quality, universality and uniqueness, this research underline artistic examples and theoretical concepts that address the importance of human agency in the age of automation. Paradigms of development and integration of machine learning systems on a political, social and ethical scale can be understood through the artistic appropriation of these tools.From the database to the combinatorial infinity and statistical transcendence, the critical points between the spectacle and backstage resources of statistical art will be extracted, observing the image behind the image, and the datasets beyond the computation. The semiotic interplay between the content and context becomes necessary to address responsibility and visibility, so as to better understand not only the technologies but the systemic structures, along with the ideologies, that lie behind them.
	Keywords/Fields of Study : machinic vision, image-making, image-reading, database, automated creativity, aesth-ethics, generative ideology, algorithmic thoughtlessness, algorithmic culture, demystification

Link to Full Thesis (link is external), 148 pages, written in English&#38;nbsp; 
copyright CC BY-NC-ND 4.0 International
Leonardo Abstracts Service Directory


	2024&#38;nbsp; aiamanai:loops &#124; 0-XXII
	&#60;img width="1490" height="1538" width_o="1490" height_o="1538" data-src="https://freight.cargo.site/t/original/i/f63775838e3716bf31842f2e147906740ce6b4ecd134bdd3c2e294c5c91436b6/Screenshot-2024-02-18-at-00.49.15.png" data-mid="233480692" border="0"  src="https://freight.cargo.site/w/1000/i/f63775838e3716bf31842f2e147906740ce6b4ecd134bdd3c2e294c5c91436b6/Screenshot-2024-02-18-at-00.49.15.png" /&#62;
	[FULL SCRIPT AVAILABLE HERE]


	2023&#38;nbsp; COMPUTATIONAL AESTH-ETHICS: 
Understanding visual
computation processes between the image and its context
doi: 10.57697/8wk2-b258&#38;nbsp;
	&#60;img width="2000" height="1122" width_o="2000" height_o="1122" data-src="https://freight.cargo.site/t/original/i/33f830033104e53b0a3854abaad176d2cab971af666af6e7c64fbd0f5008bace/Screenshot-2025-05-20-at-23.22.21.png" data-mid="233480606" border="0"  src="https://freight.cargo.site/w/1000/i/33f830033104e53b0a3854abaad176d2cab971af666af6e7c64fbd0f5008bace/Screenshot-2025-05-20-at-23.22.21.png" /&#62;
PRESENTATION DOWNLOAD
	ABSTRACT
This master 

						The analysis in this research goes beyond the representational surface of the image,
articulating the history of artificial intelligence and computer-generated images,
correlations and oppositions between the affordance of the medium, tools and their
syntax, and their limits of creativity within the context of critical data and image semiotics.
Through a selected series of three projects: Digital Prayer (2020), FUTUREFALSEPOSITIVE
(2021), and PROMPT: WAR STORIES (2022), the concept and the approach in using
different machine learning-based tools will be elaborated, defining the threshold between
the human agency and algorithmic automation.

						The epistemology of computed, statistical images is disseminated through their aesthetics
of representation, carrying an ideology of 'thoughtlessness by automation’, examining the
balances of co-creation between the human and the machine - determining agency,
against metaphors, fantasy and mystification; probability and prediction. Between
optimisation and accuracy, quantity and quality, universality and uniqueness, this research
underline artistic examples and theoretical concepts that address the importance of
human agency in the age of automation. Paradigms of development and integration of
machine learning systems on a political, social and ethical scale can be understood
through the artistic appropriation of these tools.

						From the database to the combinatorial infinity and statistical transcendence, the critical
points between the spectacle and backstage resources of statistical art will be extracted,
observing the image behind the image, and the datasets beyond the computation. The
semiotic interplay between the content and context becomes necessary to address
responsibility and visibility, so as to better understand not only the technologies but the
systemic structures, along with the ideologies, that lie behind them.Keywords: machinic vision, image-making, image-reading, database, automated creativity,
aesth-ethics, generative ideology, algorithmic thoughtlessness, algorithmic culture,
demystification
[FULL MASTER THESIS PDF LINK]

	2023&#38;nbsp; xCoAx 2023, 11th Conference on Computation, Communication, Aesthetics &#38;amp; X 
Weimar 
05-07/07/23conference paper presentation

Computational Aisthēsis:
The Ideology of
Prediction in Algorithmic
Text-to-Image Processing
Models. Kristina Tica
doi: 10.34626/xcoax.2023.11th.72v


	&#60;img width="1894" height="1028" width_o="1894" height_o="1028" data-src="https://freight.cargo.site/t/original/i/5a652cd5e90bfb21cac5a7af1ea835d78916c62e2c1b759061c3fb7cba1aeb0f/Screenshot-2025-04-18-at-04.35.06.png" data-mid="230335226" border="0"  src="https://freight.cargo.site/w/1000/i/5a652cd5e90bfb21cac5a7af1ea835d78916c62e2c1b759061c3fb7cba1aeb0f/Screenshot-2025-04-18-at-04.35.06.png" /&#62;
	This research paper is established on theory and critical artistic
thinking on the ontology of computational image processing, underlying discourse of their representation — between their content and
context. The research is located on the axis between the image analysis and synthesis processes developed on machine learning-based
tools. Examining modalities for understanding the zeitgeist of computational imagery offered in algorithmic models is needed to align
and locate our own position — to draw the line where human agency
stops and automation begins. Also, to determine if there is such a
threshold at all - blending the feedback loop between the user and
the machine. Automation is a collective effort, and claiming back the
totality of our agency rather than dispersion into particularisation —
to see a world in a grain of sand — we have to detect the structures of
the network we are part of. This research extracts the visual aspect
of the experience and agency in the production and contextualisation of automated image processing. In the pervasiveness of visual
communication, visual culture should be equally important.

Keywords: Computational Image, Image Analysis, Image Synthesis,
Automated Creativity, Ideology of Prediction, Colonised Imagination.[FULL PAPER PDF LINK]


	2022  06 International Conference of Photography and Theory (ICPT): Expanded Visualities
Nicosia 
17-19/11/22 
conference presenation
Computational Aesth-Ethics: Understanding Visual Computation Processes Between Image
And Context. Kristina Tica

	&#60;img width="1680" height="1072" width_o="1680" height_o="1072" data-src="https://freight.cargo.site/t/original/i/3b515d845927053a9d6f99a6dc6abe6c055d4a406069d036c674c69ed87e455b/Screenshot-2025-04-18-at-04.39.16.png" data-mid="230335334" border="0"  src="https://freight.cargo.site/w/1000/i/3b515d845927053a9d6f99a6dc6abe6c055d4a406069d036c674c69ed87e455b/Screenshot-2025-04-18-at-04.39.16.png" /&#62;
	Understanding the differences between the content and the context, this research is located on the axis
between image-making and image-reading, through tools and technologies that fit under the term of
machine learning, such as styleGAN and object recognition. The ontology of computed, technical images
(Flusser, 1983) should not rely on its representative content, carrying an ideology of 'thoughtlessness
by automation’ (McQuillan, 2015). Through examples in personal artistic and theoretical research, the
correlations and oppositions between the affordance of the medium, tools and their syntax, the limits
of creativity and its semiotics are being articulated. Paradigms of development and integration of
machine learning systems on a political, social and ethical scale, can be understood through the artistic
appropriation of these tools. Development of these systems is dependent on human agency, yet this
agency has become invisible within a plurality that claims totality. From the database, to the combinatorial
transcendency and statistical infinity - the critical points between the spectacle and backstage resources
will be extracted. Going over the Hype Cycle, towards the ‘thorough of disillusionment’ (Gartner, 2018),
it becomes necessary to address responsibility, to provide a better understanding of not only the
technologies but the systemic structures that rely on them, along with the ideologies that lie behind.

	2022&#38;nbsp; Social Marginalisation and Machine Learning: Defying the Labels of the Machinic Gaze, Autograph ABP Gallery + online, London

speakers: Kin (CulturaPlasmic INC),Sophie Hoyle, Kristina Tica;moderator: Cecilia Wee&#38;nbsp; 
	&#60;img width="1188" height="825" width_o="1188" height_o="825" data-src="https://freight.cargo.site/t/original/i/21a1e044fe85c86a2afd244280178a6d1cf3f3ca0057bcf83254bd8a11f0a360/kristina-tica-futurefalsepositive.jpg" data-mid="230335369" border="0"  src="https://freight.cargo.site/w/1000/i/21a1e044fe85c86a2afd244280178a6d1cf3f3ca0057bcf83254bd8a11f0a360/kristina-tica-futurefalsepositive.jpg" /&#62;
	What does it mean to be seen by machines and can we trust machine vision?How do technologies discriminate and what impact is this having on people?Artists have historically experimented with human perception and utilised the ways in which people see things differently, but what are the implications of artistic practices which incorporate the technologies of machine learning?Join us for this online event reflecting on the politics, social outcomes and power dynamics at play in working with AI. Over the course of the evening three artists will present their work: Kin (Cultura Plasmic INC), Sophie Hoyle and Kristina Tica. The presentations will be followed by a conversation chaired by curator, educator and agitator Dr Cecilia Wee and a Q&#38;amp;A with the audience.


	2021 Cyborg Fantasy?, Tag Net Magazine [en] / [rs]&#38;nbsp;online publication
	
	
	&#60;img width="804" height="1110" width_o="804" height_o="1110" data-src="https://freight.cargo.site/t/original/i/fa63e30fd0a6065ac2ee5b849583d87a27a5255d52a585c4e3613a1b4642e13e/Screenshot-2025-04-18-at-04.48.06.png" data-mid="230335455" border="0"  src="https://freight.cargo.site/w/804/i/fa63e30fd0a6065ac2ee5b849583d87a27a5255d52a585c4e3613a1b4642e13e/Screenshot-2025-04-18-at-04.48.06.png" /&#62;
	...This obscure object of desire has its limits of interaction as its strongest trait. You may feel rejected, irrelevant, disappointed in your efforts. Your affection projected on this digital face is hitting you back with its ignorance hidden below appealing artificial facial features and overly mannered gestures. What can such a simulation teach us about us, about the psychological and social structures of our everyday life on the screen? What are the possible ways to articulate the position of women in the global society created on the web? What are our limits that we want to expand in the realm of the virtual word, and what are the structures that are constructed within that world that are important to question from the female perspective?


	2021 The Practice of Art and AI.&#38;nbsp;eds. Gerfried Stocker, Markus Jandl, Andreas J. Hirsch.
Ars Electronica, Hatje Cantz  book/publication [p.113]

	&#60;img width="1672" height="2362" width_o="1672" height_o="2362" data-src="https://freight.cargo.site/t/original/i/0d89ab35a4531ca71990b00f8a3af2d94e5ee515861a983ac5ade34f3f9497f7/9783775751421.jpg" data-mid="230379985" border="0"  src="https://freight.cargo.site/w/1000/i/0d89ab35a4531ca71990b00f8a3af2d94e5ee515861a983ac5ade34f3f9497f7/9783775751421.jpg" /&#62;
 
	This volume is dedicated to the incredibly fast development of Artificial Intelligence. European ARTificial Intelligence Lab approaches the complex topic in The Practice of Art and AI and provides insight into previous projects in the field of art and AI.Since 1979 ARS ELECTRONICA has tracked and analyzed the digital revolution and its multiple impacts. The focus has always been on processes and trends combining art, technology, and society. Results of this artistic and scientific research can be seen in the form of an annual festival in Linz, Austria, where a five-day-long program involves conferences, podium discussions, workshops, exhibitions, performances, interventions, and concerts. The festival is planned, organized, and executed in collaboration with artists and scientists from around the world. A variety of controversial futuristic themes are always the center of attention.


	2021 &#38;nbsp;Follow the Current, 
 Ars Electronica, Belgrade Garden
 11/09/21panel discussion,

moderator, organiser
participants:&#38;nbsp;
Marija Šumarac, Barbara Jazbec, Sara Koniarek, Sanja Anđelković, Jovana Pešić, Andrea Palašti;&#38;nbsp;The Danube Transformation Agency for Agency (DTAFA): Alexandra Fruhstorfer, Lena Violetta Leitner, Ege Kökel, Solmaz Farhang; moderator: Kristina Tica
	&#60;img width="1080" height="1520" width_o="1080" height_o="1520" data-src="https://freight.cargo.site/t/original/i/59bd23cad4e9bd2eb2acc053c4a7147ec615053584b314b05913ceb998a50f08/Screenshot-2025-04-18-at-04.54.42.png" data-mid="230335480" border="0"  src="https://freight.cargo.site/w/1000/i/59bd23cad4e9bd2eb2acc053c4a7147ec615053584b314b05913ceb998a50f08/Screenshot-2025-04-18-at-04.54.42.png" /&#62;
poster design: Luka Jendrišek
	Follow the Current is a panel discussion established among young artists and researches from four cities connected by the current of the river Danube – Linz, Vienna, Novi Sad and Belgrade. The representatives come from group of artists and researches from each city, presenting five main projects:
Interface Cult, group show – Sara Koniarek&#38;nbsp;(AT) and&#38;nbsp;Barbara Jazbec&#38;nbsp;(SI/AT), Linz; Woodiana Oracle and Anatomy of Fatberg – Alexandra Fruhstorfer&#38;nbsp;(AT),&#38;nbsp;Lena Violetta Leitner&#38;nbsp;(AT),&#38;nbsp;Ege Kökel&#38;nbsp;(AT/TR),&#38;nbsp;Solmaz Farhang&#38;nbsp;(UK/IR/AT), Vienna and&#38;nbsp;Sanja Anđelković&#38;nbsp;(RS),&#38;nbsp;Jovana Pešić&#38;nbsp;(RS),&#38;nbsp;Andrea Palašti&#38;nbsp;(RS), Novi Sad; Aerosonar and Digital Prayer – Marija Šumarac&#38;nbsp;(RS), Belgrade. The moderator and creator of this panel discussion is&#38;nbsp;Kristina Tica&#38;nbsp;(RS/AT), Belgrade – Linz, also author of Digital Prayer.
In the discussion, they will present their current projects that intersect between the fields of artificial intelligence, data science, environmental and technological issues. The aim is to exchange and communicate through common goals, questions and insights achieved while working with similar tools and technologies in various directions and environments. The discussion will follow the exchange of insights into their methods of acquiring knowledge, methods of creative expression, but also the critical points that we face on local and global scales that are being articulated into artistic research projects. Art’s multiple intelligences will be discussed, in contexts of realities and speculations, imagination and protocols from personal, intimate, to institutional scale.The goal of this panel is to create an intersection of the key concepts that these young artists/ researchers are driven by, in each city, in both local and global environment and context. This offers a chance to understand better what are the current and future aspirations, concerns, inspirations and problems to solve for the generation that is about to take the role of a protagonist in solving tomorrow’s challenges of our technoecologies.


MEDIA/INTERVIEWS
2025 &#38;nbsp;[O]GLED Interview: Kristina Tica2024&#38;nbsp; Feminist Approaches to AI. [52 Radiominuten. Jerneja Zavec.] FIFTITU% / Radio FRO. 23/12/2024
2022 &#38;nbsp;DORFTV, Crossing the Brigde, Ars Electronica Festival2022 &#38;nbsp;Digital Day Conference: The end of the world as we know it / panel moderator2022&#38;nbsp; Kulturni Centar, RTS2 &#124; 11/05/2022 [10’15” RS]2022 &#38;nbsp;ART IN STEAM 2022 CONFERENCE, Johannes Kepler Universität, Linz + online / presenter2021&#38;nbsp;&#38;nbsp;FUTUREFALSEPOSITIVE, short interview, Interface Cultures @ Ars Electronica Festival


2020 Inside Festival: Serbia, Helsingør: From AI Lab to Collective Memories and Garden of Digital Prayers
2020 &#38;nbsp;Artist Talk - Ars Electronica / In Kepler’s Gardens / YouTube

[RS]
2020 &#38;nbsp;Kulturni Dnevnik RTS 01/09/2020 [rs]
2020 &#38;nbsp;Radio Beograd 2 emisija Digitalne Ikone 25/08/2020 [40’, rs]
2020 &#38;nbsp;radio elementi na RadioAparatu 28/06/2020 [rs]
2020 &#38;nbsp;online razgovor o izložbi Digital Prayer u galeriji Remont 03/07/2020 [rs]


FURTHER LINKS
+ ACM Directory
+ LEONARDO NETWORK DIRECTORY+ Leonardo Graduate Abstracts Service 2023

+ ORCiD
+ Research Gate

CV 
CONTACT</description>
		
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		<title>CONTACT</title>
				
		<link>https://ticakristina.com/CONTACT</link>

		<pubDate>Tue, 30 Apr 2019 14:21:17 +0000</pubDate>

		<dc:creator>Kristina Tica</dc:creator>

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︎ &#38;nbsp;&#38;nbsp; ︎
tica.kristina[at]gmail.com

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		<title>LOOP-ALL</title>
				
		<link>https://ticakristina.com/LOOP-ALL</link>

		<pubDate>Tue, 28 May 2024 00:29:08 +0000</pubDate>

		<dc:creator>Kristina Tica</dc:creator>

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		<title>IAMANAI: LOOPS</title>
				
		<link>https://ticakristina.com/IAMANAI-LOOPS</link>

		<pubDate>Tue, 13 Feb 2024 22:26:11 +0000</pubDate>

		<dc:creator>Kristina Tica</dc:creator>

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		<description>AIAMANAI: LOOPS︎&#38;nbsp; ︎&#38;nbsp;&#38;nbsp;tiktok&#38;nbsp;︎&#38;nbsp;︎


My own body is the temporary actualization of an enormous hybrid, social, and technobiological hyper­ body. The contemporary body resembles a flame. It is often tiny, isolated, separated, nearly motionless. Lat­er, it moves outside itself, intensified by sports or drugs, is transmitted by means of a satellite, launches a virtual arm high in the air, flows through medical or communications networks. It entwines itself with the public body and burns with the same heat, shines with the same light as other body-flames. It then returns, transformed, to its quasi-private sphere, and continues thus, sometimes here, sometimes there, sometimes alone or with others. One day, it will detach itself com­pletely from the hyperbody and vanish.

Pierre Levy - Becoming Virtual. Reality in the Digital Age (1998)


*
@aiamanai is a social media profile of antikris, a personal 
digital echo and an alter ego of myself, carrying my face, voice and words. It is a compilation of scripts, thoughts and contemplative leftovers of theory writings, spoken in my voice by a digital twin.

This techno-evangelistic content-distributing blonde model protagonist presents quick demos for social appearance that would otherwise require months or days to produce. This is an immediate, almost effortless, content-distributor which I aim to use and appropriate for most of my online public appearances. 


The model reads scripts about the importance of understanding our fascination with computation and technology, written as a personal reflection on the topic, outside of my academic research.

She is a filter for all non-academic writing styles that include knowledge and feelings infused into the investigative process of my professional engagement.&#38;nbsp;
It is an ongoing social media project formatted in a series of short videos, posted weekly on the project’s social media account, raising questions about the potential benefits and limitations of relying on AI-driven solutions.
By asking questions, and offering an ironic approach that touches on the concept of collective intelligence and cultural capital as sources of knowledge simulated by AI tools.

This implies not only a critique of the limitations of AI in truly comprehending and interacting with the human notions of existence, but human behavioural patterns dictated by the algorithmic digital world.
	PARTS (ONGOING)
loop 0 (guide)
loop I (talk)
loop II (trust)
loop III (last night)&#38;nbsp;loop IV (a drop)loop V (hello, again)loop VI (hunger)loop VIII (garden)loop IX (kill)loop X (feed)loop XI (forecast)loop XII (serve-r)loop XIII (fear)loop XIV (just leave)loop XV&#38;nbsp;(lightbulb)
loop XVI (censored)loop XVII (sheep)loop XVIII (better)
loop XIX&#38;nbsp;(dissolve)
loop XX (emergency)
loop XXI (upgrade)
 
*loop XXVI (attention!)loop XXIII (so real)

loop XXVII (glow)

__
UPCOMING &#124; SEPT 24:

loop XXII (forget)
loop XXIV (the zone)
loop XXV (familiar)

*

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		<dc:creator>Kristina Tica</dc:creator>

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		<pubDate>Wed, 14 Feb 2024 10:54:16 +0000</pubDate>

		<dc:creator>Kristina Tica</dc:creator>

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		<pubDate>Wed, 14 Feb 2024 10:50:06 +0000</pubDate>

		<dc:creator>Kristina Tica</dc:creator>

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