Selim Balcısoy earned his Ph.D. degree in Computer Science at Swiss Federal Institute of Technology, Lausanne (EPFL) in 2001. Between 2001 and 2004, he worked as a Senior Research Engineer at Nokia Research Centre in Dallas, USA. Dr. Balcisoy has been awarded with a U.S.A. patent and is author of over 50 scholarly articles. He conducts research on augmented reality, data visualization, and cultural heritage. Dr. Balcisoy is a full-time faculty member at Sabancı University since 2004 and a cofounder of VisioThink, Inc., established in 2006.

Dragan Espenschied (born 1975, Germany) is a home computer folk musician, net artist and digital culture researcher. Since 2014 he has led the preservation department at Rhizome. In this position, he established emulation, web archiving and linked data as institutional practices, and developed new approaches for preserving and presenting works of net art online and in gallery space.

She is a Time-based Media Conservator with a broad interest in the preservation of the digital components of contemporary artworks. She has worked at Tate since 2008, and currently works in the acquisition of time-based media artworks into the Collection. She currently collaborates with Tate’s Research Department in the Reshaping the Collectible project, looking at the preservation of websites in Tate’s context, as well as working with Tate’s Technology team to continue to develop Tate's strategy for the preservation of high value digital assets. Patricia completed her MA at the University of the Arts in Bern with a thesis on risk assessment for software-based artworks. She continues to develop research in this field in her role as a Doctoral Researcher in the AHRC funded Collaborative Doctoral Program, between Tate Research and the Computing Department at Goldsmiths College, University of London. The subject of her research are the practices of software-based art preservation in collections, by artists and in the gaming industry.

Daniel Heiss works as a developer for ZKM on projects that involve digital art conservation and technical solutions for modern media art projects. He graduated in computer science from Karlsruhe Institute of Technology with a specialisation in distributed sensor networks and robotics. His expertise includes historic computers like SGI based systems, the cut points of electrical engineering and computer science, as well as frameworks for computer vision and other interactive interfaces usually used in media art.

Vasıf Kortun (1958), güncel sanat, sanat kurumları ve sergi pratikleri konularında çalışan küratör, eğitmen ve yazardır. SALT, Platform Garanti Güncel Sanat Merkezi, Proje4L ve Küratörlük Çalışmaları Merkezi Müzesi, Bard College gibi kurumların kurucu direktörü olarak görev yaptı. Gerçekleştirdiği bienaller arasında Taipei Bienali (Man-Ray Hsu ile birlikte, 2008), 9. Uluslararası İstanbul Bienali ( Charles Esche ile birlikte,2005), 3. Uluslararası İstanbul Bienali (1992) vardır. Kortun 2006 yılında “Güncel Sanat Dünyasına meydan okumak ve parametrelerini ulusal ya da uluslararası, yerel ya da küresel gelişmelerin ötesine itmek için deneysel yaklaşımı ve yeni fikirlere açıklığı” nedeniyle Center for Curatorial Studies’den Curatorial Excellence Ödülü'nü aldı. Kortun, uluslararası yayınlar ve süreli yayınlar için Türkiye'deki sanat ve görsel kültür üzerine yazılar yazdı. Son yayınları arasında, 20 (SALT, 2018) ve Susan Hapgood ve November Paynter ile birlikte editörlüğünü yaptığı, 1990'ların sonlarında uluslararası küratörlerin çevrimiçi tartışma platformunu araştıran “VOTI: The Union of the Imaginary: a Curators’ Forum” kitabı bulunmaktadır (Walther König Books, 2016).

Louise Lawson is Conservation Manager for Time Based Media Conservation at Tate. She is responsible for the strategic direction, development and delivery of all aspects relating to time-based media conservation at Tate. This requires working across a wide range of projects and programmes: exhibitions, displays, acquisition, loan-outs and collection care initiatives such as the development of a digital repository. Her current research is focused on the documentation and conservation of performance-based artworks within Tate Collection.

PAMAL_Group is currently made up of Stéphane Bizet, Lionel Broye, Armandine Chasle, Emmanuel Guez and Morgane Stricot.

They are developing a media-archaeological artistic practice based on a media-archaeological practice of conservation and restoration of digital art and literature. PAMAL_Group creates its own works from network-based digital artworks that have disappeared or been severely damaged due to the obsolescence of networks as well as computer software and hardware. Its work seeks to make visible the vulnerability of an art form that is highly dependent on industrial logic. All the works that the collective reconstructs, as close as possible to the original materialities, sometimes in a deficient way, are treated as archives.

Lozana Rossenova is a digital designer and researcher, based in London and Berlin. She is completing a PhD degree at the Centre for the Study of the Networked Image at London South Bank University, in collaboration with Rhizome, a leading international born-digital art organization based in New York. Her research focuses on questions related to presentation and performativity in Rhizome’s online archive of net art – the ArtBase. Lozana is particularly interested in open source and community-driven approaches to digital preservation infrastructure. Besides her academic work, Lozana works with art and/or technology organizations in helping them plan and implement digital archive solutions, or develop new pathways of interaction for challenging user workflows.

Morgane Stricot is a senior digital and media art conservator at ZKM and a researcher at PAMAL (Preservation & Art – Media Archaeology Lab). She studied the preservation of complex digital objects during her master degree in Conservation of Media and Digital Art at Ecole Supérieure d’Art d’Avignon, France and during her research fellowship at the Still Water New Media Art Lab of the University of Maine, USA. Her research focuses on the contribution of media archaeologies as a complementary theory for the conservation and reconstruction of media-technical works of art.

Matthieu Vlaminck is a junior digital and media conservator at ZKM. He recently graduated from the Ecole Supérieure d'Art d'Avignon in Visual Arts. He also holds a diploma in programming/network and in music (cello). His current specialization is the preservation and restoration of 3-D computer-generated cinema models especially Star Trek ships. Matthieu’s research focuses on the preservation of digital art, notably on third-party products as part of artworks (maintenance/adaptation of historical and obsolete commercial software/API for the sake of art preservation), and the archiving of artworks using 3-D visualization.

Siegfried Zielinski is Michel Foucault Professor of Media Archaeology and Techno-Culture at the European Graduate School in Saas-Fee (CH), honorary doctor and professor of the Budapest University of Arts. He was chair of media theory at Berlin University of the Arts, and director of the Vilém Flusser Archive (till 2016). He was founding rector (1994–2000) of the Academy of Media Arts Cologne and rector of the Karlsruhe University of Arts & Design (2016-2018). Zielinski has published numerous books and essays mainly focusing on the archaeology and variantology of the relations between art and media. In cooperation with Peter Weibel he is also a curator of large format exhibitions at the ZKM Karlsruhe, such as ‘Vilém Flusser and the Arts’, ‘Allah’s Automata’ (both 2015), ‘Dia_Logos - Ramon Llull and the Combinatorial Arts’, ‘Art in Motion - 100 Masterpieces with and through Media’ (both 2018). Zielinski is member of the Berlin Academy of Arts and the North-Rhine-Westfalia Academy of Sciences and Arts.