• Life in the Age of Automation: Cultural and Creative Perspectives”, Study Day, 26 Sept., 2022, UQ, Brisbane. Hosted by Elizabeth Stephens and the Digital Cultures and Society Hub (UQ)


  • ARC Centre of Excellence for Automated Decision-Making and Society (ADM+S)
  • Digital Cultures and Society Hub (UQ) LINK
  • ARC “The Cultural and Intellectual History of Automated Labour” (UWA/UQ)
  • ARC DP “The Geopolitics of Automation” (WSU) LINK

The Art and Science of Synthetic Biology”, LASER talk, Institute of Modern Art, 27 Sept.
2022 Brisbane. Speakers: Oron Catts, Ionat Zurr, and Jestin George. Hosted by Elizabeth Stephens and Grayson Cooke.

“Automation Culture” Seminar Series, UWA and online:  


  • Ionat Zurr, Monster Conference, Limina Journal in collaboration with the ARC Centre for the History of Emotions and the Classics Department at the University of Reading UK, 9/9/2022
  • Ionat Zurr, m/other becomings symposium.  Aalto University  9/6/2022
  • Elizabeth Stephens: Transparent Women: The Visual Cultures of Medicine ANU. 9/11/2022
  • Oron Catts, Robots as Surrogate to Biological Functions, in Creative Collaborations #2 Art, Design & HRI. Ben-Gurion University of the Negev, and the Bezalel Academy for Arts and Design, Jerusalem 12/05/2022
  • Oron Catts, “Frankenstein’s Reproducibility Crisis”, in Quantum Words Perth, WA State Library, 17/09/2022


Panel on “Automating Life: Cultural and Creative Perspectives”, Cultural Studies Association of Australasia conference, 2 Dec, 2022, Melbourne. Convened by Elizabeth Stephens.

Papers Presented:

  • Sergio Santiago Renteria Aguila, “Machine Listening Aesthetics: Reanimating Sonic Ecologies
  • Elizabeth Stephens, “Automaton and the Invention of “Life”
  • Ionat Zurr, “Who Cares? Michael Richardson (respondent): “Nonhuman Witnessing of Automated Life

Panel on “Automating Life”, in “Life in the Age of Automation: Cultural and Creative Perspectives”, Study Day, 26 Sept., 2022, UQ, Brisbane

Papers Presented:

  • Elizabeth Stephens, ‘“Fauxtomation” and Programmable Life
  • Oron Catts, “Art as a Precursor to MetabolicRift Technologies
  • Ionat Zurr, “The Revitalisation of Automation
  • Sarah Collins, “Automation as Mimesis

Other Presentations:

  • Oron Catts, Sarah Collins, Elizabeth Stephens, Ionat Zurr, “Neutralising Nature: Automation, Agricultural Technologies, and the Morality of Improvement”, IEEE International Symposium on Technology and Society (ISTAS), 28-31 Oct. 2021, Waterloo, Ontario, Canada (virtual)
  • Tarsh Bates, Oron Catts, Sarah Collins, Dale Tilbrook, Ionat Zurr, “Automation Cultures Digestion: Panel”, 3SDC Contestable Food Systems Symposium, Seedbox Community Garden event, 10 Feb. 2022
  • Ionat Zurr, “Life as an Object”, Kersnikova Creative Europe project Arc-hive  (17/02/2022)
  • Ionat Zurr, American Communities program presents: Bioart & Resistence: A Global Virtual Roundtable, Cal State LA USA (16/3/2022)
  • Ionat Zurr: Laser Talk – Beyond Spontaneous Generation – an art & science encounter
  • Sarah Collins, “Belonging as Mimetic Contagion”, Australian Academy of Humanities Symposium, Ballarat, Nov 2022
  • Sarah Collins, “The Stone Guest”, American Musicological Society Conference, New Orleans, Nov 2022
  • Sarah Collins, “The Future of AI”, French Dialogues, Hosted by UWA Law, Perth City Council Library, Sept 2022
  • Sarah Collins, “Animating the Inanimate: musical automation on stage and screen”, Creative Arts Research Institute, Griffith University, Brisbane, Oct. 4, 2022
  • Sarah Collins, “Sounding Simulacra: The Aesthetics of Automation in Opera and Animation”, Royal Holloway, University of London, 2022
  • Sarah Collins, “Papageno on the Assembly Line”, American Musicological Society Conference, Nov 2021
  • Oron Catts, “Life as an Object. Kersnikova Creative Europe project Arc-hive (17/02/2022)
  • Oron Catts, “Post Promethean Art” @ JRC-EC [artist talk] Talk at the Joint Research Centre, European Commission, Organised by the JRC SciArt project 24/05/2022
  • Oron Catts, “Nature free (Agri)culture – Hacking and Contesting Future Food Systems” in HACKERS, MAKERS, THINKERS, Collective Experiments in Social Fermenting, Berlin University of the Arts and Art Laboratory Berlin 27/05/2022
  • Oron Catts The European Commission Joint Research Centre Science Summit 2022, “Ethical challenges of a future world shaped by emerging technologies” (Block: Needs for Science in the Future) 14/06/2022
  • Oron Catts, Imagining a New Policy Agenda for Australian Arts & Culture, The University of Western Australia’s Public Policy Institute, WA State Library 06/10/2022
  • Oron Catts, Metabolic Rift Technologies at RIXC Art Science Festival and Renewable Futures Conference 2022: SPLINTERED REALITIES, Riga, Latvia 08/10/2022
  • Oron Catts, Nonconsensual Artwashing, in Navigating Ethics in Arts Partnerships (The Summit), the Chamber of Arts and Culture (WA), 25/10/2022


  • Sergio Santiago Rentería Aguilar, “Machine Listening: Reanimating Acoustic Ecologies”, PhD candidate, UWA
    • S. Rentería.The Song Remains the Same: Normative Listening in the Nómos of Birds and Computers’. Murdoch University Philosophy Seminar. Australia 2023.
    • S. Rentería.Spectral (De)compositions: Dadamining Datamining. NONSTOP WKND: Planetary Auditions’. Royal Melbourne Institute of Technology. Australia 2023.
    • S. Rentería. ‘The Aesthetics of Machine Listening: Reanimating Sonic Ecologies’. CTM 2023: Research Networking Day – Future Scenarios of Non-human Sound. Germany 2023.
    • S. Rentería. ‘The Silence of Avian Archives: A Practice-led Study of Machine Listening’. Panel: Zoömusicology: The Music of Nature and the Nature of Music 45th National Conference of the Musicological Society of Australia 2022. Co-panelists: Hollis Taylor, Solomon Frank, Eleanor Brimblecombe.
  • David Friedrich, “Phenomenology of Bionic Sensation. Rethinking the relationship between sound and hearing based on the cochlear implant”, PhD candidate, UWA
    • 24th Annual Western University Graduate Symposium on Music (WUGSOM). “Not without my discipline: Adding techno-philosophy to the multidisciplinary nature of the cochlear implant.” London / Canada.  Aug. 25–26, 2023.
    • 11th International Scientific Meeting for Sound, Music and Musical Instrument Studies. “Let’s talk about the Cochlear Implant and its impact on our understanding of sound.” Coimbra / Portugal.  July 21-24, 2023.
    • Arts and Humanities in Digital Transition. “Beyond Biology: The Impact of Neurotechnology on Human Sensory Experience“. NOVA FCSH (Lisbon / Portugal). July 6–7, 2023.
    • NOVA Contemporary Music Meeting. “Beyond Acoustics: The Impact of Cochlear Implants on Sound Perception“. NOVA. FCSH (Lisbon / Portugal). May 3-5, 2023.
    • Conservatorium of Music. “Hearing like a hammerhead shark? How a techno-philosophical investigation of the cochlear implant alters our understanding of sound perception.“ UWA (Perth / Australia). March 28, 2023.
    • Media and Communication Research Seminar. “The Cochlear Implant: A Media Theory about its Influence on Human Sensory Experience“. UWA School of Social Sciences (Australia). February 10, 2023.
    • Medien, die wir meinen [Media in our sense]. “Let’s talk about the technológos of the cochlear implant“. [via Zoom]. Berlin (Germany). February 8, 2023.
    • Musicological Society of Australia. Western Australia Chapter Conference. “There is no Natural Hearing“. UWA Conservatorium of Music (Australia). November 28, 2022.
    • EMSD Forum. “Live. Recording. Sound— A (personal) Journey to our understanding of sound“. UWA Conservatorium of Music (Australia). August 3, 2022.


    • “Das Ende der Menschheit ist die bessere Realität.” [The End of Humanity is the Better Reality]. Zerteilte Zukünfte (Podcast). Released on May 08, 2023.
    • “Musik-KI klont Drake & The Weeknd [Heart On My Sleeve].” [Music AI Clone Drake & The Weeknd]. Zerteilte Zukünfte (Podcast). Released on April 23, 2023.
    • “Neuro-Biotechnologie mit David Friedrich.” [Neuro Biotechnology with David Friedrich]. Zerteilte Zukünfte (Podcast). Released on Sep. 4, 2022.

Wolfgang Koch as Faust in Ferruccio Busoni’s Doktor Faust, Munich Opera Festival, 2008. © Wilfried Hösl.