website statistics

Participate

Projects

About

Blog

Store

Support Us

Newsletter

Email

IG

TW

**

...◦▫..◦.◌▫...,..*.◦·..*▫..·,*...◌..▫.,.▫.....,..*◦.,*.◌..◦◌.*,.▫,.·▫·◌◌▫·.▫.◦▫▫..◌·.◦··...◌*,...........*..◦◌..◦.*....▫......*.,...,..,,.▫.*..*▫.··◦...,·*....▫.▫·.*◦..◦...◦.◦.▫▫▫.▫◦..▫.·...◦*.◦....◦.▫◦,.,...,........◦...,*.·...◦,*..·..*.·*.▫..*..·....▫..▫.*.*.,..·.,..▫◌..◦◦◦·..◦..**....◦.◌....◌*,.,.◦◌,◌*.....,*.·,.·.◌◦.*▫.·..◦·.,·.,◌,,..,*....◌.,,...▫...*◦,,,*....*....*·....,...,◦....·..*,...◌.,..*.*.,*..◌..·.◦.*.◦◌.*...,◌◌.·◌***...·..◌....▫.◌...◌...▫..·◌◌.*...◦◌,▫.◦·◌....*◌..*.*,◦,*.**....**.▫........*▫◦·...,...,..·....**.*,...,.▫◦..,·◦...*.◦◦◦.,...◌.▫....▫◦▫..*.▫.,...,,*.◦.,...◌.▫.....,▫......*◦◦,.◌*......▫,..◌▫◌▫.◦.....,..·◌..,.◌◦.·◌,....,▫▫*·▫◦▫.◦*.◌.◌·..◦...**.·..*.·◦.▫...◌,▫◌.·.▫...*...·...▫◦**.·◦**..◌.◦...,,◌◦..,.,▫...,▫....,·.....◦.....,◌◦..*▫....▫.▫.◦.....·◌◦*....·.,◦◌.....·..,..,◦...◦▫.▫...◦.·◦..▫▫*·.....◌.....*◌*.◦▫...*.....,◌..◌..◌...*..·.,..,.▫.◦◦....◌.·,.,.▫·..◦◌·.*...·◌..*......▫.,◌*..,.*▫·....◦.....,*.·.....▫...·.....·*.◦*.....◌.....·.◌.▫..◌.·*.◌..**◌◦.,.....◌.**◌...◌◦..*........*....▫.◌.*...◌..◌..........◌·▫.....▫◦.·.........▫◌,▫,◌,..◦,,..·..◦,.▫.*▫...◦◌.*.·◌.**..◌...*.....◦....*..··,·..◦....··..·....◦**.◦......◌..*..*.*.,▫·.◦.*.,..◌·.....◌,.........*,..▫..◦..·.*◌▫◌▫..·.◦◌....,.◌,..,..*...◌▫,.·,.....▫◌,◌◌.▫..,.▫*◦....◦.·.◦,.....··▫..◦,·◦..·...·*,◌.◦.....*·◦.......*·..▫..·..▫,.◦*...▫.*▫..*.,..◦....,.....◦.◦..◦....▫.*◌*....◦·.◦.▫·..,...*·◌..···.▫▫▫...◦.,**...◦◌...◦...◦.....◦▫◦.▫...▫.,*.▫◌◦▫..◦.*...,..◌.*.◌...·..▫......▫◦.·*...▫▫◦...,◌.....◦◌.◦▫.◌◌..,◦,..,.▫·...·.....*....◦..,.....*·.·..·*.....,..▫..◌,...◌◦.·.··,◌,...··▫..◦*.◦,▫....◌▫.,.·◦.·*..◦▫.◦..*▫.*,....◦,...◌...·,.·.◦.,......◦,·.▫.▫,*..◦..**....*,...◦..◦..·▫..◌,,◌.........◦....*.*.◌...·.*......◌◌.◦.◌...,.....▫,◌.,.·.◦..,.◌◦..,*..·........*.,.▫·.,...,...,◌....*..◦.......◌.▫,..◦....*◦.,*.,◌....▫..·.*.◦..*...▫....*.◦.·..·.·...,..◌,◦,.......◌.▫*.,.◌.....▫..▫.......·..▫◌....*.*....▫..,...*.,...·.·.▫*...*..,.·,◦.··*▫.▫....▫..·.....,.◌...............▫..*▫▫◌◦.*▫▫.◌·▫..*.....·.◌..··..▫..◦..,**.·..·...,......◌,·◌...▫..,..*...◌◦▫..◦▫..·◦...▫*,·◦,..◌,....·◦.,▫...·◌.*.,.*..◌·◦.◦......,....*......◦◌.▫.,.....◦..▫......,..◌,,·.·....·◌......·▫..*......*..,,.·...◌..,◦....,·.......▫◌*,..*.◦........◌...,...▫...◌.·.,◦◦◌...◌.▫....◦◦▫**....◦.,▫..◌◌·*...◌.◦◦◌.,,◦▫.▫.·,▫◦.....*......,◌.......·.··....◦,.▫...........▫.....,...◌..·.·.·◦·◦·.*.◌.....·..,.......◌*..◌.◦.·.◌.·,..,..▫,.◦·,◦◌▫...▫**.·▫...▫...,..···.··◌,▫...,..◦◦..▫.◦..·.*·.▫..◦*▫◌▫..◌◌*...◌..◌◦◦.·,*◌..▫.◌◌..▫......◌▫,..◌..·.◌◦◌......*.**..*·.,..◌,......

School

◦◌...▫...,..,*....,.▫..·.........◦..◌..,,..*.·.◌.,.*.◦▫.◌,..,▫....·.▫*...,....·..*◦...·◌.·..,*.▫.▫.◦.·,.,*.*....▫,◌◌..*,..**.▫...·.·....▫.··.,.·*..▫,·*.·*▫....*◌..,.▫..*....◌....·.◌....,...*....◌◌.◦.·.▫▫.*..*◦..◦,,..◦.....·....,*·..·◦·...·,.....,▫...◦.,◌....◌..▫,◌....▫.▫◌▫.◦..◦◌....▫·.◦◦,.◌◦....◌....▫.,..◦*.·.*...,.*▫.◌◌.◦.◦.◦▫▫·.◌...,......◦*...▫......·......▫◦,▫.,........·*...◦..◌·.*...◌.....▫.▫...◌...........◦·◦..*..◌..,.·.*......▫.....◦..▫.,.**.◌,.▫.◌◦...▫........◌·,.◦◌·*..,◦.▫,◦...,.▫◦*.*▫*.▫*.▫.◦...▫*,◦..........·...◦...........◌◌*.◦..▫▫,.◦,·......▫◦◦*..*...◌.......*.◦▫..·*◦*▫*....◌▫.◦·......◦.▫*,...◌...▫.,......·◌.,..,.▫.◌,..▫...*....*..·......◌▫.*.·.......▫..◌..▫....*.*.▫▫·.◌..▫*.◌··,.▫.·.....*...◌.*◌..·..◌.,.◦▫..◦.,..,◦..▫,.◦.◌....,··.....◦◦.,◦.◦.,.◌▫...*.*,..*◦·◌.◦.....◦.▫*,*◌..,...·,.◌..▫...·.........··.,**.◦..◌.,...·,..,◌....·..·..,·.......▫,◦..,......*...,..▫.·..*.,.,..··,.◌◌.◌....,...*,◦.*.....▫◌..▫▫.......,◌.....·◌◦.*,◦▫..◦..,,.......*·.·.*...........◌▫..◦.◌◦*...*..............▫.....◌◦...,.◦..,,....▫▫*..◌·....,.,,.◦....*▫·,.*·.,.◌....·◌◌◦..▫..▫...▫...◌.·..,.◦◌..·▫◌·..◦..▫...*◌......*.◦..*..◌.◌.*·.·....◌◦·.·◦.◦,..*·.,*.◦....◌.*....*◦.....▫◌·.▫.*◌..◦◦.·▫.,........▫,..,...,....,.·......,..◦.·...,◦.....◌.▫.....◌...▫.....·..◦.▫▫▫·.◌.◌.·.,..............▫.◌·..,·.▫,◌*.*..·..◦,..·*.◌.....◌.·▫.▫...◦·......*.,.,.,.◌.◦..◦*.,.....◦·..◦*.,...*..........·.....◌*◦.◌.,......◌..,....◦.·,......▫.........▫...,·.,◌.·.*◦◦▫·...◌▫,...,◌.,◦*▫▫,▫,.....▫...◌*◌....▫.,.........,,◦.▫▫..,.....◦◌...▫.*....,..◌▫▫..▫.....,...,,..▫.▫▫◦..▫..▫.·...,*...◦..▫,▫..▫,·..*...◦..▫.,·...▫▫◦*.◦◌.....◌..▫........▫....·◌▫◌..◦.◌▫◦.▫...·◦...*▫......·.◌,.......▫.▫.*...........◌◦◦....▫.◦..,...*.◦...◌....*◦◦.,.▫.◌◦◦*,..◌.,.◌.·*...*.*.◌*..........·.*·◌.◌·.,...▫...........◦...◦▫.◌.▫...,.....**·.,,·◦....◦...▫..◦..*.,..◦,.....,..▫..·◌...◌.,...·▫◌...·...,..*.◌.....◌·..........*··...◦◌◌.,,......*.....·▫....***...*,,·..◦..◌·.....·◌.,**◦◦·*..◦...,..,.,.......*.,▫...*..◦.,▫▫..··.▫....▫..▫▫..·.,...,..▫.·,.▫▫..◌...◌.·*◦..▫◌.·◌....,.▫*..▫.▫.◌*,.◦.▫▫*..◌,.,.*........▫,·,....◦,...,▫.◌....◌··....▫·◦,.*..▫......◌◦◦.*..◦......*◌......*◦◦·,▫.▫▫....*.,....◌▫......◦.·▫.◦·*.▫....··.◦◌*..◦*.....*...·◌......*.◌,*.,·,,.▫.◌·*....,......◌...▫◦...,..◌....*.▫◦.*....*.........◌.▫.,▫,...,◌.◌.........·,*......*..▫◦.·...,...,..·..▫.◌....·◦*.◦.◌...*.........◌◌...·▫....,*.▫·.◌...◌...◌◦...◦.............▫.·..·...,..▫◌.....◌◦.◌▫.*.◦*..·......◌.....·◦◌......◌,...▫..◌·◦◌·.,......*..*.....▫...◦.....◌▫...*◦..,◦·.·....·..◦....◌.......

for

..··.,.,.▫......·...▫..▫...,.·...▫◌,,.▫.·,..◌◦.▫.◌..·..▫.*.◦.◦◌,.,..▫·...,.*.·◌◌.·▫◌▫◦·..,..·*·◌...◦...▫.*..,*......*·,◌◌,,..·..▫.◦........·◌.◌..·◦◦·.....▫,.*◌.◦...◌*....,◦,...◌..··,...··.....·,.·.◌.◌.▫◦◌......·.▫.◌...▫.◦...◦.◦....▫,·....◦.........◌...◌..◦▫..·*.◦◦..▫·.,..◌.·.,◌.*·....**◦*..◦.◌,.,·.▫...·,·.▫..◦◌.◦,*.·.....◌◌..*◌.........◦.◦.......·.....◦.....*.....,◦...▫.▫◦▫..*....***...◦,...◦.......·..*.◌▫.·◦.....◌.◌...·▫,◌.....◦...·..·◌..,......*.·.........·...◌◌·...,◌......▫◌.*.◌▫◌.◦...·◌.,◌▫**.◌...▫..▫·....◦*▫.,.◦....◦...▫..·*.*...·▫.,..▫.,.◌..◦.....▫..,▫..·....▫....◌....◦...◌▫◌.*......◦*...·...*◦..·◦.◌....*..◌..◦..**.··....◦.*◦..·.,..▫◦..◌.....▫..◦...▫·.....·.◌..◦..*...◌◦.▫.....◦*▫◌.*▫·..,▫..▫,....,..◌...·.▫.◌◌.*.·.··.▫.....*....·,.......◌.·▫.▫·,▫▫,.*.◦◌◦·◌..·◌.·...◦....·◦*,,.,...◌..,...·.....··,..*·...◦.·▫...◦.◌▫....◦.....*...·....·.*.◦..·.·...,··.....,◌,.·...◌,.◌◌**.*.◦,....·....▫....◌,.·......,▫....◌......*......,·.▫*◌◦...◌.....◌..*·....*..◌*◦..*....*.·.▫▫◦..,....*..·*.*...◦.*·.....▫.▫◌▫...*·......◌◌..▫.,.....·.,.*..◌.,..,.**▫▫....·.......◌.·◦◌.▫◌◦*...◦·,▫◌...·*·*.◦·◌....*..·▫*·..▫◌·◌▫....*◦...*▫▫...◌..◦........,..*,....*.....·.,◌...··..◌◦.,.....,.....,◦...▫◦.▫◦..,▫.◌.....◦◦◦◦..·.▫◦,.......·*...*◌◌..*·....,...*....,◌·.◦....*......◦..◦,.▫▫....*.*..*.,....◌◦.·*...◦.◌..·.·▫◌.*.▫◦◌......,◦.*·.*..*◦*·......·...◦◦,,◌.◌.◦.▫*·.·.▫...▫.▫·◌....,.▫.·..◌.·..▫....▫.*·.▫.*.◦..,,**.....▫,..▫.▫◌.▫...·...◦.*◌▫◦◌·.,....,...◦·......◦.·....◦·◦.▫.▫◦.......◦.◌......,◌*▫·.*◦◦....·.........,....◦.◦..·.▫.,...·...·.▫▫..◦.....▫◌·..·...▫..▫.◦.·▫...*.*◦.·...*.,...◦·..◦.·..,.·**·,..,..◌.▫.*.◦,▫.*·..*..,...·...,▫....◦·.*.◦...◦.,◌.◦..,◌.◦...,◌..◦...·*◌◦◦,*,...◦.◦◦......,..◦*,,..◦.,·..,·.,...◌,...▫·...▫...·..·.........,.*◦.*,...·*·.·.◌.◌..▫◦...◦,....◦..▫...◦.*.◌,..*·..,·.▫.▫*▫...▫··▫...·.▫..◦.·.,·,◌..,...▫..,.▫.,..▫◌.◦.·◌◦*.·.▫.*....◌◌.*◦·....▫....,..*.,·....·,◌.◌▫.........,..▫..▫◦..*.◦.........·◦◦.....◦......·.◌◌....,.▫◌..*▫..............◦..·....▫.*..◌.........◦.,...·,◦.**..◦....◌,·*·*·..◦...◌..**.◌·..,·◌.▫◦.▫...◌...▫◦·,,..*◌◌...·..·..▫..◦.,..,..,▫·.....,.◦.◦,...▫..·◦*.◌......◌..*,.·.···▫......◦◌◦.▫*...*...·....*·▫·...·....◌◦*....·◌.*....,........◦..........*◦·*....◌...▫▫·.,...◌·,.....,...·..,..◦*..·.....◦·◦..,..▫..,..·..·..◌*......,..▫...·◦.*....▫.◌▫.◌.*...▫◦.·◦.,...◌..▫.....*..▫....·......◦*◌..*◦...,.▫*.◦..·...·.,◦..◦◦.◦.....,....*,.....,..,..,..*,....*..·▫.,..·...*...·◦▫.....▫.◦.◌....·◦.*.,.*◦..◌,.*......,..▫◦◦.*◦.◦.....◦...◌.,◦...▫.◌◌.◦*...,..,*..*..▫...◌.....▫..,◌.◌◦*◌..·..◦.

Poetic

▫..,.◌,◦.,..▫*◌....▫........*..*..,▫......▫·.....*....▫*.*....▫..▫..▫.,..··....*...·.◌.*.▫,.....,.·.◌·.........◌▫.◦.◦▫·.*◌◌..◌..*,.◌··.▫·.*▫..·..,▫.*........*.·..◌...,.....**.....◌..·..*·.·◌.◦·*....·..◌.◦........▫..*..........·...◦.·◦*..,.▫·.,........▫..▫*.◦.,▫..▫*.,◦.◦,....··..◦.....*.▫..▫...........◌,.....◌◌...▫...*.,..**◌▫..◦..*◌,..◌.....·.·*..*··.,▫◦*.·...◌◌.,.*.........*.·.◦···▫.,...*..*.....◦....◌.◌..··...,◦◌,◌..◦.,*.◌.,◌..◌.·.◌◦.,.◌...▫.,.◦,..◌,·,..▫,...·.·◌·.,*·◌..,..◌·,..▫·◦..◦.....,.◌.◦.▫...·◦...,◌◦..,·.◌...·.◦.*.▫..·◦..*..◌*·.◦...·◌....·...·...◦...◌..▫.·....▫....◌.,....◦▫◌..◦·..·.·.*..◦◦,*▫...*.◦..,◦◦▫◦......◌◌..,,..............◦...···.*...◦.....,.......*...··..◦.,▫◦.....◦..*.*.◌...▫..·..◌*.◦.,..*....·.◌.....▫*.,*..▫......◦·.,◌.◌..*.*.◌▫◦.·.◌·◌..,*...▫.·.*....◌.,.▫.▫..◦.,◌..,..▫.◦,....,..,...◦,.◦....*◌◌...*.*....◦◦...◌▫.,....◌...▫,,◌...·,◌.·.◌◌◌..◦·.▫...*...,..*◦...▫..◦.*.,.,.◦..◌▫▫.*.◌.◌...*·▫..◦.,*◦..·◦*........,◌..·,▫.,.·.▫......◌....·...▫..·...*.◌◦·◦...▫◦....◌.◦.◦◦▫.......◦.,.,..*·◦▫...◌,,*.··..,.·◌*◌.◦◦.......◌◌...▫·◌◦◌...·..◦,..▫.....▫.....◌◦*.◌,.▫.·..*.*◌.*◌.,..◌..·.....,.....▫..,.,.◦......◌◦..◌▫.*.◦·◌..◌·.,.▫....◦,,.·*◦...*◦.,.▫·◌..◦..◌*..*·.▫..*......◌*.·.▫.....*.*..,...◦..*,...▫*·◌·◦..**.....**....▫.,..*..**·.◦.,.··....▫...,.◌.◦▫▫.*..▫,◦.◌,,.*.◌◌,◦◦.....,·..▫..*..◌▫.*..·..▫......·..*▫..·.....*,·.,......◦.....◦..◌...·,...,▫.,·..▫◦.·..◌..◌..◌*◦.◌..*◌..*...◌◌.,..◌..,...▫.◌◌·.......·.**.··......◦.▫...*◌▫.▫◦·..◌*.·◌*.◌◦......▫.◌...◌..◌.*..,.·▫.▫◌.▫,.·,.◌..▫◦...◦◦.·.....*.·,.·,*▫.........,◦..·.◌▫..◦..*.◦.◦▫.▫*..▫.*◦◌.◦.,,.*..◦...*.·▫...◌...*......◦.▫.▫..▫..·..*·.◌.,.▫..◦...▫*.◦▫.◦...*.·◌*....▫.......·......◌*.....◌*,......◦◦▫..,◦.......·*..·....*,....▫...*..◦.,▫..◌.....◦.....◦.▫....*....◦.◌◦.▫.◌.....,◦...·.◌◌.◦,·..▫*◦..◦,*.*...▫▫..▫.,...*.◦**◦....◌..◦◌...◌.,.·.....▫◌....**.▫·......*◌....*◌..*.*.....,....·...◦·......◌......◦....▫,...▫,.◌·...,..◌..◌*▫,▫◌◦..·......*..,▫..◦..··..▫.▫....◌▫.▫....·◌..▫..◌.◌...▫,...*.*.·,...◦.....◌.▫..◌,.·......·.◌◦..▫..·...◦.......▫.........·.*..◌··..◦..◦◌◌..*..▫...·.*......▫...·.,·.*◌◌...·..◌·*.▫....,▫▫·◌.◌....◦·◌.,◦··.*..▫◌▫..·..,.◦..·.▫.*◌◌.·.·▫....·*...........◦,..*·..▫...·..◦..▫,◦*..▫◦...◦.▫....◌...◦...*▫..·◌·.,..◦..◌.◌◦◌...·◌.*..·.,.▫..,.◦,...·.◦◌.,◌.·◦...........◌.......◦..▫.·....◌.,..,▫.,,·..·◦....◌◦...◌..◌..,..·.◦..◦...▫..,..◌.◌...▫.◦◌,*◌*..◦..·▫,..··.▫◌..·..*..◦.*·......▫*▫·◌....·▫◦.·........▫..◌.··.....◌...,.,.▫.....,.◌◦.*......◌◌.▫..◦◦.◌....◌◦▫◌▫..*.◌...▫*.◌◌*◦..▫.◦...◌..▫◦...........▫◌◦.,...,....*.*.*.

Computation

loading...

participate sessions

Apply Now

session

Spring 2023

5 classes

class

The Musical Web

with Tommy Martinez and Chloe Alexandra Thompson

March 6 - May 8, 2023 ·Online (Zoom) ·Applications closed

class

Narrative Constellations

with April Soetarman and Lee Beckwith

March 15 - May 17, 2023 ·Online (Zoom) ·Applications closed

class

Cellular Automata

with Murilo Polese and Yadira Sanchez

March 14 - April 12, 2023 ·Online (Zoom) ·Applications closed

class

Solidarity Infrastructures

with Alice Yuan Zhang, Max Fowler and Mark Anthony Hernadez

March 14 - May 16, 2023 ·Online (Zoom) ·Applications closed

class

Teaching and Learning as "PRIMITIVE HYPERTEXT"

with Kameelah Janan Rasheed and Elizabeth Perez

March 14 - April 13, 2023 ·Online (Zoom) ·Applications closed

This Spring, we brought five classes which asked: Who owns and benefits from network infrastructure? How can we refigure the music of the modern internet? What constitutes a story? How does a computer understand the patterns of nature? What does it mean to teach and learn? Starting in March, five classes came together with our preconceived notions and collective imaginations, ready to upend old understandings and assemble something anew. From network infrastructure and mutual aid, to science fiction and the fluidity of teaching and learning — the ice was cracking, we gathered for the thaw!

Spring 2023 was organized by Zainab Aliyu Zainab "Zai'' Aliyu is a Nigerian-American artist and cultural worker living in Lenapehoking (Brooklyn, NY). Her work contextualizes the cybernetic and temporal entanglement embedded within societal dynamics to understand how all socio-technological systems of control are interconnected, and how we are all materially implicated through time. She draws upon her body as a corporeal archive and site of ancestral memory to craft counter-narratives through sculpture, video, installation, built virtual environments, printed matter, archives, and community-participatory (un)learning. Zai is currently a co-director of the School for Poetic Computation, design director for the African Film Festival at the Film at Lincoln Center in NYC and a 2023-24 NYSCA/NYFA Artist Fellow. Her work has been shown at Film at Lincoln Center (NYC), Museum of Modern Art Library (NYC), Miller ICA (Pittsburgh), the Centre for Heritage, Arts and Textile (Hong Kong), Casa do Povo (São Paulo, Brazil), Aktuelle Architektur der Kulturimages (Murcia, Spain), Pocoapoco (Oaxaca, Mexico) among others. Neta Bomani Neta Bomani is a learner and educator who is interested in understanding the practice of reading and parsing information as a collaborative process between human and non-human computers. Neta’s work combines social practices, workshops, archives, oral histories, computation, printmaking, zines, and publishing, to create artifacts that engage abolitionist, black feminist, and do-it-yourself philosophies. Neta received a graduate degree in Interactive Telecommunications from the Tisch School of the Arts at New York University. Neta has taught at the School for Poetic Computation, the New School, New York University, Princeton University, the University of Texas, and in the after school program at P.S. 15 Magnet School of the Arts in Brooklyn, NY. Neta has studied under American Artist, Fred Moten, Kameelah Janan Rasheed, Mariame Kaba, Ruha Benjamin, Simone Browne, and many others who inform Neta’s work. Neta’s work has appeared at the Queens Museum, the Barnard Zine Library, The Kitchen, and the Met Library. Neta is one of seven co-directors at the School for Poetic Computation, and one of two co-directors at Sojourners for Justice Press, an imprint of Haymarket Books. Galen Macdonald Galen Macdonald is an artist and arts organizer based in Tkaronto/Toronto whose work currently straddles hand craft, kinetic sculpture, poetry, and new media. He uses whatever tools are available to make delicate and limited tools for communication. Melanie Hoff Melanie Hoff is an artist, organizer, and educator. At School for Poetic Computation and Hex House, they strive to cultivate spaces of learning and feeling that encourage honesty, poetry, and reconciliation for the ways we are shaped by intersecting systems of classification and power. Melanie engages hacking and performance to express the absurdities of these systems while revealing the encoded ways in which they influence how we choose to live and what choices have been made for us. They teach about sex, technology, and social cybernetics at the School for Poetic Computation, Yale University, New York University, and have shown work at the New Museum, the Queens Museum, and elsewhere. and Todd Anderson Todd Anderson is a digital poet, software artist and educator based in New York City. He has been making experimental software art for over 10 years including the live interactive poetry project Hotwriting, the Chrome Extension ARG 'An Experience', the performance-inside-the-browser extension HitchHiker, and multiple plays and performances with the multidisciplinary group H0t Club. He is perhaps best known as the host and curator of WordHack, the monthly language+technology talk series in NYC running every third Thursday since 2014. . It included classes with Kameelah Janan Rasheed A learner, Kameelah Janan Rasheed grapples with the poetics of Black knowledge production, information technologies, [un]learning, and belief formation. Most recently, she is a recipient of a 2022 Schering Stiftung Award for Artistic Research; a 2022 Creative Capital Award; a 2022 Betty Parsons Fellow – Artists2Artists Art Matters Award; a 2022 Artists + Machine Intelligence Grants - Experiments with Google; and a 2021 Guggenheim Fellowship in Fine Arts. Rasheed is the author of five artist's books: in the coherence, we weep (KW Institute for Contemporary Art, 2023); i am not done yet (Mousse Publishing, 2022); An Alphabetical Accumulation of Approximate Observations (Endless Editions, 2019); No New Theories (Printed Matter, 2019); and the digital publication Scoring the Stacks (Brooklyn Public Library, 2021). Her writing has appeared in Triple Canopy, The New Inquiry, Shift Space, Active Cultures, and The Believer. She is an adjunct instructor at the Cooper Union, a Critic at Yale School of Art, Sculpture, and an instructor at the School for Poetic Computation. Rasheed is represented by NOME Gallery in Berlin, Germany. Max Fowler Max Fowler is an artist and programmer working with offline-first software, mycology and community infrastructure. They are a contributor to PeachCloud, software that makes hosting peer to peer software on local low-power hardware more accessible. They are also a co-founder of KiezPilz (kiezpilz.de), a communal fungi cultivation group based in Berlin. They were a student at the School For Poetic Computation in 2016, and later a TA. They are one of the admins of sunbeam.city, and are interested in foraging, flip-phones, rust and html. Elizabeth Perez Elizabeth is a mother, multidisciplinary designer and educator interested in the confluence of motherhood, world-building, and the possibilities of design. She is currently a Part Time Faculty Member at Parsons School of Design and completing a postdoctoral fellowship at NYU’s Interactive Telecommunications Program where she earned her master’s. Elizabeth lives and loves in Brooklyn, NY with her son. Mark A Hernandez Motaghy Mark Anthony Hernandez Motaghy is an artist and cultural worker. They live in the occupied territory of the Naumkeag, Pawtucket, and Massachusett tribe. Operating with mediums such as experimental video, as well as installation, books, and oral histories, Mark's current practice is exploring sites of commoning, care-based economies, and sociotechnical imaginaries. They were previously a researcher at The Poetic Justice Group at MIT Media Lab, where Mark investigated decentralized story-telling models and community-driven sculptures. In addition, Mark is the compiler of the zine-book Rehearsing Solidarity: Learning from Mutual Aid, published by Thick Press, documenting mutual aid experiments in response to state failings and the social and digital infrastructures created for communities to fight back. Tommy Martinez Tommy Martinez is an artist and programmer working primarily through research, sound and code. He creates software and musical systems for the internet, embedded devices, and for live multichannel performance. Martinez has performed at MoMA PS1, The DiMenna Center for Classical Music, Fridman Gallery, and Pioneer Works. He has lectured on sound and electronic art at School for Poetic Computation, UC Berkeley, Stanford University, and NYU. Alice Yuan Zhang Alice Yuan Zhang 张元 is a Chinese-American media artist, researcher, and cultural organizer based in Los Angeles. Her transdisciplinary practice operates on cyclical and intergenerational time. Along the peripheries of colonialist imagination, she works to bring technology down to earth by devising collective experiments in ancestral remembering, interspecies pedagogy, and networked solidarity. Chloe Alexandra Thompson Thompson is a Cree, Canadian, interdisciplinary artist and sound designer. Thompson approaches sound as a mode of connection—embracing the kinesthetic agency of sound to compose abstract feats of spatialized audio recording and synthesis. Her work engages tactics of material minimalism to create site-specific installations that sculpt droning, maximalist experiences out of space and sound. Using audio programming software, computational processing, and acoustic instruments, Thompson’s work seeks to create connection by guiding audience participants through these augmented experiences. Yadira Sánchez Yadira is an artist and technologist cultivating tech ecologies. They are using software, hardware and data to bring together ecological thinking and tech making as a way to co-create and deepen connections with ecosystems. Parting from her rural ubpringing, Yadira is invested in, inspired and informed by the traditional ecological knowledge of her rural community, where she will continue to co-create communitarian tech with.Yadira has been invited to present her work at the Cambridge Centre for Data Driven Discovery and the Ida B Wells Just Data Lab at Princeton University. April Soetarman April Soetarman (she/her) is an interdisciplinary artist, designer, and writer who creates public art, immersive installations, games, and weird side projects. Her site-responsive works play with the language of everyday objects and speculative institutions to explore complex human emotions. Her installations have been supported by the Seattle Art Museum, the Seattle Office of Arts and Culture, and CultureHub, among others, as well as anonymously installed in dozens of public spaces across the country. April was also known for WeirdSideProjects.com, her previously-anonymous series of ongoing experiments in code, text, and street art. Her most notable projects include The Museum of Almost Realities (2017), The Department of Emotional Labor (2019), and The End of the Day (2020). April has a BA in architecture and music from UC Berkeley and was an Experiential Design Founding Fellow at Experience Institute. Murilo Polese My name is Murilo, I am a Brazilian technologist (or a full stack developer if you prefer) profoundly interested in learning experiences and technology but also music, microscope and drawing machines. and Lee Beckwith Lee 소라 Beckwith is sometimes an educator but always a learner. They currently teach high schoolers computer science, math, and creative writing on Lenape land (Bronx, NY). Their recent research centers on rethinking classroom power dynamics through curriculum negotiation. These days, they are thinking a lot about fractals and film scores. .

Applications closed.

Session promotion design by Taia Leituala.

I appreciated the empathy, care, and patience of instructors & classmates, especially as we all were trying to navigate personal and community crises during an ongoing pandemic. My favorite moments included the smaller group discussions that often led to deeper connections and learnings with peers and teachers.

Tyler Yin

SFPC's classes provided exactly the kind of learning experience at the intersection of art and coding that I was looking for. It was a fantastic and enriching experience, with knowledgeable teachers who create a supportive and stimulating environment for everyone.

Fall 2021 Participant

After SFPC, I now have a stronger art practice with new technologies and tools to continue experimenting with. I'm a part of a greater community of folks working with art and technology who I can collaborate with, get inspired by, and meet across the world and for years to come.

Mathilde Mouw-Rao

The whole SFPC experience was surreal. It felt unlike anything I've ever done. It was a magical space that let me explore concepts that I otherwise would not have had the time to think about. It makes a strong case for a more radically community-oriented model of pedagogy and living life that feels more complete, enriching, sustainable, and ultimately more hopeful.

Francisco Rojo

It is a very therapeutic and rare experience to find a place where you're able to re-examine your technical knowledge and how it relates to your place in the world and the future you want to make.

Danny Garfield

SFPC is filled with amazing people and an open mindset to learning, and doing. It has taught me different ways of thinking, ones that I would be sure to bring back to my endeavors outside of the art world.

Ying Quan Tan

SFPC is the purest, most honest exchange of knowledge and experience among peers I have ever experienced. It is a supportive space where everyone learns from everyone, and bridges are built that continue to be strengthened for years to come. You won't get a certificate or a title at the end of it, but I would be amazed if you ever looked at your world the same again. I haven't.

Ramsey Nasser

I'm half way through the program and I'm already missing being here. SFPC was a much needed breath of fresh air in my hectic creative existence, an unlikely place to stop and remind myself what was it I was into in the first place.

Fernando Ramallo

SFPC is the best place you can explore your interest as much as you want and the place you start to write your own poem.

Yosuke Sakai

SFPC is not really a school or a course — it is more like a door into an extraordinary world. It is driven by passion, kindness and the thrill of teaching and learning. I would love to live those inspiring weeks all over again.

Jesse Wolpert

School For Poetic Computation is equal parts The Factory, childhood blanket fort, and mad scientist's lab. I learned a ton from the teachers and the whole SFPC community in a huge collaborative and exploratory environment.

Lee Tusman

You are viewing photos from past sessions. Read participant testimonials. You are viewing participant testimonials. View photos from past sessions.

Interested in more learning opportunities at the School for Poetic Computation? Join our newsletter to stay up to date on future sessions and events, and follow us on Instagram and Twitter. Support our programming through scholarships. Get in touch over email.