4 DEGREES OF SIMULATION

Júlia Nueno Guitart is a researcher and engineer whose work examines how computational systems shape life and reorganise living space. Her practice develops tools and methods for interrogating and intervening in these systems through spatial evidence and media circulation. She is currently part of the team at Forensic Architecture and a PhD fellow at the Centre for Research Architecture at Goldsmiths, University of London, where she also teaches on the MA programme. Her doctoral research investigates three interlocking systems deployed by the Israeli military in Gaza: machine learning algorithms for target selection, an evacuation grid designed to displace civilians, and biometric checkpoints used to control movement. Previously, she collaborated with delivery couriers in London and housing organisers in Barcelona, co-designing tools that expose and repurpose platform logics. These tools reclaimed location tracking and interface design as forms of rethinking worker’s organisation and trade unionism in digital mediums. She has received awards and fellowships including the Visual Arts Grant from Generalitat (2022), the Harvard Mellon Urban Initiative Fund (2021), second prize in the Barcelona Superblock Design Competition (2021), and a Latin America Verde Award (2018).Matthew Fuller is a cultural theorist specialising in art, technology, politics, and aesthetics. He is Professor of Cultural Studies at Goldsmiths, University of London, and a founding editor of Computational Culture, a journal of software studies. Drawing on philosophy, critical theory, and experimental practice, his work explores how power, perception, and knowledge are encoded in software, media environments, and everyday life. Fuller has been central to the development of software studies, offering tools to analyse the material and semiotic operations of code and networks. His publications include Media Ecologies (2005), on the dynamics of technical systems; Software Studies: A Lexicon (2008), a foundational field-defining work; and Evil Media (2012, with Andrew Goffey), which examines subtle forms of algorithmic and institutional control. In How to Be a Geek (2017), he reflects on software and cultural identity, while How to Sleep (2018) and Bleak Joys (2019, with Olga Goriunova) expand his interest in media’s affective and ecological dimensions. His recent collaboration with Eyal Weizman, Investigative Aesthetics (2021), explores the political possibilities of counter-forensics and sensing technologies.

Lucia Rebolino is an architect and computational designer, weaving science and art into counter-cartography, data and web-based aesthetics. She is a researcher at Forensic Architecture in London, GB. Her work on weather and prediction has been featured on e-flux Architecture and she has lectured at Columbia University in New York, USA, the AA in London, GB, and TU Delft, NL, among other cultural and art institutions. Rebolino holds a Master of Architecture from Politecnico di Torino, IT, and a Master of Science in Computational Design Practices from Columbia GSAPP in New York, USA, where she also collaborated with the Center for Spatial Research, exploring how computational methods can mediate between different design practices.

Farzin Lotfi-Jam is assistant professor in Architecture at Cornell University's College of Architecture, Art and Planning where he directs the Realtime Urbanism Lab and director of Farzin Farzin, an interdisciplinary design studio working across architecture, urbanism, computation and media. His work explores the politics of technology and cities. From modeling the control matrices of smart cities to spatializing the cultural logics of new media, his individual and collaborative projects are research-based and multimediatic. Lotfi-Jam’s projects have been exhibited internationally at venues including the Venice Architecture Biennale, MAXXI, Storefront for Art and Architecture, the Oslo Architecture Triennale, the Seoul and Sharjah Architecture Biennials, and The Shed, where he was an inaugural Open Call Artist. His work is held in the collections of the Centre Pompidou and the Sharjah Art Foundation. He is the recipient of the 2022 Architectural League of New York League Prize and has received research support from the Alexander S. Onassis Foundation, the Graham Foundation, M+/Design Trust, and others. He is co-author of Modern Management Methods: Architecture, Historical Value, and the Electromagnetic Image (Columbia University Press), which explores the intersection of architecture and systems of valuation.

Matthew Fuller is a cultural theorist specialising in art, technology, politics, and aesthetics. He is Professor of Cultural Studies at Goldsmiths, University of London, and a founding editor of Computational Culture, a journal of software studies. Drawing on philosophy, critical theory, and experimental practice, his work explores how power, perception, and knowledge are encoded in software, media environments, and everyday life. Fuller has been central to the development of software studies, offering tools to analyse the material and semiotic operations of code and networks. His publications include Media Ecologies (2005), on the dynamics of technical systems; Software Studies: A Lexicon (2008), a foundational field-defining work; and Evil Media (2012, with Andrew Goffey), which examines subtle forms of algorithmic and institutional control. In How to Be a Geek (2017), he reflects on software and cultural identity, while How to Sleep (2018) and Bleak Joys (2019, with Olga Goriunova) expand his interest in media’s affective and ecological dimensions. His recent collaboration with Eyal Weizman, Investigative Aesthetics (2021), explores the political possibilities of counter-forensics and sensing technologies.

Bahar Noorizadeh is an artist, writer, and filmmaker. She looks at the relationship between art and capitalism. In her practice, she examines the conflicting and contradictory notions of imagination and speculation as they suffuse one another. Her research investigates the histories of economics, cybernetic socialism, and activist strategies against the financialization of life and living space, asking what redistributive historical justice might look like for the present. Noorizadeh is the founder of Weird Economies, a co-authored and socially connected project that traces extraordinary economic imaginaries to financial arrangements of our time. Her work has appeared at the German Pavilion, Venice Architecture Biennale 2021; Taipei Biennial 2023; Tate Modern Artists’ Cinema Programme; Transmediale festival; DIS Art platform; Berlinale Forum Expanded; and Geneva Biennale of the Moving Image; among others. Noorizadeh has contributed essays to e-flux Architecture, Journal of Visual Culture, and Sternberg Press as well as forthcoming anthologies from Duke University Press and MIT Press. She completed a PhD in Art at Goldsmiths, University of London, where she held a SSHRC doctoral fellowship.