Squeaky Wheel Film & Media Art Center is an artist-run, non-profit, media arts center based in Buffalo, New York. Founded in 1985, the organization provides the Western New York region with low-cost media equipment rentals, media arts education for youth and adults, residencies for artists and researchers, and exhibitions, screenings, and other public programming. [1]

Squeaky Wheel Film & Media Art Center has a mission to continue a legacy of innovation in media arts through access, education, and exhibition. We envision a community that uses electronic media and film to celebrate freedom of expression and diversity of voice.

Established in 1985, Squeaky Wheel Film & Media Art Center is the only organization in Western NY to offer education, equipment access, and exhibition programming dedicated to exploring film & digital media arts. Squeaky Wheel’s reputation in the media arts field continues to grow nationally and internationally. We have won awards for Best Workshops of Any Kind (2010); Best Curation (2012); Best Youth Workshops (2013) from regional publication, Buffalo Spree Magazine of Western New York. In 2014, the Arts Services Initiative of Western New York nominated Squeaky Wheel “Cultural Organization of the Year”. [2]

Mute is an online magazine dedicated to exploring culture and politics after the net. Mute combines biannual issues dedicated to specific topics (Precarious Labour, The Knowledge Commons, etc) with regularly updated articles and reviews. The site also features ongoing coverage of relevant news and events contributed by ourselves and our readers.

As well as the online magazine, Mute also publishes a biannual magazine in print (aka Mute Vol. 3), which features selections from current issues together with other online content, specially commissioned and co-published projects.

Mute magazine was founded in 1994 to discuss the interrelationship of art and new technologies when the World Wide Web was newborn. But, as mass participation in computer mediated communications has become more integral to contemporary capitalism, its coverage has expanded to engage with the broader implications of this shift. Mute’s investigation of the social, economic, political and cultural formations of ‘network societies’ maintains an accent on the relationship between technology and the production of new social relations. At the same time, the magazine’s remit has grown broader and now includes analyses of geopolitics, culture and contemporary labour that, while necessarily inflected by contemporary developments in technology, go far beyond this.

While Mute was born out of a culture that celebrated the democratising potential of new media, it becomes ever more apparent that we need to critically engage with the ways in which new media also reproduce and extend capitalist social relations. Mute invites its readers and writers to consider new possibilities for resistance to hegemonies wherever they find them, from socio-economic and technical structures, to codes of representation and enunciation, to the production and articulation of psychic experience and beyond. We also welcome critiques of the contemporary fetishisation of ICT as either inherently progressive or entirely reactionary. Finally, Mute hopes to stimulate approaches to art and politics that challenge the orthodoxies of both the constituted left and ‘critical’ new media culture. [1]

Gray Area Foundation for the Arts, Inc. is a 501(c)3 non-profit organization supporting art and technology for social good in San Francisco, California. Gray Area hosts exhibitions and music events, software and electronics classes, a media lab and resident-artist program. Gray Area Foundation for the Arts’ stated purpose is to bring “together the best creative coders, data artists, designers, and makers to create experiments that build social consciousness through digital culture.” [1]

New Forms Media Society (NFMS) is a non-profit society and media arts organization founded in 2000 that exists to unite creative communities, push artistic and conceptual boundaries, and explore digital media as an art form. By producing the annual New Forms Festival (NFF) as well as a growing schedule of year-round public presentations, we aim to raise the profile of Canadian artists, media arts, underground and subversive arts movements and practices both in Canada and abroad. NFMS is dedicated to showcasing innovative media works that generate a critical and creative discourse within the public sphere.

By promoting Canadian artists in collaboration with the international arts and technology world, New Forms facilitates multimodal art works and engages in discussion on their role in our cultural environment. Since its inception, an integral element of New Forms is the recognition of independent and groundbreaking artists. The New Forms Festival aims to showcase and increase awareness of these artists and their work within our community and beyond by promoting them within a larger milieu.

New Forms Festival is part of a larger, international, multi-media festival movement, which explores the ever changing and evolving world of art and creates a platform for artistic growth. The Society’s goal is to make new media art, music, film, technology-based installation and performance accessible to a wider audience. [1]

And/Or Gallery is a contemporary gallery in Pasadena with an emphasis on new media exhibitions and editions.

The gallery originally operated in Dallas, Texas from 2006 to 2009 and has been written about in Art Forum and ARTnews, and was featured in the New Museum/MIT Press anthology Mass Effect: Art and the Internet in the Twenty-First Century. [1]

ISEA International is a not for profit organisation constituted in the Netherlands. It is managed by a voluntary board who oversee the activities of ISEA International.

The main activity of ISEA International is the International Symposium on Electronic Art (ISEA), an annual gathering of the international art, science and technology community. The symposium includes an academic conference, exhibitions, performances and workshops. It is a nomadic event and is held in a different location every year. [1]

Historically the symposia were held as both a biennial and annual event. As of 2009, the symposium has been held annually again. Nowadays, ISEA is one of the most prominent international events on art and technology around the world, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in electronic art, interactivity and digital media. [2]

InterAccess is a Canadian artist-run centre and electronic media production facility in Toronto. Founded in 1982 as Toronto Community Videotex, InterAccess is Ontario's only exhibition space devoted exclusively to technological media arts. The Centre for Contemporary Canadian Art places the founding of InterAccess as a key moment in both the history of Canadian electronic art but also within a timeline of developments in international art, science, technology and culture. [1]

InterAccess’s mission is to expand the cultural significance of art and technology by fostering and supporting the full cycle of art and artistic practice through education, production, and exhibition.

We envision an environment in which:

• Art that engages technology gains widespread cultural resonance;
• Critical discourse dedicated to everyday and emerging technologies is catalyzed by artists, curators, and cultural workers;
• The full life cycle of art and artists is nurtured.

Annually we execute multiple exhibitions, a full curriculum of skill-building and critical theory workshops, and a broad range of discursive events that explore the impact of technology on the social, political and cultural aspects of contemporary life. Our studio space facilitates the circulation of skills and techniques required to produce the work we exhibit in our gallery space. [2]

Vector Festival is a participatory and community-oriented initiative dedicated to showcasing digital games and creative media practices. Presenting works across a dynamic range of exhibitions, screenings, performances, lectures, and workshops, Vector acts as a critical bridge between emergent digital platforms and new media art practice. Vector Festival was founded in 2013 as the “Vector Game Art & New Media Festival” by an independent group of artists and curators, Skot Deeming, Clint Enns, Christine Kim, Katie Micak, Diana Poulsen, and Martin Zeilinger. From the start Vector Festival was unique in its inclusion of game based work alongside new media disciplines. In 2015 Vector Festival announced that longtime presenting partner, InterAccess, would be taking over responsibility for the festival as part of its regular programming, with members of the original team, Skot Deeming and Martin Zeilinger, returning as Curators. Historically held in February, the fourth annual Vector Festival was moved to the summer to encourage participatory public events and outdoor interventions. [1]

B4BEL4B is an artist-run gallery and community space for new media and transdisciplinary art with an emphasis on diversity, social engagement and network culture. Our arts program prioritizes women, non-binary, poc, and critically underrepresented groups in technology and media art spaces. We engage communities through a rotating calendar of exhibitions, events, groups, and workshops. [1]

Pronounced "Babe Lab"

Radical Networks is a conference that celebrates the free and open Internet, with hands-on workshops, speakers, and a gallery exhibiting artworks centered around radio and networking technology. It fosters critical discussion on contemporary issues that include surveillance, the spread of misinformation, ownership of personal data, and the increasing opacity of “The Cloud”.

Radical Networks is also an arts festival that considers networking technology as an artistic medium, featuring works that run the gamut from ethical hacks to creative experiments to live performances. [1]