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About

Dreaming Beyond AI is a space for critical and constructive knowledge, visionary fiction and speculative art, and community organizing around Artificial Intelligence.

AI technologies reinforce existing injustices and discrimination. Decision-making processes are increasingly being outsourced to algorithmic systems – by the police and in court, in schools and in job application procedures, in government offices, at border crossings, and elsewhere. With Dreaming Beyond AI, we aim to challenge both the way AI is used today, and the societal structures that uphold algorithmic oppression.

We use AI as a gateway to broader societal questions around marginalization, imagination, futurism, feminism, and how we experience the present. The goal is to de-center technology and create an experimental curated space for connection and coming together.

We aim to enable :

  • an understanding of how AI technologies can exacerbate oppressing power structures in our society
  • a questioning of dominant narratives about AI, imposed visions of future, and oppressive structures that are amplified by the widespread and uncritical use of AI technologies
  • a redefinition of how AI technologies might/should serve us, improve representation, equity and connection – create visions of the future from the margins

The website itself and the process through which it is created reflect our intentions and challenge deeply rooted ways of thinking, knowing and being in the digital realm. For instance, we intend to challenge the expectation of seamless design interfaces and fast, frictionless digital experience, as well as consumerist attitudes towards online information and media. As such, Dreaming Beyond AI is a collectively shaped and deeply relational experiment that draws inspiration from Ursula Le Guin's text ‘The Carrier Bag Theory of Fiction’, adrienne maree brown's ‘emergent strategy’ framework, Arturo Escobar's ‘pluriverse’, the Design Justice Network, and the work of many others.

Dreaming Beyond AI's concept was birthed by Nushin Yazdani and Buse Çetin, but influenced and inspired by the works, thoughts, tireless love, care, and tenacity of many incredible feminist voices.

The web platform is designed and coded by Iyo Bisseck, and the communication strategy has been created by Sarah Diedro. Special advisors for Dreaming Beyond AI are Sarah Chander and Dr. Nakeema Stefflbauer. Meera Ghani supported with the overall flow of the project, Zain Assaad helped with uploading, and Victoria Kure-Wu has worked on the UX quality assessment. Tadleeh provided the music for the Pluriverse.

Dreaming Beyond AI has been created in cooperation with ifa – Institut für Auslandsbeziehungen (Sabiha Keyif and Nina Frohm), and supported by Humanity in Action and the Alfred Landecker Foundation within the framework of the Landecker Democracy Fellowship as well as mur.at.


Raziye Buse Çetin
(she/her)

buse@dreamingbeyond.ai

R. Buse Çetin is an AI researcher, consultant, and creative. Her work revolves around the ethics, impact, and governance of AI systems. Buse’s work aims to demystify the intersectional impact of AI technologies through research, policy advocacy, and art.

For Dreaming Beyond AI, Buse heads research and concept development, as well as working on curation and communication.

Sarah Diedro Jordão
(she/her)

sarah@dreamingbeyond.ai

Sarah Diedro Jordão is a communications strategist, a social justice activist, and a podcast producer. She was formerly a UN Women and Youth Ambassador, has served as a strategic advisor to the North-South Center of the Council of Europe on intersectionality in policymaking. Sarah currently works as a freelance consultant in storytelling, communications strategy, event moderation, and educational workshop creation.

For Dreaming Beyond AI, Sarah has led the communications strategy and implementation.

Iyo Bisseck
(she)


Iyo Bisseck is a Paris-based designer, researcher, artist and coder extraordinaire. She holds a BA in media interaction design from ECAL in Lausanne and an MA in virtual and augmented reality research from Institut Polytechnique Paris. Interested in the biases showing the link between technologies and systems of domination, she explores the limits of virtual worlds to create alternative narratives.

For Dreaming Beyond AI, Iyo has created the web design and undertook the technical realization of the platform.

Nushin Yazdani
(she/her)

nushin@dreamingbeyond.ai

Nushin Isabelle Yazdani is a transformation designer, artist, and AI design researcher. She works with machine learning, design justice, and intersectional feminist practices, and writes about the systems of oppression of the present and the possibilities for just and free futures. At Superrr Lab, Nushin works as a project manager on creating feminist tech policies. With her collective dgtl fmnsm, she curates and organizes community events at the intersection of technology, art, and design. Nushin has lectured at various universities, is a Landecker Democracy Fellow and a member of the Design Justice Network. She has been selected as one of 100 Brilliant Women in AI Ethics 2021.

For Dreaming Beyond AI, Nushin works on creative direction, concept development, and curation.

Dreaming Beyond AI has been created in cooperation with ifa – Institut für Auslandsbeziehungen, and supported by Humanity in Action and the Alfred Landecker Foundation within the framework of the Landecker Democracy Fellowship as well as mur.at.

Supported by :

Contact

Hi friend! If you want to chat with us or are interested in contributing to Dreaming Beyond AI, please let us know: hello@dreamingbeyond.ai

Since we each work various jobs, forgive us if we take a bit of time to get back to you.

You can find us on social media, too!

Instagram: https://www.instagram.com/dreamingbeyondai/
LinkedIn: https://www.linkedin.com/company/dreaming-beyond-ai/
Twitter: https://twitter.com/DreamingBeyond_

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Dreaming Beyond AI is a space for critical and constructive knowledge, visionary fiction & speculative art and community-organising.

This website project uses AI as a gateway to broader societal questions around marginalisation, imagination, futurism, feminism and how we experience the present. The goal of the project is to de-center technology and use it as a tool rather than main instrument for connection and a coming together. It is an experiment to a curated space where people enter with a shared sense of values and agreements.

AI Violence
Violence and trauma open psychic wounds that harden us and limit our vitality. It is the heavy knot entangled with unacknowledged pain that we feel in our bodies and it disconnects us from the true self. Technological change and automation have been a cause for trauma across geographies and times, particularly for the most marginalised. As essential processes and functions such as hiring, medicine, and care are automated and the public space is increasingly curated by algorithms, how does this interact with individual and collective trauma? Does it create new psychic wounds that go unacknowledged and unhealed? How do the addictive patterns on apps and platforms create violence and reinforce trauma? How are some people and communities denied their humanity, existence, identity and so on through technologically-mediated ways? Can we envision trauma-informed technologies? What are the technologies of healing?
Intelligence
Intelligence is the main conceptual and philosophical underpinning of AI technologies and ideologies. What is considered intelligent has been influential in shaping the trajectory of AI technologies. The mainstream conception of intelligence, which favours abstract thinking, emerged out of oppressive structures and has been weaponized to justify domination and colonization. These radicalized and gendered understandings of intelligence prevail in popular AI discourse today. If intelligence is a foundational concept of AI, how can we understand, question, and redefine it? Are there other forms of intelligence that AI should reflect? Or are there some that AI already reflects but that are not yet acknowledged?
Machine Vision & Feeling
How do algorithms and machines see? How do we understand and imagine the machine vision? How does it feel to be seen by a machine? From CAPTCHAs that test our humanity to facial recognition algorithms at airports that verify our identity – how do these experiences make us feel? Who do the machines see? Who do they exclude? What politics of visibility does machine vision create?
Patterns
AI techniques such as machine learning and deep learning help find patterns, features, and correlations in large amounts of data. Pattern recognition systems for classification, prediction and optimization are highly marketed upon and are paving the way to a new knowledge regime – some argue that they are partly replacing theory as a means of knowledge production. However, AI pattern recognition can also be understood as marking the boundaries of ‘normalcy’ – leaving out noise and outliers that are usually those who can't fit in. Whose patterns are we looking at? What purpose does this pattern-finding serve? Are we talking about freeing patterns, or about patterns that extend the coloniality of power? Patterns in nature and our existence are portals to interconnectivity and signs of nature's wisdom. How can we think of nature’s patterns and AI patterns together, rather than seeing them as opposed to each other? Is there any way, any examples, demonstrations, or strategies, through which we can find where AI patterns act as portals and markers of interconnectivity in the universe?
Refusal
Most of the time, our technological futures seem and feel quite inevitable. ‘Technological progress’ is a core characteristic of the discourse of modernity, and AI hype is deeply entangled with this. The idea of inevitable technological progress undermines the agency and decision-making power of collectives and erases moments of collective refusal. What are examples of technological refusal when it comes to AI technologies? How can we amplify these narratives? How can refusal be comprehended as not only a reactionary but also a generative response? What if refusal is the only way for some communities to claim agency?
Planet Earth & Outrastructure
What is the impact of AI systems on the earth? Why are AI's high energy consumption, carbon footprint, and dependance on rare earth minerals so unfamiliar to and absent from the collective conscious? How does AI rely on the same inequitable power structures that extract labour and creativity from people? How can we think of AI within a climate justice framework? What are the stories of the earth? What policymaking proposals could address the environmental cost of computation beyond monetization?
Future-Present Vibrations
Our future seems defined by data colonialism, extractivism, competitiveness, and all-destroying growth desire. It seems so much easier to dream up dystopian visions of the future than to create concrete ideas of worlds that are plural and worth living in for everyone. Yet these are all the more important. We can only live in a more just world if we dare to imagine it first. What are the visions, fractals, practices, sounds, and vibrations of future, present, and past – beyond linear thinking? Future/present/past, as all exists at the same time. How do we practice upwards?
AI & Relationality
The modern/Western world is structured and ruled by metaphysical assumptions embedded in binary thinking, naturalized universals, liberal humanism, social rationalization, economism, and entrenched ideas of progress, order, freedom, and agency. AI technologies are imagined, created, and designed to respond to the needs of racial capitalism, binary thinking, and atomized individualism. Solutions for mitigating AI harm that use the same logics are not enough. How would a radical ontological and epistemological shift feel? Can AI ever be relational?
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People

he/him
Designer / researcher

Adriaan Odendaal is a multimedia and content designer from South Africa, whose work revolves around algorithmic literacy, critical and speculative design, digital culture, and game/software studies. He is a cofounder of the research and design studio internet teapot, which focuses on using design in socially transformative ways.

www.internetteapot.com



Twitter: @adriaan_o / Instagram @internetteapot

Contribution for Dreaming Beyond AI
A Carrier Bag Filled with Glitches, Errors, and Artificial Stupidity
(no pronoun)
Artist

Alla Popp is a digital media and performance artist from Kazan, Russia. Alla’s feminist gaze focuses on our shared visions of the future, the emancipatory potentials of digital technology, and narratives for the future of humanity. Formally, Alla works at the intersection of digital technology, performance, and music, devel-oping interactive digital formats and live experiences in VR, AR, XR, and on the web. Alla is part of the technologically advanced interdisciplinary music and performance project BBB_ and the dgtlfmnsm collec-tive.

https://homepage-bbb.com

https://allapopp.com



IG @allapopp
(they/them)

Charlie has a PhD in physics and has worked as a researcher, data scientist, data cleaner, and scientific programmer, but mostly they have been extremely online and clenching their jaw. On their way to becom-ing a proper data luddite, they cling on due to seeing more and more awesome people working on critical studies of technology and algorithms, and being involved in cool projects and approaches to public interest technology and design justice.

https://www.are.na/de


(she/her)
Artist

Elif Sansoy is a digital media artist from Istanbul, Turkey. The work she is most passionate about focuses on discoveries of forms of digital intimacy that are absent from nuance-free UGC ecosystems that make us repress our sensitivities about the world and each other. Coming from a video art background, she uses algorithmic processes and digital image manipulation to express her ideas about alternative narrative worlds that can unfold within the digital.


(she/her)
Researcher

İdil Galip is a writer, researcher, and maker interested in digital culture, internet memes, algorithmic cultures, and digital labour. She is currently is finishing up her PhD thesis, which maps the creative and digital labour that goes into the creation, dissemination, and monetisation of internet memes at the University of Edin-burgh. She also runs the Meme Studies Research Network, an interdisciplinary and international network for people who study memes.

www.idilgalip.com



@cybervolta @idilgalip

Contribution for Dreaming Beyond AI
A respite from algorithmic violence: Memes, platforms and content moderation
(she/her)
Artist

Jillian Zhong is a designer, programmer, and internet user based in New York, NY. In 2016, she created the instagram account ada.wrong, an online persona that explored and appropriated the meme medium, online it-girls, and internet oversharing to discuss identity, mental health, and social media. Currently, she works on a project, virtualgoodsdealer, a speculative collaborative virtual space and e-commerce portal.

https://www.jzhong.today/



Instagram: @ada.wrong
(she/her)
Researcher

Joycelyn Longdon is a twenty-three-year-old MRes+PhD student at Cambridge University on the Artificial Intelligence for the study of Environmental Risk (AI4ER) programme, researching the applications of AI to the climate emergency. Her PhD research takes an interdisciplinary approach, combining machine learning, bioacoustics, forest ecology, indigenous knowledge, and sociology to investigate the role of technology in forest conservation. She is also the founder of ClimateInColour, an online education platform and commu-nity for the climate-curious, making climate conversation more accessible and diverse.

https://climateincolour.com



Instagram: @climateincolor
(she/her)
Designer / researcher

Karla Zavala Barreda works at the intersection of software, design, and education. She is a cofounder of the research and design studio internet teapot, a collaboration that focuses on speculative and critical design projects, digital culture, critical theory, and the use of design in a socially transformative way. She is current-ly a PhD candidate in media studies at the University of Amsterdam, where she researches apps ecology and learning software aimed at young children.

www.internetteapot.com



Twitter: @karlazavala / Instagram: @internetteapot
(they/them)
Designer / researcher

Lucas LaRochelle is a designer and researcher whose work is concerned with queer and trans digital cul-tures, community-based archiving, and co-creative media. They are the founder of Queering the Map, a community-generated counter-mapping project that digitally archives LGBTQ2IA+ experience in relation to physical space. They have lectured, facilitated, and exhibited internationally, recently at the Guggenheim Museum (USA), Interaccess (Canada), Digital Writers’ Festival (Australia), MUTEK (Canada), LINZ FMR (Austria), Ars Electronica (Austria), Somerset House (UK), Onomatopee Projects (Netherlands), fanfare (Netherlands), OTHERWISE Festival (Switzerland), Ada X (Canada), and SBC Gallery (Canada). They have presented research at the Bartlett School of Architecture, the University of Puerto Rico at Rio Piedras / School of Architecture, the University of Cambridge, and Stanford University, among other academic insti-tutions. Their work and writing has been published in Futuress, Immerse News, Queer Sites in Global Con-texts, Atlas Menor #1, QUEER.ARCHIVE.WORK #3, Diagrams of Power, IWAKAN, ROM, Accent, Echelles, and Perfect Strangers, among other books and publications.

www.lucaslarochelle.com



IN @ontario.mom / @queeringthemap TW @queeringthemap_
(he/him)
Composer / engineer / artist

Max Ardito is a composer, engineer, and artist from Brooklyn, New York, currently living in Montréal. Blur-ring the lines between sonic arts, computer science, and research, his work explores the complicated spir-itual relationships that manifest at the border between information and interface. Through a practice that involves reappropriating and obliterating the technocratic interfaces of modern neoliberalism – variational auto-encoding, cloud load balancing, signal encryption practices – his works attempt to deconstruct their own tools to the extreme limits and simulate the ways in which people are used, influenced, and radicalized by technology. Max has background in DIY experimental music, performing frequently as a violinist both solo and in collaboration with others in various noise/improvisational projects.

www.maxardito.com


(he/him)
Sound artist / visual artist / electronic musician

Moisés Horta Valenzuela is an autodidact sound artist, creative technologist, and electronic musician from Tijuana, México, working in computer music, Artificial Intelligence, and the history and politics of emerging digital technologies. As 𝔥𝔢𝔵𝔬𝔯𝔠𝔦𝔰𝔪𝔬𝔰, he crafts an uncanny link between ancient and state-of-the-art sound technologies channeled through a critical decolonial theory lens in the context of contemporary electronic music and the sonic arts. His work has been presented at Ars Electronica, MUTEK México, Transart Festi-val, MUTEK: AI Art Lab Montréal, Elektron Musik Studion, CTM Festival: Music Makers Hacklab, among other events. He currently leads independently organized workshops around creative AI art practices centred around sound and image synthesis and the demystification of neural networks, developing SEMILLA, an interface for interacting with generative neural sound synthesizers, and OIR, an online channel for a semi-autonomous meta-DJ trained on thousands of hours of visuals and music from global electronic club mu-sic and techno.

http://moiseshorta.audio



@hexorcismos
(she/her)
Investor / ethical AI advocate

Nakeema Stefflbauer is a Brooklyn-born tech digitalization expert, a business angel investor, and an advo-cate for ethical AI technology investment. Nakeema founded the FrauenLoop nonprofit in Berlin, and she is CEO of the US-based Techincolor venture and the Techincolor.eu network of tech professionals in Europe. She writes and speaks about the impact of digital technologies and AI on marginalized groups and has given keynotes at EU Parliament hearings, among other events.

www.nakeema.net



Twitter @DocStefflbauer

Comedian, Speaker, Chef, Performer, Poet, cangaceira transviada. Left the Sertão of Brazil to be a travesti*. Also left debts in the Bank of Brazil and believes that sleeping alligators get turned into YT people's purses.


(they/she)
Artist / theorist / curator

Neema Githere is a guerrilla theorist and artist-in-blooming whose work explores love and indigeneity in a time of algorithmic debris. They have lectured and given workshops in universities and cultural institutions across North America and Europe including Autograph London, McGill, Toronto Queer Film Festival, New York University, SCI-Arc, the Royal Art Academy at the Hague, and HAW Hamburg.

www.presentism2020.com



@take.back.theinternet
(she/her)
Artist, Designer & Researcher

Nushin Isabelle Yazdani is a transformation designer, artist, and AI design researcher. She works with machine learning, design justice, and intersectional feminist practices, and writes about the systems of oppression of the present and the possibilities for just and free futures. At Superrr Lab, Nushin works as a project manager on creating feminist tech policies. With her collective dgtl fmnsm, she curates and organizes community events at the intersection of technology, art, and design. Nushin has lectured at various universities, is a Landecker Democracy Fellow and a member of the Design Justice Network. She has been selected as one of 100 Brilliant Women in AI Ethics 2021.



https://nushinyazdani.com/

Contribution for Dreaming Beyond AI
What does our feminist future look like?
(she/her)
Artist / memer

Omnia Omer, aka @saqmemes, aka sad african queen, is a Sudanese-American memer, artist, feminist, and aspiring writer based in Omaha, Nebraska. Her creations aim at harnessing the humour, artistry, and relata-bility of memes to tackle issues such as trauma, inequality, and mental illness.

www.saqmemes.com



@saqmemes
(she/they)
Artist

Petja Ivanova’s intersectional feminist and transdisciplinary practice combines biology, spirituality, computa-tion, and the poetic in order to promote the poetic method as a counterweight to the socially dominant 'scientific method’ of capitalist, imperialist, white-supremacist patriarchy. The Berlin-based Bulgarian artist graduated from the University of Arts Berlin in the class for computational art/generative art in 2015. She runs Studio Poetic Futures and Speculative Ecologies (SPF) out of a little caravan and teaches speculative design at HAW-Hamburg, and at times at Linnaeus University in Växjo, Sweden.

www.poeticfutures.com



@poetic_futures
(she/her)

Sarah Devi Chander is interested in anti-racism, technology policy, and justice. She is a senior policy adviser at European Digital Rights (EDRi), where she advocates on digital legislation and aims to build resilient coalitions to contest discriminatory and oppressive technology practice. She is also cofounder of the Equinox Initiative for Racial Justice, a PoC-led coalition of activists and actors organizing for racial justice.



@sarahchander
(she/her)

Seeta Peña Gangadharan is associate professor in the Department of Media and Communications at the London School of Economics and Political Science. Her work focuses on inclusion, exclusion, and mar-ginalization, as well as questions around democracy, social justice, and technological governance. She cur-rently co-leads two projects: Our Data Bodies, which examines the impact of data collection and data-driven technologies on members of marginalized communities in the United States, and Justice, Equity, and Technology, which explores the impacts of data-driven technologies and infrastructures on European civil society. She is also a visiting scholar in the School of Media Studies at The New School, affiliated fel-low of Yale Law School’s Information Society Project, and affiliate fellow of the Data & Society Research Institute.


(she/her)
Artist

Tabita Rezaire is infinity longing to experience itself. As an eternal seeker, her path as an artist, devotee, yo-gi, doula, and farmer’s apprentice weaves healing arts and scientific systems through connections to the land, the ancestors, and the songs. Her cross-dimensional practices envision network sciences – organic, electronic, and spiritual – as healing technologies to serve the shift towards heart consciousness. Embrac-ing digital, corporeal, and ancestral memory, she digs into scientific imaginaries and mystical realms to tack-le the colonial wounds and energetic imbalances that affect the songs of our body-mind-spirits.

Tabita is based in French Guiana, where she is birthing AMAKABA.

www.tabitarezaire.com



#tabitarezaire
(she/her)

Tadleeh is the nascent project of Indian-born, Milan-based musician Hazina Francia. Her club-heavy, brooding debut EP, Ego Will Collapse, was released in summer 2019 on Berlin’s Yegorka label.

https://shapeplatform.eu/artist/tadleeh/


(no pronouns)

Ulla Heinrich (*1987) is a cultural mediator, curator, and cultural manager (MA). From 2015–18, Ulla worked at HELLERAU – European Center for the Arts as Head of Digital Communication, assistant to the intendant and head of special projects. As a music curator and booker, Heinrich previously organized concerts and open-air festivals and currently serves on juries for the Musikfonds and Initiative Musik. For the past 10 years, Ulla has been involved in projects and workshops on the topic of digitality and gender for young people, young adults and educational professionals. As a feminist activist, Ulla gives lectures on the topic and organizes educational events. Ulla is also initiator, curator and producer of the festival dgtl fmnsm, which takes place since 2016 and deals with the emancipatory potentials of technology from a queer-feminist and intersectional perspective. Since June 2019, Ulla is the managing director of Missy Magazine and lives in Berlin.

www.missy-magazine.de


(she/her)
Artist

Vanessa A. Opoku is a visual artist living and working in Berlin. She recently graduated from the Academy of Fine Arts Leipzig, having already studied at the Academy of Fine Arts Vienna and the Bezalel Academy of Arts and Design Jerusalem. With film and photography, animation, 3D scans, and AI, she explores the borderlands of mixed reality. Traces that people leave behind become visible between the worlds of virtuality and physical reality. Beings and objects turn into mediating mentors who ask questions and tell stories of identity and self-empowerment.



@vaopoku
(they/them)
Visual artist

I create under the name (Zas) Ieluhee, which means ‘(the) moon’ in Medu Neter, the ancient Egyptian sylla-bary deeply linked to the majority of Bantu languages and in particular mine, which is Bamileke. I channel my inspirations by replicating patterns I see in nature, sacred geometry, and visual representations of how energies (light, sound, etc.) travel through various dimensions and bodies. My art reflects my current per-ception of the world, but also incorporate the lessons I have learned from facing reality as it is.

My approach is supported by extensive research, particularly in astrophysics, astronomy, memetics, and ancient symbols and religions – overall, ways of understanding the dynamics of existence, consciousness, death, and the afterlife.

www.zasieluhee.com



@ieluhee

Contribution for Dreaming Beyond AI
Light Bosons

Dreaming Beyond AI is a collective, changing body of work that has been shaped by various artists, researchers, writers, activists, designers, scientists, community organizers, dreamers, and thinkers.
These are the people who have contributed to Dreaming Beyond AI, in order of first name.

We thank also our carrier bag contributors:

Caroline Ward & Erinma Ochu of Squirrel Nation
Yasmine Boudiaf
Irene Fubara Manuel
Laurence Meyer
Esra Ozkan
Danielle Brathwaite-Shirley
Cleo aka Emotional Labour Queen
Grace Kwon and Sam Vassor of Close Isn't Home
Maria (Happy New Tears)
Maxh Capacity & AORTA Films
Hyphen Labs
Anna Fries & Malu Peeters
Sam Lavigne
Amelia Winger-Bearskin
Alia ElKattan

Adriaan Odendaal
he/him

Designer / researcher

Twitter: @adriaan_o / Instagram @internetteapot

Adriaan Odendaal is a multimedia and content designer from South Africa, whose work revolves around algorithmic literacy, critical and speculative design, digital culture, and game/software studies. He is a cofounder of the research and design studio internet teapot, which focuses on using design in socially transformative ways.

www.internetteapot.com


Contribution for Dreaming Beyond AI

A Carrier Bag Filled with Glitches, Errors, and Artificial Stupidity

Alla Popp
(no pronoun)

Artist

IG @allapopp

Alla Popp is a digital media and performance artist from Kazan, Russia. Alla’s feminist gaze focuses on our shared visions of the future, the emancipatory potentials of digital technology, and narratives for the future of humanity. Formally, Alla works at the intersection of digital technology, performance, and music, devel-oping interactive digital formats and live experiences in VR, AR, XR, and on the web. Alla is part of the technologically advanced interdisciplinary music and performance project BBB_ and the dgtlfmnsm collec-tive.

https://homepage-bbb.com

https://allapopp.com

Charlie
(they/them)


Charlie has a PhD in physics and has worked as a researcher, data scientist, data cleaner, and scientific programmer, but mostly they have been extremely online and clenching their jaw. On their way to becom-ing a proper data luddite, they cling on due to seeing more and more awesome people working on critical studies of technology and algorithms, and being involved in cool projects and approaches to public interest technology and design justice.

https://www.are.na/de

Elif Sansoy
(she/her)

Artist

Elif Sansoy is a digital media artist from Istanbul, Turkey. The work she is most passionate about focuses on discoveries of forms of digital intimacy that are absent from nuance-free UGC ecosystems that make us repress our sensitivities about the world and each other. Coming from a video art background, she uses algorithmic processes and digital image manipulation to express her ideas about alternative narrative worlds that can unfold within the digital.

İdil Galip
(she/her)

Researcher

@cybervolta @idilgalip

İdil Galip is a writer, researcher, and maker interested in digital culture, internet memes, algorithmic cultures, and digital labour. She is currently is finishing up her PhD thesis, which maps the creative and digital labour that goes into the creation, dissemination, and monetisation of internet memes at the University of Edin-burgh. She also runs the Meme Studies Research Network, an interdisciplinary and international network for people who study memes.

www.idilgalip.com


Contribution for Dreaming Beyond AI

A respite from algorithmic violence: Memes, platforms and content moderation

Jillian Zhong
(she/her)

Artist

Instagram: @ada.wrong

Jillian Zhong is a designer, programmer, and internet user based in New York, NY. In 2016, she created the instagram account ada.wrong, an online persona that explored and appropriated the meme medium, online it-girls, and internet oversharing to discuss identity, mental health, and social media. Currently, she works on a project, virtualgoodsdealer, a speculative collaborative virtual space and e-commerce portal.

https://www.jzhong.today/

Joycelyn Longdon
(she/her)

Researcher

Instagram: @climateincolor

Joycelyn Longdon is a twenty-three-year-old MRes+PhD student at Cambridge University on the Artificial Intelligence for the study of Environmental Risk (AI4ER) programme, researching the applications of AI to the climate emergency. Her PhD research takes an interdisciplinary approach, combining machine learning, bioacoustics, forest ecology, indigenous knowledge, and sociology to investigate the role of technology in forest conservation. She is also the founder of ClimateInColour, an online education platform and commu-nity for the climate-curious, making climate conversation more accessible and diverse.

https://climateincolour.com

Karla Zavala Barreda
(she/her)

Designer / researcher

Twitter: @karlazavala / Instagram: @internetteapot

Karla Zavala Barreda works at the intersection of software, design, and education. She is a cofounder of the research and design studio internet teapot, a collaboration that focuses on speculative and critical design projects, digital culture, critical theory, and the use of design in a socially transformative way. She is current-ly a PhD candidate in media studies at the University of Amsterdam, where she researches apps ecology and learning software aimed at young children.

www.internetteapot.com

Lucas LaRochelle
(they/them)

Designer / researcher

IN @ontario.mom / @queeringthemap TW @queeringthemap_

Lucas LaRochelle is a designer and researcher whose work is concerned with queer and trans digital cul-tures, community-based archiving, and co-creative media. They are the founder of Queering the Map, a community-generated counter-mapping project that digitally archives LGBTQ2IA+ experience in relation to physical space. They have lectured, facilitated, and exhibited internationally, recently at the Guggenheim Museum (USA), Interaccess (Canada), Digital Writers’ Festival (Australia), MUTEK (Canada), LINZ FMR (Austria), Ars Electronica (Austria), Somerset House (UK), Onomatopee Projects (Netherlands), fanfare (Netherlands), OTHERWISE Festival (Switzerland), Ada X (Canada), and SBC Gallery (Canada). They have presented research at the Bartlett School of Architecture, the University of Puerto Rico at Rio Piedras / School of Architecture, the University of Cambridge, and Stanford University, among other academic insti-tutions. Their work and writing has been published in Futuress, Immerse News, Queer Sites in Global Con-texts, Atlas Menor #1, QUEER.ARCHIVE.WORK #3, Diagrams of Power, IWAKAN, ROM, Accent, Echelles, and Perfect Strangers, among other books and publications.

www.lucaslarochelle.com

Max Ardito
(he/him)

Composer / engineer / artist

Max Ardito is a composer, engineer, and artist from Brooklyn, New York, currently living in Montréal. Blur-ring the lines between sonic arts, computer science, and research, his work explores the complicated spir-itual relationships that manifest at the border between information and interface. Through a practice that involves reappropriating and obliterating the technocratic interfaces of modern neoliberalism – variational auto-encoding, cloud load balancing, signal encryption practices – his works attempt to deconstruct their own tools to the extreme limits and simulate the ways in which people are used, influenced, and radicalized by technology. Max has background in DIY experimental music, performing frequently as a violinist both solo and in collaboration with others in various noise/improvisational projects.

www.maxardito.com

Moisés Horta Valenzuela
(he/him)

Sound artist / visual artist / electronic musician

@hexorcismos

Moisés Horta Valenzuela is an autodidact sound artist, creative technologist, and electronic musician from Tijuana, México, working in computer music, Artificial Intelligence, and the history and politics of emerging digital technologies. As 𝔥𝔢𝔵𝔬𝔯𝔠𝔦𝔰𝔪𝔬𝔰, he crafts an uncanny link between ancient and state-of-the-art sound technologies channeled through a critical decolonial theory lens in the context of contemporary electronic music and the sonic arts. His work has been presented at Ars Electronica, MUTEK México, Transart Festi-val, MUTEK: AI Art Lab Montréal, Elektron Musik Studion, CTM Festival: Music Makers Hacklab, among other events. He currently leads independently organized workshops around creative AI art practices centred around sound and image synthesis and the demystification of neural networks, developing SEMILLA, an interface for interacting with generative neural sound synthesizers, and OIR, an online channel for a semi-autonomous meta-DJ trained on thousands of hours of visuals and music from global electronic club mu-sic and techno.

http://moiseshorta.audio

Nakeema Stefflbauer
(she/her)

Investor / ethical AI advocate

Twitter @DocStefflbauer

Nakeema Stefflbauer is a Brooklyn-born tech digitalization expert, a business angel investor, and an advo-cate for ethical AI technology investment. Nakeema founded the FrauenLoop nonprofit in Berlin, and she is CEO of the US-based Techincolor venture and the Techincolor.eu network of tech professionals in Europe. She writes and speaks about the impact of digital technologies and AI on marginalized groups and has given keynotes at EU Parliament hearings, among other events.

www.nakeema.net

NAYA (Fka Lux Venérea)


Comedian, Speaker, Chef, Performer, Poet, cangaceira transviada. Left the Sertão of Brazil to be a travesti*. Also left debts in the Bank of Brazil and believes that sleeping alligators get turned into YT people's purses.

Neema Githere
(they/she)

Artist / theorist / curator

@take.back.theinternet

Neema Githere is a guerrilla theorist and artist-in-blooming whose work explores love and indigeneity in a time of algorithmic debris. They have lectured and given workshops in universities and cultural institutions across North America and Europe including Autograph London, McGill, Toronto Queer Film Festival, New York University, SCI-Arc, the Royal Art Academy at the Hague, and HAW Hamburg.

www.presentism2020.com

Nushin Yazdani
(she/her)

Artist, Designer & Researcher

https://nushinyazdani.com/

Nushin Isabelle Yazdani is a transformation designer, artist, and AI design researcher. She works with machine learning, design justice, and intersectional feminist practices, and writes about the systems of oppression of the present and the possibilities for just and free futures. At Superrr Lab, Nushin works as a project manager on creating feminist tech policies. With her collective dgtl fmnsm, she curates and organizes community events at the intersection of technology, art, and design. Nushin has lectured at various universities, is a Landecker Democracy Fellow and a member of the Design Justice Network. She has been selected as one of 100 Brilliant Women in AI Ethics 2021.


Contribution for Dreaming Beyond AI

What does our feminist future look like?

Omnia Elbasheer
(she/her)

Artist / memer

@saqmemes

Omnia Omer, aka @saqmemes, aka sad african queen, is a Sudanese-American memer, artist, feminist, and aspiring writer based in Omaha, Nebraska. Her creations aim at harnessing the humour, artistry, and relata-bility of memes to tackle issues such as trauma, inequality, and mental illness.

www.saqmemes.com

Petja Ivanova
(she/they)

Artist

@poetic_futures

Petja Ivanova’s intersectional feminist and transdisciplinary practice combines biology, spirituality, computa-tion, and the poetic in order to promote the poetic method as a counterweight to the socially dominant 'scientific method’ of capitalist, imperialist, white-supremacist patriarchy. The Berlin-based Bulgarian artist graduated from the University of Arts Berlin in the class for computational art/generative art in 2015. She runs Studio Poetic Futures and Speculative Ecologies (SPF) out of a little caravan and teaches speculative design at HAW-Hamburg, and at times at Linnaeus University in Växjo, Sweden.

www.poeticfutures.com

Sarah Devi Chander
(she/her)


@sarahchander

Sarah Devi Chander is interested in anti-racism, technology policy, and justice. She is a senior policy adviser at European Digital Rights (EDRi), where she advocates on digital legislation and aims to build resilient coalitions to contest discriminatory and oppressive technology practice. She is also cofounder of the Equinox Initiative for Racial Justice, a PoC-led coalition of activists and actors organizing for racial justice.

Seeta Peña Gangadharan
(she/her)


Seeta Peña Gangadharan is associate professor in the Department of Media and Communications at the London School of Economics and Political Science. Her work focuses on inclusion, exclusion, and mar-ginalization, as well as questions around democracy, social justice, and technological governance. She cur-rently co-leads two projects: Our Data Bodies, which examines the impact of data collection and data-driven technologies on members of marginalized communities in the United States, and Justice, Equity, and Technology, which explores the impacts of data-driven technologies and infrastructures on European civil society. She is also a visiting scholar in the School of Media Studies at The New School, affiliated fel-low of Yale Law School’s Information Society Project, and affiliate fellow of the Data & Society Research Institute.

Tabita Rezaire
(she/her)

Artist

#tabitarezaire

Tabita Rezaire is infinity longing to experience itself. As an eternal seeker, her path as an artist, devotee, yo-gi, doula, and farmer’s apprentice weaves healing arts and scientific systems through connections to the land, the ancestors, and the songs. Her cross-dimensional practices envision network sciences – organic, electronic, and spiritual – as healing technologies to serve the shift towards heart consciousness. Embrac-ing digital, corporeal, and ancestral memory, she digs into scientific imaginaries and mystical realms to tack-le the colonial wounds and energetic imbalances that affect the songs of our body-mind-spirits.

Tabita is based in French Guiana, where she is birthing AMAKABA.

www.tabitarezaire.com

Tadleeh
(she/her)


Tadleeh is the nascent project of Indian-born, Milan-based musician Hazina Francia. Her club-heavy, brooding debut EP, Ego Will Collapse, was released in summer 2019 on Berlin’s Yegorka label.

https://shapeplatform.eu/artist/tadleeh/

Ulla Heinrich
(no pronouns)


Ulla Heinrich (*1987) is a cultural mediator, curator, and cultural manager (MA). From 2015–18, Ulla worked at HELLERAU – European Center for the Arts as Head of Digital Communication, assistant to the intendant and head of special projects. As a music curator and booker, Heinrich previously organized concerts and open-air festivals and currently serves on juries for the Musikfonds and Initiative Musik. For the past 10 years, Ulla has been involved in projects and workshops on the topic of digitality and gender for young people, young adults and educational professionals. As a feminist activist, Ulla gives lectures on the topic and organizes educational events. Ulla is also initiator, curator and producer of the festival dgtl fmnsm, which takes place since 2016 and deals with the emancipatory potentials of technology from a queer-feminist and intersectional perspective. Since June 2019, Ulla is the managing director of Missy Magazine and lives in Berlin.

www.missy-magazine.de

Vanessa A. Opoku
(she/her)

Artist

@vaopoku

Vanessa A. Opoku is a visual artist living and working in Berlin. She recently graduated from the Academy of Fine Arts Leipzig, having already studied at the Academy of Fine Arts Vienna and the Bezalel Academy of Arts and Design Jerusalem. With film and photography, animation, 3D scans, and AI, she explores the borderlands of mixed reality. Traces that people leave behind become visible between the worlds of virtuality and physical reality. Beings and objects turn into mediating mentors who ask questions and tell stories of identity and self-empowerment.

Zas Ieluhee
(they/them)

Visual artist

@ieluhee

I create under the name (Zas) Ieluhee, which means ‘(the) moon’ in Medu Neter, the ancient Egyptian sylla-bary deeply linked to the majority of Bantu languages and in particular mine, which is Bamileke. I channel my inspirations by replicating patterns I see in nature, sacred geometry, and visual representations of how energies (light, sound, etc.) travel through various dimensions and bodies. My art reflects my current per-ception of the world, but also incorporate the lessons I have learned from facing reality as it is.

My approach is supported by extensive research, particularly in astrophysics, astronomy, memetics, and ancient symbols and religions – overall, ways of understanding the dynamics of existence, consciousness, death, and the afterlife.

www.zasieluhee.com


Contribution for Dreaming Beyond AI

Light Bosons

Imprint/Legal

Imprint

Institut für Auslandsbeziehungen e.V. (ifa)
Charlottenplatz 17, 70173 Stuttgart, Germany
Phone +49.711.22250
info(at)ifa.de
ifa.de
Representative: Gitte Zschoch, Secretary General

Registration number: VR 6007 (Stuttgart district council)
Tax identification code: 9901504592 (Stuttgart tax office, corporate bodies) 
VAT registration number: DE 147794073

© 2022 Artists, authors, Institut für Auslandsbeziehungen e.V. (ifa), Stuttgart, Germany.
All rights reserved.
Any articles that are attributed to a particular author do not necessarily represent the opinion of the editorial team.

PROJECT TEAM:

Idea: Nushin Yazdani, Raziye Buse Çetin
Concept: Nushin Yazdani, Raziye Buse Çetin
Curation: Nushin Yazdani, Raziye Buse Çetin, Meera Ghani
Project Management: Nina Frohm and Sabiha Keyif, Visual Arts Department, ifa
Webdesign & Development: Iyo Bisseck
Social media communication: Sarah Diedro
Music: Tadleeh

Translation/Proofreading:
Jenifer Evans (English)
Myriam Ochoa-Suel (French)
Camilo Jiménez Santofimio (Spanish)
Erden Kosova (Turkish)

Contributors: See People page

Disclaimer

Liability for Content
Pursuant to sec. 7, 1, German Telemedia Act (Telemediengesetz TMG), ifa (Institut für Auslandsbeziehungen) is responsible under general legislation for its own content on this website. Pursuant to secs. 8-10 TMG, ifa is not under the obligation to monitor any third-party information that is transferred or stored or to investigate circumstances that are indicative of illegal activity. Any obligations under general legislation to remove or block the use of information shall remain hereby unaffected. However, liability regarding such matters shall only apply at such point in time when ifa is notified or becomes aware of a specific infringement. As soon as ifa becomes aware of such infringement, the relevant content will be removed immediately.

Liability for Links
Despite careful monitoring of content, ifa does not assume liability for the content of external links. The operators of any linked websites bear sole responsibility for the relevant content. All linked websites were reviewed for potential infringement before the link to that site was initially created. No illegal content was identified at the time of linking. ifa cannot be reasonably expected to monitor the content of linked websites on an ongoing basis without specific indication of legal infringement. As soon as ifa becomes aware of any such infringement, the relevant links will be removed immediately.

Legal Information on Copyright
This website and any other websites operated by the editors, particular contents including depictions, translations, etc. are protected by copyright law. Every reprint or reproduction needs to be confirmed in writing by the editors. The copyright shall extend as well to information - texts, data, programs - published on this website. Each storage, usage, processing, reproduction and transmission of contents or source codes in other electronical or printed publications depends on prior approval of the editors. Text content, images, and graphic elements may be printed or downloaded for personal, private, or non-commercial use only. Any website content not created by the operator is presented in compliance with third-party copyright. All third-party content is marked as such. Please inform us should you become aware of any copyright infringements. As soon as ifa is notified of any such infringement, the relevant content will be removed immediately.

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Privacy Policy

Der Schutz Ihrer Daten und die Wahrung Ihrer Privatsphäre ist dem ifa (Institut für Auslandsbeziehungen) ein großes Anliegen. Das ifa erhebt, verwendet und speichert Ihre personenbezogenen Daten ausschließlich im Rahmen der Bestimmungen der geltenden Datenschutzgesetze. Um zu gewährleisten, dass Sie in vollem Umfang über die Erhebung, Verarbeitung und Nutzung personenbezogener Daten auf unserer Website informiert sind, lesen Sie bitte nachstehende Hinweise.

1. Verantwortlicher für die Verarbeitung personenbezogener Daten
Ihre Daten werden im Namen und Auftrag des Instituts für Auslandsbeziehungen (ifa Institut für Auslandsbeziehungen e.V. (ifa)

Charlottenplatz 17

D–70173 Stuttgart

Tel. +49 711 2225 0

Fax +49 711 2264346

E-Mail: info@ifa.de
verarbeitet.
Verantwortliche und Generalsekretärin: Gitte Zschoch
Unseren Datenschutzbeauftragten können Sie über die oben angegebene postalische Adresse oder per E-Mail unter der Adresse datenschutzbeauftragter@ifa.de erreichen.

2. Datenerhebung zu systeminternen und statistischen Zwecken
Ihr Internet-Browser übermittelt beim Zugriff auf die ifa-Website aus technischen Gründen automatisch Daten an unseren Webserver. Es handelt sich dabei unter anderem um Datum und Uhrzeit des Zugriffs, URL der verweisenden Webseite, abgerufene Datei, Menge der gesendeten Daten, Browsertyp und -version, Betriebssystem sowie Ihre verwendete IP-Adresse. Diese Daten werden getrennt von anderen Daten, die Sie im Rahmen der Nutzung unseres Angebotes eingeben, gespeichert. Eine Zuordnung dieser Daten zu einer bestimmten Person findet nicht statt. Diese Daten werden zur Gewährleistung der Systemsicherheit protokolliert und zu statistischen Zwecken anonym ausgewertet und in der Regel nach 7 Tagen gelöscht.

3. Erhebung und Verarbeitung personenbezogener Daten
Über den in Punkt 2 dieser Datenschutzerklärung hinaus verarbeiten wir Ihre erforderlichen personenbezogenen Daten, um Ihnen die auf unserer Website integrierten Dienste von YouTube, Vimeo und weiteren zur Verfügung stellen zu können.
Wir verzichten auf dieser Website auf eine auf der Basis von Cookies bzw. Trackern basierende Verarbeitung.
Ihre Daten werden von unserer Seite nicht für eine automatisierte Entscheidungsfindung oder für ein Profiling verwendet.

3.1 Datenverarbeitung durch YouTube
Auf unserer Webseite sind sogenannte Einbettungen von Videos auf YouTube enthalten. Von unserer Seite wird nur die Verbindung zu YouTube ermöglicht. YouTube ist ein Angebot von Google Inc.. Zweck und Umfang der Datenerhebung und -nutzung durch Google sowie Ihre Rechte und Einstellungsmöglichkeiten zum Schutz als YouTube-Kunde entnehmen Sie bitte den Datenschutzhinweisen von YouTube http://www.youtube.com/t/privacy.
Weiterhin haben wir die Einbettung von YouTube-Videos so gestaltet, dass eine Datenübermittlung an YouTube erst dann stattfindet, wenn Sie dies mit einem Klick auf das Video bestätigen.

3.2 Datenverarbeitung durch Vimeo

Wir nutzen für die Einbindung von Videos den Anbieter Vimeo. Vimeo wird betrieben von Vimeo, LLC mit Hauptsitz in 555 West 18th Street, New York, New York 10011.
Auf einigen unserer Internetseiten verwenden wir Plugins des Anbieters Vimeo. Wenn Sie die mit einem solchen Plugin versehenen Internetseiten unserer Internetpräsenz aufrufen, wird eine Verbindung zu den Vimeo-Servern hergestellt und dabei das Plugin dargestellt. Hierdurch wird an den Vimeo-Server übermittelt, welche unserer Internetseiten Sie besucht haben. Sind Sie dabei als Mitglied bei Vimeo eingeloggt, ordnet Vimeo diese Information Ihrem persönlichen Benutzerkonto zu. Bei Nutzung des Plugins wie z.B. Anklicken des Start-Buttons eines Videos wird diese Information ebenfalls Ihrem Benutzerkonto zugeordnet. Sie können diese Zuordnung verhindern, indem Sie sich vor der Nutzung unserer Internetseite aus ihrem Vimeo-Benutzerkonto abmelden und die entsprechenden Cookies von Vimeo löschen.
Weitere Informationen zur Datenverarbeitung und Hinweise zum Datenschutz durch Vimeo finden Sie unter https://vimeo.com/privacy.
Weiterhin haben wir die Einbettung von Vimeo-Videos so gestaltet, dass eine Datenübermittlung an Vimeo erst dann stattfindet, wenn Sie dies mit einem Klick auf das Video bestätigen.

3.3 Datenverarbeitung durch Megaphone
Für die Einbindung von Audios nutzen wir auf unserer Website den Dienst Megaphone des Anbieters Spotify AB mit Hauptsitz in Regeringsgatan 19, SE-111 53 Stockholm, Sweden.
Von unserer Seite wird nur die Verbindung zu Megaphone ermöglicht. Zweck und Umfang der Datenerhebung und -nutzung durch Megaphone sowie Ihre Rechte und Einstellungsmöglichkeiten entnehmen Sie bitte den Datenschutzhinweisen von Megaphone https://megaphone.fm/terms/privacy.
Auch diesen Dienst haben wir so auf unserer Website integriert, dass eine Übermittlung der Daten und die damit verbundene Akzeptanz für die Verwendung von Cookies und Trackern durch Megaphone erst dann stattfindet, wenn Sie durch einen Klick auf die Audio-Einbindung darin einwilligen.

4. Übermittlung von Daten

Ihre personenbezogenen Daten werden verschlüsselt mittels SSL über das Internet übertragen.
Eine darüber hinausgehende Weitergabe Ihrer personenbezogenen Daten an Dritte erfolgt nur mit Ihrer Zustimmung, es sei denn, dass eine gesetzliche Verpflichtung hierzu besteht oder zum Schutz der Rechte, des Eigentums und der Sicherheit des ifa.
Soweit externe Dienstleister mit personenbezogenen Daten in Berührung kommen, fordern wir zwingend rechtliche, technische sowie organisatorische Maßnahmen zur Einhaltung datenschutzrechtlicher Vorschriften ein.

5. Rechtliche Grundlage für die Verarbeitung Ihrer Daten

Die Rechtmäßigkeit (Rechtsgrundlage) für die Verarbeitung Ihrer Daten ergibt sich durch Ihre Einwilligung gem. Art. 6 Abs. 1 lit. a DS-GVO) bzw. aus der Wahrung der berechtigten Interessen des ifa (gem. Art. 6 Abs. 1 lit. f DS-GVO).

6. Links zu anderen Websites

Unsere Internet-Präsenz enthält Links zu anderen Websites. Wir haben keinen Einfluss darauf, dass die Betreiber anderer Websites die Datenschutzbestimmungen einhalten. 
Wir sind als Anbieter für eigene Inhalte nach den allgemeinen Gesetzen verantwortlich. Von diesen eigenen Inhalten sind Links auf die von anderen Anbietern bereitgehaltenen Inhalte zu unterscheiden. Für fremde Inhalte, die über Links zur Nutzung bereitgestellt werden, übernehmen wir keine Verantwortung und machen uns deren Inhalt nicht zu Eigen.
Für illegale, fehlerhafte oder unvollständige Inhalte und insbesondere für Schäden, die aus der Nutzung oder Nichtnutzung solcherart dargebotener Informationen entstehen, haftet allein der Anbieter der Seite, auf welche verwiesen wurde.

7. Ihre Rechte an Ihren personenbezogenen Daten

Nach der Datenschutzgrundverordnung haben Sie jederzeit ein Recht auf unentgeltliche Auskunft über Ihre gespeicherten personenbezogenen Daten sowie ggf. ein Recht auf Berichtigung, Einschränkung oder Löschung dieser Daten. Sofern wir gesetzliche Aufbewahrungspflichten einhalten müssen, werden wir Ihre Daten für eine weitere Verarbeitung einschränken, so dass sie nicht mehr für die o.a. Zwecke verwendet werden können.
Sie haben weiterhin das Recht, Ihre bei uns gespeicherten personenbezogenen Daten in elektronischer Form zu erhalten.
Sie können einer ggf. erteilten Einwilligung für die Speicherung und Verarbeitung Ihrer gespeicherten Daten jederzeit widersprechen. In diesem Fall werden wir die von Ihnen gespeicherten Daten umgehend löschen bzw. für die aufgrund gesetzlicher Vorgaben nicht löschbaren Daten die Verarbeitung einschränken.
Wenden Sie sich mit Ihrem Anliegen bitte an die u.a. Kontaktdaten.
Sollten Sie der Meinung sein, dass Ihre Daten ifa nicht gemäß den geltenden Datenschutzgesetzen verarbeitet werden, so haben Sie ein Beschwerderecht bei einer Aufsichtsbehörde für den Datenschutz Ihrer Wahl.

8. Einzelfallbezogenes Widerspruchsrecht

Sie haben das Recht, aus Gründen, die sich aus Ihrer besonderen Situation ergeben, jederzeit gegen die Verarbeitung Sie betreffender personenbezogener Daten, die aufgrund von Art. 6 Abs. 1 lit. f DS-GVO (Datenverarbeitung auf der Grundlage einer Interessenabwägung) erfolgt, Widerspruch einzulegen; dies gilt auch für ein auf diese Bestimmung gestütztes Profiling im Sinne von Art. 4 Abs. 4 DS-GVO. Legen Sie Widerspruch ein, werden wir Ihre personenbezogenen Daten nicht mehr verarbeiten, es sei denn, wir können zwingende schutzwürdige Gründe für die Verarbeitung nachweisen, die Ihre Interessen, Rechte und Freiheiten überwiegen, oder die Verarbeitung dient der Geltendmachung, Ausübung oder Verteidigung von Rechtsansprüchen.

9. Datensicherheit

Ihre personenbezogenen Daten werden verschlüsselt über das Internet übertragen. Wir verwenden hierfür die SSL-Verschlüsselungstechnologie („Secure Sockets Layer“). Wir weisen Sie darauf hin, dass die Datenübertragung im Internet (z.B. auch bei einer Kommunikation per E-Mail) Sicherheitslücken aufweisen kann. Ein lückenloser Schutz der Daten vor dem Zugriff durch Dritte ist nicht möglich.
Wir sichern unsere Website und sonstigen Systeme durch technische und organisatorische Maßnahmen gegen Verlust, Zerstörung, Zugriff, Veränderung oder Verbreitung Ihrer Daten durch unbefugte Personen. Die Sicherheitsmaßnahmen werden entsprechend der technologischen Entwicklung fortlaufend verbessert.

10. Weitere Informationen und Kontakte

Wenn Sie weitere Fragen zum Thema Datenschutz haben, kontaktieren Sie uns bitte. Bei Fragen zur Erhebung, Verarbeitung oder Nutzung Ihrer personenbezogenen Daten, bei Auskünften, Berichtigung, Sperrung oder Löschung von Daten sowie Widerruf erteilter Einwilligungen wenden Sie sich bitte an:
Institut für Auslandsbeziehungen e.V. (ifa)

Charlottenplatz 17

D–70173 Stuttgart


keyif@ifa.de

Datenschutzbeauftragter

datenschutzbeauftragter@ifa.de

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