Patty Chang and David Kelley for Stray Dog Hydrophobia, a series of sculptures which consider the legal and ecological implications of a recent verdict by the United Nations International Seabed Authority to permit deep-sea mining by 2025.

Tristan Duke for Cold Cutting Edge, a project exploring the unlikely intersection of photography, glaciology, and neutrino astronomy through the artist’s use of his bespoke technology, a camera with a sheet of ice as its lens.

Haleigh Nickerson for Sojourner’s rovers, a community based project which aims to revive the legacy of the abolitionist and women’s rights activist Sojourner Truth through a series of free-moving artworks inspired by the Sojourner Mars rover, the first wheeled vehicle to rove on another planet.

Gala Porras-Kim for Expensive Data Fields, a project addresses gaps in institutional cataloging methods by proposing an unbiased classification system that can register, conserve, and display in ways that decenter traditional taxonomies.

Kelly Akashi for Fissures, a series of sculptures derived from data the artist harnesses from new microscopic imaging technologies like X-Ray lasers and micro-CT scanning – an echo of her early work in analog photography.

Nancy Baker Cahill for Substrate, a project which explores how mutual aid and reparation strategies might be considered in relation to the properties of mycelium networks, the complex and interconnected biological structures found in fungi that rely on equitable, distributive, and sustainable properties.

Lauren Lee McCarthy for Drive-Thru, a Los Angeles-based performance piece in which an AI voice assistant will provide direction to participants in their cars, explores themes of navigated risk assessment and management, risk control, and how boundaries around security are shifting in an age of rapid change and evolution in tech.

Daniel R. Small for Techne, an episodic documentary which places contemporary artists in conversation with experts in a diverse range of fields – from zoology to planetary science to AI – to show the ways the term “artist” can encompass idea-generation across disciplines.

American Artist for Collective Head, a project which takes inspiration from the pioneering ideas of sci-fi author Olivia E. Butler – namely, her conception of change – to build a machine in the form of the historic 1936 GALCIT Rocket Motor Test.

Lukas Avendano, Abraham Brody, Ana Lopez and Oswaldo Erreve for MUXX, a project which combines performance, Virtual Reality and 3D video to explore “muxe,” a gender identity recognized in the Zapotec indigenous culture of Oaxaca, Mexico which embodies a combination of qualities traditionally attributed to both men and women.

Jacqueline Kiyomi Gork and Rhett LaRue for Inhabit360, a multiplayer game space that disrupts the alienation associated with traditional gaming by inducing empathy and intimacy in players through a collaborative and immersive experience.

Lawrence Lek for Death Drive, a project which employs video game technology to create an interactive “road movie” that explores non-Western perspectives on technology and perceptions of the virtual world.

Matthew Angelo Harrison will collaborate with materials scientists on a material that can be reconstituted for 3D printing of environments that can go through cycles of creation and decay to explore the notion of "abstract ancestry." The artist will utilize 3D printing technology to recreate structural environments relevant to the African diaspora and labor history. Harrison's project is called “The Consequence of Platforms.”

Agnieszka Kurant will develop a group of shape-shifting sculptural organisms, algorithmically controlled by a collective intelligence of users from around the world. The participants' data and live inputs will be harvested by artificial intelligence neural networks to create an ecosystem of evolving, polyphonic forms, alternately natural and artificial, living and not, biological, geological and algorithmic. Kurant's project is called Artificial Society / Collective Tamagotchi.

Kyle McDonald, Daisy Mahaina from Vaka Valo Association, and Dr. Marianne George will document ancient Polynesian navigation techniques with new technology, including "Te Lapa": a faint burst of light that emanates from land, but has never been recorded. The project aims to build a custom camera rig that can sense this very faint light, and capture the first-ever video of Te Lapa. Documentation resulting from the project will serve as a pedagogical tool. McDonald, Mahaina, and George's project is called Te Lapa: Polynesian Navigation Illuminated.

Virginia San Fratello and Ronald Rael will reexamine Indigenous mud-based building materials through 21st-century robotics, to contemplate the past and future of Pueblo de Los Ángeles, historical home to the Chumash and Tongva, Spain, Mexico, and now the United States. San Fratello and Rael will create proto-architectures that connect building traditions at opposing ends of a technological spectrum. San Fratello and Rael's project is called MUD Frontiers / Zoquetes Fronterizos.

Ebru Kabrak for Reinventing the Spindle, a project which performs microgravity and low-gravity investigations of textile production to consider the ramifications of space colonization and exploration.

Rashad Newsome for Being, a merging of AI, robotics, and sculpture in the form of a humanoid robot and artist, which engages viewers to consider the social implications of artificial intelligence with respect to rights and liberties, as well as topics like inequity and the subjectivity of body autonomy.

Eun Young Park for Radical Soft Robots, a project which examines the possibilities of creating “soft robots” — assembled by softer materials like silicon or fabric — as an alternative to the heavier and more expensive metals used in conventional robotic systems.

Sarah Rosalean Brady for Exit Points, a project which uses machine learning, coded language, and the artist’s loom to create a technological performance grounded in feminist and decolonial thought.

Tom Sachs for Transcendence Sphere, a “virtual reality experience module” that uses a computer to synchronize ubiquitous technologies like the television and heating systems to encourage visitors to explore the deepest reaches of their psyches.

Tahir Hemphill for Implications of a Rap Neural Network, a project which uses a bespoke neural network to examine how cultural production is being transformed by AI.

Jen Liu for Pink Slime Caesar Shift, a project merging genetic engineering and labor activism to investigate the production of synthetic meat in China, and offer a commentary on the unfair treatment of female laborers in China.

Sarah Rara for Ellipsoid Body — named after the ring-shaped brain structure in fruit flies which allows them to navigate — investigates human navigation and the ways it’s mediated by video images.

Diana Thater for The Zeroth Law, a project that investigates bioinspired and biomimetic robots, and how these machines adapt the neurophysiology and behaviors of their animal models.

Julia Christensen for Upgrade Available, a project which employs several generations of technology as a lens through which to examine interactions and connections between people and the technologies they use.

Carl Cheng for Tar Pool Project, an ongoing project which Cheng set up within LACMA to investigate the natural phenomenon of tar, its interaction with different materials, and its connection to the museum’s site and urban environments.

Curtis Tam for Tympanic Tether, in which Tamm conducts audio visual fieldwork in geologically active regions around the world to explore the relationship between culture and natural catastrophes and consider new ways we might sonify these catastrophes in real time.

Stan Douglas for Helen Lawrence, a “live cinema” work inspired by film noir, wherein actors on stage are projected onto complex virtual sets through blue screens and camera-controlled software. The Art + Technology Lab provided tech support for the production at the Center for the Art of Performance at UCLA.

Kata Kovács and Tom O’Doherty for Twin Moons, a project which uses satellite technology to create a poetic response to the signals of LES-1, a defunct communications satellite. The new “answering signal” attempts to fill the gaps in knowledge caused by the LES-1.

Nacho Rodriguez Bach for I Want to Know, a project which will work with heliostats (motorized mirrors), surveillance cameras, and optics in order to mimic a mystical experience the artist had while camping, and comment on the human fear of the unknown.

Michael Mandiberg for Mechanical Tramp, which uses Amazon’s Mechanical turk (a crowdsourcing marketplace) to recreate Charlie Chaplin’s 1936 film Modern Times and uncover how the modern workplace has changed to accommodate the digital age.

Kirsten Mosher for Soul Mate 180°, a project which uses satellite imagery, 3D printing, and other design & fabrication technologies to explore the tension between antipodal sites on earth, and how the idea of these sites evoke what we can perceive and what we can only imagine.

John Gerrard for Solar Reserve, a computer-generated replication of an actual power plant that simulates the actual movements of the sun, moon, and stars across the sky.

Gabriel Barcia-Colombo for Hereafter Institute, a concept that merges performance and sculpture to invite audience members to participate in rituals exploring the digital afterlife.

Nonny de la Peña and Alex Rivera for Reaching the Stone, a virtual reality experience that aims to push the limits of VR storytelling technology and provoke critical thought about the issues of access and power in regards to technology.

Cayetano Ferrer for Object Prosthetics, a series of case studies based on an exhibition of incomplete objects, which the artist reconstructs and incorporates into his practice through emerging technologies.

Nana Oforiatta-Ayim for Cultural Encyclopaedia, a documentation and archive project in the form of a digital platform which aims to reorder knowledge, narratives and representations from and about the African continent.

Jonathon Keats for Roadable Synapse, which addresses the idea of a driverless future of transportation and explores how wearable technology in the automotive realm might enhance, diminish, or alter the identity of the wearer.

Matthew Shaw and William Trossell (ScanLAB Projects) for Post-lenticular Landscapes, which captures 150 scans of Yosemite Valley’s iconic landscape — many taken from the same vantage points used by their photographer-predecessors Ansel Adams and Eadweard Muybridge — with terrestrial laser scanners.

Taeyoon Choi and E Roon Kang for In Search of Personalized Time, in which both artists propose an alternative standard of measurement of time, in favor of a more personal, intuitive, asynchronous chronology of time, investigating how time is communally negotiated, and how to give this communion form.

John Craig Freeman for EEG AR: Things We Have Lost, a project which draws on crowdsourcing, augmented reality, and EEG (electroencephalography) technology, and prompts participants to “conjure” virtual objects, tangible or intangible, that they have lost.

Annina Rust for A Piece of the Pie Chart, a feminist food robot that visualizes the gender gap in art and tech workplaces on edible pies.

Tavares Strachan for ENOCH, in which the artist — working in collaboration with SpaceX — built a 24 karat-gold miniature satellite with a bust of Robert Henry Lawrence Jr., the first African-American astronaut. The satellite was eventually launched into space in 2018 and circled the earth for three years.

Rachel Sussman for This Used to Be the Future, a project made in collaboration with advisors from Jet Propulsion Laboratory and SpaceX, which scrutinizes and analyzes astrophysical and astronomical data, investigating the capacities of human modes of perception in relation to deep time and deep space.