Dorothy R. Santos (she/they) is a Filipina American writer, artist, and educator whose research interests include critical medical anthropology, feminist media histories, technology, race, and ethics. She is currently a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz, as a Eugene V. Cota-Robles fellow. She received her Master’s degree in Visual and Critical Studies at the California College of the Arts and holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco. Her work appears in art21, Rhizome, Hyperallergic, Ars Technica, Art in America, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She is a co-founder for REFRESH, a politically engaged art and curatorial collective, and she serves as the Executive Director for Processing Foundation.
Education Community Director
Saber Khan (he/they) is a Bengali-American educator based in New York City. He is a veteran K12 educator with over 15 years of experience teaching math, science, and computer science in public and private middle and high schools. Currently, he teaches multiple introductory and advanced computer science classes in creative coding and web development. And he organizes events and spaces for educators to engage with code, ethics, and equity. He loves email.
Xiaowei R. Wang (they/them) is an artist, writer, organizer and coder whose work centers community driven tech and the importance of care in organizing for a more just future. Their collaborative project FLOAT Beijing created air quality-sensing kites to challenge censorship and was an Index Design Awards finalist. Other projects have been featured by The New York Times, BBC, CNN, VICE and elsewhere. Their most recent project, The Future of Memory, was a recipient of the Mozilla Creative Media Award. They are the author of the book Blockchain Chicken Farm: And Other Stories of Tech In China's Countryside and one of the lead facilitators of Logic School, an organizing community for tech workers.
Program and Communications Coordinator
Suhyun (Sonia) Choi (they/them) is a Queerean artist and organizer. Growing up in different contexts has given them first-hand experiences in understanding the complexity of globalization, capitalism, colonialism, and how the macro affects the micro levels of human ontology and relationships. This third-culture kid upbringing informs the nature of their art practice and organizing. They are a co-founder of BUFU, a project-based collective centering QTBIPOC. BUFU has been covered by publications such as the Village Voice, NYLON, Hyperallergic, the Fader, and many more. They have worked with institutions such as the Brooklyn Museum, Queens Museum, New Women Space, the New Museum, and Abrons Art Center.
Qianqian (Q) Ye (p5.js co-lead) (she/they) is a Chinese artist, creative technologist, and educator based in Los Angeles (Gabrielino-Tongva Land). Trained as an architect, she creates digital, physical, and social spaces exploring issues around gender, immigrants, power, and technology. She received a Master of Landscape Architecture from Cornell University and was a Processing Foundation Fellow in 2019. She currently teaches creative coding at USC Media Arts + Practice, and serves as a p5.js co-lead at Processing Foundation.
Jonathan Feinberg (Processing.py Lead) created Python Mode in order to provide the existing ecosystem of Processing concepts, programs, and libraries available to Python programmers. He is a musician, husband, and father of two boys, living in Lincoln, Massachusetts. He is the tech lead/manager for a team that makes a high-performance vector graphics drawing engine, at Google.
Ben Fry and Casey Reas (Processing Leads) started Processing in 2001 and are co-founders of the Processing Foundation.
Board of Directors
Ben Fry (he/him) is principal of Fathom, a design and software consultancy located in Boston. He received his doctoral degree from the Aesthetics + Computation Group at the MIT Media Laboratory, where his research focused on combining fields such as computer science, statistics, graphic design, and data visualization as a means for understanding information. After completing his thesis, he spent time developing tools for visualization of genetic data as a postdoc with Eric Lander at the Eli and Edythe L. Broad Institute of MIT and Harvard. In 2011, he won the National Design Award for Interaction Design from the Cooper-Hewitt. With Casey Reas, Fry initiated Processing in 2001.
Casey Reas (he/they) is an artist and educator based in Los Angeles. He has exhibited, screened, and performed his work in galleries and museums. Reas is a professor at the University of California, Los Angeles. He holds a master’s degree from the Massachusetts Institute of Technology in Media Arts and Sciences as well as a bachelor’s degree from the School of Design, Architecture, Art, and Planning at the University of Cincinnati. With Ben Fry, Reas initiated Processing in 2001.
Daniel Shiffman (he/him) works as an Associate Arts Professor at the Interactive Telecommunications Program at NYU’s Tisch School of the Arts. Originally from Baltimore, Daniel received a BA in Mathematics and Philosophy from Yale University and a master’s degree from the Interactive Telecommunications Program. He is the author of Learning Processing: A Beginner’s Guide to Programming Images, Animation, and Interaction and The Nature of Code (self-published via Kickstarter), an open source book about simulating natural phenomenon in Processing.
Kate Hollenbach (she/they) is an artist, programmer, and educator. She creates video and interactive works examining human habits shaped by technology, with a recent focus on cellphone cameras, data collection, and surveillance. Kate’s art practice is informed by years of experience as an interface designer and product developer. She has presented and shown her work in venues including SFMOMA, Young Projects, Stamps Gallery, INST-INT, and SIGGRAPH. Kate holds an MFA from UCLA Design Media Arts and is currently an Assistant Professor of Emergent Digital Practices at University of Denver.
Taeyoon Choi is an artist and educator based in New York and Seoul. His art practice involves performance, electronics, drawings, and storytelling that often leads to intervention in public spaces. Choi collaborates with fellow artists, activists, and professionals from other fields to realize socially engaged projects and alternative pedagogy. He was an artist-in-residence at Eyebeam Art and Technology Center and Lower Manhattan Cultural Council. He has published books about urbanism and is currently working on a book of drawings about computation. Choi cofounded the School for Poetic Computation in 2013, where he continues to organize and teach. Recently, he's been focusing on unlearning the wall of disability and normalcy, and enhancing accessibility and diversity within art and technology.
Stalgia Grigg is an artist and activist that is loyal to the indeterminate. His art practice uses simulation and inconsistent algorithms to explore the boundaries of change within seemingly metastable systems. Stalgia learned to code with tools made by the Processing Foundation. That experience heavily informs his tool-making and community-building practice.He is currently working on a new body of studio work, polishing an XR library for p5.js, and designing a collaborative platform for prisoner advocacy education. Stalgia has exhibited work at Human Resources, the Hammer Museum, and Coaxial Arts Foundation. He received his MFA from UCLA, and his BSVA from Purchase College.
Claire Kearney-Volpe is an Art Therapist, Digital Accessibility Professional, Designer and Researcher. She holds a Master's Degree from New York University's Interactive Telecommunications Program and is currently a PhD Candidate in NYU's Rehabilitation Sciences Program, Web Accessibility Fellow at CUNY, and Research Fellow at the NYU Ability Project. Her work centers around Participatory Design, Disability, Human Computer Interaction, as well as, the accessibility of code languages and code pedagogy.
John Maeda is Global Head, Computational Design and Inclusion at Automattic. He is a former Design Partner at Kleiner Perkins Caufield & Byers and the former President of the Rhode Island School of Design from 2008 to 2013. He is a recipient of the National Design Award and his work is represented in the permanent collection of the Museum of Modern Art. Beginning in 1996, lasting for 13 years, he was a Professor at MIT, where he served as an Associate Director of Research at the MIT Media Lab and was responsible for managing research relationships with 70+ industrial organizations. He received a Ph.D. in Design Science from the University of Tsukuba Institute of Art and Design in Japan. In May 2003, he received an Honorary Doctorate of Fine Arts from the Maryland Institute of Contemporary Art. He received an MBA from Arizona State University in May 2006.
Josette Melchor is the Founder of Gray Area, and the Head of Cultural Programming for the future cities initiative at the We Company. In 2008, she led the effort to incorporate Gray Area into a 501(c)3 nonprofit, enacting her pioneering vision of a living creative hub for the integrated practice of art and technology, a uniquely San Franciscan institution globally recognized for its forward-looking programming around creative coding education and cultural incubation. Melchor’s background as a queer, third-generation Mexican-American has grounded her deep commitment to safeguarding diverse communities in the midst of a rapidly gentrifying San Francisco. In collaboration with the City of San Francisco, she created the first Urban Prototyping Festival in 2012, creating a platform for citizens to address civic issues through public activations, which has since been copied worldwide. In 2016, Melchor instigated the first exhibition that paired artificial neural networks with artists, which helped establish the Artists and Machine Intelligence program at Google, ushering in a new movement in Artificial Intelligence assisted artwork. She most recently spearheaded the development of Gray Area’s Knight Foundation-supported Experiential Space Research Lab, developing sustainable models for artists to work within the quickly evolving format of immersive experiences.
Phoenix Perry creates physical games and user experiences. Her work looks for opportunities to bring people together to raise awareness of our collective interconnectivity. A consummate advocate for women in game development, she founded Code Liberation Foundation. Code Liberation catalyzes the creation of digital games and creative technologies by women, nonbinary, femme, and girl-identifying people to diversify STEAM fields. Since starting in 2012, this project has helped to foster a new generation of creators. Currently, she is a Lecturer in Physical Computing at Goldsmiths, University of London.
Dr. Rhazes Spell is enamored with media art and technology as a platform for creation and learning. As an artist he is interested in speculative data narratives: how stories shape facts and how “facts” shape cultural plots and identity. As an educator he is continuously fascinated with the power of media art and technology platforms for engaged learning within the humanities and sciences. He is particularly interested in pedagogical practices of mathematics and computational science, media and cultural theory, and design research. Rhazes’s background includes a PhD in biomedical engineering from Duke University, a MFA in Design|Media Arts from UCLA, and experience consulting for companies in a variety of industries. He has been a faculty member in the School of Design at Victoria University of Wellington in New Zealand and is currently a part-time faculty member at University of Southern California, where he is teaching creative web coding and design speculative narratives. Lately his musings include a burgeoning fascination with opera and learning to navigate a socially mediated world as an introvert.
Xin Xin is an interdisciplinary artist and community organizer working at the intersection of technology, labor, and identity. Xin co-founded voidLab, a LA-based intersectional feminist collective dedicated to women, trans, and queer folks and they were the Director and Lead Organizer for Processing Community Day 2019, a worldwide initiative celebrating art, code, and diversity. Their work has been exhibited and screened at Ars Electronica, DIS, Dodd Galleries, Gene Siskel Film Center and Machine Project. Xin received their M.F.A from UCLA Design Media Arts and teaches at Parsons School of Art, Media, and Technology at the New School as an Assistant Professor of Interaction and Media Design.
Boaz Sender manages the web platform consulting company Bocoup where he works to make the web more predictable and inclusive through technology standards development and engineering. At the Berkman Klein Center, Boaz is active in the ethics working group, where he is working on a critique of the values embedded in “open source” production. Between 2016 and 2017, Boaz ran a contemporary art gallery with a focus on tech criticism. During this time he curated works from artists exploring the role and impact of technology on society. From 2011 until 2017, Boaz was an invited expert to the W3C where he started the Games community group, outlining a roadmap for “open web games”, and contributed to the web-platform-tests initiative. During this same period, Boaz also contributed to the jQuery, Backbone, and Grunt projects and helped start the jQuery Foundation where he served as a board member until its relaunch as the JS Foundation. Prior to Bocoup, Boaz worked as a front-end developer for a dot-com where he built early client side web applications. Boaz studied Liberal Arts at Bennington College from 2003 to 2005. His software production education came from working in open source communities, writing documentation, and working as a web developer.