Magdalena Tyżlik-Carver is Associate Professor of Digital Communication and Culture in the Dept. of Digital Design and Information Studies at Aarhus University. Main areas of research and teaching are curating data, critical data practices/studies, network images, alternative data futures, trans*feminist practices, posthuman theory and new materialism, history of digital and network art.
Her current work engages the concept of posthuman curating to inquire into computational and data cultures. Currently her focus is on the digital transformation in knowledge making practices driven by AI technologies, semantic web, and data infrastructures. As a curator and researcher she develops participatory methods for data practices beyond BigTech extractivism and expansive infrastructural politics by working with speculative methods and open data principles (Fermenting Data, common practice), as well as knowledge graphs, diagrams and guides (Curating Data).
At Aarhus University, she is co-director of the Centre for Critical Data Practices with Daniela Agostinho, Jussi Parikka, Pablo Velasco and Midas Nouwens. She is a member of Digital Aesthetics Research Centre, Cultures and Practices of Digital Technologies program and Environmental Media and Aesthetics research program.
She is also a associate researcher in the Centre for the Study of the Network Image at the London South Bank University.
As an independent curator she curated exhibitions and events including: Fermenting Data: Aaarhus 8000-8220 (2021), ScreenShots: Desire and Automated Image (2019), Movement Code Notation (2018), Corrupting Data (2017), Ghost Factory: performative exhibition with humans and machines (2015), Common Practice (2009, 2010), (IN)visible networks (2008), Participation (2007).
She is co-editor (with Helen Pritchard and Eric Snodgrass) of Executing Practices a collection of essays by artists, programmers, theorists engaging in critical intervention into the broad concept of execution in software, published by Open Humanities Press in Data Browser series (2018). She is also co-author of Boundary Images (with Giselle Beiguelman, Melody Devries, and Winnie Soon) which investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature, published by Minnesota Unviersity Press (2023). She regularly writes about digital and visual cultures with focus on digital images and curating, contributing to edited collections, journals and magazines.
