Paul Antick is an artist and writer. His work includes: ‘Three places I never went to when I was alive’ (Liminalities, 2016); ‘The Desecuritization of Belfast’ (Securitization and Memory in Contemporary Europe, Palgrave, 2016); ‘Bhopal to Bridgehampton: Schema for a Disaster Tourism Event’ (Journal of Visual Culture, 2013); ‘Smith in Palestine (to be read aloud, in its entirety)’ (Visual Communication, 2012); and ‘itourist?’ (John Hansard Gallery, 2007 & Galeria Rusz, 2009).
He is currently based in the Department of Media, Culture & Language at the University of Roehampton.
Helen Bendon works in lens-based and locative media. Helen’s practice is anchored around the position and telling of marginal stories. Collaboration is key to her practice, she worked exclusively from 1996-2002 with artist Jo Lansley producing photographic and film works as Lansley & Bendon, and has subsequently worked in various forms of co-authorship or collaboration with other artists and researchers. She has worked recently with the RAF Museum on the Raising of the Dornier 17, and Alexandra Palace Trust on Time Stands Still, a locative audio app exploring Ally Pally’s use as a prison camp during WWI.
She is Director of Programmes for Cinema and Interactive Arts at Middlesex University and heads the research cluster Unheard Voices Untold Stories.
Martin L. Davies is Emeritus Reader in the School of History at the University of Leicester. He has published widely on what history does, most recently How History Works. The Reconstitution of a Human Science (Routledge 2016). He has also edited Thinking about the Enlightenment. Modernity and its Ramifications (Routledge, 2016).
Jean Debney is an artist, writer and teacher. She is an Ed.D and for her thesis she deconstructed the identities of female engineers in the offshore oil and gas industry of the North Sea. She has since written three books that have primarily focussed on women’s covert place within the history of engineering; The Dangerfields: Munitions and Memories (Brewin, 2011); Breaking the Chains (Brewin, 2010); Jewels Of Our City (Brewin, 2013); and three novels that develop this theme; If Only (Brewin, 2010); Maggie and Molly (Brewin, 2011); Far Away Hills (Clink Street, 2015). Her project as a post structuralist is the deconstruction of the ‘creative fiction’ of history, and the digital intervention of social media into ‘story-creation’ and writing.
Gisele Iecker de Almeida is a doctoral researcher at the Department of History at the University of Ghent (Research Group Meta and Public History), currently on a research stay at King’s Brazil Institute. The working title of her thesis is: “Bridging past and future: the Brazilian state working through its dictatorial past (1995-2014).” Her primary aim is to investigate the possibility of using historical theory to analyse something other than historical writing, in this case, the (re)memorialisation of the Brazilian dictatorship (1964-1985), which includes the publication of official reports, the opening up of archives and the establishment of historical commissions. She works under the supervision of Prof. Dr. Berber Bevernage, and is on the board of directors of the International Network for Theory of History (INTH). Her research is funded by CAPES, the Brazilian Federal Agency for Support and Evaluation of Graduate Education.
Joe Iosbaker is an anti-war activist in Chicago. He is a member of the Committee to Stop FBI Repression, and is a spokesperson for the Rasmea Defense Committee, working against the U.S. government’s persecution of the well-known Palestinian community activist.
Jelena Juresa has been extensively working with the questions of identity, politics of memory and oblivion through the media of photography, video and text. The focus of her work is the relationship between the observer and the observed within the confines of the “image,” and what it does and does not convey. She has participated in solo and group exhibitions internationally, including Künstlerhaus, Halle für Kunst & Medien, Graz; National Taiwan Museum of Fine Arts, Taiwan; Museum of Contemporary Art, Belgrade. As the Jackman Goldwasser resident artist in 2015, in collaboration with the Hyde Park Art Center at Chicago, she is developing a new art project, tackling the questions and relations of public art – capitalism – tourism – copyright, as well as production of male and female histories within this context.
As a PhD researcher at Ghent University, Faculty of Arts and Philosophy, research centre S:PAM and KASK Conservatorium she is focusing on politics of oblivion in relation to three traumatic pasts of the twentieth century, in the European context: the negation of war crimes after the dissolution of Yugoslavia in the Republic of Srpska and Serbia, the construction of a national identity in Austria after the Anschluss and its relation to the silence on the Holocaust, and the construction of a Belgian identity in the aftermath of its colonial past.
Jim Kosem grew up in a family of engineers but somehow ended up in art school, and has been working on everything from snowboard graphics to leading international research projects ever since for the likes of Samsung Design Europe, Microsoft Research, Google, Intel and now the British Government.
What he does is make this whole modern mess that is design, technology and services livable and meaningful. He’s especially good at technology for difficult situations like mass graves, product managing across four time zones, smith grinds, making salad and heavy metal trivia.
Phoenix has been active in the environmental cause for 25 years ever since 1992 when the first Rainbow Eco Community Centres were set up. he has been involved with direct action fighting for change after the Rio Earth Summit and at Twyford Down and the early road protests. He also has experience of two decades of squatted community projects and networking on the front lines of change. From Reclaim the Streets to Reclaim the power, from the Prague IMF/World bank protest to the Paris Climate summit Phoenix has been at the heart of the movement of movements helping to inspire a wave of Change.
Bernard Regan was a member of the National Union of Teachers Executive Committee for 25 years. During that time he has taken an interest in the Union’s international work focussing especially on Palestine and Cuba. He was the first recipient of the NUT’s Steve Sinnott Award for international work in 2015. He has just successfully completed his PhD on Palestine at St Mary’s University.
Amy Roberts is a member of the Interference Archive collective. She became interested in activism and archives when she organized the Occupy Wall Street Archives Working Group in the fall of 2011. She coauthored the essay “Why Archive? And Other Important Questions by Occupiers” in the book Informed Agitation published by Litwin Books in 2014. In her spare time she provides reference assistance in the music division of the New York Public Library.
Kiri Tunks is the Junior Vice President of the National Union of Teachers and a practicing teacher in a secondary school. She has been centrally involved in the making of the films and the development of the teaching materials.