I’m Diego Gómez-Venegas, a media researcher and media artist based in Berlin. My work investigates the processes of knowledge formation, the reconfiguration of power flows, and the constitution of collective ensembles that media technologies activate and set in motion. My research is grounded in media archaeology, genealogy, and the history and philosophy of technology, with sustained attention to cybernetics, its theoretical legacies, and its implications for artificial intelligence. I approach these questions both through archival and theoretical inquiry and through art-research practice.
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I’m currently developing an independent practice with a focus on three projects or areas: (1) with my friend Zach Furste, I’m working on a permacomputing and digital commons network called compost.cc – more info here; (2) with my wife, Barbara Bielitz, I’m working on an art and culture initiative called A Room for Intermedia Practices – more info coming soon; and (3), I work as a free author in media cultures and theory – among other things, transforming my dissertation into a book.
I’m also the editor of the volume Frictions: Inquiries into Cybernetic Thinking and Its Attempts towards Mate[real]ization, published by meson press in 2023 – the digital, Open Access version of which can be downloaded here. This publication was possible thanks to the financial support of Humboldt University’s Open Access Program.
Other writings I have authored include “Mónica Bate and the lifeless murmurs – a mestizo exegesis” in CAIANA (Buenos Aires, 2026), “Techno-Diagrammatics: An Experimental Inquiry into Cybernetic Modes of Organisation?” in Proceedings of the POM 2024 Conference (Swindon, 2025), Forecasting the Present (Berlin, 2024), “Forgetting / Cybernetics” in History of Media Studies (Pennsylvania, 2024), “Encoding from/to the Real: On Cybersyn’s Symbolic Politics of Transmission,” in Frictions (Lüneburg, 2023), “Towards the Operative Objects of Post-Capitalism,” with Zerené and Cotoras, in APRJA (Aarhus, 2021), and “Cybersyn and the symbolic memory of paper” in Artnodes (Barcelona, 2019).
During the pandemic, I was a lecturer for the Master of Arts (MA) program in Media Science at the Humboldt University of Berlin. There, I taught a seminar called Cybernetics of Exchange: An Archaeology on Tele[economy]cations Beyond the Center. Using Chile’s Project Cybersyn as a case study, the seminar conducted a media-genealogical analysis of cybernetics, arguing that its epistemic scope gives way to a techno-economy of the processes of subjectivation which, depending on how this techno-economy is handled, can be either oppressive or emancipating, at least in theory.
Also relevant, in late 2019 and early 2020 – just before the pandemic – I conceived and organized a lecture series called Applied Cybernetics, which, sponsored by the Humboldt University and the Technical University of Berlin, took place in Berlin both at the Media Theater of the Humboldt University and at the Einstein Center Digital Future.
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Previously, until February 2018, I was an assistant professor at the University of Chile, in Santiago. There, I taught in the undergraduate design program of the Faculty of Architecture and Urbanism, as well as in the master’s program in media arts of the Faculty of the Arts. Through these appointments, I supervised more than 20 thesis projects. During this period, I also developed art-research projects at the intersection of media arts and experimental design; all this, as a mode of inquiry into media cultures and the techno-logical apparatuses that sustain them. Examples of this are Searching for Euclid (Santiago, 2016), Informe (Santiago, 2016), Algorithmic Mediations for Agonism (Santiago, 2016), and Remoteness of Light (Reykjavík, 2015).
I was also the responsible editor of the inaugural issue of the journal Canal: cuadernos de estudios visuales y mediales (Santiago, 2017); co-editor of the book Aciclopedia: Compendium on Form Beyond Canon (Santiago, 2017); and co-author and co-editor of the book Mediaciones Algorítmicas para el Agonismo (Santiago, 2016). Similarly, I am the translator of Mieke Bal’s “El compromiso con el mirar” for Canal 2-3 (Santiago, 2019), and the author of “Experimental Design as Archaeological Practice” in Diseña (Santiago, 2018); “La máquina abierta – una máquina odisea” in Qual Quelle (Santiago, 2018); and co-author of “Nature Ex-Novo” in Kepes (Manizales, 2017).
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I hold a PhD (Dr. phil.) in Media Studies (Medienwissenschaft) from Humboldt University of Berlin, an MFA in Media Arts from UCLA, and a Bachelor in Design from the University of Chile.
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Contact Info
email: diego[at]gomezvenegas[dot]com
signal: @digomezvenegas.99
telegram: @digomezvenegas
My Networks
orcid: 0000-0001-5640-204X
bluesky: @digomezvenegas.bsky.social
mastodon: @digomezvenegas.mastodon.social
pixelfed: @digomezvenegas.pixelfed.social
linkedin: diego-gomez-venegas