Diego Gómez-Venegas is a media researcher and media artist based in Germany. With an ongoing focus on the history of cybernetics and its epistemology, Diego studies the techno-epistemological and techno-political relevance of such a period.

Currently, Diego is nearing the end of his doctoral research on Chile’s Project Cybersyn, which he has developed at the Institute of Musicology and Media Sciences of Humboldt-Universität zu Berlin (HU). Under the supervision of Wolfgang Ernst (HU) and Hans-Christian von Herrmann (TU), Diego unravels the more-than-historical threads underlying Project Cybersyn, with the aim of describing and problematizing the technological formation of knowledge and the technological reorganization of power flows that this case may have made possible. To this end, Diego deploys a media-archaeo-genealogical study of Project Cybersyn.

His most recent writings on this subject are “Encoding from/to the Real: On Cybersyn’s Symbolic Politics of Transmission,” in Frictions: Inquiries into Cybernetic Thinking and Its Attempts towards Mate[real]ization (meson, 2023), “Towards the Operative Objects of Post-Capitalism,” with Zerené and Cotoras, in APRJA (Aarhus, 2021), “Forgetting / Cybernetics” in Chronus Art Center Editorial (Shanghai, 2020), and “Cybersyn and the symbolic memory of paper” in Artnodes (Barcelona, 2019).

Diego’s doctoral research has been supported by a scholarship of Chile’s National Agency of Research and Development (ANID, formerly CONICYT).

Previously, until February 2018, Diego was an assistant professor at the University of Chile, in Santiago. There, he taught in the undergraduate design program of the Faculty of Architecture and Urbanism, as well as in the master program in media arts of the Faculty of the Arts. Through these appointments, he was the supervisor of more than 20 thesis projects. During this period, Diego also developed art-research projects at the intersection of media arts and experimental design; all, 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).

Diego was also the responsible editor for 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, he is the translator of Mieke Bal’s “El compromiso con el mirar” for Canal 2-3 (Santiago, 2019), and the author of the articles “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).

Diego holds a Master of Fine Arts in Design Media Arts from UCLA, which he achieved thanks to the support of scholarships from the Fulbright Commission and Chile’s National Commission of Scientific and Technological Research (CONICYT).

email: diego[at]gomezvenegas[dot]com
orcid: https://orcid.org/0000-0001-5640-204X
mastodon: [at]digomezvenegas[at]mastodon[dot]social
bluesky: [at]digomezvenegas[dot]bsky[dot]social