Dr. Gabriela Aceves Sepúlveda is Assistant Professor at the School of Interactive Arts and Technology at Simon Fraser University where she directs cMAS (the critical media arts studio), an interdisciplinary research and media creation studio. With degrees in design, media arts, and cultural history, her work investigates the histories and practices of art, science, and technology. She is the author of Women Made Visible: Feminist Art and Media in post-1968 Mexico (University of Nebraska Press, 2019) and several peer-reviewed articles, book chapters, and research-creation projects on feminist media art and archival practices in Latin America. Other research interests include the intersections of sound, race and gender; the environmental entanglements of digital technologies, its histories and infrastructures; and the histories and theories of embodiment and performance. Her video and sculptural installations that explore the body as a site of cultural, gender and bio-political inscriptions have been exhibited in Canada, Mexico, France, India, Chile and the U.S. She is a member of the art/mamas collective based in Vancouver, BC and has served as a board member of various artist-run-centres in Canada. Currently, she is working on a book manuscript on the history of electronic and avant-garde music entitled Weaving the Electric Wave: Latin American Women Composers, 1888 -1980, and co-editing a volume on the development of immersive technologies in the global south. To learn more about her work visit: http://criticalmediartstudio.com/ ">http://criticalmediartstudio.com/ ">Dr. Gabriela Aceves Sepúlveda is Assistant Professor at the School of Interactive Arts and Technology at Simon Fraser University where she directs cMAS (the critical media arts studio), an interdisciplinary research and media creation studio. With degrees in design, media arts, and cultural history, her work investigates the histories and practices of art, science, and technology. She is the author of Women Made Visible: Feminist Art and Media in post-1968 Mexico (University of Nebraska Press, 2019) and several peer-reviewed articles, book chapters, and research-creation projects on feminist media art and archival practices in Latin America. Other research interests include the intersections of sound, race and gender; the environmental entanglements of digital technologies, its histories and infrastructures; and the histories and theories of embodiment and performance. Her video and sculptural installations that explore the body as a site of cultural, gender and bio-political inscriptions have been exhibited in Canada, Mexico, France, India, Chile and the U.S. She is a member of the art/mamas collective based in Vancouver, BC and has served as a board member of various artist-run-centres in Canada. Currently, she is working on a book manuscript on the history of electronic and avant-garde music entitled Weaving the Electric Wave: Latin American Women Composers, 1888 -1980, and co-editing a volume on the development of immersive technologies in the global south. To learn more about her work visit: http://criticalmediartstudio.com/