Curriculum Vitae

Updated December 9, 2016

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Profile | Academic Positions | Formal Education | Selected Projects & Exhibitions | Selected Refereed Publications, Presentations & Workshops | Selected Awards, Fellowships & Residencies | Selected Invited Talks | Selected Teaching & Course Development | Selected Activities & Service | Selected Professional Employment | Technical Expertise


Current Positions:
Assistant Professor, Department of Art, Kansas State University
Researcher/Theorist/President, DPrime Research

For the past few years I have been investigating cybernetics and systems theory, phenomenology and artificial intelligence in various mediums and contexts. Exploring an artist-as-researcher approach which combines new technologies, inquiry into emerging or abandoned lines of research and traditional scholarly writing. Researching if and how interactive/new media arts can amplify a sense of what I characterize as reciprocal coupling and co-evolution with an increasingly technologized environment.
Most recently, I have begun to forge a new direction in my work centered on ecology, new media technology and community engagement. Currently pursuing an arts and technology initiative that aims to address the ecological and environmental health concerns of local communities via novel and creative uses of environmental sensing and renewable energy technologies. I have also been investigating eco-art practices and eco-philosophy or “ecosophy”. Increasingly interested in issues related to art-science collaboration and with bringing the often abstract and esoteric ideas of science and technology “down to earth”.


Assistant Professor, Kansas State University, Department of Art, Digital/Experimental Media
Visiting Faculty, San Francisco State University, Department of Art, Conceptual/Information Arts
Teaching & Research Assistant, Simon Fraser University University, School of Interactive Arts & Technology


Ph.D., School of Interactive Arts & Technology, Simon Fraser University, Vancouver, BC, Canada. Dissertation: Symbiogenic Experience and the Emergent Arts: Cybernetics, Art and Existential Phenomenology
MFA, Digital Media Art, CADRE Laboratory for New Media, San Jose State University, San Jose, CA
Media Arts & Technology Program, University of California Santa Barbara, Santa Barbara, CA
BA, Art, Conceptual/Information Arts Program, San Francisco State University, San Francisco, CA
Music/Sound Engineering Program, Music Department, Miami-Dade College, Miami, FL


Office of Environmental Experiments. A participatory arts and technology initiative that aims to address the ecological and environmental health concerns of urban citizens, particularly those in marginalized communities, via novel and creative uses of ecological research, environmental monitoring, and renewable energy technologies. We seek to foster awareness and greater community agency and autonomy over issues of energy production, ecological stewardship and environmental health and resilience.

Exhibitions & Workshops: 2016/05-07 – K11 Art Space, as part of the International Symposium of Electronic Art (ISEA 2016), Hong Kong
2016/03-05 – K11 Art Village, Wuhan, China
Mobile Bioenergy Lab. A creative research laboratory for innovative experimentation with emerging bioenergy technologies. The MBL consists of a mobile, community research laboratory that invites citizens to explore the creative uses of bioenergy technologies. We also perform art actions in urban space to engage citizens in conversations surrounding these technologies.

Exhibitions & Workshops:
2015/08 – International Symposium of Electronic Art (ISEA 2015), Vancouver, BC, Canada
2014/10 – The Lab, San Francisco, CA (as part of the Life/Art/Science/Technology Festival)
Lake Merced CoLab. A collaborative “rediscovery” of Lake Merced, a natural, fresh water lake within San Francisco. This collaboration involved the combined skills, interests and knowledge of two art and technology courses at San Francisco State University: Artists as Cartographers (led by Paula Levine) and Electronics & Physical Computing (led by Carlos Castellanos).

2014/05 – Exploratorium, San Francisco, CA
Biopoiesis. A series of experiments exploring the relationships between structure, matter, and self- organization, with a goal toward the development of autonomous computation and control systems in what can be called a "primordial computational soup". The system harnesses electrochemical reactions that grows into dendritic metallic threads – ultimately leading to the formation of a continuously shifting signal network (not unlike a neuronal cell assembly). These dendrites are fluid and unstable: they bifurcate and dissipate in unpredictable ways, leading to resistance changes that modify the flow of information through the network.

2013/01 – Scarfone/Hartley Gallery, Tampa, FL
2012/09 – 12 – Museum of Natural History and Science, Albuquerque, NM
2012/09 – ISEA 2012, Albuquerque, NM
2012/08 – SIGGRAPH 2012, Los Angeles, CA
2012/06 – Gallery Gachet, Vancouver, BC
2011/07 – Gallery Gachet, Vancouver, BC
Proof-of-Process. A prototype for a community research laboratory. It consists of a series of a hybrid exhibitions, workshops and symposia where participants, along with artists-researchers, can interact with, and contribute to, the development of science and technology-based artworks and research projects in various stages of development – all within a publicly accessible laboratory and production workshop set-up in the gallery space.

2012/06 – Gallery Gachet, Vancouver, BC
Protocol. Interactive installation that features a set of intelligent acoustic drums that can “bite back” whenever they are struck. The multi-modal interface allows these intelligent drums to sense and communicate with a participant via sound, rhythmic patterns and electrical stimulation of the participant’s skin.

2012/06 – Gallery Gachet, Vancouver, BC
Naos. A research group dedicated to the investigation of automated biometric classification, and the exploration of biometric architecture. The project features a testing system, which includes a “biometric capsule” that measures participants’ physiological responses to image stimuli and categorizes them based on these responses.

2009/03 – Root Division Gallery, San Francisco
2008/08 – Montalvo Arts Center, Saratoga California as part of their Artist-in-Residence program
Biomorphic Aggregator. A bio-responsive network data collection and visualization system presented as an art installation. The system responds to the participant’s mood and affective responses to various media collected from the web. It manipulates and triggers media via the body’s physiology, rendering a visual and sonic interpretation of this media, as influenced by the participant’s physical states.

2007/08 – Institute for Contemporary Art, San Jose, California
Fleshserver. A series of experiments in which a miniature computer with an embedded web server is interfaced with several frog body parts. The server triggers physical activity in the frog’s body based on input from networked users via a web interface. The action can be seen both in the gallery and online, via a live streaming web camera.

2006/10 – A live installation/event was exhibited at the San Jose State University Black Gallery.
BodyDaemon. An Internet server that is powered and configured by a participant’s physiological states. The project also features a protocol for exchanging bio/server data across the Internet.

2006/08 – ZeroOne/ISEA 2006 Festival and Symposium of Electronic Art in San Jose, California
2006/05 – San Jose State University Black Gallery
Unique Impressions. A Carnivore client, a network visualization and sonification software program that measures the amount communication activity between computers on the local network, and between computers on the local network and the Internet. More specifically, the piece measures the amount of activity in each “unique impression” on a network.

2005/12 – San Jose State University White Gallery
2005/05 – College of Creative Studies Media Art Show, UC Santa Barbara
Particle Evolver. An interactive software application which uses genetic algorithms (GA) to evolve a 3-D particle system. Just as in biological evolution, methods such crossover, mutation and natural selection are used to evolve the system. Properties of the particle system such as speed, color and number of particles are used as genetic material. The user is the selective agent, working as what’s know in GA parlance as the fitness function.

02/2012 – San Francisco State University Fine Art Gallery (part of SmARTspace exhibition), San Francisco
Connected Memories. An interactive piece exploring themes of time and memory. This utilized common everyday objects such as keys or old photographs. These objects, along with their associated memories, connotations and denotations were all stored in a database which was accessed via a 3-dimensional interface. This interface served to demonstrate their relationships and interconnectedness.

2004/04 – San Francisco State University Fine Art Gallery, San Francisco
Presence. Exploring ideas of time and place, this piece features a looping digital video of an indoor space. Whenever a participant walks close enough to the projected video, another video (of an outdoor space) is displayed in its place, but only in the area where the person is standing.

2003/12 – New Media Night, Works Gallery, San Jose, California
I Remember. Film/video piece exploring memory. Is a memory perceived in the same linear fashion in which it occurred? Is memory just a reconstructed version of the original? How are memories connected?

2002/12 – Video Synchrony, StudioZ, San Francisco
Memoria Technica. Digital information is experienced as abstract, arbitrary and ultimately ephemeral. Furthermore, according to Jean Baudrillard there is also an inverse relationship between information and meaning. This piece explores these ideas by using sample-rate conversion, compression and other digital means of adding and removing information. A single still image was used.

2002/11 – Stillwell Art Show, San Francisco State University, San Francisco


Castellanos, C. (2016). Biopoiesis: Electrochemical Media. Leonardo (forthcoming).

Castellanos, C. & Barnes, S. (2016). Biopoiesis: Cybernetics, Art and Ambiguity. Leonardo Electronic Almanac (forthcoming).

Castellanos, C. (2016). Co-evolution, Neocybernetic Emergence and Phenomenologies of Ambiguity: Towards a Framework for Understanding Interactive Arts Experiences. Technoetic Arts 14 (3), 159-168.

Castellanos, C. (2015). Co-evolution, Neocybernetic Emergence and Phenomenologies of Ambiguity: Towards a Framework for Understanding Interactive Arts Experiences. In Consciousness Reframed 2015, Shanghai.

Castellanos, C. (2015). Mobile Bioenergy Lab: Exploring Ecology, Technology and Community in Urban Space. In AICAD Symposium, Association of Independent Colleges of Art and Design, San Francisco, CA.

Castellanos, C., Fox, T., Duff, T. & Garcia, M. (2015). Human/Non-Human: Biologies, Ecologies and Subjectivities in New Media Art. In ISEA2015, International Symposium on Electronic Art, Vancouver, BC Canada.

Castellanos, C., Barnes, S. & Fox, T. (2015). Constructing Microbial Fuel Cells. In ISEA2015, International Symposium on Electronic Art, Vancouver, BC Canada.

Castellanos, C. (2015). Artistic Explorations of Ecology, Technology and Community in Bayview-Hunters Point, San Francisco. In Open Engagement 2015, Pittsburgh, PA.

Castellanos, C. & Garcia, M. (2015). Towards Ecological Equality: Collaborative Practice in Art and Technology. In Balance-Unbalance 2015, Tempe, AZ.

Garcia, M., Castellanos, C. & Bojorquez, A. (2015). Reimagining Resilience: Walking Indigenous Waterways. In Balance-Unbalance 2015, Tempe, AZ.

Castellanos, C. (2013). Cybernetics and its Relevance to Contemporary Art. In L. Hunter & R. Lyon (Eds.), Where 1 (pp. 42-47), New York: CreateSpace.
Barnes, S. & Castellanos, C. (2012). (Re)Structuring Innovation: Community-Based Wet Labs for Art-Science Collaborations (White Paper). Network for Sciences, Engineering, Arts and Design (SEAD). Retrieved from, December 22, 2014.

Castellanos, C. (2012). Ambiguity and Unknowability in the Emergent Arts. Presented at the Society of Literature, Science and the Arts Conference, Milwaukee, Wisconsin. Retrieved from, December 22, 2014.

Castellanos, C. & Barnes, S. (2012). Biopoiesis. Leonardo 45(1), 382-383.

Castellanos, C. & Barnes, S. (2012). Biopoiesis. Presented at Subtle Technologies, Toronto. Retrieved from, December 22, 2014.
Castellanos, C., Gromala, D. & Pasquier, P. (2010). Heterogenesis: Collectively Emergent Autonomy. In Workshop on Interactive Multimedia Installations and Digital Art, ICME 2010 (pp. 1606-1611), Singapore.

Castellanos, C., & Gromala, D. (2010). The Symbiogenic Experience: Towards a Framework for Understanding Human-Machine Coupling in the Interactive Arts. In Technoetic Arts 8(1), 11-18.
Castellanos, C., & Gromala, D. (2009). Symbiogenic Experiences in the Interactive Arts. In Proceedings of the Digital Arts and Culture Conference (p. 7), Irvine, CA: UC Irvine. Retrieved from, December 23, 2014.

Castellanos, C., & Gromala, D. (2009). The Symbiogenic Experience: Towards a Framework for Understanding Human-Machine Coupling in the Interactive Arts. In Consciousness Reframed 2009. Presented at the Consciousness Reframed Conference, Munich (p. 7). Retrieved from, December 23, 2014.

Castellanos, C., & Gromala, D. (2009). The Symbiogenic Art Experience: A Phenomenological and Aesthetic Approach to the Question of Human-Machine Co-evolution. Presented at the Society of Literature, Science and the Arts Conference, Atlanta. Retrieved from, December 23, 2014.

Castellanos, C. & Schiphorst, T. (2009). BodyDaemon. In Proceedings of the Seventh ACM conference on Creativity and Cognition, Berkeley, CA. (pp. 423-424), New York, NY: ACM.
Castellanos, C., Pasquier, P., Thie, L., & Che, K. (2008). Biometric Tendency Recognition and Classification System: An Artistic Approach. In Proceedings of the 3rd international conference on Digital Interactive Media in Entertainment and Arts (pp. 166-173), Athens, Greece: ACM.
Castellanos, C. (2007). Biomorphic Aggregator. Masters Thesis, San Jose State University.

Castellanos, C. (2007). Castellanos, Carlos (2007). BodyDaemon. Presented at Subtle Technologies, Toronto. Retrieved from, January 13, 2015.
Castellanos, C. (2006). Towards New Bodies and New Biologies: Life as Code, Body as Protocol. In International Digital Media & Arts Association (Vol. 21, p. 8). Oxford, OH. Retrieved from, December 23, 2014.


K11 Art Foundation/ISEA2016, International Symposium on Electronic Art, FUSE Residency, Wuhan & Hong Kong, China
Kansas State University, Global Campus Program Development Grant
Kansas State University, International Incentive Grant
Kansas State University, Academic Excellence Award
Selected one of the top-ranked dissertations for 2015 by Leonardo Journal
Kansas State University, Big 12 Fellowship
Kansas State University, Faculty Enhancement Grant
Simon Fraser University, Graduate Student Society Caucus Grant
Simon Fraser University, School of Interactive Arts & Technology, Graduate Fellowship
Simon Fraser University, President’s Research Fellowship.
School of Interactive Arts, Simon Fraser University Graduate Fellowship.
School of Interactive Arts, Simon Fraser University Graduate Fellowship.
School of Interactive Arts, Simon Fraser University Graduate Fellowship.
Ebco/Eppich Graduate Scholarship in Intelligent Systems.
School of Interactive Arts, Simon Fraser University Graduate Fellowship.
School of Interactive Arts, Simon Fraser University Graduate Fellowship.
California State University Sally Casanova Pre-doctoral Scholar.
San Jose State University Graduate Equity Fellowship.
Violet Speddy Memorial Scholarship, SJSU Art Department.
Fengqui Award, SJSU Art Department.
Nation Science Foundation IGERT Fellowship in Interactive Digital Multimedia.


Castellanos, C. (2016). Artist Talk presented at Central China Normal University, Wuhan, Hubei, China.
Castellanos, C. (2014). Office of Environmental Experiments. Artist Talk presented at the Creative Time Summit, satellite streaming site, Kansas State University.
Castellanos, C., & Barnes, S. (2013). Biopoiesis. Artist Talk presented at the Electronics Alive VII, Scarfone/Hartley Gallery, University of Tampa. Retrieved from, December 22, 2014.
Castellanos, C. & Barnes, S. (2012). The Message is in the Medium. Panel Discussion presented at the SIGGRAPH 2012 Art Gallery, Los Angeles. Retrieved from, December 22, 2014.


Web & Internet Art (ART 575), Undergraduate
This course explores the Internet, World Wide Web and related telecommunications technologies as a medium, subject and a context for art. Concepts and hands-on techniques for creating artworks that use and engage with these technologies are explored. The course asks students to develop critical, analytical and practical skills.
Explorations in Techno-ecological Media (ART 415, ART 899), Undergraduate/Graduate
This experimental course explores themes of ecology, environmental sustainability, and the relationship between technology and living systems. A combination of studio/research assistant, independent study and group project work, students gain invaluable firsthand skills and insights of professional art and technology practice (e.g. via production of artwork, preparation of materials, library research, etc) but also have the opportunity to contribute ideas and suggest new projects. Activities include project-building sessions, lectures, discussions and brainstorming sessions mixed with workshop-style explorations of materials, technologies and conceptual strategies. Instructors lead these activities but students are expected to form their own creative research agendas. Possible futures of these explorations include (but are not limited to): petitioning for a more structured special topics course, launching a series of seminars or workshops, or the establishment of a “techno-ecologies” working group to continue the projects begun in the course.
Systems Art & Interactivity (ART 608, ART 511), Undergraduate/Graduate
This course explores cybernetic and systems-based approaches to art-making and contextualization of information systems as art. Discussions on concepts such as feedback, complexity and emergence are introduced and their meaning and relevancy within an arts context explored, both via readings and discussions as well as practical systems art projects. The final project consists of a cybernetic art system that explores the themes and concepts of the course and possibly utilizes an alternative substrate for a cybernetic control system (e.g. crystals, slime mold, etc). A combination seminar/studio course.

Sensors & Electronics in the Arts (ART 623, ART 511), Undergraduate
This course introduces students to techniques and aesthetics of creating experimental art/media events and installations based on technologies of electronics, sensors and human-machine interaction. Fundamental aspects of electronics, sensors and microcontroller programming are taught so students can build interactive installations and novel physical interfaces to computer-based systems. Conceptual and technical strategies are introduced for interfacing computers to the physical world.

Digital Techniques & Conceptual Strategies in the Arts (ART 330, ART 410), Undergraduate
This course is a general introduction to new practices in digital/experimental media and an exploration of strategies for generating ideas and producing new work. Experimental processes and strategies for creating conceptually driven work are interspersed with readings and discussions on cultural theory and conceptual art movements, research and presentations on contemporary artists working in the field. The course draws from numerous references such as Dada, Fluxus, Conceptual Art, Process Art and Systems Art. In addition to learning the basics of established digital media software tools, students are given context for their work in this field. The final project consists of a formal proposal intended for an art funding body or grant agency.


Kansas State University, RSCAD Task Force
Co-organizer, art-science workshop/symposium, Konza Prairie
Peer Reviewer, ACM Multimedia Conference
Peer Reviewer Leonardo Journal.
Founder/Chair, Leonardo Art-Science Evening Rendezvous (LASER), Lecture series on art, science and technology, Kansas State University chapter.
Prairie Studies Initiative, Kansas State University, Steering Committee Member
Peer Reviewer, SIGGRAPH Conference, Art Gallery
Peer Reviewer, International Conference on New Interfaces for Musical Expression
President and co-founder of DPrime Research, an art/science research group.
Peer Reviewer, ACM Multimedia Conference


Carnegie Foundation for the Advancement of Teaching, Palo Alto, CA
Web developer/Research Assistant
Independent Contractor, San Francisco Bay Area, CA
Freelance interactive media developer in the greater San Francisco Bay Area.
Center for the Enhancement of Teaching, San Francisco State University
Interactive Media Developer
Foote, Cone and Belding Advertising, San Francisco, CA
Lead Interactive Media Developer
Independent Contractor, Miami, FL
Freelance sound engineer and interactive media developer in the greater Miami Area


Image Design Software
Adobe Photoshop, Illustrator, InDesign
Web Software and Programming Languages
Adobe Dreamweaver, HTML, CSS, Javascript, PHP, MySQL, WordPress
Programming Languages and Interactive Media Environments
Java, Processing, Max/MSP/Jitter, Python, C/C++, Director/Lingo, Flash/Actionscript
Electronics & Physical Computing
Arduino, PIC, Basic Stamp microcontrollers, sensors, electronic circuit design, networking and telecommunications hardware, biofeedback equipment and body sensing
Audio Skills and Software
ProTools, Digital Performer, Logic Pro, Ableton Live, Reason, Reaktor, MIDI, professional sound recording, mixing, editing, audio post-production, field recording, sound synthesis, music performance and composition, compression for web
Video Skills and Software
Final Cut Pro, Adobe Premiere, After Affects, video editing and compositing, compression for web
MacOS-based systems, hardware configuration, optimization and troubleshooting, computer networking, UNIX shells, server administration