Benjamin Grosser creates interactive experiences, machines, and systems that explore the cultural, social, and political implications of software. His works have been exhibited at Eyebeam in New York, The White Building in London, the Media Art Biennale in Wroclaw, the Digital Arts Festival in Athens, FILE in São Paulo, the Telecom Italia Future Center in Venice, and Museum Ludwig in Cologne. Grosser’s artworks have been featured in Wired, The Atlantic, The Guardian, the Los Angeles Times, Creative Applications Network, Neural, Rhizome, Hyperallergic, Al Jazeera, Corriere della Sera, El País, and Der Spiegel. The Huffington Post said of his Interactive Robotic Painting Machine that “Grosser may have unknowingly birthed the apocalypse”. The Chicago Tribune called him the “unrivaled king of ominous gibberish”. Slate referred to his work as “creative civil disobedience in the digital age”. His recognitions include First Prize in VIDA 16, an international award recognizing works investigating art and artificial life, a Net Art Grant and Commission from Rhizome, and the Expanded Media Award for Network Culture from the Stuttgarter Filmwinter. Grosser is an Assistant Professor of New Media in the School of Art + Design and a Faculty Affiliate in Critical Technology Studies at the National Center for Supercomputing Applications, both at the University of Illinois at Urbana-Champaign, USA.