Natasha Lushetich is an interdisciplinary theorist-practitioner. At UWE Bristol, she is Professor of Digital Media, Art & Theory, and Principal Investigator on the 2023–2027 AHRC-funded project ENERGY: A Philosophy of Practice. Her research relies on theoretical methods (e.g. diffractive reading; media archaeology), and practice-based methods (e.g. artography; deep mapping). It focuses on critical mediality, global art and artistic epistemology, the status of sensory experience in cultural knowledge, and structure and infrastructure. Her last research project, 2020–2022, also funded by the AHRC, is: The Future of Indeterminacy: Datafication, Memory, Bio-Politics.

Natasha is the founder-member of subRosa and the recipient of numerous fellowships and residencies such as Fulbright (NYU, NYC); Steim (Amsterdam); Noorderzon (Groningen); and ArtsLink (Cleveland & NYC). Her artistic work has been shown in a range of conventional venues – museums, film and performance festivals, in Europe, Asia, and the US – in less conventional venues – banks and the street – and supported by the Art Council of England; The Mondrian Foundation; The VSB Foundation; The Amsterdam Fund for the Arts; and The Dutch Fund for the Performing Arts, among others.

Natasha is the author and editor of many books, among which Fluxus: The Practice of Non-Duality (2014); Interdisciplinary Performance (2016); The Aesthetics of Necropolitics (2018); Big Data – A New Medium? (Routledge 2020); Distributed Perception (co-edited with I. Campbell; 2021); and Contingency and Plasticity in Everyday Technologies (co-edited with I. Campbell and D. Smith; 2022). Her current book project Imaginatelligence: Desire and Disaffection in Posthuman Futures is forthcoming with University Minnesota Press in late 2026.

Natasha’s recent writing has also appeared in AI & Society; Artnodes; Contemporary Aesthetics; Environment, Space, Place; Leonardo; Media Theory; On Curating; Parallax; Performance Research; Rhizomes; The Philosophical Salon; TDR; and The Journal of Somaesthetics as well as in a number of edited collections.