Nora Khan

• Comment: Some of the citations added are a definite improvement but still a ways to go. Keep up the good work and this draft will get there! TheSandDoctor (talk) 05:39, 8 April 2017 (UTC)

• Comment: Currently there's enough significance but what would especially help is all majorly published book reviews. SwisterTwister talk 16:44, 1 April 2017 (UTC)

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Nora Nahid Khan, alternative byline Nora N. Khan, is an American writer working across fiction, short stories, art writing and criticism, and critical thinking about new technology and digital culture.. Khan writes fiction and creative non-fiction about digital visual culture, artificial intelligence, electronic music, and games amongst many other network- and contemporary culture related interests and is a writer for top galleries and artists around the world. She has published in Rhizome, Art in America, The California Sunday Magazine, and The Village Voice, amongst others.

Khan's writing is noteworthy for her creative, often collaborative approach, often blending fiction and non-fiction or incorporating the language and narrative construction of fiction writing into her critical examinations of socio-political and techno-political issues. Pieces like Fault Inventory Control, a collaboration with curator and writer DeForrest Brown, Jnr and artist/designer Lars Holdus for avant.org highlight the way that Khan's multi-faceted approach expands the discipline in which she is working.

Early Life and Education

Born 23 October 1983 in Warwick, Rhode Island, Khan went on to study English Literature at Harvard University, graduating in 2005. She was awarded the Thomas T. Hoopes, Class of 1919, Prize, which recognises top senior theses, as well as the Edgar Eager Memorial Fund Prize. Khan continued her higher education with an M.F.A. in Fiction at the Iowa Writers’ Workshop at the University of Iowa under an Iowa Arts Fellow scholarship from 2006 until she graduated 2008.

Awards and Recognition

Khan’s fiction has been recognised by numerous authorities in the genre. American writer, Katherine Vaz, for example, judged Khan the winner of the Hunger Mountain, Howard Frank Mosher Short Fiction Prize in 2008 for her story The Quarry. The following year, in 2009, she was nominated for the Pushcart Prize and was a finalist in the Best Short Story Award for New Writers Competition in that same year. Her short story Gunn, was judged runner up in the American Literary Review Fiction Contest in 2010.

In 2016, Khan was the winner of a US$20,000 Arts Writing Award in Digital Art for an Emerging Writer, awarded by the Carl & Marilyn Thoma Art Foundation. Later that year, she was announced as one of the new cohort of research residents at the prestigious Eyebeam Studios, a centre for art and technology in New York City. The Eyebeam residency is an internationally coveted program for artists, writers, and researchers engaged with technology and technologists working in the arts. Khan’s research and writing at Eyebeam focuses on the history of computerised poetry, bots, and simulations .

Recent Work

Khan has been a contributing critic at the Solomon R. Guggenheim Museum since September 2015, as well as a contributing editor at Rhizome., a not-for-profit arts organisation that supports and provides a platform for new media art and artists and is based out of The New Museum of Contemporary Art in Manhattan. In October 2016 she teamed up with curator Aria Dean and activist Grace Dunham to develop the Open Score art and technology symposium at the New Museum.

Khan was published in the debut edition of Kill Screen magazine; Kill Screen Issue One: The No Fun Issue in 2010 and again in 2011 in the magazine’s 3rd edition, Kill Screen #3: The Intimacy Issue. Khan’s work has been published in a number of other printed and online forms, including the following titles by the Harvard Business School: Oprah Winfrey (TN), Bono and U2 (TN), and Gary Hirshberg and Stonyfield Farm. She has often contributed to exhibition and artist catalogues, such as the 2016 publication Dawn Mission, edited by Bettina Steinbrügge, about the artwork of Katja Novitskova, published by Mousse Publishing to coincide with an exhibition at the Kunstverein in Hamburg .

Khan is also a frequent panelist and speaker on topics ranging from contemporary art and technology to the politics of AI and pop culture. In November 2016, she joined Christiane Paul (curator) and artist Ian Cheng at the Whitney Museum of American Art in a public discussion about digital art criticism . In February 2017, she was a speaker at the media art festival, Transmediale in Berlin as part of the festival’s 30th anniversary edition. She spoke on a panel called The Alien Middle with German artist, designer, and writer Sascha Pohflepp as well as Dulling Down - The Obsolescence of Intelligence with curator and theorist Inke Arns and Dutch conceptual artist Constant Dullaart. Her speaking appointments in Berlin coincided with the release of the Transmediale exhibition catalogue, Alien Matter, to which Khan contributed an essay. Khan was also a guest speaker at the parallel CTM Festival, where she presented her original research Fear Indexing the X-Files with artist Steven Warwick

Khan is currently working on a series of long-form essays that address the questions of how AI and bots will effect human and artistic creativity.

External links

• Personal site
• Faulty Inventory Control
• Towards a Poetics of Artificial Superintelligence
• DIS Magazine Archive
• Deep Mining; Deep Time, Nora N. Khan on Jussi Parikka
• Companion Text for Yuri Pattison’s Free Traveller at Cell Project Space
• Khan, Nora, Dreams of Neural Networks, in ETC Media, 2017
• Khan, Nora, What's in a Rave, POSTmatter, 2016
• Khan, Nora, I was a shameless self-promoter for a week and no one called me on my fake book, Hopes & Fears, 2015
• Khan, Nora, Casey Reas’s Disconcerting Software Paintings, The Village Voice, October 13, 2016
• ETC Media, Essay by Nora N. Khan in Issue 110
• Printed Matter, Lecture by Nora Khan at the launch of The 3D Additivist Cookbook, by Morehshin Allahyari and Daniel Rourke, 2016.