Kraft’s research-driven practice involves thought objects, AI models, data monuments, films, essays, hardware contraptions, web-based executions, virtu-real embodiments, investigative enquiries, hacktivist interventions, speculative proposals, hyper-poetry and more. It is rooted in the recognition that modernity is shaped by industrial conditions which are increasingly capable of radically changing how we understand, define and organise life. The accelerating ubiquitous computational order; the emergence of synthetic cognitive infrastructures; the surging data, mineral and energy extractive regimes; recursive predictions; the simulated organisation of markets and infoscapes; accelerating logistics; rapidly scaling infrastructures; the emergence of new inhabitants in the form of proliferating non-human agencies; bioengineering advancements; crises of governance; unceasing frictions; the normalisation of the deployment of violence; and dysfunctional socioeconomics are all symptoms of tectonic shifts. This turbulence signals a transition to a new industrial, historical and geological era, as seen by contemporary thinkers. While some view these developments as fundamentally anti-life, others see them as the natural and inevitable intensification of life's own dynamism. These shifts prompt many questions, including: What do we define as human, and what is its role in this context? How does this context enable coexistence, and how does it produce autonomy? Does human-centrism constrain imaginaries and trajectories that extend beyond it? Can 'human values' be endorsed or resisted productively? What are the limits of our agency in these projects? Which projected scenarios do we consider plausible or realistic? How can research and practice, which are largely embedded in cultural and humanities domains, study and address these questions, and articulate emerging and undefined notions that demand new vocabulary and entirely new sociotechnical imaginaries?

At the core of Kraft’s practice lies deep curiosity in discourse, dynamic topics, and certain loosely specified emerging phenomena that have not yet made it to our vocabulary and require lexical innovation. In no particular order, this incomplete list includes: synthetic cognitive models; natural-artificial ecologies; emerging ubiquitous computational orders; frictions between existing and emerging orders; radical economies, cosmotechnics, and technological pluralisms; industrial revolutions, latent spaces, ambient security protocols, new memory architectures, algorithmic diffusions; new epistemic challenges; positive, negative, and existential feedback loops; recursive simulations; domain ontologies; speculative narratives; ontologistics, big-time proposals; deep timescales; media geologies; recursive ecosystems; automated ruralisms; post-Westphalian sovereignties, self-sovereign softwares, ultra-wideband connectivities, information superhighways, cyber-extractivisms; algorithmic echo chambers; post-scarcities; engineered cognitions; quantitative regimes; ultrasonic interventions; networked incentives; tactical trickery, open sources, closed circuits, Westphailures, techno-cultural pluralisms, non-human agencies, tactical hacktivisms, metafictions, reverse archaeologies, synthetic histories, cognitectures, softvereignties, algocracies, epistemachineries, engineered cognoscapes, thinkware, knowlegistics, computecologies, mediarrhea disorders, engineered truths, networked sovereignties, AI-gencies... and many other cognitive perspectives that reconstitute the aspect of how we define contemporary industrial, historical, and geological epoch.

2022-2023
Geidai University of the Arts, Visting Researcher at Intermedia Arts department | Tokyo, JPN

2017
Strelka Institute: The New Normal, PgD Postgraduate research programme, dir. Benjamin H. Bratton | Moscow, RUS

2014-2015
Central Saint Martins College, UAL, BA (Hons) Fine Arts, track 4D | London, GBR  

2011-2016
Academy of Fine Arts, MFA Mag. in Arts & Digital Media | Vienna, AUT

2009-2011
The Rodchenko Art School, BFA, Media Art, Class prof. Alexei Shulgin | Moscow, RUS

2007-2008
The Gerlesborg School of Fine Art, Foundation studies | Bohuslän, SWE 

1998-2004
Art School №1, Prelimiary Artistic Studies | St. Petersburg, RUS

2023
AETeCHO, Milan, Zaragoza | ITA, ESP
Escape Fake 2.0 co-funded by the European Union and the European Media and Information Fund | AUT, HUN

2021
BMKÖS Perspektiven. Innovation. Kunst | AUT

2019
Garage, Art & Technology Programme | RUS

2019
STARTS Residencies | EU, GBR

2017
OeAD, International Exchange | AUT

2015
OeAD, International Exchange | AUT

2026
Playshop Prompt. Intertopian Imaginaries | China Academy of Arts, Hangzhou, CHN
Knowlegistics / Cognitectures | Duke Kunshan University, Kunshan, Jiangysu, CHN

2025
Cognitectures & Datatopias | School of Creative Arts, Beijing Institute of Financial Technology, Beijing, CHN

2024
Keynote at the Field of Art & Design for Spatial Experience Department | Joshibi University, Tokyo, JPN
Playshop | China Academy of Arts, Hangzhou, CHN The Epoch of Transformative Technologies | Hangzhou, CHN

2023
University of Art & Design Linz | Kunstuniversität Linz, AUT Department: Institut für Medien & Visuelle Kommunikation Course leader: Art and image production in the context of Al

2022
NECS Lecture Series 'Content Aware and Other Case Studies' | European Network for Cinema and Media Studies

2020
Winchester School of Arts | Talking Heads Lecture Series, GBR
Winchester School of Art | Guest seminar on AI and speculative narratives with AMT Research group prof Jussi Parikka & Ryan Bishop, GBR
ITMO University | St. Petersburg, RUS Art & Science MA programme. Course tutor: The Work of Art in the Age of Algorithmic Reproduction