Bioart Coven is an intersectional feminist collective of 75 international artists, makers, and activists, including cisgender, queer and nonbinary contemporary witches, witchcraft enthusiasts and occult-curious; we are technophiles, hackers, scientists, and healthcare workers as well as academic re-searchers and non/post-academic critical thinkers—all of whom have gathered around a powerful, niche set of sociopolitical interests. These interests are encapsulated as a promiscuous interchange between witchcraft and TechnoFeminism, which I call TechnoFemininst Witchcraft. The Bioart Coven name gives an appreciative nod to, and adapts of the title of the book, Bioart Kitchen; Art, Feminism and Technoscience by Lindsay Kelley. In Bioart Kitchen, Kelley investigates the history of domestic labour and its role in sci-tech development, revisited through a feminist lens. Important to note is that she refrains from mentioning or alluding to witches, though many of us have worked from our kitchens. Bioart Coven initiates from a feminist historiography of the figure of the witch as intimately linked with the birth, development, and socioeconomic expansion of industrial technologies—including biotechnologies. As a coven, we look at how working with vital materiality, technoscientific and communal ritual processes across digital space informs relational aspects of consumptive culture, through the lens of the witch.

This paper introduces ``Liaozhai in the Mirror", a serious educational game for gender equality centered on the interactive visual storytelling environment with AI-generated images and texts by generative AI (GenAI), which opened a new scope for playable gender education in schools and universities. Inspired by ``Strange Stories from a Chinese Studio (Liaozhai Zhiyi 聊斋志异)" and the concept of edutainment, the game amplifies the impact of gender education on the ending of characters in the game through visual storytelling, which is amplified to strengthen the necessity of gender education. Players determine the ending of the original character's storyline based on their understanding of gender issues covering dating relationships, bystanders, gaslighting, dating violence, gender equality, and consent. In this way, their performance reflects the consequences of misunderstanding from the unfortunate ending to more clearly clarify the significance of learning about gender issues. AI generates 14,348,907 possible outcomes of the same character for different answers through large language models (LLMs) to generate texts and images, and each outcome is the same in terms of good and bad endings, but the stories vary in diversity.

This paper presents "Il giorno in cui tornammo ai campi" ("The day we returned to the fields"), a research-creation project carried out, self-produced and self-financed between September and December 2022 in the rural community of Latronico in the Basilicata region, Italy. The aim of the project is to raise awareness of the phenomenon of industrial abandonment that affects the landscape of this geographic area, using the analytical and narrative grammar of new media. In the context of a spontaneous project, this research explores the following questions: how can we examine the issues associated with these territories and re-code them through the creative use of new technologies to envision possible futures? What operational methods are available for the independent and decentralized production of technological art in a marginalized territory? What impact does this bring to the communities residing in these territories? Positioned within the framework of new media practices as one of the rare examples of planning in a rural Italian area, "Il giorno in cui tornammo ai campi" endeavors to chart a potential path for grassroots inclusivity of artistic practices related to new media in the ongoing processes of transformation in marginal Italy.

The Digital Basket: Multimedia Labs for Gender Equality website – www.cabazdigital.uevora.pt – is the result of an art-based research project, in the form of an interactive digital art archive, that emerged to host the work of Digitalias, a domestic violence Shelter Home women artistic collective, as well as the work carried out as part of a wider multimedia art project centred on gender equality multimedia workshops for high school and university students and the community of Évora, Portugal. The website is intended to be a participatory art research project, of CHAIA-Centre for Art History and Artistic Research, of the University of Évora, carried out to promote gender equality on the Internet, from an inclusive and intersectional perspective, in accordance with the directives of the Action Plan for the Digital Transition, the INCoDe.2030 Programme of the Government of Portugal, and the Strategy for Gender Equality 2020-2025 of the European Parliament. The main objectives are: collective co-creation of multimedia art and net art with students and the community, using basic Information and Communication Technology (ICT) tools, centred on gender equality issues, disseminated on this website and in travelling exhibitions, and; empowerment of girls and women in the community with ICT skills to reverse the downward trend in their participation in digital society and their consequent impoverishment and subalternation.

In this paper, we discuss the arts-based, collaborative research we have been carrying out as part of a research project that aims to map the evolution of female participation in the digi-tal games sector in Portugal. Artists, designers, programmers and a psychologist have contributed to this project. This paper argues, in particular, for the potential of multidisciplinary collaboration in arts-based research and shows how this potential is manifested in two audiovisual projects made by the BLIND REVIEW team. We discuss the process of creating a completed animation called “The Women of Timex-Portugal” and a short film in progress called “Mnema”. Through the audiovisual works presented here, we want to disseminate the results of the study on the evolution of female participation in the digital games sector in Portugal and to raise awareness among a wider audience about the micro-processes of female exclusion in this sector. Also, we pay tribute to the women hidden in the history of video games in Portugal and encourage more women to enter this industry. Finally, we conclude with a critical reflection on these collaborative arts-based research processes and discuss our ongoing and future work.