Bridging Responsible AI Divides (BRAID): Guided Expert Tours 

Beverley Hood Beverley is an artist and Reader in Technological Embodiment and Creative Practice, at Edinburgh College of Art, University of Edinburgh. She is currently Co-Investigator on BRAID, leading the Inspired Innovation theme, focusing on the creative arts. She is also a GAIL Fellow at the Generative Artificial Intelligence Laboratory at the University of Edinburgh. Beverley works in digital media, performance, film, painting, collage, and writing. Her work delves into the impact of technology and science on the body, relationships, and human experience.

Vaishak Belle is Reader at the University of Edinburgh, an Alan Turing Fellow, and a Royal Society University Research Fellow. He has made a career out of doing research on the science and technology of AI. He has published close to 120 peer-reviewed articles, won best paper awards, and consulted with banks on explainability. At the University of Edinburgh, he directs a research lab on artificial intelligence, specialising in the unification of logic and machine learning, with a recent emphasis on explainability and ethics, and leads on Artificial Intelligence for BRAID.

Caterina Moruzzi is a Chancellor’s Fellow in Design Informatics at the University of Edinburgh, working at the intersection between the philosophy of art, history and philosophy of human and artificial creativity, and the philosophy of AI. In her ongoing projects, she investigates modes of shared agency and creativity between humans, data, and technology and the disruptive effects that emerging technological innovations can have on creative labour.

Theodore Koterwas is an artist, designer and musician seeking to draw critical attention to aspects of daily experience that go unnoticed but profoundly impact on how we understand each other, technology and the environment. He received his MFA in New Genres from the San Francisco Art Institute. His multidisciplinary practice produces art installations, performances, museum exhibitions, and software applications for public engagement, creative collaboration, and teaching and learning.

Gavin Leuzzi is a trained art historian and lawyer with a history of working in various roles across the arts and cultural sector, including art handling and exhibitions assistant at the National Galleries Scotland and Whitechapel Gallery, fundraising and development at Modern Art Oxford, visitor experience and public engagement at Kettle’s Yard, curation at the Australian Parliament House, and lecturing at the Dunedin School of Art. He is the fellowships lead for BRAID.

Fabio Tollon is a philosopher of technology with interests in the ethics of AI, moral responsibility, and free will. He is a postdoctoral researcher for BRAID, a research fellow at the unit for the ethics of technology at Stellenbosch university and a research associate at the Centre for Artificial Intelligence Research (CAIR) at the university of Pretoria. He recently co-authored, together with Shannon Vallor, The Responsible AI Ecosystem: A BRAID Landscape Study (2025). Fabio’s work has been published in journals such as Ethics and Information Technology, European Journal of Analytic Philosophy, and AI & Society.

Abie Soroño is a community and cultural engagement curator who bridges research, arts, and diverse communities through strategic programming and collaborative initiatives.  Her work focuses on inclusive community outreach, ensuring that cultural programming serves and represents a broad spectrum of ideologies and cultures. She has worked on cross-disciplinary events and public engagement, creating inclusive experiences that bridge academic research with broader audiences through both physical and virtual platforms. She has worked with organisations such as The University of Glasgow, Glasgow School of Art, Glasgow Life, Glasgow International, GoMA, South East Integration Network, East and South East Asian Creatives Scotland, Architectural Fringe and BRAID.

Ian Rothwell is a Lecturer in Contemporary Art History and Digital Culture at the University of Edinburgh. He teaches research-led courses and publishes on the impacts of the internet and online culture on art theory and practice. His first monograph, Postinternet Art and its Afterlives, was published as part of the Routledge Advances in Art and Visual Studies Series in 2024. He is currently working on a new book project titled Painting is Bad and co-editing a collection of essays titled Synthetic Aesthetics: Art History and AI Visual Cultures, which considers what Art History can tell us about generative AI aesthetics.