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  • Das FORSCHUNGSFLOSS - Institut für Kunst und Subjektive Wissenschaft wirft Anker im Flughafentower Tempelhof und präsentiert aktuelle Ergebnisse aus dem "Fall-Labor". Das Augenmerk dieser hoch über dem Flugfeld angesiedelten Abteilung liegt auf der
  • Lange, Andreas. Extra Life. Über das Sterben in Computerspielen In game_over. Spiele, Tod und Jenseits, edited by Arbeitsgemeinschaft Friedhof und Denkmal e.V., 93-104. Kassel: Zentralinstitut und Museum für Sepuralkultur, 2002.
  • Stadon, Julian. Augmenting Ecological Aesthetics Julian Stadon on Interfacing TeleAgriCultures, Riverbank Buffets and Microbes Versorgerin Zeitung der Stadtwerkstatt 131, no. ,, (September 2021): ...
  • Trigger
    Trigger explored the vignettes, ebbs, flows and narratives that emerge from the relationships we have with urban spaces. It featured seven projections that were configured to fill the stairwell space. Visitors passed through a set of 12 motion
  • Jody Zellen is a Los Angeles based artist who works in many media simultaneously making interactive installations, mobile apps, net art, animations, drawings, paintings, photographs, public art, and artists' books. She employs media- generated
  • Paper accepted, conference canceled due to pandemic.
  • The Karlsruhe Moviemap was commissioned by the Zentrum fur Kunst und Medientechnologie (ZKM), a state-funded arts and media lab in the town of Karlsruhe, Germany. Karlsruhe has a well-known tramway system, with over 100 km of track snaking from the
  • The YOUbiläums Browser (kots.nu/mzedck). The history of the ZKM between 1997 and 2007 becomes a space pervading interface: by means of the Linear Navigator designed by Jeffrey Shaw in 1999, the visitors are able to call up video documentation on
  • Francesco Aprile (Lecce, Italy) is freelance journalist, poet and visual-poet, essayist. In 2010 he became member of the literary movement called New Page-Narrativa in store, that has founded in 2009 by Francesco Saverio Dòdaro and for which he
  • Seit den 90er Jahren haben sich zwischen den Künstler und sein Publikum jede Menge Apparate und Apparaturen geschoben. Kommunikation geschieht geplant, kontrolliert, reduziert, erweitert – kurz: posthuman. Dabei wird in Kauf genommen, dass jedes