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  • María Fernández is Associate Professor in the Department of History of Art and Visual Studies at Cornell University and currently serves as Director of Graduate Studies. She received her doctorate in art history from Columbia University in 1993. Her
  • Artist-philosopher, Hervé Fischer graduated from the école Normale Supérieure (rue d'Ulm, Paris). For many years he taught sociology of communication and culture at the Sorbonne. He obtained its MBA in philosophy and PhD. in sociology. A multi-media
  • I work to find an effective point of stability in the digital era, mixing together knowledges of psychological experience taken from physical interactions, with the ethereal circumstances of digital-induced situations. In my opinion, digitalism is
  • Badani, Pat and Paula Gaetano Adi and Gustavo Crembil and Tania Aedo and Diana Domingues and Eduardo Castillo and Pedro & Prado de O. Martins Vieira de Oliveira and José-Carlos Mariátegui and Heber Rodriguez and Luis Fernan Median Cardona, ed.
  • Terra_Arte is a non-profitable company dedicated to promote Contemporary Art, with special reference to Latin American contribution.
  • Videobrasil is the oldest festival in Latin America dedicated to video art; in this edition it opened its scope to electronic art in general including Net Art and games, besides video.
  • Augenschein — a light installation for the Stieglerhaus, St. Stefan ob Stainz, AT The eye has always played a vital role in human history, whether as the organ of vision or as a pivotal cultural symbol in the arts of all ages. In digital and new
  • Brian Mackern (Uruguay) is a new media artist, developer and designer of digital and hybrid net based art projects since 1995. Musician, composer and developer of autogenerative and reactive sound visual structures and environments. His art practice
  • An interdisciplinary forum of over 70 researchers and artists from all over the world, re:place 2007 presents multiple historical relations between art, science and technology. The title ‘re:place’ refers to the sites and the migration of artistic
  • This year, EMAF took a look beneath the "surface" and shed light on the handling of media from a variety of perspectives. No- und low-budget productions from the independent scene met films and videos produced with commercial cinema and