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  • Ranzenbacher, Heimo. Strategies of Intertainment In Ars Electronica 2001: TAKEOVER - Who´s Doing the Art of Tomorrow? / Wer macht die Kunst von morgen?, edited by Gerfried Stocker and Christine SchöpfNew York, Wien: Springer Verlag, 2001.
  • Malina, Roger F.. Leonardo Timeshift In Ars Electronica 2004: Timeshift: Die Welt in 25 Jahren/ Timeshift: The World in 25 Years, edited by Gerfried Stocker and Christine SchöpfOstfildern-Ruit: Hatje Cantz, 2004.
  • Dyens, Ollivier. Die hybridisierte Realität In Hybrid - Living in the Paradox, edited by Gerfried Stocker and Christine SchöpfOstfildern-Ruit: Hatje Cantz, 2005.
  • Daniel Rozin trained as an industrial and interactive designer. He creates interactive installations and sculptures that have the ability to change and respond to the presence of a viewer. Although computers are often used, they are seldom visible.
  • Ben Rubin is a media artist based in New York City. In 1993 he founded EAR Studio and in 2007 Mark Hansen joined him as creative partner. He has a BSc in Computer Science from Brown University and received an MSc in Visual Studies from the
  • Studium an der Cooper Union School of Art und 1960 BA in Architektur an der Columbia University. Professor of Architecture an der Cooper Union School seit 1965. Die Firma Diller + Scofidio gründeten sie 1979. Elizabeth Diller und ihr Ehemann,
  • Part of an emerging generation of new media artists, Shirley Shor employs technological processes in the service of larger issues related to human experience and fine art. Shor creates real-time computer generated installations, and environments
  • Canevacci, Massimo. Hybridentities / Hybridentitäten In Hybrid. Living in Paradox, edited by Gerfried Stocker and Christine SchöpfOstfildern-Ruit: Hatje Cantz, 2005.
  • Haque, Usman. Surrounding Architecture / Die Konturen der Architektur In Hybrid - Living in Paradox, edited by Gerfried Stocker and Christine SchöpfOstfildern-Ruit: Hatje Cantz, 2005.
  • Jeffrey SHAW has been a pioneer and leading figure in new media art since its emergence. In the context of the 1960’s paradigm of installation he started with expanded cinema, performance and participatory environments, aiming to change the