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Between punched film and the first computers, the work of Konrad Zuse. 2013

Andres Burbano and Paul Thomas. Between punched film and the first computers, the work of Konrad Zuse. In Relive : Media Art Histories, edited by Sean CubittCambridge, Mass.: MIT Press, 2013.
Audiovisionaries of the Network Planet 2011

Cubitt, Sean. Audiovisionaries of the Network Planet In Globalization and contemporary art, edited by Jonathan Harris, 225-236. Malden, Mass.: Wiley-Blackwell, 2011.
Making Things Public. Atmospheres of Democracy 2005

Latour, Bruno and Peter Weibel, ed. Making Things Public. Atmospheres of Democracy. Cambridge, Mass: MIT Press, 2005.
A Little-Known Story about a Movement, a Magazine, and the Computer's Arrival in Art: New Tendencies and Bit International, 1961-1973 2011

Fritz, Darko and Marija Gattin and Peter Weibel. A Little-Known Story about a Movement, a Magazine, and the Computer's Arrival in Art: New Tendencies and Bit International, 1961-1973. Karlsruhe, Germany; Cambridge, Mass. USA:ZKM: MIT press, 2011.
The Illusions. A BIT of The Language of New Media. 2014

Manovich, Lev. The Illusions. A BIT of The Language of New Media.. Cambridge, Mass.: MIT Press, 2014.
Soft Cinema: Navigating the Database 2005

Manovich, Lev. Soft Cinema: Navigating the Database. Cambridge, Mass.: MIT Press, 2005.
Green Light. Toward an art of evolution 2010

Gessert, Georg. Green Light. Toward an art of evolution. Cambridge/Mass.: MIT Press, 2010.
Moving Innovation: A History of Computer Animation 2013

Sito, Tom. Moving Innovation: A History of Computer Animation. 1st Edition th ed.Cambridge, Mass. USA: MIT Press, 2013.
VideoFest '89 1989

In only its second year, VideoFest has become the largest european video festival. Video is a young artform; from the beginning, it has been a reaction to the “brave new world” of the highly technical mass societies with all their computers, nuclear
European Media Art Festival 1989 1989

In September 1989, for the second time Osnabrück hosted the European Media Art Festival, a forum that aimed to show and create free artistic spaces. Against the backdrop of media history, the intention of EMAF was to critically reflect upon the

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