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Tectonics of Tactics in the Urban Context: A case Study
2017
Event: Tectonics of Tactics in the Urban Context: A case StudyInstitution: Pre-Launch: Urban Media Art Academy - What Urban Media Art Can Do - Why When Where and How?Comment:
The Value of Experience in Urban Media Art Education: A Full Size Case Study
2016
Event: The Value of Experience in Urban Media Art Education: A Full Size Case StudyInstitution: CATE Roundtable 2016: An Inter-tertiary Symposium on Creative Arts Education in Hong KongComment:
PhD in Art vs PhD Art, case study the Dump: defending a blog à la Sorbonne
2009
Event: PhD in Art vs PhD Art, case study the Dump: defending a blog à la SorbonneInstitution: Kunst UniversitätComment:
Decision Disc N°1
2012
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2012
Are you confronted with a difficult choice? Don't you know wether to do something or not? Then pose your question, play the record and you'll easily find the right solution! As soon as a coin is flipped into the air, as soon as the dice is thrown,
The Case of the Phosphorescent Rabbit
2001
Silverberg, Robert. The Case of the Phosphorescent Rabbit Asimov's Science Fiction 25, no. 9 (September 2001).
VideoFest '94
1994
VideoFest in its seventh year, the year of that infamous „itch“ – which wasn’t the case luckily. The interconnections between video and television had become ever more important. The programme showed uncommon television productions and takes that,
Featured Scholar Sean Cubitt
08/2015
.. His publications include Timeshift: On Video Culture, Videography: Video Media as Art and Culture, Digital Aesthetics, Simulation and Social Theory, The Cinema Effect, EcoMedia ..
‘EVIL WEB BUSINESSES, ROMANCE SCAMS AND PHONE FRAUD. 3 ARTISTIC CASE STUDIES DECONSTRUCTING SCAMMERS ONLINE IDENTITIES
2017
Kronman, Linda and Andreas Zingerle. ‘EVIL WEB BUSINESSES, ROMANCE SCAMS AND PHONE FRAUD. 3 ARTISTIC CASE STUDIES DECONSTRUCTING SCAMMERS ONLINE IDENTITIES (2017).
Heavens Gate - Interactive
1986
video
Heavens Gate as a video installation was first shown in the neoclassical stairwell of Felix Meritis. In other exhibition spaces the work usually occupies a specially constructed completely dark room. The video image is projected over the whole
reConFIGURING the CAVE
1998
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1998
These are reconfigurations of the original work conFIGURING the CAVE (1997) that for reasons of economy use simplified projection and interface technologies. Instead of the four screen environment, only one wall screen, or combination floor and
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