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Dramaturgies of Sound: Interactive Sound Design in Live Performance
2008
Chris Salter. Dramaturgies of Sound: Interactive Sound Design in Live Performance In Proceedings for the 1st International Workshop in Sonic Interaction Design, Florence, Italy: 2008.
Progressive Nostalgia
2007
Misiano Viktor. Progressive Nostalgia. Prato, Italy: Centro per l'arte contemporanea Luigi Pecci, 2007.
"Olga Kisseleva's Psychopathological Trainer "Powerbike"",for catalog « Open 2003»
2003
Turkina Olesya. "Olga Kisseleva's Psychopathological Trainer "Powerbike"",for catalog « Open 2003». Venice, Italy: ,, 2003.
Franz Fischnaller
Franz Fischnaller was the co-founder of F.A.B.R.I.CATORS and is now the art and production Director. He is a Professor at the Università degli Studi di Firenze (University of Florence, Italy), and teaches art and multimedia on the Master of
Seeing Double
2008
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2008
The exhibition is structured primarily around the discourse of vision and optics and centered around a new eight-minute anamorphic film, titled What Will Come (2006), which takes its title from a Ghanaian proverb: "What will come has already come."
Mary Flanagan
Known for her theories on playculture, activist design, and critical play, Mary Flanagan has achieved international acclaim for her novel interdisciplinary work, her commitment to both theory and practice, and her ongoing pioneering contributions to
Yiannis Melanitis
Yiannis Melanitis is a conceptual interdisciplinary artist working in the realms of body, performance, digital media and bioart. He study Painting, Sculpture and holds a Masters degree in Digital Arts from Athens School of Fine Arts. He is lecturer
Computer poems. Dall’archeologia al source code poetry
2016
Aprile Francesco. Computer poems. Dall’archeologia al source code poetry. Vol.september 2016. Utsanga.it th ed.Italy: Utsanga.it, 2016.
About Asemic Writing
2015
Aprile Francesco, Caggiula Cristiano. About Asemic Writing. Vol.september 2015. Utsanga.it th ed.Italy: Utsanga.it, 2015.
GLOBALE: Without Firm Ground – Vilém Flusser and the Arts
2015
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2015
“Synthetic images as an answer to Auschwitz” (“We Shall Survive in the Memory of Others”)1 asserted Vilém Flusser (1920–1991) forcefully in an interview shortly before his death. Only by passing through radical abstraction could a new
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