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  • Differenza ed estetica digitale: il glitch
    Aprile Francesco. Differenza ed estetica digitale: il glitch. Vol.september 2016. Utsanga.it th ed.Italy: Utsanga.it, 2016.
  • Lautriv Chromagnon
    Fischnaller, Franz. Lautriv Chromagnon In Venezia1995, edited by Christine Schoepf Hannes Leopoldseder, 47-48. Palermo, Italy: Editore L´Epos Palermo, 1995.
  • Pier Giorgio De Pinto
    The work of the Italian artist Pier Giorgio De Pinto thrives on the relationship between representation and concept in a constantly and suddenly changing image-based society in search of a new identity. Since the sixties, recent changes have been
  • Multi Mega Book in the Cave
    Fischnaller, Franz. Multi Mega Book in the Cave In Monumedia: Multimedia and Cultural Heritage, edited by Fridericiana/University Press, 29-30. Electa, Napoli, Italy: Editor Fridericiana/ University Press, 1998.
  • Marco Donnarumma
    Italian-born Marco Donnarumma is a performer, musician and writer based in London. He explores the dimensions of the human body in relation to real, virtual and cultural spaces through performances, concerts and installations. In his works, sound,
  • Dramaturgies of Sound: Interactive Sound Design in Live Performance
    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
    Misiano Viktor. Progressive Nostalgia. Prato, Italy: Centro per l'arte contemporanea Luigi Pecci, 2007.
  • "Olga Kisseleva's Psychopathological Trainer "Powerbike"",for catalog « Open 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 -
    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."
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