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Johanna Dombois
Born in 1967 in Berlin is an opera director and author. She produces experimental music theatre and media art inter alia in cooperation with Young Vic London (1987-89), the Academy of Arts Berlin (1993/94, Nederlandse Opera (1998), State theatre
Surrey Youth on display at bold interactive showcase
2013
Choi, Deanne. Surrey Youth on display at bold interactive showcase Source Magazine British Columbia 13, no. 28 (October 2013): http://thelasource.com/media/vol13no28_English_lowres.pdf.
Lawrence Malstaf
The work of Lawrence Malstaf can be situated on the borderline between the visual and the theatrical. After having studied industrial design, Lawrence Malstaf starts of in theatre. He designs scenographies for choreographers and directors as Benoît
Laura Skocek
I am an artist, living and working in Vienna. Having been trained at the University of Applied Arts Vienna (Digital Arts), my focus is on sculpture and smart materials, with an interest in the intersections of art and science, as well as video art,
Dear Pareidolia (EP)
2004
-
2004
Dear Pareidolia (EP)Artist: German GomezComment:
莫健偉博士
Dear Friends, I am new to the ADA, and glad to meet / chat with you via this platform. I am working in the academic field as a researcher of digital culture, and heritage topics and cultural policies.
FIVARS 2022 Spotlight – Klaxon. My Dear Sweet Friend
2022
FIVARS. FIVARS 2022 Spotlight – Klaxon. My Dear Sweet Friend https://fivars.net/spotlight/fivars-2022-spotlight-klaxon-my-dear-sweet-friend/.
FIVARS 2022 Spotlight – Klaxon. My Dear Sweet Friend
2022
FIVARS. FIVARS 2022 Spotlight – Klaxon. My Dear Sweet Friend https://fivars.net/spotlight/fivars-2022-spotlight-klaxon-my-dear-sweet-friend/.
Jaroslav Vančát
Jaroslav Vančát, Ph.D. New media artist – multimedia art, digital art, computer art, interactive art, visual structuralism, conceptual art, video art Associate Professor at universities in the Czech Republic, new media, visual arts and creativity
Points of View II - Babel
1983
Points of View II - Babel addressed issues relating to the Falklands War. It was made using the same functional and iconographic structures as Points of View I, but with a differing content.In BABEL hieroglyphs were used to articulate a
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