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  • Reichle, Ingeborg. Kunst und Biomasse: Zur Verschränkung von Biotechnologie und Medienkunst in den 90er Jahren Kritische Berichte 1 (2001): 23-33.
  • Müller-Jung, Joachim. Hasengrün - Die Gentechnik und ihre Symbole Frankfurter Allgemeine Zeitung (January 13th 2001).
  • Joan Leandre is a member of the Observatory Archives (http://desorg.org) since 1992. Interpreter and translator of media developes his activity between the laboratory (http://kubasik.biz) and the open sky with Maja Wolinska
  • George Legrady has been creating interactive digital media installations and projects since the early 1990's. He is best known for his projects focuses on the classification and visualization of data as in “Pockets Full of Memories” (2001)
  • David Link is a media artist and researcher. Between 2009 and 2011 he was Chair for Experimental Technologies in the Art Context at the Academy of Visual Arts Leipzig. In 2004, he wrote his PhD in philosophy at Humboldt-University Berlin, and the
  • Grau, Oliver. Nowe obrazy z zycia: Rzeczywistosc wirtualna, sztuka genetyczna i transgeniczna Kwartalnik filmowy 35-36, no. XXI (2001): 108-119.
  • Grau, Oliver. New Images from Life In Art Inquiry. Recherches sur les Arts, edited by Ryszard KluszinskyVol.II (XI). , 7-25. Lodz: Grotesk, 2001.
  • Grau, Oliver. Datenbank der Virtuellen Kunst In Electronic Imaging and the Visual Arts 2001, , 135-140. Berlin: 2001.
  • Fujihata, Masaki. On Interactivity / Interaktivität In Ars Electronica 2001: TAKEOVER - Who´s Doing the Art of Tomorrow?/ Wer macht die Kunst von morgen?, edited by Gerfried Stocker and Christine SchöpfVienna, New York: Springer, 2001.
  • Rafael Lozano-Hemmer was born in Mexico City in 1967. In 1989 he received a B.Sc. in Physical Chemistry from Concordia University in Montréal, Canada. Electronic artist, develops interactive installations that are at the intersection of