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  • “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
  • ISEA2015-DISRUPTIONS -
    21st International Symposium on Electronic Art, august 14th - 19th, 2015. ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics of change, renewal, and game-changing paradigms. We look to raw bursts of energy, reconciliation,
  • Boredomresearch. Eternity´s Sun Rise In Tumbling Dream Chambers Exhibition Catalogue, edited by Paul BrownBerlin: [DAM] Berlin, 2007.
  • “Ins Universum der technischen Bilder” or “Lob der Oberflächlichkeit“ – with such programmatic titles Vilém Flusser (1920–1991) advanced to become one of the most influential thinkers to deal with communication and media in the 20th century. Flusser
  • Deep rooted vision, profound and ingrained, the splendour of human or artificial intelligence having the capacity to master and enrich innovative scientific solutions whilst unravelling problematic complexities. In creating these artworks: ‘Measure
  • Duguet, Anne-Marie. Déjouer L´image: Creations elecroniques et numériques. Paris: Jaqueline Chambon, 2002.
  • Erkki Huhtamo works as a professor at the University of California Los Angeles (UCLA), Departments of Design Media Arts, and Film, Television, and Digital Media. He received his Ph.D. in cultural history from the University of Turku, Finland.
  • Station Rose/STR was founded in Vienna, Austria, in 1988 by Gary Danner (sound) and Elisa Rose (visuals). As one of the first digital groups worldwide Station Rose have used the potential of live audio visual media and the internet for performing in
  • Couchot, Edmond. La Technologie dans l´art. De la photographie á la realite virtuelle. Paris: Editions Jacqueline Chambon, 1998.
  • Parent Sylvie and Martel Christine. Largus : Art and Giving. Quebec, Canada: La Chambre Blanche, 2006.