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  • ... AND DIGITAL CULTURE Abandon Normal Devices (AND) welcomes audiences to experience the best in new cinema and media art in a celebration that spills from screens and galleries into the streets and imaginations of the North West. AND exists to create...
  • ... distinction between truth and fiction was no longer possible and suddenly many things turned evil. The programme included artists who challenged, undermined and bypassed each other in their hidden and unspoken strategies of mystification.
  • ...Raphael Fonseca. “Os trópicos parecem conspirar contra a memória” ArtNexus , no. 94 (September/November 2014).
  • ...Raphael Fonseca. Os trópicos parecem conspirar contra a memória ArtNexus , no. 94 (September/November 2014).
  • ...Fonseca, Raphael. Os trópicos parecem conspirar contra a memória ArtNexus , no. 94 (September/November 2014).
  • ...The 4th annual Subtle Technologies Conference is an opportunity for scientists and artists to come together and share each others language in those areas which are still searching for definitions, explanations and meaning. This conference blurs the boundaries between...
  • ...The main Festival days (Friday May 25, Saturday May 26 and Sunday May 27) have each different related themes: Friday May 25: Art, technology & science ideas, selected from a variety of different fields Saturday May 26: Biology and Artartists and scientists who...
  • ...The European Media Art Festival was held under this name for the first time in the European Film and Television Year of 1988. The concept envisaged offering visitors and participating artists an informative programme by jointly presenting different media and...
  • ..."Art and Body" was the general topic of EMAF 1995. Many artists had chosen the human body to be the focal point of their projects, and they also brought up the question of the influence the expansion of interactive media has on the individual. The festival programme...
  • ...Waelder, Pau. Collecting Intangibles: Marketing Strategies for Net Art Works artnodes , no. 13 (2013): 111-116.