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  • Sanchez Cardona, LM. Sounds [That] Are Not. Is there any time left? In Towards a Non-Anthropocentric Ecology: Victoria Vesna and Art in the World of the Anthropocene, edited by Ryszard W. KluszczynskiArt+Science Meetings, Gdańsk: LAZNIA Centre for
  • Macho, Thomas. Vision und Visage. Überlegungen zur Faszinationsgeschichte der Medien In Inszenierte Imagination. Beiträge zu einer historischen Anthropologie der Medien, edited by Wolfgang Müller-Funk and Hans-Ulrich Reck, 87-109. Wien, New York:
  • Fernando Velázquez is an artist, curator and educator. His practices are developed in the context of art, science and technology, with an interest in the mediation of perception by technical devices. He is particularly interested in topics such as
  • Michael Naimark is a media artist and researcher who often explores "place representation" and its impact on culture. He has served as faculty in the USC School of Cinematic Arts' Interactive Media Division (2004-09), the NYU Tisch School of the
  • Berlot, Uršula. Inventions of Space: Artistic, Scientific and Philosophical Intuitions of Contemporary Spatial Concepts. Journal for the Critique of Science, Imagination, and New Anthropology. Lljubljana: Inštitut Časopis za kritiko znanosti
  • Berlot, Uršula. Georges Bataille – On Art. Journal for the Criticism of Science Journal for the Criticism of Science, Imagination and New Anthropology (ČKZ) XXX (2002): 209 – 210.
  • Big father -
    Steel, concrete, electromechanicals, medical hardware, ultrasonic sensors, audio and video. 5 units 7 ft high, plus attendant hardware. 1991-92 Over the past 20 years, an entirely new global system of digital communication has come into being,
  • Berlot, Uršula. Space and Spectator: Embodied Perception in the Art of Installation Journal for the Critique of Science, Imagination, and New Anthropology. Lljubljana: Inštitut Časopis za kritiko znanosti XLVI/274, no. 27-54 (2018).
  • Petit Mal -
    Although much work has been done in the field of screen-based interactive art, the mode of interaction in these works is confined by the very existence of image material on a screen, the so called "graphical user interface". I am particularly
  • Eduardo Kac pioneered telepresence art in 1986, when he created his first wireless robot, a remote-controlled anthropomorphic figure through which human participants could engage in conversation. In 1989 Kac developed with Ed Bennett the telerobot