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  • Also with the VideoFest ‘92, the MedienOperative claimed to reflect the development of international video culture and to represent a rich variety of genres – productions, sculptures, or selections from fields like interactive media and computer
  • 1995 VideoFest saw beyond the end of ist own nose and explored in detail what the new maigc word Multimedia stands for in the realm of CD-ROM and Internet artworks. There were performances, discussions, an exhibition and workshops.
  • Technological advances were growing at an exponential rate, and electronic art had started to invariably succumb to the digital. To deal with these developments, the VideoFest had restructured itself: video, television and multimedia were now given
  • Event: DEAF 2007: Interact or Die!Institution: V2_Lab for the Unstable MediaComment:
  • Event: DEAF 12: The Power of ThingsInstitution: V2_Lab for the Unstable MediaComment:
  • The fourth International Conference on the Histories of Media Art, Science and Technology, Rewire, was hosted by FACT (Foundation for Art and Creative Technology) and held in Liverpool, UK, from 28th September to 30th September 2011, In
  • 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
  • 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
  • In September 1989, for the second time Osnabrück hosted the European Media Art Festival, a forum that aimed to show and create free artistic spaces. Against the backdrop of media history, the intention of EMAF was to critically reflect upon the
  • To mark the start of the new decade, the European Media Art Festival presented a review of German experimental film and video art production from the 1980s, offering viewers the opportunity to see familiar works again and to perhaps rediscover and