Literature: Winners in the film section – Computer Animation – Visual Effects Literature: Literature : Literature: Literature (2) : Literature: Literature (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber Society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Ed. Marcus S. Kleiner, A. Szepanski 25 years of ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Ed.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (on radio art) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Ed. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2 (on radio art) Rasender Stillstand / Paul Virilio ASurvey as MemoryTheater Motohiro Hayasaka, William Latham The Society of Text – Hypertext, Hypermedia, Jon McKenzie Ulrike Rosenbach / Videkunst, Foto, Aktion / Look at me – VIDEO – 25 Jahre Videoästhetik sound : space / Bernhard Leitner Art Telecommunication / Heidi Grundmann Geschwindigkeit und Politik / Paul Virilio and the Social Construction of Information / Multimodal Discourse – The modes and media Performance, feministische Kunst (important references to timeline) Cybernetics of Cybernetics / Heinz von Foerster 1990: Mario Sasso & Nicola Sani, Robert Lurye, Philippe Andrevon, Flavia Alman & Angelica Nascimento, Radiokultur von morgen / Ed. Johanna Dorer, Fluchtgeschwindigkeit / Paul Virilio Edward Barrett of contemporary communication / Gunther Video – 20 Jahre später – Eine Zwischenbilanz Simulation und Wirklichkeit – Design . Film . Der Anfang von Himmel und Erde hat keinen Gerhard Pakesch, Paul Coudsi, William Latham, Alan Norton, Karl Sims, Christiane Geoffroy, Rebecca Allen, Alexander Baratsits Revolutionen der Geschwindigkeit / Paul Virilio Medien-Theologie – Das Werk Vilém Flussers / Kress & Theo van Leeuwen Kunstforum Bd. 77/78 Architektur . Naturwissenschaften . Ökologie . Namen / Heinz von Foerster Denis Muren, John Lasseter, Jeff Kleiser, Diana Walczak, Eihachiro Nakamae, Steve Goldberg Apparitional Aesthetics (1995/P15) / Der negative Horizont – Bewegung, Electronic Media in Art and Science Elizabeth Neswald Alles jetzt! – Die Mediatisierung / Gerhard Objekt : Video / G. Hattinger, P. Assmann Ökonomie . Psychologie / Angela Schönberger Noise Gate / Granular Synthesis 1991: Karl Sims, James Duesing, Yoichiro Kawaguchi, Rashel B de F, Jean Luc Faubert, Maurice Benayoun, Roy Ascott !! Geschwindigkeit, Beschleunigung / Paul Virilio Art in the Context of Software and Complex Machines Peter Claridge, Boris S. Dolgovesor, Herve Huitric, Monique Nahas, Nancy Kato, Mike McKenna & Bob Kultur – über alle? gegen alle? für alle? Johann Lischka Computerkulturtage Linz – ORF Videonale Videokunst / Lydia Haustein Zur Kunst formalen Denkens / R. E. Burkard, performative installation / Ed. Angelika Nollert Die Sehmaschine / Paul Virilio M. Wagner, H. Fabris, I. Mörth u.a. Cyber_Reader – Critical writings for the digital topographie II: Untergrund – Videoinstallationen Fernseh-Design / Gunther Rambow et al. Wolfgang Maass, Peter Weibel (Ed.) Sabiston, Simi Nallaseth, Eduard Oleschak, Michel Tolson, Pascal Vuong, Jason White & Richard Wright Der reine Krieg / Paul Virilio & Sylvére Lotringer ... perform _ or else - from discipline to performance (JM) cyber-moderne – medienevolution, globale era / Ed. by Neil Spiller in der Wiener U-Bahn Christian Mikunda sonic graphics – seeing sound / Matt Woolman 1992: Karl Sims, Charlie Gunn & Delle Maxwell, Cécile Babiole, Bériou, Dennis Muren & Mark A. Z. Dippé & Die Beschleunigung der Bilder in der netzwerke und die künste der kommunikation / Nam June Paik – Fluxus – Video / Wulf Die Spiele des Realen und des Virtuellen Music vs motion – FLIPS 5 Steve Williams, Matthew Brunner, Mario Martin Buendia, Jéróme Estienne & Xavier Duval, Fantome, Keith Chronokratie / Peter Weibel Original Idea and Archive - Research and Network: Gerhard Dirmoser Manfred Faßler Herzogenrath (article) / Edmond Couchot geometrie der Töne / Guerino Mazzola Hunter, Xavier Nicolas & Jerzy Kular, Alan Norton, Marc Raibert & Leg Laboratory Das Tempo-Virus / Peter Borscheid Quality Assurance and Additional Observations: Attila Kosa Deanimated / Martin Arnold Stuff it – the video essay in the digital age / Geometry of sound / Bernhard Leitner 1993: Pascal Roulin, Mark Malmberg, Darrin Butts, Bériou, George Barber, Jules Bister, Jos Claesen & Dauer-Simultaneität-Echtzeit / Kunstforum 151 Translation (English version): Aileen Derieg Anton Roebben, Philippe Gassie & Bruno Simon, Industrial light & Magic, Eku Wand catalogue: Walter Pamminger Ed. By Ursula Biemann music theory / semiotics Crossings – Musik zum Hören u. Sehen / 1994: Dennis Muren & Mark Dippé, Marc Caro, Maurice Benayoun, Eric Coignoux, Bériou, Peter Callas, electroacoustics Cathrin Pichler Klangkunst / Akademie der Künste – Berlin The project was financed without funds from the Administration of Culture Cassidy J. Curtis, Eric Darnell & Collery, Yoichiro Kawaguchi, Sabine Mai & Frank Pröscholdt, John Tonkin, perception theory of der larsen effekt / OK Linz last update 05/2004 Hideo Yamashita & Eihachiro Nakamae, Thomas Zancker, Tamás Waliczky architecture Norbert Wiener first presentation 05/2004 TransPublic Linz 1995: Bob Sabiston & David Atherton, Thomas Bayrle, Steve Williams, Gayle Ayers & Dough Sutton, Dough techno-culture discourse Version 1.1 E Kingsbury & Jeff Thingvold, Chuck Gamble, George Murphy, Violet Suk & Martin Koch, Francois Launet, structuralism (discourse) Silvio Levy & Tamara Munzner, Franck Magnant, Jon McCormack, Medialab, Ben Stassen, Demetri dance theory music theater view system theory / system discourse Comments/notes and requests for the file: Terzopoulos, Alexei Tylevich body research self-organization theory symbol theories of knowledge 25 acoustic "view" [email protected] / G. Dirmoser Waltherstr. 2 – 4020 Linz 1996: John Lasseter, Marc Caro & Jean-Pierre Jeunet, Michel Gondry & Pierre Buffin, Philippe Billion, dromology Christian Boustani, John Clyne, James Duesing, ILM, Pierre Lachapelle, Arnauld Lamorlette, Denise Minter & time theories performance view (II) formal sciences Tim Johnson theater studies complexity theory The original PowerPoint file is available for study purposes (revisions). 1997: Scott Squires, Chris Wedge, Jim Mitchell, Stefen Fangmeier, Larry Lamb, Anna Henckel-Donnersmarck, view of music choreography view Placement on the Internet, print-outs and distribution in paper form (4x A0 oder A1) are desired. Michèle Cournoyer, Taku Kimura, Raquel Coelho, Carlos Saldanha, Michel Gondry, Stephen Weston, 26 dance view Francois Vogel, Marine Poirson & Lionel Richerand Moviephon – opto-acoustic stereophony (PV) auditive view various music projects 1986 (Richard Teitelbaum) Thanks to: H.W. Franke, Boris Nieslony, Astrit Schmidt-Burkhardt, TransPublic, Stadtwerkstatt, Servus, MEXX, 1998: Robert Legato, Liang-Yuan Wang, Christophe Hery & Habib Zargarpour, Rob Coleman, Tamás Waliczky, transformer (influencing sound) musical Bruckner G. Lischka, Udo Wid, Ruth Schnell, Georg Ritter, Rainer Zendron, Christa Schneebauer, Gitti Vasicek, Kazuma Morino, Joey Lessard, Thierry Prieur & Pascal Roulin, Nobuo Takahashi, Yan Breuleux & Alain speed view (K&K Experimentalstudio) (1980/K124) electronic aids (2000/P58) Set of experiment (1979/K25) Martin Sturm, Walter Pamminger, Sabine Zimmermann, Walter Ebenhofer, Lioba Reddeker, Kurt Kladler, installation for ballet. microphones and loudspeakers techno-instruments Thibault, Laurence Leydier, Steven Stahlberg, Nobuto Ochiai, Constantin Chamski, Julien Dajez, Stefan symphonic Bruckner interaction with light (1979/K09) (P. Mühlfriedel, G. Lydia Haustein, Bernhard Cella, Gerhard Fröhlich, Josef Lehner, Franz Reitbauer, Magarete Jahrmann, MP3, RealAudio sound environment Smith, Violet Suk & Martin Koch, Yves le Peillet, Nelson Max, Diana Walczak & Jeff Kleiser, Sebastien Larrue, (1997/K305) see also: view of handicaps link between code and (C. Möller) (1995/P132) Markeffsky, L. Schaumann) Margit Knipp, F.E. Rakuschan, G. Harringer, Manuel Schilcher, Willi Mayrwöger, Eva & Attila Kosa, Florian Brody, Mark Stetson, Jan Pinkava, Kaori Saito, Tom Bertino, Charles Gibson, Denis Muren, Phil Tippett & Craig computer-generated see also: transport view choreographical processes (1979/K25) The virtual cage (1994/P131) (PRIX) G. Hattinger, Dieter Mersch, Oliver Schürer, Isabell Muhr, Helmut Stadlmann, Tim Otto Roth, Josef Nemeth, Energie AG dancers (2003/K303) (Scott deLahunta) digital musics environment concert Hayes, Ben Stassen & Anthony Huerta, Wayne Gilbert (1982) (Nam June Paik, see also: view of performativity (SLP) (M. Helene Tramus) Dance of the Machines - 2003 problems of definition and (1987/K148) Schiffshörner 1999: Chris Wedge, John Lasseter & Andrew Stanton, Bob Sabiston & Tommy Pallotta, Jun Asakawa & Charlotte Moorman) Open-Source choreography? (1990/K-I-95) The occasion: 25 years of working as a systems analyst in Linz & (Qrio: walking robots) stagnation (Alvin Curran) Toshifumi Kawahara, Erwin Charrier, Paul Kaiser & Shelley Eshkar & Bill T. Jones, Christopher Landreth, (1989/J115) (2003/K311) (Scott deLahunta) 25 years of attending "ars electronica" ( ... a journey through time) & 25 years of the Stadtwerkstatt & 25 years of Atelier Wels music in real time William Le Henanff, Patrice Mugnier, Dietmar Offenhuber, Bruce Pukema, Daniel Robichaud, Christian dance theater "Tobias Zapfel" electronic dance projects audio performance electronic sound carpet (1970/T) AEG/Teldec/Decca put the Improvisation Technologies. A Tool for (1979/K35) (Thomas Pernes, Tanztheater Wien) (1980/K11) Sawade-Meyer, Seiji Shiota & Tohru Patrick Awa, Emre Yilmaz & Lev Yilmaz, Vincent Ward & Stephen first image record on the market the Analytical Dance Eye (coproduction Black and White dance and electronic-architectonic On the method: The structure of the verb study serves as the starting arrangement. film, video, TV (I) (1984/K265) Simon & Barnet Bain, CFC, Alain Escalle, Manuel Horrillo Fernandez, Peter Miles & Damon Murray & Stephen (1971/T) U-Matic as the first (2002/K440) set-up (photo-cells) to control Gameboyzz Orchestra Platzkonzert The first content placement was made with the help of material from "take over" with William Forsythe) (2003/K311) intermedia theater Sound Park Sorrell, Ray Giarratana, Geoffrey Guiot & Bruno Lardé & Jerome Maillot, Juan Tomicic Muller, Phil Tippett & film semiotics cassette video system in the world (66b/cell) synthesizer sounds (Chris Janney) (J. Kujda) (2002/K420) sound environment (1987/K166) (1995) project by M. Saup for Forsythe computer graphics and (this edition of the ars electronica can be read as a kind of preliminary balance). Craig Hayes film theory see also: (1980/K103) Clouds of Sound (1979/K02) (Stadtwerkstatt) 27 filmic view interactive music video music (ML) Nik Haffner tested the dance (SIGGRAPH 85) movement theater electronic The language material used was taken from publications on "ars electronica", notes 2000: Jakub Pistecky, John Lasseter & Lee Unkrich & Ash Brannon, Yasuo Ohba, Denis Bivour, Jean-Francois psychoanalysis (Lacan school) view of the dance performance Ghostcatching musical-cybernetic clip (Han Hoogerbrugge) (Win Grabill) partnership of dance and (1986/K299) (AH) interactive (in a mirror scenary) music performances Online-Instrument (on the symposium lectures) and relevant literature. process theories image (1999/P116) environment (1979/K43) Bourrel & Jerome Calvet, Paul Debevec, David Gainey, Cécile Gonard, Jean Hemez & Sébastien Rey, Dariusz (2003/P64) (1982/K86) technology as a dancer dance performances (1979) (1989/J105) (1980/K07) (1999/P42) Lundgren Cf. methods of "grounded theory". dance & drawing (P. Vogel) 1979 Krzeczek, Guy Lampron, Charlotte Manning, Juliette Marchand, Timm Osterhold & Max Zimmermann, Makoto (Saburo Teshigawara) MidiDancer (pioneer: Ed Tannenbaum) view of animation (1951/T) Ampex starts with recorder development (technology becomes interesting when (P. Kaiser u.a.) distorters & faders Symposium: Electronics in Music / The study "Designing Gestures" on ars electronica 2003 was carried out in parallel. Sugawara, Christian Volckman, Pierre Buffin, Markus Degen, Zach Bell & Chris Gallagher & Steven (1995/K386) (Dawn Stoppiello) (1958/T) Ampex presents the first color video recorder it opens up new possibilities of computer-acoustic dance theater (Tommy Lehner) The time of the Synthesizer – Music Computer – Schweickart & Scott Smith, N+N Corsino, Ray Giarratana, Stephen Katz & Josselin Mahot, Manfred Laumer, perception for the dancer) Telechoreographie (Tanztheater 46) (1982/K207) Ancien Régime notes: video works have been very selectively (1963/T) fully transistorized recorder (AH) dynamic instead networked virtual Digital Technology (1980/K65) Members of the staff of ars electonica, AEC or ORF had no influence on the selection and arrangement. Fred Raimondi, Lisa Slates & Chitra Shriram, Mark Stetson, Alexander Szadeczky & Marcus Salzmann, (1965/T) Portapak – first affordable B/W camera (1997/K154) (Stelarc) (1) electronic of the included here. The field of video art has long been dancer with sensors attached dancefloor office furniture D.A.V.E – Performer as part of the video (Douglas Kahn) (1975/T) Betamax home video system (1977/T) VHS of static concert performance electroacoustic musicians Cornelia Unger, Francois Vogel a subject of art-historical analyses to the body (1962) (Josephine Anstey, performance Projection adapted to the body electronic (1999/J1987) Questions about completeness: (1980/T) Camcorder is presented (AH) dance and controlled is over. Astonish us or 2001: Xavier de l´Hermuzière & Philippe Grammaticopoulos, Ralph Eggleston, Laetitia Gabrielli & Max (1992/K92) D. Pape, D. Neveu) (Istvan Kantor) (K. Obermaier, C. Haring))(2000/K299) electronic wind instruments Due to the limitations of the available surface, it is not possible to provide a complete detailed presentation (1984/T) first videodisc in the art field small economical real-time videos disappear ! (Jury ! 2000/P196) Tourret, Mathieu Renoux & Pierre Marteel, Julien Charles & Lionel Catry & Nicolas Launay & Olivier Pautot, (Gary Hill) Computer controlled laserdisc Streaming Media (Lee Harrison III) (1992/II-K93) (2001/K301) (2000/K290/P94) VIVISECTOR (2002/K430) orchestra (1980/K43) (1988, 1992, 1994, 1996, 1998) video systems (1980/K94) (Rupert of all the participating artists, scientists and developers (about 3100 persons are listed). All the participants Candice Clémencet & Jean-Dominique Fievet, Mike Daly, Sébastien Ebzant & Aurélien Delpoux & Loic Bail & video lab MPEG, RealAudio, RealVideo metal junk (1979/K15) computer organ video-film processor (1989/T) Sony Hi8 stage set projection (D. Bruckmayr) self-made instruments game electronics Huber) were compared with the AEC/Ars database. (1986/K335) computer dancer electronic (1979/K49) analog synthesizer Benjamin Lauwick, Alain Escalle, Stefen M. Fangmeier, One Infinity, Bob Sabiston & Tommy Pallotta, Robert (1989/K180) for dance performance (Marina Koraiman) Kepler's Dream (1999/K345) The choice/placement is thus to be regarded as the author of the study's subjective/content-based selection. see also: history of video technology link between video art and (Akke Wagenaar, Masahiro Miwa) performance (Maywa Denki) (1992/II-K37) (L. Rehberg) Seidel & Michael Engelhardt, Jeremy Solterbeck, Hans Uhlig & Tony Hurd, Jason Wen & Howard Wen & (Georges K. Shortess) John Sanborn (2001/K116) music theater control First electronic orgel The study is intended to provide a wide-ranging survey, but it cannot substitute for reading the catalogues. computer film (1979/K10) (1993/K415) (2003/P96) (1979/K49) Andrew Jones & Casey Hess & Don Relyea 1970s "Audio/Video Instruments" (1992/II-K89) (1986/K121) (Giorgio Battistelli) (1996/K410) (E. Redl) (1929) (Laurens Hammond) digital synthesizer computer as puppet dance 2002: Pete Docter & David Silverman & Lee Unkrich & Andrew Stanton, BUF, Peter McDonald, Hiroshi Chida, Video: State of the art (Inge Graf + Zyx) video effects interactive choreography system for a Linzer Steel Opera (Studio Azzurro) (1984/K48) musical instrument (Dow-Jones-Index) oscillator bank In some cases, key works (or concepts) are cited, which were not shown in Linz, but are described in detail (rockefeller Foundation 1976) (1986/K180) 1986/87/88/... digital video portraits ballet by W. Forsythe (Giorgio Battistelli) (1990/K-I-43) electronic purgatory live synthesizer fortresses (1984/K150) Erik Nash, Lars Magnus Holmgren, Wojtek Wawszczyk, Jason Watts, Yasuhiro Yoshiura Electro Clips (Installation for (1984/K55) in catalogues. Image Processing and (1992/II-K63) (Johanna Branson Gill) (Shelley Lake) (1980/K106) (Michael Saup) (1982/K11) music theater (Kristi Allik, Robert Mulder) (1980/K11) 2003: Romain Segaud & Christel Pougeoise, Carlos Saldanha, Koji Yamamura, Christoph Ammann, Eric ballet) (C. Möller, Stephen live electronics (Kazuo Uehara) sound processors Video Synthesis (1975) The Kitchen (1992/II-K83) ORF Videonale 86 Video Art (1995/P100) ICARUS laser opera for (1992/K205) Armstrong, Jérome Decock & Olivier Lanerès & Mélina Milcent & Cécile Detez de la Dreve, Roger Gould & (Stephen Beck) (1992/II-K161) (1971/T) start of the electronic kitchen NY Galloway) (1994/II-K122) (1984/K157) performative theories from (1986/K392-1) multimedia and electronics Switched-On-Bach (1964) total automatization in music The poster can also be used as an index with the page numbers. Pete Docter, Thorsten Fleisch, Luc Froehlicher, Ludovic Houplain, Wayne Lytle, Siri Melchior, Jordi Moragues, manipulating video (1974/T) Projekt 74 (Jean-Baptiste Barrière) cultural studies (ML) At a closer look, there is an extremely (1980/K94) Proposal from Bognermayr in 1979 for an (Otto Piene, Paul Earls) MIDI (Wendy Carlos) Moog III (1979/K35) The search engine at www.aec.at is useful for further research, since many catalogue texts are available as The Video Synthesizer in real time shows American video 1982 electronic sound Tippett Studio, Satoshi Tomioka interesting relationship of tension between VideoOnDemand (1982/K50) Mini-Moog (1970) Dark symphony (2003) pdf files in the AEC database. performativity discourse (Tom DeWitt) (1992/II-K165) (Justin Manor) productions extensively electronics symposium, an "Electronic storing original The more technology deformation device theater as live performance and mediatized (2001/K295) (1977/T) documenta 6 focuses (Robert A. Moog) (Tim Didymus) performance studies (2003/F42/P110) for the first time in Music & Video Art Symposium" (1989/J12) sounds (1998/K250) the more boring (1979/K43) performance from film to television, all the way Image Processing (1986) on film, video ! (Paul Virilio) (2002/K238) (1980/K69/K70) speech-act theory video installation Europe (1980/K34) (surpreme particles, the result What does humanoid genetic structure to the computer game. (Experimental Television Center) opening with a video satellite transmission velocity of terror (1997/K310) (J. Harrison) synthesizer language game theory/praxeology (C. Steiger) (1994/K32) Infermental (1987/K174) from scratch) (1997/P44) sound like? (R. Spour, M. Veitl) (Sherry Miller Hocking, Richard Brewster) Spectro-Morphology Kepler's last dream (1979/K09/K39) feminist theories (J. Butler) (ML) media performances magazine on video cassettes (1996/P60) (1999/K337) radio art (see below Literature that was important in structuring this study: see also: view (1992/II-K169) (jomasounds) (1999/K380) (2000/K315) (1989/T) Cologne: exhibition "Video-Skulptur" ...) the dream of flying umbrella as sampler collages (1999/K383) (Frances-Marie Uitti) electronic pragmatism 28 performativity as view differ from interactive (1996/T) Linz: Ojekt : Video / G. Hattinger, Assmann resonance body meta- All the catalogues on the "ars electronica" and the "Prix ars electronica" of communication Image manipulation soundtrack: Found interactive video installation (1982/K07) Environmental Art (1990/K-I-55) vocoder, digital reverberation, music Kunst-Radio installations in that they are The Form and Sense of Video (1973) singing bows (Paul de Marinis) (1998/K273) trumpets ! Medien der Vernunft (Medien als Mengen von Tätigkeitstypen) / Matthias Vogel (MV) symbolic pragmatism Footage from CCTV surveillance cameras (1993/K397) (Gideon May) (V. Delay) equalizer, harmonizer, delay- performed before an audience (Robert Arn) (1992/II-K183) multi-monitor multi-channel installaiton (1988/K190) (2001/F04) (Rupert Huber) multi-track (J. Impett) electronic music (1992/K240) pragmatic-hermeneutical turn see also: dance view Traffic Cams, earth observation satellites, staircase as piano (2001/F17) devices, ... (1979/K26/K39) Synchronopse (in: look at me – Video – 25 Jahre Videoästhetik) / Petra Wenzel (1986/KII-261) (Ron Kuivila, polyphony (1994/P142) J. Chowning, J. Fritsch, B. Mason, role theory (T. Sarbin) performance view (I) theater view Space-Time Dynamics in ATM cameras, ... keys Der bewegte Betrachter – Theorien der interaktiven Medienkunst / Anette Hünnekens (AH) Radial Arcs) (S. Ferguson) S. Stockhausen, J. Tenney, Video Feedback (1984) interactive video (1987/K58) (M. Popp) Flexible simulation space – mosaic of mobile machine noises ring modulator, echo devices, filter media theory Note: this study can also be read electronic film videoinfography (PV) art from the screen Digitaler Schein – Ästhetik der elektronischen Medien / Ed. Florian Rötzer used on stage long-stringed installation Sound-Engine data sounds (knowbotic research) (1980/K10) (1984/K40) (1980/K11) jazz und electronic D. Youngerman as a supplement to the performance performance-based *OR* Performance (James P. Crutchfield) (AH) feed of all-around (A. Wollscheid, Maschinen, Medien, Performances / Ed. Martina Leeker (ML) (literature studies) (Istvan Kantor) (2001/F35) (1982/K251) (2003/K228) (1997/K360) performativity as mediality (1992/II-K191) videos into a VR environment (1987/K110) X-topia (E. Sharp, D. Wiesner) media discourse study - in keeping with (2000/K290) Video game (see also: games) (Ron Hays) (1982/K199) sound dome Brain Opera – Instruments sound-therapeutic objects (S. Penny, J. Schulte) perform or else – from discipline to performance / Jon McKenzie (JM) (Sybille Krämer) (Jaron Lanier) He is the creator of the first (P. Panhuysen, J. Goedhart) (Bruce Odland) Soldier String Quartet) (1993/K273) media studies Jon McKenzie: perform or else – stereoscopic film (Leo Küpper) (Tod Machover / MIT Media Lab) (1979/K37) (1996/K422) Kunst als Medientheorie / Hans Ulrich Reck (UR) (ML) In media performance the liveness "Horizonscan" game animation completely multimedia concerts, (Sam Auinger) (1994/II-K116) from discipline to performance (T. Shannon, J. Hassell) interactive videodisc art interactive sound sculptures (1984/K16) (1996/K300) space-filling media anthropology of theater and the interaction of computer Programmed performances? (2001/F16) (1990/K-I-146) auto-correlative cell phone concert Various articles by: Monika Fleischmann (MF) / Peter Weibel (PW) / Dieter Mersch (DM) / (1988/K111) (1989/K240) (David Tafler) music visualizations, in which lights dummy head (Yoshi Wada) (1988/K261) Glockenspiel ! communication theory technology are related to one another in such (1995/K206) communication process computer sonology (2001/K57) (2002/P98) Fred Forest (FF) / Paul Virilio (PV) / Heinrich Klotz (HK) / Frank Popper (FP) / Oliver Grau (OG) (AH) performative works (1989/K246) (Peter D´Agostino) and laser, wide-screen video and film echo sculptures Sound from the same hands stereophony (G.-W. Raes,MoniekDarge) (Haruo Ishii) a way that they achieve a synthesis in the "performative" apparitional WebCinema interactive (2002/K417) (1979/K36) (1984/K48) (Golan Levin) PERFORMANCE-ART Kontext (poster study) / G. Dirmoser (DG), B. Nieslony projections, slide overlays, fireworks, (Jaron Lanier) (1994/II-K110) (1979/K14) (1988/K274) (2003/F42/P106) mediatized performance (ML) programs aesthetics (see below) video narrative The videodisc was technically liberation of sound listening perspective (S. Gibbons, G. Shakar, Verben im Kontext (poster study) / Denken (ein semantisches Netz) / G. Dirmoser, B. Nieslony performative, i.e. in the reality-constituting random access to lasar pyrotechnical and other stage effects Lichtorgel execution of symbolic acts. (1995/P15) (R. Ascott)!! videodisc (1989/K225) already available in 1970; it was are combined. dummy head / quadrophony Well-tempered-Synthesizer Yasmin Sohrawardy) Studie Stadtwerkstatt-TV (on the ars electronica TV-projects and others) / G. Dirmoser combination of installation, etoy interactive narrative the first interactive wind-driven (1996/K382) concert machine – (1979/K19) Performativer approach 1995! (Grahame Weinbren) not used for artistic works, though, sound lab (1980/K19) (1980/K71) tyranny of the tuned performance and website The intersection between media and (1996/P80) (4-fold projection) video record (1989/K232) sequenzer Winfried Ritsch mathematical Designing Gestures (poster study on ars electronica 2003) / G. Dirmoser until the early 80s at MIT sound animation as real-time (1986/K332) piano (1980/K52) abrasion of art on the construction site (Fakeshop) (1999/K321) theater is thus the performative. digital hijack (Luc Courchesne) (Lynn Hershman) Video Clip 1987sound (1987/K98) musical instrument graphical music visible music Institutions affiliated with ArchiMedia & ars electronica / G. Dirmoser (AH) the art work does not exist process (K. Obermaier, R. Spour) underwater microphones (Stadtwerkstatt) (1994/II-K108) (1999/P66) (W. Giers) (1979/K46) (1979/K18) (1979/K19) Additional specialized literature is listed radially in the area of the content sectors until the viewer becomes an active interactive videos (1993/K260) Autonomie der Klänge sound synthesis (1987/K57) electronic timbre Radio Violins Interactive Cinema computer animation (Rosa Binaria) (1993) electronics and automation for participant navigation through voices film techniques that (1989/K106) timbre dynamics (1989/K294) catharsis computer concert performative installations (1999/J94) (1989/K225) (1979/K17) audio microscope (1987/K59) the analysis and synthesis of Social Club (Luc Courchesne) switch the time and space Japanese Animation! (1980/K43) (Jon Rose) (1994/II-K120) (G. Rabl) suggestion for a PRIX category (AH) The art object is not the (magnifying small sounds) music (1979/K03) (Stadtwerkstatt) With Lynn Hershmann,JeffryShaw, A Cybernetic Sculpture axes (1998/K197) ACA Media Arts Festival sound performance virtual reality and Questions of little use: (2000/K283) (MAIZ) Peter Weibel, Bill Seaman ... their interactive computer or the display, but the interactive cinema (M. Reinhart, the electronic musician music for the glove (M. Nyman) (1999/K385) electroacoustics (LesLevine) (1979/K10) interactivity of both interacting expanded cinema (Jane Veeder)(1984/K128) (2003/F19,K393) (AH) Mandala System (V. John Vincent) (Mark Trayle) What does all of this have to do with art? works can be derived directly from their (Peter Krieg) (1991/P140) V. Widrich) (Scott Fisher) (historical) anthropology 29 socio-logical view Cyberspace and society Ars: Performativity with the participant. (S. Tomioka, K. Yamamura, U. Tanaka, S. rotor system with interaction with sound & design modules (1994/II-K26) Old /vs/ new (electronic) media experience with performance art (AH) (Erik Hobijn, Lydia (1990/II-K295) loudspeakers (1990/II-K307) ethnology Performance stage as future cinema Interstitial (1994/K162) (2002/T exhibition "Animations" P.S.1 NY Hirata, S. Sakamoto, A. Kondoh, M. Shinka) algorithmic audio "take over" of electronic media art (take over /vs/ self-disbandment) sensory environment Why are aesthetic criteria Lunch, Z´EV) (1996/K268) cybernetic view theology / New Age discourse Siehe auch: Sicht der Sorge many performances use "new" (S. Krämer, R. Ascott) (Carole Ann Klonarides) Sound Experiments (2003/K228) as Mediality (2003/K300) applied to software digital advertising these projects are ultimately nothing other than (1991/K103) (Auinger, Just Merrit, et al.) white noise ethnography societal view kulturtheoretische Sicht media (see: Performance Study) (2003/K13) ... and not (2001/K94) (H. Deisl) Pixelspaces – DAMPF Live Electronic stereographic films carnival shows (1997/P53) game sounds (1982/K184) performance studies ethnography performative criteria? (DG) computer-controlled compare: Sensory Environments – Immaterial Interfaces Performance practice video production (as trailblazers) (2001/K209) 25 systemic view other poster studies: Anthroposcope (1993/K398) performance art editing (1984/K122) cultural anthropology (2003/F14, K299) (Heimo Ranzenbacher, Horst Hörtner) (1992/II-K48) historical view 26 temporal view (Laurent Mignonneau, Christa Sommerer) media actions (Laura Bellof) (1999/K402) computer animation / comp. generated http://www.servus.at/kontext/ARS/weitere_Studien/ media anthropology video transmission Film (Rolf Herken) anthropological view / structural affinity with mixed reality (Fred Forest) WebCinema (2001/K106) Raindance !! sociology and performance Festival for: Art, Technology and media performance media performance Sensory Environments (1979/T) Walkman is presented electronic nozzles formal view media art (1994/P108) performance (MF) (Nora Barry) (PRIX) sociological discourse Society (1979/K01) (1989/K275) Trace of the viewer in the VJs of the club scene visual effects 1969 Ronald Michael Baecker: (1985/T) portable CD-Player view of the score modulate a stream http://www.servus.at/kontext/ausstellungskunst/art_in_context.htm ethnological view (cf. construction of this study) TRANSIT: I. Bordoni, exoticism discourse (David Chesworth) image ... (MF) (AH) "closed-circuit" of the (2001/K87) stagnation in perfection Interactive Computer-mediated of water view of signs (2) see: process view view of Join-In Concert A.Bosshard, K. Hentschläger, (1997/K354) (H. Zachmann) tribalism debate democraticization of (D. Bruckmayr) mixed reality applications (2003/K328) real-time animation software Animation (PW) (2001/P98) (1980/K05/K55) (Peter Zegveld) H. Hörtner, M. Kreihsl, R. Paci DAMPF Lab: dance performance interactive video image 3D audio-siphon view of agreement control systems mass events (2001/K25) Performances transferred to avatars (see below) cartoon (film) culture (Paul DeMarinis) (tribal culture) (1991/K314) Daló, W. Rogojsza, G. Stocker, Cologne, Futurelab, V2_Lab Rotterdam, Realtime 3D Visuals vector-based real-time animation script view theological view (1980/K05) Linzer Sound Street surveillance This kind of music has become a structuralism discourse I.Strobl, T. Ungvary, Mia Zabelka Animax Multimedia-Thater Bonn (Basicray, Crashsite, animation technology (F. Fischnaller, M. Monzani) rotation from cybernetics (1980/K61) Online-Performances (2001/K37) formula (2000/P197) (Peter Rehberg) (game rules of art) Interactive Performance (3 ORF Landesstudios) (2003/K302) installations M. Bruner, K. Taschler, (2001/K196) "Banja" total simulation feature photorealism (1999/K349) virtual time – loudspeaker through the process patchwork (Michael Jüllich) (AH) society of PRIX (new art form) developed by ..... Stocker´s Ruf nach Linz Nappi) (2000/K314) film (1984/K124) (1990/P70) can the subjective (John Driscoll) stochastic matrix view to performative biographies interactivity movement view / dynamic Jury ritual view culture for all Scott Fisher, Ann Marion experience of time (1980/K132) (for chord concatenations) analysis Online communities (AH) the performer controls electronic Ars: Performance – mixed reality Interactive VR art works compare: be programmed? (1979/K36) whirling Literature: and reputation capital Community Internet Radio stage images through sensors (attached performance focus in real time (2001/K301) (Georg Franck) schematizing compositional Flying large four- 27 process view historical view instruments control system technology Wie geWOHNT – Neue Wohnkezepte auf dem (Baudrillard) All our machines are screens, we ourselves (2002/K258) Broadcasting (2002/K196) to the body) in real time (T. Margolis) (1990/II-K57) view of acceleration (AH) processes (1979/K34) Musikgesteuerte 1979-82 dimensional figures in (1989/K320) Prüfstand / Symposium 2003 have become screens, and people's relationships with one integrated media performance 1984 (VOSIM – Prof. Kaegi) Laserprojektion Performative Interfaces the sky with an airplane. Video-on-demand (Max Eastley) remote-controlled LifeTool, Computer Aided Communication another have become those of screens. Internet as social space (1997/K386) MUDs, MOOs socio-cultural (PoMo CoMo) (1992/K226) event view I temporalization (AH) (Paul Earls) (1980/K102) (Monika Fleischmann) (Steve Poleskie) concert performance (2) (1995/K175) view of the act orbital acceleration active score – sensory systems Terminal bar (Bruce Damer) (R. Lozano-Hemmer et al.) (1986/K231) automatic musical Die Individualität der Medien – Eine Geschichte life counselling for software scene social networking animation projects (1982/K106) (J. Smetschka) (2001/K358) Kickass-Engine interactive (David Rokeby) Those who create interactive BBS, Info-DB (1997/P84) (2001/K57) (Steve Mann) (1997/K218) composition (P. Barbaud) der Wissenschaften vom Menschen / participants/children culture systems (2004) (1980/K05) An Internet actuated and electronic the term "process" was central (2001/K207) graphical instrument Telesteuerung (PV) cybernetic sculptures interfaces assume social responsibility Recombinant 9.9.99 video performance high-speed surveillance (1979/K51) Stefan Rieger Face Settings uploaded Performance performance film series "artificial for Ascott around 1980 (K. Furukawa, (Wen-Ying Tsai) (2003/P23) gaming communities (2001/K20) Telecenter (2004) Happening concert performance simulation view superhighways (see right) Technologies for People With Handicaps (Kathy Rae Huffman) (1997/K154) (Stelarc) life" (1993/K282) M. Fujihata, mutual effects between lines of demarcation (1997/F51) Elektronic Happening (K: Naut Humon) (1999/K380) real-time composition for conceptual-systemic (1997/K364) Internet cafe In Yokohama, Ito realized a performance of W. Münch) environment and artwork 1994/K98/2 "separating" persons in Social Web Multi-User-Dungeons MediaMOO: (1984/K147) (Paik, Moorman) (Sound Traffic Control, Mix- visual sensor registering movements 12 radio receivers art (2) (AH) MUD MOO MOO Workshop "networks" for "samplers", "performance devices", (G. Stocker) The products of this (media) art (1999/K347) CARETEC exhibition aspace (John Coate, Multi-User-Dimensions for media Electronic Cafe master Mike, Scratch Perverts, real-time in space (1989/K317) (Konrad Becker) Scenarios for Virtual "interface devices" for interaction between these (AH) the focus is much more on are shifted from object to process, from information (1998/P100) (Scott Sona Snibbe) Station Rose) (2002/K253) researchers collective weblogs (2004) (Project 1984 Los Angeles) Powerbook Orchrstra, The (AH) process instead of movement functional descriptions of dance Communities Telematic performances (ML) and computer connections of harbor networks processes than on completed and presentation to interaction and communication, formal languages virtual communities (1995/K139) User, T. Brinkmann, Richie essence control Vision System notation show similarities with those Text collection from Willi Mayrwöger: (1996/K389) FreeNet initiatives (2004) Viewers and actors on site can be networked with with other networks works or as the Japanese researcher-artist Masaki (2004) Digital Communities Hawtin, Ikue Mori, Barry (1995/K178) (optical tracking) of software code 1960/70s Computer-Didaktik in der Sonderpädagogik / (AH) The communication artist (O. Frommel) people in other places in an interactive, multimedia (Toyo Ito) (1995/K59) Fujihata has said, "from document to event". electronic musical score addresses the wide-ranging Multimedia for all (H.-J. Hack) Schwartz, Stefan Betke, first approximations to the performative view (2003/K314) (Scott deLahunta) foundation of cybernetic Roy Ascott had his first idea of an 2004 process (1999/J68) (2001/K322) R. Bonfranchi social impacts of the Internet Otomo Yoshhide, Scot Jenerik, Mazk, Sam Auinger, reading the user's thinking (1986/II-125) "art of behavior" and the "cybernetic vision" (1997/P88) Behinderte Kinder am Computer / M. Meyer digital communities (PRIX ab 2004) Virtual Appearance "Modules", Christian Marclay, Musical arrangement is obstinate movement (MF) script languages score for television projects as early as 1966 Social CODE (Symposium) The category "Interactive Art" (1998/II-K64) OODA-Loop: inherently interactively processual. (Stahl Stenslie) the flowing, artworks as Elektronische Kommunikationshilfen für socio-cultural applications of the Internet community networks Terre Thaemlitz, DJ Olive, Carl Stone, Kit Clayton) art works (Stadtwerkstatt) Encoded Music (2003/F11) deals with interactive works of observation processualness of (Werner Jauk) (1995/P27) decentral, process-oriented graphics and music SW complex systems robo-ecologies (1993) nichtsprechende SchülerInnen ... / A. Lingen ... who set links to other artists gaming communities understanding music as a kind (Alex McLean, Adrian Ward) all kinds ... from installations orientation media art (2003/K13) character of a large portion (Golan Levin) Computer- und Informationstechnologie – in turn (1996/P47) Radio FRO conference (2004) dynamic systems of software (H. Ranzenbacher) (2003/F38) (AH) ... Myron Krueger, Roy Ascott and community art all the way to performance decision On paradigm changes, of interactive art (2000/K308) cybernetic art cybernetic sculpture Geistigbehinderten-pädagogische Perspektiven therapeutic discourse Towards a Society of Control shift of significance from the process-oriented beyond a rigid Code – Notation (2003/K341) 30 behavior view Fred Forest thus also stress the "concept of action" or the participative WWW works (DH) control society (2004) view of action action new role models, working (2000/K214) (M. Fujihata, K. Furukawa, CODE (2) (Wenig-Ying Tsai) (1983) (2003/F15) (Cindy Cohn, object to the dynamic system languages geometry (AH) 2003 Hg. Wolfgang Lamers disability studies "matrix of behavior" as a fundamental precondition for Art Com Electronic Network download, manipulate, upload, Towards a Society of Control? models, and the creative W. Münch) ((2000/K309) shift in time Augmentative und alternative Communication / Gestalt therapy the participants' behavior and aesthetic characteristic control (robots) Christiane Asschenfeld, Juliane (O.L. Tremetzberger) (2003/K54) burst(2001/F08) (2003/K13) Code and Music – Technique and self-organization The term "behavior" was ACEN (1986) (1989/K130) (AH) technical (Dan Graham) of an "aesthetics of communication". contributions to a lasting change Alton, M. Terkessidis, E. Möchel) model bedroom with eye- the temporal structure creativity while composing reaktiv, responsiv (knowbotic research) David Beukelmann, Pat Mirenda psychodrama / psychotechniques central for Ascott around 1980 As artists working with electronic community Electroacoustic 28 pragmatistic view reproducability spatial representations (1992/K136) in the form of a project: (K. Becker, A. Toner, M. Vojtechovsky, Modern process character of action controlled projection of WWW works (Jonathan Norton) (2003/K294) triggern therapeutic pedagogy No Man´s Land digital media, we are constantly (electronic Bulletin Board) Visitation Mass instead of original pseudo 3D electronics as behavior of forms - forms of behavior (Eva Grubinger, Antonio Muntadas, Z. Blace, Eugen Babau-Iladi, H. Harger) primitives see also: political view (Lynn Hershman) (1997/P119) motion capturing system theory Robot installationen / reminded that when we create (Diamanda Galas) VRML correlating body/movement gentle technology (Roy Ascott) (1995/P20) Douglas Davis, Jenny Holzer, Ed Stastny, see also: power-theoretical view temporal structure of digital artworks, we are really building BBS Bulletin Board learning and knowledge (Andrea Juno) with a telematic circulation, feedback, (1979/K05) dance theory implanted and emergent (1986/K83)(1989/J59) (AH) Appropriation and animation works (1997/K285) (Stadtwerkstatt) virtual machines. Every aid (regardless Joachim Blank, Karl Heinz Jeron) communities (2004) (1990/II-K234) role view see also: historical view simulation software counterpart self-controlling, Cognitive behavior patterns that are behavior (the parasites, the undomesticated, model Was ist eine Virtual Reality the term "system" was central of whether "soft" or "hard") is a mechanistic Cyber society – Myth and Reality of the Sermon on the Mount (1984/K187) action bots simulation instead of the original (Heimo Ranzenbacher) self-organization, multiplied and replicated through communication the inverted scavengers, ...) (2004) digital citizens' participation Modelling Language (VRML) motion tracking kinetic for Ascott around 1980 immitation of a small area of human (Bognermayr, Zuschrader, Prünster) (2003/K334) autopoiesis (AH) were called "topoi", "habits" or "cliches". They were (L.-P. Demers, Bill Vorn) Information Society (book) neighborhood citizens' conferences (2004) (AH) aesthetics of action simulation works (David Blair) interference objects following filmed regarded as social constants that were stable, (1996/K262) see below behavior. (1996/K203) (Simon Penny) radio view Simulation set of operations (1995/K220) Multi-User-VRML ultrasound movement (P. Barbaud) (1979/K51) passers-by Logicaland (M. Aschauer, Some Code to Die for tele-actors (PV) acting remotely (FF) except for marginal changes. This characteristic expressive automatons (1996/P129) There is no world view or art, no Wearable System (GPS for interactive 3D-cinemaworld (1997/K390) holograms (M. Desbazeille, J. Deinhofer,Maia Gusberti, (Leo Findeisen) (2003/K73) hobby religion in gets lost in the discussion of "memes". social structure or symbolic order that virtualization of action with (1988/K276) light-kinetic Nik Thönen) (2002/K364) determining position) Conveying (AH) disclosing simulation space mosaic of mobile S. Canto) (2001/P100) (1996/K34) (H. Hrachovec) could do without art (DM) belonging to a community (MF) films like electronic remote action (PV) (1998) decentered connective To simulate processes of life: Evolution, objects (H.M. Ihme) the kinetic complex regulators (2002/P34) Changing the behavior of actions data sounds (Knowbotic Research) (AH) Krueger discovered that users Concerns of music are Indian philosophy final phantasie science fiction, socio-fiction, political fiction ... actions (ML) breeding and selection (OG): Thomas Speaker Swinging light machine Centerbeam (Gyorgy Kepes) puppets through changes in Social Software (1993/P98) syntax of binary images Behavior is movement, in which an quickly identify with a figure in a tendencies to excessive Indranet Thse are role plays, parallel strategies, Ray, Christa Sommerer, Karl Sims, (Gordon Monahan) (1980/K120) (1980/K98) Artifical Life (2) stockmarket courses AEC as "Evangelist" kinetic feedback (Woody Vasulka) intention can be recognized. The 1993 (2004) Is God flat? Is the devil (MF) Unlike immersive image strategies games as simulation Jane Prophet (1988/K277) cybernetic game, if it reacts to instructions in (Erwin Redl) (1996/P152) behaivor (Diamanda Galas) Station Rose in the ... scattered images of a future cyberspace (PV) harmonizing actions A brief introduction to the light sculpture (2001/K353) (1989/J22) combination of simple behavior curved? (1995/P112) (1996/P14) (Nam June Paik) his career: that draw the viewer into a space of illusion, kinetic sculpture play of movement real time. It is not the realistic (1986/K84) Social Web (1997/K426) (Stahl Stenslie) art of flight simulation (war games with simulated Music for Mechanical Metal (C. Möller, patterns produces "personality" (M. Benayoun) transforming television and new the mixed reality concept focusing on the radar data on missile (Chryssa Vardea) (Roland Kayn) behavior of complex systems portrayal that determines Techno-religious ecstasies spin-offs (Monika Fleischmann) Mixed Reality: (Ron Reisman) (1996/P211) R. Kramm) cyberneticists and physicists or "predisposition" (2003/K183) Holography and Society video techniques into contemporary body-space experience leads the viewer into an (1980/K101) (1986/K184) aesthetic pleasure, but rather the (2000/K213) The interfaces as input/output instrument is not a (1990/II-K159) guiding computer systems) ars: on simulation (Gordon Monahan) (1994/P132) Immersion in war pictures - removing, (Vito Orazem) art (1982/K102) action-oriented situation that leaves room and H.W. Franke – ars co-founder (PW) Systems theory approach to the identification with the controlled behavior. (PW) Intelligent Working up to the rank multimedia instrument, but an instrument of action Symposium deleting (Maurice Benayoun, Jean- imagination for thinking. Survival by kinetic water display calculations by (1979/K02) Journey through the behavior of complex systems (1994/K09) products, intelligent of a god in the MOO Instinct TV for a synaesthetic transformation of the perception Babtiste Barriere) CAVE work Fiction and Simulation Simulation (1989/K191) Kinetic Art analog computers spiritual essence of the trance ... the immediacy of experience results from the ambients, the whole (1997/K174) Instant TV of media space. (AH) 3D simulation as a new (AH) What these "systems of media art (1998/P70) 29 TV view II (MF) the transfer of image data is (Friedrich A. Kittler) (Peter Weibel) (Stephen Pevnick) are a kinetic have in common is that the virtual world (2002/P100) (United Game Artists) models of behavior and actions realistic behavior and not from the realistic technology evolution show Reaction-Action TV (U. Reck) ... For this reason, aesthetic endeavors quality of illusion (Alison Cornyn, Sue Johnson) thus harmonized with the dynamics of (1988/K87) (1990/II-K20) "acting out" changes depending on and with the observer (Tetsuya Mizuguchie) (based on Kandinsky) (1998/P30) (knowbotic research) Tokyo 1997 graphical representation. that we are always handicapped Catastrophe TV and developed practices are currently progressing 50s-70s / affinity prison life (2001/P50) electronic physical actions decidedly from representation to activity, from kinetic sculpture as part of the system in real time. Weibel without knowing it (1994/K26) Fernsehfamilie simultaneity (Edmont Couchot) The extent of (J. Sauter, D. Lüsebrink) (1997/K258) to media art Gyroscope (tilt and (AH) Die Vorstellung von einem „idealen Zuschauer“, der sich confessional HDTV (1991/K91) (Stadtwerkstatt) mimesis to experimental action. lateral movement), odometer consequently regards them as "cybernetic Technology and magical mystery tour code of behavior interactive television (Roy Ascott) (1995/P20) toward an orientation to action the space of possibility that a Puttting images into a virtual information entsprechend der Kalkulation des Künstlers verhält und die ihm Scientology vs. (AH) real time (terms) real-time processes (speed) systems", the events of which are structured the irrational "Turn On, Turn In, DropOut ..." (1998/P60) (Wendy Vissar) simulation model opens up, depends architecture following the pan of the camera mythic view zugewiesene Rolle ernst nimmt oder seine ihm angebotene Newsgroup (1996/P100) (1971/T) "Media-Bus" (Martina Leeker) Theater people criticize Installation for computer-controlled sound mapping project recursively as feedback. cultural anthropology (Mark Pauline) Timothy Leary (LSD-Guru) victims of the information age on the boundaries of the model. (1979/K35) Freiheit mißbraucht, sei, (so Popper) eine unausgesprochene TV technology TV art start of TV station operated technical interactivity and describe it as Radio International short-wave receivers (1998/K175) accidence – remote-controlled (1998/P94) (1990/II-K232) (David Sheff) The Jewelry Box (PW) The so-called handicapped Nerve Theory: shades of catatonia (PV) ... It turns out that words structuralism (discourse) Delphi Digital Voraussetzung für das Gelingen des Kunstwerks und die by artists interpassivity. They establish an shortened City (1998/P50) (R. Adrian, N. Math) car jumps (Leo Schatzl) relationship with person is only a special case, who (B. Loibner, T. Sherman) (1998/K244) television as are not models. In my opinion, dramaturgy of (Iain Mott, Marc Raszewski, myth discourse (1990/II-K241) erfolgreiche Intergration des Betrachters ... concept of action. (Thomax Kaulmann) (1991/K215) s.u. (Margot Pilz, Roland Scheidl) makes the general human condition artistic device Horizontal Radio: the event is the nerve of information models are images. Jim Sosnin) mythological view minus points (1984/T) MTV sendet in Europa Free B92 real time (PV) (1998) deconstructivism (1991/K163) of being handicapped visible. (1989/K154) digital intro for TV telematic radio network (E. Couchot) (ML) The emphasis on the performative does (1997/P136) (Mark Madel) (PW) We move too slowly, that is why (1986/T) television project PONTON (K149) 2h TV (ML) The transgression lies in the fact that in the (1999/K395) system for theories of memory tape recorder voices (1994/K17) (Stadtwerkstatt) broadcasts project (1995/K354) not establish a new, universal order here, but we have the car; we can't fly, so we build (1987/T) Stadtwerkstatt TV 1st attempt (K165) media performance the interaction is no longer used (1999/P38) process art PureDataConnections real-time synthesis art as physical sensation alchemy, hermetics (Manfred Riepe) posing stimuli on the screen (G. Stocker) (1999/J397) Realtime-Audio- Literature: transformation itself instead becomes the new mystical dimensions (Baudrillard) airplanes; we can't calculate fast enough ... (1989/K148) (1987/T) STWST-TV Kabel-FS im Hotel (1988/K213) as a paradigm for action, but as a performative Radiotopia (2003/K203) (1984/K48) esoteric debates / New Age discourse 31 view of metamorphosis (1991/K286) (2003/K188) (Casey Reas) SOS Radio TNC Cinematics Blick, Stimme und (k)ein Körper / principle of cultural order (see below) (Claire Roudenko-Bertin) The virtual human, motionless before We are essentially handicapped, we just don't deformities Radio Free Utopia (1989/T) Van Gogh TV – Studio (1989/K115) process. Instead of interaction, there is a confrontation OZOne, Radio Qualia, (2002/K427) (M. Pinter, Renate Oblak, psychology Behavior rules and reactive his computer, makes love via the screen digital broadcasting (Beusch, Cassani) Radio Lada (1998/K79) (1999/K380) Mona Sarkis search for elves (1992/K159) notice it. (1994/K17) (Anita Gratzer) (Friederike Pezold) (1989/T) Gründung University TV (1990/I-K198) with what is happening. (1999/K405) W. Ritsch, M. Pichlmaier) structures (2003/K192) and lectures through teleconferencing. He (1999/K324) (1996/K366) sonic graphics – seeing sound / Matt Woolman performative theories media as site of transition (DM) (Agnes Meyer-Brandis) (1989/T) Stadtwerkstatt - slot machine TV, live on 3sat remixing radio programs Free Speech magical view interest in myths (Darrin Butts) becomes both motorically and cerebrally Stille elektronische Post (1986) TNC Network Online-Generation/Automation of Data/Sounds art as real-time event ethnology (2003/F42/P112) (1990/T) Van Gogh TV – Hotel Pompino (1990/I-K159) Looking at ORF Kunstradio, VanGoghTV and "heavy rotation revisor" (2003 OK) Camp – FRO Speech,music,sound/ Theo vanLeeuwen (1993/P68) handicapped .... (R. Kriesche, G. Bechthold) On-line/On-site/On-air sound installation analytical philosophy Information is thus the (1996/K412) (Harwood) (1990/T) STWST-TV – Invasion-Okkupation (Buffalo NY) Xchange, one notes an interesting development: (2000/F46) Medien/Stimmen / Hg. Cornelia Epping-Jäger, illusionist out of body experiences Zusammenschaltung 2er Studios (MEGO) (Colin Fallows, Heidi Grundmann) exact opposite of myth Rehearsal of Memory (mental patients (1991/T) STWST-TV Out of Control (1991/K89) first TV ars ... cheaper and simpler technology creates Radio FRO (2001/K406) Ponton – Van Gogh TV: Erika Linz linguistic philosophy (1986/II-K275) (A. Krach, J. Sienknecht, S. Gründler, C. Fallows, Dusan Bauk, (Kittler) ritual performance with butchering performative transformations in a high security hospital) (1992/T) Piazza Virtuale – documenta 9 greater freedom, individuality and diversity Radioqualia (1998/K105) radio project rhetoric / topic transformation view face made of A.Vasiljevic, R. Klajn, G. Paunovic, A. Garton, J. Curtis, Zwische Rauschen und Offenbarung – Zur (1995/K79) and preparation of a chicken. (1986) (P. Eisenman) (cf. 1994/K56) TV-Sculpture (1992/T) STWST-TV Im Teilchendschungel der W. ... (92/K198) (1998/K78) (1989/K110) net radio linguistics single drawings Out of control (4) radio technology M. Smith, Sandra Wintner, G. Gregson, S. Cathey, Kultur- und Mediengeschichte der Stimme / (Minus Delta T) (1989/J135) transformation of the sign Eliza dialogues (1966) (Aldo Tambellini) (1995/T) STWST-TV Checkpoint 95 (1995/K323) Familie Auer (Kunstradio) Emilia Telese, T.M. Didymus, H. Harger, A. Hyde, structuralism Myth of Information avatars (S. Zeyen) exhibition of the Prinzhorn collection Kunstradio network Ed. F. Kittler, Th. Macho, Sigrid Weigel (Selim Koder) (1994/K51) (Weizenbaum) 30 therapeutic view (1992/II-K110) (2000/T) Televisio – Kunst sieht fern / Vienna (1997/K411) R. Bastien, S. Chappelle, Joelle Ciona, trash view (1995/K) (1995/K117) (1997/P140) (1991/K245) (Ferenc Jádi) Beginning 1987 ORF and its partner 3SAT Transformationen der Techno-Ästhetik (essay speech act theory the virtual vampire overall data work see below (1992/K194) Manifesto (1998/K101) P. Courtemanche, anna Friz, Eileen Kage, (McKenzie Wark) New Age cyberculture world premiere of the television open transmissions for media artists free radios and pragmatics/interactions and (Doro Franck) (Roy Ascott) (1989/K100) (1994/II-K98) color recognition device, whistle (Heidi Grundmann) from NET:ART to NET.RADIO B. Mullan, W. Sergeant, T. Cole, in: Digitaler Schein) / Peter Weibel (1996/K231) spectacle "Willoughby Sharp´s throughout Europe their problems conversation analysis (1990/II-K221) interface to telephone, keyboard for the blind, (1989/K276) (1998/K75) (Josephine Bosma) Andrea Sodomka, M. Breindl, N. Math emoticons / Karin Niedermeier see also: filmic view The New Myth Morphing Morphing Software connectivity, view of handicaps Downtown NY 1986" (1986/K388) from Van Gogh TV and Stadtwerkstatt sociolinguistics the mythical TV space ideological tendencies Speaking Thermometer, ...) (1996/K352) 1989 see below W. Ritsch see also: topological view (Frank Ogden) transformation and (first TV project at the ars!) (1996/J98) linguistic performance theory "My Neighbourhood" of media art (1999/J90) Open Air – A Radiotopia art as energy flow (1995/K99) 100th image as morphing basis transcendence (New Age cultures) (1998/K290) see also: body view, education view etc. IBVA system (Interactive Brainware Materia Prima the space-maker (1994/K160) radio art On line – on site – on air literature studies (1998/P137) (T. Waliczky) see also: psychoanalytical view Visual Analyzer) for simple command processes TV Poetry webcam art net radio has to react (Code) (2003/K12) (DM) mathematics and its as magician the confrontation of art at Minus Delta t robot arms moved solely (unplugged 2002/F16) art as act literature discourse Mysticifactions: (1989/J51/J52) (Gebhard Sengmüller) "Piazza Virtuale", the interactive computer to its environment nimbus of the magical (Randal Walser) the archetypal level shows technology by thought Radiophone poetry – linguistic turn (discourse) technological magic Bermuda Triangle (Isao Tomita) (1982/K193) voice, breath and gaze handicapped by a (1993/K382) (1998/P21) environment for live TV from the Ponton European Radiolabor (1992/K202) (1998/K75) (1995/K223) (I. Burgbacher-Krupka) mystically (1986/K07) The myth of (Spiegel 03.2004) new radio play Radio Subcom (1989/J52) (1990/II-K206) (1989/J118) (1999/J356) recognition systems wheelchair Media Art Lab, with Picturephone, ISDN, with games VR als virtual drug (1990) the artificial (1991) (1980/K07) (1989/K163) radio goals (J. Sugár) Video Magic The Mind of Universe (Isao Tomita) (1984) (1989/J122) media mysticism (1986/K148) (AH) Technological progress goes from the (Jon Berge) (1997/P138) Live TV experiments and activities that can be controlled with via telephone Cyborgsurrealismus (1998/II-K290) (AH) physical (1996/K352) (E. Schoener) Erdenklang (Erika Gangl, Bognermayr, Zuschrader, ...) 2nd Nature "guided hand" (keyboard or mouse) to gesture and voice, existence in electronic keys, and chat programs using modem, fax, telephone (E. Kluitenberg, E. Davis, (1997/K63) s.u. diabolic invisibility rehabilitation measures wheelchair as interface RealRadio art as transmission (1979/K50) magical-symbolic elements (1982) (1989/J120) cosmological model Myth of the Computer then to the simple gaze and finally from the gaze space (1994/K158) and live entry points Rasa Smite, Raitis Smits, (Haraway) gambling and spirituality (MF) (GMD) for navigation (Markus Seidl) (Dieter Daniels) musical magic Aurora Electronica (...) Mullicans to thought. (1994/K160) (1997/K388) Borut Savski, Rachel (1996/K420) (Nancy Paterson) Myth of AI manipulation aids (Mintz, Ditmars, Duggan) Closed-circuit-TV Piazza Virtuale – Service Area (1994/K232) Cyborg as carnivalesque (1990/K-I-20) (S. Leoni) art is media-mysticism Intergalactic "mating" (Jon Hassell, Thomas Shannon) electronic cane for the blind Baker (1998/K90) (1988) (19989/J151) (1996/P146) (1994/K159) transitional figure every art form has (1989/J52) Thus, telepresence maps onto three long-term projects in the mythological-electronic mobility aids autonomous wheelchair (GuideCane) Ugo Ugo Lhuga (Adrian X) (1989/K146) see below (1998/II-K275) Live TV with telepresence (Bilwet/Adilkno) its origins in magic transformations of techno-mysticism history of ideas, including their mythical, magical, and utopian Note: the orality view rehabilitation technologies for people children interacting with "art radio" was the attempt to experience techno-utopianism music theater "collisions" (S. Hawking) (Stadtwerkstatt) (1997/K135) (1991/K111) electro-acoustical (1996/K35) connotations. These are, first, the dream of artificial life and has been relocated perception aids technique computer-generated figures in radio as it could have been, if it had not techno-aesthetics (PW) techno-paganism (Transcenic/Theatre d´en Face) (1994/K19) with handicaps (1995/K323) (Z. Karkowski) visitation mass overwriting and transgressing automation; second, the tradition of virtual realities in art; (1984/K223) (1989/J125) (1994/II-K98) a television show (Toshio Iwai) become a centralized mass medium irony and humor and third, the occult prehistory of telecommunication, motivating the visually impaired night vision devices real-time solution not feasible art as action (Diamanda Galas) classical arts (PW) to communicate visually via CARETEC exhibition (1994/K252) (1999/J428) in cyberfeminism the state of the world after which operates permanently within structures of in the multimedia networks from TV work to (1986/K83)(1989/J59) MARX (O. Augst, M. Daemgen, Internet (1996/P136) electronic aids for Ugo Ugo Lhuga Live radio art is not art as performance (Birgit Richard) its techno-transformation (PW) ideaes for leaving the body (OG) (only TV networks have sufficient radio projects (VR) design was voice view C. Korn, T. Desy) (2003/F22) (Elisabeth Goldring) the handicapped (it was possible to speak with the figures) sound art Electrolobby as international (1999/J336) ars: on handicaps bandwidth) (Stadtwerkstatt) art as broadcast techno-séance inspired by alchemist The techno-world of machines represents a (1998/K101) game lab (2001/K195) (1994/K162) (P. Weibel) Instead of original - technical reproductions, scientist-comedians practices (Silver) radical transformation of being (PW) voice distortions SLO – Scanning COMPUTER as handicap - what computers can't do appropriation and simulation, instead of author - collective, Live TV with telepresence Ready-Made-Medium (1998/II-K178) (1996/P156) (1992/II-K28) Laser Ophtalmoscope Unplugged – Methods (Symposiums) creating realities that can be (Joe Davis) machine, text, instead of truth - verdiction and virtuality, 31 orality view Vocoder (Stadtwerkstatt) (Lev Manovich) as presentation form/TV video gamel – urban Until the late 80s military The techno-transformations of art, from 1994 experienced emotionally - even entirely instead of thing - medium, instead of material - evaluating the emotional (1995/K324) (1995/K343) (Thomas Dreher) parody of violence simulators - the American photography to the digital image, are communication devices without data helmet and cybergloves immateriality, instead of reality - fiction, instead of being content of the voice emergency services display of parallel space (1995/K55) (L. Hart, Julien Alma) SIMNET and applications machinic art forms (PW) (verbal output devices) device for memorizing (2001/K20) and reality only signs, fictions, Voice Boxes (connectionist installation) (Tommy Lehner) (2000/F34) like flight simulators - In the worst case, what theater view II supported communication knowledge (CBT) A carvival of misplaced devotion The history of technology simulation. (Natalie Jeremijenko) Live transmissions of were considered the will be left of the VR facilitated communication: prosthetic aids (S.R.L.) (Seattle 1990)(1990/II-K233) adapted shooter games has always been the history (1996/K402) collection of (paper tiger TV) operations from the origin of the commercial movement will be only an RE:MARK – transforming sounds into touched or supported while Nybble-engine-toolZ of its myths and utopias (OG) (PW) The transformation of techno-art can onomatopoeia light signals (1995/K337) public hospital video game infantile toy industry dynamic forms (Golan Levin) writing Borderland (shooter video game techniques (M. Jahrmann, M. Moswitzer) auditive battle game be described as a transformation of the rhetoric view (Agathe Jacquillat, (instead of acoustic output means for controlling the are extremely popular Literature: (Peter Weibel) (2002/K410) TV as domestic (J. Alma, L. Hart) (2000/P86) (2003/F40/P92) KlangKanone (Stichting Rainstick) ontological triple (being, work, truth) into the Tomi Vollauschek) environment (remote control) (Melita Zajc) Blick, Stimme und (k)ein Körper – Der Einsatz (1990/II-K30) telescopy (PV) (1995/K258) semiotic triple (sign, medium, power). voice recognition (2003/P58) (1995/K77) der elektronischen Medien im Theater und in Glasfieber – bowling alley Happy Doomsday! (1998/II-K178) ARSDOOM Bio-Mechanical Gameshow Voice System AAC = augmentative and commands through face Biocybernetic technology interaktiven Installationen / Mona Sarkis (Stadtwerkstatt) (1996/K324) (Cálin Dan) (1998/K148) DOOM II and the art adventure professional gamers (2001/K192) (1997/K362) (Time´s up) linguistic view muscles (1994/K198) (1994/K198) (for paraplegics) art as social issue VR-landscape "PlaceHolder" speech recognition speech recognition alternative communication culture of war military version (1995/K262) (T.H.H. Boykett: Theory of Hypercompetition) auditive poetry (C. Helbock) Maschinen, Medien, Performances – Theater an (Brenda Laurel, Rachel Strickland) (hearing the presence (1989/K167) On Jandl – digitalized mouths "Marine Doom" Brucknerhaus (D. Rokeby) Computer game see also: radio view speech sound Augmentative forms of communication: aids for self-active game (1998/K163) art as transmission der Schnittstelle zu digitalen Welten / interactive art on the Net (1971/T) Noan Bushnell invents the world's Text Rain (2000/K389) (1994/P124) of the user) (Eku Wand) (Orhan Kipcak) developers are the (1980/K76) hand and foot signals, head movements, and problem-solving behavior Martina Leeker (Ed.) (Eduardo Kac) (1995/K170) first commercial video game (Camille Utterback, Romy Achituv) (1993/P87) culture of laughter view contemporary masters articulation (gerhard rühm) eye movements, facial expression, gesture, Liveness / Philip Auslander (1972/T) Atari: video game machines "Pong" computer game in (AH) Interactivity creates an intimate relation of illusion (phonation) vocal synthesis emotional expression, posture, ... Computers as Theatre / Brenda Laurel games / deconstruction and (N. Suzuki) (1976/T) Fairchild : video game device concert performance (ML) Since the publication of Speech Recognition special input devices modifikation (2003/K227) between the artwork and the viewer (J. Shaw) (1980/T) Pac Man (a player only managed to play (Leo Küpper) (1984/K29) possibilities of the Acoustic events for one (1996/P150) (1993/K263) macpanic "Computers as Theater" (Brenda Laurel) Voice Recognition linguistic notations of Alternative forms of communication: foot-mouse, headpointer, Spielfiguren in virtuellen Welten / Natascha carnival view all 256 levels after 20 years) human voice voice and apparatuses (1970) interactive games ... are designed and the voice (1989/K272) sign language, images, graphic symbols eyetracker Adamowsky (AH) interactivity is generated in the various Feedback sound mikado Speech Translation AR / Audio Reality (instead of VR) (Diamanda Galas) (1986) (Ernst Jandl) (1980/K88) two-way interaction judged according to aspects of theater. (Amanda Stewart) (Wolfgang Georgsdorf) Für eine Ästhetik des Spiels / Ruth Sonderegger user interaces by touch, gesture, movement, playful art video games see above (Waltraud Cooper) (1999/P80) (Steffen Wernery) avant-garde (Myron Krueger) feedback art (PV) special output devices: integrating games in 32 playful view acoustics or sight (1987/K100) Virtual Labyrinth (1995/K205) electroacoustic singer Messa di Voce – visualized Künstliche Spiele / Ed. Georg Hartwagner, (AH) game structure as model Interactive theater for 4 virtual Braille display therapy (1994/K199) Responsive Environments (Bill Keays, Ron (1986/K90) speech and song (a performance) Stefan Iglhaut, Florian Rötzer (2000/K365) for work structure street theater database-based beings and live audience interactive console kids ars: the world of games MacNeil) (2003/K311) (Tmema, Jaap Blonk, Joan La Barbara) Intermedialität – Das System Peter Greenaway gaming view (AH) mid-80s as the interactive kaleidoskop Sissy Fight (1984/K359) narration (2001/K108) (1996/K404) (Luc Courchesne) sound-therapeutic objects circuit systems console games (Machiko Kusahara) beginning of the ludic society (Sidney Fels) (1998/K201) The Ludic Society (Neil Postman) / (Nora Barry) (1979/K37) Yvonne Spielmann (1979/K47) game on literature passages games and traditional (1998/P62) Urban Sax (K364) virtual mask celebration, story telling dynamic animation through gestures taking the (PW) The origin of technology online gamehall homo ludens (Flusser) the topic was covered rhetoric of hypermedia Art_server: stargate to netculture / Margarete for Ascott the concept of "interaction (AH) In 1962 at MIT (2001/K194) (1994/K40) (Elfriede Jelinek, culture in Japan escape game remote-controlled puppet theater voice into consideration / visual performance system is rooted in this universal competitive view by the O.K Linz with "Toys´n Noise" (M.G. Wagner, (Indesen, Krohn) condition of lack. (1994/K17) art as therapy Jahrmann & OK (Ed.) was central around 1980 moments of interactivity E. Sutherland described (Art_server: stargate to netculture) G. Hüngsberg, H. Franz) Concept: computers as (Ken Feingold) (Golan Levin) (2000/P82) Audiovisual Environment Suite Nybble-Engine / M. Jahrmann, M. Moswitzer (at Ars before 1989) (PW) a "sketchpad system" for phenomena of perception in S. Carroll) theater (Brenda Laurel) (1996/P134) GOLEM – an digital storytellers consoles (R. Kuwakubo) computer games (2001/K69) interactive opera (DM) films are determined to a Der bewegte Betrachter – Theorien der immersive (1989/K87) interactive computer Shared Environments on dramatic interaction new methods of storytelling (?) ("Huge Harry" = voice synthesis literature game (2000/K397) (2002/F044) (Richard Teitelbaum) high degree by rhetoric interaktiven Medienkunst / Annette Hünnekens view of interactivity interaction (2002) graphics der Multi-User-Games (T. O. Meissner) see also: view of fashion (1990/II-K259) ATHE-MOO media opera by (mixed reality technology – pop-up book) machine) (1997/K110) (1997/K433) (1990/K-I-84) (Kenji Iguchi, Tomoki Saso) (2003/K420) Virtual Voices Ästhetik der Inszenierung / Ed. J. Früchtl et al. paradoxes of (2001/K20) multi-actor-server Pixelspaces (small conference) John Sanborn (1986) see: entertainment view Critique (Patrice Pavis) (1999) Voice synthesis From Text to Speech Die Zeitgenössische Dramatik und die neuen user interaction (2001) interactive art interaction (1989) space as game – view of staging opera cabaret (ML) one of art's tasks is to every machine, every technology, (AH) Merging individual art forms into an integral (1997/K120) see: sports aspects (AH) interactive media art as mobile games (2002/P24) Arleen Schloss expose and deconstruct the rhetorics of Medien (essay) / Patrice Pavis game as space every computer being is a foreign art form ... that conjoins new media with theater, performativity discourse see: interface view In the Network of Systems - "the art form" of the 90s (1986/K55) interfaces (David Rokeby) Unexpected Obstacles – The work of Perry (Masuyama) (2002/F12) body in the heart of theater opera, performance, ... N-cha(n)t theater theory for an interactive art interactive art (PRIX) Hoberman 1982-1997 game (HK) Yet we are also confronted with computer theater studies view performance (on "Zulu Time") (David Rokeby) CAVE was conceived as theater studies (ars 1989) (AH) (Roger Malina) Interactivity was first (AH) Interactive Media cyber-opera (P. Weibel) Mark von Raden / Energized Gaming Culture a kind of dialogue producer freaks that basically don't want to do anything turbulent operette in the computer picks up "Virtual Reality Theater" theater anthropology officially proclaimed a new art form with the Festival (Los Angeles) (1995) "Wagner's Madness" electroacoustic fashion with scientific content and (1997/P102) with the systems (D. Rokeby) the (2002/F12) but operate pinball machines. Animax multimedia theater media opera utterances and freely develops 1989 establishment of the prize (1990)! "Sparky Prize" (1995/K368) projection possibilities corresponding dramatic discourse (1979/K03) key word "interactivity for children (2002/P90) (1984/K329) (Altmüller/Bogner) Perfect Lives (Robert Ashley) them (2002/F042/P072)) LINZ ... ! performance and play 32 theater view / opera view multimedia opera (?) to the criteria of the showcase (SIGGRAPH 92). performance studies arose in 1988 interactivity music game (2002/K418) the world of (Autorenwerkstatt MEET) An Opera for Television playful interaction (2002) "Wild-style Video Operette" (Daniel J. Sandin) (1996/J85) performance theory interactive (Tina Blaine, C. Forlines) computer games E.W. Adams (2002/F12) about ecology, fun, politics, evolution, Europe, energy (the three sacred E's), (1986/KII-218) art as articulation types of interaction (1999) (1996/K406) (Masaki Fujihata) Theater game theory media work electrolobby game design festival house as the universe, sex, household, nature, technology and sports (on P. Weibel) multimedia show art as transformation (Weibel) presentation view high-tech location (ML) 1988 art of the scene (Patrice Pavis) language games approach (AH) interactivity as an mediatization of interactivity (AH) one of the cores of net games "The Artificial Will" electronic media opera multimedia performance postmodern views digital puzzle multimedia 2001 "empty" concept – interaction of non-linear electronic art and (1984/K239)(1989/J24/J124) (P. Weibel) (Susanne Widl, Reneé Felden, ZYX) anthropology (of laughter) "without content" (Huhtamo) sophisticated technology Robo-Cup s.r. (Hiroshi Matoba) theater as show machinery (1988/K38) theater (H. Lepka) group dynamics (1994) interaction design (2001) playful interaction as a is interactivity (robo-games) (1998/K203) liveness view Theater of hybrid machines Interactive Computer (Lawine Torrèn) Theater (1981) telematics and total data work (AH) Art Com Electronic Network (2000/K294) (1996/K274) (Don Ritter) central "pattern" of the Ars: (1989/K87) the mechanical Bauhaus stage (Woody Vasulka, David Dunn) dialogical interaction (2001) (ML) the boundary between theater (1989/K168) ACEN (1986) (1989/K130) (ML) theatrical-performative- creative (Bruce Thomas) Wearable AR System modified use of games see also: music theater view (1988/K93) (Theater of Sounds) (2001/K79) games, music tools, ... mobile phone and performance and mediatized (1990/II-K265) (ML) Emphasizing the performative in Online-Theater digital Installation for the game Quake (2002/F12) (Mathias Fuchs, Sylvia Eckermann, (Stephen Wilson) medium of interaction (2000) interaction (AH) perusing, traversing, games performance occurs today at the media performance simultaneously forms (Penelope Wehrli) searching, exploring, ... M. Jahrmann, Max Moswitzer, Why has this field not been mined interactive WWW (2001/K87) level of "liveness", the co-presence the nexus to the discourses on media (ML) theatrical digital music-construction-game-machine tele-interaction (ML) Orhan Kipcak) at Ars Electronica? (Technical (ML) the relevance of theater interaction tool (2003) (in)voluntary works (DH) (Kanae Ushiro, of actors and viewers ars: theater at the nexus and theater experimental arrangement (MF) the communicative (Sybille Hauert, D. Reichmuth) modified use of video games framework conditions at Brucknerhaus? within information technology interaction (1996/P55) interactive narration works that don't Takashi Morimoto) go-programs guidelines of theater could (Stadtwerkstatt) Costs of one-off performances?) (ML) liveness should also be retained cf.: Maschinen, Medien, Performances – Theater an der Schnittstelle media performance (2003/F41/P104) function offline (A. Steininger) and telecommunications be investigated with the help Polylog – for an interactive chess programs when theater uses audiovisual and zu digitalen Welten / Martina Leeker (Ed.) domino game (2002/K415) (1990/K-I-152) (ML) a new art form is developing from (Barbara Büscher) of digital technologies art (Weibel, Lischka) (1989/K65) electronic-digital media (S. Schießl) (Stadtwerkstatt) (1997/K284) directly linking theater/performance scenic concerts culture and work external interaction /vs/ documentation (ML) the technical concept of musical play (AH) Motor of transformation: from 3rd computer chess championship Autodrom Crashcourse cyberspace theater and digital media networked stage (MF) internal interaction (of modules) and reproduction Web scene projects "liveness" on the media side: "Le système du monde" are a unit modernism to postmodernism (1980/K177) (Heiner Goebbels) at the theatrical level the mixed reality performance (1979/K05) (2001/K354) interaction in real time motoric electronics: (1982/K25) All Play (Cinematrix) – audience participation playing figures in scenic concert with constitutes a continuous feeling of tension between Re-establishment of an equal balance (1998/II-K267) E. Said: The new electronics ... (G. Squad, M. Chalcraft, live demonstrations transmitting live (AH) new forms of (Gérard Pistillo) !! (Loren & Rachel Carpenter) (1994/II-K102/P105) virtual worlds MIDI instruments the actuality and virtuality of the networked stages between the cultural and the commercial could pose a greater threat to independence than colonialism. experiment of a Summer Academy – Hellerau 1999: Anette Schäfer) (1979/K03) events theater performance scenic interaction (1990/K-I-88) culture-critical (1999/J395) concept of live electronics (1988/K121) field (2002/K52) The new media are strong enough to penetrate deeper into Cultural Ecology InfoWar takes place in the Theater and New Media medium of TV (1997/K333) (1989/K87) (PW) "receiver" cultures than was possible for any previous manifestation perspektive (1980/K52) (Isabella Bordoni, simulation of a story net culture (Andruid Kerne) sphere of new cultural (ML) the media do not touch (1989/K154) (MF) exploring theater itself art as scene (1998/II-K256) of western technology. (2000/K19) (AH) more complex forms of staging R. P. Dalò, G. Pensili) from a Japanese (1996/P104) techniques (1998/K23) the liveness of theater (Stadtwerkstatt) inter-art project as an apparatus Literature: For the cultural programmer the (ML) With the emphasis on the performative, and dramaturgy No play art as game Operating system art live remix laboratory (Ed Emshwiller, Morton Subotnick) Kursbuch Medienkultur – Die maßgeblichen net culture Internet poses an even greater not only is a new, generally acknowledged order (M. Kosugi, Y. Ando) (1995/P124) (2002/P118) Presence shifted to spheres (1999/K380) performance theater use of music computer art as interaction Theorien von Brecht bis Baudrillard (2001/K20) threat than the channel zapper established, but transformation itself becomes the new as desired context (MF) Are media Cultural impact – as criterion ars: The Art of the TechnoFuture outside the art world (2001/K12) performance software principle of cultural order twofold Mapping (mixed reality) theater media? Kursbuch Neue Medien – Trends in Wirtschaft for the PRIX ARS Jury settling into the inevitable (symposium) (1988/K129) software cultures links Art as public cultural production Brucknerhaus location creates a complex theatrical Politik, Wissenschaft und Kultur / S. Bollmann (cf. Ars 2004 – What Will the Future Bring in 25 Years) Context Kepler-UNI multimedia work (1989/K87) cultural sciences (2003/K229) (Christiane Paul) (2003/K136) (ML) The performative as the intersection of reality (MF) Kursbuch Internet – Anschlüsse an Wirtschaft Internet as cultural space 1996 start of a new era of organization by the Danube and RISC (over 15 yrs. too (R. Born) Globe Theater – A history play cultural philosophy Computer culture theater and media advances to the key term for u. Politik, Wissenschaft und Kultur / Bollmann (1989/J20) ideological stereotypes of with the opening of AEC LIVA/Brucknerhaus (Cloud of Sound little cooperation with ars) (1996/K72) for robots (Adrianne Wortzel) Culture is a market full of units of cultural a culture of constantly transgressing boundaries and cultural anthropology (1986/K09) Symposium the digital revolution (organization withdrawn from as partner for content projects) Research cooperation at AEC (F. Pichler) Not enough events/lectures in the field of (1997/K350) Der DatenDandy – Über Medien, New Age, contradictions (2002/K230) Digitales Age information Art's claim to an dealing with what is unpredictable and indefinable Black cultural theory (Gene Youngblood, Larry Cuba, (1996/J51) LIVA) (1999/J74) (until 1995) opening, but then little new media outside Ars Electonica (even Technokultur / Agentur BILWET (R: Wischenbart) (1996/K26) unbounded future (1989/J07) cultural studies (discourse) Kathy Rae Huffman, Franke, music orientation cooperation with the ars hardly any support during the year at AEC only a few projects Collective Intelligence – mankind´s emerging "Information Society" knowledge society OK (and Gallery of the Province before that) cultural history Hans Donner) ORF as media institution (and facilitator initially with Bruckner reference (30.6.95 Prof. Pomberger member for media art from the like Intertwindness (1997/1998): world in cyberspace / Pierre Lévy knowledge cultures Continues to stand for a Globalization creates a of the AEC Board of Directors) Margarete Jahrmann, Christa Schneebauer) interest in certain forms of installation art context-aware theories Pop culture building on Prerequisites for a The effects of industrial (machine-based) and postindustrial in the fields of video, TV, radio, satellite federal government Visuelle Kultur – körper räume medien / rhetorical project in everyday life, neo-cultural environment (information-based) cultural machinization, mediatization, simulation, neo-situationsims discourse Cyberspace and technology (2001/K18) as exaggeration, misconception humane information broadcasting) (Christine Schöpf, Hannes Leopoldseder) Ed. Peter Mörtenböck, Helge Mooshammer (2002/K81) synthetics, semiosis, artificial reality, withdrawal of being, etc. (PW) Context Art University Media professorship first in postmodernism discourse cyberculture and underestimation society (1997/K210) humanities only as Lentos will only start including Das Medium ist Massage / Marshall McLuhan, (1992/K10) (cooperation with other universities No risk capital to finance art MediaMOO as multicultural (1998/K21) (P. Fleissner) Since 1996 the Ars is managed 2003/2004 (Sommerer) "minor" services contemporary media beginning Quentin Fiore in conjunction with Ars) chaos (1995/K139) re-engineering of "single-handedly". light works (W. Cooper) in 2004 see also: identity view (1996/P15) (PW) Psycho-Techne, situation view (Linz) cultural systems AEC as carrier of 2004 will be a key year – Mechatronikum (Prof. Pichler) The AEC is intended to be a prototype protheses civilization obligation to program missing gallery cultural competence ORF withdraws from PRIX – ArchiMedia-Institute (proximity to AEC) AEC ended up with too Media Linz (Hattinger), Scene Center (Feuerstein) of this kind of site of a new digital Media Era (DM) (1994/K24) Defining the position of Design Centers (1994) Ars Electronica Futurlab (DDDr. Schwendter) (1996/J46) The future of AEC & ARS is to be designed (exhibitions in conjunction with ars) little space as further ideas of content for AEC location context art as location factor 01 culture-theoretical view phase of culture (Leopoldseder) due to electronic or digital "Electronic Culture" (2003/F38) (in-house products) (1984) (1989/J163) 01 contextual view in terms of structure and personnel. (including Christian Möller) (compare Paderborn or ZKM) (1996/J33) media, among others Magnet (print and web magazine) art as culture Literature: Literature: Literatur (2): Prize-WinnersintheMusicSection-Computer Music Prize Winners Computer Graphics Literature: Literature (2): Literature: Literature: CODE – und andere Gesetze des Cyberspace / Literature (2): Die Welt als T-Shirt – Zur Ästhetik und 1987: Peter Gabriel, Jean-Claude Risset, Marc Andre Dalbavie, Richard Teitelbaum 1987: Brian Reffin Smith, Jürgen Lit Fischer, Melissa White The production of space / Henri Lefebvre Architektur in Bewegung – Entwerfen am Der reine Krieg / Paul Virilio & Sylvére Lotringer alt.culture – an a-to-z guide to the ´90s- City of Bits - Leben in der Stadt des 21. Lawrence Lessig CTRL Space – Rhetorics of Surveillance from Geschichte der Medien / Beat Wyss 1988: Denis Smalley, Barbara Zawadzka, Trevor Wishart 1988: David Sherwin, Peter Kogler, Andy Kopra u. Anerkennungen s.l. Surroundings – Essays an Space and Science / Computer / ARCH+ 128 Die Sehmaschine / Paul Virilio underground, online, and over-the-counter / Jahrhunderts / William J. Mitchell Decodierund:Recodierung / Ed. Toni Kleinlechner Bentham to Big Brother / Ed. by Th.Y. Levin ... Kultur – über alle? gegen alle? für alle? 1988 Honorary Mention (all sections) : Paul Codsi, John Fekner, Enrique Fontanilles, Rainer 1989: Tamás Waliczky, Charles Csuri, Kenneth Snelson, Atsushi Satoh, William Latham, Ed. by Peter Weibel InFormation – Faltung in der Architektur / Information.Macht.Krieg / Ed. Stocker, Schöpf Steven Daly, Nathaniel Wice Die Telepolis – Urbanität im digitalen Zeitalter Exploring the Invisible – art, science and the Information und Apokalypse – Die Strategie der Music vs motion – FLIPS 5 M. Wagner, H. Fabris, I. Mörth u.a. Ganahl, Franz W. Kluge, Jerzy Kular & Isabelle Foucher, Larry Malone, Achim Stößer, Micha Riss, Cliff Pickover, Pierce & Merrill, Richard Voss, Bayele & Mück, Wennberg & Raum / Texte zur Kunst Heft 47 - 2002 ARCH+ 131 iconoclash – beyond the image wars in science, Florian Rötzer spiritual / Lynn Gamwell Täuschung / Paul Virilio Rituale der Medienkommunikation – Gänge Tamas Walicky, Hiromi Watanabe Pécheur, A. Pagowski, P. Reinartz, M. North CTRL Space – Rhetorics of Surveillance from Fassaden / ARCH+ 108 religion and art / Ed. Bruno Latour, P. Weibel Tekknologic, Tekknowledge, Tekgnosis / QRT Metropolen des Weltmarkts – Die neue Rolle der Internet-Dateiformate / Tim Kientzle durch den Medienalltag / H. Poss, C.-D. Rath Jeff Brice, Jeremy Gardiner, Irene Hohenbüchler, Stefan Holtel, Johann Jascha, Laszlo 1990: Manfred Mohr, Charles A. Csuri, Bill Davison, Achim Stösser, Char Davies, Daniel Bentham to Big Brother / Ed. by Th.Y. Levin ... Architektur des Ereignisses / ARCH+ 119-120 Von der Bürokratie zur Telekratie – Rumänien Pop Sounds – Klangtexturen in der Pop- und global Cities / Sakia Sassen Krise der Linearität / Vilém Flusser Station Rose – cyberspace is our land Kiss, George Legrady, Massimo Ontani, Norbert Speicher, Roman Tomaschitz, Mark Wilson, Pirofsky, Andreas Henrich, Don P. Miller, A. Scott Howe, Yoshiyuki Abe, Mike North, Netzstadt / Franz Oswald, Peter Baccini Medienarchitektur / ARCH+ 149/150 im Fernsehen / Ed. Peter Weibel Rockmusik / Ed. Th. Phleps, Ralf von Appen Klare Sicht am Info-Highway – Geschäfte via Topic Maps / Richard Widhalm, Thomas Mück Thomas Wittmer Joseph Nechvatal, Sandra Filippucci, Stanislaw Sasak Meta City Data Town / MVRDV Diagram Diaries / Peter Eisenman Archimedia – Institut for arts and technology – IdN international designers network 2003/10/2 Internet & Co. / H. R. Hansen Die Unwahrscheinlichkeit des Ästhetischen - flights of fancy Javier Alvarez, Martin Fischer, Mathias Fischer-Diskau, Udo Hanten, Adelhart Roidinger, 1991: Bill Woodard, Yoshiyuki Abe, Arthur Schmidt, Victor Acevedo, John Adamczyk, Five Minutes City / Winy Maas Hybrid Space – new forms in digital architecture Projekte 95/97 / Ed. Möller, Knipp, Lachmayer Das Regime des Image – Zwischen mimetischem und die semiotische Konzeption der Kunst / Alejandro Vinao, Mia Zabelka Cornelia Halle & Cimdata-Arbeitsgruppe, John Hersey, Rüdiger Hirt, Dick Ibach, Sui The Regionmaker / MVRDV Peter Zellner Tacho 3,4 / Ed. Peter Keicher IdN international designers network 2003/9/4 Display und Corporate Branding / Ed. Max Bense 1989: Kaija Saariaho, Francois Bayle, Alejandro Vinao, Tisma Vojin, Michael McNabb, Morita, Patrizia Pio, Robert Martin, Tiziana Stanzani, Brian T. Sullan, Mike Zender Gehry Digitale / Bruce Lindsey Vom Verschwinden der Ferne - Lab 95,97,02 Jahrbuch für Künste und Apparate designer toys Gerhard Lischka, Peter Weibel Zeichen und Design – Semiotische Ästhetik / Haimo Wisser, Viola Kramer, W. Mitterer, Wolfgang Heiniger, Gerald Trimmel, D. Teruggi 1992: Andrew Witkin & Michael Kass, Stewart McSherry, Mark Wilson, Yoshiyuki Abe, Eisenman digitale / Luca Galofaro Telekommunikation und Kunst / Edith Decker, Zentrum für Kunst und Medientechnologie Alles jetzt! – Die Mediatisierung / Gerhard Pictorial Metaphor in Advertising / Charles Max Bense Johann Lischka 1990: Karlheinz Stockhausen, Jonathan Harvey, Ake Parmerud, Zorah Mari Bauer Jószef Bullás & Zsolt Krajcsik, Valie Export, William Latham, David Sherwin Hyper Architecture / Luigi Prestinenza Prglisi Peter Weibel Karlsruhe / Ed. Heinrich Klotz 1992 Forceville Kulissen des Glücks – Streifzüge durch die 1991: no competition 1993: Michael Tolson, Char Davies, Thomas Bayrle, Jean-Francois Colonna, Scott Draves, Digital Odyssey / Carmelo Baglivo, Luca Galofaro außen räume – innen räume – Der Wandel des The Kitchen NY turns twenty Art – computer faszination – Hersteller und 1992: Alejandro Vinao, Francis Dhomont, Wolfgang Mitterer, Kristi Allik, Phillip K. Bimstein, David Haxton, Mogens Jacobsen, Laurens Lapré, Jolanta Makowska, Constanze Ruhm, Information Architecture / Gerhard Schmitt Raumbegriffs im Zeitalter der elektronischen Mediale Hamburg 1993 Eventkultur / Gerhard Schulze Dienstleister László Dubrovay, David E. Jones, Elsa Justel, Catalina Peralta-Caceres, Michael Rosas Miroslav Stuchlik & Radim Vrska, Roman Verostko Induction Design / Makoto Sei Watanabe Medien / Ed. Heidemarie Seblatnig Mediamatic – Doors of Perception 1 Cobian, Stéphan Roy, Wayne Siegel, Denis Smalley, Peter M. Vaughan 1994: M. Joaquin Grey, Keith Cottingham, John Kahrs, Linda Dement, Pascal Dombis, Bits and spaces / Ed. by Maia Engeli 1993: Bernard Parmegiani, Javier Alvarez, Jonty Harrison, David Chesworth, Francis Mogens Jacobsen, Ronaldo Kiel, Don MacKay, Stewart McSherry, Gavin Miller & Ned Dhomont, Roberto Doati, Pscal Gaigne, Jens Hedman & Erik Mikael Karlsson, J. Lejeune, Greene, Anne Gabriele Wagner & Adelhard Roidinger Andrew Lewis, Cort Lippe, Adrian Moore, R. Normandeau, M. Rosas-Cobian, Kaja Saariaho 1994: Ludger Brümmer, Ake Parmerud, Jonathan Impett, Patrick Ascione, Jean-Francois Cavro, Akemi Ishijima, Paul Koonce, Mesias Maiguashca, Juliet Kiri Palmer, Michel Redolfi, Michael Vaughan, Alejandro Vinao, Frances White perception theory of 1995: Trevor Wishart, Flo Menezes, Gilles Gobeil, Javier Alvarez, Patrick Ascione, Ron 25 spatial view architecture 24 structural/structuring view structuralism (discourse) Averill, Christian Calon, Agostino Di Scipio, Stephan Dunkelman, Rolf Enström, Elizabeth phenomenology of semiotics, semiotics criticism Hoffman, Erik Mikael Karlsson, Cort Lippe, Jack Tamul perception symbol theories of knowledge 1996: Robert Normandeau, James Dashow, R. Renouard Larvière, F. Boschetto, C. Brown, view of places location research topological view field theories Video Art Kui Dong, Jonty Harrison, Matt Heckert, Gordon Monahan, Gordon Monro, S. Montague, Videonale 1986: Klaus vom Bruch, Valie Export, Yoichiro Kawaguchi, Bernd Kracke, Ulrike Rosenbach, theory of urban locations view of layering topological psychology M. Redolfi, J. ter Veldhuis, Alejandro Vinao Jane Veeder, Henry Jesionka, Inge Graf + ZYX, Z. Rybczinski, Bruce Nauman, Douglas Davis, architectural theory / arch. discourse see also: formal sciences 1997: Matt Heckert, Maryanne Amacher, Jonty Harrison, Patrick Ascione, Christian Calon, Peter Campus, Shigeko Kubota, Richard Serra, Ant Farm, David Hall, Dara Birnbaum, Vito view of transformation / tectonic view diagrammatics / mapping geographical view Luigi Ceccarelli, Ambrose Field, Annie Gosfield, Joseph Hyde, Charles Kriel, Ake Parmerud, Acconci, Douglas Davis, General Idea, Ingo Günter, Hans Weigand, Terry Fox, Douglas Hall, formal view / chaos theory William Wegman, Bob Snyder, Friederike Pezhold, Shigeko Kubota, Marina Abramovic & Ulay, sound-space installation Laetitia Sonami, Mario Verandi, Mark Wingate, John Young, see also: cartographic view Is thereaplaceincyberspace? system view fractal geometry Bob Adrian X, Zelko Wiener, Maly Almy, Dan Reeves, Joan Logue, Marcel Odenbach, Klaus vom (Bernhard Leitner) 1998: Peter Bosch & Simone Simons, Aquiles Pantaleao, Hans Tutschku, Natasha Barrett, (John Perry Barlow) code view chromosome studies Bruch, Joan Jonas, Rupert Putz, Ed Emshwiller art as form of space – (1982/K159) (1995/K130) A. Shulgin (1997/P100) Bret Battey, David Behrman, Luigi Ceccarelli, Ambrose Field, Joshua Fineberg, Joseph Hyde, (1987) Ilse Gassinger, Gudrun Bielz, Romana Scheffknecht, Karl Kowanz, Manfred Neuwirth, from multimedia space video images represented spatially the seeing ear Gordon Monahan, Adrian J. Moore, Magie Payne, Joran Rudi, Hildegard Westerkamp, Rainer Ganahl, Chris Althaler, Anna Steiniger, Hans Weigand, Ruth Schnell, Robert Wölfl & to multimedia terminal along a GPS track (Masaki Fujihata) Sound space motion system Form Art Location- technicization and mathematicization G.H. Hovagimyan & Peter Sinclair Lydia Lindner, Ilse Gassinger, Helmut Stadlmann, Inge Graf + ZYX, Rupert Putz, Karl Kowanz, (1989/J26) (2001/K74) (1993/K254) !!! (F. Paschke) view of mathematics based games GPS belong together (DM) 1999: Aphex Twin – Richard D. James, Mego: Christian Fennesz & Peter Rehberger, Ikue Egon Bunne, Ingo Günther, J.-F. Guiton, Dieter Kiessling, Axel Klepsch, Norbert Meissner, Bettina Gruber & Maria Vedder, Vidox, Alexander Hahn, Yello Dieter Meier, Claudio Prati, Lorenzo Bianda, hyperbolic space (2002/P38) space simulator (James McCartney) Mori, Stefan Betke, Paul DeMarinis, Rose Dodd & Stephen Connolly, John Duncan & geographical see: AI view Francesco Mariotti, Franziska Megert, René Pulfer, Eric Lanz, Marie José Bürki, Hanspeter Ammann, (Dana S. Scott) (1992/P60) (itsalive) (1982/K213) (2003/F11) Who writes the codex position recognition issues view of informatics Francisco López, Bernhard Günter, Richard Hawtin, Zbigniew Karkowski & Masami Akita, Alan McCluskey, Gert de Graaf, Albert Wulffers, Antonio Segade, Jose Ramon Da Cruz, Paul Rodriguez, Composer; author of the tool view of cyberspace ? (2002/K16) Andi Toma & Jan S. Werner, Terre Thaemlitz,Thomas McIntosh & Emmanuel Madan, Javier Vadillo, Xavier Vilaverde, Javier Colis, Antonio Cano & Pedro Garhel, Maurizio Bonora, Giorgio free sounds – open spaces simulated spaces (VR) object oriented synthesis (2003/K12) (for interior spaces) (DM) With the technicization of the aesthetic and Gaetan Collet & Noelle Collet & Claude Pailliot, Ralf L. Wehowsky Cattani, Ciancarlo Cauteruccio, Theo Eshetu, Crudelity Stoffe, Sanja Ivekovic & Dalibor Martinis, (1987) (1989/J28) VR journey in a caravan with situative language "SuperColider" view of signs (1) American military machine data space the increasing spread of technical reproduction student crushed (P. Virilio) (2002/K240) 2000: Carsten Nicolai, Russell Haswell & Sean Booth & Rob Brown, Chris Watson, Simon Robertshaw, Tina Keane, Catherine Elwes, Marion Urch, Mike Stubbs, Graham Young, information spaces feeds (P. d´Agostino) (1995/P114) the view of informatics is 23 power-theoretical view power theories triangular navigation (R. Ascott) (1993/P08) the world of protocols Bernard Cache media, the history of media flows into a history by tank in Maryanne Amacher, Dat Politics, Kevin Drumm, Mark Fell & Mat Steel, Ryoji Ikeda, Jeremy Welsh, Stephen Littman, Clive Gillman, John Goff (1990/II-K36) distributed throughout the first "totally electronic power discourse (with Foucault) (Cécile Le Prado) of mathematicization (cf. Kittler) Tian-An-Men Platz Andrew Daniel & M.C. Schmidt, Kaffe Matthews, Martin Brandlmayr & Stefan Nemth & (1988) Nam June Paik, William Wegman, Peter Campus, Lynda Benglis, Juan Downey, Fitzgerald & data space placemaking cyberspace and formats Objectile (2003/P93) several sectors war" (P. Virilio) (1996/P35) organizational theory (1997/K347) (1996/P190) John Norman, Marcus Schmickler, Yasunao Tone, Uli Troyer, Erik Wiegand Sanborn, Bill Viola, Davidson Gigliotti, Barbara Buckner, Dan Reeves, Woody Vasulka, Robert Ahsley, Mixed Reality: overlapping (A. Lamorlette) discourse of institutional criticism Joan Jonas, Doug Hall, Steve Fagain, Skip Sweeney, Sherry Millner, Gary Hill, Bruce Nauman Pixelspaces illusionary spaces (1984/K188) acoustic obsession with structure battle view the data space with the (Virilio) ... I reject the notion of the programming languages (Franke) discovery of cultural manager debate 2001: bLectum from bLechdom, Ryoji Ikeda, Markus Popp, Ted Apel, Aeron Bergman & (1989) Joan Brasil, Jason Gee & Brad Miller, Jill Scott, Tracey Moffatt, John Gillies, Peter Callas, D. Perry (Ruth Schnell) (1989) space simulation systems (Eric Loyer) (1999/P40) Online-Location live stage (MF) word as a model. This is the reason as art question (2003) mathematical precision obscuring previously practiced see also: view of destruction (game rules of art) Alejandra Salinas, Richard Chartier, Louis Duford, Orm Finnendahl, John Hudak, kid606, (1994) Bill Viola, Tom Kalin, Shelly Silver, Mica-TV, Leslie Thornton & Ron Vawter, Eder Santos, Jasna (Olia Lialina) Liquid Space (1999/K433) for my departure from semantics, in art uses and impacts of new J Lesser, Mille Plateaux, Pan sonic, Janek Schaefer, Tigerbeat6 Hribernik, Michel Auder, Gary Hill, Therese Svoboda, John Goff, Eric M. Freedman, Diane Nerwen & expanded performative concepts of conversion problems (Joshua Davis) A colossal change of power has see also: energetic view (1999/K403) (W. Jauk, H. Ranzenbacher) semiotics and semiology. technologies 2002: Yasunao Tone, Aeron Bergman & Alejandra Salinas, Curtis Roads, Anticon, Iancu Les Leveque, Paper Tiger TV, Max Almy & Teri Yarbrow, Steina & Woody Wasulka, Anna Steiniger, image spaces (DM) space (Dietmar Offenhuber) (2001/P42) CODE diary digital poetry been taking place recently see also: historical view semioticization (AH) (1994/K206) (Howard Rheingold) (1998/II-K219) the Dumitrescu, Ana-Maria Avram, PXP, Goodiepal, Russell Haswell, Francisco Lopez, Raz Bob Snyder, Van McElwee, Shelly Silver, Herman Verkerk, Sreco Dragan, Betty Spackman & Anja (Virilio) we now notice the the code is in the translation (Waltraut Cooper) America as electronic space (DM) The approach to the pictorial media coup d'etat Westerfrölke, Tony Oursler, Branda Miller, Francesc Torres, Nany Buchanan, Edin Velez, Bruce Yonemoto, space artists of the interface Ubiquity(omnipresence) (AH) (1996/K355) (Jocelyn Robert) (1986/K330) empire of technology public images and Mesinai, Romulo Del Castillo & Joshua Kay, Marina Rosenfeld, Mika Taanila, Carl Michael (1989/K142) (Robert Adrian X) does not lead through the cardinal paths CODE another source of power is the convergence Stefaan Decostere ubiquitous computer (1999/P60) 2003 (Arthur Kroker) images of power (P. Weibel) Von Hausswolff, Stephan Wittwer report on project from 1981 of semiotics or hermeneutics ... eGovernment (T. Munzner, S. Levy) (1990/II-K264) of all other media into a single digital 2003: Ami Yoshida & Sachiko M & Utah Kawasaki, Florian Hecker, Maja Solveig Kjelstrup basic modalities of space CODE = ART electronic colonialism eDemocracy (2004) (DM) Computer: its formalism works with differential topology The meaning of CODE (symposium) medium (1994/K209) dislocalization (AH) from locality to simulating the respective members of the electronic (1988/K247) Ratkje, Oren Ambarchi, Whitehouse, Kevin Drumm, Rudolf Eb.er, Phill Niblock, Yuko aspects of digital space number strings, not with signs, which is why (1995/P164) (2003/F10) (W. Negbenebor) non-locality (AH) exhibition situation(spaces) code breaker (on Kittler) master race the battle over the form of concentrations of power through new Nexus 6, Gert-Jan Prins, Rechenzentrum, Tujiko Noriko, Toshiya Tsunoda, Aaron Funk & (Woody Vasulka, David Dunn) it would be wrong to call the computer a military as motor/source the networks has begun technologies (2002/K25) For the average African, (1990/II-K265,K271) negated (Jeffrey Shaw) "semiotic machine" ... ascii art (1996/K36) corporate connections Rachael Kozak, Mark Wastell & Toshimaru Nakamura & Taku Sugimoto & Tetuzi Akiyama transcending bar code as interface of electronic developments (1994/K213) (Saskia Sassen) globalization is just a space (A. D´Urbano) (1990/II-K320) (DG) Transferred to human brainware ... (?) (2003/K227) diagrammatic analysis (2002/K373/P48) space (Perry Hoberman) Bar code hotel synonym for neo- (1994/II-K46) sphericalCAVE: Carnivore as communication, of power structures (AH) from hegemony (Josh On) interspatial proximity Bar Code (Perry Hoberman) the new military information colonialism. domed projection space fractals fractal geometry the sound of mathematics public domain technology, power (A.R. Galloway) to plurality SPIN (K. Becker, W. Zinggl) (1994/II-K54) complex with its cyberarsenal (AH) from totality to (2002/K1204) conveying an view from an (1979/K26) (Mesias Maiguashca) the sound of chaos variation of the (Lucien Sfez) networks can only be Improvisation, Sport & (time´s up) (1993/K205) (1996/K219) (1995/K25) (Virilo) particularity Tamas Walicky developed incredible airship Chaos & Order (1990/K-I-79) (B. Steritberg, K. Balzer) infamous (1995/K398) fought with networks Transponder (PV) injunction against web site Evolution (Jon Rose) alternative perspective (2000/K302) sense of space (Hiroo Iwata) CAVE outside the theme of the fractals was "exploited" (1990/K-I-35) Object-oriented hypertext systems Ground Truth (1999/J431) FBI-SW DCS1000 electronic handcuffs (2003/P75) (etoy) (1996/K94) RoboCup systems (program to convey the structure of the Internet (2001/F32/P107) USA for the first by P. Weibel in Graz in 1989, among others (Indesen, Krohn) (Robin Bargar, Insook Choi) (2002/K358) (A.R. Galloway) (E.M. Haas, L.A. Bernhard) (2000/F37) CAVE protocol and counter-protocol Universal Product The battle for the control of code other spatial experiences) (ML) time (1996/J15) (in collaboration with the ars electronica Linz) (2002/P030) Teleklettergarten (F.O.K) 22 view of pop culture media theory (A. Galloway, Eugene Thacker) Code (Barcode) Cracker is a battle for freedom slacker luddites (Mario Purkathofer) (2003/K384) space communicated through media virtual digitale coding world rogues - (2003/K42) (Howard Rheingold) pop theory / pop-theoret. discourse Visualization of The World of Numbers (2003/K60) 1998 Every medium is (always) Hacktivism (critical art ensemble) (Mixed-Reality-Architektur) flying superpower (1999/K217) (AH) due to the inclusion of the body High & Low discourse architecture projects (Golan Levin) Infowar (1998) already rooted in (1995/K142) (1999/J300) an event chaos of art, overestimation of the digital – digital art cyberclasm Cyber-Terrorist (PV) publication of practiced by interactive systems, the athletic aspects in the CAVE (2003/P42) information technoculture discourse grammar of space use of virtual spaces for science, magic (with Flusser, Weibel, ...) ... "turning everything into pixels" power (DM) (1996/K259) secret keys strict separation between sports, games (1986/KII-135) (PW) text presentation superiority high-tech wars GPS as supplement to cultural studies discourse three-dimensionally localized Power and marginality and art is becoming blurred 24! Matrix Installation Digital "image"? Art will prove itself a All print media have been Global Information fashion discourse / retro discourses sound in virtual reality in cyberspace Information War (Virilio 1998!) (M. Aschauer, force far beyond the paradigmatic digitally produced for years Information.Macht.Krieg (1998) Live Cam (1998/II-K47) Dominance (PV) view of public appearances hedonism debate (Blanchard u.a.) (1990/II-K190) (Saskia Sassen) E-Sport "pop fears" of the ars : architecture software N. Pfaffenbichler, genetic Information blockage Case study 309 threshold of the digital. (UR) without any essential changes the power of (1995/K186) establishing paths of information in Suck my code, Digital Sport ars organizers (and New Subjectivism debate The topic now seems to be covered by the Art University due to Lotte Schreiber) programs (1991) Gulf War in relation to (Tammy Knipp) in the (re-) production of media agencies war zones in former Yugoslavia General! Cyber-Athletics Prix jury members) fun debate the DOM Institute. suggested cooperation: DOM, ArchitekturForum, (DM) the location of sound (2003/K398) the first "totally electronic war" command and (1998/K216) Tangible CODE (symposium) images The cyberspaces of (Mailbox: Bionic in Zerberus) (1996/K189) (2001/K215) view of public space ontology of the event AEC, ars => arsARCH + of the musical, is the Genetische REUTERS (1995/K297) (Paul Virilio) (1991/P06) control has long been pop culture building on Telezone: An architecture (2003/F12) finance, for instance, (Rena Tangens) competition-oriented sociology (Bourdieu) (Mauss) performative Algorithmen SDS3 Small Dish Satellite perfect example of simulation aweakpoint of technology (2001/K18)(right) for net architecture overestimation of chance generative approaches are the spaces where (1995/K61) Control Society computer games (1999/K29) (1990/K-I-59) (Iannis Xenakis) (for receiving data) (J. Baudrillard) centralized, see also: view of playing DJ-Culture (90er) New Subjectivism (futurelab) (1999/K362) mathematicization of and entropy (2003/K227) (1997/K343) profit is produced and Towards a Society of Control? music box for (2001/K215) (1997/F43) architecture project realized (1993/P22) (M. Tolson) Musicians who use computers are offers for currency traders hierarchical MS hate page electrolobby (2) privatism debate (Ken Goldberg) architectonic space (c. Jerez, J. Iges) power is founded. (O.L. Tremetzberger) (2003/K54) cover versions prize-winners came from the in game software (A. Jalsovec, generally theoretical cripples, especially structures. (C. J. Mutter) E-Sport: (2001/K192) world of games (E. Berger, V. Christian, (1994/K11) film about a formula correspondences between (Steve Mann) (1997/K218) Firewall (1995/K186) (linking structure) Cyberpunk non-university area for the first time P. Reichart, G. Rossbacher) in terms of ideas of mathematics, (1995/P90) Gaming goes P. Purgathofer) (2000/P36) (Thorsten Fleisch) the development of music high-speed surveillance (Steve Mann) revealing the tools of the (MESO) Digital Culture (newest direction of (1999/K371) generative art physics and acoustics. (1998/II-K84) Firewall and Pro (2001/F14) Colophony Circuit freestyle virtual tour of planned and mathematics superhighways (1999/J420) (1997/P94) secret services (A.R. Galloway) & Lifestyle science fiction literature) virtual architecture (PW) (2003/P154) Information Frontier micro-videokamera (PV) structures of (Electric Indigo, architecture (AH) virtual worlds and hypertext (Iannis Xenakis) (1997/K144/K217) rock mass by (Tina Cassani, (Elisa Rose, Gary Danner) (1994/K08) program Generative Tools generativity sound systems Mia Zabelka) (DG) Separations into categories of serious (1990/II-K251) highlight the labyrinthine character (1990/K-I-74) (1998/II-K71) an essential tool in the Eela Craig (1978) Bruno Beusch) (1989/K124) of the world and the texts Darwinism ars: Surveillance Techniques public spaces under surveillance (1979/K02) (Involving Systems, (2003/K336) and entertainment or high and low culture lead architectonic storytelling (2003/K345) parametrimizable art/design Can software information war consists of corrupting (1996/K180,K210) (Peter Weibel) Symposium invisible surveillance technique (London) information MESO) Screen savers (2003/K227) to an unproductive dead end // Housetool (1997) (1994/K147) (Herman Verkerk) (1990/II-K13) itself be art? Chipkarte im AEC 386x – cyberpunk rock band complexity and quality can be found (1999/F24) (Lynn Hershman) (light dome) (Marie Sester) electronic Emergency Broadcast demolition variations Code: there are no ambiguities, (2003/K13) (1996/J15) (2001/K375) (Monotonik) (Alexej Shulgin) (2003/K337) in every area Youth Marketing architects losing ground in the multi-user sculpture: (2003/F41/P120) surveillance techniques Don´t panic! Hack it! pop culture Network (Robert Deacon) (MEGO) dynamic architecture It seems that we always include a relation no hidden meanings (2003/K36) smart card Beta Lounge (2000/K348) (2001/K193) shadow of image-engineers surveillance, voyeurism (1998/II-K157) (1998/K49) (1996/K316) installation (2001/K308) or relationship in talking about media or First traces of important developments in Disco Man (electronic Intelligent / Ambient Techno Techno and – to an even greater (2001/K281) (M. Shamiyeh) (2002/P165) Intrusion crypto-controversies (Julia Scher) (Simon Penny) It should not go unmentioned stage technology (ESCAPE*spHERE) means (DM) informatics in conjunction with the ars Information.Macht.Krieg (essays) surveillance (1979/K31) live music) (underground resistance, Station Rose, extent – Rave parties enable Contracts with HW and SW getting around the error Detection that the top-down paradigm with its centralization Kraftwerk – Unplugged? 1-2 years before the software became (1998/II-Knn) encryption methods installations (2) Disco takes over from the United Frequencies of Trance) direct experience. One feels sponsors have consequences for correction system of a CD of power is the logical continuation of the (1993/K265) 21 economic view / walls papered with available (in Austria). (J. Arqilla & D. Ronfeldt, G.J. Stein, S. Weiguang, (1979/K32) cyber pop (Station Rose) pop field (1994/II-K126) the rhythm, hears the noise, the independent scene ("the globalization discourse high-resolution the structure of the means (as relation) (DM) (Yasunao Tone) systems of unlimited surveillance panoptical model. view of clothing II W. Jincheng, I.N. Panarin, G. Schöfbänker, M. Wilson, "Disk", "Dub","Digital" all the way In Concert sees the lights ... large institution is already being liberalism discourse screens open source (Rötzer) In addition, traditional dualisms like instruments and software production view (2003/K225) C.H. Gray, Ute Bernhardt, M. Geyer, B. Richard, (1999/II-K13) using "Augmented to "Diffusion" jockeys (1999/K380) (DJ Spooky) (Melita Zajc) sponsored ...") tapeziert sind master/slave, general/soldier, boss/ from the pop field ars: techno culture economy as discourse (Foucault) code art – code poetry M DeLanda, J. doyne Farmer, M. Müller & W. Wagner, Reality" (to enhance sensory extreme scratching (2003/F23) (1995/K68) office design (1995/K26) (Gates) worker ... are repeated and reinforced. music, video and games culture (PV) mass Interface design (cf. below) (game rules of art) 25 architectonic view code art – minimal code P. Virilio, E. Schmiederer, Kunda Dixit, D. Rushkoff, perception) the soldier becomes disco culture as Art Deco (1996/K194) de- and reconstruction of techno-culture cyber-capitalism 24 view of the field G. Lovink, P. Riemens, RTMARK, R. Adrian, P. Garrin, a roaming command center (1979/32) Laurie Anderson Typodesign (cf. below) financing view / music cuts (Involving Systems) deep antipathy (1996/K212) post-symbolic T. Druckrey, F. Kittler) (1995/K384) Aural Screenshots (1998/II-K25) VR systems for (2003/P66) Exercising power in an installation (D. Rokeby) towards Cybersquatting electrotecture communication electronics – popularization discovery of the show as (Fadi Dorninger) online catalogue (Rossbacher) costs view / sponsors view container view simulation and training purposes artificial I found out that the user's feeling of being able to Micro-DJ lectures pop culture building on popular (Domain Spekulation) (1994/K80) (Jaron Lanier) CyberWar, NetWar, knowledge war, info-tech, of art (1979/K20) an absolute art form – (1995/K365) (1999/K403) view of the in-between (space) PsyOps, popular information war, robot soldiers, villains simulated exercise power grew, as soon as I reduced the number (Kodwo Eshun) electronic technologyr culture (1990/II-K186) The paranoid rationality of the communication and entertainment Tele-buyers (PV) remote electronic control battle systems (REC), as mail traffic of the dimensions of interaction. (boombox) (2000/K354) (2000/F19) (2000/ Telekiosking see also: view of architecture Gulf Massacre (Les Levidow) including Ambient, DJ-Culture, (1989/K125) Telebanking und robotic war, net war techniques (LAN) (PV) The control music video for Fuckhead (1995/P160) Tronic Artcore Event P194) (1994/K139) designing gestures design view view of interior architecture as medium (1995/K80) cf. (2003) Drum & Bass, Techno, .... (Station Rose) (1998/II-K) cybernetic war, information war (1998/II-K15) electronically society predicted (Violet Suk, Martin Koch) (K. Becker, J. Hennrich, Teleshopping (1994/K61) view of magnitude Electronic Orientalism Performance software for (1999/K371) (Elisa Rose, Gary Danner) (1998/K42) induced blindness and paralysis by Deleuze M. Retschitzegger, (1994/K07) B2B-trade (2002/K49) see also: view of clothing Architecture as the art of the High-Tech Barbarism Festival A/V-Collision (2003/Graz) visualizing any musical Digital-Arabesque-Lightshow Point of Sale next millennium? see also: Leo Schatzl) virtual department Literature: Deleuze: smooth & striated (fold & discrete units) / (1998/II-K157) (wars, weapons, media devoted to the relationship of parameters AfroElectro-Genres digital money Point of Information view of the future (1994/K35) view of unboundedness (1995/K388) stores (2) Euphorie digital? Aspekte der Wissensvermittlung TRON-House: completely wave and particle / field and particle / analog and digital information technology (Lynn Hershman) visuals and music (MESO) (2002/K116) Sub´tronic ´96 (Bernhard Vief) Teleshopping Body scanned architecture view of atmospheres as weapon Bugrace99 (Stadtwerkstatt) webmall (1996/J18) Why is virtual reality always in Kunst, Kultur und Technologie / Gemmerke computerized house track & phase Leader function among view of exhibition organizers (1995/P120) (Fritz Fitzke, Pan Sonic, Sofa 23, Sub´bass, Sub´harmonics, CyberCash possibilities of achieving (1998/II-K230) (Venedig 1995) light view (1999/K339) sport event HipHop Worldwide Art Com Electronic Network imagined in terms of space, (1994/K131) festival events 1 Jul. 95: appointment of media Tina Frank (with Mego)) Sub´culture, Sub´stance, electronic wallet continuous income as a Expanded Museum – Kulturelle Erinnerung und Interactive Home (Ruth Schnell, Gideon May, view of change (2002/F022) ACEN (1986) (1989/K129/K131) ownership in cyberspace when time is the only remaining (Project 1988-1993) Inter-disciplinarity (2003/P12) artist Gerfried Stocker as managing Instead of the disco ball: computer virtual pop star – Raymond Sub´sonic, Sub´versive (1997/K176) media design group virtuelle Realitäten / Annette Hünnekens Systems Constanze Ruhm) from digital thinking transformation view virtual shopping street (Randal Walser) real commodity? (1994/K190) TRON hyperintelligent building Inter-media director of the AEC Betriebsgesellschaft graphics, high-tech Kurzweil (1996/K318) (F. Dorninger) Museumsinformatik und Digitale Sammlung / view of curators' view electronic shopping (1990/II-K208) B2B 21,000 works (1994/K134) system architecture to field theory (Itsuo Sakane) Inter-activity (1996/J15) animations soap performance economic takeover C2B The future of Austria – Harald Krämer view of ars electronica Design office for digital staging (1997/K370) hypermedia mall submitted information architecture (1999/J83) Inter-net administration (Van Gogh TV) B2C living in the year 2019 (portable) container studay liquification organization and interaction (MESO) Sub´tronic Dotcom mania E-commerce The future of cyberspace – 1.75 mill. Euro Kunstgeschichte digital / Ed. Hubertus Kohle in the cross-hairs of the the digital city is a form Hotel Pompino – television to play along (1999/K398) (1984/K281) electronic (1998/P102) (R. Strickland) (Jutta Schmiederer) (filling the gap between overhead VJ- New economy wild frontier versus prize money Metamorphosen – Gedächtnismedien im (MF) Neither reductive abstraction nor view of 23 view of the organizing sniper's camera of public space Direct television democracy (RTMark) Online shopping (Jungk, Franke, Schwendter, architecture increasing the intelligence of et al. design, technology and games) projections hyperreal property ownership museum of the future AEC (2003/Q14) Computerzeitalter / Ed. Götz-Lothar Darsow decypherable symbolism "apply to" or state (Paul Garrin) (1995/K182) (1990/I-K159) computer kitsch Cybermoney tele shopping (2) system (C. McGrail) Zemanek) the artificial environment (PW) domicile generator AEC (Bruce Sterling) Echtzeit – Text – Archiv – Simulation / translate the phenomenon of "interactivity", institution / manager's view (D. Rokeby) (2001/F36) Container projects: (1994/K06) (Walczak, Wattenberg, "discrete" art works festival culture administration penetration of the media into (1990/II-K228)(1999/J114) future research DMCA Digital Millenium i.e. a mutual inter-relation of man and (1997/K97/K258) (Virilio) I wonder whether there is not an Timo Skrandies (1986) Container-City implanting artificial intelligence Feinberg) (2001/K288) through microtechnology urban space (1994/K157) access conditions to technically Copyright Act (2001/K212) in the environment machine in the field of the stage that can exhibition institutions ars: wireless in public space imperialism of time. What happened recently micro-electronics for human beings Archivprozesse – Die kommunikation der "Ponton" producer from Hamburg C3 Center Budapest complex media machines Copy protection and digital see also: process view be seen and/or tactilly experienced. control for GPS, GSM and field book/PDA with the trading program during the Wall (1984/K371) Aufbewahrung / Ed. H. Pompe, L. Scholz the house as site of Symposium „Intelligent Building“ endophysics emerged from Ulli A. Rützel (first Ars) (2001/K299) Theories of the public sphere rights management political view New-style conference for the V2 Lab Rotterdam bridge lighting DigiCash Street stockmarket crash, reveals an game industry Unternehmen Capricorn – Eine Expedition durch intermedia activity (PW) (1989/Karlsruhe) (with V. Flusser) chaos theory (1989/J12) (FF) For artists it has not been easy to view of action digital generation (2001/K192) (2001/K299) (MESO) Worlds Within (K. Dudesek, Van Gogh TV) (D. Chaum) acceleration of the transactions that no longer as multi-billion license piracy (2001/K25) art history Museen / Ed. Christoph Steinbrenner (1994/K16) buildings were previously inanimate field concepts (Otto Rössler) (1992/K09,K56) AEC: ... once again, Media Lab Helsinki gain access to modern networks, which Multi-User-Domain – a public (1995/P86) take place in the time of the stockmarket dollar market Napster of the Net (DH) view of art theory machines (1994/K17) (Andrew M. McKenzie) electronic fields (1999/J244) something has been created (1997/K153) are reserved primarily for the military, the Optische Medien – Berliner Vorlesung 1999 / cyberarchitecture AEC as digital Concept for the ZKM Karlsruhe electronic place (1996/K376) traders, but rather in that of the machines. (2001/K19) (1990/K-I-105) that is unparalleled throughout Event City, Pandora's banks and industrial corporations. (John Warnock) Thesaurus on media art (Oliver Grau) Friedrich Kittler symposium "Architecture & media center decided in 1988 event view II .... Disaster of every general interactivity. Nanotechnology (1986) the world SIGGRAPH USA Box celebration view a discarded 386 as begging the "digital city" as a (PV) The function of the street and the (DG) that first changed with the WWW standard software (post-doctorate with Th. Macho) Beiträge zu Kunst und Medientheorie / Intelligent Ambients electron. Media" (1994/II-08) (1996/J41) (Klotz as founding director) (experience view) chainletter art historical view art history studies 1994 (1996/J58) (Franke) (1989/J203) (Hou Hanru) street musician response to the impending marketplace has now been assumed by (2003/F11) Ed. Hans Belting, Ulrich Schulze (Hadid, Irie, Toyo Ito, Klonarides, "field models" of movement, (1989/J194) education 1968 world expo in London: cultural history studies suggesting ideas Gwangju curator (transmediale) (Alexei Shulgin) commercialization of the Net screens and electronic displays (R. Schmidt) Medien-Welten Wirklichkeiten / Ed. Gianni intelligent design (Zec) Koder, Prix, Sakamura, Lainer) occupying space, communication 1992 Nano-Technology Ars Electronica became established world wide as Cyberspace is not Peer to peer connections Cybernetic Serendipity for Computer media history feasibility assessment for Ars themes (2002/K325) (1995/K181) (1997/P80) the invention of VisiCalc and energy (Ursula Damm, Michael a third independent forum among the major events Disneyland (Amy Bruckman) experience view (Napster & Gnutella) and the Arts (Initiative from Max Bense) Vattimo, Wolfgang Welsch electronically The World from Inside (1992) crime as (for MAC) created the first 20 historical view psychology of the collection in 1976 Cedric Price Hoch) (1999/K359) SIGGRAPH and Imagina (1994/P10) ART+COM Berlin (1995/K138) (1989/J16) Re-play – Anfänge internationaler Medienkunst reacting Imagina (France) (2000/P08) real market for PCs philosophy/theory of collecting binary notations already designed the project Nano-Computer (founded 1988) entertainment – ars: who is behind the network REUTERS (1999/K414) (Stocker) pavilion bypass solutions (1994/K210) in Österreich / Ed. Sabine Breitwieser on a digital "Generator", in which the (1992/K08) AEC was set Computer/Software trade fairs Digital effects (in film), themselves living map – (1995/K298) s.l. 20 years of ars electronica (AH) Interactive media art is difficult to memory discourse (1989/K218) ISEA Int. Symp on Electronic Art (1989/J195) 22 entertainment view Symposium Information technologies currently Perspektiven der Medienkunst / Neue Medien - architecture building constantly changes analog: atmospheric, field-oriented up with presented artistically (2002/P119) up-to-date facts SDS3 Small Dish Satellite would naturally be a reason assign to the conventional categories history of technology view memory theories (Regina Cornwell) for providing ideas AEC conception still prevail by rather unimaginatively Map of the market Neue Kriterien? / Das digitale Museum / (1994/K150) according to the wishes of (see left) funding (S. Wilson) ... the extremely questionable hope (for receiving data) for an archeology of the of art studies – "end of history" discourse Authors for Endo/Nano: R. Abraham, (1989/T) founding of the Zentrum für Kunst und following the guidelines of classic (M. Wattenberg, Joon Yu) (M. Plottegg) the users (1994/K30) amounting to (1998/P106) that art earning money in technology offers for currency traders artistic development a separate classification should be Why are there hardly any scholarly Ed. H.P. Schwarz, J. Shaw ETH-Zürich H. Atmanspacher, John L. Casti, M. Conrad, Medientechnologie Karlsruhe (AH) In all considerations, the question capitalism to the detriment of (1999/P54) history of philosophy Ma – sense of space 180 Mill ATS ATR Advanced Telecomunication view of fashion / adornment matters can soon pay its own way ( .... Why not developed (Heinrich Klotz) works on computer art in Austria? Suchbilder – Visuelle Kultur zw. Algoritmen und ASL Architectural D. Finkelstein, D.D. Hoffman, L. Löfgren, (1990/T) founding of the Kunsthoschule für Medien Cologne arises about assigning interactive media social-state ideas museum studies CAAD computer aided the world of the interstice (1996/P16) Research Institute (Kyote) (Stocker) (1996/J52) About the influence of new media implemented ?) Archiven / Ed. Wolfgang Ernst, Ute Holl, et al. Space Laboratory printing buildings J. Parisi, Gordon Pask, R. Rosen, (1992/T) Multimediale 1 at ZKM art to the category of "art" or of "game" (1996/J54) (Stocker) architectural design (Derrick de Kerckhove) (Province supported by the Japanese gov't., see also: view of clothing and information technologies on tearing down boundaries between (Oliver Fritz) K. Svozil, I. Tsuda, S. Garfinkel, / "entertainment". CAD CAM CIM Digging th Net – Materialien zu einer Gaschichte (1994/K145) (1994/K144) (1990) 30%, federal NTT, Sony, Panasonic, et al. design (Peter Zec) separate art institutions and style eras of technology the problem of the lack of (2003/K285) K.E. Drexler, Jane E. Frommer (03.1992/T) project ideas for AUO (AEC proposal see also: view of playing Andreas the uncertainty of the der Kunst im Netz (Beitrag) / H.D. Huber (DH) CAVE-cavern gov't. 10%) (workplace: Christa Sommerer, digital design categories (1979/K03) historical distance (DH) from Leopoldseder, ORF director) (DG) Why OR and not AND ? see also: theater view and identity view ars: digital design Broeckmann (1979/K31) up-to-date (1989/J33) Lebendige Eriinerung – expanded museum diagrammatical (P. Kogler, Laurent Mignonneau) (Kay Friedrichs) 1994 Since about 2000, the design of the the medium as building using fields for musical instruments (07.1992/T) AEC project study commissioned to ART+COM Computer aided design has already had a Computer art looks back on decades of (art historian, art history as technical (essay) / Anette Ünnekens architecture F. Pomassl) recruiting agency (1996/J121) (AH) Interactive media art Experience-Designer (1994/K177) car body has depended significantly material (1994/K58) (09.1996/T) AEC opening (in competition with ZKM) history, first music, then in graphics, in animation media theoretician) history, or rather a history of the (AH) Interactive media art is "obviously" (?) (1999/K367) (AH) In 1952 Ben F. Lapowsky first mentioned for artists Research areas: Human Interface, event culture point of fun as "entertainment pieces ? (2001/K20) economy of significant impact on product design on software. Recording Technology History / Steve Schoenherr the possible future of and in other artistic fields. (1989/J16) (1998/P20) use of technology still not a recognized part of the art historical graphical images generated from the interaction (Irational) Speech Recognition, Voice Recognition, attention Pioniere Interaktiver Kunst von 1970 bis heute architecture (M. Fujihata, (PV) With this kind of mutable (1997/T) Opening of the Media Art Museum experimental Entertainment-Architekten Art occupying territory in the domains of technology V2_Organisation (see supplementary observations) canon between a cathode ray oscillograph and a (1999/K401) Speech Translation, Radio Optics, "Cloud of Sound" since Info/Edu-tainment (1996/K230) Will all arts be transformed into design in the Söke Dinkla Kei´Ichi Irie) (1994/K121) wall (opaque wall screen), the at ZKM and its fields of business (?) (2001/K19) Virtual Reality entertainment (2001/K281) (M. Shamiyeh) (2001/K295) age of information technology? (Zec) outside can be turned into the cathode ray tube the first Ars (1979) poetically subverting Google Magnet-TV (cars and built objects as the new sculptures?) (AH) The question arises for Klotz of whether interactive inside and the inside into the submissions and proportion of prize-winners Interactive Media Festival (Los Angeles) electronic Entertainment Strategies of Intertainment advertising mechanisms (Steve Mann) (1997/K219) (Nam June Paik) art for ars: a case for art history after 30 years media art is not appropriating categories of performing art, outside prize money in the festival program Biennale artifices (Saint-Denis) entertainment social (Ranzenbacher) (2001/K258) (2003/P54)(C. Bruno) What distinguishes the AEC as "Museum of the thus becoming an "indigestible mixtum compositum" for computers Questioning the concept of the "Clouds of Sound" everyone PlayZone comprehensive symposium Abstraction now (2003 Vienna) (1989/K87) entertainment (H. Hörtner) (2001/K294) Future" from an advertising camp of the How should works be included that can the trained art historian ... the gravity of buildings intelligent environment (from the Media Passage (ICC Tokio) (as celebration Millenium Dome (PV) In France 700 000 view of cities and regions (Norbert Pfaffenbichler) integrated in clothing whereas electricity effects a Sommerer was (2003/P36) (Land Design Studio) computer and IT industry? no longer be run? (HW, operating system) (R. Lainer, E. Bannwart, Saskia perspective of surveillance): Even for someone who has been a Biennales of Kwangju, Lyon, Nagoya culture) event culture (2001/K221) households can state concentration, electronics leads to Artist in Residence Habbo Hotel Ars = "Art" - was meant in Linz from the Only accompanying/contemporaneous neo-constructivism (DG) 30 years behind in education? instead of "intelligent rooms", member of the jury for the Prix for some their interest in a product (1996/P22) (Stocker) apartment as palace of memory art of the environment, like Sassen, J. Meister, E. Lopez- a dispersion at ICC for one year (Stahl Stenslie) instead of beginning, but has not retained its art research is practicable and feasible (DG) (1989/J40) sculptural architecture ... Galiacho, T. Groothuizen) "intelligent floors", intelligent ceilings", time, the Ars Electronica still holds an event design On-air design and set from a commercial 21 view of the (art) market Design Noir – (2001/K289) (Walczak et al.) (1994/K77) ICC: InterCommunication Center Bodytainment celebration culture character at all (1989/J180) NeoGeo (Otto Piene) (1980/K96) intelligent toiletts", "intelligent inherent secret: ... how it invariably (MEGO, Involving Systems) projection (TV Studio) (SW: Open TV) the secret life of (2000/K216) experience engineering online (editor of ART) Media history instead of art history? lightswitches", H.I concentrates on earth rays – electron rays manages to find and attract the main Banff Center for the Arts (Canada) (MEGO, Involving System) (media highway) electronic objects (FF) The age of representation is followed, as advertising and Radio art as the age of the the concept of the intelligent human (1984) (R. Kriesche) protagonists year after year, the initiators large-scale projections Only "OK" as reaction (Fiona Raby) historical blindness of the Paul Virilio says, by that of "presentation". the brief physical presence Initital AEC team: E. Berger, S. Brandstetter, from document to event (2001) user profiling fine art? self-historicization attempts NeoGeo (1986-90) ubiquitous being. (1989/K137) of what is new, who are always a step as "wallpaper" (HK) for a media possibilities for view of advertising (2003/K273) The aesthetics of communication does not aim to of architecture (1994/K143) V. Cizkovsky, D. Dobesberger, L. Dobusch, electronic arts (1989/K278) Technical history instead of art history? computer (1994/K132) ahead ... (1996/J71) (Roy Ascott) Takeover (Symposion) gesamtkunstwerk advertising is affirmative deriving continuous MIT – image databases create objects, it does not work on concrete forms, (G. Schmitt, F. Wenz, Kurmann) M. Falkinger, O. Frommel, D. Haider, electrolobby (3) – application history Container City on the Internet Engineers of Experience – It is obvious – from art and experiments with income as a media If advertising designers apply Live sound portrait (1997/F51) (ML) technical history of ORF – media database it addresses "space-time". raster microscopes crossing through V2_ Rotterdam C3 Budapest W. Hartmann, H. Hörtner, E. Kapeller, showroom for digital culture (G. Mnich) (M. Schulthess) Who´sgotoitright? the development of new desires design group memetic technologies on a large of a city (1989/K304) (AH) A history of the "image for constructing mankind in theater AEC – ars electronica database (Roy Ascott) (1995/P20) A change from the art of representation nuclear landscapes J. Kern, W. Modera, C. Mutter, D. Offenhuber, & lifestyle (2001/F13) (1997/P98) Der Boom von Edu- und technologies, from TV – zu erzielen scale, which possible influence is (Bill Fontana) context-driven event worlds" (Weibel) and performance to a culture of the manifestation holds multiple shifts: view of (1992/K80) C@C (Computer Aided Curating) M. Pointner, C. Schneebauer, P. Schöber, E-brand Infotainment, Visitor- und that one of the main goals influence of the advertising left to an artist? Harappa – Indus-Kultur reception–negotiation(orientationtoaction), re-presentation (Eva Grubinger) (1995/K245) T. Weber, G. Stocker, u.a. Web entertainment strategies of Soundwalking – Spam (AH) According to Weibel, media art as a whole is closely linked art as surroundings field disturbances and data turbulences Brandexperience is to intensify experience. industry in the development (1996/K133) (Omar Khan) representation – construction, hermeneutics – heuristics, tunnel vision – outside conventional institutional agency (Moccu) seduction (AH) city as acoustic Repetition of with the new telecommunication media: like the analog techniques of (Kirk A. Woolford) (1995/P134) (2001/F09) (Melita Zajc) of digital film production (1997/P90) bird's-eye view, content – context, object – process, survey – immersion, art as spatial experience frameworks reasons for situating media institutions in disco culture (2001/K197) environment Toywar campaign Material for the birth of a new art history? photo and film, media art goes through several phases: the material, (1995/K68) Manhattan Timeformations the climate for art reflects the climate figure/ground – pattern, iconicity – bionicity(cf. embodiedness), nature – art theory the vicinity of industrial locations or larger acoustic-electronic ceremony as Art Deco (1989/K308) (2000/K359) physical, machinic phase of overcoming temporal and spatial distance, 19 view of representation Literature: electronic curators stage design for large- (Joshua Davis) (2001/F36) of the city (1989/J07) direction in art: Interactive Art artificial life, certainty – contingency, dissolution – evolution, morphology (singing pool) (Stadtwerkstatt) (1979/32) (Hildegard (etoy) followed by the wireless, immaterial,bodilessphase of electronic sounds Visualizing the Semantic Web / Vladimir informatics institutions Takeover II (symposium) scale presentations (1989/K87) (PW) The analysis of types of activity Gallery „bitforms“ computer as tool – digital environment,observed reality– Westerkamp) and images - of video art and performance, for example - and then the institutional criticism discourse (1997/F021) Net.Shop as "media stage design" role of the ars electronica confirms this central view/direction (DG) (2003/K218) (Steve Sacks) constructed reality, paranoia – telenoia, autonomous brain – distributed Geroimenko, Chaomei Chen productive intersections of Digital culture & lifestyle in action: sound city? cf.: view of art studies phase of digitalization, which makes the tendency to immaterialization curators debate art as field manifestation framework for the participation (Rötzer) (HK): ...Making technology acceptable to a broad (MEGO, Involving Systems) multimedia framed software art /vs/ consciousness, behavior of forms – forms of behavior view of the exhibition The Media Pavilion – Art and Architecture in the entertainment, design, gaming, featuring electrolobby residents (1979/K25) für die Stadt Linz AEC department: even more radical. of young media artists in the ars public. This is best done by imbuing High Tech with the city stage unframed software art Here Ascott summarizes a "performative turn" (see left) material debate Age of Cyberspace / Austria – Biennale di art as program aura of art or culture, thus demonstrating the Open Source, E- and M-business (2001/F08) habitat & (AH) Should the philosophy of difference TRANSIMS – in the last 3 yrs., (1994/K141) Rhizome (1999/K398) (see the left half of this study) Venezia 1995 / Ed. Peter Weibel compatibility of "two cultures". This is naturally stimulating environment, (2001/K192) Icontown Atlas Linz – analysis of the urban planning archive view conceptof artbe permanent self-exhibition art as mathematics Lifestyle (2001/K20) a team around C. Barrett developed (ART+COM) (2001/P68) rhizomatics linked with economic interests. dayclubbing, informal (virtual city) soundscape (1998/K120) (1997/K12) abandoned? (Jennifer Ringley) (see below) Interface as landscape (D. Rokeby) presentation view Medien Kunst – Ausgabe 0 Juni 1991 Social Entertainment an electronic replica of the city of archive of critical writing Where is the new place of art? being exhibited with media media conference, (2000/F22) (Bordoni, Marchesin,Paci Dalò) (Malina 1990) valleys, in which users tend to gather The Art of the Exhibition (study) / G. Dirmoser Environment (2001/K205) Youth Marketing Albuquerque (investigating promotional on media art "Is fine art at an end?" WEB-CAM, homepage, TV-container, ... networked showroom Streetscape (Iori Nakai) The fundamental question arises as to (well-worn paths with optimized traffic patterns) interactions (MEGO) (1997/P06) (P. Virilo) (AH) "crisis of the picture" in terms of its (1999/F08) Symposium ars electronica 79-99 (2001/K192) (2002/K265) pushing the the global (Mark Tribe, Alex Galloway) 20 view of the collection the meaningfulness of an "exhibition design" The world's first global art gallery for (1996/K141) center for (2003/K417/P114) (1999/P144) operations) capability for representation (R. Ascott, E. Bannwart, H.W. Franke, W. Haupt, entertainment electronics: envelope of the fashion show village for this kind of "electronic centre for electronic art (Ed Stastny) (1995/P72) (1997/F09) visualization projects electronic art Archive – former Use of historical H. Leopoldseder, O. Piene, I. Sakane, Christine games, playing devices, (Sharif Waked) practically no collectors computer media" (R. Verbizh) How do you exhibit something within A Celebration for Linz: mediatization of cities (1979/K01) (Leopoldseder) propaganda museum graphical models as basis Virtual Galleries / Schöpf, G. Stocker, P. Weibel) Digital City (G. Lovink) of digital art (1996/J79) The Encyclopedia of Clamps the exhibition framework of a festival (Rachel de Boer, Isabella wireless devices, ... (G. Legrady) (1994/ museum view for a complex film museums as entertainment (Edouard Bannwart) Digital cities or "Freenets" (2004) 3D-visualization of (Robin Clark) (2002/F12) (1997/P142) (Barminski, Lewin, Hesketh) that doesn't even need an exhibition Electronic Galleries Bordoni, M. Brandt, Gordon W., P126) (Alain Escalle) !! Multimedia fashion show - (1994/K138) (1995/K180) (1994 Amsterdam) manufacturing plants collection of Internet films Designed major exhibitions, incl. at all? (2000/K322) (openX-setting) (Internet, CD-ROM, TV ...) Huge Harry, R. Lozano-Hemmer, art as questioning communication and entertainment multimedia city XS4all Server (Hacktic Group) (MEGO, Involving Systems) a club's collection of music Playzone in the Milleniumdome (1997/P24) navigation aids (electronic galleries on the Internet) M. Huutajat, P. Öttl, C.M. Silva, (future lab) (visionaries & the dispossessed (CD-ROM)) (1989/K126) Project group networked city digital archiving samples view of storage media Renga – linked image Internet exhibitions Art Com Electronic Network A.Wortzel, DJ Riot, DJ Willi, exodus from the city AEC must not ... only see itself (Before the Sound of the Beep, concept exhibition on (Station Rose) TRON computer city (TH Darmstadt) ArtBase from Rhizome & (since 1992: Toshihiro Anzai, ACEN (1986) (1989/K129) M. Janssen, D. Kousbroek (1996/J101) International City Digital Archive as supplier and gallery the answering machines of 20 galleries in Paris) The Happiness (Elisa Rose, Gary Danner) (1994/K136) (1995/K61) storing documents with Variable Media Initiative art historians have only been In the past, art museums were repositories Rieko Nakamura) art galleries on the Net electronic exhibition space (Berlin) the ideal (user contributions) (1996/P22) (Stocker) (mailorder catalogue as exhibition - folder, Internet) Machine emulators (2001/K340) of the Guggenheim dealing with artifacts for for artifacts. This cannot make sense The use of computer graphics and Digital City Linz the digital city model city on the Internet (George Legrady) 1000 masterpieces – comfortably buying art (Kulisch, (1990/P09) (2001/K345) 30 years when the artwork involves experiences space.art – an electronic exhibition conception animation in conventional industry films (digital possibilities (walk-in screen bunker) (1995/K254) (2003/F38/P108) Obereder, Pichler, Rakuschan, Wid, et al.) from Hollywood and for leisure parks thus and contexts. It is absurd to exhibit museum – virtual interactive ars: electronics in the exhibition context using MiniCave experience Computer City of communication: (1994/139) Takeover (Symposium) (1998/II-K230) (television gallery – 1000 masterpieces) not only popularizes computer animation, urban development project (2004) Video monitoring service - code collections (2003) CD-ROMs in a museum - one does not go 3D CAVE installation at least as symposium architecture (1994/K93) city administration and From Document to Event – Digital Alexandria Artanalyser – Infoscreen for but also provides a maximum demonstration most North American broadcasters to an exhibit of books to read books. (A. Benjamin Spaeth) barcode catalogue to electronic exhibitions (2002/K330) (Ken Sakamura) citizens) (Janko) a multimedia city center What will remain? selected art works experimental gallery of its possibilities. (PW) (1992/P42) deleted many news broadcasts the museum as a (R. Malina) (1995/P31) (2003/K431) navigate image discs exhibition design (P. Maresch) (1994/K131) (1996/J29) (1994/K141) (2001/F09) Museum of the Future – AEC (2001/K266) (1995/P74) Linz as city of technology recorded between 1981-88 laboratory The Electronic Gallery (1992/KII-06) design of the PRIX exhibitions (Fareed Armaly) (1994/II-K50) Electronic Pool virtual city – Terminal Art how to exhibit web sites (Stephanie Cunningham) (1996/J29) (Frank Ogden) (1986 opening "La Villette") In this aesthetic of emergence, the (art laboratory: Max Kossatz, Oskar Obereder, multiuser media environment deterritorialized ars: digital city (1995/K101) electronic museums F.E. Rakuschan, Franz Xaver) (1995/K271) Insectinspector – tool for (Jürgen Klaus) how to exhibit software 1994 conservation of digital art (1986/K322) surface image provides nothing more synthetic exhibition (Expo CH 2002) "meta-city" (PV) (Gerda Lampalzer, Gerwald Rockenschaub, inspection and display (1986/K291) Symposium: what holds the city together porting, migrating, (Johannes Deutsch) (2001/K346) "old" media (material) /vs/ than a site of penetration into deepter (1993/P37) (David Haxton) (MEGO, Involving Systems) the first museum of all Gottfried Bechtold, Hans Weigand, Heinz (2001/K266) telematic sculputure Tokyo as media landscape converting, reimplementing "new" media (transient) layers of meaning or being. surfing on electronic surfaces – Too many artists or galleries or museums taking part in architecture in a simulated urban planning workbench maintaining HW and genres (ZKM) Reisinger, Helmut Mark, Helmut Stadlmann, (R. Kriesche) (1994/P120) art as event (1994/K70) (Mark C. Taylor) (1995/P19) (R. Ascott) 15yearsof ArsElectronica(CD ROM) the PRIX merely placed their portfolios on the homepage, or fashion scene in Afrika city (Toyo Ito) (1994/K84) (Underkoffler, Chak, operating system at the The Virtual Museum Helmut Weber, Herbert Schager, Hilus, designing the simcity video as lowest Museum as fragrance input performative approach! (Station Rose) (1994/201) they uploaded works to the web that normally hang on the art as media event (Oumou Sy) Pangaro, Alonso, same time (1992/K105) (Jeffrey Shaw) Hubert Matt, H.R. Fricker, Jürg Meister, digital signature the perspectives of entertainment (1979/K26) Hypermedia Lexicon wall (1996/P38) ... The result of this is no more (2002/K92) Fielding-Piper, common denominator Archiv für den KEO-Satelliten replica of each current Kit Blake, Konrad Becker, Kurt Hentschläger, digital watermark art as celebration urban memories cyber city flight – the city (1996/J15) (2001/K366) fragrance theater list of electronic tools than an art catalogue. But a catalogue Santos) (Jean-Marc Philippe) (1999/P28) situation (Landesgalerie) „sniffman“ 32 fragrance channels 19 material view / Kurt Kren, Leo Schatzl, Literatur und Medien, (1994/K155) virtual Berlin electronic artists' museums (A. Hirsch) (department stores) is not art. robot ecosystem (L.-P. Demers, B. Vorn) (2001/ DB for eternity mobile system (for Internet Margarete Jahrmann, Martyn Berger, Mathias Online exhibition CODeDOC I & II urban investigations the over-exposed city Art Com Electronic Network parasites, scavengers, swarms, ... (1996/P126) (ART+COM) K259) Art Com Electronic Network 4 uncensored pages from the flipbook to the Fuchs, Matta Wagnest, Max Moswitzer, (John F. Simon, Annja Krautgasser, Rainer Mandl, (1998/P28) (knowbotic (1994/K94) (P. Virilio) presentations, games, wellness, olfactory view (smell) ACEN (1986) (1989/K132) (1994/II-K95) The law of the libraries: ACEN (1986) (1989/K130) per participant museum on the air artificial/electronic noses Michael Huber, Muki Pakesch, Norbert epidemiC, Joan Leandre, Jaromil, Ed Burton, research) Tokyo 1997 fragrance cinema) Machine stand-alone applications (AH) from the object-oriented curators and libraries mostly Electronic Library (Toshio Iwai) Pfaffenbichler, Pepi Öttl, Peter Fend, Peter Antoine Schmtt) Pool Prozessing (2004 Landesmuseum) Matrix – (as work concept) to the context-oriented phase image theories The New City the access ritual of teleinformatics leave out what is most (Electronic Publishing) (1994/K249) Kogler, Peter Sandbichler, Rainer Ganahl, The Imaginary Library The major exhibition Immateriaux archeological view junk with (Fortner Anderson, Robert Edgar, (see: context study) Literature: (1994/K181) now replaces that of the portal available. see also air space activities Ruth Schnell, Sabine Bitter, Stoph Sauter, Criteria: best experimental/ morphology (Heiko Idensen) (Mathias Krohn) (1985), inspired by Lyotard, developed controlling James Johnson, Judy Malloy, performative installation International Concept (1994/K97) (1996/K257) The other way and atmospheric design Tassilo Blittersdorf, Tin, Tristan Thönnissen, experiencable gallery (1995/P46) computer visualization studies Firefly music database // (1990/K-I-131) from the design discussion about (Mark Malmberg) (1993/P64) devices Stephen Moore, Sonya Rapoport, Ähnlichkeit und Berührung / Georges Design Competition for around with the Internet? (DG) UPhi, UdoWid, Van Gogh TV,You Never Know, (WaxWeb, Digital Art Endeavors) pictorial turn (discourse) between the nodes (AH) connecting Ringo music database (1995) "new materials". (1988/K84) mixing two- and three- (1998/P215) Joe Rosen, Henry See, Fred Truck, computer performance installation art in the Advanced Information view of gravity Zelko Wiener Didi-Huberman and data packets single (1997/F45) Reading Room (similarity profiles) (P. Maes, M. Metral) (1995/P64) dimensional procedures (Gordon Monahan) Paul Zelevansky) PRIX exhibition at the OK diagrammatic turn (discourse) City (1986/87) material character immaterialization Ins Universum der technischen Bilder / (F. Rötzer) digitalized (Betty Spackman, Anja manifesto of tactilism (1994/K181) (AH) What distinguishes the virtual material effect (virtual) (J.-F. Lyotard) Vilém Flusser (1994/K108) museum holdings Westerfrölke) (AH) immateriality instead of material types of dispay (supplement to projection): cathode ray tube video sculptures robotic sculptural systems program and art as location factor museum is that its form and content aesthetic of the painterly (AH) medium instead of thing the acoustic display, Cave, HMD (head mounted display), sculptures (Nam June Paik) machinery of information furniture work concept Für eine Philosophie der Fotografie / electronic memories are always changing and are not (Michael Tolson) secrets of the (AH) living memory – immateriality (AH) The visible computer wall of building, monitor, projection wall, (1989/K196) (1982/K102) (Istvan Kantor) Vilém Flusser art as point of reference (1994/157) determined. (1993/P18) game console as basis new work concepts: city (1996/K288) expanded museum software as material the materiality of new media water wall electronic sculptures (2000/K290/P94) vibrating crates – Bilder Digital – Computerkünstler in Deutschland net museum of projection (2002/F043) art as workplace (R. Paci Dalò) And yet we are torn between these effects, Obeying gravity in (Alan Rath) (Alfred Jan) (Chris Dodge) (1997/K272) use of junk metal installation ! media art work 18 view of the art work 1986 / Ed. Alex & Barbara Kempkens Video-Disc (1982/T) first digital audio 5-inch CD (Y. Suzuki, N. Morita) (AH) virtual and because they indicate a new aesthetic, which virtual space; hardware archaeology Kinetic visual sculpture (cf. Contained) (1998/P200) media works (1985/T) Standard for CD-ROM dematerialization of art boring show of (2002/P106) Vom Tafelbild zum globalen Datenraum – neue no longer operates mimetically or materially, elastic collision (Vasulka) (1992) (1997/K307) (P. Bosch, Simone Simons) artware (1987/T) Digital audio tape DAT imaginary museums (1979/K32) Klettergarten imitation images Möglichkeiten der Bildproduktion und bild- but instead originates purely from imagination. Dematerialization of art (program laws) multi-colored motion sculpture performative installations CD-ROM (1993/T) Digital HDTV (Mario Purkathofer) (Idensen, Krohn) spatial sculptures (Kinetik) view of the installation gebender Verfahren / Ed. Peter Weibel cyber-museum (1996/P35) (Lischka) (Lucy Lippard) (Akke Wagenaar, Bob O´Kane) pixel impressionis (M. Brandt) (ML) the work concept is electronic (1996/T) DVD player on the market (PV) A paradoxical logic of images Article by Monika Fleischmann ! (1994/K82) disappearance (1992/K173) programming languages as (A. Nemeczek) (1990/P19) performative media installations (1979/K37) deconstructed with the help of media recording media (1997/T) founding of MP3.com (PW) viable architecture: incomprehensible materiality of material material with very special begins now with the invention of video, (1998/P220) installation based iconoclash – beyond the image wars in science, data processing and holography Soa(pOp)era for (2003/K228) stop thinking only in materials manifestations properties (2003/K180) Standstill of the development – (AH) reaktive sculptures The digitalization of art turns the religion and art / Ed. Bruno Latour, P. Weibel Labtop-Computer machine sculptures product view (Rus Gant) Centerdisc – 54.000 images (1994/K15) technical material battle computer as material (Casey Reas) exemplified by image categories: art work into a transient object and virtuality (see below) (PV) In domotics, wall pictures on radio remote- Ordnungen der Sichtbarkeit – Fotografie in on an image disc (1982/K45/K84) for dematerialized images/projections imitation, micro- and macro-cosm, machine installations eliminates the fundamental Btx, Videotex are replaced by the wall monitor, controlled vehicles Wissenschaft, Kunst und Technologie / battle against the slavery Information as new psyche and philosophy, computer hardware transformation dimension of corporeality first prototype of multimedia SW!! by the screen in the opaque sense. (Hovagimyan, P. Sinclair) fewer "machine builders" and Ed. Peter Geimer of gravity (Joe Davis) material properties of certain (DM) As functions they designate something "material" (see below) Btx gallery (1986/K310) craft ( eye-catcher ) (2003/K228) (1996/K205) object view visual computer large installation makers in the (1982/K42) displays or camera chips immaterial, but a materiality is required for their Potentials of digital (1990/P20) (Simon Penny) Sehmaschinen und Bilderwelten / Ed. Bodo von art as question of conservation electronic image (vs) unitM – User Sensitive course of training execution, which simultaneously limits them in photography ? CAVE: virtual reality may be criteria: the most sophisticated device Dewitz, Werner Nekes JPEG, GIF, TIFF, PNG, SVG, DXF best defined as a wide-screen digital image (SH) Information Architecture laser-optic image disc (HK) It is just one pixel next to their possibilities. (1995/P46) monitor installations less perfect art ... Zwischenbilder Zwischenräume – Kopigraphische Physically-Based digital art depiction of computer-generated, (2001/K325) tactile haptic view (1982/K47/K84) another. That has an entirely different (PW) (1993/P52) Dirt finally (also see access conditions) SPIN (Spherical playable (1992/K127) (Michael Bielicky) as an indication of u. elektrographische Arbeiten österreichischer Modelling multisensory information floor display quality from layers of paint homogeneously reached the computer in 1992 computer art projection Projection Interface) machines design possibilities Künstler / OÖ. Landesgalerie superimposed. (... fuzzy logic, ambivalence and computer graphics digital copy art following a user in real time. walk-in monitors/scanner - image traces Magnetofluid Sculpture The Art of CODE (F. Nake) performance (time´s up)(2000/K302) Levine (a pioneer of video art) (Matt Heckert) (1979/K05) (Daniel J. Sandin) (1996/J84) (1999/P70) (J. Blank, K.H. Jeron) Leonardo 2000 – Kunst im Zeitalter des (reaction to noise from the environment) fractal geometry ...) ... departure (Symposium) (1998/K255) has always called himself a (1997/K311) similarity and touch from the seduction of the surface, (T. Oursler) Computers / H.W. Franke (Sachiko Kodama,Minako Takeno) (2003/F10) Visualizations repetition of art history view of photography (granular & synthesis) "media sculptor" (1997/P200) INFLATABLES from the clarity that actually image databases performative deformation Vom Readymade zum Cyberspace – Kunst/ (2003/K424) CODE Exhibition on Xenakis: Variable objects as micromodels of corresponds to the consumerism Netzhaut – concept for the facade of of information surfaces Pneus, flying sculptures (2003/F29) (Marius Watz, technical drawing possible architectures Medien Interferenzen / Dieter Daniels granulated (musical) parts can be of commodity aesthetics. Conventional computer art is (1984/T) Sony presents a the AEC (C. Möller, J. Sauter) physical representation and (Cornelia Unger) (2000/P188) (1980/K29) M. Wattenberg, apparatuses (1996/K426) (H. Gsöllpointner, Intervalle 5 / Mimetische Differenzen. Der material display folded together in a new way – generally the most conservative, gigantic video screen with 18 view of the picture (1994/II-K91) manipulation of digital (AH) the communicaton artist Gerda Palmetshofer, (1997/K300) C. Möller) Spielraum der Medien zwischen Abbildung "Trash Mirror" (Daniel Rozin) Anonymous Muttering the dullest, most non-innovative the JumboTRON information (1997/K201) as "sculptor of information" on the grammar of objects typewriter graphics M. Subotnick, traveling through 3D spaces made of inflatable puppets (2003/K223) s.r. (knowbotic research) (1997/P132) art form of the 80's. 2003 (Fred Forest) (Constanze Ruhm) (Graz 1993) und Nachbildung (1979/K41) Justin Manor, video projections (C. M. Silva) (1999/P68) (Perry Hoberman) "Wooden Mirror" (2000) (1989/K337) (Brian Reffin Smith) image synthesis Eidophor color TV projector Visual Codes view of framing Workshop Shared Physical Objects Medienwerke aus Österreich 1992-93 / (1989/K336) Sue Costabile, (1989/K209) (J. Shaw) For the first time, a computer- (Matt Gorbet, Magie Orth) 3 versions of a furnished space. (1989/K106) (1979/K36) (1980/K11) (Joshua Davis) large project. (H. Ishii) (2001/K255) vorgestellt von Peter Weibel SW: paint box (1986/K13) genetic images Lia) (Bill Viola) (2003/F38) Huge & Mobile animated fur was able to convey (1997/K280) triangular objects can Each version is monitored by a real/virtual synthesis images (AH) Material-Display (no boundary between Das Bild als kommunikatives Medium / art as question of material (1993/K401) (Ryoji Ikeda) input and output) a realistic tactile feeling. be combined (each with a separate camera and combined into one video image Internet garbage disposal (12 fax machines) variability, combinatorics, aleatorics Can image and diagram (Jim Campbell) "Trash Mirror" (Daniel Rozin) computer-generated images (Karl Sims) ! (Ryoji Ikeda) (Sue Costabile) view of projection (2002/P116/P122) (Pete Docter) identity) Klaus Sachs-Hombach (SH) in paper form – junk mail, spam, ... music visualization research effect a drive? (1998/P84) (2003/K223) tactile interfaces stereo-lithographic Oliver Grau algorithmic image (Otomo Yoshihide) (nowhere.com / Nick Philip) drawing machines algorithmic (2001/F20) art of projection techniques (DM) Seeing something as projection techniques models (light-hardened Computer Aided Design electronic images (2003/K228) In tele-rendering, both panorama images (2003/K260) (Sommerer) car design as a new field of (1999/P48) (1979/K42) art? image has always also plastic - laser exposure (former PRIX category) Picture Processing Methoden components of computer- (Romy Achituv) (2000/K401) sculptural design. Auto-Illustrator interactive image Steam Screen shadows in simulation meant seeing the mediality 3D CAM/CAD) object design using CAD Videograms: photocopies (1979/K17) tactile (2002/P94) (Crispin Jones) Use of software for car and (2001/F32) (Ade Ward) Real-time 3D- graphical image generation, (1982/K46) (2001/K259) of the medium too. gestural shadow plays (Ayre Wachsmuth) (1993/K292) photorealistic representations The electronic image as transition of the Ideas, not pixels! manipulation interface architectural objects. directly from video beam computer graphics model and renderer, are 360-degree recording techniques (2001/K246) (2002/P73) (M. Jahrmann) (2003) technical image from the indexical to the (1989/K221) data-object (Aldo Tambellinie) (1989/K209) separated. (SH) Shadow Dream and 360-degree projections (1999/P92) (Sommerer, Mignonneau) Design goes virtual (Zec) (Herbert Schager) interactive. It becomes a sensitive field, Computer Graphics (former PRIX) (Timothy Binkley) laser image projection interaktive video panorama (M. Jahrmann) (1984,87,88,96,2000) (1982/K113) (J. Shaw) (1992/K130) (M. Belge, R. Harrington) (Franke) possibility of (spatially) touching images from a window laser-sintering a hyper-image. (SH) (1982/K35) (Luc Courchesne) (2002/F45/P92) see also: Tangible Interface multimedia sculptress Cladnyian Computer graphics were ultimately (Scott Sona Snibbe) (1996/K416) (1986/K75) unlimited (virtual) image spaces "making" painting & music characterized by being active without three-dimensional sensor-controlled panoramas from the (FF) The aesthetics of communication does not aim to (1997/K120) (Catherine IKAM) diagram-forming sound figures composed (1996/K414) (Gerhard Funk) circular panorama cinema of the physically tangible interface (1997/P130) the influence of any theoretical painting (1993/P18) movement – images video projection multi-projection 19th century (2001/K340) produce objects, it does not work on forms, (AH) In 1952 Ben F. Lapowsky (Laposky) (1979/K36) Science Center (AH) (Hiroshi Ishii, Christa Sommerer) procedures color-form interplay considerations (H.W. Franke) (1989/J37) (Char Davies) (1989/K195) (Carbaret Voltaire) it addresses "space-time". (see above) used an analog computer and an Omnimax-Cinema (70's) (AH) The motto "art and life" is transformed image-defining procedures (1979/K10) ... hardly "suitable for art" Analog/digital hybrids (Ruth Schnell) (1986/K96) tactile feedback through oscillograph with a cathode tube for the first visual music (2001/F31) Electron. into the motto "art and technology" today. MIDI-controlled instruments for (1977) (AH) EVE – Extended Virtual Environment: active vibration floor butterflies in various research fields time in the USA to compose his QTVR Panorama-Film image generation abstract graphical music graphical improvisation controlling rebuilt (1992/K91) instant projection / Relationale special projection robot-aided dome projection (2001/P102) (Gerhard Eckl) (Haruki Nishijima) The role of computers in Electronic Abstraction. (1979/K10/K22) TV sets (1979/K10) (Garry Hill) immediate replay (Jeffrey Shaw) "hidden panorama" (Sanjin Jukic) (1998/K111) self-organization Transgenic Art studying life and other (AH) The virtual is currently in (Michael Saup) image scenes (1979/K10) Architecture spaces animal interactive video synthesizer (1979/K31) (Constanze Ruhm, re-introduction of the picture frame (as (AH) artificial worlds complex systems (1993/K35) the "painting phase", not yet the abstract color-form (1992/K246) (1979/K11) Dual Colorizer (1973) (R. Lozano-Hemmer) modelling life homosexualities Artificial Life evolution from plotting to (Nam June Paik,Shuya Abe) (1997/K337) Peter Sandbichler) movable window) swarm behavior (Artificial Reality) photography phase. (Boissier) (1992/K89) image & sound terrarium (B. Bagemihl) (Christopher G. Langton) (Karl Sims) biology of cognition interactive graphics compositions (1979/K10) (1997/K356/P112) (T. Iwai, R. Sakamoto) (1979/K10) (Eric Siegel) (1992/K84) (1997/K313) (CAVE) (1994/II-K42) hypermates and (1994/K07) (1992/K132) 1979 (Vasulka, Siegel) (1998/P88) Bio Art (2000/K103) (1993/K25) (1993/K119) (1984/K134) (H.W. Franke) Music Plays Images x Images VIDIUM (Bill Hearn) (1968) (1992/K87) Fotosafari ins Land des Krieges (Stadtwerkstatt) postbiological life (1992/K38) (Maturana, Varela) art as prejudice (2002/F003/P073) growth models for morphogenetic (Eduardo Kac) cellular automata, evolution, genetic art Processing (2003/K201): Casey Reas, Play Music (M. Benayoun, J-B. Barriére) (1984/K385) (Peter Weibel) (AH) The oscillograms by H. W. Franke (1956) were followed in 1960 by drawing on the screen (Valie Export) previously no VR programs studies (Yoichiro Kawaguchi) (1989/J22) (2001/K125) genetic algorithms, adaptation, LifeScience-Symposium (1999/K14) Ben Fry,Amit Pitaru, Carlos Rocha, EMS Videosizer media terrarium (cricket) (1990/II-K14) 1993 art as hardware the first computer graphics (Kurt Alsleben, W. Fetter), which were created (Richard Greene) (1986,88,92,93,96) sun painting yet that contain rainbows biotelematics artifical life wetware genetic art – Birgit Richard, J. Rifkin, R. Lanza, Z. Chen, Hernado Barragan, Golan Levin, Lia, electronic paint box since 1965 using a digital computer in Germany (Frieder Nake, Georg (1990/P200) (1979/K10/49) (Hoenig) (1979/K09) (1992/K13) sheep music concert artificial life (1) M. Specter, Lori B. Andrews, D.J. Kevles, Marius Watz, Schoenerwissen, Juha redesigning (AH) charged relationship between the future transgenic Nees), and the USA (Michael Noll, Kenneth C. Knowlton, B. Julesz). (1979/K10) interaktive plant growing (2000/K391) Bio Art (2) (H. Christiansen) (1993/K) P. Virilio, D. de Kerckhove, D.H. Hamer, Huuskonen (2003/K210) interactive graphics systems butterfly wings replica and own life, artificial and of evolution art (E. Kac) 1999 physical ambient (Christa Sommerer, Mignonneau) Interactive Poetic Solar Music (Joe Jones) (1988/K259) (1988/K256) H. Gottweis, B. Latour, R.V. Anuradha, zoosystemic (Marta de Menezes) natural world (Crista Sommerer, (1996/K26) (1999/K296) Symposium "Artificial Life" (1993/K105) (2003/K202) LeCielEstBleu, The Demoscene (Shirley Shor) (2003/F31) rainbow and water clouds of nature (1982/K65) (1993/K408) Garden (D. Small, (1989/K99) Eugene Thacker, M. DeLanda, G. (2000/260) Laurent Mignonneau) (Kevin Kelly, Ken Karakotsios, T.S. Ray, cognition theory Kuda.org (K. Lukic, Z. Pantetic, Branka Curcic) Sky events: (1972) (1986/K299) T. White) ecological zones of mice destroying the network Puppet Tool Schöfbänker, V. Flusser, G. Gessert, art has lost its traditional monopoly Leaves (reacting piles electronic fountain (1996/K294) Genetic Manipulator P. Prusinkiewicz, K. Sims, L. Yeager, evolution theory environmental art dependency (2002/K349) (AH) synergetic interaction (Weibel) (C. Ebener, U. Winters) (LeCielEstBleu) bio-robots Dorothy Nelkin, C. Tonderai Mundede, Literature: in image production (PW) techno-ecology of leaves) (A. Elsenaar) (1989/K193) (S. Pevnick) weather data from (2000/K393) Life Spacies II F. Dietrich) natural science as event. (works that react to changes in the environment) (1998/P86) (2003/K241/P073) E. Kac, G. Von Hagens, K. Stefansson, Vampyroteuthis Infernalis / Vilém Flusser, artificial clouds (1991/K207) all over the world art of the environment, like ecological sculpture, Symposium "Gene Technology" (1993/K131) sound meadow (1987/K104) Reaching for the (1994/P100) A-Volve bio-informatics K. Ammann Nerve Garden (1998/P40) (1980/K26) simulated nature simulated (C. Henrich) art of natural elements and SKY ART ... bio-cybernetic research Christian Brünner, Reinhard Löw, Lothar Müller, Helmut Ruis, Louis Bec (Christina Kubisch) environmental art stars becomes a plants as interface organic surface regulation (1999/K25) (Gail Wight) (Bruce Damer) growth (1995/P80) (Otto Piene) (1980/K96) (SymioticA) Horst Seidler, J. Voggenhuber, Ernst Wagner, Erwin F. Wagner) Earth Moves / Bernard Cache (diagrammatics) Operated by Art (2) environmental Fluid Sound (1988) (Karpfen-Becken) (touching the leaves) with the morphogenesis model (1999/K315) physical gesture climate converter (2002/K382) cf. weather building (Oron Catts, Stuart Bunt) Der Baum der Erkenntnis / Maturana, Varela (unplugged Symposion) flash-triggering sculpture sound digital growth harmony of the spheres Sonare Technologien (Yoichiro Kawaguchi) (1986/II-151) the body as pure (1980/K23) (1982/K58) (W. Jauk, H. Ranzenbacher) (Stadtwerkstatt) (1988) sky harp (2001/K144) The greatest weakness of the Memesis art as field work of ecological (Joe Davis) (1982/K41) (1989/K260) (1995/P118) (P. Grucza) (1990/K-I-07) (R. Maedel) (Liz Phillips) (1989/K98) interactive sound installation information (1999/K27) The Philosophy of Artificial Life / Margaret (1988/K199) (1989/J153) (1992/P114) (Kristi Allik, R. Mulder) Genetic Images Statement lies in its awkward thinking, art at its limits (David Dunn) radio souncscape (Sensors for localizing fish) (Gene Genies Worldwide) view of cognition A. Boden landscape simulation Wetware (W. Maass) (2001/K153) (Carl Sims / 1991) biological analogies (1996/K30) (2002/F10) Telegarden Solar Music (1989/K267) (Warren Burt) simulated clouds floral kitsch CAN: Computer Aided Nature (Reck) see also: material view Technosphere (Liz Philips) (1999/K335) Artificial Life: An Overview / Chr. Langton (Ed.) (dECOi) (2003/P102) (R. Hawkes u.a.) (Hou Hanru, Peter Fend, (Ken Goldberg) (Joe Jones) and air currents simulated (1991/K195) aesthetics and fabulous epistemology interaction between a computer-controlled (S. Spiegel) (1995/K305) earthquake 1980/82 (1997/P76) robot and gerbil (Nicholas Mark Napier, Azza El´Hassen) (1996/K297) greenhouse water currents and sky art view of the blue planet Bugrace99 (Stadtwerkstatt) of artificial life (Louis Bec) (1997/P70) Antarctica – idea Negroponte / 1968) artifical life view (1989/J56) wave movements with the aid of VRML technique view of nature the logic of the snake communication with (1999/K339) sport event (1993/K172) evolution and growth (C. Sommer, (Project Taos) and reality applied zoosemiotics virtual creatures art as natural wonder fractal boxes aspects of the original (1996/P94) (M. Pesce) (sound installation) small creatures genetic algorithms L. Mignonneau, L. Bec, K. Sims, (1986/K381) water machines sky art conference (1980/K06/K23) Is genius migrating to (Louis Bec) creatures (D. Harada) (1993/K345) (Peter Kogler) (Jenifer Bacon, Joe Takai) sky and sea landscape in video sculpture illuminated zones of the earth (Erik Samakh) (Yasushi & Hiroshi Matoba) permutational art art as creation (1992/P48) (Karl Sims) Berndt Lintermann) (Christoph Steffner) (1982/K33/K67) (Otto Piene) the computer? zoosystematicians (1993/K346) (1991/K156) (Jürgen Claus) (1982/K75) (1989/K326) (Joan Brassil) (1992/K165) (1996/P96) (M. Fujihata) 17 view of plants (1991/K199) (1999/K339) Institute of Paranaturalist Research 17 view of animals (PV) (1998) Following the acceleration of the history (2003/K142) There is hope that a growing against an official contemporary art – (1999/K414) informatic art is outside Because of the enormous speed at which for an art in keeping with the times art as cognition tool of so-called "classical" art, we are now confronted with awareness of the art historical "affinity" modern era of information the realm of the formal media art has developed and spread in 17 view of art studies cyber-philosophers "Home of the Brain" philosopher-artists (HK) superficial philosophy of hope 17 media philosophy view Literature: the acceleration of the reality of so-called "contemporary" between concept art and software art will (Fred Forest) (1995/K164) bourgeois concept of art recent years, it is urgently necessary to (Agentur Bilwet) mental edifice of the four Philosophien der neuen Technologien / Merve the blindness of (1990/II-K91) media scholars Flusser, Virilio, Minsky, polycontexturality art and the emergence of topical art, which seems to aspire lead to a greater acceptance of media art And what is art about it? (1997/K383) (Ranzenbacher) resume and extend these fundamental view of art history Cf. (art) historical view philosophical and artistic Im Netz der Systeme / Merve to resist the imminent breakthrough of a virtual art in the in the field of contemporary art. New art theory (Beusch, Cassani) (1999/K417) art history studies discourses about a contemporary view of the philosophy of art Weizenbaum (Monika Fleischmann) orientation of the Ars through (on: Gotthard Günther) Geist, Hirn und Wissenschaft / John R. Searle age of cyberculture. (cf. Take over) (Christiane Paul) media art theory. (Stocker) (2003/K13) Against idiocy in praise for the parasites (Wolfgang Strauss) P. Weibel (1996/J38) (Leopoldseder) multivalent logic art theory necessary? In 1995 Hans Belting noted for the areas of (DM) Art without media would be as much The Renaissance Computer – Knowledge technomorphology media theory as art theory The ARS has unfortunately contributed electronic art (against (F. Rötzer on M. Serres) (Peter Weibel) philosophy for a digital renaissance video and installation: Art history, as the official Why should art and philosophy a contradicto in adjecto as a language technology in the first age of print (1997/K18) little to this over the years (DG) the imitation of existing (1993/K92) proposal for a (1990/II-K23) analytical philosophy of Situationism chronical of meaningful activity, has not even interveneinthe dynamicsof (B. Mitterauer) without language. Ed. by Neil Rhodes, Jonathan Sawday (1999/K236) a history of art media theoreticians idiocies) (Friederike Pezold) computer viruses really "new physics" (1996/K428) (1999/K418) become established here, we could say it has visualization? Because actuation can architectonics It makes use of media, seeking to address, epistemology involving DNA (G. Gessert) (1990/K-I-126) (Nick Herbert) media philosophy Ins Universum der technischen Bilder / (H. Ranzenbacher) Belting's major project of a breaking down not yet started to work through activities that sometimes lead to realization, because (1990) as a kind of exaggeration of the boundary, postmodernism discourse It is obvious that visual art's appropriation Bazon Brock (1990/II-K39) (a transitional manifestation?) Vilém Flusser (1999/J161) "media history of art boundaries are meanwhile almost three decades old and heterogenesis can degenerate into as its paradoxical figuration, a withdrawal, nomadology discourse symposium preparation of media art will no longer hold The more "art" we try to pack into (1999/J376) (1999/J101) Medienphilosophie – Beiträge zur Klärung eines (PW) The new image technologies have (2001/K394) between individual have indisputably taken place in the art scene. alienation, because the development of philosophies of a gap or chronic insufficiency.... using net discussion (2001/K20) (Stocker) cyberspace, the less probable it postmodern philosophy deconstructivism discourse a significant influence on the area of the art genres (1996/K395) a new velocity can turn into mere philosophical database 1988 new technologies Begriffs / Ed. Münker, Roesler, Sandbothe (1996/K28) ... art theories have yet to be written for will be that it will show any performance studies acquisition, storage, distribution and the same is true for interactive installations acceleration, because virtualization often (Mike Hentz, Minus Delta T) Kunst als Medientheorie / Hans Ulrich Reck informations superhighways this. (2001/K20) aesthetic qualities. Herbert Hrachovec performance theory navigation experiences communication of knowledge. blocks topicality... (P. Levy) (1995/K97) (1984/K132) (1999/J358) Objekte / Ranulph Glanville art as techno-science EARTHSTATION control of the (1994/K206) Collaborative Filtering What is the point of this polarization ?(DG) (1995/P16) (R. Ascott) ! Philosophical round table (1988): cognitive behavior patterns (see above) (1995/K171) spaces of knowledge Publication of genom data "Gaia" ecosystem (vision) The aesthetics of the manifesting ! (1996/K34) A philosophical experiment Medien-Welten Wirklichkeiten / Ed. Gianni Proj. center for media and According to Forian Cramer, the focus on Peter Gente, Hannes Böhringer, Vilém Flusser, art as research (Agnes Hegedüs) (Lincoln Stein) (2000/F23) (G. Mayer-Kress, Gideon May, Brad DeGraf, search engines that rank (cf. Mersch & Co) The emphasis on the central on the way to digital consciousness Vattimo, Wolfgang Welsch datamining (DM) separation between aesthetic and a purely perceptual aesthetics of art is clearly (knowbotic research) Gregory Kramer, Jenifer Bacon, Joe Takai, knowledge cultures "paid" contents high in the Peter Weibel, Jean Baudrillard, Friedrich Kittler, function of code and the algorithm (Gerd Döben-Henisch) (1995/K227) discursive media a continuation of Romantic philosophy and Unter Verdacht – Eine Phänomenologie der art as method knowledge database for Tom Affinto, John Chachere) (1991/K147) (2001/K398) knowledge cultures search results Information is alienated Heinz von Foerster (1988/K83) (1989/J169) level symbolizes concentration on a Riding the Net knowledge on the net the privileging of aisthesis (perception) over Medien / Boris Groys multimedia developers (NEXT computer / spatial data organization) experience (Jaron Lanier) For Linz the first concrete contact with philosophical "firm core" that is often believed to have art as discourse Meme Symposium specialized thesauruses new orders of knowledge (2003/K225) (1996/J15) Designing a Database Mindmusic (1990) Texte zur Medientheorie / Reclam / (ultrashock) (2001/P70) (1995/K130) purely optical, immersive poeisis (construction). (2003/K140) proponents of postmodernism and constructivism disappeared in the postmodern world. (R. Dawkins, F. Heylighen, (Sommerer) Cinema (Marsha Kinder) (Erkki Huhtamo) (2003/K127) MIC Media Integration and Ed. Günter Helmes, Werner Köster J.S. Lateiner, A. Rosanne Stone, Myth of Information 1995 astonishing graphical image strategies /vs/ the impossibility of seeing oneself (Leo Findeisen) (2003/K73) the artist as archivist NeoStrukturalism, NeoSemiotics (DG) Communication System Lab (at ATR): Kursbuch Medienkultur – Die maßgeblichen R. Born, H. Hrachovec, Jon Rose, ars: knowledge society cyber-flood knowledge technologies effect (1979/K40) mixed reality without distortions How to make art (1995/K116) (2) integrating art as a new method of Theorien von Brecht bis Baudrillard Sadie Plant, D. Rushkoff, Rober of databases arranging the order of knowledge The job of the artists of tomorrow is that of crawlers search engines Focus (T. Walicky) (P.Weibel, Bob O´Kane) visual effects (AH) A "Center for Art and Knowledge Technologies" (1998/II-K297) interpersonal communication in the Cyber_Reader – Critical writings for the digital Adrian X, P. Hoberman, T. Sherman Datenbanken (Anne Nigten) an intermediary, a catalyst between different (1998/P104) (1992/K110) Semantic Web could be newly created in this virtual way. ridiculous and terribly research process era / Ed. by Neil Spiller John L. Casti, H. Ranzenbacher, bot = robot = fields of knowledge, models of thinking and Metasearch (Marc Canter) (2003/K60) (In 1999 P. Weibel announced a restructuring of the ZKM touching with the eyes ars: semantic web & funny neo-Jungian (ML) problematizing digital (workplace: Christa Sommerer, Medien der Vernunft / Matthias Vogel J. Engelberger, D. Back, Karin Spaink, KünstlerInnen Index spider Bots & agents society, solution strategies. (2001/K18) autonomous search strategies Zerseher in this sense) camera pan through ideas of "collective technology as a realization of Laurent Mignonneau) (1996/J122) VNS Matrix, S. Penny, M. Dery, Datenbanken (2003/K225) (Joachim Sauter, all objects Kunst und Medium / Dieter Mersch (DM) Information as new 2002/2003 trained knowledge managers collective intelligence intelligence" (T. Druckrey) an "intellectual world view" K. Becker, G. Lovink, A. Lichtblau, (Lioba Reddeker) indexes supervised by specialists The Enjoyable Internet Dirk Lüsebrink) retina scanner (BUF) (2002/P117) natural science /vs/ humanities Telematic Embrace / Roy Ascott "material" self-organization of data (1992/K25) (C. Hegemann) Tjebbe van Tijen (1996/K06)(1999/J158) information handling Digester (Jaaanis Garancs) are available in Krems, Linz, Vienna, ... (cf. courses offered in Linz) Am Nerv der Zeit / G. Johann Lischka (CD) informationarchitecture (knowbotik research) (1993/K249) (1995/K265) (popular theme in the 3rd round?) material mirror projecting images directly onto camera parameters as basis Internet there is no medium (1979/K07) (1997/K393) Multimind decentralized intelligence interplay of (Oliver Schürer) Simulation space "mosaic of mobile data sounds" Search-Engine-Client the retina with laser for virtual shapes (1997/P118) MARS : Media, Arts, from the poetry of the scientific claim reaches archives of sense or (1979/K14) art and science mindmapping with networks a walk-in database u. 3D-Browser. Fundstellen discourse tracks of the (D. Lüsebrink, J. Sauter) Research & Science programming to a high point in 1992 portals MAK design database meaning (DM) Data Jockey wooden mirror (Daniel Rozin) Collective Intelligence (Christa Sommerer) poetic appropriation of (2000/P56)(Patrick Lichty) (Christian Hübler, Alexander Tuchacek, Yvonne organisieren sich (Anziehung Ars Electronica (GMD Sankt Augustin research as an (1999/J73) 3D representation (1999/K418) (1995/K95) (2003/K93) cooperating memes: (1996/J120) program code (2003/K104) (F. Cramer) Information knowledge bodies Wilhelm, Georg Fleischmann, Detlev Schwabe, electronic eye tracking near Bonn / M. Fleischmann) art form (2003/K250) und Abstoßung) (Pierre Lévy) on the way to the global program code as artistic material Data transformation / Architecture (Eugene Thacker) knowbots Michael Hoch, Will Bauer, Toblas Pfeil, (Tom Corby, Gavin Bailey) mirror (C. Möller) brain? (1996/K53) (Mignonneau, Sommerer) Literature: Data collage (2003/K226) (2001/K20) (1999/K399) Rajele Jain, Udo Zyber) (2000/P44) discourse view (1994/II-K75) collective intelligence (CI) poetics and aesthetics of software code code and Dataspace tracking set-ups (1) art of technoscience Die Wissenschaft vom Künstlichen / H. A. Simon (1994/K146) image disc CD ROM mediated by technology The WWW as a "style of writing" (Christiane Paul) material concept Data-Jockey (F.E. Rakuschan) A comparison with the "third culture" of the Erkenntnis Maschinen Verstehen / Terry Winograd (Florian Wenz) CM technology DMS Very Nervous System stereoscopic SuperBrain merging/reconciliation of natural sciences and art as content (2003/K137) (2000/K350) laser disc technoscience is the tragic phenomenon virtual reality for collective Fernando Flores randomly colliding Es gibt kein Medium the image disc as medium vision without glasses (J. Bollen) science art (2) humanities would be inadequate (2001/K18) pleasurable way of dealing of a knowledge that has suddenly become knowledge management (perception installation) cognitive processing artist as catalyst contents (1996/P92) des Sinns oder der for artists (1986/K318) (Futurelab) (1996/K34) Encyclopedia of artificial intelligence / C. Shapiro poetry of with data/information Content Management cybernetic (David Rokeby) ! (Derrick de Kerckhove) between fields of knowledge MUDs (Trevor Blackwell) Bedeutung (DM) DVD (2003/F49) Künstliche Intelligenz – Repräsentation von programming (2003) hypertext consciousness (PV) (1998) (1991/P130) (1990/II-K171) (UR) In Ulm the call for a scientific art approaches of CDTV CD-I Media art as background research Wissen und natürlichsprachlichen Systemen Memory Theater VR (2002/K271) visual computer art exchanged visual perspectives! research as art form (2003) was en vogue from the late 1950s until Geschichten vor Ort nachvollziehen. knowledge representation (1) Dyn. search engines & spatial organization 16 impact/effect view or application research? (Ruth Schnell) Kognitive Psychologie – Eine Einführung / science fiction memory theater ! (Giulio Camillo) (1979/K16) (Kazuhiko Hachiya) (1996/P138) far into the 1970s MOOs augmented reality fiction of knowledge (proximity = quality of results) (Fakeshop) (1999/K321) palaces of contents (Agnes Hegedüs) (1997) building/space organization: mnemotechniques (2002/K00) research lab as machine J. R. Anderson (1999/P90) (S. Schemat, M. Joyce, (Stefan Huber, R. Ammer, B. Steffan) (2001/K313) VR Panorama Verbarium: Text-zu-Form memory theater (Dirmoser, P. Matussek) Note: (ML) What can be grasped (AH) theory of perception Virtual Worlds: The Emperor's televirtual environments Neurale Netzwerke Kognitionswissenschaft – Kognitionstechnik / B. Carstens, M. Felsmann, (2000/P54) (DM) The aisthetic media especially include those AAAI 92: AI Based Arts Exhibition (AH) fiction instead of reality Editor: Nutzung der Zeichen- discursively? ... Because of its in artificial realities New Bodies (Peter Weibel) (1994/P32) Francisco J. Varela I. Bordoni, R.P. Dalò) Das universelle Datenwerk Media-spasm, senseless that relate to perception: the systems of optics and performative explorations (1993/K181) shredder function for data Infotainment (see left) Ketten als genetischen Code (Olia Lialina) transience and complexity, the (1990/II-K09) (M. J. Grey) agent KI – Überblick und Grundlagen / K. Böhling u.a. (PW) Klassische Kunst und Medienkunst teilen (R. Kriesche) (2003/K148) video installation perceiving perspectives acoustics, the arts, image-forming procedures of all (AH) cognitively oriented VRML visualization of encryption (1999/P52) (Sommerer, Mignonneau) (1997/K394) distraction and crash performative transgresses the see: view of sensor technology sich einen gemeinsamen semantischen Raum (Steina Vasulka) (Mulder, Lüsebrink, kinds, ... etc. They are all grounded in the sensory, (ML) drafting and performatively testing Künstliche Intelligenz / Patrick Henry Winston (Peter Broadwell, Rob Myers) Reputation Points (2001) modern science has increasingly representational capacity of installations cyber-novels valuation proposal (William Gibson) interactive poetry (1990/K-I-124) G. May) (1994/II-K68) whereas discursive media refer to structures, orders, nonlinear a "technical history of humanity" KI – von den Grenzen der Denkmaschine und (1998/P76) Takeover III (symposium) become a TECHNO- languages and signs. talking to a neuro baby (2001/K203) Info-Stories Most information on the (1990/II-K225) (2000/P96) (Orit Kruglanski) discrete categorizations and caesura ... tools (ML) Institution for Media Performance Research dem Wert der Intuition / H.L. & S.E. Dreyfus science fiction in praxis: film, video, content development science (PV) (1998) (emotionale Reaktionen) (left) perception view (Rasa Smite, Internet deals with context, the fate of reason in the global teleperception Probleme der KI / Oswald Wiener comics, music (1982/K167) and skin design ... interactive story-telling (Naoko Tosa) (1993/K353) Neural Networks a purely static representation Raitis Smits) not with content. auditive poetry (see left) network (Timothy Druckrey) fuzzy logic Expertensysteme – Nicht nur für Informatiker Criteria: Best Netzine: (Hotwired, (2001/F08) (Josephine Anstey, Dave Pape) (Virilio) Meme (1993/23) (in AI) is not powerful enough (1997/K364) (1997/P18) (Joichi Ito) (1995/K139)(1999/J305) see: sensor view 1996 art as life energy Mediamatic, Tightrope, t0 Public Myth of Information surrealist sensor techniques (1995/P108) (1990/II-K55) Peter Schnupp, Ute Leibraandt (1998/K211) poetry-writing program POE (R. Trappl) med. cybernetics (1990/II) analytical view (Myron Krueger) Netbase) (1995/P46) writing game / Richard Dawkin (Michael Tolson) Expertensystem-Praktikum / P. Schnupp, content issues /vs/ lack of content (Franz Josef Czernin, Cyberpoetry Perception is a (G. Dorfer) neural networks (1990/II) art as challenge (1969) computer-controlled environment Netbase (K. Becker) (1995/P60) interactive story growth of a remote-controlled sensory mind viruses AARON al AI-based tool fixation (technology fetishism) 1995 Ferdinand Schmatz) (1997/P92) (Z. process in formation. AI (2003/K224) (P. Smolensky) connectio. SW (1990/II) C.T. Nguyen Huu (1970) interaction with video projection Hotwired (1995/P76) (1998/P96) (Lisa Prah) story systems (AH) (AH) from objectivity (1996/K40) Connectionist SW program (Harald art as image (1990/K-I-136) Komninos-Kostant) (Ecke Bonk) (H. cohen, J. Petrow, (R. Cummins) connectionism (1990/II) Problemlösungsmethoden in Expertensystemen / (1971) using sensor floors (AH) rejecting all narrative (Sharon Denning) to viewer relativity Cohen) (2003/K122) the stifling insight that technology information architecture (2) interactive poetic (1995/K48) Sensor that feels its way G. Papp, T. Spiller, (G. Schwarz) learning processes (1990/II-K107) 16 epistemological view Frank Puppe (1972) start of the Videoplace project (NICA 1990!) discovering stories oneself (2000/P32) non-linear text synthesis computer-generated (never at the ars?) without "content" might not be (DH) reactive works: revealing garden (1998/P98) MIT through the space Lyle Zapato) (M. Veitl) med. cybernetics (1990/II-K51) connectivism (1990) Mentopolis / Marvin Minsky (1990/P169) (Bill Seaman) narrative (AH) (1989/K106) literature (1980/K07) (D. Rokeby) Our user interfaces are also a (1998/K264) sellable (1996/P24) content through clicking/scrolling (D. Small, T. White) (H. Haagsma) kind of belief system, because they hold and (B. Mitterauer) architectonics (1990/II) Mind Children / Hans Moravec very free contextualization (Tamara Munzner) The construction of connectionist improvement elegant retreat to Time´s up (Tim Boykett) cyberslang affirm our assumptions about the essence of (M. Minsky) Mentopolis (1990/II-K97) virtual brain computers as "authors" of (David Blair, Oliver Frommel, Vera Frenkel, Doug Aitkens, Dean Kuipers) (1996/P106) (Joey Anuff) differential topology experience. Interface as of AI systems (AH) AI view Assoziation / Gerhard Strube art-immanent "pseudoscientists" : term hypertext digital poetry things and reality. cybernetic art works cybernetic (1995/P164) mapping specialist content (David Rokeby) (left) (Steve Mann) 5th generation computer systems / T.Moto-oka positions (2001/K20) (Staalplaat, Negativland, 1974 from Ted Nelson the 90s as the era 3 AI creatures (Joseph Bates) (1979/K30) interactive novels methods (1999/J420) Computer – from calculating tool Gödel, Escher, Bach / Douglas R. Hofstadter Muzictoerist, Barbed, World Wide Web Sites (former PRIX) (1990/II-K253) Hypertext in search of the order behind it Decision-Support-System of the brain MIT (1997/P112) in literature to mankind's creative partner? People like us, N.A, Baginsky, most prize-winners last year did not (2003/K140) Is software art more successful, if one (Daniela Alina Plewe) (1998/K140) (1997/K144/K217) (1990/P08) 1990 analytical philosophy Metamagicum / Douglas R. Hofstadter science fiction workshop text-software / (Klaus Ramm) (1979/K29) Gordon Monahan, Leo Schatzl, intend to be artists Ottos Mops (trotzt) new narrative structures (1965 – Ted Nelson) non-sequential "can see" the algorithms behind the development of myth of AI machines, whether "hard" epistemology Einsicht ins Ich / Douglas R. Hofstadter (1982/K08/K167) Div. obscene contents reading and writing art related (1980/K78) (HK) one should push forward in AI works AI robots or "soft", are the codification Rosa von Suess,Karthik Swaminathan, (1996/P50) (WEB) L. John, B. Quosdorf) in computer games Heiko Idensen visual/acoustic phenomena? (Robert Trappl) Dynamische semantische Netze / Stephan Mehl recording (1996/P110) (Lisa Hutton) (2003/K229) the direction of AI as far as possible "AI-Laboratory" (Luc Steels) of problem solutions cognition sciences Yuri, Triclops International, Insight (1997/P144) zu Jandl hypertext programs from the onomotopoeic poem Software as "diagrammatic" techno-positivists music preferences – established visual artists, who also a new hacker / Matthias Krohn (1995/K308) cognition theories Hypermediabasiertes Knowledge Engineering Instruments, Prema Murthy, on the PC since 1986 to radiophone poetry ordering material (1986/K338) (1996/K204) art as presence profile cluster as MusicMap realized web works (Julia Scher, artist generation In the beginning was the distributed authorship Art is increasingly less suitable as a artistic skills of the (1996/K162) für verteilte wissensbasierte Systeme / John Duncan, Nuoc mam dirndl, E-zine literature in image and (1980/K76) visual poetry and artistic research (2003/P71) Jenny Holzer, Antonio Muntadas, command line (Neal Stephenson) computer (1979/K30) (AH) artificial intelligence creature: art as shock (1996/P23) (1983) (1989/K104) HyperCard sound symposium source for visual design, because it has scientific jokes cybernetic research: expert system constructivism Frank Maurer (M. Breidenbrücker, F. Miller, Gelatin) artist as researcher David Blair, ...) (2000/P24) hypertext fiction (S. Moulthrop) less and less influence on the language Artificial Reality and Artificial Life the job of the artists of tomorrow is that of an although they don't earn money HyperCard stacks (1980/K75) Visually Deconstructing Code (Jared Tarbell, Lola Brine) connection of mind and similarity theories Endophysik – Die Welt des inneren Beobachters M. Stiksel) HyperTalk (1196/P112) of the dominant media and has long media design groups: intermediary, a catalyst between different fields on the net, their work gets out (Judy Malloy) (1989/K133) (Ben Fry) (2003/K197) (2003/P60) machine (the anti group) (Baudrillard) Yet those intelligent machines are only discourse analysis Otto E. Rösler Toolbook since become an archive of everyday The Secret Lives of Numbers Digital Diary (Kazuhiko Hachiya) (1997/K260) MESO & Involving Systems of knowledge, models of thinking and society, to people (Lynn Hershman) (1989/K238) (1990/K-I-112) artificial in the most limited sense, because they merely Making Art of Databases / V2_Publishing codes. (UR) (Golan Levin) (2003/K240) (Natacha Merrit) Mega Diary – a global, open (Steffan Ammon, Martin Bott, solution strategies (2001/K18) remote-controlled robot walk-in knowledge spaces (1996/P45) Electronic Diary break down linguistic, gendered, scientific processes into (2000/262) diary project (1997/P126) Sebastian Gregor, Michael Höpfel, The Odyssey (1989/K133) view of literature as GraffitiWriter From the beginning, the media industry was Storyspace (1989/K235) The Active Text Project CAVE did not develop from video games or simplest, digitalized moments, .... porno-diary Joreg, Karl Kliem, Sebastian Oschatz, The job description or interactive hypercard stack (The Institute for Applied greatly interested in effective support on the part (1995/K171) (Lynn Hershman) (Jason E. Lewis, Alex Weyers) Varioklischographen (A.Mohsen Daneshgar) flight simulators, but its origins are found instead clones (Dieter Huber) Max Wolf) (2003/F12) justification "artist" is no (Fortner Anderson, Henry See) Autonomy) (2000/F36/P78) AI and interactive art (J. Bates) Gender Idendity – L G B T of art, because even with thousands of trained (2000/F35/P98) typography (ars intermedia) diagrammatic in scientific visualization and the demands of the digital body manipulations longer interesting; it is as (1993/K181) Literature: lesbian, gay, bisexuell, transgendered computer scientists, by itself it is not capable of (1996/K404) (Luc Courchesne) 15 content view (1979/K44) design for CocaCola SIGGRAPH 92 Showcase (Daniel J. Sandin) Patti Maes (2000/267) "sculptor" of unnecessary as the positions (Ross Harley) (1993) traditional genres of applied satellite images as (Monika Treut) (2000/K202) pioneers: putting sophisticated and attractive products on interactive theater through (derived from (1996/J85) (CAVE development 1991) (1994/P128) LEONARDO (journal) information (FF) it is supposed to defend. visual rhetoric (typography, graphics, picture basis (Sandy Stone, Susan Stryker, Judith Telepräsenzinstallation the market. (B. Serexhe) 5 computers with HyperCard (see above) Body mapping: lettering) CAVE was conceived as a tool for AI dissertation Computer Graphics and Art (journal) (2001/K19) (Stocker) boundary betw. video posters, book design, print media) (Mario Sasso, Nicola Sani) "Jack" Halberstam, Kate Bornstein, Das stellvertretende Cyborg-ICH PET Positron Emmisions (2002/F12) scientific visualization Landsat satellites: system Art @ Science / Christa Sommerer & (AH) (Huhtamo) system developers, who regard themselves game and literature among others, with the goal of persuasion Jordy Jones, Jacob Hale, Pat Califia) (centre for metahuman exploration) Electro Magnetic Poetry view of meaning Tomography (1997/K16) (1990/P81) as artists, because they see a creative act in the invention (Natalie Bookchin) (2001/K299) of reflecting mirrors Laurent Mignonneau (Ed.) (1998/K212) there is no genius MRT Magnetic Resonance typographical art as edification A.Witkin and M. Kass come from the field (1996/P108) (Maria (2000/P42) (2003/K97) (Pierre Lévy) (Tom Van Sant) (1982/K42) information arts – intersections of art, science, and arrangement of "code": Myron Krueger, Vivid Group of the artist meanings flowing into VR for the visualization Tomography (fMRT) bodies (1993/P30) Three basic electronic VRML, 2D, text Gene_Mixing and Loops of the Self of science. Nevertheless, their graphics Winslow) dynamic typographical technical history of writing mapping the position of the VR: 3D Diagrams (Mandala System) – system art (J. Heemskerk, D. Paesmans) Lingua Franca one another of large medical (Thomas Bayrle) and technology / Stephen Wilson art as breaking taboos palettes: television, Habbo identity (Birgit Richard) (1999/K267) have a new, resounding aesthetic. sculpture out of web sites (DISS project Thomas Maier) as user interface Map of the market or voxel avatars (1997/P96) (JODI) (language of intercourse) (W. Seaman) databases collective intelligence of a community Jenseits von Kunst / Peter Weibel computer graphics, video (2001/K205) (Milan Knizak) (1992/P14) (B. Fry) (2001/K290) (Tom Wolfe) (1997/K219) (D.A. Plewe) (1999) (M. Wattenberg,Joon Yu) (1997/K177) writing software oneself or working (1995/P106) typographical positioning system (1995/K194) diagrammatic interface conference (1995/P43) Double: identical with the self artist/programmer (2003/K12) "Brain Imaging" knowledge representation (2) (1999/P54) Diskurs der Systeme (zB.) / Feuerstein et al. closely together with a programmer (Casey Reas, Golan Levin) (2000/K387) for games and music programs identity and mask in (Birgit Richard) (1999/K271) communication artists (FF) body mapping 3D electroencephalography listening station for Kunst, Wissenschaft, Kommunikation / Richard Krypton – Aurora Elettronica Bi-Gender Show (Myron Krueger, Harold Cohen, (1979/K22) Books on demand experimental typography (MEGO) Information: C.F. von virtual reality Duplication and hope of the visual artist as programmer MRS Magnet Resonance Mapping Toolkit (M. Bielicky, B. Lintermann) (2000/P88) Radiotopia (2002/K428) The Metamorphosis of Light (2000/F13) David Rokeby) (2003/K121) (Fuse – Neville Brody) (2003/P76) (Shinya Yamamoto) Weizsäcker also defines it Kriesche (Ed.) (Blanchard et al.) the artist as system (H. Huitric, Monique Nahas) Alphabet Zoo Spectroscopy (1986/K19) immortality (1999/K272) Blogging as an "amount of Kunst und Wissenschaft / 1986! Kunstf. Bd. 85 (1990/II-K191) integrator artist/technician (1986/KII-143) (Peter Cho) (2000/F42) Lightstick (writes images male identity copyright and intellectual Live journal (2000/K398) form" (Ecke Bonk) Dialog und Infiltration – Wissenschaftliche light theater (1986/KII-296) ars on digital typography ars: MAPPING in the age of digital media moving) (Bill Bell) (1982/K69) Gender Bender (1997/F38) gender-hacking "brotherhood" application research /vs/ property Letters of BIT abstract typography (1995/K42) Strategien in der Kunst / Kunstforum Bd.144 (1980/K23) (DG) elusive job at least as a symposium testing the specifics of gender playing with identity (Woody Vasulka) (1994/II-K87) background research (James McCartney) (Kenji Komoto) (Elisabeth Schedlberger -CODE) diagrammatic interface Forschungen / Udo Wid light show of the 60s description (2001/K19) diagrammatic typography Text and tectonics, set-up and light technology (G. P. Garvey) (1996/K185) this development is carried by people who (2003/F11) World Maps – Change the Map for music computer – UPIC students who want to design (Walter Pamminger) order, shape and arrangement. installation for ballet. faked identities – disinformation as locate their identity in between artist, engineer, Composer; author of the (AH) collective instead of author Typodesign 2002 the drawings are interpreted as light organ web sites choose departments pole shift with Form and format, formula and Light Ballet interaction with light transgender transformation disguise (2003/P68) (LAN) object oriented synthesis (Ecke Bonk) pressure curves, dynamic envelope social worker and experience designer of design rather than art Talmud Project – typographical formation. Schema and pattern. (1980/K23) (1979/K19) effective (2000/K113) language "SuperColider" development of a configural conventional projection curves, scores ... (C. Möller) (1995/P132) Forget concepts like gender (2001/K20) (2001/K34) (1995/K42) (Lia)re:move Constructing and (a) building. researcher view research (David Small, Tom White) image language (Peter Zec) (2003 OK) (MEGO) (Iannis Xenakis) light-mobile and race. In cyberspace you Coder, Hacker, cover design (schoenerwissen) light robots computer-controlled ars: digital identities Multibind-Deadlock- (1995/K250) (2000/K403) (1990/I-K69,K72) (Ecke Bonk)(1995/K46) (1979/K25) are what you want to be. Open Sourcer, (2003/P46) Navigation (2002/P56) data visualization (1980/K94) neon installation permanent self-exhibition Coma (1996/K226) Markus Huemer Hyperbolic tree (1992/II-K44) laser in concert (S. Zizek) (1995/K127) Symposium Stop Motion Studies – studies Circuit Bender maps to Re-Mapping Our Mental Model (2002/P23) contolling reflective images (1986/K331) (Jennifer Ringley) (1993/P45) (R. Rao) (1999/P50) Mapping view of visualization (E. Schoener) light sculptures Flight Case in the subway (D. Crawford) (2001/K20) view of the personality (Scott Brave, Andy Dahley) the project Maps walk through (R. Buckminster Fuller) (2002/K17) Literature: art as apparition issues of identity Homepages and e-mail (Constanze Ruhm) (1979/K50) (Rudolf Macher) (2003/P40) author (1997/K278) life is more than the implements cartography in linking concepts - typography and Mapping – in the age of digital media - music in color: (1979/K09) on the Internet are taken for granted as WEB-CAM letter objects (1992/K151) patchwork biographies director survival of the genes the dispositive of telematic GIS systems spherical surface dynamic mapping view of illustration TheYale Symposion / Ed.byM.Silveret al. Sonoscope (A. Vitkine) components of an artist biography being in electronic (B. Fry) (2001/K291) 15 typographical view rhetoric / topic laser light drawings (1980/K113) KaspaH´s Home (2001/K113) editor actor view media as a network Legible City (2001/K21) Mapping – An illustrated guide to graphic Audioskop (M. P. Kage) 1979-80 designing radiography (1996/J53) space (1994/K158) information mapping structuralism (Catherine de Courten) designer (1989/K108) (Mathias Fuchs) (J. Shaw, Dirk Groeneveld) navigational systems / R. Fawcett-Tang (1979/K19/K61) and light graphics (1954) virtual identity and avatars (C5) (1999/K395) electronic mapping mapping diagrammatics In 1960 T.H. Maiman first succeeded Colourspace (1995/P88) producer (PV) Presentation is Graph. programming (1989/K209) Information Visualization – Perception for Design (H.W.Franke) (1979/K54) video world and fractal subject (Barbara Becker) (1998/II-K174) conflict zones – view of text design mapping discourse in producing an active laser. Artistic visual music (1989/K256) programmer 14 artist view effecting the manifestation of a thing. (Lia) (2003/P49) information visualization (Jean Baudrillard) (1988/K88) In Sommerer's installations Manhattan Timeformations water divides Colin Ware – University of New Hampshire use of laser technology started in 1965. (Waltraut Cooper) (Judith Ryser) artist as avatar objects with a double (B. Fry) (2001/K159) mapping cyberspace diagrammatic turn high tech and psychodelics artist death is employed as a necessary diagrammatic (Brian McGrath, Mark Watkins) (Peter Fend) Readings in Information Visualzation – Using (AH) Krueger discovered that users (T. Feuerstein) identity (Ishii, Orth, Gorbet) (PV) New era of videoscopy: (2001/K38) structuralism (discourse) laser light in an light/color piano (1993/P77) (George Barber) tabula rasa film (L. Houplan) (2003/P158) (2001/F36/P48) (2002/K271) visiontothink/ Ed.byStuart K. Card et al. interactive performance (1988/K194) quickly identify with a figure in a game, (1997/K204) authors view ... lighting is no longer done electrically, view of graphical design literature discourse telepresence installation: laser beam light-kinetic substitute objects "Terminal act" (PV) (1998) Mapping Time Digital Information Graphics / Matt Woolman art as school of life (1993/K261) (P. Böhm) Light Music in the Soviet Union if it reacts to instructions in real time. Bots as verbal "personalities" but is instead an indirect electronic deconstructivism the second player is present visual music used to control see also: view of No Man´s Land cybernetic euthanasia DTP desk top publishing (Ross Cooper,Jussi Ängeslevä) web design Bits and spaces / Ed. by Maia Engeli oscillograms (Roberta Reeder, Claass Cordes) works (Rainer Jessl) It is not the realistic representation that as long as something is happening illumination. memory theories as a crossed laser beam Immateriaux II artistic production robot installlation / (2003/F41/P100) Mapping cyberspace / M. Dodge & R. Kitchin art as framework of communication (1980/112) (1992/II-K225) is crucial for aesthetic pleasure, but rather on the stage - a videostream flows projections surviving (PW) If we consider the influential aesthetics Where there should have been (Lozano-Hemmer, Will Bauer) (K. Obermair, implanted and emergent imagine objects that stage or dramatize diagrammatic view II making music online laser technology pictures that dissolve (ML) aesthetic effects of linking the identification with the controlled (2001/K207) (Axel Heide, P. Pocock, robots of the past two centuries, then it is evident that Data transformation / body mapping design, there was a huge hole Visual Explanations / Edward R. Tufte (1995/P128) R. Spour) behavior (the parasites, the "existential moments" - such as a conflict (Koji Ito) (1998/P48) Laser Art electronic into a color when theater with electronic-digital media behavior. G. Stehle) Crack-Intros they are constructed on an ontology of the picture, Visualization (2003/K226) (1999/K309) in the web in 1995 (2001/K214) Envisioning Information / Edward R. Tufte (1992/K246) (2001/K207) untamed, the inverted (Fiona Raby) (2003/K276) Laserdisk play of color touched An exception to this would be net.flag (Mark Napier) The Gulf War on a static concept of existence The Visual Display of Quantitative Information / discharge into gases scavengers, ...) spatial representation of The designer is increasingly artistic use (1997/K390) (N. Math, (1979/K34) (2000/P90) (J. Campbell) MIT's MediaMOO where each (2002/K362) brought the myth cartographical view Edward R. Tufte (L.-P. Demers, Bill Vorn) the medium hides itself in the process of Apparitional Aesthetics: The quality of information (1999/P44) becoming an information designer, of the Andrea Sodomka, M. Breindl) neon sculptures Carson Jeffries, Otto Piene, Joel Stein, C.F. Reuterwärd, electrooptics (PV) character has a "character name" game figures in of the artificial (Stahl Stenslie)aesthetic cyberneti aesthetics (1973) (1996/K262/P126) s.o. its mediatization (DM) coming-into-being, of apparition, is replacing the (F. Matsumoto, S. Matsukawa) i.e. an expert for "intelligent" Japanese Semiologie graphique / Jacques Bertin art as transmission Internet (A. Sina) (1980/K110) Iannis Xenakis, Paul Ears .... used laser technology for stereoscopy (PV) and a "real name." virtual worlds (2) from identity to difference (AH) from academic terminal-existentialism (H.W. Franke) (1979/K54) MUDs (unfortunately not the case with many works) quality of representation, of appearance, which has visualization systems and illustrators Exploring the Invisible – art, science and the Voice over IP virtual volumn multimedia performances (FP) (1997/K174) (Victoria Vesna) discussion into in Life Art making gene audio data streams RealAudio machine aesthetic identity and artificiality the self for so long characterized western art. (1995/P19) (R. Ascott)!! techniques (Zec) (2001/K21) spiritual / Lynn Gamwell Broadband (2002/K167) recognition for the the world of the (2000/K213) maps (1999/ optimization principle of aesthetics (1965) (1996/P170) (Marc Caro, cancellation of identity (AH) (Catherine Ikam) (2000/K401) constructed by media should be almost "transparent" Japanese Picturing Science Producing Art / Caroline A. ADSL (FP) nighttime laser shows: rational aesthetics quality of self- hyperreal. (1996/P36) (ML) Theater for K121) "Form Art" Competition (1989/K110) broadband internet in Voice Mail from NET:ART to NET.RADIO Real Audio holography and laser lab (H.W. Franke) (1979/K54) Jean-Pierre Jeunet) the brain (AH) being in two worlds A virtual reality is principally real to the extent understanding of Rockne Krebs, Dani Karavan, Horst H. Baumann representation (Station Rose) (ancillary invisibility) internalizing a (Alexei Shulgin) Jones & Peter Galison the cities 2002 (2002/K178) (1998/K75) (Josephine Bosma) Servers´ (1986/K324) (Horst Baumann, (1955) the catalytic (P. Smith virtual realities at the same time that it depends on a complex physical apparatus. Internet-Metric typography artistic holography computer aesthetics aesthetics of disappearance (1995/P68) "digitized" existence (1997/K393) Maeda & Media / John Maeda mailboxes eMail Network Dan Schweitzer, Dieter Jung) plastic light (H.W. Franke) on the violence of the effect of new media Churchland) Image space, on the other hand, is virtual. (SH) (T. Feuerstein) (2001/K199) (Harriet Casdin-Silver) (P. Virilio) (1994/K71) development of complex (D. de Kerckhove) Flash-Art web games Net.radio OZOne (1999/K397) (F. Förster) (1994/P116) (1979/K54) the aesthetics of programming proper name in virtual view of hybridity (II) (1996/K61) (1997/K70) every bit has its own existing means being scanned (2002/K380) Dimensional Typography / J. Abbott Miller mail art (1980/K100) the telephone already Net.broadcaster (1998/K92) (1992/K183) aesthetics of the nets aesthetics of the interface (ML) worlds (domain) communication spaces: aura (1994/K165) (1994/K163) (Carole Ann Klonarides) --- Information Graphics – Innovative Lösungen im PostPet e-mail pets (1998/P36) live radio via Internet holography – invading living spaces represents an instrument Telepresence is an amalgam of three domain concepts (FP) The hologram was invented in 1948 by (1995/K166)(Forest) (David Rokeby) (Birgit Richard) (etoy) media (martial) art mixed-reality architecture Bereich Informationsdesign / P. Wildbur u.a. (Kazuhiko Hachiya) Flash (2002/K165) Turbulence the cubism aesthetic-generative basic programs (AH) images becoming via web camera of telepresence (1995/K92) technologies: robotics, telecommuni- (P. Garrin, A. Troeger) holography art Denis Gabor . In 1961 Yuri N. Denisyuk produced (2001) (Jutta Zaremba) (2001) (MF) Technologische Bilder – Aspekte visueller TNC Network (Helen Thorington) of our day (H.W.Franke) (1979/K54) Fictitious Portraits 13 identity view allowing art to die with dignity bringing something into view visible telepresence cations, and virtual rality (OG) (Jonathan Gay) (1998/P44) a monochrome white-light hologram. (AH) It is noticable that although (Resitor Sensor: pressure, touch, force) (Richard Kriesche) net technology (1999/K394) (1997/K422) apparitional visual aesthetics (Keith Cottingham) (an expiration date is built in in the interaction Argumentation / Martin Scholz first Java (2002/P26) (1984/K345) aesthetics the artists named (Ascott, Boissier, Couchot, forming presences (DM) (1996/K418) (Thecla Schiphorst) (Stadtwerkstatt) telepresence (2) hologram collages retro-gaming style (1994/P38) see also: cultural theory view due to HW/SW requirements) (1999/P68) (Perry Hoberman) (above) Reality TV Traces – Telepresence sonic graphics – seeing sound / Matt Woolman applets role of the program browser art (2003/K225) Net projects already in a crisis after only holography and society (Roy Ascott) numeric aesthetics Forest, Krueger, Shaw and Weibel)apply the Telepresence now (exhibition 1991) (OG) (S. Biggs, Opera software, Holodeck – interaction with computer- (2001/K205) see also: view of the organizing institution virtual computer camera 3 versions of a furnished room in CAVE / networked The Society of Text – Hypertext, Hypermedia, (1996/P44) news aggregators for the development a few years? (2000) (on four aspects of artistic (1995/P15) (below) material aesthetics means of computer science, they still frequently Privacy (TXTD.sign) (1997/K265) (Ranzenb.) hardly any telepresence installation A. Deck, F. Hwang, Haruka atmospheric effect generated holograms (Joseph Michael) floats around Gondry gestural system (2) thermometer, instruments to CAVEs / physical models and the Social Construction of Information / holography) (Vito Orazem) semiotic aesthetics start from an idea of the "picture" from IPzentrum: interpretation of earthquakes traces remain from (centre for metahuman Kikuchi, Myron Turner, Sintron, window pane experiments: synchronized (1998/P92) identity on the net violence in computer games frozen in the air ultrasound interface for gestures Electric Field Sensor measure sound, pressure, in real time artificial ghosts semantic aesthetics traditional aesthetics as elementary form of expression many technologies exploration) (1998/K211) Edward Barrett newsgroups Web-ness animation (Ichiro Aikawa) (2000/P40) (Joichi Ito) (Arndt Röttgers) (2001) GAMS: Gesture and Media System movement, form (Simon Penny) I/O/D, P. Luining) visual effects (Max Bense) (... interaction with the synthetic image) (1996/P174) (cf. E.P.I.Zentrum by B. Nieslony) warmth sensor The Alphabet and the Brain / D. de Kerckhove ... newsgroups mobilized via holography (2002/K254) (M. Gondry, P. Buffin) (PoMo CoMo) (1992/K229) (1989/K204) ( Jeffrey Shaw) describing the world as artists working exclusively in the medium holographic art holographic video (holograms rendered in (see: PRIX) the hand as "disturbance factor" (1989/K218) Prose Comprehension Beyond the Word / cell phone Web Stalker (M. Lauk & Bodo Dorra) Golan Levin (2002/K389) digital aesthetics in light barriers (1989/K207) an interface problem tele-existence (1979) Usenet Art Com Electronic Network Mosaic could be of the Internet (DH): (Joachim Blank, (A. Tambellini) (1980/K111) real time) real-time holography electronic viruses psychical energy (Regina Cornwell) (Neeraj Jhanji) (I/O/D) (1989/J45) rotography - light diodes (2001/K387) South Africa (M. Neustetter) Critique (Patrice Pavis) (1999): Charles Proteus Steinmetz Space Balance (1992/K12) (PW) (1993/P90) Arthur C. Graesser ACEN (1986) (1989/K129) the "killer app" Holger Friese, Alexej Shulgin, Philipp (1982/K73) life energy affectiveCinema (Jan Torpus, Michel Durieux) (1998/P46) (Harriet Casdin-Silver) aesthetics of the (Christian Möller) visual sensors that register (Scott S. Collective Intelligence – mankind´s emerging (2001/F36) electronic publications (1994/K212) (Otto Frühling) possibilities of Symposium: electronic Despite the apparent victory of and the magic of electricity (transmediale) control through bio-feedback Pocock, Dirk Paesmans, Joan H. von Jodi mental energy movements in space forming experiences of being Fisher) holographic stereogram (AH) 1968 interactive light-sound spectacles (1980/K94/K114) expressive static (PW) means of visual design net violence computer specialists over directors (Franz Pichler) (1992/K218) (1992/K155) via GSR-Sensor (Galvanic Skin Response) (left) world in cyberspace / Pierre Lévy listserv (1986/K299) How does an interface form the experience mailinglists netiquette artist as (Shunsuke Mitamura) (American Pulsa Group) computer art (1980/K93) (autoaggressive potentials) and of the machine function over the Vision System (2) of being? (David Rokeby) Transformationen der Techno-Ästhetik hypermedia projects net installation rotating mirror see also: energetic view Rotting Apple browser browser (1990/K-I-120) aesthetic object, what is repressed of raw and informed Tesla machines (optic tracking) GSR (2) AI robots (Luc Steels) (article in: Digitaler Schein) / P. Weibel (PooL-Processing) (Sabine Seymour) Deep Blue (R. Adrian X, light traces sensor (Franz Xaver) developer (Piotr Kowalski) (1980/104) Trusted Computing the body and human presence, of the energy (Mark Ries) (Günther Held) touch sensor, infrared sensor Xchange started as mailing net excellence (Idensen, Krohn) (1998/K113) Internet user-controlled large- Sam Auinger) (1996/K251) (pursuit of bathing caps) gopher (1982/K93) (Fred von Lohmann) voice and the text suddenly (1994/K224) (1992/K142) (recognizing obstacles) list network (1998/K78,K89) MusicplayesImages x scale light installation: result energy potentials are Pixelspaces – DAMPF movement analysis apparitional mailing list for software art playing around with the HTML rotating display color view (2003/K49) returns. (Henry Jesionka) (1995/K308) Images play Music (1997) documented on the web as image (AH) aesthetics of tapped from the Internet Sensory Environments – Immaterial Interfaces (1996/K315) aesthetics (Alex McLean) (2003/F13) metastructure (Kensuke Sembo, virtual shadows (David Moises) (2002/K420) radioactive rays (1992/K209) XML XHTML (Toshio Iwai, Ryuichi Sakamoto) (2000/P74) (Raffael Lozano-Hemmer) (the secret life of things) communication (FF) the AEC Center as prototype and the local movement (2003/F14) (Roy Ascott) net vision Yae Akaiwa) (2000/F44) thresholds of control (Gudrun Bielz) SOLAR-Projekt Blogosphere (2003/K70) (1999/J29) (1999/J428) abstract computer realism of a new power location of the viewers Sensory Environments (2) Pixelspaces – DAMPF (2) (AH) process instead of being (1995/P15) web magazine hyperlink (2002/K411) 12 aesthetic view destruction art and terminal (1996/K424) (1998/K179) amateur journalism (1969) ARPANET (1979) Usenet cf. Stadtwerkstatt/Servus project : Tool´s Life (1994/P56) (S. McSherry) of digital culture (2002/P104) (M. Saup) Sensory Environments – (2003/F38) URL a protocol is a system for (1999/P177) (AH) an aesthetic of the object culture (Kristine Stiles) (1990/T) WWW developed at CERN HTML 1.x 1994 fire film Generali building as display and (Motoshi Chikamori, aesthetics of digital (1996/J39) eco-installation measurement points Immaterial Interfaces weblogs (2002,2004) maintaining organization and collaborative still dominates over an aesthetic (1991/K29) (1999/J124) 14 existential view existentialism (1989/90 Tim Berners-Lee) (Manfred Laumer) light sculpture Kyoko Kunoh) grammars (2003/K127) (Makrolab) (1998) (2003/F14) control in networks electroacoustic of the sign ... the visualization of the parasites – transforming (primacy of acting) WWW Internet (1993/T) only a few WWW servers destruction of (A. Galloway, Eugene Thacker) (2000/P178) visual view / light view I an unsettling thing photovoltaics motion or temp. difference work – in complete relational aesthetics Radical Disruption of a Gyroscopic energetic body infrared sensor gestures of an interactive existential philosophy Literature: collective weblogs (2004) (1994/T) already over 10,000 WWW servers web sites on (2003/K62) (1999/P175) (Paul de Marinis) into electrical energy (PV) Following the telescope and the microscope, darkness (John Duncan, (2003/K142) digital aesthetics (PW) Device with Heterodyne Mutation (1986/K297) (1986/K285) robotic installation Technologische Kultur – Eine Studie über die the role of the WWW (1994/T) first artistic works in WWW (DH) HTML basis Hacking nylon threads in laser light (1991/K191) (Frank Fietzek) (2001/P104) view of the apparitional subjectivism debate Francisco López) (Krüppelschlag) (1991/K211) criteria: (spy camera, infrared for art projects (1995/T) first literature on net.art (DH) (Kensuke Sembo, Hacking Millenium Park now we have video photography. It represents the (Paul DeMarinis) kinetic performative theories from künstlerische Auseinandersetzung mit neuen transfer protocols aesthetics of techno-aesthetics (AH) (Just Merrit et al.) sculpture formed with dynamite most useful sensors / (2001/F34/P108) (96/97/T) the most artistic works so far Yae Akaiwa) (TNC network) (1998/K107) third stage of illumination. light sculpture documented violence cultural studies Technologien / Hochgerner, Molnar, Pilz et al. (2003/K12) Internet 2 digital images on the whole, the concept of (AH) Myron Krueger stresses that not (Piotr Kowalski) (1980/104) Video:Violence sensor reaction to visitors) (2000/T) sharp decrease in PRIX entries (2000/P46) (1996/P102) DigiCrime (Harold Edgerton) stroboscopy (C. Möller, only does a new aesthetics emerge with 1991 out of control (2) (Kathy Rae Huffman) performativity discourse Ästhetik des Erscheines / Martin Seel TCP-IP, FTP, HTTP, video images as light images (O. Piene) aesthetics is not very helpful (AH) developing the aesthetic accident – remote-controlled Richard Kern Retrospektive (1995/P47) (Kenneth Rinaldo) (2) view of sensor technology PRIX erstmals 1995: on the dangers of the net high-speed photography R. Kramm) the invention of systems, which first leads Was sich zeigt – Materialität, Präsenz, Ereignis / DNS Welcome to the (1999/F24/P64) (Lynn Hershman) exhibitions: (modifications do not really add possibilities of a technology car jumps (Leo Schatzl) physical dramaturgy (political violence, personal violence) (Kevin McCurley) (1982/K82) (1994/P132) to a new aesthetic theory in its description, pyrotechnical installation based on the In an artificial ambient, the computer Dieter Mersch 1995 Wired World (ars 1995) VRML multi-user sculpture "Kunst-Licht-Kunst" (1966) (Popper) (Eindhoven) anything either) (DG) (1991/K215) (through bodies) (1991/K261) Performance World Wide Web Sites optical computer architecture but also a new art form outside the realm spirit of the industrial feeling becomes almost invisible ... It running into the limitations (1998/II-K222) "Lumière et Mouvement" (1967) (Paris) (AH) techno-aesthetics versus Erotic Violence (1991/K278) Reichian convulsive breathing Sphären der Kunst / Richard Kriesche RIP, NTP, NNTP, NFS (1997 renamed: .NET) three-dimensional storage of traditional forms. (Erik Hobijn) (1991/K107) (1997/K306) supports sensor technology and Telnet (Andreas Broeckmann) of VRML Datenautobahn classical aesthetics automatized exercise (John Duncan) VRML (1998/P151) (R. R. Birge) (AH) Weibel shows that the means fire as the medium of possession ; squashing teddy artificial senses. (PW) 2001 Net vision (PRIX) netculture (1999/J438) light and sound sculpture (Rooted in the sign?) explosions violence in film (R. Kern) (1991/K281) (1991/K277) (remote login) (1998/II-K257) (promoted by Al Gore) (1997/K303) (1997/K85) for realizing depictions have basically (DG) We should leave the aesthetics concept the "Dante Organ" (U. Winters, C. Ebner) Symbiotic exchange of 2001 Net excellence (PRIX) (Christian Möller) investigation of experimental (Roman Signer) (1994/K07) (2000/P58) RMF – rich VOIP Voice-over-IP How can we transform this communication nightmare light and sound effects (Motoshi Chikamori) (1998/II-K263) been left out of aesthetic theory. in the realm of perception/aisthesis and turn, militarization of science and hoarded energy (C. Ebener, (1982) mailbox and (1998/P80) and its culture of death (since the (1991/K81) Welcome to the wired world (1995/K) music format: use of (Internet-telephony) (Internet) into a conventional, dead, controllable mass (Y. Breuleux, A. Thibault) projected computer shadows (Critical Art Ensemble) ausgeklammert wurden for example, to performative and self-sacrifice D.S.I. (1991/K108) raw gaming energy Centerbeam (Gyorgy Kepes) F. Fietzek, U. Winters) conference system Like power, resistance must late 80s) (PV) (1998) (P. Mühlfriedel, G. medium? atmospheric considerations. (ML) "energetic" bodies acting through waves and (1999/K317/P72) Goldhamster (Adrian X) (1989/K145) At the Center (MIT), light, withdraw from the streets. The Aesthetics of Code post-scientific extremism combination of energy transference Markeffsky, L. Schaumann) The main trick was to substitute information for atmospheres are generated with the help of electronic Net Art / net.art environment, is the all- Cyberspace must first be realized (Ed Burton) (2003/F38) technological adventuring and transformation systems (1980/K98) computer sculptures with Crisis 2000:decrease communication. 11 light view II media and the performatization of theater net-meeting Internet meets TV Wireless-LAN projects (2004) encompassing topic. (O. Piene) as a location and instrument of floating magnets of submissions from (2002/K178) RealVideo public display lab people, who go to the most extreme forms of brutism (PW) Schmarotzer – Parasites (O. Beckmann) (1980/K122) (2001/K192) wireless experts (2001/K192) resistance. (UR) The unkind and unfortunately inevitable discussion (Steve Mann) (1997/K223) (Masami Akita, Z. Karkowski) = (Mazk) 500 to 250 Digital Zapatismo (1998/K56) ethical boundary (PV) (1998) (Einstürzende Neubauten, drawing energy from the e-hub Wilder Efeu (Stadtwerkstatt) Laterna Magica of "digital kitsch" or "computer kitsch" still remains a Personal security devices: Extreme Computer-Electronica (1999/K382) (2000/P18) mobile Internet (R. Dominguez) (Kaucyila Brooke) Throbbing Gristle) body of their carriers (2001/F34) fight against the slavery of Network of Systems Webcasting and (F. Xaver, Chris Mutter) (L. Filatov, J. Eckl) political satire reprehensible trivialization, if it does not see art as 2 radar units, video cameras, 1989 CUSeeMe (2001/K201) (2000/K271) research at the service (1987/K12) (Frank Fietzek) gravity (Joe Davis) diving into electronic digital broadcasting Clickscape 98 (Stadtwerkstatt) (1998/K183) (1997/K308) (A. Garton) foreigners and Metadesign reunites art and (Andy Deck) Grrrl e-zines dynamic, as action, potential, and method of connection. microphone, infrared system NYC Gedankenbilder decribing planes of an Feedback via pixel graphics on building, controllable light politics: it enables art to (1998/P42) (Russet Lederman) of the advertising and (1982/K42) global networks stateless persons (1997/K385) and a host of sensors expanding hypersphere art and war (2002/K284) IRC channel (1997/K388) Project Teledesic – Internet have a political impact. (1999/P82) film industry The Gods of Thunder (1987/K133) (Ascott) (1989/K103) sculpture (Lehner, Seidl, Ritter, Estl) formation of surreal net research feminist strategies of young girl culture (Glenn Branca) (1984/K207) virus vending machine for the whole world via satellite polyethnical media and cultural Metadesigners work with (Rhys Chatham) (Azza El-Hassan) (2000/P48) etoy toywar artists: Nine Budde, Snergurtuschka, (Franke) rational aesthetics growth structures, fluid motion, ... (1999/P84) Einladung zur Beteiligung an chat environments IRC diversity (2002/K278) (Tremetzberger, cultural context. Global Conflicts – Local Networks Muntadas thus showed that the TV broadcasts that ethics of business and huge stockmarket losses Lina Hoshino, Cue P Doll, ...) (2001/K113) girlie network cf. view of the field (Eric Paulos) Baratsits) (Gene Youngblood) (I. Ramonet, Lori Wallach, Joichi Ito, commercialized spiritual wellbeing, marketed einem Netzkunstprojekt per The "culture-meter" or the art the advertising industry (Glenn Branca) (1984) (1989/J126) Entropy Machine chatroom (1986/K238) Alex Galloway, D. de Kerckhove, personal feelings and paved the way for holy FAX (1989/K106): EARN, DITNET, view of networks (II) of multicultural mixing methods of feminist practice women's networks musical energy turning pillars of air (M. Jacobsen) I.P.Sharp GMUC Graphical Cabaret Voltaire shows (net art: Kathy Rae Huffman, R. Wischenbart) (2002/F11) war, originated in cozy private spaces. art as the scene of global (1995/P122) energetic view Net Criticism (1995) (1993/K393) (W. Hilbert) countering the dominance cyberfeminism (1992) into acoustic steamrollers communication aesthetics ZK Proceedings 1995 MultiUser Conversations technology violently Faith Wilding, Cornelia Sollfrank, The control of politics, religion and communication conflicts (Peter Fend) (2002/K319) of English on the Internet (political strategy, sociology (Bourdieu) Internet-driven digital culture (1997/K176) (1986/K07) (1999/J366) East/West dialogue suck my code Victoria Vesna, ...) (2001/K113) Unplugged (3) is in the same hands. (Cabaret Voltaire) (1986) (1989/J133) "Net Symposium" as (2002/K145) (French funding) artistic methods) 2002 collective memory (1998/P52) identity discourse & lifestyle (2001/K192) 10 Internet view beginning 1988 (1989/J16) (1996/K35) As a dynamic Internet archive, the "File Room" project brutal confrontation communication form (1999/K38) (S. Meiselas, A. Cornyn, S. Johnson) the seismic form 13 intensity view performativity theories (2001/K200) media winds from Asia (Sadie Plant, VNS Matrix) Local Conflicts – Global Media Operated by Art enables web access to information about the history morphology and increased involvement VNS-Matrix (cyber- (1997/F46) (Marita Liulia) (1996/K180) (Nova Delahunty) (Jean Baudrillard) (Keigo Yamamoto) (Danny Schechter, Jennifer Sibanda, Hanru Hou, Peter Fend, of censorship. artists, teachers, designers, curators, postmodern views syntax of the "slasher" of the Japanese feministische Gruppe) Ambitious Bitch – western (1991/K07) (1994/K215) (1999/J286) net access for African Winters Negbenebor, P, Quéau, M. Napier, Azza El´Hassen, (1995/K172) (Antonio Muntadas) (1995/K285/P70) journalists, performers, musicians, ... as user input/user participation new maps of hyperspace (Carbaret Voltaire) (1996/K35) feminism at the turn of the millennium 09 women (2002/K194) D. der Kerckhove) (2002/F09) T. Sherman) (2002/F10) henchmen of the media industry (Iba Ndiaye Djiadji) (2002/K77) view of dramatization as criterion for web applications issues of the psyche (1986/K98) Tokyo scene (1995/P40) D. de Kerckhove) Mind Machines (2001/K86) increased involvement (1997/F06) (R. Sifuentes) ff-female takeover (B. Serexhe) artistic aggression (Terence McKenna) Who is unplugged? cultural (John Duncan) Zensur psycho-active of the French (2001/K111) research in service to and globalization (1990/II-K277) (Rudolf Kapllner) (Tomohiro Okada) ars: cyberfeminism (G. Stocker, Aminata Traoré, Saskia Sassen, composting In Tokyo the broadcasts from the achievement view (1990/II-K323) electroacoustics Horizontal Radio: pirate radio that he built and operated the weapons industry (AH) from the dictate of subjectivity Die neuen Techno-Reinrassigen Women, art & technology Jeremy Rifkin) (2002/F08) (Amy Alexander) the Internet stands as art against violence cyborg surrealism on the aesthetics of pleasant (Zelko Wiener) telematic radio network the "virtual realities" of (Harwood, Mongrel) (1999/K326) (1997/P82) triggered tighter legal restrictions in the "voice and memory" in (1997/K63) to the separate world of apparatuses states (Ernst Graf) (1990/II-K339) project (1995/K358) the group VNS Matrix Artistic Aggression (Uri Dotan) (2002/K263) Mischlinge in der Techno-Kultur Authors on the topic: Zoe Sofia, Carol Stakenas, Martha media ether. opposition to censorship (Weibel) Timothy Leary (LSD guru) (1990/II-K336) Mindmusic Migration – higher level theme uses low-end (Iba Ndiaye Djiadji, Oumou Sy, Jay Rutledge, rear-view mirror to reality view of destruction Burkle Bonecchi, Simone Osthoff, Jashree K. Odin, Patricia (1991/K300) (1995/K173) Cyperspace signalizes adventure, (David Sheff) (1990/II-K343) technologies for Davis O. Nejo, M. Neustetter, The Trinity Session, (1996/K326) (1990/II-K239) Arge Zimbabwe Bentson, Judy Malloy, Patric D. Prince, Margaret Morse, Just Merrit's laboratory of the past practices for supporting imagination, new territory (1992/P07) virtual reality the socially compatible their work Andreas Hirsch) (2002/F08) Censoratorium Homepage (1996/P114) Telematic Dreaming – Sheila Pinkel, Anna Couey, Kathy Brew, Christa Schneebauer, There are the known horror scenarios as a machine against forgetting emotional interaction in the dark (Station Rose) network variation (Public Voice) (1996/K188) catalogue of trigger words Bio Art (1) virtual contacts and touching Barbara Becker (L), Faith Wilding (L), Melita Zajc (L), Wiring Africa (2002/F08) of the electronic globetrotter, otaku or (J. Domsich) (1997/K364) (triggered by coded objects) video, installation and (Willem de Ridder) (Elisa Rose, Gary Danner) (1995/K200) (R. Alton-Scheidl) data dandy who holes up, lonely but in (Rupert Huber) cyberspace as name for (Paul Sermon) Donna Haraway, Verena Kuni (L), Nancy Buchanan, Ushi Reiter, (M. Jensen, Michel Mavros, Birama (H. Ishii) (2001/K258) psychological space magician, performer (1989/K124) Sherry Turkle, a teleorgiastic mood, in his media center, (1998/K236) a psychotic space the recipient creates Mona Singer, Silke Bellanger, Dagmar Fink, Andrea zur Nieden, Diallo, K. Goddard, D. Muntanga, artists have always wanted (Graham Harwood) (1994/K158) (1990/II-K309,K311) research camp in Cairo Sadie Plant, which is connected to the rest of the (Peter Weibel) information (1995/K34) Unplugged (2) Cornelia Sollfrank (1996), Helene von Oldenburg, Marina Grzinic, Lisa Goldman-Carney) to create "monsters" (1998/K156) "Hollywood of the Arabic world" 2002 Donna Haraway, world via networks. At the same time, Affective Computing (M. Minsky) the future (1990/II-K30) Art as Scene of Eva Ursprung, Claudia Reiche, Adele Eisenstein, Sadie Plant, ethics in cyberspace (2000) (Joe Davis) (AH) limitation of the observer's self- Sandy Stone, the environment does not interest him McDonald – collected criticism (2003/K260) convergence of science, Marie-Luise Angerer (L), Karin Spaink, Birgit Richard (L), Monika Treut (L) Internet contents computer ethics database with models In der Vergangenheit hatten die recognition due to technology (2004) Digital Communities involves Global Conflicts Zoe Sofouilis at all (Rötzer) (1994/K108) (1996/P98) (n.n.) art and psychology (1990/II-K97) Mobile Feelings of conflict avoidance the 90s as the era meisten Sportarten mehr (in closed-circuit-Installationen) ... bridging the geographical, but also the (1996/K184) Artists on the topic: Steina Vasulka, Joan Jonas, Dara Birnbaum (OK), (A. Rosanne Stone) view of memory (2003/K258) (D.A. Plewe) (1999) Zuschauer als Mitspieler; jetzt the compulsion to adapt to the laws of the gendered "Digital Divide" (1999/J312) hacker ethics of the brain Wiring Africa Valy Export, Margarete Jahrmann, Sonya Rapoport, Lynn Hershman, (AH) a net museum collects opinions see also: political view / historical view (Sommerer, Mignonneau) (1990/P08) können wir uns Spiele vorstellen, interface 1996 1.Cybercafé Nancy Paterson, Pauline Oliveros, Rebecca Allen, Donna J. Cox, Agnes Hegedüs, (1998/K17) (unplugged Symposion) and views, things and testimonials of wo es mehr Mitspieler als Who is unplugged Afrikas (Oumou Sy) Judith Barry, Jennifer Hall, Brenda Laurel, Monika Fleischmann,CharDavies, (AH) These works thus demand a new behavior (Symposion) (2002/K92) (2002/F09) home as environment of life see also: Mobile feelings telephones: mini-bio-sensors Zuschauer gibt (R. Malina) Tonga Cecile Le Prado, Pamela Z, Nell Tenhaaf, Valerie Soe, Kathy Rae Huffman, Diane Fenster, (1995/P30) from the exhibition visitor, tearing him out of (2002/F08) The Hiroshima Project questioning social view view of concern aesthetics as art theory and controllers for measuing heartbeat (blood Artistic Aggression Online Leslie Ross, Dawn Stoppiello, Christa Sommerer, Sabine Zimmermann, Marita Liulia Legend out of control (3) mere "contemplative observation". (Akke Wagenaar) ideas involving pressure and pulse), und Puls), skin 1991 The aim of the Electronic (unplugged Symposion) (2002/P60) aesthetic discourse These views are intended to demarcate content/analytical perspectives and 1987 art in the network cyber and online (1995/K318) normality view of conductivity, persperation and smell a shirt's lonely journey Frontier Foundation is to (2002/F08) Symposium "Cyberfeminismus" art theory / morphology rotating loudspeaker arm that (Kunsthalle Hamburg) demonstrations XXERO – collaborative MOO-based (Michael Hoch, (Harwood) delineate zones of content. Placement within these zones follows the of the user (2003/K261) through hell: (J. Laederbach) protect virtual 1998 documenta X friendship 12 ethical view theory of perception interacts with visitors and can (image commentary by globalization of Local Conflicts – (2001/K18) environment (2001/K313) Mathias Melchor, (1996/P140) principle: spatial proximity = proximity of content. Unnatural bodies "registering" and "depicting" the communities from Ambitious Bitch and love (Stahl Stenslie) tel-emotion society get out of control by recipients on PC) campaigns (2000/K379) Global Media (Ushi Reiter, Florence Ormezzo, Tamiko Thiel, Masahiro Miwa) sublimeness debate nn view The outer ring is generally more abstract than the inner area. reacting to viewers physical interference fem networks (Marita Liulia) (2000/K213) (Jim Whiting) (2001/P115) viewer (AH) (unplugged Symposion) Marlena Corcoran, Valentina Djordjevic, aura debate through sensors by government Global Conflicts – (1997/P148) The project "Survivors of the Shoah Visual These could also be called achaeological fields in Foucault's sense. (Akitsugu Maebayashi) (1991/K73) (E. van der Heide, M. de Nijs) central role of the (2002/F09) Aileen Derieg) monument view / memorial view repulsion theory (1989/K170) authorities. Local Networks History" makes use of the perceiving other people in observer (1992) FACES mailinglist (women working communication aesthetics (AH) For Shaw it is especially interesting that the non-active Deep Media (comprehensively (John Perry Barlow) (unplugged Symposion) technological breakthrough of a darkened room through political notes from the underground electric ladyland in the field of media) (2001/K313) viewer also has an opportunity to experience the art work as including the context of the from the technically "moving image" (1995/K132) (2002/F11) bad girls versus data storage: 10000 hours of mood management a VR heartbeat – (Melissa Gould) Sadie Plant: Cyberfeminism is nothing (Valentina Djordjevic, Kathy Rae Huffman, Literature The literature cited is available in Linz (from the authors of the study). it is seen with the eyes of another, so that this manifestation user) to the "moving viewer" (AH) net projects the astronaut christ filmed memories can be digitally on concepts of proximity (1991/K177) other than the recognition that the days Diana McCarthy) (2001/K236) (C. Mikunda) attains the character of a performance. redemocraticization of the technodemocracy (Hari Kunzru) archived (1996/K236) Ars Electronica catalogues are only listed here, where special thematic (1998/P90) of patriarchy are counted (1996/K182) gender issues user, player, participant, Internets (Yury Gitman) (1998/K129) (1999/J168) issues are concerned. (AH) The implied intentionality expressed in the (1998/II-K297) (Sandy recipient, visitor, viewer, (2003/P28) (1999/J315) (in MOOs & MUDs) (1997/K100) catalyst for self- active intervention completely suppresses the form Stone) Literature that is not directly available is marked separately. (Toshihiro Anzai, Tamio Kihara) reader, observer cyberdemocracy (AH) revealing the viewer to himself discovery (AH) of disinterested viewing, it is even contrary to it. (Klotz) the future of democracy and the four globality (AH) emotional turn (1997/K259) ... you can paint as a voyeur (Lynn Hershman) intermedia persona performance basic principles of computer communication (Susanne Widl, Valie Export, Patricia Jünger) guitar amplifier as (Dieter Daniels) with it and "make" music at the special net art The archaeology follows the axis: discursive practice => knowledge => science. controlling facial (1994/K206) (Howard Rheingold) Code-Katzen political and activist software: Mißbrauchte Frauen (1988/K135) discourses emotional amplifier cf. atmospheric studies same time psychophysical interface Relevant discourse, research directions (knowledge fields) and method complexes self-perception instead muscles hands-on interactivity (ML) With interactive many-to-many medium Betababies cease-and-desist-ware, illicit SW, (1984/K250) (Werner Cee, Horst Prehn) In order to be truly contemporary, artists must see Cyborg Manifesto advanced studies of perception of the work ("Huge Harry" = voice synthesis (AH) new type of sensibility installations, there are no (1994/K207) Cyberschlampen software resistance, useful activist SW are listed here in this sense. (1993/P114) themselves as nodes in a technologically determined (Donna Haraway) method complexes playing with Pain Station machine) (1997/K110/P134) longer viewers, but only radically decentralized (1996/K182, K189) (2003/K229) Discipline: as set of methods (of a scholarly discipline) environment - and thus assume a highly political (1997/K46) qualifying use of emotion people's desires (V. Morawe, T. Reiff) actors. media activists theory complex (MF) an experience of attention and emotional program Touch-Screen responsibility. (Stocker) (1996/J53) (Goodeve) (L. Larcher, Rich.Art) (1993/K227) (2002/F047/P102) art&politics research directions This categorization approach is especially suitable for Ars topics, because different interaction oriented to the human being (1989/K235) get in touch (Resitor Sensor) virtual emotions PEU = pain execution (R. Adrian X, R. Braun, discipline fields of science (and of knowlege) are used systematically. unit (mixed reality architecture) (Lynn Hershman) (1996/K418) (Thecla Schiphorst) (S. Schemat) (1993/K230) affectiveCinema (Jan Torpus, Michel Durieux) R. Woelfl) (1996/K248) CODE = LAW (symposium contributions) intercultural view (transmediale) control through bio-feedback Führer Museum (2003/F06) (Cindy A. Cohn, J. Grimmelmann) identity and artificiality proximity and manipulation (AH) stolen art (AH) With the development of the via GSR sensor (Galvanic Skin Response) interface design (2003/K26) Black Culture theory political discourse (1979/Knnn) Source information: time period, source, page illusion of an emotional encounter participation (1989/K75) e-government (Machiko Kusahara) (1997/K219) microprocessor, in particular, we have cultural criticism repoliticization discourse Sources: K = catalogue, P = Prix catalogue, F = program folder, (Catherine Ikam) (2000/K401) GSR (AH) putting the viewer into the (2001/K244) (R. Lozano-Hemmer) cyberlaw regulation and view of worldviews motion-capture cannot convey opened up vast physical, sensory, see also: feminist studies / feminist theory postcolonialist discourse J = anniversary issues emotional, mental and conceptional role of collaborator (2001/K192, K212) cybercrime emotions touching and transforming Humphrey (AEC) teleparticipation historical view gender studies exoticism discourse T = timeline/milestones (context of the Ars) possibilities. participation and Open-Law a face (Jim Campbell) combination of VR and force-feedback (1995/K178) Cyberrechte view of rhetoric anthropologie of gender race discourse The catalogue from 1979 was only available in the Internet version. technologies (2003/K433) interaction (AH) legal view agression, flesh, lust, craziness, (2000/F35) BUMP – telematic installation no interface view of action cultural history studies regionalism debate The page numbers therefore refer to the PDF version. blood frenzy and fantasy mechatronic set-up (AH) based on the phenomena of (2004) "Digital Communities" Linz – Budapest !!(1999/K421) (2001/P87) apparatuses at all postmodern views minorities debate (Les Levine) (Linda Dement) (1994/P46) (flying over Linz) (H. Ranzenbacher) stimulation, exchange and playing, the new category acknowledges the political tactile interface – pressure generate (2001/K246) postcolonial theory Artists, who are quoted but may not have taken part in the Ars participative projects the concept of art achieves a new potential of digital and networked systems political view Eurocentrism debate (Stadtwerkstatt) How can feeling be programmed counter-pressure (physical interface) (R. Lozano-Hemmer) Note: theoreticians are not highlighted in color force-feedback mouse meaning media law critical discourse in music? (Klaus Netzle) force-feedback word-of-mouth (L): spoke in Linz force-feedback device technologies (resistance increases with compulsory guidance system for media law cyberlaw (1980/K72) force-feedback device Prize-Winners Net Categories with elastic screen every selection) recipients 11 feminist view Artists, groups, persons who took part in the respective Ars Electronica re-introduction of the view of things (Hiroo Iwata) (Orit Kruglanski) (2000/F33) (Automatic Radio) 1995: Robin Hanson, Konrad Becker, Pattie Maes & Max Metral, Station Rose, Antonio Muntadas, Artists' first names are written out. talking to a neuro baby Digital Instinct gravity (Slavoj Zizek) Ed Stastny, Stephanie Cunningham, Andrew Anker, Scott B. Gregory, Charles Henrich, Klaus J. Rusch, (1999/K351) (1992/K113) (1993/K245) (R.A.M.S. attack) 1979 (emotional reactions) (electrolobby Panel) (Douglas Edric Stanley) see above: therapeutic view psychical view Bonnie Mitchell, David Chaum, Catherine de Courten, Christoph J. Mutter (2001/F16) (2000/P100) 1989 Main Phases in Time (Naoko Tosa) (1993/K353) haptic force-feedback 1996: etoy, Ed Stastny, Manuel Schilcher, Trevor Blackwell, Mark Pesce, Masaki Fujihata, Mc Spotlight, (intentional lies) 1996 1979 – 1988 Initiation/definition phase (Leopoldseder, Franke, Bognermayr, et al joysticks (Rebecca Allen) Ron Newman, Kevin McCurley, Andruid Kerne, Joey Anuff, Maria Winslow, Lisa Hutton, Stuart Moulthrop, 1982 Stadlmayr, Leopoldseder / 1984 Hattinger, Schöpf (2000/F33) (1999/K357) see also: object view psychoanalytical view / unarticulated communication Timothy Leary 1986-88 Hattinger with Weibel as consultent or co-program organizer similarity and manifesto of tactilism bodies don't lie touch psychophysical view 1997: Project Taos, Gordon Selley & Rycharde Hawkes & Jane Prophet, Rolf Schmidt, Amy Alexander, 1986 with Patsch (2000/P102) media theory Global String emotional turn Bruce Damer, Ryoichiro Debuchi, Hermann-Josef Hack, Omar Khan, Zervos Komninos-Kostant, Steve (Atau Tanaka, K. Toeplitz) 1987 build-up of the PRIX (to most important international prize) (literature studies) see also: view existentialism (primacy of action) (2002/F045/P108) Mann, Joan Heemskerk & Dirk Paesmans, Markus Schulthess, Alexei Shulgin, Mark von Rahden Leopoldseder calls 1986-89 the phase of re-conception media discourse of the atmosphere psychoanalysis / repulsion theory psychological space 1998: knowbotic research, E-LAB, Kazuhiko Hachiya, Bruce Damer, Andy Deck, Paul Garrin & Andreas 1989 – 1995 Intensification phase / more scholarly orientation (Weibel) / media studies observer view Lacanism discourse (Kathy Rae Huffman) Troeger, Matthew Fuller & Collin Green & Simon Pope, Koji Ito, Thomax Kaulmann, Susan Meiselas & turn after 10 yrs. Ars Electronica / "art blessing" (Kunstforum) media anthropology queer theory Alison Cornyn & Sue Johnson, Lothar Bongartz & Burak Kozan, James Stevens, Andreas Trottmann, 1989-91 with Hattinger, 1989 catalogue Kunstforum with Lischka communication theory gender studies Wendy Vissar, Michael G. Wagner & Shane Carroll 1992-95 with Gsöllpointner, Schöpf / 1992 with Vasicek information theory 10 recipient view psychological theories of performance 1999: Linus Torvalds (Linux), Jean-Marc Philippe, Willy Henshall & Matt Moller, David P. Anderson, 1996 – 2004 Consolidation phase / Completion (Stocker, Schöpf) 09 emotional view net discourse / cyber-discourse psychology / psychology of action Joanna Berzowska, CAAD ETH-Zürich, Help B92 Coalition, Eric Loyer, Daniel J. Lundgren, Fumio no experiments with curatorial personnel simulation discourse view of the mood Matsumoto & Shoei Matsukawa, Mark Napier, Nick Philip, Ramana Rao, Crista Sommerer & Laurent nomadology discourse Mignonneau, Martin Wattenberg & Joon Yu Specialist curators: see the relevant catalogues 2000: Neal Stephenson, Sharon Denning, Telezone-Team, Ichiro Aikawa, Natalie Bookchin, Tom Corby & The color coding in each sector makes it immediately visible who formulated or Gavin Bailey, Kensuke Sembo & Yae Akaiwa, Reinhold Grether, Jie Geng, Ursula Hentschläger & Zelko explored which emphases Literature: Literature (2): Literature: Literature (2): Literature: Wiener, Stefan Huber & Ralph Ammer & Birte Steffan, Patrick Lichty, Peter Mühlfriedel & Gundula Literature: (2) Literature: Vom Tafelbild zum globalen Datenraum / Medien – Systeme – Netze; Elemente einer Der bewegte Betrachter – Theorien der Elektronische Nächte – Die Welt der Mailboxen Ulrike Rosenbach / Videkunst, Foto, Aktion / Literature: Literature: (2) Markeffsky & Leonard Schaumann, Kazushi Mukaiyama Politische Theorien des Cyberspace (article) / Perform or Else – From Discipline to Performance Within the possibilities of the cluster representation, this study addresses Ed. Peter Weibel Theorie der Cyber-Netzwerke / Stefan Weber interaktiven Medienkunst / Annette Hünnekens und Computernetze / Dieter Grönling Performance, feministische Kunst Design goes virtual – Entwürfe zur Ästhetik in Ästhetische Information und Kunst / 2001 net vision: Team cHmAn, Neeraj Jhanji, Yuji Naka, Gino Esposto & Michael Burkhardt & Paco Horst Bredekamp (in: Kritik des Sehens) Jon McKenzie views/issues of art history studies with the indication of time periods. Log.buch – Materialien zu log.in – netz | kunst | on line – Kunst im Netz / Projekt: G. Stocker 93 Die Individualität der Medien – Eine Geschichte 24 Stunden im 21. Jahrhundert - Onlinesein CODE – und andere Gesetze des Cyberspace / der Informationsgesellschaft / Peter Zec Herbert W. Franke Manzanares, Ranjit Bhatnagar, Frank Lantz, Peter Lee, Eric Zimmerman, werke / Matthias Klos, Mathias Neidhart Intertwinedness – reflecting the structure of the der Wissenschaften vom Menschen / Zu Besuch in der Neuesten Welt / Peter Glaser Techno-Kolonialismus / Oliver Marchart Digitaler Schein – Ästhetik der elektronischen Aesthetica – Einführung in die neue Aesthetik / Destruktionskunst / Justin Hoffmann Lawrence Lessig Mehr Licht / Paul Virilio, F. Kittler, et al. 2001 net excellence: Joshua Davis, Chris McGrail & Dorian Moore & Dan Sayers, Brian McGrath & Mark Canonized art directions (trends, movements) WebFictions – Zerstreute Anwesenheiten in net – Überlegungen zur Netzkultur / Stefan Rieger Der Flusser-Reader zu Kommunikation, Medien Medien / Ed. Florian Rötzer Max Bense Choreografie der Gewalt / Kunstforum Bd. 153 Women, Art, and Technology / Ed. Judy Malloy Watkins, Alison Cornyn & Sue Johnson, Laurence Desarzens & Raoul Cannemeijer, Bradley Grosh, direction Vergleiche auch: Performance-Richtungen elektronischen Netzen / M. Faßler, Z. Wiener ... Margarete Jahrmann, Christa Schneebauer Bildbeschreibung als Verbindung von visuellem und Design The spezialization of technology: from elsewhere Ästhetik des Immateriellen ? Zum Verhältnis Die Unwahrscheinlichkeit des Ästhetischen - Philip Kaplan, Netbaby World, Barbara Neumayr, Frederick Noronha & Paratha Pratim Sarkar, Toke von Kunst und Neuen Technologien – Teil I / und die semiotische Konzeption der Kunst / net.art – Materialien zur Netzkunst / Net Criticism - ZK Proceedings 1995 und sprachlichem Raum / Jörg. R. J. Schirra Kommunikologie / Vilém Flusser to cyberfeminism and back – institutional Nygaard & Michael Schmidt & Per Jorgen Jorgensen, Tarun Tejpal, Mark Tribe & Alex Galloway, Field of design, technical approach (e.g. VR, immersive media, ...) Tilman Baumgärtel Total digital – Die Welt zwischen 0 und 1 – oder Im Netz der Systeme / Merve Kunst als Sendung – Von der Telegrafie zum modes of the cyberworld / Ed. Marina Crzinic, Kunstforum Bd. 97 – 1988 Florian Rötzer Max Bense ultrashock.com, Voltaire, walker art center, Steve Whitehouse field / approach The technical view was purposely not depicted as a separate sector. net.art 2.0 – Neue Materialien zur Netzkunst / Die Zukunft der Kommunikation / Negroponte Information und Kommunikation in Geschichte Internet / Dieter Daniels Adele Eisenstein Ästhetik des Immateriellen ? Das Verhältnis von Handbook of Visual Analysis / Carey Jewitt, 2002: Radical Software Group – rhizome.org, Michael Aschauer & Josef Deinhofer & Maia Gusberti & Nik Tilman Baumgärtel Telepolis – Die Zeitschrift für Netzkultur und Gegenwart / Margarete Rehm Digitales Österreich – Informationhighway: Data Body Sex Machine - Technoscience und Kunst und Neuen Technologien – Teil II / Theo van Leeuwen Thönen, Sven Halling & Ivar Gaitan & Johan Rahm, Jonathan Gay, Alexandra Jugovic & Florian Schmitt, Kunstforum Bd. 98 – 1989 Florian Rötzer Der entfesselte Blick - symposium workshop net_condition – art and global media / Ed. Lob der Oberflächlichkeit – Für eine Phäno- Kursbuch Neue Medien – Trends in Wirtschaft Initiativen, Projekte, Entwicklungen 1995 / Sciencefiction aus feministischer Sicht / Harper Reed, Josh On, Alexandra Jugovic & Florian Schmitt, schoenerwissen – Anne Pascual & Marcus Title proposals for future Ars Electronica events Peter Weibel, Timothy Druckrey menologie der Medien / Vilém Flusser Politik, Wissenschaft und Kultur / S. Bollmann P. A. Bruck, Andrea Mulrenin (cf. ars 1995) Ed. Karin Giselbrecht, Michaela Hafner Das neue Bild der Welt – Wissenschaft und exhibition / Ed. Gerhard Johann Lischka Hauer, Sabine Bitter & Thomas Schneider & Helmut Weber, Kenneth Tin-Kin Hung, Francis Lam, Elan Lee net_condition Kunst/Politik im Online-Universum Netzwerke / Manfred Faßler Die Wüste Internet / Clifford Stoll Österreich Online ´96 (cf. ars 1995) Feminismus und Medien / Ed. G. J. Lischka Ästhetik – Chaos-, Gehirn-, Systemforschung, Bilder in Bewegung – Traditionen digitaler 2003: Yuri Gitman & Carlos J. Gomez de Llarena, Sulake Labs Oy, David Crawford, Golan Levin, Lia, ars : .... Peter Weibel (Steir. Herbst) Kursbuch Internet – Anschlüsse an Wirtschaft Klare Sicht am Info-Highway – Geschäfte via Vectorial Elevation – Relational Architecture No.4 Robotik, KI, VR – 1993 / Kunstforum Bd. 124 Ästhetik / Ed. Kai-Uwe Hemken James Tindall, Antoni Abad, Christophe Bruno, Amit Pitaru & James Paterson, Agathe Jacquillat & Tomi u. Politik, Wissenschaft und Kultur / Bollmann Internet & Co. / H. R. Hansen Rafael Lozano-Hemmer Kybernetische Ästhetik – Phänomen Kunst / Mehr Licht / Ed. VVS Saarbrücken Vollauschek, Jared Tarbell & Lola Brine, Axel Heide & Philip Pocock & Gregor Stehle, Han Hoogerbrugge, Internet Lesebuch / Ed. Marion Fugléwic Zeitschrift für Kulturaustausch 1995/4 / Neue H.W. Franke LAN, Michael Breidenbrücker & Felix Miller & Martin Stiksel, Frederic Durieu & Kristine Maiden & Jean- Medien und internationale Kulturbeziehungen Jacques Birgs, E. Maria Haas & Luzius A. Bernhard, Shinya Yamamoto, sourgeforge (1998/K91) (Erik Davis) What is so potentially ambientRoom: using 1968 The machine as seen at the end of the mechanical age – the horrors of technification (NY) (Pontus Hulten) (AH) from the object-oriented underwater real-time Ambient Media: the use of spatial 1965: M. Noll & "context-based art" intelligent environments that synthetic scenography see also: view of the field immersive about the auditive? ... The term light, shadows, 01 contextual view 1968 Some more Beginnings – Experiments in Art and Technology (NY) (Gruppe E.A.T.) to the context-oriented phase Literature: 01 atmospheres view musical instrument situations like noises, light, B. Julesz organize returns in the 90s in can act autonomously (PW) "atmosphere" describes this aspect very well: the background noises, 1969 Cybernetic Serendipity – The computer and the arts (ICA London) (Jasia Reichardt) (08.1968 ?) (see: context study) 3DELUXE / Projects – Interior and graphic (1996/P154) air currents and water movements the first US net alternatives (1994/K07) (AH) ... especially in computer-controlled works, sound generates an atmosphere, almost like (M. Redolfi, Martinez) air currents as background interfaces (Ishii) (John Whitney, Keneth C. Knowlton, A. Michael Noll, Nam June Paik, James Seawright, E. Ihnatowicz, C. Csuri) (1995/K62) (AH) from text to context art as atmosphere design / Ed. Robert Klanten exhibition of comp. context-controlled context-aware theories attention is shifted to an "aesthetics of the incense. Sounds and smells are carriers of vectors (1997/K203) (1997/K202) view of the framework 1970 Software, Information, Technology. It´s New Meaning for Art (NY) (Jack Burnham) // 1970 Kunstverein München graphics (Howard COOL – Kap. Die Kälte der Schaltkreise Cloud of Sound (AH) Von Autonomie zu looking at the context of other posts contextualism discourse atmosphere", a world of perception, in which the of mood and affect, which change the qualitative analog /vs/ digital 1970 Interactive Sound and Visual Systems (College of Atrs, Columbus, Ohio) (Charles Csuri) Wise Gallery) event world (AH) Ulf Poschardt organization of a space .... in the Danube area generated 1979 ars electronica (Linz) Die Ästhetik des Internet – Kovarianz in a defined grid theories of meta-communication viewer is mentally and physically immersed atmospheres cast media: the Ars Electronica in the Kontext als Medium analog und digital / Otl Aicher (cf. Flow & Radio) lab atmosphere 1983 Electra - Electricity and Electronics in the Art of 20th Century (exhibition Paris) (Frank Popper) Doors of Percption environment-encompassing art works and (Ed Stastny) (1996/P86) (Lischka, Weibel) analog: atmospheric, field-oriented (2003/P50) radio as invisible sculpture (1997/P16) (Joichi Ito) aesthetic discourse atmosphere/aura of context of other (Tom de Witt, Sonja Sheridan, Nelson Max, Roy Ascott) conference in Amsterdam (1997/K153) interactive art events (1989/K166) Atmosphäre / Gernot Böhme mood management (see below) digital: discrete, coded, diagrammatic (James Tindall) (1989/K290) (Hank Bull) body theory / body philosophy Ambient dense, charged media projects (AH): 1984 Kunst und Technik (exhibition Bonn) (Stephen Wilson) Die Welt der Atmosphären / G. Dirmoser the hallucinatory space media art works machine-human (Lucie Schauer) phenomenology of perception (Maelstrom South Pole) a space in which media atmosphere 1985 Les Immatériaux (Ausstellung Paris) (J.F. Lyotard) (innovative major exhibition on virtuality, Dieter Mersch sunlight, artificial light & robots atmospheric arrangements bachelor machines (Szeemann) (was announced as machine exhibition) of electronics (P. Weibel) virtual immersion with its aura of immersion in color (1988/K104) and moods are constantly The idea of Ars Electronica new technologies and the revolution of electronic communication) (HK) On ZKM (Zentrum für Kunst und Transmediale.02 – Aktuelle Positionen der to control reflections TV set projection / multi user machine age (Pontus Hulten) (1989/J23) quiet (2002/K297) (P. Quéau) light shafts, ocean of light, changing (2001/K78) sound atmosphere is based on a more generally 1986 42nd Biennale Venedig Medientechnologie): it is important for me to stress (Paul K. Hoenich) (1980/K115) environment (CH Expo 2002) Medienkunst / Andreas Broeckmann, color spaces (Wonder, (Sponge/FoAM) (Jim Denley, Rick Rue) conceived concept of the 1986 Les Machines sentimentales (Villeneuve-les-Avignon) (DM) With all the success attributed to technical media - the that the traditional arts are also included, because (MEGO,InvolvingSystem) Susanne Jaschko electronic atmospheres atmospheric projections atmosphere of a steel factory H. Goebbels, Müller) fluid environment (1989/K318) Viennese Künstlerhaus: 1987 Imaginaire et Technologies (Bagneux) simulative force of digitalization, the invention of virtual, the friction surfaces of the future will be in allowing An exhibition entitled (Fadi Dorninger) (2000/K311) flowing changing images on 1987 Les Mécaniciens de l´Imaginaire (La Villette) completely unknown, even unimaginable spaces, the the old art genres to collide with the new. complete immersion immersive installations atmospheric atmospheric (AH) we need permeable "Ars ex Machina" was intended electronic art What can media contribute to arranging (1998/K276) Ridin´a train water walls (Andrea Zapp, Paul Sermon) 1987 Kunst im Netzwerk (Kunsthalle Hamburg) (image commentaries by recipients on PC) speed of implementation and processing, allowing One cannot focus only on new technologies and (1989/P90) as atmospheric approach (1999/K387) (Radian) "wallpapers" sounds dissipative codes to illuminate the special situation extraordinary journeys to the unreal - it is always also media aesthetics, because the old genres change the atmosphere of places? (2000/F36/P106) vibrating aura - 1989 Maschinen-Menschen (Kunsthalle Berlin / Peter Funken & Lucie Schauer) arising from the use of electronically 1989 Wonderland of Science Art – Invitation to Interactive Art (Japan) (Itsuo Sakane) important to keep in mind their barriers, their boundaries. in the course of confrontation too. die alten Liquid Cities (immersing, image and sound terrarium glowing atmosphere ambient display (H. Ishii) (AH) The essence of electronic art (Weibel): art as release Music Creatures controllable machines in the 1993 Machine Culture – exhibition of interactive media art (Anaheim) Even more: it is the boundaries that first make it possible Gattungen verändern. floating, ...) (Michel Redolfi) (AH) Huhtamo: new way of dealing (Stadtwerkstatt) (T. Shannon, J. Hassell) (2001/K255) ... it propels the development of electronic art from the Messa di Voce (Tmema) – thinking about (Marc Downie) creative field. (The exhibition never 1999 Puppen Körper Automaten – Phantasmen der Moderne to probe the specific potencies and achievements of media. art as concept (1996/K310) with images (VR and cyberspace (1984/K385) (1988/K113) object-oriented to the context- and viewer-oriented phase, the meaning and impact of verbal (2003/K402) conjoined realities took place.) (1996/J56) (Franke) (Düsseldorf / Katharina Sykora, Pia Müller-Tamm) practices): dive in, submerge, travel... media terrarium SETI 100,000s of computers becoming a "motor of the transformation from modernism to (HK) I do not focus on media sounds/acts and the immersive Liquid Meditation aural architecture sound atmosphere (Hiroo Iwata)(1996/P142) (HK) The old arts will never become art as software concept (cf. atmospheres study (DG)) Public space immersion (M. Naimark) in search of postmodernism, in other words the transition from closed to atmosphere of our language "diving in" (Maryanne Amacher) as habitat anachronistic, but instead we simply technology in the sense of a (ML) immersion can lead to a extraterrestrial intelligence open systems, from decision-defined and complete systems to (Golan Lewin, Zachary Lieberman) (1997/K328) CAVE (1997/K310) compare with have a broader spectrum of media replacement of what was art lack of differentiation between hybridity of media, arts and networks (AH) Weibel names a total of 21 features or criteria (1999/P32)(David P. Anderson) indefinite and incomplete systems, from the world of the (2003/K320) (Margaret H. Watson) tele-immersion Roy Ascott's transmissions. yesterday (ML) Immersion, as diving in human and machine that are characteristic for this new art, whereby interactivity necessity to a world of viewer-controlled variables, from the virtual mental space (1997/K168) Software as hidden force "Apparitional Aesthetics" completely into digital worlds hybrid computers (AH) It is better to speak of an "art of appears to be a reflection on new properties of media, such mono-perspective to multiple perspectives, from the monopoly (M. Fleischmann, W. Strauss) (Hiroo Iwata) (1997/K263) in the background (2003/K139) (HK) The history of art over the past 180 years VR work (yet the interface must not be marked hybridation", which is not to be confused as simultaneity, ubiquity, globality, mapping, freely scalable, to pluralism, from hegemony to plurality, from text to context, immersive media immersives spatial display – cf. code interest in image studies has proven, in any case, that the spectrum of media absence and transparency (Maria Roussos,Hisham Bizri) as the boundary between human With "collage", "mixture" or "Patchwork" infinity, immateriality, semioticization, acceleration, from locality to non-locality, from proximity to telematics, from immersive interaction (2002) complete all-around perspective temporalization, dislocation and the suspension of identity to difference, from totality to particularity, from objectivity has been expanded without any medium becoming (M. Kusch) (1994/II-K78) (1998/K222) and machine) how art is always looked for in Masaki Fujihata (1996/P120) identity and the body. to viewer-relativity, from autonomy to co-variance, from the conceptual weaknesses obsolete. auto-navigation system with AR (AEC) VRML and JAVA (MARS development) the wrong place (2001/K34) dictate of subjectivity to the separate world of the apparatuses." Media art will never be limited to the artistic use of technical media hybrid spaces (1997/K199) immersive media Immersion (eintauchen, einbetten) (CAM perspecive overlaid with route) (Joline Blais, Jon Ippolito) Charlotte (Char) Davies (1995) (1992/K11) net art as concept art It is always also aesthetic investigation, critical analysis and superimposed 2-player games (2002/P96) VR work osmosis (Bettina Lockemann 2004) social critique of our world view indexed by science and Der Versuch die Leiblichkeit GMD Digital Media Lab / ETH Zürich (Weibel) The festival was not up-to-date and (2002/P16) With its results, the Prix once again concept art (Ryota Kuwabuko) immersive installation operating system view (art field) outside the art system. technology (Stocker) (2003/K13) new kind of virtual art 360-degree dome (K. Sims) zurück zu erobern demonstrates the complete emancipation of cyberart Collective Creativity augmented reality: AR facilities (1999/J71) from traditional art. Elaborated independent (CODE symposium) self-organization of data (1979/K03) picking up, reinforcing and even CODE-Kritik conceptual-systemic art (1) (AH) concepts ... (C. Schöpf) (2003/F11) (knowbotik research) (1993/K249) 1990 virtuality immersive architecture fusioned interlocking two realities setting trends (1999/J73) media design groups simulation space "mosaic of mobile data representations circumstances view (MESO, Involving Systems) robot ecosystem art as service (1999/J94) (Adrian David Cheok (2002/F12), Take-over as theme (2001) Software & Art I / II (CODE symposium) issues of sounds" VR art (?) Agnes Hegedüs (2003/F12/F13) (L.-P. Demers, --- playing real scenes Magic Book (Kato) Prof. Hirokazu Kato, (1998/II-K306) 2001 take over (how does the system of "fine media art as interdisciplinarity collaborative research lab art as open source walk-in database (see right) virtual art Jeffrey Shaw B. Vorn) (1996/P126) into a virtual environment Bruce Thomas, view of manifestos Cyberspace Manifesto art" react ...) software concept (1997/K262) posthuman for art and science Michael Naimark 02 conceptual view life forms art as techno-science (AH) Paul Sermon (student of Ascott) research focus Christopher Lindinger) (Alvin Toffeler) (2001/K20) Chico MacMurtrie & Rick Sayre (Oron Catts, Stuart Bunt) (2001/K136) virtuality in software (DM) No medium is capable of re-forming (2003/K226) (S. Stenslie, explored the intimacy of virtual But no art term yet? mixed-reality applications (2003/K328) (1991/P127) "tumbling man" center for artistic investigations or translating another without loss or conceptual software Knut Mork, (AH) Weibel characterized this performances transferred to avatars The Hidden World of Noise and see also: loudspeaker arm as tactile experiences (1993/P126) K.A. Oygard) (AH) from the dictate of the evolution of functional robots+avatars form of art as so-called Voice (2002/K408) (Futurelab, view of absense absense as coercion ... pursuer (2001/F34/P114) "post-ontological art", as an art telepresence and co-presence Lack of a further development G. Levin, Z. Lieberman, C. simulation view (DG) a "take over" is meaningless in this subjectivity to the separate world robo-ecologies (Mark W. Tilden) ! (1999/P76) trademark of the festival: virtuality (Edwin van der Heide) (1993/K195) (K-Team) of "virtuality", of "variability" and VR (1997/K199) in the CAVE. Packing it away in Lindinger, D. Offenhuber, M. Breidenbrücker, sense too of apparatuses openness (1989/J14) VR virtual reality view of art genres (Marnix de Nijs) Kunstzeugwelten of "viability". (Morgan Russell) favor of cheaper video game G. Stocker, R. Abt, R. Praxmarer, S. Mittelböck) phenomena art international expert conference systems? (2000/P67) CAVE crisis ? It is not an achievement to transfer traditional with "software" Burnham established a (Ulrike Gabriel) Homo Cyber Sapiens (1990/II-K215) stereographic real time (2000/K362) RoboCup "Industrial Robots" robot performance VR facilities artistic patterns and behavior schemata to media connection between computer technology (1993/K350) (1995/K28) Strategies of art are more and (1999/J242) Pixelspaces (add. offers) applications for CAVE LEONARDO (AH) (Itsuo Sakane) (2000/F37/P108) at theKepler UNI (1982/K267) art; the challenge is to invent new ones. and concept art (2003/K125) on the aesthetics of more frequently and lastingly AEC department: Behind the Scenes (CAVE) CAVE variations (Horst Hörtner) and ImmersaDesk (1999/J100) (1989/J35) art in the apparatus stadium view of eros (G. Stocker) (1999/J68) (Erkki Huhtamo) Is the pleasure in high- robots in the spotlight !! automatons (Werner Literature: diffused in other areas of society. (AH) What is problematic about today's VR Virtual Reality CAVE goes PC (T. Feuerstein, K. Strickner) (1999/F30) (Simon Penny) technological art tech experiment already (N. A. Baginsky) (1991/K221) Vollerts) (1991/K221) Strategien des Scheins – Kunst Computer Art dissolves like minerals in systems is that the participant has to be (1997/K12) (2001/F10) Citycluster – VR networking high tech /vs/ low tech (2) (1993/K302) project for networked Pixelspaces (additional offers) If you don´t think this declining? (1999/J95) Medien / Ed. Florian Rötzer, Peter Weibel liquid. (2001/K19) completely "wired" with data helmet and application (F. Fischnaller) Joshua Davis CAVEs: transmission of CAVE versus game engines is art ... (2001/K60) (Leo Schatzl) robotics / automation (helpful spirits) art as method view of hybridity (I) Self-dissolution ! (DG) data glove. (2003/K429) high technology art (2001/P42) Kunst als Medientheorie / Hans Ulrich Reck body traces (2001/F10) vergl. (2000/P67) (C. Ebner, U. Winters) technology fetishism (Kittler) With respect to the 1991/93 "juke_bots" interactive robot data helmet & data glove institutional critique high-tech art "structure of norms" the ... artists The Thing Media-made – Wie kommen wir uns nahe? exploring virtual worlds three versions of a virtually integration of art, science and (lack of content) sound installation (transmediale) art as quality claim digital illusion semi-spherical projection (2003/K228) (who promise radio art in radio or robotics conference at AEC Rhizom.org Hg. Gerhard J. Lischka, Thomas Feuerstein with head-mounted displays (Warren Robinett) (Monika Fleischmann, questioning legal claims furnished room: only comprehensible and technology (at MIT) (Otto Piene) (Gommel, Haitz, Zappe) see also: (A. Trottmann) (Luc Courchesne) computer art on the computer) have Alexander art as complexity Offene Systeme I – Beiträge zur Zeitstruktur 02 view of limitlessness (1990/II-K138) (1990/II-K119) Ulrike Gabriel) in WEB galleries (2000/P62) in the interaction with the real (ML) affinity of (1980/K96) technoscience art (AH) mechanic-kinetic works Granular-Synthesis view of the field (1998/P58) (2002/P92) always come too late. R. Galloway von Information, Entropie und Evolution / (Ivan E, Sutherland) (0100101110101101.ORG) furniture media and we are human beings ars technologica Jean Tinguely (1955) "Meta-Matic-Roboter" (1995/K376)(1998) art as innovation techno-scientific art standardized interface the universal Robert Adrian X dynamics and openness of interactive, (1990/II-K123) (Perry Hoberman) (1999/F25) (1997/K1121) machines (D. Dennett) (1997/K181) (AH) Nam June Paik (1964) (Ulf Langheinrich, Ed. Ulrich von Weizsäcker (1991/P30) VR was practically not cyberstalking domain-grabbing Festival for Art robot (1999/346) cybernetic processes (2003/K13) beyond the (PW) on the origin of (1997/K296) "Robot K-456" Kurt Hentschläger) Medien Archiv / Agentur Bilwelt chaos view re-engineering (re-using) represented in entries in recent years (spying out data) and Technology (1989/J13) (Hans Moravec) nano-robots John Sanborn Kraftwerk Cybersquatting machines techno-art in the interplay robot body parts Cyborg Detector Medien / Texte zur Kunst 1998-8-Heft32 (AH) freedoms commercial systems Coder, Hacker, science art (1991/K13) (1999/K28) (1986/K121) Christiane Paul (2003/K136) mailbomb (squatting on the (Max More) industrial revolution (1989/K81) (Berger,Futterer,Stone) calculated by the artist (2003/P83) surreal incubation, cultural viruses, hacker Open Sourcer, machine art (Stelarc) Unnatural bodies Rakuschan Hybridkultur – Medien Netze Künste / Ed. see also: Internet) M. Moswitzer impact management Circuit Bender (Jim Whiting) (Dan) Daniel J. Sandin Cabaret Voltaire Irmela Schneider, Christian W. Thomsen view of virtuality / immersion simulation view information and entropy computer chaos club Cyborg = cybernetic-organism (AH) M. Jahrmann using devices and systems (etoy) (2000/K360) cybotage (2001/K20) ars: intelligent machines robot interaction symposium "Robots, Animation (1991/K73) (1996/J84) (2001/K299) The cyberspace handbook / Jason Whittaker (1995/K09) first presentation of the Van Gogh TV (2003) Ron Hays (1982/K198) contrary to their market WEB-Shredder synaesthaesia is one of the new possibilities of automation electro-mechanic instruments (1986) (R. Kriesche) and Artificial Creatures" Jack Burnham Täuschung, Ähnlichkeit und Immersion TI home computer in Europe Ponton European Media Art Lab (1999/K400) view of openness definition (2001/K20) (M. Napier) leitmotifs of media art (Maywa Denki) (2003/F39) (1989/K141) (1993/K171) (R. A. Brooks) cyborg art 1968 (article) / Jörg R. J. Schirra System dysfunctionality: (1979/K43) Otto Piene Stadtwerkstatt TV Mark W. Tilden denial of service, (1999/P46) (H. Ranzenbacher) pneumatic Jim Whiting (1993/K195) (AH) from autonomy to free scalability (AH) out of control clear board The Robot SPA 12 (1999/J352) art as procedure Virtual Art - From Illusion To Immersion / 1991 virus – security (2003/K342) theart ofmachine"tinkerers" Are machines on the exoskeleton ! anthromorphosization (1991/K73) etoy SRL the open art work (1970/T) foundin of Xerox Palo Alto Research Center (1979/K27) (1989/J102) MESO Oliver Grau (Virtuelle Kunst in Geschichte co-variance (2) (2003/K229) multifunctionality of (Marcel li Antunez Roca) Sulake Labs Oy Masaki Fujihata Contained drawing tool with (AH) The concept of the "closed art work", largest hidden microphones (1972/T) HP 35 pocket calculator rise again? Involving Systems Bernhard Leitner art as tool experience und Gegenwart: Visuelle Strategien) (game rules of art) the dominance of aspired image: "comprehensible" the universal computer (2003/F43) (2003/P34) (2001/K74, K320,P120) Time´s Up expressive parameters according to Klotz, is also fundamentally open source (Sabotage – R. Jelinek) (1976/T) CRAY-1 super calculator machine view - robots Interactive Talking Robots (1982/K160) Virtual Reality Technology / Grigore Burdea intertextuality (AH) transition from mechanization complex manifestations Giaco Schiesser Matt Heckert (Joanna Berzowska) art as public cultural production called into question by the aspect of SW development (1994/II-K38) (1977/T) Apple sells the first completely Nanotechnology: self- (1989/K174) Joichi Ito Golan Levin Just Merrit closed to open (zu Giedion) (Paul DeMarinis, (1999/P74) Soundcreatures (2003/K371) (1996/P210) (1999/P34) interactivity. chaos cube (M. Klein) web site assembled personal computer (color graphics) you can't teach an old reproducing microscopic (2002/K252) (2001/K387) (1999/J403) systems Laetitia Sonami) (1991/K51) sound communication – robots Pierre Lévy (1997/P200/K311) (1994/II-K71) (2003/P079) (1977/T) Commodore PET view of multifunctionality machine new tricks (Kouichirou Eto) robots (1992/K71) robots (1995/K91) (1999/K411) John Maeda (2002/P98) Harry de Wit instrument developer as OSDN roomware (1979/T) LISA development (T. Sherman) (2003/P42) (2002/K396) Kingdom of Piracy: Whiteg Wenig, LAMP (Linux, Apache, Like the analog techniques of Hiroshi Ishii (2003/K170) tool designer as soon as it works, (1979/T) ++++ ars electronica ++++ (1997/K196) Mechatronic Show Florian Rötzer (2000/K305/P82) Stelarc Mukul Patel, Manu Luksch, Rhizome.org, MySQL, Python/Perl/php) room elements like walls, doors and sculptor as photo and film, media art goes (1997/K198) (2000/K385) (music compiler, ...) it is obsolete (1980/T) Apple III (Marcel li Antunez Roca) (1994/K108) Ken Goldberg (1999/J411) 0100101110101101, Joy Chatterjee, (2002/K394) furniture are integrated in information machine builder / through several phases: the (2001/K254) Team cHmAn Alain Escalle (1994/P06) (1980/T) Commodore VC 20 03 interdisciplinarity view (2003/K322/P118) (1995/K28) (1996/K297) (1997/K149) media primarily involve enabling doubleNegatives, p,RT, Eastwood – RTSG, Kingdom of Piracy Public access TV und Radio and communication technology ars metallica material, corporeal, machinic (2003/F12) (2001/P28) (1999/P145) (1980/T) Commodore C 64 exoskeleton Kathy Rae Huffman normative power of Diane Ludin, Dragan Espenschied, Alvar Freude, (A.Medosch,ShuLea (Stadtwerkstatt, Radio FRO) phase ... (AH) structures (DM) (1982/T) Compaq founded digital technology also enables (1991/K261) (1994/K156) Dennis Muren David Rokeby David Dunn Dan Graham F. Stalder, Agnese Trocchi, Olia Lialina, A. Tang, Cheang, Yukiko Shikata) Free Software free software panel-like screens, tables with Manuel DeLanda software monopolies (1982/T) SUN network computing on TCP/IP basis new developments in apparative mechatronic (1994/P67) (1993/P122) (1992/II-K21) (1992/K136) current technology Tool /vs/ Medium Ilya Eric Lee, exonemo, J.J. King movement project (2000/K351) integrated screens (InteracTable) synaesthetic view Roger F. Malina (1994/K168) (2003/K12) (1983/T) Atari home computer 1200 XL art (control techniques) Timothy Druckrey (1997/K258) perfect usability account Piazza Virtuale – (2003/K29) Itsuo Sakane Agentur Bilwet (1999/J319) Steina & Woody Vasulka virtual workbank art as procedure / (1983/T) MS Windows development announced cf.: view of objects Dialogue with the knowbotic (1998/II-K290) (2002/F043) (1980/K47) System dysfunctionality: Service Area open law apparative art (1973) (1999/F08) (1999/224) (1992/K81) (W. Krüger) (1994/P122) art as method Video/Audio Technology Timeline according to Vasulka:(1984/T) Apple presents the Macintosh South (1994/K243/ Char Davies denial of service (1994/K234) multimedia versus (1979/K54) H.W. Franke Frank Popper Geert Lovink John Lasseter Symphonies for Dot Matrix Printers !! (Giaco Schiesser ) art as education open source (196x/T) Video Feed Back (Skip Sweeney) computer in an advertisement (Frans Evers) (1996/P144) chessboard interface (2003/K229) Service TV broadcasts in synaesthetic (1995/K180) (1996/P164) Scott deLahunta Cristopher G. Langton (a multitude of obsolete office machines) (2003/K372) (1962/T) Hybrid Graphic Animation Computer (1984/T) IBM PC AT (1988/K268) (knowbotic Bruno Latour controls scenes the context of interaction concepts Peter Eisenman (1999/J152) (2000/P124) (2003/K302,K311) (1999/K381/P183) (The User) art as practice field Linux developments (1964/T) Audio synthesizer (Don Buchla) (1984/T) UNIX and SGI 3D Chip on the rise the 3rd synaesthetic (AH) machine art forms of apparatuses research) (Norbert Artner) (1988/K171) service (Mixed Reality) G. J. Lischka (1994/K38,K11) teachers at service projects on the Internet (1968/T) Chrominance Synthesizer (E. Siegel) (1985/T) Atari 520 ST wave in modern art Friedrich Kittler pioneers of electronics video chess installation (1989/K88) art as ideal (Linus Torvalds) (1999/P24) (M. Fleischmann) (1986/K13) Cedric Price Donna Daniel Charles atelier computer (Manuel Schilcher) (1968/T) Modula Audio Synthesizer (R. Moog) (1985/T) Commodore AMIGA 1000 (1993/T Machine Culture – exhibition of (1995/K79) Robert Moog, Carlos media colleges the net as principle of redundancy (1994/K30) Haraway system house artist (1979/K44) (Keith Goddard) distance loan - distance exchange (Hans (1968/T) x y z Driver/Sequencer (Bill Hearn) (1985/T) CD-Rom as new storage medium interactive media art Anaheim Paul Virilio (1999/J173) (1980/K07) influence of MIDI on open channel Marshall McLuhan Bernard Cache (1997/K46) Martina Leeker (prisoner in a golden cage) (ars intermedia) (Prof. Machiko Kusahara) (Stadtwerkstadt Linz) Kropshofer, Karl Heinz Maier) (1998/K116) (1968/T) Hybrid digital/analog audio synthesizer (1986/T) Atari 1040 ST (Aladin as Mac emulator) (1994/K94) (2003/K15) (1984/K161) art project et al. MIDI robot lady (1989/J24) (public netbase t0) (1995/K293) loan and exchange – an interdiscourse (Pulsa Group, P. Kindelman) (1987/T) Sun market leader for workstations (AH) synaesthetic interaction (Weibel) (1988/K27) (1995/K24) Brenda Laurel Ulrike Rosenbach (2002/P146) (Cardea) MIT Heinz von Foerster Hans Moravec interface as variable (2001/K367) (the thing) (1995/K313) (1969/T) sal-mar construction (S. Martirano) (1987/T) Mac II (between different elements of design) (2002/K238) (1990/II-K259) (1991) Media Survival Kit (Yasuhiro Yoshiura) border rescue Michel Serres (1991/K13) Marie-Luise Angerer high tech /vs/ low tech (1) projection (Audiopad)! (A. Hirsch) Media Literacy (Lioba Reddeker) Kontextsystem (Service-Plattformen): (1969/T) Sony CV Portapak (1987/T) CGA graphic screen as PC standard 2004 Abraham A. Moles (1996 Prix) escape routes (2003/K349) Fred Forest (1999/J116) (2000/K166) fantastic young talent Bionic-Mailboxen (padeluun, rena tangens), (1970/T) Direct Video Synthesizer (S. Beck) (1990/T) Windows 3.0 danger for MAC for the first time Mixed Reality: (MF) Saskia Sassen (James Patten, Ben art as media criticism (H. Schmutzhard) (1984/K386) (1995/K164) Jean Baudrillard software as tool new technology and The Thing, De Digital Stad Amsterdam, (1970/T) Electronic Video Synthesizer) (E. Siegel) (1990/T) Apple offers the first program for image the interface as input/output instrument is not a Roy Ascott Louis Bec (1995/K186) Gene Youngblood Recht) (2003/K414) (1999/F26) (Sommerer, (2002/K378) (1991/K07) design creativity Internationale Stadt Berlin, Public Netbase t0, (1970/T) Colorizer, Camera Scan Processor processing (video context) multimedia instrument, but one of action for the (1989,90-95) (2002/F08/K25) Sybille Krämer (1984/K119) or art content ? Mignonneau) various media colleges present art as media analysis Paul Sermon Vilém Flusser Key Grip (A. R. M. Eshaq) (2001/K47) Mailboxen V2, CCC, adaweb, stadiumweb, turbulence, (1971/T) Paik/Ab Synthesizer Scan Modulator (1991/T) PowerBook synaesthetic transformation of the perception of Jeffrey Shaw train window as interface themselves during the Ars: Xchange (E-LAB) (91,93,97,99) (1999/J202) Marvin Minsky (1990) (Justin Manor) art as media art Servus (Satdtwerkstatt) (1971/T) Video Synthesizer (G. Brown) (1993/T) SGI and Nintendo develop Graphic-Engine media space. (1990/P187) Bill Viola (Virilio) There are no more surfaces. The construction of 2001 take over campus: Visuelle Mediengestaltung Vienna (1998/P34) valuation in the PRIX (1993/P126) Nam June Paik (2003/K330) (1971/T) IP – Image Processor (D. Sandin) => (1995/T) SUN – Java: Standard for the Internet The interface is the new form of the experience. Interface as art as communication Derrick de Kerckhove Heinrich Klotz Myron Krueger 2002 Kunsthochschule für Medien Cologne these cooperations are (1972/T) Dual Colorizer – analog (E. Siegel) (1996/T) SGI Visual Workstation O2 and Superc. Onyx synaesthesia Jury INTERACTION: A. Adriaansens, R. Ascott, B. Blau, Gordon Pask Which interfaces determine surface. Thanks to electronics, tele- content. (David Rokeby) DIVE: Free Software, online collaboration, unplugged (1999/234) (1990/P169) 2003 HS für Gestaltung und Kunst Zürich mirrored in the 2002 (1972/T) Scan Processor Prototype (Rutt, Etra) (19nn/T) IP networks for computer collectives (1988/K12) H. Branscomb, F. Brody, Coco Conn, S.S. Fisher, Matt Mullican the overlapping of real control, teleperception, videasts and art as transmission piracy (2003/F38) Peter Weibel (2002/K271) (1999/K423) Interfaces as symposium (1973/T) Videola Installation (D. Hallock) (1997/T) economical workstation on NT-basis NeoBaroque ? M. Fujihata, Ulrike Gabriel, V. Giacci, Christophe Héry, P. Higgins, Knowbotic Research (1994/P158) and virtual space (MF) architects meet on this interface. Austrian E-zine Das Télécentre Communautaire rigidified standardization of art as media event (1973/T) Multikeyer (G. Brown) (2001/T) SGI Workstation 230 P. Hoberman, J. H. Horn, Hiroshi Ishii, Machiko Kusahara, Masuyama, Gilles Deleuze (1993/P101) (1998/P28) Karl Sims Culture Service (2001/K213) Polyvalent in Timbuktu (2002/K177) perception framework interaction design – the high art of (1973/T) RUTT/ETRA Scan Processor (Rutt, Etra) (1993/T) Pentium processor R. F. Malina, J. Markoff, T. Moriyama, Monique Mulder, M. Naimark, (1994) (1996/P144) (1993/K249) (1991/P79) (1990) youth as Literature studies examine, among (1995/K290) (Birama Diallo) interface ars performative interfaces (see above) (D. Rokeby) set off by training courses conveying science art as communication framework (1973/T) Video Outliner (S. Beck) J. Paradiso, C. Paul, B. Robertson, F. Rötzer, J. Sauter, H-P. Schwarz, (1999/J391) (1992/P51) (1993) users of excellence other things, how much techniques and personal computer planned but never realized (2002/P70) (Science Education Team) view of new technologies Joko Project (service) (1974/T) Hybrid audio/video Installation (Behrman, Diamond, Watts) 1980s P. Sermon, Y. Shikata, J. Snoddy, S. Stenslie Christa Sommerer & (1999/J390) 1997 hybrid system exclusively (2001/K396) (1999/K332) (2000/K274) media influence or even determine the or partially realized in 1997 bicycle as interface (Lisa Goldman-Carney) (1974/T) Digital Video Weaver (S. Beck) Christa Sommerer, S. Stenslie, G. Stocker Laurent Mignonneau for artistic purposes contents of the arts. (D. Daniels) influential thinkers (Shaw, Nancy Paterson, (2002/K186) (1976/T) Digital Frame Buffer (D. Jones) affordable (1999/P93) (1999/J393) Pixelspaces – DAMPF (2) Interface-Prof. Art UNI (ars intermedia) 1990s time´s up)(R. Makkuni) cybergeneration U19 Cybergeneration (PRIX) In its expansion to "image studies", it will first become possible to performance theory view of PC/computer/video technology (1976/T) Spatial and Intensity Digitizer (D. McArthur) art as procedure / Jury ANIMATION: M. Benayoun, M. Bielicky, L. Carpenter, O. Cauwet, H. Chida, Note: the selection reflects Sensory Environments – (Christa Sommerer) (1979/K44) Literature: workstation (2002/P88) examine how art is not only influenced by the media, but how art works cognition theory (1976/T) Digital Image Generator (McArthur, J. Schier) art as method Larry Cuba, M. Dippé, J. Duesing, P. Eason, Valie Export, Lisa Fisher, Ines Hardtke, the opinion of G. Dirmoser Lynn Hershmann Immaterial Interfaces ExMachina / Eine Geschichte des Roboters von Indian (HK) the computer also supply an analysis of the potential and the impacts of media at the dialogical approaches (AH) Computer: on influence (197x/T) Le Movicolor Colorizer (M. Dupouy) (Giaco Schiesser ) (right) R. Herken, C. Héry, J.H. Horn, R. John, M. Kaas, P. Kogler, R. Legato, G. J. Lischka, (analysis of diverse specialized (1995/P121) (2003/F14) (deLahunta, U19 freestyle computing 1950 bis heute RISC J. Manor, J. Dießl, S. Oschatz, interfaces organization of the per se is not an same time. (DD) postmodern view on media forms and art forms (1979/T) ++++ ars electronica ++++ (1992/K96) (2003/K372) Mickey McGovern, A.J. Mitchel, M. Mullican, Lucy Petrovich, P. Quéau, Barbara literature) (1989,93,99) art as energy Puppen Körper Automaten – Phantasmen der 03 service view / project view A. Cheok, H. Kato, H. Hörtner) designs user's scope of action integrative force 1994: Computers and Games the dynamic of the TAKEOVER does not come from (AH) Artists are even more interested in Reduced Instruction Robertson, Sally N. Rosenthal, B. Sabiston, R. Sayre, Rita Street, Moderne / Ed. Pia Müller-Tamm, Kath. Sykora robotics shift of ideas and methods Jury NET: D. Blair, B. Blau, A. Broeckmann, E. Burton, interface design (R. Makkuni) (2001/K294) computer as paintbrush interactive exhibition of prize- art's places of education, practice and communication parallels to "media structures of organization" art as impertinence Pioneers of electronic art / Set Computing M. Tolson, C. Volckman, M. Wahrman, Chris Wedge, P. Weibel interface development open source (see left) obstinacy of the medium informatics / electronics Container Projects: ... "intermedia", J. Davis, Tanja Diezmann, Oliver Frommel, R. Gehorsam, (2002/F044/P86) (G. Bonsiepe) winning student works (2001/K17) (see left) than in the tradition of art production. Computers – Eine illustrierte Geschichte / 1970er separate world of apparatuses the paradigm of B. Buxton, S. Maschwitz AI research / AI discourse (1986) Container-City "Ponton" (1996/K221) "multimedia" disciplines Claudia Giannetti, Solveig Godeluck, Lisa Goldman, on the interface (precursor of the Prix) (Giaco Schiesser ) art as creation Christian Wurster (1992/II-K) (Vasulka, Dunn) interactive imagination Jury MUSIC: C. Amirkhanian, S. Arnold, (AH) The convergence and combination of the most Types of interfaces: breath sensor, brainwave Hot Wired collaborative development of hacktivism (see left) practical demonstration of free and Is the "digital city" a (1988/K63) Derrick de Kerckhove, Machiko Kusahara, Joichi Ito, of pre-arranged (1994/II-K137) (2003/K371) modern primitives connectionism (Brenda Laurel) absolute milestones: Sam Auinger, J-B. Barriere, L-G. Bodin, various techniques are crucial for the formation sensor, data glove, bicycle, Online Publishing architecture projects PHASE(x)3 Multimodal Discourse – The modes and media medium or a forum? video instruments F. Manola, J. Markoff, D. McCullagh, C. Reas, dialogue structure (AH) (Andrea Juno) (above) cyberdiscourse / cybertheory creative arrangement of information (1990/II-K262) "The next Idea" WWW, VRML, N. Bouhalassa, L. Brümmer, K. Eshun, A. Greie, of the new art form. (Popper) joystick, camera shots, (1996/K393) (1999/P36) ETH Zürich Forms whose definition is of contemporary communication / Gunther (1995/K183) S. Rogers, Demetria Royals, M. Russell, Why did cooperation with the modfied bodies Sexy tech net discourse (cf. development of Servus) (PRIX category for R. Friedl, J. Harrison, T. Herrington, N. Humon, dealing with digital plants, camera, oriented more to scientific- appropriation of media art Kress & Theo van Leeuwen The dynamic of the TAKEOVER does not come from game engine, Y. Shikata, John F. Simon, Karin Spaink, The Computer: Handtool Kepler UNI only take place in the AEC: Techniklastiges TV-critical (1990/II-K234) (2001/K407) (1989/J135) NET categories: 1) best "self-servers", age 19 to 27 / 2004) W. Jauk, Kaffe Matthew, A.Mongeau, user interface techniques (ML) 1979 scanner technical disciplines, to interface Optische Medien – Berliner Vorlesung 1999 / technoscience and cyberculture the places where art is trained, practiced, conveyed. net broadband Marleen Stikker, M. Takemura, or Thinktool ? (OG) first years through symposia? Ambiente des Lernraumes by fine art projects (Christine Goestl) art as everyday life 2) best public "watchdog" service, B. Neill, R. Normandeau, Bob Ostertag, development and information techno-discourse "net system art" as (2001/K17) D. Traub, Pete Barr-Watson, (1996/J114) Takeover (symposium) Cybersex with data suit and all the appliances NEXT SEX Friedrich Kittler 3) best public information service system-analytical development Z. Parkins, J. O´Rourke, M. Schmickler, Andrea see also: view of intelligible tool architecture, or to net culture (DH) New media generally emerge from non- "permanent conference" Ars electronica –Event Tina Cassani, Bruno Beusch, Restart 1996 with AEC The Undertakings of Art – for stimulation and stimulating body surfaces Symposium (2000/F09) Technikkultur – Inszenierte Technik – (1995/P45) of aesthetic-generative basic Sodomka, Laetitia Sonami, I. Stoianova, interface view interactivity (1979/K44) AEC department: and lifestyle of gaming communities, artistic situations. Artistic applications are derived (after Beuys) (1995/K65) What is the state of media art, since its für ein Fachpublikum? Casey Reas (J. Kirchgeorg) Who will survive? already looks like nostalgic mechanics for (Marie Luise Angerer, Nobuya Unno, transformierte Wahrnehmung / Ästhetik & programs P. Rehberg, R. Rimbaud, T. Wishart, D. Toop, Digital Hollywood (most important training/education than to the isms of the art special uses. Internationale Stadt development and public attention derives (1997/P146) (2001/F09) tele-intimacy, a kind of chivalrous romanticism J. Reich, Xin Mao, C. Djerassi, Natacha programs make the (H.W. Franke) Jury CYBERGEN.: S. Amann, school for digital media design (1997/K12) discourse (2001/K20) pixelporno Kommunikation Heft 75 – 1990 (Berlin) the ideal from the same dynamics as the New Economy? W. Vollert, B. Blectum, F. Hecker, C. Watson computer art systems synthetiseurs Merritt, S. Messina, J. Davis, Katie Egan, electronic works of different T. Auer, Etoy e04, N. Filz, intermedia connections (1994/K109) (2000/K357) virtual Kunst im Kontext Neuer Technologien - (2001/K17) (1980/K95) interfaces view of the "Centre Pompidou" (1979/K45) future learning in Japan (Tomoyuki Sugiyama) WBT on the Silk Road It is obvious that the Marta de Menezes, Oron Catts, Ionat neighborhood city on the Internet authors appear very (Simon Penny) While robots then covered the calculated path, F. Hecker, H. Hörtner, (Rosa von Suess, digital media art body art living spaces (1979/K42) (Prof. Max Mühlhäuser) (2001/K89) (Jie Geng) appropriation of media art Terminal-Sex (Stahl Stenslie) Zurr, G. Ben-Ary, Monika Treut, Paramour / K. Gsöllpointner, U. Hentschläger (Nick West / YORB) (1995/K254) similar (1992/P12) The idea of the digital revolution is net vision the environment was newly measured, the data entered in the G. Hupfer, M. Nürnberger, Art & Tech B. Loibner) Brave New Porn telecooperation, project (2000/P50) by fine art is no longer (2000/K202) K. Behrends, Joanne Finkelstein, Bruce Arch+ 167 / Off-Architekture 2 (1995/K196) digital clubs creative lethargy experiencing its first real crisis. plan, which was then altered as necessary. This method was M. Pieper, R. Pöcksteiner, (HK) We must be careful not to ArchiMedia (2001/K404) intermedia art (Sergio Messina) Digital (Simon Penny) series of research "Knowledge Net – Future Learning" canonization of new isms of the acceptable. Bagemihl, Veena Gowda, R. Thornhill, Reflexionen zu Kunst und neue Medien - UNITn cultural identity crisis (2001/K17) called the top-down paradigm. In practice these robots were M. Riebe, S. Sagmeister, misjudge the tool character of (Flatz) (2000/F28) Revolution projects loosely assembled under procedure view (1996/J109) media art (2001/K20) media (art) (2001/K20) (Stocker) next sex electronic costumes LEONARDO – Journal of the international demo applications: What does that mean for ars and AEC ? very slow: a cockroach was better able to cross the street than Hans Wu, B. Lippe, M. Pieper, the computer. Operations- education opportunities at the Art UNI Porno 2000 demontage Allucquère Rosanne Stone, C.T. Palmer technological innovation (1999/K17) the term "Bottom-Up Robot discourse (DG) What is the point of this polarization?(DG) Cybersex (Sachiko Kobayashi) indications of what could the most powerful computer! miss monochrom simulation (15-year wait for relevant professorhsips) media critique from: (John Duncan) (1991/K129) body sections society for the arts sciences and technology Technology" ... now challenge coaching the arts (ars intermedia) (1991/K119) (2001/K91) be done if one had more (1996/K194) means view (1995/K192) Heiko Idensen, Matthias Krohn, telephone sex as safe sex The "visible human project" sex noises the top-down approach development environment for virtual (1979/K44) (1991/K276) on virtual sex and the time/money "Art" or rather invention ? (AH) AI as abbreviation for Artificial Insects 05 tool view / instruments media are means (DM) (unplugged symposium) (Webster Lewin) infotainment education in Vienna Florian Rötzer, Heinrich Klotz, virtual environments, (Melita Zajc) projects on image material various introductions MEME (2) (1996/K194) reality (Eric Gullichsen, Patrice loss of desire 1996 Rodney Brooks contradicted the (2002/F10) on Bill Barminski edutainement MK Weibel, Roy Ascott personal simulation and (Christian Möller) (Aaron Funk,Rachael Kozak) Gelband) (1990/II-K302,K305) webucation Derrick de Kerckhove, Andrian X the sex industrie (1995/K68) (1999/J292) We are on our one out in cyberspace, we Computer and Internet as guiding technology notion that a cockroach distance learning (1986/K312) (see right) telepresence (S. Zizek)(1995/K122) businesses (in Japan) have (1995/P126) (2001/K295) et al. electronic art online Stages Elements Humans (2003/P198) have to re-invent the world and ourselves, of current changes (2001/K17) the festival ... as site "made a map". "Block Jam" instrument community (2001/F36) (Franz Xaver Mittermair) (Scott S. Fisher) (R. Baker) (2000/K37) learned nothing from the ideas functional view Multimedia telepresence (1989/J11) porn-o-mat (Gina Czarnecki) (1999/K329) bottom up. of valuation (platonic ideal) made of combinations of (Joshua Davis) ASF, AVI, MP3, MPEG, (Ruth Schnell) tele-symbiosis (1993/P90) (1990/II-K147) Thinking the Sexual (M.L. Angerer) (2000/K166) (2000/K287) digital body worlds betting on important issues creativity /vs/ and visions (of artists) CBT WBT (1995/P16) (R. Ascott) (2002/P012) blocks (H. Newton-Dunn, (1989/J20) Quicktime, RealAudio, (1999/J107) (1993/P90) of science and technology art ? (2001/K90) resources view see also: view of transformation lecture series (1982/K260) (Baudrillard) All kinds of protheses can contribute Symposium "The Desire figures generated for mini-computer in fabric H. Nakano, J. Gibson, RealVideo, SWF, art of fragmentary approaches (1995/P54) (Robin Hanson) view of instruments techniques view communication technologies – (AH) electronic extension from Slow-Scan-TV to giving man pleasure, but he cannot invent any for Immortality - Cloning, films Unnatural bodies art (does not equal) creativity & economy tinkering CAD CAM CIM R. Kuwakubo) multimedia SW WMV/WMA electronic classroom (1999/J104) televirtual environments (s. above) new media in education, business of the human body to picture telephone that feel pleasure for him. Cryonics and Cosmetics" (Jim Whiting) cell phone as necklace techno-art as anti-art (PW) (2003/K417/P116) (Sony) New media all emerge through re-mediatization, i.e. the paradigm of virtual reality introduced and administration networked learning Infotrainer (AEC) gene-technical interventions (1993/K157) (Klaus Madzia, (1991/K73) s.l. new media = Computer Aided Design (PW) Tool culture has entered cyberspace university Telerobotik remote presence (1993/P91) MP3-player blind for art what works, is already through the translation, rearrangement, reshaping scientific acceptance with the theme of online projects that can also (2003/K211) TV Bra, TV Cello, TV Bed ... G.J. Lischka, Reimara new art ? Computer Aided Manufacturing into a new phase, into the view of networks (Frank Ogden) slow scan the feedback loop: earring for monitoring on upper arm history obsolete (PV) of other media, ... at the level of content as well as the "interface" be used in the teaching context (Charlotte Moorman) gene manipulation set Rössler, M. Wabl) Computer Integrated Manufacturing separate world of the world of adaptive (1995/K102) Teleroboter (1997) eye-tracking interactive systems cannot be blood pressure concept of form (Ludwig Jäger) (1992/K20) (PW) techno-selectives (2002/P24) (see right) (1982/K59) „Sky Kiss“ (A. Popper, K. Stockhammer) media guerilla apparatuses. (1994/K24) net view slow-scan robot (Ascott) imagined without feedback "new" media (2002/K62) (Gusberti, Aschauer, Thönen, Deinhofer) participative and explorative (1989/K109) Concert for TV-Cello : (1993/K240) everyday electronics view of intention (Nur Schrec) artistic tool robot prothesis (Joachim Sauter, PAL version (ORF) ars: computerized world of work learning facilities (2001/K229) (ML) Interfaces of biofeedback (ML) the viewer as author in entertainment electronics On this, see the detail study: Has Ars Electronica really been able(1995/K281) artistic tool – audiovisual Multi Mega Book media as site of educating (DM) (1996/K34) Dirk Lüsebrink) Bodysuit – dialogical approaches the topic was "covered" in Linz with Work&Culture in 1998 (P. Higgins) repeal of the body (AH) (Charlotte Moorman, Nam June Paik) for interactive performances neuro-digital feedback Literature: to liberate itself from the classical media? (DG) No ! in the CAVE (1982/K65) multisensory symposium virtual office artistic tool – narrative art in education is research robot body parts extended hands (Horst Prehn) Telenoia – Kritik der virtuellen Bilder / Ed. operating system discourse self-dissolution (in take over) – dissolving into the "old" media (F. Fischnaller, electronic media (1997/K299) (Eva Wohlgemuth) environment VR flipchart (for Chiat / Day, Inc.) artistic tool – useless 06 education view (P. Pocock) (Stelarc) (Stelarc) re-designing the body Wet Computing view into the inside of the world‘s first full body cell phone culture Elisabeth von Samsonow, Eric Alliez (game rules of art) view of ideas cf. the ZKM study: future cinema Y. M. Singh) digital media 3D whole body - BodyScan (Mork,Pendry, Open X: temporary open-plan atelier (2002/K342) (J. Singh, J. Chung) (2003/K224) obsolete bodies (1999/K29) the body (Stelarc) tele-tactile communication (Roy Ascott) (1995/P20) (1997/K316) (AH) prosthetic forms of attaching audio-skirts Stale Stenslie) Ereignis und Aura – Untersuchungen zu einer Innovation & digital existing software walk-in network (1997/K384) (1994/K214) view of educators (in teaching) hybrid man-machine systems Bioinfornatik pacemaker system cyberSM (1993) mass customized production computer as tool /vs/ electronic the body to the virtual body halves – search for Brain-TV biofeedback (Benoit Maubrey & Ästhetik des Performativen / Dieter Mersch Take over avant-garde manipulations (2003/K227) skyscrapers and streets (Stelarc) (1992/K233) bioelectronics Boneware system (Stelarc) (1996/P149) (1994/K116) digital environment resurrection physical/emotional completion wetware (Stahl Stenslie)CyberSEX (1980) programs die Audio Gruppe) 04 view of innovation (2004) networked structures for tele-homework AEC: Future Lab – the from text and images (R. R. Birge) (1997/K131) (1997/K152) on Vilém Flusser, Paul Virilio, Heinz von creativity Takeover I (symposium) of Bauhaus hand controlled through (2002/P133) (Peter McDonald) (2000/K19) (2000/K213) (R. Kriesche) (1979/K30) (1991/P145) new forms of collaborative best equipped "lab/atelier" (1997/K322) (F. Sparacino, A. Pentland, organism & chips (1997/K83) Foerster ... cf. various sectors "breaking out (2001/K12) plagiarism (1994/K114) on the change of paradigms, view of instruction WIRED EMG signals (1989/K135) on sounding bodies in Austria (1997/K12) G. Davenport, M. Hlavac, M.. Obelnicki) technology is changing from a prothesis part Aorta (Jeanette Yanikian) Ars Electronica – Facing the Future / (out of the art scene) (2003/K228) work (Mixed Realities) (MF) (Stelarc) (1997/K149) (AH) neuro-muscular and speaking clothes home-production new roles, working models and and product ensemble into a comprehensive, medical devices as sound feeling of touch & audio-uniform view of art criticism / valuation training view interface for directly Eye-Tracking (Rolf Langebartels) Ed. by Timothy Druckrey rear-view mirror to reality: the creativity burst coaching the arts technology as extended body (PW) artificially intelligent environment linking transmitters: rushing of blood, control of action concerts (1986/K277) technical-pragmatic life on the net (1994/K205) controlling a synthesizer (1986/K276) (1996/K337) (Just Merrit) changed framework conditions Exploring Collective Autorship (2001/F08) (H.-P. Schwarz, Gunalan Nadarajan, everything together (PW) (1994/K08) pounding heart, breathing, Touchscreen audio-clothing (calculable) avant-garde (Stelarc) (1997/K153) (M. Shamiyeh) (2002/K336) (Biomuse) digestion (1989/J143) Eyephones (Benoit Maubrey, Heros of Industrial Culture artistic work platform for online music collaboration A.Moore, Marie-Luise Angerer, TV view clothing that methods view (and artistic innovation?) Masters theses from Zurich: (Marc Lee, S. Leuthold, Mario body extensions Body Surfacing interactions – HansPeter Kuhn) (Throbbing Cristle, SRL) Jamming Software (Willy Henshall, Matt Moller) G. Funk, R. Kannonier) (2002/F11) (AH) seeing machines, TV helmets, Brainball – winning Data Glove makes noises (Idensen, Krohn) Pukathofer, Niki Schawalder, Annina Rüst, F.O.K.) (see above) brain/computer interface 3D-patterns triggered by physical Projects by: (Hermann Atzlinger, Presentation of important studios: Padua, Paris, Marseilles, (1999/P30) radio vests, Handgeräte und through relaxation Head Mouted Display visible (2000/F34) entries without video body language and lying KHM at ars electronica (2002/K334) (M. Hampel, F. Eggmann, M. Rheiner, G. Huber, I. Sterzinger, (Peter Fromherz) (1999/J166) actions (1989/K215) issues of Tina Auer, Sam Auinger, Nicolas andere Extensionen des Leibes (2001/F33/P111) (2000/P104) Stockholm, Utrecht, Munich, Berlin, Budapest and (Naoko Tosa) (A. de Campo, J. Lindenmaier, M. Anne-Lea Werlen, Carmen Weisskopf, Doma Smoljo, (1997/K158) (Myron W. Krueger) complexity Anatol Baginsky, Todd Blair, Tim tape were unfortunately subversion view / Brain Bar head-mounted display Warsaw (1989/J55) (2000/F33) Erdbacher, J. Garancs, Dagmar Keller, R. Wigger, Mascha Leummens, Annia Rüst, T. Cmomiotto, 3D computer- (AH) seeing machines, TV helmets, (Tomoko Ueyama) (1992/K57) (PV) permanently reachable Boykett, Denise Carusso, Tatjana (2001/K375) not considered (2001/F37) brainwave scanner (Warren Robinett) (Bayle, Risset, Barrière, Parmegiani, Bodin, Ungvary, Cyclops – M. Wittwer, Anja Kempe, Yun-Chui Kim, N. Schawalder, Christine Szababo, Valentina Vuksic, tomograms Sex i(n) motion radio vests, hand devices and house slavery Didenko, John Duncan, Chip Flynn, (Ole Lütjens) (1996/P57) the art work as (AH) media art as new (Smart Studio) (1990/II-K119) (G. Kampis) Zwedberg, Parmerud, Grimsson, Nsaveld, Vink, Kayn, gestures of Susan Wintsch, Milica Tomic, Hildegard Spielhofer, media-critical view computer technology on (1995/K191) (Science telemotorics other extensions of the body (2) L.A. Gladsjo, Brett Goldstone, Collaborative Web Tools gestures of calligraphy Viola Klein, T. Kubli, S. Mann, Ko Kubota, communication framework genre (relative to the (Ivan E. Sutherland) (head-hand) (Roman Verostko) perception Gabriela Gerber, L. Bardill, J. Köppl, Felix S. Huber, the modulated the brain (1979/K30) Education Team) (1995/K178) Matt Heckert, Rudolf Heidebrecht, Hashagen, Riedl, Blacher, Szigeti, Pongracz, Rudnik) Anke Limprecht, Agnes Meyer- (1995/K63) traditional arts) (1990/II-K123) Data glove, data suit, dependency on F. Wüst, Cornelia Heusser, T. Karrer human (1979/K29) data glove Erik Hobijn, Kathy Huffmann, Laura (1996/P25) (2003/K162) (1993) (2002/K413) Brandis, Aurelia Mihai, (Mark Federman) Neurohacking (2000/K274) data glasses, database – the film and Meatspace Clearboard – double projection tele-surgery (1995) The Visible Human Project Kikauka, David Moises, Gordon the realization of artistic Naujokaite Neringa, M. communication design 07 view of media (2003/F11) (1994/K109) they all suggest the existence avatars in the work table (speaking and drawing Gesture is an important point for every ongoing Architexture contributions from UNI Stuttgart and TU Vienna (1997/K292) (AH)new sensibilization: (1996/P182) (John Clyne) advertising industry Monahan, Mathias Moses, Marc 9, ideas can often only be Neuenhofer, Susanne (increasingly located in the field of a new world, the data world of work together through a glass wall) medium, and software is capable of conveying and (interaction) to the AEC elevator (2003/K406) (Karin 1979 tele-surgery, VR and the body and medium data helmet accomplished with Schönberg, of the visual today) Note: electronic media operation (AH) evoking a "new sensibilization Linda Nilsson, Fritz Ostermeier, (2001/K408) (using gaze awareness, acting by showing) interpreting gesture. (2003/K182) (May, Modler, Saup) new world order in Stereotaktisches world. Dataism instead of dependency on considerable technological Cathrin Vahl, Reisinger, Margit Thieme, A. Mäule, V. are naturally treated in medicine and art simulators of man in terms of being conditioned Martin Reiter, Herbert Schager, (Satdtwerkstatt) (Minoru Kobayashi) (2001/K260) Golan Levin's software AVES consists of programs (1994/II-K64) medicine (R.M. Satava) Computergerät data suit Dadaism. (Peter Weibel) super computer or effort Olaf Vahl Gebhard, Emilie Hagen & Minka Ludwig) view of electronic media every sector (1979/K29) (1995/K192) by the body Leo Schatzl, Manuel Schilcher, that amplify hand movements by transforming (Adrian X) (1989/K146) (1995/K187) (1979/K57) (1990/II-K32) computer cluster Franz Selbst, Suzanne Stephanac, Telecenter (2004) drawing gestures Jochen Viehoff "Kunst-Funk" was the attempt to models of networked collaboration the derived data into images and sounds. controlling interactive medical cybernetics Telepresence Surgery System (AH) interactive works data glasses Gordon W, Doris Weichselbaumer, (S.S. Snibbe) experience what radio could have codes are part of every brain stimulation device CSCW Computer- (1996/K408) (Nobuya Suzuki) An application assigns a sound to the video images through (H. Trappl) (1990) remote operation Cyborg Bodies presuppose physical Customized Footwear Jim Whiting, Kathrin Wilkes, Liz facial space (1996/P130) transmission medium (1979/K57) Supported Cooperetive structure of each gesture. marionette wires been, if it had not become a telecommunication over 24 hours exploration ... actions of (2003/K285) Young, Erwin Zeppezauer, Berthold CAVE (2002/K347) (2003/K15) cybermedicine tele-diagnosis Work (1997/K199) hands-on interactivity (Douglas Edric Stanley) centralized mass media telematic interaction (Robert Adrian X)helpingto physical view – achievement (see also view of achievement) discovery Wearable Computer configurator SW Zettelmeier, Alex Zuljevic (G. Deutsch) picking up gestures of (1997/K292) virtual marionettes (2000/F34) develop the use of telecommunication telepresence and jointly used lifestyle Remote Viewing - (J. Canny, the sensomotoric aspect Art Com Electronic Network deaf-mutes (W. Hilbert) significance of technologies (1982/K145) (Steve Mann) (1997/K221) parametricized objects co-presence work area Roidinger (since 1982 (e.g. of gaming communities) spread-spectrum wireless network Installation (K. Becker) experiencing corporeality E. Paulos) is very important in ACEN (1986) (1989/K133) (1997/K304) telecommunications Slow-Scan-Television, Telefaksimile, 08 body view supportive infrastructure (2003/K288) (1997/K199) (1997/K199) Computer Art Studio gestural control of devices for wireless nodes (1997/K389) telephone booth (microphones on the body) installations Digital Mudra (Sonya Rapoport) marionette cross (1982/K35) I.P.-Sharp-Computer-Timesharing-Netzwerk in the clothes ACROASIS) video processing (Justin Manor) in Africa (2002/K146) calls with survey electroacousitc performance 05 view of artistic production working world as theme: interface (W. Cooper, L. Ortner, O. Mittmannsgruber, Dictionary of Primal (2003/P110) ars: data dandy (1993/P104) (Stephen (Syntvioline) (Stahl Stenslie) (Steve Mann) performance theory Linzer Stahlsinfonie (Klaus Schulze) (1980) Non Host Radio N. Hinterberger, C. Kaltenbacher, Behaviour (Urtica (FRY)) on the mechanism of human symposium: a life from the Internet (1989/K110) (1989/K146) Wilson) (Mia Zabelka, Peter A. Ecker) view of sexuality Bodytainment (1997/K227) dialogical approaches gestural control of music CB radio modem Karl-Heinz-Klopf, Markus Geiger, beyond the office (2003/F31) facial expression as a medium (1988/K153) (2000/K216) WearCam view of clothing operating system discourse VR Chart Mudra gestures of an interactive amateur radio / CB (Nur Schrec) ICT information and telecomputing Heimo Zobernig, ... et al.) installation with two view of the working world of the future deploying shadows of users for interactive art WearComp (Flipchart AEC) multimedia robotic installation (2001/P108) (1995/K281) (1989/K128) interactive bodies (Randal Walser) (1988) "Very Nervous (Scott Snibbe) (2003/F40/P122) ("Huge Harry" = voice synthesis communication technologies application (spy camera, infrared sensors / It is not a matter of making art within the given (F. Fischnaller) (1995/P116) view of medicine cybernetic (1990/II-K209) System" ! (D. Rokeby) machine) (1997/K110) 09 everyday view Art & Working World (Georgsdorf) reaction to visitors) (Kenneth Rinaldo) telecommunications lab communication channels, but of grasping the hedonism (1994/K199) gestural control one-way VOIP Voice-over-IP tactility of the interface (central theme in Linz) (formerly – delta T) Gestische Steuerung von sign language jokes (1986/K341) art-Btx communication channels as the possibility of LifeScience (AH) McLuhan's thesis: technologies are (Bettina Henkel) (2002/K433) gestural control of applications navigation fax and telephone art an art form. (1988) (1989/K278) multi-sensory art as Life-Art projections and continuations of mental Body Brush Multimedia-Installationen focal point (1997/F23) Net Sauna see also: view of fashion Future Office Projekt (AEC) (K. Tin-Kin Hung) 1985 Minitel at information processing (2000/K211) and physical properties of the human being (Y. Hay, H. Ip, BTX Minitel (2000/K19) (J. Hopkins, T. Mäkelä, see also: view of adornment (2001/F27) telematic vision-based (CAVE) Uzume – reacting Motion Picture from the graphical to the (2002/P62) Les Immatrériaux (cf. diagrammatic classifications too (DG)) A. Tang Chi-Chung) telecommunication events (1982/K63) journey through the body / T. Penttilä, Liisa everyday life in the office dynamic environment (Emily Weil) touchable user interface Criticism (R. Adrian X) (1989/K147) gesture recognition (2002/F047) video-text systems (Charlotte Moorman, Nam June Paik) Today it is not even a matter of having a Fictitious Portraits Vähäkylä) (1999/K355) (2001/K254) (H. Ishii) Since the communication networks do physical violence within the The deciding technologies (Petra Gemeinböck, R. Blach, text rain net art / net.art telematic (Elizabeth Goldring, Edward le Poulin) body, but of being connected to one's (Keith Cottingham) (user gestures) not allow the creation of real products human body / listeners should are those that disappear. They registering gestures through ultrasound interface N. Kirisits (2003/K426) (Camille character design (Aldo Tambellini, Sarah Dickinson) body. (Baudrillard) (1994/P38) gestural system Internet, WWW, ... sculpture ... telematic simulations of products pumping violence in the rearrange their interweave with everyday GAMS: Gesture and Media System Utterback) (2001/K199) (Horst H. Baumann) Meatspace Electric Field Sensor (R. Kriesche) arteries (Jeanette Yanikian) reincorporating the life. (1994/K169) autonomous characters (2000/K389) robot gestures (mutual see :Internet view emerge ... "I'll show you mine, if you (ML) David Rokeby describes interfaces (fleshly space) furniture at home: (PoMo CoMo) (1992/K226) live combination (1987/K138) sensory functions (Agnes Hegedüs) capable of expression Unnatural bodies explanation) (Van Gogh TV) communication network ISDN show me yours". digital technology is as generators of experiences, because they better: corporeal space a remote-directed dance hand as "disruptive factor" of radio and telephone ZKM SW (Gideon May) (1992/K101) (AH) communicating through a (The Synthetic Character Group) (Jim Whiting) (2001/K268) picture telephone (1989/K72) difficult to conjoin with overlay the organic interfaces of the (1995/K133) of solitude set of digitalized hand gestures (2002/P110) (1989/K287) picture telephone, Slow Scan biological body like spectacles. artificial placenta (1989/K288) (1991/K73) s.l. network Ethernet WAN, LAN our peripheral senses artificial (Agnes Hegedüs) Bump (2001/F31) knocking gestures on SMS project (2002/F12) (V. von Borries) (Nobuya Unno) artificial life enhanced gestures / videoconferencing (1990/I-K166) (2002/K355) (1997/K138) (M. Weiser) molecules table and bench as (1995/K248) touchscreen installation wooden bridge as tactile the gestures of destruction glass (2001/K262) 1980 physiologically oriented (2000/K70) (Siehe: Verhalten) obsolete desires biocybernetics – a biologically (2000/250) interface (H. Maat, R. Miltenburg) (Anna Anders, K. Gasteiger) interface ! (association. or of misuse (J. Paradiso) (A. Tambellini) (1980/K111) ISDN, ATM, Frame Relay, DSL (2002/K137) interface design incubation system (Stelarc) (1992/K233) Frequency Hopping controlled interactive (J. Davis, Katie Egan) (1994/II-K58) (1999/K345) creation) (1999/J87) text exchange, image exchange video conference projects (80s) electronic architecture (1994/K196) (R. Brem, T. Ligthart) telephone music interface (1994/K195) (J. Domsich) (1997/K364) library of gesture icons mimetic/gestural codes (Kit Galloway, Sherrie Rabinowitz) is communication 1997 flesh factor synthetic (UR) What is crucial today involves gestures, their (1998/K189) Transworld Telefone telegraph (D. Warner, J. Sale, T. Anderson, artificial life – simulations SW polemics for establishing (Stelarc) (1997/K149) (John Gerrard) (2003/K408) electronic transfer media (1994/K156) force-feedback life (2002/K420) space and their time, no longer expression. Concert (1986/K265) SMS- J. Johanson) human ordinariness ; Ekman's Facial Action Code transfer protocols FAX, Telefax tele-copier answering machine art womb Poly-World (Larry Yaeger) (1993/K122) Animation in the Refrigerator (Stattwerkstatt) Kids (Time´s up) see also: (2003/K12) communication art (1989/K331) (Lucas Cejpek) Creators of Life (symposium) (Oron Catts, Ionat Zurr, (Warren Robinett) building artificial creatures (Pattie Maes) (Ernst Spiessberger) communication theory transfroming bodily gestures backbone (2001/K18) bandwidth genetic technology methods Guy Ben-Ary) (1990/II-K119) (1993/K184) view of designing gestures design view experience-oriented pedagogy / art pedagogy into a 3D painting in real time (AH) For the new technology arising from aesthetics of as artistic tools (2000/255) total data work design of cyberspace The Three Faces of Life Operated by Art design theory (Young Hay,Horace Ip, the combining of computers and telecommunicative (2001/F08) Animates communication physical issues in (1993/K12) (John L. Casti) (unplugged Symposion) theater theory see also: A. Tang Chi-Chung) city links with sounds (Roy Ascott) (1989/K100) communication art systems, Simon Nora coined the term "telematics" (Randal Walser) Prize-Winners: Interactive Art 1982 (movement 1968: CAVE environments microscopic automatons 06 gestural view view of orality (2002/P112) (Maryanne Amacher) connectivity, in 1978. (1990/II-K202) Remake-Remodel (Domsich) art as field work of ecological 1990: Myron Krueger, Norman T. White, Jeffrey Shaw, Jill Scott, Benjamin Britton, body theory Fred Forest, (Simon Penny) (inhabiting our body) (1989/K248) transformation and (PW) all technology (ML) tying the virtual world of thinking, art at its boundaries Chico McMurtrie, Waltraut Cooper, Richard Greene, Peter D´Agostino, Kristi Allik & body philosophy / body sociology handling gestures Mario Costa) 1999 life science pacemaker transendence Wireless (AH) communicative interaction is teletechnology computers to the sustantiality (1999/P86) (2002/F10) Note: virtual travel journal WLAN (D. Rokeby) ... adapting the The Virtual Robert Mulder, Tamás Waliczky, Kyoko Abe, Ruth Schnell, Michael Rodemer, Stuart Bender new cell phone concepts HiperLAN (Weibel) (between persons) telematics as term measuring devices (WWW projects) open wireless LAN telematic networking Ethernet was orig. Simulator SW/HW of the human physis again Body & Angelo Funicelli habitual view separated from (Crispin Jones) (1978) (Simon Nora) dosage devices technique of interfaces to Ubiquitous Computing (left) movement (free) access to wireless radio-based (UNI (de Kerckhove) (C. Richards) body view (2003/K412) GPS-Tracking simultaneous layers of Pervasive Computing (left) Design Noir – 1991: Paul Sermon, Chico McMurtrie & Rick Sayre, David Rokeby, David Eagle, Nola (AH) Ersatz journeys of remembering, (2003/P32) networks (NY, airports, MQ, Lentos, ...) (PV) since 1962 (Telestar Hawai) (2002/K355) Simulator: flight training for (1994/P134) (2001/K74) image traces physical communication Ambient Computing (left) the secret life Farman, Ale Guzzetti, Peter Krieg, Mark Madel, Benoit Maubrey & die Audio Gruppe, recording movement forgetting and reconstructing. wireless, mobile and satellite) there is a total over- battle helicopters the "clean" world of computers Die electronic objects gestures using "curlybot" traffic ubiquitous Wireless-LAN projects (2003,2004) (Masaki Fujihata) track-the-tracker exposure of "see it now" entfremdete Christine Meierhofer, Stephen Wilson, Jim Pallas, Don Ritter, Mona Sarkis, Robert Mulder & journey as destination (change of blood chemistry) (removed from material, garbage (MF) "seeing with the sense of Enriching daily life with digital (H. Ishii) (2001/K257) cf. 1996 (2003/K379) Hand (Fiona Raby) Kristi Allik (M. Schilcher) (1996/P90) (Mark Ries) (2003/P16) and corporeality) information: when utility objects /goods ship & train / journey&dream Ubiquitous Computing balance" is what we call navigating (2003/K273) 1992: Monika Fleischmann & Wolfgang Strauss, Joachim Sauter & Dirk Lüsebrink, William (1994/K224) intelligent (Annina Rüst) begin to communicate. (Maelstromsüdpol) (1988/K104) images from earth observation Virtual Frame through virtual scenarios on the Looking at Jeffrey Shaw's works, traffic systems GPS trace UMTS Pervasive Computing Seaman, Kristi Allik & Robert Mulder, Rajinder Chand, Luc Courchesne, Robert McFadden, (Wonder, H. Goebbels, Müller) satellites (D. Offenhuber) (Kunsthalle) 1994 intelligent ambients (3) Virtual Balance, a weight-sensitive Popper suspects a new art genre and (1994/K168) Exodus (Bielicky) Ambient Computing Balance System platform using devices Rebecca Fuson, Troy Innocent, Beverly Reiser & Hans Reiser, Henry W. See, Simone (1998/K173) role of GPS availability for describes its reception form as a Centerbeam (Gyorgy Kepes) (1995/K214) kitchen utensils contrary to market Simons & Peter Bosch, Martin Spanjaard films in AEC elevator art projects (among others) (D. Rokeby) Real experience computer diat journey (AH) 61 m lange structure transporting (2004) Digital Communities (D. Rokeby) The explosion of interest in interactivity balance recognition liberated from their definition 1993: Knowbotic Research – Christian Hübler, Alexander Tuchacek, Yvonne Wilhelm, traveling through, Elevated Space has a fundamental integrity that (1980/K08) air pressure, gas, water, steam, neon, takes into consideration the most current may be part of a search for asylums for safe (seeing with the body) everyday existence traversing (T. Lorenz) (2003/K405) virtual experience does not have. Georg Fleischmann, Michael Hoch, Detlev Schwabe, Rajele Jain, Will Bauer; argon, sound, electricity and "media" piggyback art satellite art GPS developments in the area of mobile interaction: for clean, sterile, non-physical spaces, (Rania Ho) (2000/F34/P92) Maschinen, die keinen Körper Stephen Wilson, Jill Scott, Joseph Bates, Werner Cee & Horst Prehn, Agnes Hegedüs, Internet/data network view (1980/K98) communication and wireless networks in which we can satisfy our natural human desire besitzen, können die Welt Lynn Hershman, Catherine IKAM, David Rokeby, Kevin Ruston, Paul S. Sermon, Gerfried (1980/K26) connection of spatially to delve into things outside ourselves. virtual department stores (above) niemals in derselben Stocker & Horst Hörtner, Van Gogh TV, Akke Wagenaar, Peter Weibel, Mia Zabelka & media theory objects taken along in the distant projects GSM transport support electronic (MF) Which function and meaning do microprocess-controlled view of transportation networks (I) Weise begreifen wie wir bodies and senses have in real space G. Stocker & Andres Bosshard (literature studies) Space Shuttle GPRS through portability fox hunt household appliances tele-shopping (above) Digital media and satellite ear Can you see me now? newsgroups (1996/K198) in comparison with virtual space? (1980/K07) 1994: Christa Sommerer & Laurent Mignonneau, Loren Carpenter, Transit, Max Almy & media discourse (Fabrikanten) turn to communication bridge role of GSM availability (Blast Theory, Mixed mobilized through mobility (mixed reality) media studies (D. Rokeby) Only through How intelligent does your bed Teri Yarbrow, Edward Elliott, Friedrich Förster, Michael Girard & Susan Amkraut, Richard satellite communication (1989/K277) for art and other projects Reality Lab) GPS/PDA mobile phones (2000/P09) "Telepistemological" implications: 07 view of communication desensitization was it possible intelligent have to be, before you are Kriesche, Wolfgang Krüger, Brenda Laurel & Rachel Strickland, George Legrady, Patti Maes, media anthropology symposium: (1980/K29) the intelligent (2003/F38/P88) (Neeraj Jhanji) Presence and Distance (OG) for me to activate the spatial 1994 ambients (2) afraid to go to sleep at night? Christian Möller, C.M. & Rüdiger Kramm, Catherine Richards communication theory The Orbital Age satellite technology in ORF and postman (GPS-Tracking) (2001/F36) Bluetooth portable systems illusion that the VR system (Rich Gold) ! (1994/K187) 1995: Tim Berners-Lee, Michael Saup, William Seaman, Michael Tolson, Maurice Benayoun, information theory (1986/K219) 3SAT context (M. Bielicky) (1994/II-K82) view of telecommunications keyboards strapped to the hands Which "images" are capable of physically conveys ... Who will program the default Peter d´Agostino, Franz Fischnaller, Peter Grucza, Lynn Hershman, Morgens Jacobsen, net discourse / cyber-discourse (Michel Waisvisz) (1987/K144) The Satellite Art Project (1986/KII-291) Artsat 1991 (Graz) field computer, CE computer, mobile art in including the viewer (as with VR technology)? Returning to "real" space, the intelligent products settings for the intelligent M. Kosugi & Y. Ando, Webster Lewin, Lozano-Hemmer & Will Bauer, Jon McCormack, simulation discourse 2000- PDA daily life inner ear did not immediately (1994/K167) house? Mom? Dad? The kids? signals run through a 90.000 km (R. Kriesche) handheld, Walkphone, the human body as Christian Möller, Kirk A. Woolford nomadology discourse (Sommerer) (AH) the transition from the real material return to work: a wave of (1994/K190) transport view / view of travelling loop (Text: Gene Youngblood) 2004 Personal Digital Assistants musical instrument (1987/K143) 1996: Masaki Fujihata, Louis-Philippe Demers & Bill Vorn, Scott Sona Snibbe, Ken Feingold, Meteosat (weather data control (2003/K261) environment to the virtual interactive environment sea sickness .... bridges to everyday "A Little Night Music" contact microphone Elisabeth Goldring, Kazuhiko Hachiya, Harwood, Hiroo Iwata, knowbotic research, Ronen media bus life (1979/K03) (1988) (R. Kriesche) mobile computing WAP (Harry de Wit) Mintz & Jason Ditmars & Brian Duggan, Knut Mork & Kate Pendry & Stale Stenslie, (Ponton) (1989/K117) (ML) this mixture of (ML) Theater as one of the last (1989/K139) sound-body performances Nobuya Suzuki, Erwin Redl, Michel Redolfi & Luc Martinez, Silver technical mediality as resources and bastions of Communication Grill Chang-Tei" freely movable display for 3D viewing WAP WML Aorta (Jeanette Yanikian) (1987/K138) (1989/J143) basic electronic 1997: Toshio Iwai & Ryuichi Sakamoto, Dirk Lüsebrink & Joachim Sauter, Paul Garrin & performance and corporeal physical reality (2003/K204) (K. Sueda, Koji Ishii) "golden calf" (Jeffrey Shaw) (1994/II-K84) I-mode Konstrument (Harry de Wit) (1989/J143) supply David Rokeby, Hachiya Kazuhiko, Toshihiro Anzai & Tamio Kihara, knowbotic research, Performance defines what is special about the connection of TV-Diner Japan developed a technological (2001/K87) Touch Monkeys (Michel Waisvisz) Net Sauna theater and media Monitor Cafeteria Arthur Elsenaar & „Huge Harry“ & Remko Scha, Mark Madel, Jon Berge, Stefan Zeyen, standard with i-mode "services"; (Kanae Ushiro, (1987/K144) (1989/J59) (Tapio Mäkelä) transferred heart rhythms Electronic Cafe Automatische Bar Bill Barminski & Webster Lewin & Jerry Hesketh, Ludwig John & Bertram Quosdorf, Jutta Europe with WAP (2001/K201) Takashi Morimoto) (D. Rokeby) Consciousness lagging behind the body: (1997/K391) (1989/K302) (W. Temmel) (1986/KII-299) (1991/K227) Kirchgeorg, Marita Liulia, Die Veteranen I-mode cell phone (2001/K200) programming that reacts to the smallest movements under (1994/K160) 1998: Maurice Benayoun & Jean-Baptiste Barriere, Peter Broadwell & Rob Myers, Christian 1/10 sec... In fact, the system seemed to react at the same Möller, Jim Campell, Christoph Ebener & Uli Winters, Rafael Lozano-Hemmer & Will Bauer, moment as I decided to move. ... view of portability At this point we experience the system and its reactions in Akitsugu Maebayashi, Joseph Michael, Iain Mott & Marc Raszewski & Jim Sosnin, Lisa Prah, queer theory / gender studies view of agriculture U19 Prize-Winners: the same way as we experience our body. The interactive David Small & Tom White, Scot Sona Snibbe, Rachel Strickland, Tamás Walicky, Stephen sexuality discourse / AIDS debate 1998: Michael Mossburger & Florian Nehonsky & Valerian Wurzer, Leonhard Huber, system is integrated in our proprioceptive system. Wilson body theory / body philosophy Stephan Mitterndorfer, Martin Ankerl, Philipp Gühring & Raimund Schumacher & Andreas 08 body view / gustative view see also: 1999: Lynn Hershman, Luc Courchesne, Perry Hoberman, Joachim Blank & Karl Heinz body sociology Stürmer & Thomas Stummer, Gottfried Haider, Verena Holzknecht, HS Mittersill, Helmut economic view of commodity world Jeron, Christoph Ebener & Frank Fietzek & Uli Winters, Kouichirou Eto, F.A.B.R.I.CATORS, dance theory / new body theories Klinger, Alexander Kvasnicka, Doris Mätzler & Jürgen Bereuter, Kathrin Meralla & Paul view Beate Garmer, Bill Keays & Ron MacNeil, Russet Lederman, Eric Paulos, Simon Penny, phenomenology of perception Swoboda, Thomas Oberhofer, Paul Pak, Thomas Pintaric & Christoph Sprenger & Alexander view of cleanliness Daniel Rozin, Stefan Schemat & Michael Joyce & Hiroki Maekawa & Dominica Freyer & repulsion theory Koschier, Peter Plessas, Markus Strahlhofer, VS Veriensgasse supply view Burki Carstens & Mike Felsmann & Isabella Bordoni & Roberto Paci Dalò, Christa Sommerer bioenergetic therapy 1999: Raimund Schumacher & Jürgen Oman, Alexander Fischl & Gregor Koschicek, Phil E. & Laurent Mignonneau Haindl, Franz Berger, Sebastian Endt, Simon Gassner, Alexander Kvasnicka, Stefanie 2000: Raffael Lozano-Hemmer, Institute for Applied Autonomy, Golan Levin, Julien Alma & Mitter, Takuya Nimmerrichter, Simon Oberhammer, Benedikt Schalk, Markus Strahlhofer, sociology 09 everyday view Laurent Hart, Michael Bielicky & Bernd Linterman, Jim Campbell, Rania Ho, Istvan Kantor, Patrick Toifl, stefan Trischler, Armin Weihbold cultural studies Orit Kruglanski, Jason E. Lewis & Alex Weyers, Douglas Edric Stanley, Naoko Tosa, Tomoko 2000: Verena Riedl & Michaela Hermann, Gerhard Schwoiger, Erich Hanschitz, Marlene new subjectivism Ueyama, Andrea Zapp & Paul Sermon, Hiroaki Kitano Maier, Lisa Hofstadler, Markus Zwickl, Lisa Ratzenböck, Sebastian Endt, Kevin Ku, Mario privatism debate 2001: association.creation, Carsten Nicolai & Marko Peljhan, Haruki Nishijima, Paul Meir-Huber, David Feiler, Gottfreid Haider, Lukas Fichtinger & Thomas Köckerbauer, Literature: Literature: Literature: Literature (2): life philosophy DeMarinis, Magali Desbazeille & Siegfried Canto, Gerhard Eckel, Frank Fietzek, Hiroo Iwata, Literature: Literature: Alexander Fischl, Lukas Pilat Work & Culture – Büro . Inszenierung von Arbeit / Der DatenDandy – Über Medien, New Age, Information und Kommunikation in Geschichte Medien . Kunst . Passagen / beginning Heft 1/92 Kenneth Rinaldo, Thomas Broom, Keiko Takahashi & Shinji Sasada & Koichi Nishi, Edwin Der digitale Körper – digital flesh / vergangene zukunft – design zwischen utopie 2001: Martin Leonhartsberger, Johannes Schiehsl & Peter Strobl & Conrad Tambour, Herbert Lachmayer, Eleonora Louis (Ed.) Technokultur / Agentur BILWET und Gegenwart / Margarete Rehm Grundzüge der Medien- und Kommunikations- Van der Heide & Marnix de Nijs, Adrian Ward, Herwig Weiser & Albert Bleckmann Arthur Kroker und wissenschaft / Ed. Carl Aigner, Uli Markus Triska, Andrea Maria Gintner & Michaela Maria Plöchl, Jürgen Hoog, Marvin Jagadits Laboratorium / Ed. By. Hans Ulrich Obrist & Design goes virtual – Entwürfe zur Ästhetik in Kursbuch Neue Medien – Trends in Wirtschaft geschichte / Jürgen Wilke 2002: David Rokeby, Rafael Lozano-Hemmer, Ranjit Makkuni, Autorenwerkstatt MEET – Die Eroberung des Körpers – Vom Übermenschen Marchsteiner & Michael Payer, Nicole Karner & Tanja Payerl, Marian Kogler, Thomas Lettner, Fabian Barbara Vanderlinden der Informationsgesellschaft / Peter Zec Politik, Wissenschaft und Kultur / S. Bollmann Beiträge zu Kunst und Medientheorie / Bodo Lensh & Doris Villa & Peter Serocka & Petr Zubek & Gudrun Teich & u.a. , Luc zum überzeitlichen Menschen / Paul Virilio Welche Dinge braucht der Mensch / Ed. Schlager, Martin Spazierer & Daniel Spreitzer, Philipp Strahl, Sonja Rosa Vrisk, René Interface – Design neu begreifen / Gui Bonsiepe Formdiskurs 2, I/1997 / Design und Neue Medien Der Flusser-Reader zu Kommunikation, Medien Ed. Hans Belting, Ulrich Schuulze Courchesne, Crispin Jones, Ryota Kuwabuko, Golan Lewin & Scott Gibbons & Greg Shakar The Connected Body? / Ed. By Ric Allsopp & Dagmar Steffen Weirather, Thomas Winkler Interfaces – Medien- und kommunikations- Maßlos informiert – Die Enteignung des und Design Alles jetzt! – Die Mediatisierung / Gerhard & Yasmin Sohrawardy & Joris Gruber & Erich Semlak & Gunther Schmidl & Jörg Lehner, Scott deLahunta 2002: Karola Hummer, Philipp Luftensteiner, Ulrich Reiterer & Jona Hoier & Markus theoretische Elemente einer Interfacetheorie Denkens / Karl Steinbuch Kommunikologie / Vilém Flusser Johann Lischka Tetsuya Mizuguchi, Volker Morawe & Tilman Reiff, Michael Saup, Yasuhiro Suzuki, Atau future_bodies – zur visualisierung von körpern Murschitz & Milo Tesselaar, Semen Aklan & Gülcan Ates & N. Brahimi & Flamur Kryezi & Wulf R. Halbach Kunst als Sendung – Von der Telegrafie zum Vom Verschwinden der Ferne - Tanaka & Kasper Toeplitz, the Synthetic Character Group, Young Hay & Horace Ip & Alex in science und fiction / Hg. Marie-Luise Angerer Franz Fiser & Asif M. Naseri & Jean Paul Nduwayezu & Ferda Özel & Ruwani Rosa & The art of human-computer interface design / Internet / Dieter Daniels Telekommunikation und Kunst / Edith Decker, Tang Chi-Chung Kathrin Peters, Zoé Sofoulis Reza Soltani & Sezer Üzum, BG XIX, Stephan Hamberger, Dominik Jais, Marian Kogler, Ed. by Brenda Laurel Lob der Oberflächlichkeit – Für eine Phäno- Peter Weibel 2003: Mixed Reality Lab – Matt Adams & Ju Row Farr & Nick Tandavanitj & u.a. , Margarete Puppen Körper Automaten – Phantasmen der Martin Kucera, Raphael Murr, Lucas Reeh, Iris & Silvia Schweinöster, René Weirather Code_X – Multimediales Design / Mischa Schaub menologie der Medien / Vilém Flusser Art Telecommunication / Heidi Grundmann Jahrmann & Max Moswitzer, Maywa Denki & Ross Cooper & Jussi Ängeslevä, dECOi, Sibylle Moderne / Pia Müller-Tamm, Katharina Sykora 2003: G. Sochurek, M. Leonhartsberger & S. Astrid Fugger, A.Ronacher & N. Mikschofsky, Die magischen Kanäle – Understanding Media / Kommunikation im 21.Jhd. – Allzeit zuhanden – Hauert & Daniel Reichmuth & Volker Böhm, Haruo Ishii, George Legrady, Justin Manor, Die Zukunft des Körpers I / Kunstforum Bd. 132 D. Dorn, G. Gruber, M. Fallmann, D. Hackl, T. Hainscho, HS Steinerkirchen, Alexandra Marshall McLuhan Gemeinschaft u. Erkenntnis im Mobilzeitalter / Agnes Meyer-Brandis, Iori Nakai, Henri Newton-Dunn & Hiroaki Nakano & James Gibson & 01.1996 ! / Florian Rötzer Vogelreiter & Katharina Krummel & Anna Obermeier, HBLA for Artistic Design, F. Wengler Das Medium ist die Botschaft / Marshall McLuhan Ed. Kristóf Nyiri Ryota Kuwakubo, Marcel.li Antúnez Roca, Marie Sester, Scott Snibbe Die Zukunft des Körpers II / Kunstforum Bd. 133 & Christof Haidinger, Borg 3, T. Schererbauer & M. König & S. Schreiner Virtual Frame – Kunsthalle Wien Windows and Mirrors – interaction design, digital 04.1996 ! / Florian Rötzer art and the myth of transparency