Alliance for the Preservation of Media Art

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Alliance for the Preservation of Media Art

Wachau 13 years – biannual - 2019 Aalborg, Denmark DECLARATION FOR INTERNATIONAL & SUSTAINABLE MEDIA ARTS RESEARCH =>mediaarthistory.org Sean CUBITT, Goldsmith; Oliver GRAU, Danube U; Ross HARLEY, UNSW Sydney; Christiane PAUL, New School, New York; Diana DOMINGUES, Universidade de Brasília; Horst BREDEKAMP, Humboldt-University Berlin; Barbara Maria STAFFORD, Georgia Tech; Frieder NAKE, University of Bremen; Peter WEIBEL, ZKM; Roy ASCOTT, University of Plymouth, Sir Nicholas SEROTA, Tate; Martin WARNKE, Leuphana University, Mike STUBBS, FACT Liverpool; Benjamin WEIL, LABORAL; Andreas BROECKMANN, Leuphana Arts Program; Jeffrey SHAW, City University Hong Kong; Eduardo KAC, Chicago Arts Institute; Christa SOMMERER, University of Art Linz; Alex ADRIAANSENS, Institute for the Unstable Media, Lanfranco ACETI, Sabanci U; Howard BESSER, NYU’s Tisch School of the Arts, Ianina PRUDENKO, National Univ. Kiew; Anna Maria GUASCH, Universidad de Barcelona; Anne-Marie DUGUET, Sorbonne; Sara DIAMOND, OCAD Toronto; Vera FRENKEL, FRSC, York University, Gilbertto PRADO, Sao Paulo University; Itsuo SAKANE, IAMAS, Gifu; Lev MANOVICH, UC San Diego; ZHANG Ga, Tsinghua University; Ryszard W. KLUSZCZYNSKI, University of Lodz; Wolfgang MUENCH, LASALLE College of the Arts Singapore; Raivo KELOMEES, Estonian Academy of Arts; Jin-Woo LEE, Pohang University of Science and Technology; Bent FAUSING, University of Copenhagen; Mitsuhiro TAKEMURA, Sapporo City University; Nelson VERGARA, National University of Colombia; Monika FLEISCHMANN, Fraunhofer Research; Uršula BERLOT, University of Ljubljana; Margarita PAKSA, University of Buenos Aires; Julian STALLABRASS, Courtauld Institute of Art; Peter MATUSSEK, University of Siegen Jon IPPOLITO, The University of Maine; Darren TOFTS, Swinburne University; Andreas LANGE, Computerspielemuseum; Pier Luigi CAPUCCI, NABA, Milan; Peter BRIGGS, Texas Tech University; Johannes BIRRINGER, Brunel University; Rafael FAJARDO Updated to web 2.0 standards with FWF support since 2014 www.gssg.at/ ALLIANCE FOR THE PRESERVATION OF MEDIA ART 700 Art Museums in Germany in 16 federal states 10% = 70 museums critical mass > 5% = 35 museums Bavaria = Interactive Art Saxony = BioArt Brandenburg = NetArt and so forth.. ZKM Center for Art and ARS Media ELECTRONICA (Karlsruhe, Baden- (Linz, Upper Württemberg) Austria) THANK YOU ! .

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Transilient Minds
The Screen as Architecture Olga Venetsianou University of Thessaly (Greece) Abstract the screen. The argument will be presented through a series of case studies that are This paper deals with the spatial properties of located between architecture and non- the cinematic, television or computer screen architecture, dating from the beginning of in multimedia installations. Through a series the twentieth century until now. The of case-studies dating from the interwar selected works use a diverse range of avant-garde movements to contemporary expressive means, materials and multimedia installations, we will attempt to techniques, thus breaking down the barriers illustrate the way that the screen surface is within the arts. transformed from flat and frontal to a three- dimensional space of visualization. Artistic Expansion and Multiplication of experimentations, in particular the expansion and multiplication of screen space and the Screen Space encouragement of audience participation, In regard to media art, two underlying assisted by the evolution of technology from currents are identified. The first may be analogue to digital, marked the introduction of described as an audiovisual experience immersive environments and interactive constrained by a bounding border, which relations between spectator and image. In separates fictional from real space, i.e. the digital culture, the screen functions as a frame of a painting, the proscenium arch of communication space for events and a theatre, the casing of a television, the scenarios. Moreover, contemporary border of a cinema screen. The second multimedia installations use the strong group of artworks is characterized by the illusionary powers of the moving image and attempt to discard the frame, so that the the notion of interactivity in an attempt to created space is released as an immersive converge all modalities of perception in a experience.
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