25 years of ars electronica Winners in the

perception theory of architecture phenomenology of perception location research theory of urban locations architectural

art as cognition tool (PV) (1998) Following the acceleration of the history of so-called

01 contextual view 1968 The machine as seen at the end of the mechanical

Slides: 4

25 years of ars electronica Winners in the film section – Computer Animation – Visual Effects 1987: John Lasseter, Mario Canali, Rolf Herken 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, Motohiro Hayasaka, William Latham 1990: Mario Sasso & Nicola Sani, Robert Lurye, Philippe Andrevon, Flavia Alman & Angelica Nascimento, Gerhard Pakesch, Paul Coudsi, William Latham, Alan Norton, Karl Sims, Christiane Geoffroy, Rebecca Allen, Denis Muren, John Lasseter, Jeff Kleiser, Diana Walczak, Eihachiro Nakamae, Steve Goldberg 1991: Karl Sims, James Duesing, Yoichiro Kawaguchi, Rashel B de F, Jean Luc Faubert, Maurice Benayoun, Peter Claridge, Boris S. Dolgovesor, Herve Huitric, Monique Nahas, Nancy Kato, Mike Mc. Kenna & Bob Sabiston, Simi Nallaseth, Eduard Oleschak, Michel Tolson, Pascal Vuong, Jason White & Richard Wright 1992: Karl Sims, Charlie Gunn & Delle Maxwell, Cécile Babiole, Bériou, Dennis Muren & Mark A. Z. Dippé & Steve Williams, Matthew Brunner, Mario Martin Buendia, Jéróme Estienne & Xavier Duval, Fantome, Keith Hunter, Xavier Nicolas & Jerzy Kular, Alan Norton, Marc Raibert & Leg Laboratory 1993: Pascal Roulin, Mark Malmberg, Darrin Butts, Bériou, George Barber, Jules Bister, Jos Claesen & Anton Roebben, Philippe Gassie & Bruno Simon, Industrial light & Magic, Eku Wand 1994: Dennis Muren & Mark Dippé, Marc Caro, Maurice Benayoun, Eric Coignoux, Bériou, Peter Callas, Cassidy J. Curtis, Eric Darnell & Collery, Yoichiro Kawaguchi, Sabine Mai & Frank Pröscholdt, John Tonkin, Hideo Yamashita & Eihachiro Nakamae, Thomas Zancker, Tamás Waliczky 1995: Bob Sabiston & David Atherton, Thomas Bayrle, Steve Williams, Gayle Ayers & Dough Sutton, Dough Kingsbury & Jeff Thingvold, Chuck Gamble, George Murphy, Violet Suk & Martin Koch, Francois Launet, Silvio Levy & Tamara Munzner, Franck Magnant, Jon Mc. Cormack, Medialab, Ben Stassen, Demetri Terzopoulos, Alexei Tylevich 1996: John Lasseter, Marc Caro & Jean-Pierre Jeunet, Michel Gondry & Pierre Buffin, Philippe Billion, Christian Boustani, John Clyne, James Duesing, ILM, Pierre Lachapelle, Arnauld Lamorlette, Denise Minter & Tim Johnson 1997: Scott Squires, Chris Wedge, Jim Mitchell, Stefen Fangmeier, Larry Lamb, Anna Henckel-Donnersmarck, Michèle Cournoyer, Taku Kimura, Raquel Coelho, Carlos Saldanha, Michel Gondry, Stephen Weston, Francois Vogel, Marine Poirson & Lionel Richerand 1998: Robert Legato, Liang-Yuan Wang, Christophe Hery & Habib Zargarpour, Rob Coleman, Tamás Waliczky, Kazuma Morino, Joey Lessard, Thierry Prieur & Pascal Roulin, Nobuo Takahashi, Yan Breuleux & Alain Thibault, Laurence Leydier, Steven Stahlberg, Nobuto Ochiai, Constantin Chamski, Julien Dajez, Stefan Smith, Violet Suk & Martin Koch, Yves le Peillet, Nelson Max, Diana Walczak & Jeff Kleiser, Sebastien Larrue, Mark Stetson, Jan Pinkava, Kaori Saito, Tom Bertino, Charles Gibson, Denis Muren, Phil Tippett & Craig Hayes, Ben Stassen & Anthony Huerta, Wayne Gilbert 1999: Chris Wedge, John Lasseter & Andrew Stanton, Bob Sabiston & Tommy Pallotta, Jun Asakawa & Toshifumi Kawahara, Erwin Charrier, Paul Kaiser & Shelley Eshkar & Bill T. Jones, Christopher Landreth, William Le Henanff, Patrice Mugnier, Dietmar Offenhuber, Bruce Pukema, Daniel Robichaud, Christian Sawade-Meyer, Seiji Shiota & Tohru Patrick Awa, Emre Yilmaz & Lev Yilmaz, Vincent Ward & Stephen Simon & Barnet Bain, CFC, Alain Escalle, Manuel Horrillo Fernandez, Peter Miles & Damon Murray & Stephen Sorrell, Ray Giarratana, Geoffrey Guiot & Bruno Lardé & Jerome Maillot, Juan Tomicic Muller, Phil Tippett & Craig Hayes 2000: Jakub Pistecky, John Lasseter & Lee Unkrich & Ash Brannon, Yasuo Ohba, Denis Bivour, Jean-Francois Bourrel & Jerome Calvet, Paul Debevec, David Gainey, Cécile Gonard, Jean Hemez & Sébastien Rey, Dariusz Krzeczek, Guy Lampron, Charlotte Manning, Juliette Marchand, Timm Osterhold & Max Zimmermann, Makoto Sugawara, Christian Volckman, Pierre Buffin, Markus Degen, Zach Bell & Chris Gallagher & Steven Schweickart & Scott Smith, N+N Corsino, Ray Giarratana, Stephen Katz & Josselin Mahot, Manfred Laumer, Fred Raimondi, Lisa Slates & Chitra Shriram, Mark Stetson, Alexander Szadeczky & Marcus Salzmann, Cornelia Unger, Francois Vogel 2001: Xavier de l´Hermuzière & Philippe Grammaticopoulos, Ralph Eggleston, Laetitia Gabrielli & Max Tourret, Mathieu Renoux & Pierre Marteel, Julien Charles & Lionel Catry & Nicolas Launay & Olivier Pautot, Candice Clémencet & Jean-Dominique Fievet, Mike Daly, Sébastien Ebzant & Aurélien Delpoux & Loic Bail & Benjamin Lauwick, Alain Escalle, Stefen M. Fangmeier, One Infinity, Bob Sabiston & Tommy Pallotta, Robert Seidel & Michael Engelhardt, Jeremy Solterbeck, Hans Uhlig & Tony Hurd, Jason Wen & Howard Wen & Andrew Jones & Casey Hess & Don Relyea 2002: Pete Docter & David Silverman & Lee Unkrich & Andrew Stanton, BUF, Peter Mc. Donald, Hiroshi Chida, Erik Nash, Lars Magnus Holmgren, Wojtek Wawszczyk, Jason Watts, Yasuhiro Yoshiura 2003: Romain Segaud & Christel Pougeoise, Carlos Saldanha, Koji Yamamura, Christoph Ammann, Eric Armstrong, Jérome Decock & Olivier Lanerès & Mélina Milcent & Cécile Detez de la Dreve, Roger Gould & Pete Docter, Thorsten Fleisch, Luc Froehlicher, Ludovic Houplain, Wayne Lytle, Siri Melchior, Jordi Moragues, Tippett Studio, Satoshi Tomioka A Survey as Memory Theater Electronic Media in Art and Science Art in the Context of Software and Complex Machines . . . perform _ or else - from discipline to performance (JM) Original Idea and Archive - Research and Network: Gerhard Dirmoser Quality Assurance and Additional Observations: Attila Kosa Translation (English version): Aileen Derieg The project was financed without funds from the Administration of Culture last update 05/2004 first presentation 05/2004 Trans. Public Linz Version 1. 1 D Comments/notes and requests for the file: gerhard. dirmoser@energieag. at / G. Dirmoser Waltherstr. 2 – 4020 Linz The original Power. Point file is available for study purposes (revisions). Placement on the Internet, print-outs and distribution in paper form (4 x A 0 oder A 1) are desired. Literature: Cyber Society – Mythos und Realität der Informationsgesellschaft / Achim Bühl Tausend Welten – Die Auflösung der Gesellschaft im digitalen Zeitalter / Uwe Jean Heuser The Society of Text – Hypertext, Hypermedia, and the Social Construction of Information / Edward Barrett Medien-Theologie – Das Werk Vilém Flussers / Elizabeth Neswald Kultur – über alle? gegen alle? für alle? M. Wagner, H. Fabris, I. Mörth u. a. cyber-moderne – medienevolution, globale netzwerke und die künste der kommunikation / Manfred Faßler Literature : Maschinen, Medien, Performances – Theater an der Schnittstelle zu digitalen Welten / Martina Leeker (Ed. ) Perform or else – from discipline to performance Jon Mc. Kenzie Multimodal Discourse – The modes and media of contemporary communication / Gunther Kress & Theo van Leeuwen Alles jetzt! – Die Mediatisierung / Gerhard Johann Lischka Cyber_Reader – Critical writings for the digital era / Ed. by Neil Spiller Literature: Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Kunst und Video / Bettina Gruber, Maria Vedder Video. Kunst / Gerda Lampalzer Videokunst in Deutschland 1963 – 1982 Ulrike Rosenbach / Videkunst, Foto, Aktion / Performance, feministische Kunst Video – 20 Jahre später – Eine Zwischenbilanz Kunstforum Bd. 77/78 Objekt : Video / G. Hattinger, P. Assmann Computerkulturtage Linz – ORF Videonale topographie II: Untergrund – Videoinstallationen in der Wiener U-Bahn Nam June Paik – Fluxus – Video / Wulf Herzogenrath Deanimated / Martin Arnold catalogue: Walter Pamminger Literature (2) : Kunst als Sendung – Von der Telegrafie zum Internet / Dieter Daniels Interferenzen IV (on radio art) TRANSIT #2 (on radio art) Art Telecommunication / Heidi Grundmann Radiokultur von morgen / Ed. Johanna Dorer, Alexander Baratsits Apparitional Aesthetics (1995/P 15) / Roy Ascott !! performative installation / Ed. Angelika Nollert Literature: Blick, Stimme und (k)ein Körper – Der Einsatz der elektronischen Medien im Theater und in interaktiven Installationen / Mona Sarkis Liveness / Philip Auslander Rasender Stillstand / Paul Virilio Geschwindigkeit und Politik / Paul Virilio Fluchtgeschwindigkeit / Paul Virilio Revolutionen der Geschwindigkeit / Paul Virilio Der negative Horizont – Bewegung, Geschwindigkeit, Beschleunigung / Paul Virilio Die Sehmaschine / Paul Virilio Der reine Krieg / Paul Virilio & Sylvére Lotringer Die Beschleunigung der Bilder in der Chronokratie / Peter Weibel Das Tempo-Virus / Peter Borscheid Dauer-Simultaneität-Echtzeit / Kunstforum 151 Literature (2) : Gary Hill / Selected Works Intermedialität – Das System Peter Greenaway Yvonne Spielmann Arquitecturanimación / F. Massad, A. G. Yeste Look at me – VIDEO – 25 Jahre Videoästhetik (important references to timeline) Simulation und Wirklichkeit – Design. Film. Architektur. Naturwissenschaften. Ökologie. Ökonomie. Psychologie / Angela Schönberger Videokunst / Lydia Haustein Fernseh-Design / Gunther Rambow et al. Christian Mikunda Die Spiele des Realen und des Virtuellen (article) / Edmond Couchot Stuff it – the video essay in the digital age / Ed. By Ursula Biemann music theory / semiotics electroacoustics perception theory of architecture techno-culture discourse structuralism (discourse) system theory / system discourse self-organization theory symbol theories of knowledge formal sciences complexity theory music theater view dance theory body research dromology time theories theater studies performance view (II) 26 dance view Literature: Soundcultures – Über elektronische und digitale Musik / Ed. Marcus S. Kleiner, A. Szepanski Resonanzen – Aspekte der Klangkunst / Ed. Bernd Schulz sound : space / Bernhard Leitner Cybernetics of Cybernetics / Heinz von Foerster Der Anfang von Himmel und Erde hat keinen Namen / Heinz von Foerster Noise Gate / Granular Synthesis Zur Kunst formalen Denkens / R. E. Burkard, Wolfgang Maass, Peter Weibel (Ed. ) sonic graphics – seeing sound / Matt Woolman Music vs motion – FLIPS 5 geometrie der Töne / Guerino Mazzola Geometry of sound / Bernhard Leitner Crossings – Musik zum Hören u. Sehen / Cathrin Pichler Klangkunst / Akademie der Künste – Berlin der larsen effekt / OK Linz Norbert Wiener choreography view 25 acoustic "view" view of music various music projects stereophony (PV) Moviephon – opto-acoustic auditive view 1986 (Richard Teitelbaum) transformer (influencing sound) musical Bruckner electronic aids (K&K Experimentalstudio) (1980/K 124) (2000/P 58) Set of experiment (1979/K 25) microphones and loudspeakers installation for ballet. techno-instruments symphonic Bruckner (1979/K 09) interaction with light (P. Mühlfriedel, G. MP 3, Real. Audio see also: view of handicaps (1997/K 305) link between code and sound environment (C. Möller) (1995/P 132) Markeffsky, L. Schaumann) computer-generated see also: transport view choreographical processes (1979/K 25) The virtual cage (1994/P 131) (PRIX) dancers (2003/K 303) (Scott de. Lahunta) environment concert see also: view of performativity (SLP) (1982) (Nam June Paik, Dance of the Machines - 2003 problems of definition and (M. Helene Tramus) (1987/K 148) Schiffshörner (1990/K-I-95) Open-Source choreography? Charlotte Moorman) (Qrio: walking robots) stagnation The occasion: 25 years of working as a systems analyst in Linz & (Alvin Curran) (2003/K 311) (Scott de. Lahunta) (1989/J 115) 25 years of attending "ars electronica" (. . . a journey through time) & 25 years of the Stadtwerkstatt & 25 years of Atelier Wels music in real time audio performance electronic dance projects dance theater "Tobias Zapfel" electronic sound carpet (1970/T) AEG/Teldec/Decca put the Improvisation Technologies. A Tool for (1979/K 35) (Thomas Pernes, Tanztheater Wien) (1980/K 11) first image record on the market Black and White dance and electronic-architectonic the Analytical Dance Eye (coproduction On the method: The structure of the verb study serves as the starting arrangement. (1984/K 265) Gameboyzz Orchestra Platzkonzert (1971/T) U-Matic as the first (2002/K 440) set-up (photo-cells) to control with William Forsythe) (2003/K 311) Sound Park The first content placement was made with the help of material from "take over" intermedia theater film semiotics sound environment (J. Kujda) (2002/K 420) (1987/K 166) cassette video system in the world (66 b/cell) synthesizer sounds (Chris Janney) (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). Clouds of Sound (1979/K 02) (Stadtwerkstatt) film theory (1980/K 103) interactive music dance (SIGGRAPH 85) movement theater video music The language material used was taken from publications on "ars electronica", notes (ML) Nik Haffner tested the electronic dance performance psychoanalysis (Lacan school) Ghostcatching musical-cybernetic clip (Han Hoogerbrugge) (Win Grabill) (1986/K 299) Online-Instrument (in a mirror scenary) (AH) interactive partnership of dance and music performances (on the symposium lectures) and relevant literature. (1999/P 116) see also: process theories environment (1979/K 43) (2003/P 64) (1999/P 42) Lundgren (1979) (1989/J 105) (1982/K 86) technology as a dancer (1980/K 07) dance & drawing dance performances Cf. methods of "grounded theory". view of the image (P. Vogel) Midi. Dancer (pioneer: Ed Tannenbaum) (technology becomes interesting when (Saburo Teshigawara) (P. Kaiser u. a. ) (1951/T) Ampex starts with recorder development The study "Designing Gestures" on ars electronica 2003 was carried out in parallel. distorters & faders (1995/K 386) (Dawn Stoppiello) it opens up new possibilities of Symposium: Electronics in Music / computer-acoustic dance theater The time of the (1958/T) Ampex presents the first color video recorder (Tommy Lehner) Telechoreographie perception for the dancer) Synthesizer – Music Computer – Digital Techno (Tanztheater 46) (1982/K 207) Ancien Régime (1963/T) fully transistorized recorder notes: video works have been very selectively networked virtual (1997/K 154) (Stelarc) (AH) dynamic instead Members of the staff of ars electonica, AEC or ORF had no influence on the selection and arrangement. (1) electronic of the (1980/K 65) (1965/T) Portapak – first affordable B/W camera dancer with sensors attached included here. The field of video art has long been dancefloor D. A. V. E – Performer as part of the video of static office furniture concert performance electroacoustic musicians (1975/T) Betamax home video system (1977/T) VHS electronic to the body (1962) a subject of art-historical analyses (Josephine Anstey, (Douglas Kahn) Projection adapted to the body performance Questions about completeness: is over. Astonish us or (AH) dance and controlled D. Pape, D. Neveu) (1980/T) Camcorder is presented wind instruments (1999/J 1987) (1992/K 92) electronic (K. Obermaier, C. Haring))(2000/K 299) (Istvan Kantor) Due to the limitations of the available surface, it is not possible to provide a complete detailed presentation disappear ! (Jury ! 2000/P 196) (1980/K 43) real-time videos (1984/T) first videodisc in the art field small economical (Gary Hill) Computer controlled laserdisc Streaming Media (Lee Harrison III) (1992/II-K 93) (2001/K 301) orchestra VIVISECTOR (2002/K 430) (2000/K 290/P 94) of all the participating artists, scientists and developers (about 3100 persons are listed). All the participants video systems (1980/K 94) (1988, 1992, 1994, 1996, 1998) computer organ (1979/K 15) MPEG, Real. Audio, Real. Video (Rupert Huber) metal junk video lab stage set projection (D. Bruckmayr) game electronics video-film processor (1989/T) Sony Hi 8 self-made instruments were compared with the AEC/Ars database. computer dancer (1979/K 49) (1999/K 345) analog synthesizer (L. Rehberg) electronic (1986/K 335) link between video art and for dance performance (Marina Koraiman) Kepler's Dream (1989/K 180) performance (Maywa Denki) (Akke Wagenaar, Masahiro Miwa) The choice/placement is thus to be regarded as the author of the study's subjective/content-based selection. video technology (1992/II-K 37) see also: history of control computer film (1979/K 10) (2001/K 116) (1979/K 49) First electronic orgel John Sanborn music theater (Georges K. Shortess) (2003/P 96) (1993/K 415) The study is intended to provide a wide-ranging survey, but it cannot substitute for reading the catalogues. (1996/K 410) (E. Redl) "Audio/Video Instruments" (1992/II-K 89) computer as (1929) (Laurens Hammond) digital synthesizer (1986/K 121) (Giorgio Battistelli) puppet dance interactive choreography system for a (1984/K 48) musical instrument Linzer Steel Opera (Studio Azzurro) video effects Video: State of the art (Inge Graf + Zyx) oscillator bank (Dow-Jones-Index) digital video portraits In some cases, key works (or concepts) are cited, which were not shown in Linz, but are described in detail ballet by W. Forsythe (1984/K 150) (Giorgio Battistelli) (1990/K-I-43) electronic purgatory live synthesizer fortresses (rockefeller Foundation 1976) (1986/K 180) (1984/K 55) Electro Clips (Installation for Image Processing and (Michael Saup) (Shelley Lake) (1980/K 106) in catalogues. (1982/K 11) music theater (Kristi Allik, Robert Mulder) (1980/K 11) (1992/II-K 63) (Johanna Branson Gill) (Kazuo Uehara) live electronics sound processors ballet) (C. Möller, Stephen Video Synthesis (1975) (1995/P 100) ICARUS laser opera for (1992/K 205) The Kitchen (1992/II-K 83) Video Art ORF Videonale 86 (1971/T) start of the electronic kitchen NY (1984/K 157) Galloway) (1994/II-K 122) (Stephen Beck) (1992/II-K 161) total automatization in music performative theories from multimedia and electronics Switched-On-Bach (1964) The poster can also be used as an index with the page numbers. (1986/K 392 -1) (1974/T) Projekt 74 (Jean-Baptiste Barrière) manipulating video (1979/K 35) (Otto Piene, Paul Earls) (Wendy Carlos) Moog III cultural studies (ML) At a closer look, there is an extremely The search engine at www. aec. at is useful for further research, since many catalogue texts are available as (1980/K 94) Proposal from Bognermayr in 1979 for an MIDI shows American video in real time The Video Synthesizer electronic sound Video. On. Demand Dark symphony (2003) Mini-Moog (1970) (1982/K 50) interesting relationship of tension between performativity discourse productions extensively pdf files in the AEC database. electronics symposium, an "Electronic (Justin Manor) (Tom De. Witt) (1992/II-K 165) storing original The more technology deformation device (1977/T) documenta 6 focuses (2001/K 295) (Tim Didymus) (Robert A. Moog) theater as live performance and mediatized for the first time in performance studies (1998/K 250) Music & Video Art Symposium" (1989/J 12) (2003/F 42/P 110) sounds the more boring (1979/K 43) on film, video ! (1980/K 69/K 70) (Paul Virilio) (2002/K 238) performance from film to television, all the way Image Processing (1986) Europe What does humanoid genetic structure (surpreme particles, speech-act theory video installation (1980/K 34) the result opening with a video satellite transmission synthesizer velocity of terror to the computer game. (1997/K 310) (J. Harrison) (Experimental Television Center) sound like? (R. Spour, M. Veitl) from scratch) Infermental (1987/K 174) (C. Steiger) (1994/K 32) language game theory/praxeology (1997/P 44) (1979/K 09/K 39) Kepler's last dream Spectro-Morphology (Sherry Miller Hocking, Richard Brewster) (1999/K 337) magazine on video cassettes (1996/P 60) radio art (see below) feminist theories (J. Butler) (ML) media performances Literature that was important in structuring this study: see also: view sampler collages (1999/K 383) (1989/T) Cologne: exhibition "Video-Skulptur". . . ) umbrella as (Frances-Marie Uitti) (1992/II-K 169) the dream of flying (jomasounds) (1999/K 380) (2000/K 315) electronic metadiffer from interactive pragmatism (1996/T) Linz: Ojekt : Video / G. Hattinger, Assmann resonance body (1990/K-I-55) All the catalogues on the "ars electronica" and the "Prix ars electronica" of communication Kunst-Radio Image manipulation soundtrack: Found music Environmental Art (1982/K 07) interactive video installation vocoder, digital reverberation, (1998/K 273) trumpets ! installations in that they are The Form and Sense of Video (1973) singing bows (Paul de Marinis) symbolic pragmatism (V. Delay) Medien der Vernunft (Medien als Mengen von Tätigkeitstypen) / Matthias Vogel (MV) Footage from CCTV surveillance cameras (1993/K 397) (Gideon May) equalizer, harmonizer, delaymulti-monitor multi-channel installaiton multi-track electronic music (1992/K 240) (Rupert Huber) (J. Impett) performed before an audience (Robert Arn) (1992/II-K 183) (1988/K 190) see also: dance view (2001/F 04) (2001/F 17) pragmatic-hermeneutical turn Traffic Cams, earth observation satellites, staircase as piano Synchronopse (in: look at me – Video – 25 Jahre Videoästhetik) / Petra Wenzel devices, . . . (1979/K 26/K 39) (1986/KII-261) polyphony J. Chowning, J. Fritsch, B. Mason, (1994/P 142) (Ron Kuivila, theater view ATM cameras, . . . Space-Time Dynamics in keys role theory (T. Sarbin) Der bewegte Betrachter – Theorien der interaktiven Medienkunst / Anette Hünnekens (AH) (S. Ferguson) S. Stockhausen, J. Tenney, Radial Arcs) (M. Popp) Flexible simulation space – mosaic of mobile machine noises interactive video ring modulator, echo devices, filter art from the screen Video Feedback (1984) (1987/K 58) media theory electronic film Digitaler Schein – Ästhetik der elektronischen Medien / Ed. Florian Rötzer Note: this study can also be read videoinfography (PV) (1984/K 40) D. Youngerman used on stage Sound-Engine (1980/K 11) data sounds (knowbotic research) jazz und electronic long-stringed installation (1980/K 10) (James P. Crutchfield) performance-based *OR* Performance (A. Wollscheid, (AH) feed of all-around (literature studies) as a supplement to the performance Maschinen, Medien, Performances / Ed. Martina Leeker (ML) (Istvan Kantor) (2001/F 35) (1982/K 251) (1987/K 110) (1992/II-K 191) performativity as mediality (2003/K 228) (1997/K 360) D. Wiesner) (Ron Hays) (1982/K 199) X-topia (E. Sharp, videos into a VR environment Video game (see also: games) study - in keeping with sound-therapeutic objects media discourse Brain Opera – Instruments (S. Penny, J. Schulte) perform or else – from discipline to performance / Jon Mc. Kenzie (JM) (2000/K 290) sound dome (P. Panhuysen, J. Goedhart) (Bruce Odland) (1993/K 273) (Sybille Krämer) Soldier String Quartet) He is the creator of the first (Jaron Lanier) Jon Mc. Kenzie: perform or else – (1979/K 37) (Tod Machover / MIT Media Lab) (1996/K 422) stereoscopic film media studies (Leo Küpper) Kunst als Medientheorie / Hans Ulrich Reck (UR) game animation (ML) In media performance the liveness (1994/II-K 116) completely multimedia concerts, "Horizonscan" interactive sound sculptures (Sam Auinger) from discipline to performance interactive videodisc art (1996/K 300) space-filling (T. Shannon, J. Hassell) (1984/K 16) media anthropology cell phone concert Various articles by: Monika Fleischmann (MF) / Peter Weibel (PW) / Dieter Mersch (DM) / (2001/F 16) (1990/K-I-146) Programmed performances? auto-correlative of theater and the interaction of computer dummy head music visualizations, in which lights (Yoshi Wada) (1988/K 261) (1989/K 240) (David Tafler) Glockenspiel ! (1988/K 111) communication theory (2001/K 57) (2002/P 98) computer sonology (1995/K 206) Fred Forest (FF) / Paul Virilio (PV) / Heinrich Klotz (HK) / Frank Popper (FP) / Oliver Grau (OG) communication process technology are related to one another in such (AH) performative works stereophony and laser, wide-screen video and film echo sculptures (G. -W. Raes, Moniek Darge) (1989/K 246) (Peter DÁgostino) (Haruo Ishii) interactive Sound from the same hands "performative" Web. Cinema apparitional (Golan Levin) (1984/K 48) (2002/K 417) (1979/K 36) a way that they achieve a synthesis in the PERFORMANCE-ART Kontext (poster study) / G. Dirmoser (DG), B. Nieslony (1979/K 14) projections, slide overlays, fireworks, (1988/K 274) (2003/F 42/P 106) video narrative aesthetics (see below) liberation of sound (S. Gibbons, G. Shakar, programs mediatized performance (ML) The videodisc was technically listening perspective(Jaron Lanier) (1994/II-K 110) performative, i. e. in the reality-constituting random access to lasar pyrotechnical and other stage effects Verben im Kontext (poster study) / Denken (ein semantisches Netz) / G. Dirmoser, B. Nieslony Lichtorgel (1995/P 15) (R. Ascott)!! Well-tempered-Synthesizer Yasmin Sohrawardy) already available in 1970; it was execution of symbolic acts. dummy head / quadrophony videodisc (1989/K 225) are combined. etoy interactive narrative concert machine – Studie Stadtwerkstatt-TV (on the ars electronica TV-projects and others) / G. Dirmoser (1979/K 19) combination of installation, the first interactive wind-driven (1996/K 382) Performativer approach 1995! (1980/K 71) not used for artistic works, though, (1980/K 19) sound lab tyranny of the tuned (Grahame Weinbren) The intersection between media and (1996/P 80) (4 -fold projection) mathematical Designing Gestures (poster study on ars electronica 2003) / G. Dirmoser performance and website video record (1989/K 232) sequenzer Winfried Ritsch until the early 80 s at MIT sound animation as real-time process (1986/K 332) piano (1980/K 52) Video Clip sound theater is thus the performative. digital hijack (Luc Courchesne) musical instrument abrasion of art on the construction site graphical music visible music (Fakeshop) (1999/K 321) (Lynn Hershman) (1987/K 98) Institutions affiliated with Archi. Media & ars electronica / G. Dirmoser underwater microphones (K. Obermaier, R. Spour) (AH) the art work does not exist (1999/P 66) (W. Giers) (1979/K 46) (1979/K 19) (Stadtwerkstatt) (1994/II-K 108) (1979/K 18) (1987/K 57) Additional specialized literature is listed radially in the area of the content sectors electronic timbre interactive videos (1993/K 260) until the viewer becomes an active Autonomie der Klänge sound synthesis Radio Violins computer animation (Rosa Binaria) (1993) Interactive Cinema electronics and automation for catharsis computer concert timbre dynamics navigation through voices film techniques that participant (1989/K 106) (1989/K 294) (1979/K 17) audio microscope (1987/K 59) (1980/K 43) (1999/J 94) (1989/K 225) the analysis and synthesis of Social Club switch the time and space (1994/II-K 120) (G. Rabl) (Luc Courchesne) Japanese Animation! (Jon Rose) (AH) The art object is not the (magnifying small sounds) music (1979/K 03) suggestion for a PRIX category (Stadtwerkstatt) axes (1998/K 197) With Lynn Hershmann, Jeffry Shaw, virtual reality and sound performance A Cybernetic Sculpture Questions of little use: ACA Media Arts Festival music for the glove computer or the display, but the interactive cinema (M. Nyman) (1999/K 385) electroacoustics (2000/K 283) (MAIZ) (M. Reinhart, Peter Weibel, Bill Seaman. . . their interactive the electronic musician (AH) Mandala System (V. John Vincent) (Les. Levine) (1979/K 10) expanded cinema (2003/F 19, K 393) (Jane Veeder)(1984/K 128) What does all of this have to do with art? (Mark Trayle) interactivity of both interacting (Peter Krieg) (1991/P 140) V. Widrich) works can be derived directly from their (historical) anthropology (Scott Fisher) rotor system with interaction with sound & design modules (S. Tomioka, K. Yamamura, U. Tanaka, S. (1994/II-K 26) Old /vs/ new (electronic) media with the participant. Cyberspace and society (Erik Hobijn, Lydia experience with performance art (AH) (1990/II-K 295) ethnology loudspeakers (1990/II-K 307) Performance stage as Hirata, S. Sakamoto, A. Kondoh, M. Shinka) future cinema (2002/T exhibition "Animations" P. S. 1 NY Interstitial (1994/K 162) algorithmic audio "take over" of electronic media art (take over /vs/ self-disbandment) Why are aesthetic criteria Lunch, ZÉV) (1996/K 268) sensory environment theology / New Age discourse Sound Experiments (Carole Ann Klonarides) (2003/K 228) Siehe auch: Sicht der Sorge many performances use "new" (S. Krämer, R. Ascott) applied to software (1991/K 103) white noise digital advertising (Auinger, Just Merrit, et al. ) these projects are ultimately nothing other than (2003/K 300) ethnography (2001/K 94) (H. Deisl) media (see: Performance Study) kulturtheoretische Sicht (2003/K 13). . . and not (1982/K 184) Live Electronic carnival shows (1997/P 53) Pixelspaces – DAMPF films stereographic game sounds performance studies ethnography performative criteria? (DG) computer-controlled compare: Performance practice other poster studies: Sensory Environments – Immaterial Interfaces (as trailblazers) video production (2001/K 209) cultural anthropology Anthroposcope (1993/K 398) editing (1984/K 122) performance art (1992/II-K 48) historical view (2003/F 14, K 299) (Heimo Ranzenbacher, Horst Hörtner) (Laura Bellof) (1999/K 402) comp. generated media actions http: //www. servus. at/kontext/ausstellungskunst/art_in_context. htm media anthropology (Laurent Mignonneau, Christa Sommerer) video transmission Film (Rolf Herken) Raindance !! (Fred Forest) structural affinity with mixed reality sociology and performance Web. Cinema (2001/K 106) media performance (1979/T) Walkman is presented Festival for: Art, Technology and media performance Sensory Environments electronic nozzles media art (Nora Barry) performance (MF) (PRIX) sociological discourse (1994/P 108) (1985/T) portable CD-Player VJs of the club scene (1989/K 275) Trace of the viewer in the 1969 Ronald Michael Baecker: modulate a stream Society (1979/K 01) (cf. construction of this study) TRANSIT: I. Bordoni, exoticism discourse stagnation in perfection (David Chesworth) (2001/K 87) image. . . (MF) Interactive Computer-mediated of water view of signs (2) (AH) "closed-circuit" of the see: process view of (1997/K 354) (H. Zachmann) A. Bosshard, K. Hentschläger, Join-In Concert tribalism debate democraticization of mixed reality applications (2003/K 328) real-time animation software Animation (PW) (2001/P 98) (D. Bruckmayr) view of agreement interactive video image control syste 3 D audio-siphon (Peter Zegveld) H. Hörtner, M. Kreihsl, R. Paci (1980/K 05/K 55) cartoon (film) culture (tribal culture) Performances transferred to avatars (see below) DAMPF Lab: dance performance mass events (Paul De. Marinis) (2001/K 25) vector-based Realtime 3 D Visuals real-time animation (1991/K 314) Daló, W. Rogojsza, G. Stocker, Cologne, Futurelab, V 2_Lab Rotterdam, Linzer Sound Street (1980/K 05) structuralism discourse This kind of music has become a surveillance rotation animation technology (Basicray, Crashsite, (F. Fischnaller, M. Monzani) from cybernetics I. Strobl, T. Ungvary, Mia Zabelka Animax Multimedia-Thater Bonn (1980/K 61) Online-Performances (2001/K 37) formula (2000/P 197) (Peter Rehberg) (game rules of art) installations virtual time – loudspeaker Interactive Performance (3 ORF Landesstudios) M. Bruner, K. Taschler, (2001/K 196) "Banja" total simulation feature photorealism (1999/K 349) through the process patchwork (2003/K 302) (Michael Jüllich) (AH) society of PRIX stochastic matrix film (1984/K 124) (1990/P 70) can the subjective (John Driscoll) (new art form) developed by. . . Stocker´s Ruf nach Linz Nappi) (2000/K 314) view to performative biographies interactivity Jury (for chord concatenations) experience of time (1980/K 132) Scott Fisher, Ann Marion culture for all analysis Interactive VR art works (1979/K 36) be programmed? Online communities compare: (AH) the performer controls electronic whirling Community Internet Radio schematizing compositional in real time (2001/K 301) (Georg Franck) and reputation capital Literature: stage images through sensors (attached performance focus historical view control system technology Flying large fourinstruments Broadcasting (2002/K 196) processes (1979/K 34) (T. Margolis) (1990/II-K 57) view of acceleration (AH) (2002/K 258) (Baudrillard) All our machines are screens, we ourselves Musikgesteuerte to the body) in real time Wie ge. WOHNT – Neue Wohnkezepte auf dem dimensional figures in (1989/K 320) (VOSIM – Prof. Kaegi) have become screens, and people's relationships with one Laserprojektion integrated media performance Prüfstand / Symposium 2003 the sky with an airplane. Performative Interfaces Video-on-demand remote-controlled (Max Eastley) event view I Internet as social space (1997/K 386) MUDs, MOOs another have become those of screens. (Paul Earls) (1980/K 102) (Po. Mo Co. Mo) (1992/K 226) socio-cultural orbital acceleration (Steve Poleskie) Life. Tool, Computer Aided Communication active score – (1995/K 175) sensory systems (Monika Fleischmann) concert performance (2) temporalization (AH) Terminal bar (Bruce Damer) animation projects (R. Lozano-Hemmer et al. ) automatic musical (1986/K 231) (1982/K 106) social networking software scene interactive (J. Smetschka) (2001/K 358) Die Individualität der Medien – Eine Geschichte life counselling for Kickass-Engine (2001/K 57) (David Rokeby) Those who create interactive BBS, Info-DB (1997/P 84) composition (P. Barbaud) Telesteuerung (PV) the term "process" was central cybernetic sculptures (1980/K 05) culture graphical instrument systems (2004) participants/children interfaces assume social responsibility (2001/K 207) der Wissenschaften vom Menschen / An Internet actuated and electronic Recombinant 9. 9. 99 (Steve Mann) (1997/K 218) video performance (1979/K 51) for Ascott around 1980 (Wen-Ying Tsai) Face Settings (K. Furukawa, film series "artificial performance uploaded Performance (2003/P 23) Stefan Rieger Happening concert performance high-speed surveillance gaming communities (2001/K 20) Telecenter (2004) mutual effects between (Kathy Rae Huffman) M. Fujihata, life" (1993/K 282) (1997/K 154) (Stelarc) Technologies for People With Handicaps conceptual-systemic (1997/F 51) (K: Naut Humon) (1999/K 380) superhighways (see right) lines of demarcation Elektronic Happening real-time composition for environment and artwork (1997/K 364) W. Münch) Internet cafe In Yokohama, Ito realized a performance of Multi-User-Dungeons Media. MOO: Social Web (Sound Traffic Control, Mixvisual sensor registering movements 1994/K 98/2 art (2) (AH) "separating" persons in (1984/K 147) (Paik, Moorman) 12 radio receivers MOO Workshop (1999/K 347) MUD MOO (G. Stocker) The products of this (media) art "networks" for "samplers", "performance devices", for media (John Coate, Multi-User-Dimensions master Mike, Scratch Perverts, Electronic Cafe real-time in space a space (1989/K 317) (Konrad Becker) (AH) the focus is much more on CARETEC exhibition Scenarios for Virtual are shifted from object to process, from information "interface devices" for interaction between these researchers (AH) process instead of Station Rose) (2002/K 253) collective weblogs (2004) functional descriptions of dance Powerbook Orchrstra, The movement (Project 1984 Los Angeles) (1998/P 100) (Scott Sona Snibbe) Telematic performances (ML) processes than on completed formal languages Communities and presentation to interaction and communication, and computer connections of harbor networks Vision System (1995/K 139) notation show similarities with those User, T. Brinkmann, Richie control virtual communities essence Viewers and actors on site can be networked with works (1996/K 389) Text collection from Willi Mayrwöger: Free. Net initiatives (2004) or as the Japanese researcher-artist Masaki with other networks (optical tracking) (2004) Digital Communities of software code Hawtin, Ikue Mori, Barry (1995/K 178) people in other places in an interactive, multimedia (AH) The communication artist electronic musical score (O. Frommel) Fujihata has said, "from document to event". (Toyo Ito) (1995/K 59) Computer-Didaktik in der Sonderpädagogik / foundation of cybernetic first approximations to the performative view addresses the wide-ranging (2003/K 314) (Scott de. Lahunta) Schwartz, Stefan Betke, Multimedia for all (H. -J. Hack) process Roy Ascott had his first idea of an reading the user's (1999/J 68) (2001/K 322) R. Bonfranchi thinking (1986/II-125) social impacts of the Internet Otomo Yoshhide, Scot Jenerik, Mazk, Sam Auinger, (1997/P 88) "art of behavior" and the "cybernetic vision" obstinate movement (MF) (PRIX ab 2004) Musical arrangement is score for television projects Behinderte Kinder am Computer / M. Meyer script languages Virtual Appearance "Modules", Christian Marclay, artworks as Social CODE (Symposium) The category "Interactive Art" (1998/II-K 64) OODA-Loop: inherently interactively processual. (Stahl Stenslie) the flowing, as early as 1966 art works community networks (Stadtwerkstatt) Encoded Music socio-cultural applications of the Internet Terre Thaemlitz, DJ Olive, Carl Stone, Kit Clayton) Elektronische Kommunikationshilfen für graphics and music SW complex systems processualness of robo-ecologies (1993) deals with interactive works of observation (Werner Jauk) (1995/P 27) (2003/F 11) decentral, process-oriented gaming communities. . . who set links to other artists On paradigm changes, understanding music as a kind (Alex Mc. Lean, Adrian Ward) nichtsprechende Schüler. Innen. . . / A. Lingen (Golan Levin) all kinds. . . from installations orientation media art (2003/K 13) character of a large portion in turn (1996/P 47) (2004) dynamic systems new role models, working of software (H. Ranzenbacher) Radio FRO conference (2003/F 38) cybernetic sculpture (2000/K 308) (AH). . . Myron Krueger, Roy Ascott and Computer- und Informationstechnologie – community art all the way to performance decision cybernetic art of interactive art models, and the creative beyond a rigid therapeutic discourse process-oriented Towards a Society of Control shift of significance from the (Wenig-Ying Tsai) (1983) (M. Fujihata, K. Furukawa, Code – Notation (2003/K 341) Fred Forest thus also stress the "concept of action" or the control society Geistigbehinderten-pädagogische Perspektiven (2004) action participative WWW works (DH) CODE (2) (2000/K 214) burst(2001/F 08) geometry (AH) disability studies languages (2003/F 15) (Cindy Cohn, object to the dynamic system W. Münch) ((2000/K 309) "matrix of behavior" as a fundamental precondition for Towards a Society of Control? download, manipulate, upload, Hg. Wolfgang Lamers Art Com Electronic Network shift in time self-organization Christiane Asschenfeld, Juliane (2003/K 13) the participants' behavior and aesthetic characteristic Gestalt therapy Code and Music – Technique and (O. L. Tremetzberger) (2003/K 54) control (robots) The term "behavior" was ACEN (1986) (1989/K 130) Augmentative und alternative Communication / (Dan Graham) (AH) technical reaktiv, responsiv Alton, M. Terkessidis, E. Möchel) (knowbotic research) of an "aesthetics of communication". model bedroom with eyecreativity while composing psychodrama / psychotechniques contributions to a lasting change the temporal structure central for Ascott around 1980 electronic community (1992/K 136) spatial representations David Beukelmann, Pat Mirenda As artists working with Electroacoustic reproducability process character of action (K. Becker, A. Toner, M. Vojtechovsky, Modern triggern controlled projection (Jonathan Norton) (2003/K 294) in the form of a project: of WWW works therapeutic pedagogy (electronic Bulletin Board) digital media, we are constantly pseudo 3 D electronics as Visitation Mass instead of original No Man´s Land Z. Blace, Eugen Babau-Iladi, H. Harger) primitives see also: political view (Lynn Hershman) (1997/P 119) behavior of forms - forms of behavior motion capturing (Eva Grubinger, Antonio Muntadas, system theory correlating body/movement reminded that when we create VRML gentle technology (Diamanda Galas) Robot installationen / temporal structure of see also: power-theoretical view (Roy Ascott) (1995/P 20) Douglas Davis, Jenny Holzer, Ed Stastny, (Andrea Juno) learning and knowledge circulation, feedback, BBS Bulletin Board with a telematic dance theory digital artworks, we are really building (1979/K 05) (1986/K 83)(1989/J 59) implanted and emergent animation works (AH) Appropriation and (1997/K 285) (Stadtwerkstatt) Joachim Blank, Karl Heinz Jeron) see also: historical view (1990/II-K 234) self-controlling, simulation software communities (2004) counterpart behavior (the parasites, the undomesticated, virtual machines. Every aid (regardless Cognitive behavior patterns that are Was ist eine Virtual Reality model the term "system" was central simulation instead of the original self-organization, Cyber society – Myth and Reality of the Sermon on the Mount (1984/K 187) action bots (Heimo Ranzenbacher) of whether "soft" or "hard") is a mechanistic the inverted scavengers, . . . ) multiplied and replicated through communication Modelling Language (VRML) kinetic (2004) digital citizens' participation motion tracking for Ascott around 1980 autopoiesis (AH) (Bognermayr, Zuschrader, Prünster) (2003/K 334) following filmed immitation of a small area of human Information Society (book) (AH) aesthetics of action (L. -P. Demers, Bill Vorn) were called "topoi", "habits" or "cliches". They were (David Blair) interference objects simulation works neighborhood citizens' conferences (2004) behavior. (1996/K 203) (Simon Penny) Multi-User-VRML Logicaland (M. Aschauer, (1996/K 262) see below regarded as social constants that were stable, (1995/K 220) Simulation ultrasound movement set of operations (P. Barbaud) (1979/K 51) passers-by acting remotely (FF) Some Code to Die for tele-actors (PV) J. Deinhofer, Maia Gusberti, There is no world view or art, no expressive automatons (1996/P 129) except for marginal changes. This characteristic interactive 3 D-cinema world (1997/K 390) holograms Wearable System (GPS for (M. Desbazeille, hobby religion in (Leo Findeisen) (2003/K 73) virtualization of action with Nik Thönen) (2002/K 364) social structure or symbolic order that gets lost in the discussion of "memes". (1988/K 276) light-kinetic simulation space mosaic of mobile determining position) Conveying S. Canto) (2001/P 100) the kinetic complex (AH) disclosing films like decentered connective regulators To simulate processes of life: Evolution, electronic remote action (PV) (1998) (2002/P 34) could do without art (DM) (1996/K 34) (H. Hrachovec) objects (H. M. Ihme) belonging to a community (MF) data sounds (Knowbotic Research) Centerbeam (Gyorgy Kepes) Changing the behavior of actions Indian philosophy breeding and selection (OG): Thomas final phantasie actions (ML) Speaker Swinging light machine (AH) Krueger discovered that users Concerns of music are science fiction, socio-fiction, political fiction. . . (1980/K 98) puppets through changes in (1993/P 98) syntax of binary images Social Software Ray, Christa Sommerer, Karl Sims, Behavior is movement, in which an Indranet (Gordon Monahan) (1980/K 120) quickly identify with a figure in a tendencies to excessive Thse are role plays, parallel strategies, stockmarket courses (MF) Unlike immersive image strategies kinetic feedback (Woody Vasulka) Artifical Life (2) AEC as "Evangelist" cybernetic (2004) Jane Prophet Is God flat? Is the devil intention can be recognized. The (1988/K 277) harmonizing actions A brief introduction to the game, if it reacts to instructions in behaivor (Diamanda Galas). . . scattered images of a future cyberspace (PV) games as simulation Station Rose in the (Erwin Redl) (1996/P 152) that draw the viewer into a space of illusion, light sculpture (1989/J 22) (1996/P 14) play of movement (2001/K 353) curved? (1995/P 112) (Nam June Paik) his career: combination of simple behavior kinetic sculpture art of flight simulation real time. It is not the realistic (1986/K 84) Music for Mechanical Metal (war games with simulated Social Web (1997/K 426) (Stahl Stenslie) the mixed reality concept focusing on the (C. Möller, (Roland Kayn) (M. Benayoun) patterns produces "personality" transforming television and new (Chryssa Vardea) (Ron Reisman) (Monika Fleischmann) Mixed Reality: portrayal that determines (1996/P 211) behavior of complex systems radar data on missile Techno-religious ecstasies spin-offs body-space experience leads the viewer into an R. Kramm) cyberneticists and physicists Holography and Society (1986/K 184) or "predisposition" (2003/K 183) video techniques into contemporary (1980/K 101) (1990/II-K 159) The interfaces as input/output instrument is not a aesthetic pleasure, but rather the (Gordon Monahan) guiding computer systems) (2000/K 213) action-oriented situation that leaves room and (1994/P 132) H. W. Franke – ars co-founder (Vito Orazem) Immersion in war pictures removing, art (1982/K 102) multimedia instrument, but an instrument of action Working up to the rank identification with the controlled behavior. Symposium (PW) Intelligent (PW) Systems theory approach to the imagination for thinking. (1979/K 02) Survival by calculations by kinetic water display deleting (Maurice Benayoun, Jean. Instinct TV for a synaesthetic transformation of the perception of a god in the MOO Journey through the products, intelligent behavior of complex systems (1994/K 09) Kinetic Art Simulation analog computers (1989/K 191) Fiction and Simulation Babtiste Barriere) CAVE work Instant TV of media space. (1997/K 174). . . the immediacy of experience results from the (AH) What these "systems of media art spiritual essence of the trance ambients, the whole (AH) 3 D simulation as a new (Peter Weibel) are a kinetic (Stephen Pevnick) (Friedrich A. Kittler) (MF) the transfer of image data is (1998/P 70) (U. Reck). . . For this reason, aesthetic endeavors Reaction-Action TV realistic behavior and not from the realistic have in common is that the virtual world (2002/P 100) (United Game Artists) technology evolution show quality of illusion models of behavior and actions (1990/II-K 20) "acting out" (1988/K 87) thus harmonized with the dynamics of (Alison Cornyn, Sue Johnson) and developed practices are currently progressing 50 s-70 s / affinity Catastrophe TV graphical representation. changes depending on and with the observer that we are always handicapped (Tetsuya Mizuguchie) (based on Kandinsky) (1998/P 30) (knowbotic research) Tokyo 1997 kinetic sculpture electronic physical actions prison life (2001/P 50) decidedly from representation to activity, from to media art Fernsehfamilie Gyroscope (tilt and (Edmont Couchot) The extent of as part of the system in real time. Weibel without knowing it (1994/K 26) (J. Sauter, D. Lüsebrink) (1997/K 258) simultaneity (AH) Die Vorstellung von einem „idealen Zuschauer“, der sich confessional HDTV mimesis to experimental action. (1991/K 91) (Stadtwerkstatt) lateral movement), odometer consequently regards them as "cybernetic magical mystery tour the space of possibility that a interactive television (Roy Ascott) (1995/P 20) toward an orientation to action Technology and Puttting images into a virtual information code of behavior (AH) entsprechend der Kalkulation des Künstlers verhält und die ihm real-time processes (speed) real time (terms) Scientology vs. simulation model opens up, depends systems", the events of which are structured "Turn On, Turn In, Drop. Out. . . " architecture following the pan of the camera the irrational (1998/P 60) (Wendy Vissar) Installation for computer-controlled zugewiesene Rolle ernst nimmt oder seine ihm angebotene (Martina Leeker) Theater people criticize (1971/T) "Media-Bus" Newsgroup (1996/P 100) sound mapping project victims of the information age (1979/K 35) on the boundaries of the model. recursively as feedback. Timothy Leary (LSD-Guru) (Mark Pauline) accidence – remote-controlled short-wave receivers (1998/K 175) TV technology Freiheit mißbraucht, sei, (so Popper) eine unausgesprochene cultural anthropology technical interactivity and describe it as Radio International TV art start of TV station operated (1998/P 94) Nerve Theory: shades of catatonia (PV). . . It turns out that words (PW) The so-called handicapped (David Sheff) The Jewelry Box Voraussetzung für das Gelingen des Kunstwerks und die (1990/II-K 232) car jumps (Leo Schatzl) (R. Adrian, N. Math) interpassivity. They establish an shortened City (1998/P 50) by artists Delphi Digital structuralism (discourse) (Iain Mott, Marc Raszewski, (B. Loibner, T. Sherman) (1998/K 244) television as are not models. In my opinion, person is only a special case, who dramaturgy of relationship with erfolgreiche Intergration des Betrachters. . . (1990/II-K 241) (1991/K 215) s. u. concept of action. (Thomax Kaulmann) (Margot Pilz, Roland Scheidl) Horizontal Radio: Jim Sosnin) artistic device the event is the nerve of information myth discourse models are images. makes the general human condition minus points real time (PV) (1998) Free B 92 (1984/T) MTV sendet in Europa (1991/K 163) telematic radio network (1989/K 154) digital intro for TV (E. Couchot) deconstructivism of being handicapped visible. (1997/P 136) (Mark Madel) (ML) The emphasis on the performative does system for (PW) We move too slowly, that is why (1999/K 395) project (1995/K 354) (ML) The transgression lies in the fact that in the (1986/T) television project PONTON (K 149) 2 h TV (Stadtwerkstatt) broadcasts (1994/K 17) tape recorder voices theories of memory process art not establish a new, universal order here, but real-time synthesis we have the car; we can't fly, so we build media performance the interaction is no longer used (1999/P 38) (1987/T) Stadtwerkstatt TV 1 st attempt (K 165) Pure. Data. Connections (G. Stocker) (1999/J 397) Realtime-Audio. Literature: (Manfred Riepe) mystical dimensions posing stimuli on the screen (Baudrillard) transformation itself instead becomes the new (1984/K 48) alchemy, hermetics airplanes; we can't calculate fast enough. . . as a paradigm for action, but as a performative (1989/K 148) (1987/T) STWST-TV Kabel-FS im Hotel (1988/K 213) Radiotopia (2003/K 203) Cinematics (1991/K 286) (2003/K 188) (Casey Reas) Blick, Stimme und (k)ein Körper / OZOne, Radio Qualia, The virtual human, motionless before principle of cultural order (see below) deformities We are essentially handicapped, we just don't process. Instead of interaction, there is a confrontation SOS Radio TNC (Claire Roudenko-Bertin) esoteric debates / New Age discourse Radio Free Utopia (1989/T) Van Gogh TV – Studio (1989/K 115) (2002/K 427) (M. Pinter, Renate Oblak, digital broadcasting (1999/K 380) (Beusch, Cassani) Behavior rules and reactive Radio Lada (1998/K 79) his computer, makes love via the screen (Anita Gratzer) Mona Sarkis notice it. (1994/K 17) with what is happening. (1992/K 159) (Friederike Pezold) (1989/T) Gründung University TV (1990/I-K 198) psychology W. Ritsch, M. Pichlmaier) search for elves (1996/K 366) structures (2003/K 192) and lectures through teleconferencing. He (1999/K 324) Free Speech (1999/K 405) media as site of transition (DM) sonic graphics – seeing sound / Matt Woolman (1989/T) Stadtwerkstatt - slot machine TV, live on 3 sat remixing radio programs performative theories (Agnes Meyer-Brandis) interest in myths (Darrin Butts) Looking at ORF Kunstradio, Van. Gogh. TV and Stille elektronische Post (1986) TNC Network becomes both motorically and cerebrally (1990/T) Van Gogh TV – Hotel Pompino (1990/I-K 159) Speech, music, sound / Theo van Leeuwen "heavy rotation revisor" (2003 OK) Camp – FRO Online-Generation/Automation of Data/Sounds (2003/F 42/P 112) (1993/P 68) ethnology Xchange, one notes an interesting development: (R. Kriesche, G. Bechthold) handicapped. . Information is thus the (1996/K 412) (Harwood) (2000/F 46) (1990/T) STWST-TV – Invasion-Okkupation (Buffalo NY) On-line/On-site/On-air sound installation (MEGO) Medien/Stimmen / Hg. Cornelia Epping-Jäger, . . . cheaper and simpler technology creates analytical philosophy Zusammenschaltung 2 er Studios illusionist out of body experiences Radio FRO (2001/K 406) exact opposite of myth Rehearsal of Memory (mental patients Ponton – Van Gogh TV: (1991/T) STWST-TV Out of Control (1991/K 89) first TV ars (Colin Fallows, Heidi Grundmann) greater freedom, individuality and diversity Erika Linz (1986/II-K 275) linguistic philosophy Radioqualia (1998/K 105) (Kittler) in a high security hospital) radio project (1992/T) Piazza Virtuale – documenta 9 performative transformations (A. Krach, J. Sienknecht, S. Gründler, C. Fallows, Dusan Bauk, ritual performance with butchering (1998/K 78) Zwische Rauschen und Offenbarung – Zur face made of rhetoric / topic (1995/K 79) (1989/K 110) (1992/T) STWST-TV Im Teilchendschungel der W. . (92/K 198) (P. Eisenman) (cf. 1994/K 56) A. Vasiljevic, R. Klajn, G. Paunovic, A. Garton, J. Curtis, and preparation of a chicken. (1986) TV-Sculpture net radio Out of control (4) single drawings Kultur- und Mediengeschichte der Stimme / radio technology linguistics (1995/T) STWST-TV Checkpoint 95 (1995/K 323) Eliza dialogues (1966) transformation of the sign M. Smith, Sandra Wintner, G. Gregson, S. Cathey, (Minus Delta T) (1989/J 135) (Aldo Tambellini) Kunstradio network avatars exhibition of the Prinzhorn collection (S. Zeyen) Myth of Information Ed. F. Kittler, Th. Macho, Sigrid Weigel Familie Auer (Kunstradio) (2000/T) Televisio – Kunst sieht fern / Vienna structuralism (Selim Koder) (1994/K 51) Emilia Telese, T. M. Didymus, H. Harger, A. Hyde, (Weizenbaum) (1992/II-K 110) Manifesto (1998/K 101) (1991/K 245) (Ferenc Jádi) (1997/P 140) (1995/K 117) Transformationen der Techno-Ästhetik (essay (1997/K 411) overall data work see below R. Bastien, S. Chappelle, Joelle Ciona, (1992/K 194) speech act theory the virtual vampire New Age cyberculture Beginning 1987 ORF and its partner 3 SAT free radios and from NET: ART to NET. RADIO (Heidi Grundmann) world premiere of the television (Mc. Kenzie Wark) in: Digitaler Schein) / Peter Weibel (1994/II-K 98) color recognition device, whistle P. Courtemanche, anna Friz, Eileen Kage, (Roy Ascott) (1989/K 100) (Doro Franck) pragmatics/interactions and (1996/K 231) open transmissions for media artists their problems (1989/K 276) spectacle "Willoughby Sharp´s (1998/K 75) (Josephine Bosma) interface to telephone, keyboard for the blind, B. Mullan, W. Sergeant, T. Cole, emoticons / Karin Niedermeier (1990/II-K 221) connectivity, Morphing see also: filmic view throughout Europe conversation analysis Morphing Software (1996/K 352) Downtown NY 1986" (1986/K 388) The New Myth see below ideological tendencies Speaking Thermometer, . . . ) Andrea Sodomka, M. Breindl, N. Math the mythical TV space see also: topological view from Van Gogh TV and Stadtwerkstatt transformation and sociolinguistics (1999/J 90) (first TV project at the ars!) (Frank Ogden) of media art W. Ritsch Open Air – A Radiotopia "My Neighbourhood" (1996/J 98) transcendence see also: body view, education view etc. IBVA system (Interactive Brainware linguistic performance theory (1995/K 99) 100 th image as morphing basis (New Age cultures) (1998/K 290) radio art On line – on site – on air (1994/K 160) Materia Prima the space-maker see also: psychoanalytical view Visual Analyzer) for simple command processes TV Poetry literature studies webcam art net radio has to react (1998/P 137) (T. Waliczky) robot arms moved solely "Piazza Virtuale", the interactive computer (unplugged 2002/F 16) the confrontation of art at Minus Delta t (Code) (2003/K 12) (DM) mathematics and its as magician Mysticifactions: (1989/J 51/J 52) (Gebhard Sengmüller) to its environment literature discourse nimbus of the magical by thought environment for live TV from the Ponton European Radiophone poetry – the archetypal level shows technology (Randal Walser) voice, breath and gaze handicapped by a Radiolabor (1992/K 202) Bermuda Triangle (Isao Tomita) (1982/K 193) technological magic (1998/P 21) (1993/K 382) (1998/K 75) The myth of Radio Subcom linguistic turn (discourse) (Spiegel 03. 2004) Media Art Lab, with Picturephone, ISDN, with games new radio play (1995/K 223) (I. Burgbacher-Krupka) mystically (1986/K 07) (1990/II-K 206) wheelchair recognition systems (1989/J 118) (1999/J 356) (1989/J 52) VR als virtual drug (1990) (1989/K 163) radio goals (J. Sugár) the artificial (1991) and activities that can be controlled with via telephone (1980/K 07) media mysticism (1986/K 148) Video Magic Live TV experiments (Jon Berge) (1997/P 138) (AH) Technological progress goes from the The Mind of Universe (Isao Tomita) (1984) (1989/J 122) (1998/II-K 290) (AH) physical (1996/K 352) keys, and chat programs using modem, fax, telephone Cyborgsurrealismus (E. Schoener) (E. Kluitenberg, E. Davis, existence in electronic "guided hand" (keyboard or mouse) to gesture and voice, Erdenklang (Erika Gangl, Bognermayr, Zuschrader, . . . ) 2 nd Nature diabolic invisibility Real. Radio rehabilitation measures and live entry points art as transmission (1997/K 63) s. u. wheelchair as interface cosmological model (1979/K 50) Rasa Smite, Raitis Smits, space (1994/K 158) Myth of the Computer then to the simple gaze and finally from the gaze (1982) (1989/J 120) magical-symbolic elements (Markus Seidl) (MF) (GMD) (1994/K 160) (Dieter Daniels) for navigation gambling and spirituality (Haraway) Borut Savski, Rachel Mullicans to thought. Aurora Electronica (. . . ) musical magic (1997/K 388) Piazza Virtuale – Service Area (1994/K 232) Myth of AI manipulation aids (Mintz, Ditmars, Duggan) (1996/K 420) (Nancy Paterson) Baker (1998/K 90) Closed-circuit-TV Intergalactic "mating" (Jon Hassell, Thomas Shannon) (1990/K-I-20) (S. Leoni) electronic cane for the blind (1996/P 146) art is media-mysticism Cyborg as carnivalesque (Adrian X) (1989/K 146) see below (1994/K 159) (1988) (19989/J 151) autonomous wheelchair (1989/J 52) mobility aids Thus, telepresence maps onto three long-term projects in the (Guide. Cane) transitional figure every art form has Ugo Lhuga mythological-electronic "art radio" was the attempt to experience (1998/II-K 275) Live TV with telepresence history of ideas, including their mythical, magical, and utopian rehabilitation techno-mysticism (Bilwet/Adilkno) technologies for people Note: the orality view its origins in magic children interacting with transformations of radio as it could have been, if it had not music theater "collisions" techno-utopianism (S. Hawking) (Stadtwerkstatt) connotations. These are, first, the dream of artificial life and (1996/K 35) (1997/K 135) electro-acoustical has been relocated (1991/K 111) computer-generated figures in technique perception aids become a centralized mass medium with handicaps (Transcenic/Theatre dén Face) techno-aesthetics (PW) (1994/K 19) techno-paganism (1995/K 323) automation; second, the tradition of virtual realities in art; (Z. Karkowski) a television show (Toshio Iwai) visitation mass (1994/II-K 98) (1984/K 223) (1989/J 125) overwriting and transgressing motivating the visually impaired real-time solution not feasible irony and humor night vision devices and third, the occult prehistory of telecommunication, (1994/K 252) (1999/J 428) CARETEC exhibition classical arts (PW) (Diamanda Galas) to communicate visually via in the multimedia networks the state of the world after which operates permanently within structures of in cyberfeminism from TV work to Ugo Lhuga Live MARX (O. Augst, M. Daemgen, radio art is not (1986/K 83)(1989/J 59) electronic aids for Internet (1996/P 136) (only TV networks have sufficient (Birgit Richard) ideaes for leaving the body (OG) its techno-transformation (PW) radio projects (it was possible to speak with the figures) C. Korn, T. Desy) (2003/F 22) sound art the handicapped (VR) design was (Elisabeth Goldring) bandwidth) Electrolobby as international (1999/J 336) (Stadtwerkstatt) techno-séance (1998/K 101) inspired by alchemist The techno-world of machines represents a game lab (2001/K 195) (P. Weibel) Instead of original technical reproductions, (1994/K 162) voice distortions SLO – Scanning COMPUTER as handicap - what computers can't do practices (Silver) radical transformation of being (PW) scientist-comedians Live TV with telepresence Ready-Made-Medium appropriation and simulation, instead of author collective, Laser Ophtalmoscope Unplugged – Methods (Symposiums) (1996/P 156) (1992/II-K 28) (Stadtwerkstatt) (Lev Manovich) (Joe Davis) video gamel – urban (1998/II-K 178) as presentation form/TV Vocoder machine, text, instead of truth - verdiction and virtuality, creating realities that can be The techno-transformations of art, from Until the late 80 s military (1995/K 324) (1995/K 343) evaluating the emotional (Thomas Dreher) instead of thing - medium, instead of material experienced emotionally - even entirely communication devices photography to the digital image, are parody of violence simulators - the American emergency services (1995/K 55) display of parallel space content of the voice immateriality, instead of reality - fiction, instead of being without data helmet and cybergloves device for memorizing (verbal output devices) machinic art forms (PW) (L. Hart, Julien Alma) SIMNET and applications (Tommy Lehner) and reality only signs, fictions, (2001/K 20) (connectionist installation) Voice Boxes (2000/F 34) knowledge (CBT) like flight simulators supported communication The history of technology Live transmissions of A carvival of misplaced devotion simulation. (Natalie Jeremijenko) In the worst case, what were considered the prosthetic aids facilitated communication: has always been the history operations from the (paper tiger TV) (S. R. L. ) (Seattle 1990)(1990/II-K 233) adapted shooter games collection of (1996/K 402) RE: MARK – transforming sounds into origin of the commercial will be left of the VR touched or supported while Nybble-engine-tool. Z of its myths and utopias (OG) (PW) The transformation of techno-art can public hospital (1995/K 337) light signals onomatopoeia dynamic forms (Golan Levin) movement will be only an writing means for controlling the Borderland (shooter video game techniques (M. Jahrmann, M. Moswitzer) video game are extremely popular be described as a transformation of the auditive battle game (Agathe Jacquillat, (instead of acoustic output (2002/K 410) infantile toy industry TV as domestic Literature: (J. Alma, L. Hart) (2000/P 86) (2003/F 40/P 92) (Melita Zajc) ontological triple (being, work, truth) into the environment (remote control) Klang. Kanone (Stichting Rainstick) Tomi Vollauschek) (Peter Weibel) telescopy (PV) Blick, Stimme und (k)ein Körper – Der Einsatz (1995/K 77) semiotic triple (sign, medium, power). voice recognition (1995/K 258) (2003/P 58) (1990/II-K 30) Voice System Glasfieber – bowling alley (1998/II-K 178) Bio-Mechanical Gameshow commands through face Biocybernetic technology ARSDOOM Happy Doomsday! der elektronischen Medien im Theater und in AAC = augmentative and (Stadtwerkstatt) (1996/K 324) (Cálin Dan) (1998/K 148) DOOM II and the (1997/K 362) (Time´s up) muscles (1994/K 198) (for paraplegics) art adventure speech recognition interaktiven Installationen / Mona Sarkis professional gamers (2001/K 192) VR-landscape "Place. Holder" alternative communication speech recognition auditive poetry military version (T. H. H. Boykett: Theory of Hypercompetition) (C. Helbock) (1995/K 262) culture of war (Brenda Laurel, Rachel Strickland) (1989/K 167) Maschinen, Medien, Performances – Theater an On Jandl – digitalized mouths (hearing the presence see also: radio view aids for self-active game (D. Rokeby) Computer game "Marine Doom" speech sound Augmentative forms of communication: (1998/K 163) Brucknerhaus (1971/T) Noan Bushnell invents the world's Text Rain (2000/K 389) (1994/P 124) interactive art on the Net (Eku Wand) of the user) der Schnittstelle zu digitalen Welten / and problem-solving behavior developers are the (1980/K 76) hand foot signals, head movements, (Orhan Kipcak) first commercial video game (Camille Utterback, Romy Achituv) (Eduardo Kac) (1995/K 170) (1993/P 87) Martina Leeker (Ed. ) contemporary masters articulation eye movements, facial expression, gesture, (gerhard rühm) (1972/T) Atari: video game machines "Pong" computer game in of illusion Liveness / Philip Auslander (phonation) vocal synthesis emotional expression, posture, . . . (AH) Interactivity creates an intimate relation (1976/T) Fairchild : video game device special input devices games / deconstruction and (N. Suzuki) Speech Recognition concert performance Computers as Theatre / Brenda Laurel (ML) Since the publication of (Leo Küpper) (1984/K 29) Acoustic events for one possibilities of the between the artwork and the viewer (J. Shaw) (1980/T) Pac Man (a player only managed to play(1993/K 263) macpanic modifikation (2003/K 227) (1996/P 150) foot-mouse, headpointer, Voice Recognition linguistic notations of Alternative forms of communication: "Computers as Theater" (Brenda Laurel) human voice Spielfiguren in virtuellen Welten / Natascha voice and apparatuses (1970) all 256 levels after 20 years) eyetracker the voice (1989/K 272) sign language, images, graphic symbols Feedback Speech Translation interactive games. . . are designed and AR / Audio Reality (instead of VR) (Diamanda Galas) (1986) (AH) interactivity is generated in the various sound mikado (Ernst Jandl) (1980/K 88) Adamowsky two-way interaction video games see above (Amanda Stewart) (Wolfgang Georgsdorf) playful art judged according to aspects of theater. (1999/P 80) avant-garde (Steffen Wernery) user interaces by touch, gesture, movement, (Waltraud Cooper) feedback art (PV) integrating games in Für eine Ästhetik des Spiels / Ruth Sonderegger special output devices: (Myron Krueger) electroacoustic singer (1995/K 205) acoustics or sight (1987/K 100) Messa di Voce – visualized Virtual Labyrinth Interactive theater for 4 virtual therapy (1994/K 199) Künstliche Spiele / Ed. Georg Hartwagner, Braille display Responsive Environments (1986/K 90) speech and song (a performance) (Bill Keays, Ron beings and live audience street theater Stefan Iglhaut, Florian Rötzer (2000/K 365) (AH) game structure as model database-based interactive (2003/K 311) (Tmema, Jaap Blonk, Joan La Barbara) Mac. Neil) console kids sound-therapeutic objects (AH) mid-80 s as the (1996/K 404) (Luc Courchesne) Sissy Fight narration (2001/K 108) (1984/K 359) Intermedialität – Das System Peter Greenaway for work structure (Machiko Kusahara) circuit systems interactive kaleidoskop console games (1979/K 37) beginning of the ludic society (Nora Barry) Urban Sax (K 364) (PW) The origin of technology The Ludic Society (Neil Postman) / Yvonne Spielmann dynamic animation through gestures taking the (1979/K 47) story telling game on literature passages virtual mask celebration, (Sidney Fels) (1998/K 201) online gamehall games and traditional (1998/P 62) rhetoric of hypermedia is rooted in this universal homo ludens (Flusser) voice into consideration / visual performance system (1994/K 40) (Elfriede Jelinek, remote-controlled puppet theater Art_server: stargate to netculture / Margarete culture in Japan for Ascott the concept of "interaction (2001/K 194) escape game (Indesen, Krohn) (AH) In 1962 at MIT condition of lack. (1994/K 17) Concept: computers as the topic was covered by the O. K Linz with "Toysń Noise" (Golan Levin) (2000/P 82) Audiovisual Environment Suite G. Hüngsberg, H. Franz) (Ken Feingold) moments of interactivity was central around 1980 Jahrmann & OK (Ed. ) (M. G. Wagner, phenomena of perception in E. Sutherland described digital storytellers GOLEM – an (Art_server: stargate to netculture) (1996/P 134) theater (Brenda Laurel) (at Ars before 1989) (PW) S. Carroll) Nybble-Engine / M. Jahrmann, M. Moswitzer computer games (2001/K 69) consoles (R. Kuwakubo) a "sketchpad system" for (DM) films are determined to a interactive opera ("Huge Harry" = voice synthesis (1989/K 87) on dramatic interaction immersive new methods of storytelling (? ) Shared Environments Der bewegte Betrachter – Theorien der (2002/F 044) (T. O. Meissner) see also: view of fashion interactive computer literature game (2000/K 397) high degree by rhetoric (Richard Teitelbaum) ATHE-MOO machine) (1997/K 110) (1990/II-K 259) (mixed reality technology – pop-up book) media opera by interaction (2002) der Multi-User-Games interaktiven Medienkunst / Annette Hünnekens graphics (1997/K 433) (1990/K-I-84) Virtual Voices (Kenji Iguchi, Tomoki Saso) (2003/K 420) (2001/K 20) John Sanborn (1986) paradoxes of Pixelspaces (small conference) multi-actor-server Ästhetik der Inszenierung / Ed. J. Früchtl et al. Voice synthesis From Text to Speech see: entertainment view Critique (Patrice Pavis) (1999) (ML) one of art's tasks is to interactive art interaction (1989) opera cabaret user interaction (2001) space as game – Die Zeitgenössische Dramatik und die neuen (1997/K 120) (AH) Merging individual art forms into an integral every machine, every technology, see: sports aspects mobile games (2002/P 24) expose and deconstruct the rhetorics of (AH) interactive media art as Arleen Schloss game as space Medien (essay) / Patrice Pavis art form. . . that conjoins new media with theater, every computer being is a foreign performativity discourse interfaces (David Rokeby) In the Network of Systems "the art form" of the 90 s see: interface view (1986/K 55) N-cha(n)t (2002/F 12) Unexpected Obstacles – The work of Perry (Masuyama) opera, performance, . . . body in the heart of theater theory (PRIX) for an interactive art (David Rokeby) game performance (on "Zulu Time") Hoberman 1982 -1997 (HK) Yet we are also confronted with computer theater studies the computer picks up (AH) (Roger Malina) Interactivity was first (AH) Interactive Media cyber-opera (P. Weibel) (ars 1989) a kind of dialogue turbulent operette in producer CAVE was conceived as freaks that basically don't want to do anything Mark von Raden / Energized Gaming Culture theater anthropology utterances and freely develops officially proclaimed a new art form with the Festival (Los Angeles) (1995) "Wagner's Madness" electroacoustic fashion (2002/F 12) media opera with the systems "Virtual Reality Theater" but operate pinball machines. (D. Rokeby) the Animax multimedia theater (1997/P 102) them (2002/F 042/P 072)) establishment of the prize (1990)! "Sparky Prize" (1995/K 368) dramatic discourse (1984/K 329) (Altmüller/Bogner) with scientific content and (1979/K 03) Perfect Lives (Robert Ashley) key word "interactivity for children (2002/P 90) LINZ. . . ! multimedia opera (? ) performance and play performance studies projection possibilities corresponding An Opera for Television arose in 1988 (Autorenwerkstatt MEET) music game (2002/K 418) the world of interactivity playful interaction (2002) "Wild-style Video Operette" performance theory to the criteria of the showcase (SIGGRAPH 92). (1986/KII-218) interactive (Tina Blaine, C. Forlines) computer games (1996/K 406) (Masaki Fujihata) E. W. Adams (2002/F 12) about ecology, fun, politics, evolution, Europe, energy (the three sacred E's), types of interaction (1999) Theater game theory (Daniel J. Sandin) (1996/J 85) multimedia show festival house as electrolobby game design media work the universe, sex, household, nature, technology and sports (on P. Weibel) art of the scene language games approach (Patrice Pavis) high-tech location (ML) (Weibel) net games "The Artificial Will" electronic media opera (AH) interactivity as an one of the cores of mediatization of interactivity (AH) multimedia performance postmodern views digital puzzle multimedia "empty" concept – electronic art and (1984/K 239)(1989/J 24/J 124) (P. Weibel) (Susanne Widl, Reneé Felden, ZYX) interaction of non-linear theater (H. Lepka) (Hiroshi Matoba) anthropology (of laughter) Robo-Cup s. r. theater as show machinery (1988/K 38) "without content" (Huhtamo) sophisticated technology group dynamics (1994) Interactive Computer (Lawine Torrèn) (1998/K 203) playful interaction as a (robo-games) is interactivity interaction design (2001) Theater of hybrid machines Art Com Electronic Network (2000/K 294) telematics and total data work (AH) Theater (1981) central "pattern" of the Ars: (1989/K 87) (1996/K 274) (Don Ritter) the mechanical Bauhaus stage (Woody Vasulka, David Dunn) (ML) the boundary between theater dialogical interaction (2001) (ML) theatrical-performative. ACEN (1986) (1989/K 130) (1989/K 168) see also: music theater view creative (Bruce Thomas) Wearable AR System modified use of games (1988/K 93) (Theater of Sounds) games, music tools, . . . (2001/K 79) and performance and mediatized (1990/II-K 265) mobile phone digital Installation Online-Theater (Stephen Wilson) for the game Quake (2002/F 12) (Mathias Fuchs, Sylvia Eckermann, (ML) Emphasizing the performative in interaction (AH) perusing, traversing, performance occurs today at the medium of interaction (2000) (Penelope Wehrli) games M. Jahrmann, Max Moswitzer, Why has this field not been mined media performance simultaneously forms searching, exploring, . . . interactive WWW level of "liveness", the co-presence (ML) theatrical digital (2001/K 87) tele-interaction (ML) Orhan Kipcak) (ML) the relevance of theater at Ars Electronica? (Technical the nexus to the discourses on media interaction tool (2003) of actors and viewers (in)voluntary music-construction-game-machine experimental arrangement (MF) the communicative works (DH) (Kanae Ushiro, modified use of video games within information technology framework conditions at Brucknerhaus? and theater interactive narration interaction (1996/P 55) go-programs (Sybille Hauert, D. Reichmuth) guidelines of theater could works that don't Takashi Morimoto) cf. : Maschinen, Medien, Performances – Theater an der Schnittstelle media performance (ML) liveness should also be retained (Stadtwerkstatt) and telecommunications Costs of one-off performances? ) (A. Steininger) (2003/F 41/P 104) be investigated with the help function offline chess programs Polylog – for an interactive zu digitalen Welten / Martina Leeker (Ed. ) when theater uses audiovisual and (Barbara Büscher) (1990/K-I-152) domino game (2002/K 415) (ML) a new art form is developing from of digital technologies art (Weibel, Lischka) (1989/K 65) electronic-digital media scenic concerts external interaction /vs/ (Stadtwerkstatt) (1997/K 284) (S. Schießl) directly linking theater/performance documentation culture and work (ML) the technical concept of musical play (AH) Motor of transformation: from cyberspace theater networked stage (MF) internal interaction (of modules) 3 rd computer chess championship Autodrom Crashcourse and digital media Web scene projects and reproduction "liveness" on the media side: "Le système du monde" are a unit at theatrical level the mixed reality performance modernism to postmodernism (1980/K 177) (Heiner Goebbels) (2001/K 354) (1979/K 05) interaction in real time motoric electronics: playing figures in (1998/II-K 267) E. Said: The new electronics. . . All Play (Cinematrix) – audience participation constitutes a continuous feeling of tension between (1982/K 25) scenic concert with live demonstrations transmitting live (AH) new forms of (G. Squad, M. Chalcraft, Re-establishment of an equal balance (Gérard Pistillo) !! could pose a greater threat to independence than colonialism. (Loren & Rachel Carpenter) (1994/II-K 102/P 105) virtual worlds the actuality and virtuality of the networked stages MIDI instruments theater performance (1979/K 03) events scenic interaction Anette Schäfer) Summer Academy – Hellerau 1999: experiment of a between the cultural and the commercial (1990/K-I-88) The new media are strong enough to penetrate deeper into (1999/J 395) concept of live electronics (1988/K 121) (1997/K 333) medium of TV (1989/K 87) (PW) Theater and New Media Info. War takes place in the Cultural Ecology field (2002/K 52) "receiver" cultures than was possible for any previous manifestation (1980/K 52) culture-critical (Isabella Bordoni, simulation of a story (1989/K 154) (ML) the media do not touch sphere of new cultural (Andruid Kerne) (MF) exploring theater itself net culture of western technology. perspektive (1998/II-K 256) R. P. Dalò, G. Pensili) (AH) more complex forms of staging from a Japanese (Stadtwerkstatt) the liveness of theater techniques (1998/K 23) (1996/P 104) inter-art project Literature: as an apparatus For the cultural programmer the (2000/K 19) and dramaturgy (ML) With the emphasis on the performative, (2002/P 118) live remix laboratory (Ed Emshwiller, Morton Subotnick) No play Operating system art Kursbuch Medienkultur – Die maßgeblichen net culture Internet poses an even greater (M. Kosugi, Y. Ando) (1995/P 124) not only is a new, generally acknowledged order Cultural impact – as criterion (1999/K 380) use of music computer Presence shifted to spheres performance theater (MF) Are media as desired context Theorien von Brecht bis Baudrillard threat than the channel zapper (2001/K 20) established, but transformation itself becomes the new for the PRIX ARS Jury performance software outside the art world (2001/K 12) theater media? twofold Mapping (mixed reality) Kursbuch Neue Medien – Trends in Wirtschaft principle of cultural order (1988/K 129) settling into the inevitable (symposium) Art as public cultural production creates a complex theatrical Politik, Wissenschaft und Kultur / S. Bollmann Brucknerhaus location Computer culture software cultures links Context Kepler-UNI multimedia work (1989/K 87) (cf. Ars 2004 – What Will the Future Bring in 25 Years) cultural sciences Internet as cultural space (2003/K 229) (Christiane Paul) (2003/K 136) (ML) The performative as the intersection of reality (MF) Kursbuch Internet – Anschlüsse an Wirtschaft by the Danube 1996 start of a new era of organization (R. Born) (1989/J 20) and RISC (over 15 yrs. too Globe Theater – A history play cultural philosophy Culture is a market full of theater and media advances to the key term for with the opening of AEC (1996/K 72) (1986/K 09) Symposium u. Politik, Wissenschaft und Kultur / Bollmann LIVA/Brucknerhaus (Cloud of Sound ideological stereotypes of Digitales Age little cooperation with ars) for robots (Adrianne Wortzel) contradictions (2002/K 230) cultural anthropology a culture of constantly transgressing boundaries and (organization withdrawn from (Gene Youngblood, Larry Cuba, (F. Pichler) the digital revolution Der Daten. Dandy – Über Medien, New Age, as partner for content projects) Not enough events/lectures in the field of Research cooperation at AEC (1997/K 350) (R: Wischenbart) Art's claim to an dealing with what is unpredictable and indefinable "Information Society" Black cultural theory LIVA) (1999/J 74) Kathy Rae Huffman, Franke, (1996/J 51) new media outside Ars Electonica (even Technokultur / Agentur BILWET opening, but then little (until 1995) Continues to stand for a unbounded future (1989/J 07) Hans Donner) cultural studies (discourse) hardly any support during the year at AEC only a few projects units of cultural cooperation with the ars Collective Intelligence – mankind´s emerging music orientation knowledge cultures rhetorical project in everyday life, knowledge society OK (and Gallery of the Province before that) cultural history like Intertwindness (1997/1998): information (30. 6. 95 Prof. Pomberger member for media art from the initially with Bruckner reference world in cyberspace / Pierre Lévy ORF as media institution (and facilitator as exaggeration, misconception interest in certain forms of installation art Margarete Jahrmann, Christa Schneebauer) (1996/K 26) context-aware theories of the AEC Board of Directors) Prerequisites for a The effects of industrial (machine-based) and postindustrial federal government Visuelle Kultur – körper räume medien / in the fields of video, TV, radio, satellite Pop culture building on and underestimation humane information (information-based) cultural machinization, mediatization, simulation, neo-situationsims discourse technology (2001/K 18) Cyberspace and Globalization creates a (1998/K 21) Ed. Peter Mörtenböck, Helge Mooshammer broadcasting) (Christine Schöpf, Hannes Leopoldseder) Context Art University society (1997/K 210) synthetics, semiosis, artificial reality, withdrawal of being, etc. (PW) Media professorship first in humanities only as postmodernism discourse neo-cultural environment cyberculture Das Medium ist Massage / Marshall Mc. Luhan, Lentos will only start including (P. Fleissner) (1992/K 10) No risk capital to finance art (cooperation with other universities (1996/P 15) 2003/2004 (Sommerer) "minor" services Media. MOO as multicultural (2002/K 81) Since 1996 the Ars is managed Quentin Fiore contemporary media beginning The AEC is intended to be a prototype in conjunction with Ars) light works (W. Cooper) chaos (1995/K 139) "single-handedly". see also: identity view re-engineering of of this kind of site of a new digital in 2004 (PW) Psycho-Techne, AEC as carrier of 2004 will be a key year – Mechatronikum (Prof. Pichler) cultural systems phase of culture (Leopoldseder) missing gallery obligation to program AEC ended up with too Archi. Media-Institute (proximity to AEC) ORF withdraws from PRIX – protheses civilization cultural competence Media Linz (Hattinger), Scene Center (Feuerstein) (DDDr. Schwendter) Ars Electronica Futurlab Design Centers (1994) context The future of AEC & ARS is to be designed little space (exhibitions in conjunction with ars) (1994/K 24) (1996/J 46) Defining the position of as further ideas of content for AEC location Media Era (DM) (1984) (1989/J 163) (in-house products) in terms of structure and personnel. (including Christian Möller) (compare Paderborn or ZKM) "Electronic Culture" (2003/F 38) (1996/J 33) due to electronic or digital Magnet (print and web magazine) media, among others Thanks to: H. W. Franke, Boris Nieslony, Astrit Schmidt-Burkhardt, Trans. Public, Stadtwerkstatt, Servus, MEXX, G. Lischka, Udo Wid, Ruth Schnell, Georg Ritter, Rainer Zendron, Christa Schneebauer, Gitti Vasicek, Martin Sturm, Walter Pamminger, Sabine Zimmermann, Walter Ebenhofer, Lioba Reddeker, Kurt Kladler, Lydia Haustein, Bernhard Cella, Gerhard Fröhlich, Josef Lehner, Franz Reitbauer, Magarete Jahrmann, Margit Knipp, F. E. Rakuschan, G. Harringer, Manuel Schilcher, Willi Mayrwöger, Eva & Attila Kosa, Florian Brody, G. Hattinger, Dieter Mersch, Oliver Schürer, Isabell Muhr, Helmut Stadlmann, Tim Otto Roth, Josef Nemeth, Energie AG speed view digital musics film, video, TV (I) 27 filmic view 1979 view of animation 1970 s 1986/87/88/. . . 1982 28 performativity as view performance view (I) 1987 performative installations 29 socio-logical view Ars: Performativity as Mediality societal view cybernetic view anthropological view / ethnological view 25 systemic view 26 temporal view computer animation / visual effects formal view of the score script view theological view Ars: Performance – mixed reality 1984 ritual view 1979 -82 movement view / dynamic 27 process view of the act simulation view 2004 1960/70 s digital communities 30 behavior view 2003 view of action 28 pragmatistic view role view radio view 1993 ars: on simulation 29 TV view II mythic view mythological view art as physical sensatio 31 view of metamorphosis magical view art as real-time event transformation view 30 therapeutic view trash view 1989 view of handicaps voice view art as energy flow art as action art as performance art as broadcast ars: on handicaps 31 orality view 1994 theater view II rhetoric view linguistic view art as social issue art as transmission culture of laughter view carnival view 32 playful view gaming view ars: the world of games competitive view art as therapy view of interactivity view of staging interactive art 1989 theater studies view 32 theater view / opera view presentation view 2001 art as articulation art as transformation 1988 liveness view ars: theater at the nexus art as scene art as game art as interaction ars: The Art of the Techno. Future situation view (Linz) 01 culture-theoretical view 01 contextual view art as location factor art as culture

perception theory of architecture phenomenology of perception location research theory of urban locations architectural theory / arch. discourse 25 spatial view of places geographical view hyperbolic space (Dana S. Scott) (1992/P 60) position recognition Literature: Der reine Krieg / Paul Virilio & Sylvére Lotringer Die Sehmaschine / Paul Virilio Information. Macht. Krieg / Ed. Stocker, Schöpf iconoclash – beyond the image wars in science, religion and art / Ed. Bruno Latour, P. Weibel Von der Bürokratie zur Telekratie – Rumänien im Fernsehen / Ed. Peter Weibel Archimedia – Institut for arts and technology – Projekte 95/97 / Ed. Möller, Knipp, Lachmayer Tacho 3, 4 / Ed. Peter Keicher Lab 95, 97, 02 Jahrbuch für Künste und Apparate Zentrum für Kunst und Medientechnologie Karlsruhe / Ed. Heinrich Klotz 1992 The Kitchen NY turns twenty Mediale Hamburg 1993 Mediamatic – Doors of Perception 1 24 structural/structuring view of layering sound-space installation Is there a place in cyberspace? (Bernhard Leitner) (John Perry Barlow) (1982/K 159) (1995/K 130) video images represented spatially the seeing ear along a GPS track (Masaki Fujihata) Sound space motion system Location(1993/K 254) !!! (F. Paschke) (2001/K 74) GPS based games (2002/P 38) space simulator geographical (itsalive) (1982/K 213) issues see also: cartographic view art as form of space – from multimedia space to multimedia terminal (1989/J 26) Literature: CODE – und andere Gesetze des Cyberspace / Lawrence Lessig Decodierund: Recodierung / Ed. Toni Kleinlechner Exploring the Invisible – art, science and the spiritual / Lynn Gamwell Internet-Dateiformate / Tim Kientzle Krise der Linearität / Vilém Flusser Topic Maps / Richard Widhalm, Thomas Mück Die Unwahrscheinlichkeit des Ästhetischen und die semiotische Konzeption der Kunst / Max Bense Zeichen und Design – Semiotische Ästhetik / Max Bense Literature (2): Architektur in Bewegung – Entwerfen am Computer / ARCH+ 128 In. Formation – Faltung in der Architektur / ARCH+ 131 Fassaden / ARCH+ 108 Architektur des Ereignisses / ARCH+ 119 -120 Medienarchitektur / ARCH+ 149/150 Diagram Diaries / Peter Eisenman Hybrid Space – new forms in digital architecture Peter Zellner Vom Verschwinden der Ferne Telekommunikation und Kunst / Edith Decker, Peter Weibel außen räume – innen räume – Der Wandel des Raumbegriffs im Zeitalter der elektronischen Medien / Ed. Heidemarie Seblatnig Literature: The production of space / Henri Lefebvre Surroundings – Essays an Space and Science / Ed. by Peter Weibel Raum / Texte zur Kunst Heft 47 - 2002 CTRL Space – Rhetorics of Surveillance from Bentham to Big Brother / Ed. by Th. Y. Levin. . . Netzstadt / Franz Oswald, Peter Baccini Meta City Data Town / MVRDV Five Minutes City / Winy Maas The Regionmaker / MVRDV Gehry Digitale / Bruce Lindsey Eisenman digitale / Luca Galofaro Hyper Architecture / Luigi Prestinenza Prglisi Digital Odyssey / Carmelo Baglivo, Luca Galofaro Information Architecture / Gerhard Schmitt Induction Design / Makoto Sei Watanabe Bits and spaces / Ed. by Maia Engeli see also: view of transformation / formal view / system view A. Shulgin (1997/P 100) Form Art (James Mc. Cartney) (2003/F 11) Composer; author of the object oriented synthesis language "Super. Colider" topological view tectonic view code view of mathematics view of informatics Literature: alt. culture – an a-to-z guide to the ´ 90 sunderground, online, and over-the-counter / Steven Daly, Nathaniel Wice Music vs motion – FLIPS 5 Tekknologic, Tekknowledge, Tekgnosis / QRT Pop Sounds – Klangtexturen in der Pop- und Rockmusik / Ed. Th. Phleps, Ralf von Appen Id. N international designers network 2003/10/2 flights of fancy Id. N international designers network 2003/9/4 designer toys Alles jetzt! – Die Mediatisierung / Gerhard Johann Lischka Kulissen des Glücks – Streifzüge durch die Eventkultur / Gerhard Schulze Literature (2): CTRL Space – Rhetorics of Surveillance from Bentham to Big Brother / Ed. by Th. Y. Levin. . . Information und Apokalypse – Die Strategie der Täuschung / Paul Virilio Literatur (2): Die Welt als T-Shirt – Zur Ästhetik und Geschichte der Medien / Beat Wyss Kultur – über alle? gegen alle? für alle? M. Wagner, H. Fabris, I. Mörth u. a. Rituale der Medienkommunikation – Gänge durch den Medienalltag / H. Poss, C. -D. Rath Station Rose – cyberspace is our land Prize-Winners in the Music Section - Computer Music 1987: Peter Gabriel, Jean-Claude Risset, Marc Andre Dalbavie, Richard Teitelbaum 1988: Denis Smalley, Barbara Zawadzka, Trevor Wishart 1988 Honorary Mention (all sections) : Paul Codsi, John Fekner, Enrique Fontanilles, Rainer Ganahl, Franz W. Kluge, Jerzy Kular & Isabelle Foucher, Larry Malone, Achim Stößer, Tamas Walicky, Hiromi Watanabe Jeff Brice, Jeremy Gardiner, Irene Hohenbüchler, Stefan Holtel, Johann Jascha, Laszlo Kiss, George Legrady, Massimo Ontani, Norbert Speicher, Roman Tomaschitz, Mark Wilson, Thomas Wittmer Javier Alvarez, Martin Fischer, Mathias Fischer-Diskau, Udo Hanten, Adelhart Roidinger, Alejandro Vinao, Mia Zabelka 1989: Kaija Saariaho, Francois Bayle, Alejandro Vinao, Tisma Vojin, Michael Mc. Nabb, Haimo Wisser, Viola Kramer, W. Mitterer, Wolfgang Heiniger, Gerald Trimmel, D. Teruggi 1990: Karlheinz Stockhausen, Jonathan Harvey, Ake Parmerud, Zorah Mari Bauer 1991: no competition 1992: Alejandro Vinao, Francis Dhomont, Wolfgang Mitterer, Kristi Allik, Phillip K. Bimstein, László Dubrovay, David E. Jones, Elsa Justel, Catalina Peralta-Caceres, Michael Rosas Cobian, Stéphan Roy, Wayne Siegel, Denis Smalley, Peter M. Vaughan 1993: Bernard Parmegiani, Javier Alvarez, Jonty Harrison, David Chesworth, Francis Dhomont, Roberto Doati, Pscal Gaigne, Jens Hedman & Erik Mikael Karlsson, J. Lejeune, 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 1995: Trevor Wishart, Flo Menezes, Gilles Gobeil, Javier Alvarez, Patrick Ascione, Ron Averill, Christian Calon, Agostino Di Scipio, Stephan Dunkelman, Rolf Enström, Elizabeth Hoffman, Erik Mikael Karlsson, Cort Lippe, Jack Tamul 1996: Robert Normandeau, James Dashow, R. Renouard Larvière, F. Boschetto, C. Brown, Kui Dong, Jonty Harrison, Matt Heckert, Gordon Monahan, Gordon Monro, S. Montague, M. Redolfi, J. ter Veldhuis, Alejandro Vinao 1997: Matt Heckert, Maryanne Amacher, Jonty Harrison, Patrick Ascione, Christian Calon, Luigi Ceccarelli, Ambrose Field, Annie Gosfield, Joseph Hyde, Charles Kriel, Ake Parmerud, Laetitia Sonami, Mario Verandi, Mark Wingate, John Young, 1998: Peter Bosch & Simone Simons, Aquiles Pantaleao, Hans Tutschku, Natasha Barrett, Bret Battey, David Behrman, Luigi Ceccarelli, Ambrose Field, Joshua Fineberg, Joseph Hyde, Gordon Monahan, Adrian J. Moore, Magie Payne, Joran Rudi, Hildegard Westerkamp, G. H. Hovagimyan & Peter Sinclair 1999: Aphex Twin – Richard D. James, Mego: Christian Fennesz & Peter Rehberger, Ikue Mori, Stefan Betke, Paul De. Marinis, Rose Dodd & Stephen Connolly, John Duncan & Francisco López, Bernhard Günter, Richard Hawtin, Zbigniew Karkowski & Masami Akita, Andi Toma & Jan S. Werner, Terre Thaemlitz, Thomas Mc. Intosh & Emmanuel Madan, Gaetan Collet & Noelle Collet & Claude Pailliot, Ralf L. Wehowsky 2000: Carsten Nicolai, Russell Haswell & Sean Booth & Rob Brown, Chris Watson, Maryanne Amacher, Dat Politics, Kevin Drumm, Mark Fell & Mat Steel, Ryoji Ikeda, Andrew Daniel & M. C. Schmidt, Kaffe Matthews, Martin Brandlmayr & Stefan Nemth & John Norman, Marcus Schmickler, Yasunao Tone, Uli Troyer, Erik Wiegand 2001: b. Lectum from b. Lechdom, Ryoji Ikeda, Markus Popp, Ted Apel, Aeron Bergman & Alejandra Salinas, Richard Chartier, Louis Duford, Orm Finnendahl, John Hudak, kid 606, J Lesser, Mille Plateaux, Pan sonic, Janek Schaefer, Tigerbeat 6 2002: Yasunao Tone, Aeron Bergman & Alejandra Salinas, Curtis Roads, Anticon, Iancu Dumitrescu, Ana-Maria Avram, PXP, Goodiepal, Russell Haswell, Francisco Lopez, Raz Mesinai, Romulo Del Castillo & Joshua Kay, Marina Rosenfeld, Mika Taanila, Carl Michael Von Hausswolff, Stephan Wittwer 2003: Ami Yoshida & Sachiko M & Utah Kawasaki, Florian Hecker, Maja Solveig Kjelstrup Ratkje, Oren Ambarchi, Whitehouse, Kevin Drumm, Rudolf Eb. er, Phill Niblock, Yuko Nexus 6, Gert-Jan Prins, Rechenzentrum, Tujiko Noriko, Toshiya Tsunoda, Aaron Funk & Rachael Kozak, Mark Wastell & Toshimaru Nakamura & Taku Sugimoto & Tetuzi Akiyama Literature: City of Bits - Leben in der Stadt des 21. Jahrhunderts / William J. Mitchell Die Telepolis – Urbanität im digitalen Zeitalter Florian Rötzer Metropolen des Weltmarkts – Die neue Rolle der global Cities / Sakia Sassen Klare Sicht am Info-Highway – Geschäfte via Internet & Co. / H. R. Hansen Das Regime des Image – Zwischen mimetischem Display und Corporate Branding / Ed. Gerhard Lischka, Peter Weibel Pictorial Metaphor in Advertising / Charles Forceville Art – computer faszination – Hersteller und Dienstleister structuralism (discourse) semiotics, semiotics criticism symbol theories of knowledge field theories topological psychology formal sciences diagrammatics / mapping chaos theory fractal geometry chromosome studies technicization and mathematicization belong together (DM) see: AI view tool view Who writes the codex of cyberspace ? Prize Winners Computer Graphics 1987: Brian Reffin Smith, Jürgen Lit Fischer, Melissa White 1988: David Sherwin, Peter Kogler, Andy Kopra u. Anerkennungen s. l. 1989: Tamás Waliczky, Charles Csuri, Kenneth Snelson, Atsushi Satoh, William Latham, Micha Riss, Cliff Pickover, Pierce & Merrill, Richard Voss, Bayele & Mück, Wennberg & Pécheur, A. Pagowski, P. Reinartz, M. North 1990: Manfred Mohr, Charles A. Csuri, Bill Davison, Achim Stösser, Char Davies, Daniel Pirofsky, Andreas Henrich, Don P. Miller, A. Scott Howe, Yoshiyuki Abe, Mike North, Joseph Nechvatal, Sandra Filippucci, Stanislaw Sasak 1991: Bill Woodard, Yoshiyuki Abe, Arthur Schmidt, Victor Acevedo, John Adamczyk, Cornelia Halle & Cimdata-Arbeitsgruppe, John Hersey, Rüdiger Hirt, Dick Ibach, Sui Morita, Patrizia Pio, Robert Martin, Tiziana Stanzani, Brian T. Sullan, Mike Zender 1992: Andrew Witkin & Michael Kass, Stewart Mc. Sherry, Mark Wilson, Yoshiyuki Abe, Jószef Bullás & Zsolt Krajcsik, Valie Export, William Latham, David Sherwin 1993: Michael Tolson, Char Davies, Thomas Bayrle, Jean-Francois Colonna, Scott Draves, David Haxton, Mogens Jacobsen, Laurens Lapré, Jolanta Makowska, Constanze Ruhm, Miroslav Stuchlik & Radim Vrska, Roman Verostko 1994: M. Joaquin Grey, Keith Cottingham, John Kahrs, Linda Dement, Pascal Dombis, Mogens Jacobsen, Ronaldo Kiel, Don Mac. Kay, Stewart Mc. Sherry, Gavin Miller & Ned Greene, Anne Gabriele Wagner & Adelhard Roidinger Video Art Videonale 1986: Klaus vom Bruch, Valie Export, Yoichiro Kawaguchi, Bernd Kracke, Ulrike Rosenbach, Jane Veeder, Henry Jesionka, Inge Graf + ZYX, Z. Rybczinski, Bruce Nauman, Douglas Davis, Peter Campus, Shigeko Kubota, Richard Serra, Ant Farm, David Hall, Dara Birnbaum, Vito Acconci, Douglas Davis, General Idea, Ingo Günter, Hans Weigand, Terry Fox, Douglas Hall, William Wegman, Bob Snyder, Friederike Pezhold, Shigeko Kubota, Marina Abramovic & Ulay, Bob Adrian X, Zelko Wiener, Maly Almy, Dan Reeves, Joan Logue, Marcel Odenbach, Klaus vom Bruch, Joan Jonas, Rupert Putz, Ed Emshwiller (1987) Ilse Gassinger, Gudrun Bielz, Romana Scheffknecht, Karl Kowanz, Manfred Neuwirth, Rainer Ganahl, Chris Althaler, Anna Steiniger, Hans Weigand, Ruth Schnell, Robert Wölfl & Lydia Lindner, Ilse Gassinger, Helmut Stadlmann, Inge Graf + ZYX, Rupert Putz, Karl Kowanz, 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, Francesco Mariotti, Franziska Megert, René Pulfer, Eric Lanz, Marie José Bürki, Hanspeter Ammann, Alan Mc. Cluskey, Gert de Graaf, Albert Wulffers, Antonio Segade, Jose Ramon Da Cruz, Paul Rodriguez, Javier Vadillo, Xavier Vilaverde, Javier Colis, Antonio Cano & Pedro Garhel, Maurizio Bonora, Giorgio Cattani, Ciancarlo Cauteruccio, Theo Eshetu, Crudelity Stoffe, Sanja Ivekovic & Dalibor Martinis, Simon Robertshaw, Tina Keane, Catherine Elwes, Marion Urch, Mike Stubbs, Graham Young, Jeremy Welsh, Stephen Littman, Clive Gillman, John Goff (1988) Nam June Paik, William Wegman, Peter Campus, Lynda Benglis, Juan Downey, Fitzgerald & Sanborn, Bill Viola, Davidson Gigliotti, Barbara Buckner, Dan Reeves, Woody Vasulka, Robert Ahsley, Joan Jonas, Doug Hall, Steve Fagain, Skip Sweeney, Sherry Millner, Gary Hill, Bruce Nauman (1989) Joan Brasil, Jason Gee & Brad Miller, Jill Scott, Tracey Moffatt, John Gillies, Peter Callas, D. Perry (1994) Bill Viola, Tom Kalin, Shelly Silver, Mica-TV, Leslie Thornton & Ron Vawter, Eder Santos, Jasna Hribernik, Michel Auder, Gary Hill, Therese Svoboda, John Goff, Eric M. Freedman, Diane Nerwen & Les Leveque, Paper Tiger TV, Max Almy & Teri Yarbrow, Steina & Woody Wasulka, Anna Steiniger, Bob Snyder, Van Mc. Elwee, Shelly Silver, Herman Verkerk, Sreco Dragan, Betty Spackman & Anja Westerfrölke, Tony Oursler, Branda Miller, Francesc Torres, Nany Buchanan, Edin Velez, Bruce Yonemoto, Stefaan Decostere (2002/K 16) simulated spaces (VR) free sounds – open spaces (2003/K 12) (for interior spaces) (DM) With the technicization of the aesthetic and view of signs (1) American military machine (1987) (1989/J 28) VR journey in a caravan with situative the increasing spread of technical reproduction data space student crushed power theories (P. Virilio) (2002/K 240) feeds (P. dÁgostino) (1995/P 114) information spaces the view of informatics is media, the history of media flows into a history (R. Ascott) (1993/P 08) by tank in triangular navigation the world of protocols power discourse (with Foucault) Bernard Cache (1990/II-K 36) the first "totally electronic distributed throughout of mathematicization (cf. Kittler) Tian-An-Men Platz (Cécile Le Prado) Objectile (2003/P 93) and formats organizational theory war" (P. Virilio) (1996/P 35) data space placemaking cyberspace several sectors (1996/P 190) (1997/K 347) discourse of institutional criticism Mixed Reality: overlapping (A. Lamorlette) Pixelspaces obsession with structure (1984/K 188) acoustic cultural manager debate the data space with the programming languages (Virilio). . . I reject the notion of the (Franke) discovery of (Eric Loyer) (1999/P 40) illusionary spaces space simulation systems live stage (MF) word as a model. This is the reason mathematical precision obscuring previously practiced (game rules of art) as art question (2003) see also: view of destruction Online-Location (Ruth Schnell) (1989) for my departure from semantics, in art Liquid Space (1999/K 433) uses and impacts of new conversion problems (Olia Lialina) A colossal change of power has see also: energetic view expanded (Joshua Davis) performative concepts of semiotics and semiology. (W. Jauk, H. Ranzenbacher) technologies (1999/K 403) been taking place recently see also: historical view digital poetry image spaces (DM) space (Dietmar Offenhuber) (2001/P 42) CODE diary (1998/II-K 219) the semioticization (AH) (1994/K 206) (Howard Rheingold) America as (Waltraut Cooper) (Virilio) we now notice the code is in the translation media coup d'etat (DM) The approach to the pictorial electronic space public images and empire of technology (1986/K 330) Ubiquity(omnipresence) (AH) space artists of the interface (1996/K 355) (Jocelyn Robert) does not lead through the cardinal paths CODE (1989/K 142) (Robert Adrian X) another source of power is the convergence (Arthur Kroker) images of power (P. Weibel) ubiquitous computer (1999/P 60) e. Government of semiotics or hermeneutics. . . report on project from 1981 of all other media into a single digital (1990/II-K 264) (T. Munzner, S. Levy) CODE = ART electronic colonialism e. Democracy (2004) basic modalities of space medium (1994/K 209) (DM) Computer: its formalism works with The meaning of CODE (symposium) differential topology (1988/K 247) simulating the respective from locality to dislocalization (AH) members of the electronic aspects of digital space number strings, not with signs, which is why (1995/P 164) (2003/F 10) (W. Negbenebor) the battle over the form of concentrations of power through new exhibition situation(spaces) master race non-locality (AH) code breaker (on Kittler) (Woody Vasulka, David Dunn) it would be wrong to call the computer a military as motor/source For the average African, the networks has begun technologies (2002/K 25) (Jeffrey Shaw) ascii art (1996/K 36) corporate connections negated "semiotic machine". . . (1990/II-K 265, K 271) of electronic developments globalization is just a transcending (1994/K 213) (Saskia Sassen) bar code as interface (1990/II-K 320) (2003/K 227) (2002/K 373/P 48) space (A. DÚrbano) diagrammatic analysis (DG) Transferred to human brainware. . . (? ) Bar code hotel synonym for neospace (Perry Hoberman) (Josh On) (1994/II-K 46) (AH) from hegemony Carnivore as communication, of power structures spherical. CAVE: the new military information (Perry Hoberman) colonialism. interspatial proximity Bar Code fractal geometry fractals public domain technology, power (A. R. Galloway) domed projection space SPIN the sound of mathematics to plurality complex with its cyberarsenal (1994/II-K 54) (2002/K 1204) (K. Becker, W. Zinggl) (AH) from totality to Improvisation, Sport & (Mesias Maiguashca) variation of the (Lucien Sfez) view from an networks can only be (1979/K 26) the sound of chaos conveying an (1995/K 25) (Virilo) (time´s up) (1993/K 205) (1996/K 219) particularity Evolution (Jon Rose) (1990/K-I-79) Tamas Walicky developed Transponder (PV) infamous (1995/K 398) airship fought with networks (B. Steritberg, K. Balzer) injunction against web site Chaos & Order incredible (2000/K 302) (1996/K 94) alternative perspective electronic handcuffs FBI-SW DCS 1000 (Hiroo Iwata) (1990/K-I-35) CAVE outside (2003/P 75) (etoy) theme of the fractals was "exploited" Object-oriented hypertext systems Ground Truth (1999/J 431) Robo. Cup the structure of the Internet sense of space systems (program to convey (2002/K 358) (A. R. Galloway) (2001/F 32/P 107) USA for the first (E. M. Haas, L. A. Bernhard) by P. Weibel in Graz in 1989, among others (Indesen, Krohn) (Robin Bargar, Insook Choi) (2000/F 37) The battle for the control of code CAVE protocol and counter-protocol Universal Product Teleklettergarten (F. O. K) media theory other spatial experiences) (ML) (2002/P 030) time (1996/J 15) (in collaboration with the ars electronica Linz) Cracker is a battle for freedom slacker luddites (A. Galloway, Eugene Thacker) Code (Barcode) (Mario Purkathofer) (2003/K 384) pop theory / pop-theoret. discourse virtual digitale coding space communicated through media world rogues (2003/K 42) (Howard Rheingold) Visualization of (critical art ensemble) (2003/K 60) The World of Numbers Every medium is (always) Hacktivism flying High & Low discourse (Mixed-Reality-Architektur) superpower (1999/K 217) (AH) due to the inclusion of the body (1995/K 142) (1999/J 300) architecture projects (Golan Levin) Infowar (1998) already rooted in overestimation of the digital – digital art an event chaos of art, technoculture discourse publication of Cyber-Terrorist (PV) cyberclasm practiced by interactive systems, the (2003/P 42) in the CAVE grammar of space use of virtual spaces for power (DM) (with Flusser, Weibel, . . . ). . . "turning everything into pixels" information science, magic (1996/K 259) strict separation between sports, games cultural studies discourse secret keys high-tech wars GPS as supplement to (1986/KII-135) (PW) text presentation superiority and art is becoming blurred Power and marginality fashion discourse / retro discourses three-dimensionally localized Global Information 24! Matrix Installation Digital "image"? Art will prove itself a All print media have been Information War (Virilio 1998!) in cyberspace sound in virtual reality hedonism debate Information. Macht. Krieg (1998) Live Cam Dominance (PV) (M. Aschauer, (1998/II-K 47) force far beyond the paradigmatic digitally produced for years E-Sport (Saskia Sassen) "pop fears" of the (Blanchard u. a. ) (1990/II-K 190) genetic New Subjectivism debate N. Pfaffenbichler, Case study 309 Information blockage establishing paths of information in threshold of the digital. (UR) without any essential changes Digital Sport (1995/K 186) the power of Suck my code, ars organizers (and The topic now seems to be covered by the Art University due to (1991) Gulf War programs Lotte Schreiber) fun debate (Tammy Knipp) in relation to in the (re-) production of Cyber-Athletics war zones in former Yugoslavia General! Prix jury members) the DOM Institute. suggested cooperation: DOM, Architektur. Forum, media agencies the first "totally electronic war" (2003/K 398) (1998/K 216) command (DM) the location of sound ontology of the event images (2001/K 215) (Mailbox: Bionic in Zerberus) The cyberspaces of (1996/K 189) AEC, ars => ars. ARCH + (Paul Virilio) (1991/P 06) Genetische control has long been (Rena Tangens) of the musical, is the Tangible CODE (symposium) REUTERS (1995/K 297) pop culture building on sociology (Bourdieu) (Mauss) finance, for instance, Telezone: An architecture competition-oriented perfect example of simulation Algorithmen a weak point of performative SDS 3 Small Dish Satellite technology (2001/K 18)(right) (2003/F 12) Control Society (1995/K 61) New Subjectivism are the spaces where for net architecture computer games overestimation of chance (J. Baudrillard) DJ-Culture (90 er) see also: view of playing (1999/K 29) centralized, (for receiving data) (1997/K 343) Towards a Society of Control? generative approaches (1990/K-I-59) (Iannis Xenakis) music box for profit is produced and (futurelab) (1999/K 362) privatism debate mathematicization of (2001/K 215) and entropy (1993/P 22) (M. Tolson) MS hate page electrolobby (2) (1997/F 43) architecture project realized hierarchical Musicians who use computers are offers for currency traders prize-winners came from the (c. Jerez, J. Iges) (O. L. Tremetzberger) (2003/K 54) cover versions (2003/K 227) power is founded. (Ken Goldberg) architectonic space (C. J. Mutter) world of games E-Sport: in game software (A. Jalsovec, structures. (2001/K 192) generally theoretical cripples, especially non-university area for the first time (linking structure) Firewall correspondences between (Steve Mann) (1997/K 218) (1995/K 186) (E. Berger, V. Christian, Cyberpunk (1994/K 11) film about a formula (1995/P 90) Gaming goes P. Reichart, G. Rossbacher) in terms of ideas of mathematics, revealing the tools of the Digital Culture (1999/K 371) (MESO) the development of music high-speed surveillance (Steve Mann) P. Purgathofer) (2000/P 36) (newest direction of (Thorsten Fleisch) generative art (1998/II-K 84) Firewall and Colophony Circuit Pro (2001/F 14) physics and acoustics. freestyle secret services (A. R. Galloway) & Lifestyle and mathematics superhighways (1999/J 420) (1997/P 94) micro-videokamera (PV) virtual tour of planned science fiction literature) (2003/P 154) Information Frontier (Electric Indigo, virtual architecture (PW) structures of (AH) virtual worlds and hypertext rock mass by (Tina Cassani, (Iannis Xenakis) (1997/K 144/K 217) architecture (Elisa Rose, Gary Danner) Mia Zabelka) Generative Tools generativity program (DG) Separations into categories of serious (1994/K 08) highlight the labyrinthine character Eela Craig (1978) sound systems (1998/II-K 71) an essential tool in the Bruno Beusch) (1990/K-I-74) (1990/II-K 251) (1989/K 124) (2003/K 336) Darwinism and entertainment or high and low culture lead (Involving Systems, public spaces under surveillance of the world and the texts (1979/K 02) information war consists of corrupting Can software (2003/K 345) (1996/K 180, K 210) architectonic storytelling parametrimizable art/design (Peter Weibel) to an unproductive dead end // MESO) Screen savers (2003/K 227) Symposium (London) information invisible surveillance technique itself be art? Chipkarte im AEC (1994/K 147) (Herman Verkerk) Housetool (1997) 386 x – cyberpunk rock band (1990/II-K 13) complexity and quality can be found electronic Emergency Broadcast (light dome) (Marie Sester) (1999/F 24) (Lynn Hershman) Code: there are no ambiguities, (2001/K 375) (Monotonik) Youth Marketing (2003/K 13) (1996/J 15) demolition variations (Alexej Shulgin) (2003/K 337) in every area Don´t panic! Hack it! pop culture surveillance techniques architects losing ground in the Network (Robert Deacon) (2003/F 41/P 120) multi-user sculpture: smart card dynamic architecture no hidden meanings (2003/K 36) Beta Lounge (2000/K 348) (2001/K 193) It seems that we always include a relation (MEGO) (1998/K 49) (1998/II-K 157) shadow of image-engineers (1996/K 316) surveillance, voyeurism installation (2001/K 308) (electronic Intelligent / Ambient Techno and – to an even greater or relationship in talking about media or First traces of important developments in Disco Man Intrusion (Julia Scher) (2001/K 281) (M. Shamiyeh) crypto-controversies surveillance stage technology (underground resistance, Station Rose, extent – Rave parties enable (2002/P 165) (Simon Penny) It should not go unmentioned (ESCAPE*sp. HERE) live music) means (DM) Contracts with HW and SW Information. Macht. Krieg (essays) informatics in conjunction with the ars (1979/K 31) Kraftwerk – Unplugged? Detection getting around the error that the top-down paradigm with its centralization encryption methods from the installations (2) direct experience. One feels United Frequencies of Trance) sponsors have consequences for (1998/II-Knn) 1 -2 years before the software became Disco takes over (1993/K 265) correction system of a CD of power is the logical continuation of the cyber pop (Station Rose) walls papered with pop field the rhythm, hears the noise, (1994/II-K 126) globalization discourse the independent scene ("the (J. Arqilla & D. Ronfeldt, G. J. Stein, S. Weiguang, available (in Austria). (1979/K 32) systems of unlimited surveillance (Yasunao Tone) panoptical model. the structure of the means (as relation) (DM) high-resolution sees the lights. . . large institution is already being W. Jincheng, I. N. Panarin, G. Schöfbänker, M. Wilson, liberalism discourse "Disk", "Dub", "Digital" all the way In Concert open source (Rötzer) In addition, traditional dualisms like instruments and software screens (1999/II-K 13) using "Augmented (Melita Zajc) sponsored. . . ") C. H. Gray, Ute Bernhardt, M. Geyer, B. Richard, (2003/K 225) to "Diffusion" jockeys (1999/K 380) (DJ Spooky) economy as discourse (Foucault) master/slave, general/soldier, boss/ from the pop field tapeziert sind Reality" (to enhance sensory (1995/K 68) M De. Landa, J. doyne Farmer, M. Müller & W. Wagner, office design code art – code poetry extreme scratching (2003/F 23) (game rules of art) music, video and games culture (PV) mass worker. . . are repeated and reinforced. Interface design (cf. below) (1995/K 26) (Gates) perception) the soldier becomes P. Virilio, E. Schmiederer, Kunda Dixit, D. Rushkoff, disco culture as Art Deco code art – minimal code techno-culture de- and reconstruction of (1996/K 194) cyber-capitalism a roaming command center G. Lovink, P. Riemens, RTMARK, R. Adrian, P. Garrin, (1979/32) Typodesign (cf. below) deep antipathy music cuts (Involving Systems) Laurie Anderson (1996/K 212) Aural Screenshots T. Druckrey, F. Kittler) post-symbolic (1995/K 384) (1998/II-K 25) VR systems for towards Exercising power in an installation (D. Rokeby) Cybersquatting (2003/P 66) (Fadi Dorninger) discovery of the show as electronics – popularization electrotecture online catalogue (Rossbacher) communication simulation and training purposes popular I found out that the user's feeling of being able to (Domain Spekulation) Micro-DJ lectures pop culture building on artificial (1995/K 365) Cyber. War, Net. War, knowledge war, info-tech, of art (1979/K 20) an absolute art form – (1999/K 403) (1994/K 80) (Jaron Lanier) culture exercise power grew, as soon as I reduced the number (Kodwo Eshun) villains simulated electronic technologyr Psy. Ops, popular information war, robot soldiers, Tele-buyers (PV) (1990/II-K 186) communication and entertainment The paranoid rationality of the (2000/ (boombox) (2000/K 354) of the dimensions of interaction. (2000/F 19) see also: view of as mail traffic remote electronic control battle systems (REC), Telekiosking architecture (1989/K 125) Gulf Massacre (Les Levidow) including Ambient, DJ-Culture, P 194) Tronic Artcore Event Telebanking und designing gestures (LAN) robotic war, net war techniques (PV) The control music video for Fuckhead (1995/P 160) (1994/K 139) as medium (Station Rose) (1995/K 80) cf. (2003) Drum & Bass, Techno, . . (K. Becker, J. Hennrich, Teleshopping (1998/II-K) cybernetic war, information war (1998/II-K 15) electronically society predicted (Violet Suk, Martin Koch) (1994/K 61) (Elisa Rose, Gary Danner) Electronic Orientalism Performance software for (1999/K 371) M. Retschitzegger, B 2 B-trade (2002/K 49) (1994/K 07) (1998/K 42) induced blindness and paralysis by Deleuze Architecture as the art of the Point of Sale Digital-Arabesque-Lightshow Leo Schatzl) High-Tech Barbarism see also: view of clothing Festival A/V-Collision (2003/Graz) visualizing any musical Afro. Electro-Genres virtual department see also: next millennium? (1998/II-K 157) Point of Information Deleuze: smooth & striated (fold & discrete units) / (wars, weapons, media devoted to the relationship of digital money parameters (1995/K 388) (2002/K 116) view of unboundedness (1994/K 35) stores (2) information technology (Lynn Hershman) Teleshopping wave and particle / field and particle / analog and digital visuals and music (MESO) (Bernhard Vief) TRON-House: completely Sub´tronic ´ 96 Bugrace 99 (Stadtwerkstatt) Body scanned architecture Why is virtual reality always view of atmospheres as weapon (1996/J 18) Hip. Hop Worldwide webmall track & phase possibilities of achieving (1995/P 120) (Fritz Fitzke, Pan Sonic, Sofa 23, Leader function among Cyber. Cash Sub´bass, Sub´harmonics, computerized house (1999/K 339) sport event (1998/II-K 230) (Venedig 1995) imagined in terms of space, light view Art Com Electronic Network (2002/F 022) Tina Frank (with Mego)) continuous income as a festival events electronic wallet Subćulture, Sub´stance, (1994/K 131) 1 Jul. 95: appointment of media ownership in cyberspace when time is the only remaining Interactive Home (Ruth Schnell, Gideon May, view of change ACEN (1986) (1989/K 129/K 131) Inter-disciplinarity Instead of the disco ball: computer (2003/P 12) (1997/K 176) Sub´sonic, Sub´versive media design group virtual pop star – Raymond (Project 1988 -1993) artist Gerfried Stocker as managing (Randal Walser) Systems Constanze Ruhm) real commodity? (1994/K 190) transformation view virtual shopping street from digital thinking graphics, high-tech Inter-media (1996/K 318) (F. Dorninger) Kurzweil TRON hyperintelligent building director of the AEC Betriebsgesellschaft (1990/II-K 208) B 2 B 21, 000 works electronic shopping economic takeover to field theory (Itsuo Sakane) animations view of The future of Austria – Inter-activity (1994/K 134) system architecture (1996/J 15) C 2 B soap performance submitted Design office for digital staging view of hypermedia mall (1997/K 370) ars electronica living in the year 2019 (1999/J 83) information architecture administration Inter-net B 2 C (Van Gogh TV) E-commerce The future of cyberspace – Dotcom mania 1. 75 mill. Euro and interaction (MESO) liquification (portable) container studay Sub´tronic organization (1984/K 281) (1999/K 398) the digital city is a form in the cross-hairs of the Hotel Pompino – television to play along New economy wild frontier versus prize money (filling the gap between electronic (1998/P 102) (R. Strickland) overhead VJ(Jutta Schmiederer) (Jungk, Franke, Schwendter, (RTMark) of public space Online shopping sniper's camera (MF) Neither reductive abstraction nor Direct television democracy view of hyperreal property ownership (2003/Q 14) increasing the intelligence of museum of the future AEC design, technology and games) projections et al. architecture Zemanek) Cybermoney (1995/K 182) computer kitsch tele shopping (2) system (C. Mc. Grail) (Bruce Sterling) (Paul Garrin) decypherable symbolism "apply to" or (1990/I-K 159) the artificial environment (PW) domicile generator state AEC (2001/F 36) (D. Rokeby) translate the phenomenon of "interactivity", (1990/II-K 228)(1999/J 114) (1994/K 06) future research Container projects: DMCA Digital Millenium "discrete" art works festival culture administration (Walczak, Wattenberg, penetration of the media into (1997/K 258) i. e. a mutual inter-relation of man and (Virilio) I wonder whethere is not an (1986) Container-City implanting artificial intelligence Feinberg) (2001/K 288) Copyright Act (2001/K 212) through microtechnology urban space (1994/K 157) access conditions to technically exhibition institutions micro-electronics for human beings machine in the field of the stage that can imperialism of time. What happened recently in the environment "Ponton" see also: process view producer from Hamburg C 3 Center Budapest Copy protection and digital complex media machines GPS, GSM and field book/PDA (1984/K 371) be seen and/or tactilly experienced. with the trading program during the Wall control for Symposium „Intelligent Building“ Theories of the public sphere (2001/K 299) rights management political view Ulli A. Rützel (first Ars) endophysics emerged from the house as site of New-style conference for the V 2 Lab Rotterdam Street stockmarket crash, reveals an bridge lighting Digi. Cash game industry (1989/Karlsruhe) (with V. Flusser) (1989/J 12) view of action (FF) For artists it has not been easy to chaos theory intermedia activity (PW) art history digital generation (2001/K 192) (2001/K 299) acceleration of the transactions that no longer Worlds Within (K. Dudesek, Van Gogh TV) license piracy (2001/K 25) AEC: . . . once again, (MESO) (D. Chaum) as multi-billion buildings were previously inanimate Media Lab Helsinki gain access to modern networks, which (Otto Rössler) (1992/K 09, K 56) (1994/K 16) of the Net (DH) view of art theory take place in the time of the stockmarket Multi-User-Domain – a public Napster field concepts something has been created (1995/P 86) dollar market machines (1994/K 17) (1997/K 153) electronic fields are reserved primarily for the military, the (1999/J 244) cyberarchitecture traders, but rather in that of the machines. electronic place (1996/K 376) (Andrew M. Mc. Kenzie) that is unparalleled throughout AEC as digital (2001/K 19) Concept for the ZKM Karlsruhe (John Warnock) Thesaurus on media art (Oliver Grau) banks and industrial corporations. Event City, Pandora's. . Disaster of every general interactivity. (1990/K-I-105) the world event view II decided in 1988 media center symposium "Architecture & standard software (post-doctorate with Th. Macho) SIGGRAPH USA (DG) that first changed with the WWW the "digital city" as a Box art history studies Nanotechnology (1986) a discarded 386 as begging (PV) The function of the street and the chainletter (1996/J 58) (Franke) Intelligent Ambients (experience view) (Klotz as founding director) (1996/J 41) electron. Media" (1994/II-08) (2003/F 11) (1989/J 203) response to the impending (Hou Hanru) street musician marketplace has now been assumed by education cultural history studies 1968 world expo in London: (1989/J 194) "field models" of movement, (Hadid, Irie, Toyo Ito, Klonarides, commercialization of the Net suggesting ideas Gwangju curator (transmediale) (Alexei Shulgin) screens and electronic displays (R. Schmidt) Nano-Technology Ars Electronica became established world wide as Cyberspace is not media history Cybernetic Serendipity for Computer intelligent design (Zec) Koder, Prix, Sakamura, Lainer) occupying space, communication Peer to peer connections (1995/K 181) the invention of Visi. Calc (2002/K 325) feasibility assessment for Ars themes (1997/P 80) a third independent forum among the major events Disneyland (Amy Bruckman) and the Arts (Initiative from Max Bense) psychology of the collection and energy (Ursula Damm, Michael (Napster & Gnutella) electronically The World from Inside (1992) (for MAC) created the first crime as SIGGRAPH and Imagina (1994/P 10) (1995/K 138) in 1976 Cedric Price ART+COM Berlin (1989/J 16) Hoch) (1999/K 359) (2000/P 08) philosophy/theory of collecting reacting Imagina (France) real market for PCs entertainment – binary notations Nano-Computer (1999/K 414) (Stocker) REUTERS already designed the project (founded 1988) bypass solutions pavilion memory discourse (1994/K 210) living map – Digital effects (in film), themselves on a digital (1992/K 08) 20 years of ars electronica (AH) Interactive media art is difficult to (1995/K 298) s. l. Computer/Software trade fairs AEC was set Symposium "Generator", in which the (1989/J 195) ISEA Int. Symp on Electronic Art (1989/K 218) Information technologies currently memory theories analog: atmospheric, field-oriented up-to-date facts presented artistically (2002/P 119) architecture would naturally be a reason assign to the conventional categories SDS 3 Small Dish Satellite up with building constantly changes AEC conception for providing ideas Map of the market (Regina Cornwell) still prevail by rather unimaginatively (S. Wilson) "end of history" discourse (1994/K 150) for an archeology of the (see left) of art studies – (for receiving data). . . the extremely questionable hope funding according to the wishes of (M. Wattenberg, Joon Yu) Authors for Endo/Nano: R. Abraham, following the guidelines of classic (1989/T) founding of the Zentrum für Kunst und (1998/P 106) (M. Plottegg) artistic development Why are there hardly any scholarly a separate classification should be offers for currency traders history of philosophy that art earning money in technology amounting to the users (1994/K 30) (1999/P 54) (AH) In all considerations, the question H. Atmanspacher, John L. Casti, M. Conrad, capitalism to the detriment of ETH-Zürich Medientechnologie Karlsruhe Ma – sense of space (. . Why not works on computer art in Austria? developed (Heinrich Klotz) matters can soon pay its own way museum studies 180 Mill ATS ATR Advanced Telecomunication arises about assigning interactive media D. Finkelstein, D. D. Hoffman, L. Löfgren, social-state ideas ASL Architectural (1990/T) founding of the Kunsthoschule für Medien Cologne About the influence of new media the world of the interstice implemented ? ) (Stocker) (1996/J 52) (1996/P 16) Research Institute (Kyote) art to the category of "art" or of "game" J. Parisi, Gordon Pask, R. Rosen, (1996/J 54) (Stocker) Space Laboratory printing buildings CAAD computer aided (1992/T) Multimediale 1 at ZKM and information technologies on (Derrick de Kerckhove) see also: view of clothing supported by the Japanese gov't. , tearing down boundaries between (Province (Oliver Fritz) CAD CAM CIM / "entertainment". K. Svozil, I. Tsuda, S. Garfinkel, the problem of the lack of (1994/K 145) architectural design (Peter Zec) (1990) style eras of technology see also: view of playing the uncertainty of the separate art institutions and 30%, federal NTT, Sony, Panasonic, et al. (2003/K 285) Andreas (03. 1992/T) project ideas for AUO (AEC proposal K. E. Drexler, Jane E. Frommer digital design historical distance (DH) (1994/K 144) (1979/K 31) categories (1979/K 03) gov't. 10%) (workplace: Christa Sommerer, see also: theater view and identity view up-to-date (1989/J 33) Broeckmann (DG) Why OR and not AND ? from Leopoldseder, ORF director) diagrammatical (Kay Friedrichs) CAVE-cavern recruiting agency Since about 2000, the design of the Laurent Mignonneau) art history as technical the medium as building (art historian, using fields for musical instruments (07. 1992/T) AEC project study commissioned to ART+COM Computer art looks back on decades of Computer aided design has already had a architecture (1994/K 177) (P. Kogler, (AH) Interactive media art for artists car body has depended significantly Experience-Designer (1996/J 121) material (1994/K 58) (AH) Interactive media art is "obviously" (? ) history, or rather a history of the (09. 1996/T) AEC opening (in competition with ZKM) history, first music, then in graphics, in animation media theoretician) significant impact on product design F. Pomassl) economy of as "entertainment pieces ? (Irational) on software. (2001/K 20) event culture point of fun Research areas: Human Interface, (AH) In 1952 Ben F. Lapowsky first mentioned still not a recognized part of the art historical (1998/P 20) use of technology the possible future of and in other artistic fields. (1989/J 16) (1999/K 367) attention (1999/K 401) Speech Recognition, Voice Recognition, graphical images generated from the interaction canon V 2_Organisation Art occupying territory in the domains of technology (see supplementary observations) (1997/T) Opening of the Media Art Museum architecture (M. Fujihata, experimental Entertainment-Architekten Info/Edu-tainment Will arts be transformed into design in the "Cloud of Sound" since (1996/K 230) Speech Translation, Radio Optics, between a cathode ray oscillograph and a and its fields of business (? ) (2001/K 19) at ZKM KeiÍchi Irie) (1994/K 121) (PV) With this kind of mutable (2001/K 281) (M. Shamiyeh) (2001/K 295) entertainment age of information technology? (Zec) the first Ars (1979) Virtual Reality cathode ray tube wall (opaque wall screen), the poetically subverting Google (AH) The question arises for Klotz of whether interactive (cars and built objects as the new sculptures? ) Magnet-TV electronic Strategies of Intertainment outside can be turned into the advertising mechanisms submissions and proportion of prize-winners Interactive Media Festival (Los Angeles) Entertainment media art is not appropriating categories of performing art, art for everyone (Nam June Paik) (Steve Mann) (1997/K 219) entertainment (Ranzenbacher) (2001/K 258) inside and the inside into the (2003/P 54)(C. Bruno) social prize money thus becoming an "indigestible mixtum compositum" for in the festival program Biennale artifices (Saint-Denis) What distinguishes the AEC as "Museum of the "Clouds of Sound" comprehensive symposium Abstraction now (2003 Vienna) Questioning the concept of the Play. Zone computers (1989/K 87) (H. Hörtner) (2001/K 294) outside How should works be included that can entertainment the trained art historian. . . Future" from an advertising camp of the Media Passage (ICC Tokio) (as celebration culture) (PV) In France 700 000 (Norbert Pfaffenbichler) intelligent environment (from the Millenium Dome the gravity of buildings whereas electricity effects a integrated in clothing (Land Design Studio) no longer be run? (HW, operating system) Sommerer was (2003/P 36) computer and IT industry? Biennales of Kwangju, Lyon, Nagoya Even for someone who has been a households can state event culture (2001/K 221) Ars = "Art" was meant in Linz from the (R. Lainer, E. Bannwart, Saskia perspective of surveillance): concentration, electronics leads to Only accompanying/contemporaneous Artist in Residence neo-constructivism Habbo Hotel (DG) 30 years behind in education? (1996/P 22) (Stocker) (Stahl Stenslie) apartment as palace of memory member of the jury for the Prix for some their interest in a product instead of "intelligent rooms", instead of Sassen, J. Meister, E. Lopezart of the environment, like a dispersion beginning, but has not retained its art research is practicable and feasible (DG) at ICC for one year (1989/J 40) Bodytainment (2001/K 289) (Walczak et al. ) event design time, the Ars Electronica still holds an from a commercial "intelligent floors", intelligent ceilings", On-air design and set Galiacho, T. Groothuizen) ICC: Inter. Communication Center Design Noir – sculptural architecture. . . (1994/K 77) celebration culture character at all (1989/J 180) Neo. Geo (2000/K 216) inherent secret: . . . how it invariably (SW: Open TV) intelligent toiletts", "intelligent the secret life of (Otto Piene) (1980/K 96) experience engineering (MEGO, Involving Systems) projection (TV Studio) (editor of ART) Media history instead of art history? (FF) The age of representation is followed, as manages to find attract the main earth rays – electron rays (media highway) lightswitches", H. I concentrates on (MEGO, Involving System) online Banff Center for the Arts (Canada) electronic objects Radio art as advertising and Only "OK" as reaction Paul Virilio says, by that of "presentation". from document to event (2001) large-scale projections protagonists year after year, the initiators (1984) (R. Kriesche) the concept of the intelligent human the age of the historical blindness of the (Fiona Raby) Neo. Geo (1986 -90) self-historicization attempts the brief physical presence Initital AEC team: E. Berger, S. Brandstetter, fine art? user profiling The aesthetics of communication does not aim to as "wallpaper" of what is new, who are always a step (1989/K 137) being. (HK) for a media possibilities for ubiquitous (2003/K 273) Technical history instead of art history? electronic arts of architecture (1994/K 143) V. Cizkovsky, D. Dobesberger, L. Dobusch, MIT – image databases (1989/K 278) create objects, it does not work on concrete forms, ahead. . . (1996/J 71) (Roy Ascott) Takeover (Symposion) advertising is affirmative gesamtkunstwerk deriving continuous computer (1994/K 132) electrolobby (3) – application history (G. Schmitt, F. Wenz, Kurmann) Container City on the Internet M. Falkinger, O. Frommel, D. Haider, (1997/F 51) it addresses "space-time". ORF – media database It is obvious – from art Engineers of Experience – Live sound portrait (ML) technical history of and experiments with income as a media showroom for digital culture raster microscopes crossing through If advertising designers apply V 2_ Rotterdam C 3 Budapest W. Hartmann, H. Hörtner, E. Kapeller, (AH) A history of the "image for constructing (G. Mnich) (M. Schulthess) the development of new AEC – ars electronica database Who´s go to it right? of a city (1989/K 304) mankind in theater desires design group (Roy Ascott) (1995/P 20) A change from the art of representation & lifestyle (2001/F 13) nuclear landscapes memetic technologies on a large J. Kern, W. Modera, C. Mutter, D. Offenhuber, view of context-driven event worlds" (Weibel) (1997/P 98) technologies, from TV – Der Boom von Edu- und (Bill Fontana) and performance zu erzielen to a culture of the manifestation holds multiple shifts: E-brand (1992/K 80) scale, which possible influence is C@C (Computer Aided Curating) M. Pointner, C. Schneebauer, P. Schöber, Harappa – Indus-Kultur influence of the advertising that one of the main goals re-presentation Infotainment, Visitor- und reception – negotiation (orientation to action), Web entertainment strategies of Spam Soundwalking – left to an artist? T. Weber, G. Stocker, u. a. (Eva Grubinger) (1995/K 245) (AH) According to Weibel, media art as a whole is closely linked (Omar Khan) industry in the development field disturbances and data turbulences is to intensify experience. Brandexperience representation – construction, hermeneutics – heuristics, tunnel vision – agency (Moccu) Repetition of city as acoustic (1996/K 133) seduction (AH) outside conventional institutional with the new telecommunication media: like the analog techniques of (1997/P 90) of digital film production (Kirk A. Woolford) (1995/P 134) (2001/F 09) bird's-eye view, content – context, object – process, survey – immersion, (2001/K 197) disco culture (Melita Zajc) environment Toywar campaign art history? reasons for situating media institutions in frameworks photo and film, media art goes through several phases: the material, Material for the birth of a new art theory (1995/K 68) Manhattan Timeformations figure/ground – pattern, iconicity – bionicity(cf. embodiedness), nature – the climate for art reflects the climate (1989/K 308) as Art Deco (2000/K 359) the vicinity of industrial locations or larger acoustic-electronic ceremony physical, machinic phase of overcoming temporal and spatial distance, stage design for largedirection in art: Interactive Art morphology electronic curators (Joshua Davis) (2001/F 36) artificial life, certainty – contingency, dissolution – evolution, of the city (1989/J 07) (Hildegard (etoy) (1979/32) (singing pool) (Stadtwerkstatt) followed by the wireless, immaterial, bodiless phase of electronic sounds informatics institutions scale presentations Gallery „bitforms“ (1989/K 87) (PW) The analysis of types of activity Takeover II (symposium) computer as tool – digital environment, observed reality – institutional criticism discourse cf. : view of art studies Westerkamp) and images - of video art and performance, for example - and then the "media stage design" (2003/K 218) (Steve Sacks) confirms this central view/direction (DG) (1997/F 021) Net. Shop as constructed reality, paranoia – telenoia, autonomous brain – distributed Digital culture & lifestyle in action: curators debate sound city? role of the ars electronica AEC department: productive intersections of phase of digitalization, which makes the tendency to immaterialization multimedia (Rötzer) (HK): . . . Making technology acceptable to a broad (MEGO, Involving Systems) framed software art /vs/ framework for the participation consciousness, behavior of forms – forms of behavior featuring electrolobby residents entertainment, design, gaming, (1979/K 25) material debate für die Stadt Linz habitat & even more radical. public. This is best done by imbuing High Tech with the city stage unframed software art of young media artists in the ars Here Ascott summarizes a "performative turn" (see left) (2001/F 08) Open Source, E- and M-business (AH) Should the philosophy of difference urban planning aura of art or culture, thus demonstrating the TRANSIMS – in the last 3 yrs. , (1994/K 141) (see the left half of this study) Rhizome (1999/K 398) stimulating environment, (2001/K 192) concept of art be Icontown (1997/K 12) permanent self-exhibition compatibility of "two cultures". This is naturally rhizomatics a team around C. Barrett developed (ART+COM) Atlas Linz – analysis of the (2001/P 68) Lifestyle (2001/K 20) dayclubbing, informal abandoned? (virtual city) (Jennifer Ringley) (see below) linked with economic interests. Interface as landscape (D. Rokeby) an electronic replica of the city of being exhibited with media soundscape (1998/K 120) Social Entertainment Where is the new place of art? archive of critical writing media conference, (Malina 1990) (2000/F 22) valleys, in which users tend to gather promotional Youth Marketing Albuquerque (investigating WEB-CAM, homepage, TV-container, . . . (Bordoni, Marchesin, Paci Dalò) Environment (2001/K 205) "Is fine art at an end? " on media art networked showroom The fundamental question arises as to (well-worn paths with optimized (AH) "crisis of the picture" in terms of its interactions (MEGO) traffic patterns) Streetscape (Iori Nakai) (1997/P 06) (P. Virilo) (Mark Tribe, Alex Galloway) the global (2001/K 192) (1999/F 08) Symposium ars electronica 79 -99 (2002/K 265) pushing the The world's first global art gallery for the meaningfulness of an "exhibition design" operations) center for (1996/K 141) capability for representation (2003/K 417/P 114) (1999/P 144) village entertainment electronics: (R. Ascott, E. Bannwart, H. W. Franke, W. Haupt, envelope of the fashion show electronic art (Ed Stastny) (1995/P 72) for this kind of "electronic centre for visualization projects electronic art Archive – former (1997/F 09) Use of historical practically no collectors H. Leopoldseder, O. Piene, I. Sakane, Christine games, playing devices, How do you exhibit something within computer media" (R. Verbizh) (Sharif Waked) Virtual Galleries / (1979/K 01) (Leopoldseder) propaganda museum A Celebration for Linz: graphical models as basis mediatization of cities Digital City (G. Lovink) of digital art Schöpf, G. Stocker, P. Weibel) The Encyclopedia of Clamps the exhibition framework of a festival (1996/J 79) wireless devices, . . . (G. Legrady) (1994/ (Rachel de Boer, Isabella for a complex film museums as entertainment Electronic Galleries 3 D-visualization of (Edouard Bannwart) Digital cities or "Freenets" (2004) (Robin Clark) (2002/F 12) (1997/P 142) (Barminski, Lewin, Hesketh) that doesn't even need an exhibition P 126) Bordoni, M. Brandt, Gordon W. , (Alain Escalle) !! collection of Internet films manufacturing plants (1994/K 138) (Internet, CD-ROM, TV. . . ) (1995/K 180) (1994 Amsterdam) Multimedia fashion show Designed major exhibitions, incl. at all? (2000/K 322) (open. X-setting) Huge Harry, R. Lozano-Hemmer, (MEGO, Involving Systems) multimedia city (electronic galleries on the Internet) XS 4 all Server (Hacktic Group) communication and entertainment navigation aids Playzone in the Milleniumdome a club's collection of music (1997/P 24) M. Huutajat, P. Öttl, C. M. Silva, (future lab) (visionaries & the dispossessed (CD-ROM)) (1989/K 126) digital archiving Art Com Electronic Network Internet exhibitions Renga – linked image samples Project group networked city AEC must not. . . only see itself A. Wortzel, DJ Riot, DJ Willi, exodus from the city (Before the Sound of the Beep, concept exhibition on (Station Rose) ACEN (1986) (1989/K 129) (since 1992: Toshihiro Anzai, TRON computer city Art. Base from Rhizome & (TH Darmstadt) as supplier and gallery M. Janssen, D. Kousbroek International City Digital Archive (1996/J 101) the answering machines of 20 galleries in Paris) art historians have only been art galleries on the Net (Elisa Rose, Gary Danner) storing documents with electronic exhibition space In the past, art museums were repositories Rieko Nakamura) (1994/K 136) Variable Media Initiative The Happiness (1995/K 61) (1996/P 22) (Stocker) (Berlin) the ideal (user contributions) emulators (2001/K 340) (mailorder catalogue as exhibition - folder, Internet) dealing with artifacts for artifacts. This cannot make sense of the Guggenheim Machine The use of computer graphics and Digital City Linz city on the Internet (George Legrady) the digital city model 1000 masterpieces – comfortably buying art (Kulisch, exhibition conception when the artwork involves experiences 30 years space. art – an electronic (2001/K 345) (1990/P 09) animation in conventional industry films (digital possibilities (1995/K 254) (2003/F 38/P 108) Obereder, Pichler, Rakuschan, Wid, et al. ) (walk-in screen bunker) using Mini. Cave and contexts. It is absurd to exhibit museum – virtual interactive from Hollywood and for leisure parks thus Computer City experience (1998/II-K 230) of communication: (1994/139) Takeover (Symposium) (television gallery – 1000 masterpieces) Video monitoring service CD-ROMs in a museum one does not go code collections (2003) 3 D CAVE installation urban development project (2004) not only popularizes computer animation, at least as symposium (1994/K 93) architecture city administration and Digital Alexandria From Document to Event – Artanalyser – Infoscreen for barcode catalogue to electronic exhibitions most North American broadcasters to an exhibit of books to read books. (A. Benjamin Spaeth) but also provides a maximum demonstration (Ken Sakamura) (2002/K 330) citizens) (Janko) a multimedia city center What will remain? selected art works navigate image discs deleted many news broadcasts (R. Malina) (1995/P 31) (2003/K 431) experimental gallery exhibition design of its possibilities. (PW) (1992/P 42) the museum as a (1994/K 131) (P. Maresch) (1996/J 29) (1994/K 141) Museum of the Future – AEC (2001/F 09) (2001/K 266) design of the PRIX exhibitions (1992/KII-06) recorded between 1981 -88 The Electronic Gallery Linz as city of technology (1995/P 74) (Fareed Armaly) (1994/II-K 50) laboratory Terminal Art Electronic Pool virtual city – how to exhibit web sites (Frank Ogden) (art laboratory: Max Kossatz, Oskar Obereder, (1996/J 29) (Stephanie Cunningham) (1986 opening "La Villette") In this aesthetic of emergence, the Insectinspector – tool for electronic museums multiuser media environment deterritorialized (Jürgen Klaus) how to exhibit software (1995/K 101) F. E. Rakuschan, Franz Xaver) (1995/K 271) (1986/K 322) surface image provides nothing more synthetic exhibition conservation of digital art inspection and display (Expo CH 2002) "meta-city" (PV) (1986/K 291) (Gerda Lampalzer, Gerwald Rockenschaub, "old" media (material) /vs/ Symposium: what holds the city together porting, migrating, than a site of penetration into deepter (1993/P 37) (David Haxton) (Johannes Deutsch) (2001/K 346) the first museum of all (2001/K 266) (MEGO, Involving Systems) telematic sculputure Gottfried Bechtold, Hans Weigand, Heinz "new" media (transient) surfing on electronic surfaces – layers of meaning or being. Too many artists or galleries or museums taking part in converting, reimplementing Tokyo as media landscape genres (ZKM) maintaining HW and architecture in a simulated urban planning workbench (R. Kriesche) (1994/P 120) Reisinger, Helmut Mark, Helmut Stadlmann, 15 years of Ars Electronica (CD ROM) (1995/P 19) (R. Ascott) the PRIX merely placed their portfolios on the homepage, or (1994/K 70) (Mark C. Taylor) city (Toyo Ito) (1994/K 84) fashion scene in Afrika operating system at the The Virtual Museum (Underkoffler, Chak, Helmut Weber, Herbert Schager, Hilus, fragrance input (Station Rose) (1994/201) performative approach! video as lowest they uploaded works to the web that normally hang on the Museum as designing the simcity (Oumou Sy) same time (1992/K 105) (Jeffrey Shaw) digital signature Pangaro, Alonso, Hubert Matt, H. R. Fricker, Jürg Meister, (1979/K 26) Hypermedia Lexicon wall (1996/P 38). . . The result of this is no more the perspectives of common denominator entertainment (2002/K 92) replica of each current digital watermark Archiv für den KEO-Satelliten Fielding-Piper, Kit Blake, Konrad Becker, Kurt Hentschläger, urban memories list of electronic tools than an art catalogue. But a catalogue fragrance theater the city (1996/J 15) (2001/K 366) cyber city flight – situation (Landesgalerie) (Jean-Marc Philippe) (1999/P 28) Santos) Kurt Kren, Leo Schatzl, Literatur und Medien, (1994/K 155) is not art. (department stores) „sniffman“ 32 fragrance channels electronic artists' museums (A. Hirsch) robot ecosystem (L. -P. Demers, B. Vorn) virtual Berlin DB for eternity (2001/ Online exhibition CODe. DOC I & II Margarete Jahrmann, Martyn Berger, Mathias mobile system (for Internet Art Com Electronic Network urban investigations the over-exposed city parasites, scavengers, swarms, . . . (1996/P 126) (ART+COM) from the flipbook to the 4 uncensored pages K 259) Art Com Electronic Network (John F. Simon, Annja Krautgasser, Rainer Mandl, Fuchs, Matta Wagnest, Max Moswitzer, presentations, games, wellness, ACEN (1986) (1989/K 132) (1998/P 28) (knowbotic (1994/K 94) (P. Virilio) (1994/II-K 95) artificial/electronic noses museum on the air The law of the libraries: per participant ACEN (1986) (1989/K 130) epidemi. C, Joan Leandre, Jaromil, Ed Burton, Michael Huber, Muki Pakesch, Norbert fragrance cinema) (AH) from the object-oriented Machine stand-alone applications research) Tokyo 1997 (Toshio Iwai) curators and libraries mostly Electronic Library Antoine Schmtt) Pfaffenbichler, Pepi Öttl, Peter Fend, Peter (2004 Landesmuseum) image theories Matrix – to the context-oriented phase (as work concept) Pool Prozessing the access ritual of teleinformatics The New City (1994/K 249) leave out what is most (Electronic Publishing) Kogler, Peter Sandbichler, Rainer Ganahl, The major exhibition Immateriaux junk with (see: context study) (Fortner Anderson, Robert Edgar, morphology The Imaginary Library Criteria: best experimental/ now replaces that of the portal see also air space activities (1994/K 181) available. Ruth Schnell, Sabine Bitter, Stoph Sauter, (1985), inspired by Lyotard, developed controlling James Johnson, Judy Malloy, (Heiko Idensen) (Mathias Krohn) experiencable gallery (1995/P 46) (1994/K 97) computer visualization studies and atmospheric design (1996/K 257) The other way International Concept Tassilo Blittersdorf, Tin, Tristan Thönnissen, from the design discussion about Firefly music database // devices (Mark Malmberg) (1993/P 64) Stephen Moore, Sonya Rapoport, (1990/K-I-131) (Wax. Web, Digital Art Endeavors) pictorial turn (discourse) around with the Internet? (DG) Ringo music database (1995) Design Competition for between the nodes U Phi, Udo Wid, Van Gogh TV, You Never Know, installation art in the "new materials". (1988/K 84) computer performance (AH) connecting (1998/P 215) mixing two- and three. Joe Rosen, Henry See, Fred Truck, diagrammatic turn (discourse) Advanced Information and data packets Zelko Wiener PRIX exhibition at the OK single (similarity profiles) (P. Maes, M. Metral) (1995/P 64) (Gordon Monahan) dimensional procedures (1997/F 45) Reading Room Paul Zelevansky) immaterialization material character City (1986/87) manifesto of tactilism (F. Rötzer) digitalized (Betty Spackman, Anja material effect (virtual) (J. -F. Lyotard) (AH) What distinguishes the virtual cathode ray tube (1994/K 181) video sculptures program and (AH) immateriality instead of material (1994/K 108) types of dispay (supplement to projection): museum holdings robotic sculptural systems Westerfrölke) aesthetic of the painterly (AH) medium instead of thing museum is that its form and content (Nam June Paik) sculptures work concept display, Cave, HMD (head mounted display), machinery of information furniture the acoustic (Michael Tolson) electronic memories are always changing and are not (1982/K 102) (AH) living memory – (1989/K 196) immateriality (AH) The visible computer wall of building, monitor, projection wall, (Istvan Kantor) secrets of the (1993/P 18) game console as basis (1994/157) determined. new work concepts: electronic sculptures software as material water wall expanded museum vibrating crates – (2000/K 290/P 94) the materiality of new media city (1996/K 288) of projection (2002/F 043) net museum media art work (Alan Rath) (Alfred Jan) And yet we are torn between these effects, installation ! Obeying gravity in use of junk metal (R. Paci Dalò) (Chris Dodge) (1997/K 272) (Y. Suzuki, N. Morita) Video-Disc (1982/T) first digital audio 5 -inch CD because they indicate a new aesthetic, which (1998/P 200) media works virtual space; hardware archaeology (cf. Contained) Kinetic visual sculpture boring show of (2002/P 106) dematerialization of art (AH) virtual and (1985/T) Standard for CD-ROM no longer operates mimetically or materially, (P. Bosch, Simone Simons) elastic collision artware (1997/K 307) (Vasulka) (1992) imitation images Klettergarten (1979/K 32) imaginary museums (1987/T) Digital audio tape DAT but instead originates purely from imagination. (program laws) Dematerialization of art multi-colored motion sculpture performative installations (Idensen, Krohn) (Mario Purkathofer) CD-ROM (1993/T) Digital HDTV spatial sculptures (Kinetik) (1996/P 35) (Lischka) (Akke Wagenaar, Bob O´Kane) (Lucy Lippard) pixel impressionis (M. Brandt) cyber-museum (ML) the work concept is (PV) A paradoxical logic of images (1996/T) DVD player on the market electronic (1979/K 37) disappearance performative media installations programming languages as (1992/K 173) (A. Nemeczek) (1990/P 19) (1994/K 82) deconstructed with the help of media (1998/P 220) begins now with the invention of video, installation based (1997/T) founding of MP 3. com (PW) viable architecture: incomprehensible materiality recording media of material with very special Soa(p. Op)era for data processing and holography (2003/K 228) stop thinking only in materials manifestations The digitalization of art turns the properties (2003/K 180) (AH) reaktive sculptures Standstill of the development – machine sculptures Labtop-Computer computer as material (Casey Reas) (1994/K 15) (Rus Gant) Centerdisc – 54. 000 images art work into a transient object and exemplified by image categories: virtuality (see below) technical material battle (PV) In domotics, wall pictures on radio remoteeliminates the fundamental for dematerialized images/projections on an image disc (1982/K 45/K 84) machine installations imitation, micro- and macro-cosm, are replaced by the wall monitor, Btx, Videotex controlled vehicles dimension of corporeality battle against the slavery Information as new hardware transformation psyche and philosophy, computer by the screen in the opaque sense. first prototype of multimedia SW!! fewer "machine builders" and (Hovagimyan, P. Sinclair) material properties of certain (1996/K 205) (DM) As functions they designate something Btx gallery (1986/K 310) (2003/K 228) of gravity (Joe Davis) "material" (see below) craft ( eye-catcher ) visual computer large installation makers in the displays or camera chips (Simon Penny) immaterial, but a materiality is required for their Potentials of digital (1990/P 20) (1982/K 42) unit. M – User Sensitive electronic image (vs) course of training CAVE: virtual reality may be criteria: the most sophisticated device execution, which simultaneously limits them in photography ? JPEG, GIF, TIFF, PNG, SVG, DXF Information Architecture digital image (SH) laser-optic image disc best defined as a wide-screen less perfect art. . . (1995/P 46) their possibilities. monitor installations Physically-Based (HK) It is just one pixel next to (2001/K 325) digital art (1982/K 47/K 84) depiction of computer-generated, (PW) (1993/P 52) Dirt finally another. That has an entirely different as an indication of (also see access conditions) SPIN (Spherical playable (1992/K 127) (Michael Bielicky) floor display Modelling multisensory information quality from layers of paint homogeneously reached the computer in 1992 Projection Interface) machines projection design possibilities computer art computer graphics digital copy art following a user in real time. (. . . fuzzy logic, ambivalence and superimposed. Magnetofluid Sculpture (Matt Heckert) walk-in monitors/scanner - image traces The Art of CODE Levine (a pioneer of video art) (1979/K 05) performance (time´s up)(2000/K 302) (F. Nake) (Daniel J. Sandin) (1996/J 84) (1999/P 70) (J. Blank, K. H. Jeron) fractal geometry. . . ). . . departure (reaction to noise from the environment) (1997/K 311) has always called himself a (Symposium) (1998/K 255) (T. Oursler) from the seduction of the surface, (Sachiko Kodama, Minako Takeno) (1997/P 200) "media sculptor" (2003/F 10) (granular & synthesis) repetition of art history view of photography INFLATABLES Visualizations image databases performative deformation from the clarity that actually (2003/K 424) Variable objects as micromodels of CODE Exhibition on Xenakis: Pneus, flying sculptures Netzhaut – concept for the facade of of information surfaces corresponds to the consumerism possible architectures technical drawing (2003/F 29) (Marius Watz, (1980/K 29) Conventional computer art is physical representation and (1984/T) Sony presents a granulated (musical) parts can be the AEC (C. Möller, J. Sauter) (Cornelia Unger) (2000/P 188) of commodity aesthetics. (1996/K 426) (H. Gsöllpointner, (AH) the communicaton artist apparatuses M. Wattenberg, generally the most conservative, manipulation of digital gigantic video screen with material display folded together in a new way – (1994/II-K 91) C. Möller) (1997/K 300) Gerda Palmetshofer, as "sculptor of information" on the grammar of objects the dullest, most non-innovative information (1997/K 201) the Jumbo. TRON "Trash Mirror" (Daniel Rozin) Anonymous Muttering typewriter graphics traveling through 3 D spaces made of inflatable puppets M. Subotnick, (Fred Forest) art form of the 80's. (Constanze Ruhm) (Graz 1993) (2003/K 223) s. r. (knowbotic research) (1997/P 132) (1979/K 41) video projections (C. M. Silva) Visual Codes Workshop (1989/K 337) (Brian Reffin Smith) Shared Physical Objects Eidophor color TV projector image synthesis Justin Manor, "Wooden Mirror" (2000) (1999/P 68) (Perry Hoberman) (1989/K 336) (1989/K 209) (J. Shaw) For the first time, a computer(Matt Gorbet, Magie Orth) Sue Costabile, (Joshua Davis) large project. (H. Ishii) (2001/K 255) (1979/K 36) (1980/K 11) (1989/K 106) 3 versions of a furnished space. SW: paint box (1986/K 13) animated fur was able to convey (1997/K 280) triangular objects can Lia) (Bill Viola) genetic images (2003/F 38) Huge & Mobile (no boundary between Each version is monitored by a real/virtual Material-Display synthesis images (AH) a realistic tactile feeling. be combined (each with a separate (Ryoji Ikeda) (1993/K 401) input and output) Internet garbage disposal (12 fax machines) (Jim Campbell) Can image and diagram camera and combined into one video image "Trash Mirror" (Daniel Rozin) variability, combinatorics, aleatorics computer-generated images (2002/P 116/P 122) (Pete Docter) identity) (Sue Costabile) (Karl Sims) ! (Ryoji Ikeda) (1998/P 84) stereo-lithographic in paper form – junk mail, spam, . . . research effect a drive? (2003/K 223) tactile interfaces (Otomo Yoshihide) music visualization models (light-hardened drawing machines algorithmic image algorithmic projection techniques (nowhere. com / Nick Philip) (DM) Seeing something as art of projection techniques Computer Aided Design car design as a new field of (2001/F 20) panorama images (2003/K 228) In tele-rendering, both (2003/K 260) (Sommerer) plastic - laser exposure (1999/P 48) image has always also (1979/K 42) art? sculptural design. (former PRIX category) (Romy Achituv) (2000/K 401) components of computer 3 D CAM/CAD) meant seeing the mediality Picture Processing Methoden Steam Screen object design using CAD Auto-Illustrator shadows in simulation Use of software for car and tactile Videograms: photocopies (2002/P 94) (Crispin Jones) gestural shadow plays graphical image generation, (Ayre Wachsmuth) (1993/K 292) of the medium too. interactive image (1979/K 17) Real-time 3 D(1982/K 46) (2001/F 32) (Ade Ward) (2001/K 259) photorealistic representations Ideas, not pixels! architectural objects. The electronic image as transition of the interface directly from video beam model and renderer, are (M. Jahrmann) (2003) 360 -degree recording techniques (2001/K 246) (2002/P 73) data-object computer graphics manipulation technical image from the indexical to the separated. (SH) (Aldo Tambellinie) (1989/K 221) Design goes virtual (Zec) (1999/P 92) (Sommerer, Mignonneau) and 360 -degree projections (Herbert Schager) (M. Jahrmann) laser image projection. Shadow Dream (1989/K 209) (former PRIX) interaktive video panorama interactive. It becomes a sensitive field, laser-sintering (Timothy Binkley) touching images from a window (M. Belge, R. Harrington) (Franke) possibility of (spatially) (1984, 87, 88, 96, 2000) (1982/K 113) (1982/K 35) (J. Shaw) see also: Tangible Interface (Luc Courchesne) (2002/F 45/P 92) a hyper-image. (SH) multimedia sculptress Cladnyian (1992/K 130) Computer graphics were ultimately (1996/K 416) (1986/K 75) unlimited (virtual) image spaces (1997/K 120) (Catherine IKAM) (FF) The aesthetics of communication does not aim to sound figures "making" painting & music three-dimensional sensor-controlled panoramas from the (Scott Sona Snibbe) characterized by being active without (Gerhard Funk) physically tangible interface circular panorama cinema of the composed diagram-forming produce objects, it does not work on forms, (1979/K 36) (1997/P 130) painting (1993/P 18) video projection 19 th century (2001/K 340) (1996/K 414) the influence of any theoretical multi-projection movement – images (Hiroshi Ishii, Christa Sommerer) Science Center (AH) In 1952 Ben F. Lapowsky (Laposky) color-form interplay considerations (H. W. Franke) (1989/J 37) procedures it addresses "space-time". (see above) (Char Davies) (1989/K 195) (Carbaret Voltaire) Omnimax-Cinema (70's) (AH) The motto "art and life" is transformed used an analog computer and an visual music (1979/K 10) Analog/digital hybrids tactile feedback through (Ruth Schnell). . . hardly "suitable for art" image-defining procedures (AH) EVE – Extended Virtual Environment: (1986/K 96) (2001/F 31) Electron. into the motto "art and technology" today. oscillograph with a cathode tube for the first MIDI-controlled instruments for (1977) active vibration floor robot-aided dome projection QTVR Panorama-Film in various research fields butterflies time in the USA to compose his image generation controlling rebuilt (1992/K 91) (2001/P 102) (Gerhard Eckl) instant projection / The role of computers in special projection Relationale (Jeffrey Shaw) "hidden panorama" graphical music graphical improvisation abstract (Sanjin Jukic) (1998/K 111) (Haruki Nishijima) self-organization Electronic Abstraction. (Michael Saup) (1979/K 10/K 22) TV sets (1979/K 10) (Garry Hill) Transgenic Art immediate replay studying life and other spaces Architecture re-introduction of the picture frame (as (AH) The virtual is currently in image scenes (1979/K 10) interactive animal (1992/K 246) (AH) artificial worlds video synthesizer (1979/K 31) complex systems (1993/K 35) (Constanze Ruhm, (R. Lozano-Hemmer) movable window) the "painting phase", not yet the (1979/K 11) modelling life evolution homosexualities Artificial Life abstract color-form Dual Colorizer (1973) from plotting to (Artificial Reality) (Nam June Paik, Shuya Abe) swarm behavior Peter Sandbichler) (1997/K 337) photography phase. (Boissier) (Karl Sims) (B. Bagemihl) (Christopher G. Langton) (1992/K 89) image & sound terrarium biology of cognition compositions (1979/K 10) interactive graphics (1979/K 10) (Eric Siegel) (1992/K 84) (1997/K 356/P 112) (T. Iwai, R. Sakamoto) hypermates and (1994/K 07) (1994/II-K 42) (1998/P 88) (1997/K 313) (CAVE) Bio Art (1992/K 132) (1993/K 119) (1992/K 38) (Maturana, Varela) (2000/K 103) (1993/K 25) (Vasulka, Siegel) (Stadtwerkstatt) (1984/K 134) (H. W. Franke) VIDIUM (Bill Hearn) (1968) (1992/K 87) Music Plays Images x Images postbiological life (2002/F 003/P 073) Fotosafari ins Land des Krieges (Eduardo Kac) growth models for morphogenetic cellular automata, evolution, genetic art (1984/K 385) (Peter Weibel) (M. Benayoun, J-B. Barriére) (2001/K 125) Life. Science-Symposium (1999/K 14) Processing (2003/K 201): Casey Reas, Play Music (Valie Export) drawing on the screen studies (Yoichiro Kawaguchi) (1989/J 22) genetic algorithms, adaptation, previously no VR programs media terrarium (cricket) (1990/II-K 14) (AH) The oscillograms by H. W. Franke (1956) were followed in 1960 by EMS Videosizer artifical life sun painting genetic art – biotelematics Ben Fry, Amit Pitaru, Carlos Rocha, Birgit Richard, J. Rifkin, R. Lanza, Z. Chen, (1986, 88, 92, 93, 96) (Richard Greene) wetware yet that contain rainbows the first computer graphics (Kurt Alsleben, W. Fetter), which were created Hernado Barragan, Golan Levin, Lia, electronic paint box (1979/K 10/49) (Hoenig) (1979/K 09) artificial life (1) M. Specter, Lori B. Andrews, D. J. Kevles, sheep music concert (1990/P 200) (1992/K 13) redesigning since 1965 using a digital computer in Germany (Frieder Nake, Georg (AH) charged relationship between transgenic the future Bio Art (2) (1979/K 10) interaktive plant growing Marius Watz, Schoenerwissen, Juha P. Virilio, D. de Kerckhove, D. H. Hamer, (H. Christiansen) (1993/K) (2000/K 391) butterfly wings Nees), and the USA (Michael Noll, Kenneth C. Knowlton, B. Julesz). replica and own life, artificial and art (E. Kac) interactive graphics systems of evolution zoosystemic physical ambient Solar Music (Joe Jones) (1988/K 259) (Christa Sommerer, Mignonneau) Interactive Poetic Huuskonen (2003/K 210) H. Gottweis, B. Latour, R. V. Anuradha, (1988/K 256) (Marta de Menezes) Symposium "Artificial Life" (1993/K 105) natural world (Crista Sommerer, (1999/K 296) (1996/K 26) of nature (1982/K 65) (1989/K 99) (1993/K 408) (Shirley Shor) (2003/F 31) Eugene Thacker, M. De. Landa, G. cognition theory (2003/K 202) Le. Ciel. Est. Bleu, The Demoscene rainbow and water clouds Garden (D. Small, (2000/260) (Kevin Kelly, Ken Karakotsios, T. S. Ray, Laurent Mignonneau) ecological zones of Schöfbänker, V. Flusser, G. Gessert, Sky events: Puppet Tool Kuda. org (K. Lukic, Z. Pantetic, Branka Curcic) mice destroying the network (1972) (1986/K 299) evolution theory T. White) P. Prusinkiewicz, K. Sims, L. Yeager, electronic fountain art has lost its traditional monopoly Leaves (reacting piles (1996/K 294) Genetic Manipulator bio-robots dependency (2002/K 349) Dorothy Nelkin, C. Tonderai Mundede, (AH) synergetic interaction (Weibel) environmental art (Le. Ciel. Est. Bleu) (C. Ebener, U. Winters) techno-ecology natural science weather data from F. Dietrich) (1989/K 193) (S. Pevnick) in image production (PW) of leaves) (A. Elsenaar) (2000/K 393) Life Spacies II E. Kac, G. Von Hagens, K. Stefansson, (works that react to changes in the environment) as event. (2003/K 241/P 073) (1998/P 86) artificial clouds all over the world Symposium "Gene Technology" (1993/K 131) art of the environment, like ecological sculpture, (1991/K 207) (1994/P 100) A-Volve sound meadow (1987/K 104) bio-informatics K. Ammann simulated Reaching for the (1980/K 26) simulated nature (C. Henrich) Nerve Garden (1998/P 40) bio-cybernetic research Christian Brünner, Reinhard Löw, Lothar Müller, Helmut Ruis, art of natural elements and SKY ART. . . environmental art (Christina Kubisch) (1999/K 25) plants as interface organic surface regulation (Gail Wight) stars becomes a growth (1995/P 80) (Bruce Damer) (Symiotic. A) Horst Seidler, J. Voggenhuber, Ernst Wagner, Erwin F. Wagner) (Otto Piene) (1980/K 96) Fluid Sound (1988) (Karpfen-Becken) (touching the leaves) Operated by Art (2) environmental with the morphogenesis model (1999/K 315) cf. weather building physical gesture (Oron Catts, Stuart Bunt) flash-triggering sculpture climate converter (2002/K 382) digital growth the body as pure Sonare Technologien harmony of the spheres (unplugged Symposion) sound (Yoichiro Kawaguchi) (1986/II-151) (1980/K 23) (1982/K 58) sky harp (Stadtwerkstatt) (1988) The greatest weakness of the Memesis (2001/K 144) (W. Jauk, H. Ranzenbacher) (1995/P 118) (P. Grucza) information (1999/K 27) (Liz Phillips) (1989/K 98) (Joe Davis) (1982/K 41) interactive sound installation (1990/K-I-07) (R. Maedel) art as field work of ecological (1989/K 260) (1992/P 114) (Kristi Allik, R. Mulder) Genetic Images Statement lies in its awkward (1988/K 199) (1989/J 153) radio souncscape (Sensors for localizing fish) thinking, art at its limits (David Dunn) (Gene Genies Worldwide) (Carl Sims / 1991) biological analogies (1996/K 30) Wetware (W. Maass) (2001/K 153) Technosphere (1989/K 267) (Warren Burt) simulated clouds Telegarden floral kitsch (Liz Philips) (2002/F 10) CAN: Computer Aided Nature (Reck) Solar Music (1999/K 335) see also: material view landscape simulation (R. Hawkes u. a. ) and air currents interaction between a computer-controlled simulated (1991/K 195) (Ken Goldberg) (Hou Hanru, Peter Fend, (Joe Jones) aesthetics and fabulous epistemology (d. ECOi) (2003/P 102) earthquake (1997/P 76) robot and gerbil (Nicholas water currents and Bugrace 99 (Stadtwerkstatt) (1996/K 297) Mark Napier, Azza El´Hassen) greenhouse of artificial life (Louis Bec) (S. Spiegel) (1995/K 305) sky art view of the blue planet (1997/P 70) Antarctica – idea Negroponte / 1968) wave movements (1999/K 339) sport event (1989/J 56) (1993/K 172) applied zoosemiotics the logic of the snake communication with the aid of VRML technique (Project Taos) and reality virtual creatures evolution and growth (C. Sommer, (sound installation) small creatures (1996/P 94) (M. Pesce) sky art conference (Louis Bec) (1980/K 06/K 23) water machines (1986/K 381) genetic algorithms fractal boxes Is genius migrating to creatures (D. Harada) (1993/K 345) (Peter Kogler) L. Mignonneau, L. Bec, K. Sims, aspects of the original (Erik Samakh) (Yasushi & Hiroshi Matoba) permutational art illuminated zones of the earth zoosystematicians sky and sea (Christoph Steffner) (1982/K 33/K 67) (1992/P 48) (Karl Sims) (Jenifer Bacon, Joe Takai) (Otto Piene) the computer? (1993/K 346) Berndt Lintermann) landscape in video sculpture (1991/K 199) (1999/K 339) (1996/P 96) (M. Fujihata) Institute of Paranaturalist Research (1992/K 165) (1991/K 156) (Jürgen Claus) (1982/K 75) (1989/K 326) (Joan Brassil) 23 power-theoretical view battle view 2003 22 view of pop culture 1998 athletic aspects ars : architecture software view of public appearances view of public space ars: Surveillance Techniques view of clothing II 21 economic view / production view ars: techno culture 25 architectonic view 24 view of the field container view of the in-between (space) view of interior architecture view of magnitude financing view / costs view / sponsors view design view of the future view of exhibition organizers curators' view 23 view of the organizing institution / manager's view 1994 ars: wireless in public space celebration view 1992 experience view 22 entertainment view art historical view 20 historical view ars: who is behind the network history of technology view of fashion / adornment 1994 ars: digital design ars: a case for art history after 30 years view of cities and regions Literature: Euphorie digital? Aspekte der Wissensvermittlung in Kunst, Kultur und Technologie / Gemmerke Expanded Museum – Kulturelle Erinnerung und virtuelle Realitäten / Annette Hünnekens Museumsinformatik und Digitale Sammlung / Harald Krämer Kunstgeschichte digital / Ed. Hubertus Kohle Metamorphosen – Gedächtnismedien im Computerzeitalter / Ed. Götz-Lothar Darsow Echtzeit – Text – Archiv – Simulation / Timo Skrandies Archivprozesse – Die kommunikation der Aufbewahrung / Ed. H. Pompe, L. Scholz Unternehmen Capricorn – Eine Expedition durch Museen / Ed. Christoph Steinbrenner Optische Medien – Berliner Vorlesung 1999 / Friedrich Kittler Beiträge zu Kunst und Medientheorie / Ed. Hans Belting, Ulrich Schulze Medien-Welten Wirklichkeiten / Ed. Gianni Vattimo, Wolfgang Welsch Re-play – Anfänge internationaler Medienkunst in Österreich / Ed. Sabine Breitwieser Perspektiven der Medienkunst / Neue Medien Neue Kriterien? / Das digitale Museum / Ed. H. P. Schwarz, J. Shaw Suchbilder – Visuelle Kultur zw. Algoritmen und Archiven / Ed. Wolfgang Ernst, Ute Holl, et al. Digging th Net – Materialien zu einer Gaschichte der Kunst im Netz (Beitrag) / H. D. Huber (DH) Lebendige Eriinerung – expanded museum (essay) / Anette Ünnekens Recording Technology History / Steve Schoenherr Pioniere Interaktiver Kunst von 1970 bis heute Söke Dinkla 21 view of the (art) market view of advertising art as surroundings art as spatial experience 19 view of representation view of the exhibition art as field manifestation art as program art as mathematics archive view presentation view Literature: Visualizing the Semantic Web / Vladimir Geroimenko, Chaomei Chen The Media Pavilion – Art and Architecture in the Age of Cyberspace / Austria – Biennale di Venezia 1995 / Ed. Peter Weibel Medien Kunst – Ausgabe 0 Juni 1991 The Art of the Exhibition (study) / G. Dirmoser 20 view of the collection museum view art as questioning view of storage media ars: electronics in the exhibition context 1994 ars: digital city art as event art as media event art as celebration 19 material view / olfactory view (smell) archeological view of gravity art as location factor art as point of reference art as workplace 18 view of the art work view of the installation product view object view art as question of conservation tactile haptic view similarity and touch 18 view of the picture 2003 view of framing art as question of material view of projection electronic images Literature: performative installation Ähnlichkeit und Berührung / Georges Didi-Huberman Ins Universum der technischen Bilder / Vilém Flusser Für eine Philosophie der Fotografie / Vilém Flusser Bilder Digital – Computerkünstler in Deutschland 1986 / Ed. Alex & Barbara Kempkens Vom Tafelbild zum globalen Datenraum – neue Möglichkeiten der Bildproduktion und bildgebender Verfahren / Ed. Peter Weibel Article by Monika Fleischmann ! iconoclash – beyond the image wars in science, religion and art / Ed. Bruno Latour, P. Weibel Ordnungen der Sichtbarkeit – Fotografie in Wissenschaft, Kunst und Technologie / Ed. Peter Geimer Sehmaschinen und Bilderwelten / Ed. Bodo von Dewitz, Werner Nekes Zwischenbilder Zwischenräume – Kopigraphische u. elektrographische Arbeiten österreichischer Künstler / OÖ. Landesgalerie Leonardo 2000 – Kunst im Zeitalter des Computers / H. W. Franke Vom Readymade zum Cyberspace – Kunst/ Medien Interferenzen / Dieter Daniels Intervalle 5 / Mimetische Differenzen. Der Spielraum der Medien zwischen Abbildung und Nachbildung Medienwerke aus Österreich 1992 -93 / vorgestellt von Peter Weibel Das Bild als kommunikatives Medium / Klaus Sachs-Hombach (SH) Oliver Grau Computer Graphics art as prejudice art as hardware 1979 1993 1999 view of cognition 1980/82 art as natural wonder art as creation view of nature artifical life view 17 view of plants 17 view of animals Literature: Vampyroteuthis Infernalis / Vilém Flusser, Louis Bec Earth Moves / Bernard Cache (diagrammatics) Der Baum der Erkenntnis / Maturana, Varela The Philosophy of Artificial Life / Margaret A. Boden Artificial Life: An Overview / Chr. Langton (Ed. )

art as cognition tool (PV) (1998) Following the acceleration of the history of so-called "classical" art, we are now confronted with the acceleration of the reality of so-called "contemporary" art and the emergence of topical art, which seems to aspire to resist the imminent breakthrough of a virtual art in the age of cyberculture. (cf. Take over) (2003/K 142) There is hope that a growing awareness of the art historical "affinity" between concept art and software art will lead to a greater acceptance of media art in the field of contemporary art. (Christiane Paul) technomorphology (1997/K 18) (1999/K 236) a history of art involving DNA (G. Gessert) symposium preparation using net discussion (1996/K 28) navigation experiences (PW) The new image technologies have a significant influence on the area of the acquisition, storage, distribution and communication of knowledge. against an official contemporary art – (1999/K 414) for an art in keeping with the times modern era of information (Fred Forest) (1995/K 164) the blindness of And what is art about it? art history studies (Beusch, Cassani) (1999/K 417) New art theory necessary? for a digital renaissance of Situationism (1996/K 428) (H. Ranzenbacher) (1999/J 161) informatic art is outside the realm of the formal bourgeois concept of art (1997/K 383) (Ranzenbacher) In 1995 Hans Belting noted for the areas of video and installation: Art history, as the official chronical of meaningful activity, has not even become established here, we could say it has (1999/K 418) not yet started to work through activities that breaking down are meanwhile almost three decades old and boundaries between individual have indisputably taken place in the art scene. (1996/K 395) art genres the same is true for interactive installations media theory as art theory media theoreticians Belting's major project of a "media history of art (2001/K 394) informations superhighways EARTHSTATION control of the Collaborative Filtering (1994/K 206) "Gaia" ecosystem (vision) Proj. center for media and (G. Mayer-Kress, Gideon May, Brad De. Graf, knowledge cultures Gregory Kramer, Jenifer Bacon, Joe Takai, (2001/K 398) knowledge cultures Tom Affinto, John Chachere) (1991/K 147) (NEXT computer / spatial data organization) Because of the enormous speed at which media art has developed and spread in recent years, it is urgently necessary to resume and extend these fundamental discourses about a contemporary media art theory. (Stocker) (2003/K 13) The ARS has unfortunately contributed little to this over the years (DG) It is obvious that visual art's appropriation of media art will no longer hold (2001/K 20) (Stocker). . . art theories have yet to be written for this. (2001/K 20) What is the point of this polarization ? (DG) 17 view of art studies view of art history Against idiocy in electronic art (against the imitation of existing idiocies) (Friederike Pezold) (1990/K-I-126) The more "art" we try to pack into cyberspace, the less probable it will be that it will show any aesthetic qualities. (1995/P 16) (R. Ascott) ! The aesthetics of the manifesting ! (cf. Mersch & Co) Cf. (art) historical view of the philosophy of art cyber-philosophers (Agentur Bilwet) (1990/II-K 91) praise for the parasites (F. Rötzer on M. Serres) (1993/K 92) computer viruses Why should art and philosophy intervene in the dynamics of visualization? Because actuation can sometimes lead to realization, because heterogenesis can degenerate into alienation, because the development of a new velocity can turn into mere acceleration, because virtualization often blocks topicality. . . (P. Levy) (1995/K 97) Bazon Brock (1999/J 376) "Home of the Brain" mental edifice of the four media scholars Flusser, Virilio, Minsky, Weizenbaum (Monika Fleischmann) (Wolfgang Strauss) proposal for a really "new physics" (Nick Herbert) (1990/II-K 39) (1999/J 101) philosophical database (Mike Hentz, Minus Delta T) (1984/K 132) (1999/J 358) (HK) superficial philosophy of hope philosopher-artists philosophical and artistic orientation of the Ars through P. Weibel (1996/J 38) (Leopoldseder) (B. Mitterauer) architectonics (1990) 1988 philosophies of new technologies polycontexturality (on: Gotthard Günther) multivalent logic (Peter Weibel) (1990/II-K 23) media philosophy (a transitional manifestation? ) postmodern philosophy 17 media philosophy view (DM) Art without media would be as much a contradicto in adjecto as a language without language. It makes use of media, seeking to address, as a kind of exaggeration of the boundary, as its paradoxical figuration, a withdrawal, a gap or chronic insufficiency. . Herbert Hrachovec art theory philosophy analytical philosophy epistemology postmodernism discourse nomadology discourse deconstructivism discourse performance studies performance theory cognitive behavior patterns (see above) A philosophical experiment (1996/K 34) search engines that rank The emphasis on the central on the way to digital consciousness (DM) separation between aesthetic and datamining "paid" contents high in the function of code and the algorithm (Gerd Döben-Henisch) (1995/K 227) discursive media search results level symbolizes concentration on a knowledge database for Information is alienated knowledge on the net Riding the Net For Linz the first concrete contact with philosophical "firm core" that is often believed to have multimedia developers experience (Jaron Lanier) Mindmusic (1990) specialized thesauruses (1996/J 15) Designing a Database (2003/K 225) new orders of knowledge proponents of postmodernism and constructivism disappeared in the postmodern world. purely optical, immersive (ultrashock) (2001/P 70) Meme Symposium (1995/K 130) (Sommerer) Cinema (Marsha Kinder) MIC Media Integration and (Erkki Huhtamo) (2003/K 127) (R. Dawkins, F. Heylighen, image strategies /vs/ astonishing graphical Myth of Information the artist as archivist the impossibility of seeing oneself (Leo Findeisen) (2003/K 73) Communication System Lab (at ATR): Neo. Strukturalism, Neo. Semiotics (DG) J. S. Lateiner, A. Rosanne Stone, knowledge technologies cyber-flood effect (1979/K 40) mixed reality without distortions How to make art integrating art as a new method of R. Born, H. Hrachovec, Jon Rose, (2) (1995/K 116) search engines arranging the order of knowledge The job of the artists of tomorrow is that of crawlers (P. Weibel, Bob O´Kane) Focus (T. Walicky) of databases interpersonal communication in the Sadie Plant, D. Rushkoff, Rober (AH) A "Center for Art and Knowledge Technologies" (1998/II-K 297) an intermediary, a catalyst between different (1992/K 110) Datenbanken Semantic Web (1998/P 104) (Anne Nigten) research process Adrian X, P. Hoberman, T. Sherman could be newly created in this virtual way. ridiculous and terribly fields of knowledge, models of thinking and bot = robot = Metasearch (Marc Canter) (2003/K 60) (workplace: Christa Sommerer, (ML) problematizing digital John L. Casti, H. Ranzenbacher, touching with the eyes (In 1999 P. Weibel announced a restructuring of the ZKM funny neo-Jungian society, solution strategies. (2001/K 18) Künstler. Innen Bots & agents autonomous search strategies Zerseher spider Index camera pan through Laurent Mignonneau) (1996/J 122) technology as a realization of J. Engelberger, D. Back, Karin Spaink, in this sense) ideas of "collective (Joachim Sauter, Datenbanken (2003/K 225) all objects an "intellectual world view" VNS Matrix, S. Penny, M. Dery, Information as new intelligence" (T. Druckrey) retina scanner indexes supervised by specialists The Enjoyable Internet (Lioba Reddeker) Dirk Lüsebrink) 2002/2003 trained knowledge managers natural science /vs/ humanities (BUF) (2002/P 117) (C. Hegemann) K. Becker, G. Lovink, A. Lichtblau, (1992/K 25) "material" self-organization of data Digester (Jaaanis Garancs) information handling are available in Krems, Linz, Vienna, . . . (cf. courses offered in Linz) Tjebbe van Tijen (1996/K 06)(1999/J 158) projecting images directly onto (knowbotik research) (1993/K 249) (1995/K 265) material mirror camera parameters as basis informationarchitecture (1997/K 393) Multimind decentralized intelligence (1979/K 07) (popular theme in the 3 rd round? ) Internet there is no medium interplay of the retina with laser the scientific claim reaches MARS : Media, Arts, Simulation space "mosaic of mobile data sounds" for virtual shapes (1997/P 118) from the poetry of (Oliver Schürer) Search-Engine-Client archives (1979/K 14) of sense or art and science mindmapping with networks a high point in 1992 a walk-in database discourse tracks of the (D. Lüsebrink, J. Sauter) Research & Science programming to u. 3 D-Browser. Fundstellen MAK design database wooden mirror (Daniel Rozin) portals Data Jockey Collective Intelligence meaning (DM) (Christa Sommerer) (2000/P 56)(Patrick Lichty) (1999/J 73) (Christian Hübler, Alexander Tuchacek, Yvonne poetic appropriation of (GMD Sankt Augustin research as an Ars Electronica organisieren sich (Anziehung cooperating memes: 3 D representation (1999/K 418) (1995/K 95) (2003/K 93) (1996/J 120) Information electronic Wilhelm, Georg Fleischmann, Detlev Schwabe, program code (2003/K 104) (F. Cramer) eye tracking knowledge bodies near Bonn / M. Fleischmann) art form (2003/K 250) und Abstoßung) on the way to the global (Pierre Lévy) Data transformation / Architecture mirror (C. Möller) Michael Hoch, Will Bauer, Toblas Pfeil, program code as artistic material knowbots (Eugene Thacker) (Mignonneau, Sommerer) (Tom Corby, Gavin Bailey) collective intelligence (CI) brain? (1996/K 53) Data collage (2003/K 226) Dataspace (2001/K 20) (1994/II-K 75) Rajele Jain, Udo Zyber) (1999/K 399) code and (2000/P 44) tracking set-ups (1) art of technoscience poetics and aesthetics of software code image disc CD ROM A comparison with the "third culture" of the mediated by technology The WWW as a (1994/K 146) Data-Jockey material concept (F. E. Rakuschan) "style of writing" (Christiane Paul) merging/reconciliation of natural sciences and Super. Brain (Florian Wenz) (2000/K 350) CM technology DMS Very Nervous System stereoscopic virtual reality for collective laser disc (2003/K 137) humanities would be inadequate (2001/K 18) randomly colliding the image disc as medium technoscience is the tragic phenomenon (J. Bollen) Es gibt kein Medium vision without glasses science art (2) (perception installation) artist as catalyst pleasurable way of dealing cognitive processing of a knowledge that has suddenly become contents (1996/P 92) for artists (1986/K 318) (1996/K 34) des Sinns oder (Futurelab) poetry of Content Management (David Rokeby) ! with data/information (Derrick de Kerckhove) between fields of knowledge cybernetic (Trevor Blackwell) MUDs DVD Bedeutung (DM) (2003/F 49) (UR) In Ulm the call for a scientific art programming (2003) (1990/II-K 171) (1991/P 130) (PV) (1998) hypertext consciousness CDTV CD-I approaches of was en vogue from the late 1950 s until research as art form (2003) Media art as background research Memory Theater VR visual computer art exchanged visual perspectives! (2002/K 271) Geschichten vor Ort nachvollziehen. Dyn. search engines & spatial organization knowledge representation (1) far into the 1970 s or application research? (Ruth Schnell) memory theater ! (Giulio Camillo) science fiction (1979/K 16) (Kazuhiko Hachiya) (1996/P 138) augmented reality fiction of knowledge (proximity = quality of results) research lab as machine (2002/K 00) (Agnes Hegedüs) (1997) (Fakeshop) (1999/K 321) palaces of contents building/space organization: mnemotechniques (1999/P 90) (S. Schemat, M. Joyce, (DM) The aisthetic media especially include those (Stefan Huber, R. Ammer, B. Steffan) MOOs (AH) theory of perception televirtual environments VR Panorama Virtual Worlds: The Emperor's (2001/K 313) Verbarium: Text-zu-Form Neurale Netzwerke memory theater (Dirmoser, P. Matussek) Note: (ML) What can be grasped B. Carstens, M. Felsmann, AAAI 92: AI Based Arts Exhibition that relate to perception: the systems of optics and (2000/P 54) (AH) fiction instead of reality New Bodies (Peter Weibel) in artificial realities Editor: Nutzung der Zeichen(1994/P 32) discursively? . . . Because of its I. Bordoni, R. P. Dalò) (1993/K 181) acoustics, the arts, image-forming procedures of all Das universelle Datenwerk Media-spasm, senseless performative explorations agent Infotainment (see left) (1990/II-K 09) Ketten als genetischen Code (M. J. Grey) (Olia Lialina) transience and complexity, the shredder function for data kinds, . . . etc. They are all grounded in the sensory, (R. Kriesche) (2003/K 148) distraction and crash video installation perceiving perspectives (AH) cognitively oriented (PW) Klassische Kunst und Medienkunst teilen (1999/P 52) (Sommerer, Mignonneau) (1997/K 394) performative transgresses the Reputation Points see: view of sensor technology VRML visualization of encryption whereas discursive media refer to structures, orders, (ML) drafting and performatively testing (Steina Vasulka) (Mulder, Lüsebrink, sich einen gemeinsamen semantischen Raum installations (2001) modern science has increasingly representational capacity of valuation proposal (Peter Broadwell, Rob Myers) discrete categorizations and caesura. . . a "technical history of humanity" (William Gibson) interactive poetry cyber-novels (1990/K-I-124) G. May) (1994/II-K 68) nonlinear languages and signs. become a TECHNO(2001/K 203) Takeover III (symposium) (1998/P 76) talking to a neuro baby (ML) Institution for Media Performance Research Info-Stories (1990/II-K 225) (2000/P 96) (Orit Kruglanski) Most information on the tools science fiction in praxis: film, video, science (PV) (1998) content development (emotionale Reaktionen) (left) (Rasa Smite, Internet deals with context, teleperception the fate of reason in the global and skin design. . . Neural Networks comics, music (1982/K 167) a purely static representation (Naoko Tosa) (1993/K 353) interactive story-telling Raitis Smits) fuzzy logic auditive poetry (see left) not with content. network (Timothy Druckrey) (Virilio) (2001/F 08) (1993/23) Meme (in AI) is not powerful enough Criteria: Best Netzine: (Hotwired, (Josephine Anstey, Dave Pape) (1997/K 364) (1997/P 18) (Joichi Ito) see: sensor view (1995/K 139)(1999/J 305) sensor techniques Myth of Information (1995/P 108) (1990/II-K 55) surrealist Mediamatic, Tightrope, t 0 Public (1998/K 211) poetry-writing program POE (R. Trappl) med. cybernetics (1990/II) Richard Dawkin (Michael Tolson) (Myron Krueger) writing game / Netbase) (1995/P 46) Perception is a (Franz Josef Czernin, content issues /vs/ lack of content Cyberpoetry (G. Dorfer) neural networks (1990/II) mind viruses interactive story AARON al AI-based (1969) computer-controlled environment growth of a Netbase (K. Becker) (1995/P 60) process in formation. remote-controlled sensory Ferdinand Schmatz) tool fixation (technology fetishism) (1997/P 92) (Z. (P. Smolensky) connectio. SW (1990/II) (1996/K 40) AI (2003/K 224) (1998/P 96) (Lisa Prah) (AH) from objectivity program (Harald (1970) interaction with video projection systems (AH) Connectionist SW story Hotwired (1995/P 76) (Ecke Bonk) (1990/K-I-136) (H. cohen, J. Petrow, (R. Cummins) connectionism (1990/II) Komninos-Kostant) Cohen) (2003/K 122) (1971) using sensor floors to viewer relativity (AH) rejecting all narrative (Sharon Denning) (1995/K 48) Sensor that feels its way G. Papp, T. Spiller, (G. Schwarz) learning processes (1990/II-K 107) the stifling insight that technology interactive poetic information architecture (2) non-linear computer-generated (1972) start of the Videoplace project (NICA 1990!) (never at the ars? ) discovering stories oneself text synthesis (2000/P 32) connectivism (1990) Lyle Zapato) (M. Veitl) med. cybernetics (1990/II-K 51) without "content" might not be garden (1998/P 98) MIT through the space (DH) reactive works: revealing (D. Rokeby) Our user interfaces are also a (1990/P 169) narrative (AH) literature (1980/K 07) (Bill Seaman) (1989/K 106) (1998/K 264) (B. Mitterauer) architectonics (1990/II) sellable (1996/P 24) (D. Small, T. White) (H. Haagsma) content through clicking/scrolling (Tamara Munzner) connectionist improvement kind of belief system, because they hold and very free contextualization The construction of computers as "authors" of virtual brain Time´s up (Tim Boykett) cyberslang (M. Minsky) Mentopolis (1990/II-K 97) elegant retreat to (David Blair, Oliver Frommel, Vera Frenkel, Doug Aitkens, Dean Kuipers) differential topology of AI systems (AH) affirm our assumptions about the essence of (1996/P 106) (Joey Anuff) experience. Interface as "pseudoscientists" : cybernetic art works art-immanent digital poetry term hypertext (1995/P 164) mapping specialist things and reality. cybernetic content (David Rokeby) (left) (Steve Mann) the 90 s as the era 3 AI creatures (Joseph Bates) (Staalplaat, Negativland, positions (2001/K 20) (1979/K 30) 1974 from Ted Nelson Computer – from calculating tool interactive novels methods (1999/J 420) (former PRIX) of the brain in search of the order behind it Hypertext Decision-Support-System MIT (1997/P 112) Muzictoerist, Barbed, (1990/II-K 253) to mankind's creative partner? in literature (1997/K 144/K 217) analytical philosophy (1990/P 08) (Daniela Alina Plewe) (1998/K 140) (2003/K 140) Is software art more successful, if one most prize-winners last year did not People like us, N. A, Baginsky, science fiction workshop text-software / (1979/K 29) machines, whether "hard" (Klaus Ramm) (1965 – Ted Nelson) non-sequential myth of AI Ottos Mops (trotzt) epistemology "can see" the algorithms behind the development of intend to be artists Gordon Monahan, Leo Schatzl, new narrative structures (1982/K 08/K 167) AI works (HK) one should push forward in art related (1980/K 78) Div. obscene contents AI robots reading and writing or "soft", are the codification (Robert Trappl) L. John, B. Quosdorf) visual/acoustic phenomena? Rosa von Suess, Karthik Swaminathan, (1996/P 50) (WEB) cognition sciences Heiko Idensen in computer games recording the direction of AI as far as possible (2003/K 229) (1996/P 110) (Lisa Hutton) (Luc Steels) of problem solutions "AI-Laboratory" (1997/P 144) zu Jandl from the onomotopoeic poem Yuri, Triclops International, Insight hypertext programs Software as "diagrammatic" techno-positivists cognition theories Matthias Krohn music preferences – established visual artists, who also a new hacker / (1995/K 308) (1996/K 204) (1986/K 338) to radiophone poetry Instruments, Prema Murthy, on the PC since 1986 ordering material artistic skills of the (1996/K 162) In the beginning was the profile cluster as Music. Map artistic research realized web works (Julia Scher, distributed authorship Art is increasingly less suitable as a artist generation visual poetry and E-zine literature in image and sound (1980/K 76) John Duncan, Nuoc mam dirndl, computer (1979/K 30) command line (Neal Stephenson) (2003/P 71) (AH) artificial intelligence creature: Jenny Holzer, Antonio Muntadas, (1983) (1989/K 104) source for visual design, because it has constructivism (1996/P 23) scientific jokes cybernetic research: symposium (1980/K 75) Hyper. Card expert system Gelatin) artist as researcher (2000/P 24) (M. Breidenbrücker, F. Miller, Artificial Reality and Artificial Life David Blair, . . . ) less and less influence on the language hypertext fiction (S. Moulthrop) Visually Deconstructing Code similarity theories (Jared Tarbell, Lola Brine) connection of mind and the job of the artists of tomorrow is that of an Hyper. Card stacks although they don't earn money Hyper. Talk M. Stiksel) of the dominant media and has long (1196/P 112) (Ben Fry) (2003/K 197) (2003/P 60) machine (the anti group) media design groups: discourse analysis intermediary, a catalyst between different fields (Judy Malloy) (1989/K 133) (Baudrillard) Yet those intelligent machines are only on the net, their work gets out Toolbook The Secret Lives of Numbers since become an archive of everyday Digital Diary (1990/K-I-112) of knowledge, models of thinking and society, (Lynn Hershman) (1989/K 238) MESO & Involving Systems (Kazuhiko Hachiya) (1997/K 260) artificial in the most limited sense, because they merely to people (Golan Levin) (2003/K 240) codes. (UR) remote-controlled robot (Natacha Merrit) walk-in knowledge spaces solution strategies (2001/K 18) (Steffan Ammon, Martin Bott, Mega Diary – a global, open break down linguistic, gendered, scientific processes into (1996/P 45) Electronic Diary as Graffiti. Writer (2000/262) The Odyssey (1989/K 133) Sebastian Gregor, Michael Höpfel, diary project (1997/P 126) simplest, digitalized moments, . . The Active Text Project Storyspace CAVE did not develop from video games or From the beginning, the media industry was (1989/K 235) (The Institute for Applied porno-diary interactive hypercard stack Joreg, Karl Kliem, Sebastian Oschatz, The job description or Varioklischographen (Jason E. Lewis, Alex Weyers) (1995/K 171) (Lynn Hershman) (A. Mohsen Daneshgar) flight simulators, but its origins are found instead greatly interested in effective support on the part clones (Dieter Huber) AI and interactive art (J. Bates) Autonomy) (2000/F 36/P 78) justification "artist" is no (Fortner Anderson, Henry See) Max Wolf) (2003/F 12) (ars intermedia) (2000/F 35/P 98) typography Gender Idendity – L G B T diagrammatic in scientific visualization and the demands of the of art, because even with thousands of trained digital body manipulations (1993/K 181) longer interesting; it is as Patti Maes (1979/K 44) lesbian, gay, bisexuell, transgendered design for Coca. Cola SIGGRAPH 92 Showcase (Daniel J. Sandin) computer scientists, by itself it is not capable of (1996/K 404) (Luc Courchesne) (2000/267) (Ross Harley) (1993) traditional genres of applied "sculptor" of unnecessary as the positions satellite images as (1994/P 128) (Monika Treut) (2000/K 202) pioneers: (derived from (1996/J 85) (CAVE development 1991) putting sophisticated and attractive products on interactive theater through visual rhetoric (typography, graphics, information (FF) it is supposed to defend. picture basis AI dissertation Body mapping: Telepräsenzinstallation (Sandy Stone, Susan Stryker, Judith lettering) CAVE was conceived as a tool for the market. (B. Serexhe) 5 computers with Hyper. Card (see above) boundary betw. video posters, book design, print media) (2001/K 19) (Stocker) (Mario Sasso, Nicola Sani) PET Positron Emmisions Das stellvertretende Cyborg-ICH "Jack" Halberstam, Kate Bornstein, (2002/F 12) scientific visualization Landsat satellites: system game and literature (AH) (Huhtamo) system developers, who regard themselves among others, with the goal of persuasion (1990/P 81) Tomography (1997/K 16) (centre for metahuman exploration) Electro Magnetic Poetry Jordy Jones, Jacob Hale, Pat Califia) (2001/K 299) of reflecting mirrors (Natalie Bookchin) as artists, because they see a creative act in the invention there is no genius MRT Magnetic Resonance typographical (1998/K 212) (1996/P 108) (Maria A. Witkin and M. Kass come from the field (Tom Van Sant) (1982/K 42) (2003/K 97) (Pierre Lévy) (2000/P 42) and arrangement of "code": Myron Krueger, Vivid Group VR for the visualization of the artist bodies (1993/P 30) Tomography (f. MRT) technical history of writing meanings flowing into Winslow) Three basic electronic of science. Nevertheless, their graphics VRML, 2 D, text VR: 3 D Diagrams Gene_Mixing and Loops of the Self dynamic typographical mapping the position of the (Mandala System) – system art of large medical (J. Heemskerk, D. Paesmans) Lingua Franca (Thomas Bayrle) Habbo identity Map of the market one another (DISS project Thomas Maier) palettes: television, have a new, resounding aesthetic. (Birgit Richard) (1999/K 267) sculpture out of web sites or voxel avatars collective intelligence of a community as user interface databases (1997/P 96) (JODI) (language of intercourse) (W. Seaman) (1995/P 106) (2001/K 205) (M. Wattenberg, Joon Yu) (Tom Wolfe) (1997/K 219) computer graphics, video (Milan Knizak) (1992/P 14) (D. A. Plewe) (1999) (B. Fry) (2001/K 290) (1997/K 177) writing software oneself or working diagrammatic interface (1995/K 194) typographical positioning system (2003/K 12) (1999/P 54) "Brain Imaging" conference (1995/P 43) Double: identical with the self knowledge representation (2) artist/programmer closely together with a programmer for games and music programs (Casey Reas, Golan Levin) (2000/K 387) identity and mask in body mapping 3 D electroencephalography listening station for communication artists (FF) (Birgit Richard) (1999/K 271) experimental typography Books on demand (1979/K 22) (Myron Krueger, Harold Cohen, Krypton – Aurora Elettronica Information: C. F. von (MEGO) Bi-Gender Show virtual reality MRS Magnet Resonance Mapping Toolkit (M. Bielicky, B. Lintermann) (2000/P 88) Radiotopia (2002/K 428) the visual artist as programmer Duplication and hope of (Fuse – Neville Brody) (2003/P 76) (Shinya Yamamoto) David Rokeby) (2003/K 121) The Metamorphosis of Light Weizsäcker also defines it (2000/F 13) Alphabet Zoo (Blanchard et al. ) Spectroscopy the artist as system (H. Huitric, Monique Nahas) Blogging immortality (1999/K 272) (1986/K 19) as an "amount of (Peter Cho) (2000/F 42) (1990/II-K 191) Lightstick (writes images integrator artist/technician (1986/KII-143) Live journal copyright and intellectual (2000/K 398) form" (Ecke Bonk) male identity light theater moving) (Bill Bell) (1982/K 69) (1986/KII-296) application research /vs/ abstract typography property Letters of BIT (1995/K 42) Gender Bender (1997/F 38) gender-hacking "brotherhood" (1980/K 23) at least as a symposium background research (DG) elusive job (James Mc. Cartney) (Kenji Komoto) diagrammatic interface testing the specifics of gender playing with identity (Elisabeth Schedlberger - CODE) (Woody Vasulka) (1994/II-K 87) light technology Text and tectonics, set-up and light show of the 60 s (G. P. Garvey) diagrammatic typography (2003/F 11) description (2001/K 19) for music computer – UPIC (1996/K 185) World Maps – Change the Map this development is carried by people who students who want to design order, shape and arrangement. (Walter Pamminger) Typodesign the drawings are interpreted as installation for ballet. faked identities – disinformation as locate their identity in between artist, engineer, Composer; author of the (AH) collective instead of author web sites choose departments Form and format, formula and light organ pole shift with transgender transformation object oriented synthesis (Ecke Bonk) Light Ballet pressure curves, dynamic envelope interaction with light disguise (2003/P 68) (LAN) social worker and experience designer of design rather than art formation. Schema and pattern. Talmud Project – typographical (1979/K 19) conventional projection curves, scores. . . (2000/K 113) language "Super. Colider" effective development of a configural (1980/K 23) (1995/K 42) (C. Möller) (1995/P 132) Forget concepts like gender (2001/K 20) (Lia) re: move research (David Small, Tom White) (2001/K 34) Constructing and (a) building. (2003 OK) (MEGO) image language (Peter Zec) (Iannis Xenakis) light-mobile and race. In cyberspace you cover design Coder, Hacker, (schoenerwissen) (Ecke Bonk) (1995/K 46) (2000/K 403) (1995/K 250) light robots computer-controlled Multibind-Deadlock(1990/I-K 69, K 72) Navigation (1979/K 25) are what you want to be. data visualization (2003/P 46) Open Sourcer, permanent self-exhibition (2002/P 56) Markus Huemer Hyperbolic tree (1980/K 94) Coma (1996/K 226) neon installation (1992/II-K 44) Symposium (S. Zizek) (1995/K 127) laser in concert Stop Motion Studies – studies (2002/P 23) maps to Circuit Bender Re-Mapping Our Mental Model (R. Rao) (1999/P 50) (Jennifer Ringley) Mapping view of visualization contolling reflective images (1986/K 331) (1993/P 45) (E. Schoener) in the subway (D. Crawford) (2001/K 20) (Scott Brave, Andy Dahley) the project Maps (R. Buckminster Fuller) (2002/K 17) walk through light sculptures Flight Case issues of identity (Constanze Ruhm) Homepages and e-mail author linking concepts (2003/P 40) (1979/K 50) (1997/K 278) life is more than the implements cartography in (Rudolf Macher) typography and (1979/K 09) music in color: WEB-CAM letter objects on the Internet are taken for granted as dynamic mapping spherical surface director patchwork biographies survival of the genes the dispositive of telematic GIS systems (1992/K 151) view of illustration rhetoric / topic components of an artist biography Sonoscope (A. Vitkine) being in electronic (B. Fry) (2001/K 291) media as a network editor (2001/K 113) Kaspa. H´s Home laser light drawings (1980/K 113) (2001/K 21) Legible City structuralism (1996/J 53) space (1994/K 158) Audioskop (M. P. Kage) designing radiography information mapping (1989/K 108) (Mathias Fuchs) (Catherine de Courten) designer (J. Shaw, Dirk Groeneveld) virtual identity and avatars diagrammatics electronic mapping (1979/K 19/K 61) (C 5) (1999/K 395) and light graphics (1954) mapping (1995/P 88) (PV) Presentation is In 1960 T. H. Maiman first succeeded Colourspace producer (1989/K 209) Graph. programming (Barbara Becker) video world and fractal subject (1998/II-K 174) mapping discourse conflict zones – (H. W. Franke) (1979/K 54) in producing an active laser. Artistic (1989/K 256) visual music effecting the manifestation of a thing. programmer (Lia) (2003/P 49) information visualization In Sommerer's installations (Jean Baudrillard) (1988/K 88) diagrammatic turn water divides Manhattan Timeformations objects with a double mapping cyberspace use of laser technology started in 1965. (Judith Ryser) artist as avatar (Waltraut Cooper) (B. Fry) (2001/K 159) artist death is employed as a necessary high tech and psychodelics diagrammatic (Peter Fend) structuralism (discourse) (Brian Mc. Grath, Mark Watkins) identity (Ishii, Orth, Gorbet) (2001/K 38) (T. Feuerstein) (AH) Krueger discovered that users (PV) New era of videoscopy: light/color piano laser light in an tabula rasa (1993/P 77) (George Barber) film (L. Houplan) (2003/P 158) (2002/K 271) (2001/F 36/P 48) literature discourse telepresence installation: (1997/K 204) quickly identify with a figure in a game, . . . lighting is no longer done electrically, (1988/K 194) interactive performance substitute objects Mapping Time "Terminal act" (PV) (1998) the second player is present laser beam deconstructivism light-kinetic if it reacts to instructions in real time. but is instead an indirect electronic (1993/K 261) (P. Böhm) Light Music in the Soviet Union Bots as verbal "personalities" web design desk top publishing cybernetic euthanasia (Ross Cooper, Jussi Ängeslevä) as a crossed laser beam see also: view of used to control DTP visual music No Man´s Land oscillograms memory theories It is not the realistic representation that works illumination. (Roberta Reeder, Claass Cordes) (Rainer Jessl) as long as something is happening (2003/F 41/P 100) (Lozano-Hemmer, Will Bauer) artistic production Immateriaux II robot installlation / (1980/112) is crucial for aesthetic pleasure, but rather projections (1992/II-K 225) surviving imagine objects that stage or dramatize (PW) If we consider the influential aesthetics on the stage a videostream flows Where there should have been (1995/P 128) (K. Obermair, implanted and emergent (ML) aesthetic effects of linking the identification with the controlled laser technology pictures that dissolve Data transformation / body mapping making music online "existential moments" - such as a conflict of the past two centuries, then it is evident that (2001/K 207) (Axel Heide, P. Pocock, robots design, there was a huge hole R. Spour) behavior (the parasites, the Crack-Intros theater with electronic-digital media behavior. electronic into a color when Visualization (2003/K 226) (1999/K 309) (Koji Ito) (1998/P 48) (Fiona Raby) (2003/K 276) they are constructed on an ontology of the picture, G. Stehle) Laser Art in the web in 1995 (2001/K 214) (1992/K 246) untamed, the inverted (2001/K 207) An exception to this would be touched play of color Laserdisk on a static concept of existence net. flag (Mark Napier) The Gulf War spatial representation of The designer is increasingly discharge into gases scavengers, . . . ) MIT's Media. MOO where each (2000/P 90) (J. Campbell) (1979/K 34) artistic use (1997/K 390) (N. Math, (2002/K 362) the medium hides itself in the process of brought the myth information (1999/P 44) becoming an information designer, Apparitional Aesthetics: The quality of (L. -P. Demers, Bill Vorn) neon sculptures character has a "character name" (Stahl Stenslie) aesthetic Carson Jeffries, Otto Piene, Joel Stein, C. F. Reuterwärd, of the game figures in electrooptics (PV) Andrea Sodomka, M. Breindl) of the artificial (F. Matsumoto, S. Matsukawa) its mediatization (DM) Japanese i. e. an expert for "intelligent" cyberneti aesthetics (1973) coming-into-being, of apparition, is replacing the (1996/K 262/P 126) s. o. from identity to difference (AH) and a "real name. " terminal-existentialism (A. Sina) (1980/K 110) Iannis Xenakis, Paul Ears. . used laser technology for Internet stereoscopy (PV) virtual worlds (2) from academic (unfortunately not the case with many works) illustrators visualization systems and (H. W. Franke) (1979/K 54) MUDs quality of representation, of appearance, which has (1997/K 174) (Victoria Vesna) Voice over IP in Life Art multimedia performances (FP) making gene virtual volumn discussion into audio data streams Real. Audio machine aesthetic the self (2001/K 21) techniques (Zec) identity and artificiality for so long characterized western art. (1995/P 19) (R. Ascott)!! Broadband (2002/K 167) (2000/K 213) maps (1999/ recognition for the world of the (1996/P 170) (Marc Caro, constructed by optimization principle of aesthetics (1965) Japanese (Catherine Ikam) (2000/K 401) cancellation of identity (AH) media should be almost "transparent" (FP) nighttime laser shows: ADSL K 121) quality of selfrational aesthetics (ML) Theater for hyperreal. (1996/P 36) "Form Art" Competition Jean-Pierre Jeunet) the brain broadband internet in (H. W. Franke) (1979/K 54) holography and laser lab Voice Mail from NET: ART to NET. RADIO Real Audio A virtual reality is principally real to the extent understanding of (AH) being in two worlds (1989/K 110) (ancillary invisibility) Rockne Krebs, Dani Karavan, Horst H. Baumann representation (Station Rose) internalizing a (Alexei Shulgin) (P. Smith (1955) the catalytic the cities 2002 (2002/K 178) (1998/K 75) (Josephine Bosma) Servers´ that it depends on a complex physical apparatus. virtual realities (1986/K 324) (Horst Baumann, Internet-Metric typography at the same time aesthetics of disappearance (1995/P 68) computer aesthetics "digitized" existence (1997/K 393) Churchland) artistic holography (H. W. Franke) effect of new media Network Image space, on the other hand, is virtual. (SH) mailboxes e. Mail plastic light on the violence of the Dan Schweitzer, Dieter Jung) (T. Feuerstein) (2001/K 199) (P. Virilio) (1994/K 71) development of complex (D. de Kerckhove) Net. radio OZOne (1999/K 397) (1997/K 70) (Harriet Casdin-Silver) (1979/K 54) (1996/K 61) every bit has its own existing means being scanned web games the aesthetics of programming (F. Förster) (1994/P 116) proper name in virtual Flash-Art (2002/K 380) mail art the telephone already communication spaces: (1980/K 100) aesthetics of the interface (ML) (1994/K 163) (Carole Ann Klonarides) (1992/K 183) aura (1994/K 165) worlds (domain) --Net. broadcaster (1998/K 92) aesthetics of the nets Telepresence is an amalgam of three invading living spaces live radio via Internet represents an instrument Post. Pet e-mail pets (1998/P 36) holography – media (martial) art (David Rokeby) mixed-reality architecture (FP) The hologram was invented in 1948 by domain concepts (Birgit Richard) (etoy) (1995/K 166)(Forest) technologies: robotics, telecommuniaesthetic-generative basic programs (AH) images becoming via web camera (2002/K 165) of telepresence (1995/K 92) Flash Turbulence (Kazuhiko Hachiya) the cubism (Jutta Zaremba) (2001) (MF) Denis Gabor. In 1961 Yuri N. Denisyuk produced holography art (P. Garrin, A. Troeger) (2001) Fictitious Portraits telepresence TNC Network cations, and virtual rality (OG) allowing art to die with dignity bringing something into view (H. W. Franke) (1979/K 54) visible (Helen Thorington) of our day (Resitor Sensor: pressure, touch, force) a monochrome white-light hologram. (1998/P 44) (Jonathan Gay) (AH) It is noticable that although (Richard Kriesche) apparitional (1999/K 394) visual aesthetics (Keith Cottingham) (an expiration date is built in in the interaction net technology (1997/K 422) (1996/K 418) (Thecla Schiphorst) forming presences (DM) first Java (2002/P 26) the artists named (Ascott, Boissier, Couchot, telepresence (2) Traces – Telepresence (Stadtwerkstatt) (1984/K 345) aesthetics Reality TV (1994/P 38) due to HW/SW requirements) see also: cultural theory view hologram collages retro-gaming style (1999/P 68) (Perry Hoberman) (above) browser art (2003/K 225) Net projects already in a crisis after only numeric aesthetics Telepresence now (exhibition 1991) (OG) applets role of the program Forest, Krueger, Shaw and Weibel) apply the holography and society (Roy Ascott) in CAVE / networked see also: view of the organizing institution (2001/K 205) Holodeck – interaction with computervirtual computer camera 3 versions of a furnished room (S. Biggs, Opera software, (TXTD. sign) (1997/K 265) (Ranzenb. ) hardly any (1996/P 44) for the development means of computer science, they still frequently a few years? (2000) Privacy (on four aspects of artistic (1995/P 15) (below) material aesthetics news aggregators telepresence installation thermometer, instruments to CAVEs / physical models gestural system (2) atmospheric effect generated holograms (Joseph Michael) floats around Gondry A. Deck, F. Hwang, Haruka IPzentrum: interpretation of earthquakes traces remain from semiotic aesthetics start from an idea of the "picture" from holography) (Vito Orazem) (centre for metahuman identity on the net measure sound, pressure, in real time violence in computer games window pane experiments: synchronized ultrasound interface for gestures Electric Field Sensor (1998/P 92) frozen in the air Kikuchi, Myron Turner, Sintron, as elementary form of expression many technologies semantic aesthetics artificial ghosts traditional aesthetics exploration) (1998/K 211) Web-ness (Joichi Ito) movement, form (Simon Penny) animation (Ichiro Aikawa) (2000/P 40) (Arndt Röttgers) (2001) newsgroups GAMS: Gesture and Media System (1996/P 174) I/O/D, P. Luining) (cf. E. P. I. Zentrum by B. Nieslony) (Max Bense) (. . . interaction with the synthetic image) warmth sensor holography newsgroups (1989/K 204) ( Jeffrey Shaw) (2002/K 254) mobilized via describing the world as (Po. Mo Co. Mo) (1992/K 229) (M. Gondry, P. Buffin) holographic art the hand as "disturbance factor" artists working exclusively in the medium (see: PRIX) (1989/K 218) holographic video (holograms rendered in tele-existence light barriers (1989/K 207) (2002/K 389) digital aesthetics in (M. Lauk & Bodo Dorra) Web Stalker cell phone Golan Levin an interface problem electronic viruses psychical energy Mosaic could be (1979) Usenet (A. Tambellini) (1980/K 111) Art Com Electronic Network of the Internet (DH): (Joachim Blank, (Regina Cornwell) real time) real-time holography Space Balance (1993/P 90) South Africa (M. Neustetter) (I/O/D) (Neeraj Jhanji) rotography - light diodes (2001/K 387) Critique (Patrice Pavis) (1999): Charles Proteus Steinmetz (1992/K 12) (PW) the "killer app" life energy ACEN (1986) (1989/K 129) affective. Cinema (Jan Torpus, Michel Durieux) Holger Friese, Alexej Shulgin, Philipp (Harriet Casdin-Silver) (1982/K 73) (1989/J 45) visual sensors that register (Christian Möller) aesthetics of the (Scott S. (1998/P 46) (2001/F 36) Despite the apparent victory of and the magic of electricity possibilities of (Otto Frühling) (1994/K 212) electronic publications Symposium: electronic (transmediale) control through bio-feedback forming experiences of being mental energy Pocock, Dirk Paesmans, Joan H. von Jodi movements in space Fisher) (1992/K 155) static (PW) computer specialists over directors (Franz Pichler) (1992/K 218) expressive net violence holographic stereogram (1980/K 94/K 114) (AH) 1968 interactive light-sound spectacles means of visual design via GSR-Sensor (Galvanic Skin Response) (left) How does an interface form the experience (1986/K 299) listserv and of the machine function over the computer art netiquette artist as (Shunsuke Mitamura) Vision System (2) (autoaggressive potentials) (American Pulsa Group) mailinglists (1980/K 93) of being? (David Rokeby) net installation hypermedia projects rotating mirror see also: energetic view Tesla machines Rotting Apple aesthetic object, what is repressed of AI robots (Luc Steels) (1990/K-I-120) browser GSR (2) raw and informed (optic tracking) (Sabine Seymour) (Poo. L-Processing) light traces sensor Deep Blue (R. Adrian X, (Franz Xaver) (Günther Held) (Piotr Kowalski) (1980/104) Trusted Computing the body and human presence, of the developer touch sensor, infrared sensor energy (Mark Ries) Internet user-controlled large(1998/K 113) (Idensen, Krohn) (pursuit of bathing caps) Xchange started as mailing Sam Auinger) (1996/K 251) (1992/K 142) gopher (1982/K 93) (Fred von Lohmann) voice and the text suddenly (recognizing obstacles) Music playes Images x (1994/K 224) Pixelspaces – DAMPF apparitional scale light installation: result movement analysis list network (1998/K 78, K 89) rotating display (Henry Jesionka) energy potentials are (2003/K 49) returns. (1995/K 308) mailing list for software art playing around with the HTML (AH) aesthetics of Sensory Environments – Immaterial Interfaces aesthetics Images play Music (1997) documented on the web as image (1996/K 315) virtual shadows (David Moises) (2002/K 420) radioactive rays (1992/K 209) tapped from the Internet (Alex Mc. Lean) (2003/F 13) metastructure (Kensuke Sembo, (2003/F 14) (Roy Ascott) communication (FF) (2000/P 74) (Raffael Lozano-Hemmer) (Toshio Iwai, Ryuichi Sakamoto) XML XHTML the AEC Center as prototype (the secret life of things) SOLAR-Projekt (Gudrun Bielz) and the local movement thresholds of control Yae Akaiwa) (2000/F 44) Sensory Environments (2) Blogosphere (2003/K 70) abstract computer realism Pixelspaces – DAMPF (2) (AH) process instead of being (1995/P 15) (1999/J 29) (1999/J 428) of a new power location (2002/K 411) (1998/K 179) (1996/K 424) of the viewers hyperlink web magazine destruction art and terminal amateur journalism cf. Stadtwerkstatt/Servus project : (1994/P 56) (S. Mc. Sherry) Sensory Environments – (1969) ARPANET (1979) Usenet of digital culture Tool´s Life a protocol is a system for (AH) an aesthetic of the object (2002/P 104) (M. Saup) (2003/F 38) culture (Kristine Stiles) (1999/P 177) URL HTML 1. x 1994 eco-installation measurement points Generali building as display and Immaterial Interfaces (1990/T) WWW developed at CERN (1996/J 39) (Motoshi Chikamori, fire film aesthetics of digital maintaining organization and still dominates over an aesthetic existentialism (1991/K 29) (1999/J 124) collaborative weblogs (2002, 2004) (Makrolab) (1998) light sculpture (2003/F 14) (1989/90 Tim Berners-Lee) Kyoko Kunoh) (Manfred Laumer) grammars (2003/K 127) control in networks of the sign. . . (primacy of acting) the visualization of the parasites – transforming electroacoustic WWW Internet (1993/T) only a few WWW servers photovoltaics an unsettling thing destruction of (2000/P 178) (A. Galloway, Eugene Thacker) motion or temp. difference energetic body existential philosophy work – in complete gestures of an interactive infrared sensor relational aesthetics Radical Disruption of a Gyroscopic collective weblogs (2004) (1999/P 175) (1994/T) already over 10, 000 WWW servers (Paul de Marinis) web sites on (2003/K 62) into electrical energy (1986/K 285) digital aesthetics (PW) subjectivism debate robotic installation (1986/K 297) (2003/K 142) Device with Heterodyne Mutation the role of the WWW (1994/T) first artistic works in WWW (DH) nylon threads in laser light darkness (John Duncan, Hacking (1991/K 191) HTML basis (Frank Fietzek) (2001/P 104) (PV) Following the telescope and the microscope, Francisco López) criteria: (spy camera, infrared (Krüppelschlag) (1991/K 211) performative theories from (Paul De. Marinis) for art projects (1995/T) first literature on net. art (DH) (Kensuke Sembo, Hacking Millenium Park kinetic aesthetics of now we have video photography. It represents the sculpture formed with dynamite transfer protocols techno-aesthetics (AH) most useful sensors / (2001/F 34/P 108) (Just Merrit et al. ) (TNC network) (1998/K 107) cultural studies (96/97/T) the most artistic works so far Yae Akaiwa) documented violence light sculpture digital images (AH) Myron Krueger stresses that not Internet 2 on the whole, the concept of (Piotr Kowalski) (1980/104) Video: Violence third stage of illumination. (2003/K 12) sensor reaction to visitors) (2000/T) sharp decrease in PRIX entries out of control (2) performativity discourse (2000/P 46) (Kathy Rae Huffman) (C. Möller, (1996/P 102) Digi. Crime only does a new aesthetics emerge with (Harold Edgerton) stroboscopy Richard Kern Retrospektive (1995/P 47) (Kenneth Rinaldo) (2) aesthetics is not very helpful video images as light images (O. Piene) TCP-IP, FTP, HTTP, (AH) developing the aesthetic accident – remote-controlled R. Kramm) on the dangers of the net the invention of systems, which first leads PRIX erstmals 1995: exhibitions: high-speed photography (political violence, personal violence) physical dramaturgy (modifications do not really add Welcome to the possibilities of a technology car jumps (Leo Schatzl) (1999/F 24/P 64) (Lynn Hershman) DNS (1994/P 132) (Kevin Mc. Curley) pyrotechnical installation based on the to a new aesthetic theory in its description, In an artificial ambient, the computer "Kunst-Licht-Kunst" (1966) (Popper) (Eindhoven) (1991/K 261) (1982/K 82) anything either) (DG) (1991/K 215) Performance (through bodies) Wired World (ars 1995) VRML multi-user sculpture spirit of the industrial feeling but also a new art form outside the realm optical computer architecture becomes almost invisible. . . It (AH) techno-aesthetics versus "Lumière et Mouvement" (1967) (Paris) Erotic Violence (1991/K 278) (1998/II-K 222) Reichian convulsive breathing running into the limitations RIP, NTP, NFS (Erik Hobijn) (1991/K 107) (1997 renamed: . NET) (1997/K 306) of traditional forms. three-dimensional storage supports sensor technology and classical aesthetics (Andreas Broeckmann) Telnet automatized Datenautobahn exercise (John Duncan) of VRML fire as the medium of possession ; (AH) Weibel shows that the means squashing teddy (R. R. Birge) (1998/P 151) artificial senses. (PW) (Rooted in the sign? ) 2001 Net vision (PRIX) netculture (1999/J 438) light and sound sculpture violence in film (R. Kern) (1991/K 281) explosions (1991/K 277) (remote login) (promoted by Al Gore) the "Dante Organ" Symbiotic exchange of (1998/II-K 257) for realizing depictions have basically (U. Winters, C. Ebner) (DG) We should leave the aesthetics concept (1997/K 85) investigation of experimental (1997/K 303) (1994/K 07) (Christian Möller) (Roman Signer) 2001 Net excellence (PRIX) militarization of science and (1998/II-K 263) hoarded energy (C. Ebener, been left out of aesthetic theory. in the realm of perception/aisthesis and turn, (Motoshi Chikamori) VOIP Voice-over-IP How can we transform this communication nightmare (1998/P 80) light and sound effects (2000/P 58) RMF – rich (1991/K 81) and its culture of death (since the (1982) mailbox and (Critical Art Ensemble) self-sacrifice D. S. I. (1991/K 108) F. Fietzek, U. Winters) ausgeklammert wurden for example, to performative and projected computer shadows (Y. Breuleux, A. Thibault) music format: use of raw gaming energy (Internet-telephony) (Internet) into a conventional, dead, controllable mass Welcome to the wired world (1995/K) Centerbeam (Gyorgy Kepes) late 80 s) (PV) (1998) conference system Like power, resistance must (1999/K 317/P 72) Goldhamster medium? atmospheric considerations. (P. Mühlfriedel, G. (ML) "energetic" bodies acting through waves and combination of energy transference post-scientific extremism (Adrian X) (1989/K 145) At the Center (MIT), light, The Aesthetics of Code withdraw from the streets. The main trick was to substitute information for Markeffsky, L. Schaumann) atmospheres are generated with the help of electronic computer sculptures with and transformation systems (1980/K 98) Net Art / net. art technological adventuring environment, is the all(Ed Burton) (2003/F 38) Cyberspace must first be realized communication. Crisis 2000: decrease media and the performatization of theater floating magnets net-meeting encompassing topic. (O. Piene) Internet meets TV as a location and instrument of of submissions from Wireless-LAN projects (2004) forms of brutism (PW) Real. Video (O. Beckmann) (1980/K 122) lab people, who go to the most extreme (Masami Akita, Z. Karkowski) = (Mazk) Schmarotzer – Parasites (2002/K 178) (2001/K 192) resistance. public display (UR) The unkind and unfortunately inevitable discussion (Steve Mann) (1997/K 223) 500 to 250 Digital Zapatismo (1998/K 56) wireless experts (2001/K 192) (Einstürzende Neubauten, ethical boundary (PV) (1998) Extreme Computer-Electronica (1999/K 382) drawing energy from the e-hub of "digital kitsch" or "computer kitsch" still remains a Laterna Magica Personal security devices: Wilder Efeu (Stadtwerkstatt) (2000/P 18) fight against the slavery of (R. Dominguez) (Kaucyila Brooke) Throbbing Gristle) body of their carriers (2001/F 34) Network of Systems political satire reprehensible trivialization, if it does not see art as (L. Filatov, J. Eckl) 2 radar units, video cameras, Webcasting and (F. Xaver, Chris Mutter) (2000/K 271) CUSee. Me research at the service gravity (Joe Davis) mobile Internet (1987/K 12) (Frank Fietzek) Metadesign reunites art and NYC Gedankenbilder (Andy Deck) decribing planes of an diving into electronic dynamic, as action, potential, and method of connection. (A. Garton) foreigners and (1997/K 308) microphone, infrared system Grrrl e-zines digital broadcasting Clickscape 98 (Stadtwerkstatt) (1998/K 183) (2001/K 201) (1982/K 42) of the advertising and politics: it enables art to (Russet Lederman) (1998/P 42) Feedback via global networks expanding hypersphere stateless persons (1997/K 385) and a host of sensors pixel graphics on building, controllable light Project Teledesic – Internet film industry have a political impact. (1999/P 82) IRC channel (1997/K 388) girl culture (Ascott) (1989/K 103) The Gods of Thunder (1987/K 133) art and war (2002/K 284) (Glenn Branca) (1984/K 207) formation of surreal net research virus vending machine (1999/P 84) feminist strategies of young sculpture (Lehner, Seidl, Ritter, Estl) for the whole world via satellite (Azza El-Hassan) polyethnical media and cultural Metadesigners work with (Rhys Chatham) (Franke) rational aesthetics (2000/P 48) etoy toywar (Eric Paulos) growth structures, fluid motion, . . . artists: Nine Budde, Snergurtuschka, ethics of business and chat environments diversity (2002/K 278) (Tremetzberger, cultural context. IRC Global Conflicts – Local Networks Muntadas thus showed that the TV broadcasts that Einladung zur Beteiligung an girlie network cf. view of the field huge stockmarket losses Lina Hoshino, Cue P Doll, . . . ) (2001/K 113) Baratsits) (Gene Youngblood) the advertising industry (I. Ramonet, Lori Wallach, Joichi Ito, commercialized spiritual wellbeing, marketed einem Netzkunstprojekt per Entropy Machine (Glenn Branca) (1984) (1989/J 126) The "culture-meter" or the art chatroom (1986/K 238) Alex Galloway, D. de Kerckhove, personal feelings and paved the way for holy women's networks FAX (1989/K 106): EARN, DITNET, (M. Jacobsen) methods of feminist practice musical energy turning pillars of air of multicultural mixing GMUC Graphical R. Wischenbart) (2002/F 11) war, originated in cozy private spaces. art as the scene of global I. P. Sharp (1995/P 122) (net art: Kathy Rae Huffman, communication aesthetics Cabaret Voltaire shows Net Criticism (1995) into acoustic steamrollers countering the dominance (1993/K 393) (W. Hilbert) cyberfeminism (1992) Multi. User Conversations The control of politics, religion and communication conflicts (Peter Fend) (2002/K 319) Faith Wilding, Cornelia Sollfrank, technology violently ZK Proceedings 1995 sociology (Bourdieu) of English on the Internet (political strategy, (1997/K 176) suck my code East/West dialogue is in the same hands. Unplugged (3) (Cabaret Voltaire) (1986) (1989/J 133) Victoria Vesna, . . . ) (2001/K 113) (1986/K 07) (1999/J 366) Internet-driven digital culture (2002/K 145) (French funding) identity discourse "Net Symposium" as collective memory (1998/P 52) artistic methods) (1996/K 35) As a dynamic Internet archive, the "File Room" project beginning 1988 (1989/J 16) brutal confrontation & lifestyle (2001/K 192) performativity theories communication form (1999/K 38) (S. Meiselas, A. Cornyn, S. Johnson) the seismic form (Sadie Plant, VNS Matrix) Operated by Art enables web access to information about the history Local Conflicts – Global Media (2001/K 200) (1997/F 46) (Marita Liulia) increased involvement media winds from Asia postmodern views (Jean Baudrillard) morphology and VNS-Matrix (cyber(1996/K 180) (Nova Delahunty) Hanru Hou, Peter Fend, of censorship. (Danny Schechter, Jennifer Sibanda, (Keigo Yamamoto) artists, teachers, designers, curators, of the Japanese (1991/K 07) syntax of the "slasher" feministische Gruppe) Ambitious Bitch – western M. Napier, Azza El´Hassen, (1995/K 172) (Antonio Muntadas) (1995/K 285/P 70) Winters Negbenebor, P, Quéau, (1994/K 215) (1999/J 286) net access for African journalists, performers, musicians, . . . as feminism at the turn of the millennium user input/user participation new maps of hyperspace (Carbaret Voltaire) (1996/K 35) T. Sherman) (2002/F 10) D. der Kerckhove) (2002/F 09) women (2002/K 194) henchmen of the media industry (Iba Ndiaye Djiadji) (2002/K 77) Tokyo scene as criterion for web applications (1986/K 98) issues of the psyche increased involvement ff-female takeover (B. Serexhe) artistic aggression (1997/F 06) (R. Sifuentes) (2001/K 86) (1995/P 40) D. de Kerckhove) Mind Machines (John Duncan) Zensur cultural (Terence Mc. Kenna) Who is unplugged? (2001/K 111) and globalization of the French psycho-active research in service to (Tomohiro Okada) (Rudolf Kapllner) In Tokyo the broadcasts from the composting (1990/II-K 277) (G. Stocker, Aminata Traoré, Saskia Sassen, Horizontal Radio: electroacoustics (1990/II-K 323) the weapons industry pirate radio that he built and operated (Amy Alexander) the Internet stands as Women, art & technology Jeremy Rifkin) (2002/F 08) (AH) from the dictate of subjectivity Die neuen Techno-Reinrassigen art against violence telematic radio network (Zelko Wiener) cyborg surrealism on the aesthetics of pleasant triggered tighter legal restrictions in the (1997/P 82) "voice and memory" in the "virtual realities" of (Harwood, Mongrel) (1999/K 326) to the separate world of apparatuses (Uri Dotan) (2002/K 263) project (1995/K 358) (1990/II-K 339) the group VNS Matrix Artistic Aggression (1997/K 63) states (Ernst Graf) media ether. opposition to censorship Authors on the topic: Zoe Sofia, Carol Stakenas, Martha Mischlinge in der Techno-Kultur Timothy Leary (LSD guru) rear-view mirror to reality (Weibel) Migration – higher level theme Mindmusic uses low-end (Iba Ndiaye Djiadji, Oumou Sy, Jay Rutledge, (1990/II-K 336) (1991/K 300) (1995/K 173) Burkle Bonecchi, Simone Osthoff, Jashree K. Odin, Patricia (David Sheff) (1996/K 326) Cyperspace signalizes adventure, (1990/II-K 343) technologies for Davis O. Nejo, M. Neustetter, The Trinity Session, Arge Zimbabwe Bentson, Judy Malloy, Patric D. Prince, Margaret Morse, (1990/II-K 239) Just Merrit's laboratory of the past imagination, new territory (1992/P 07) their work Andreas Hirsch) (2002/F 08) the socially compatible virtual reality practices for supporting Censoratorium There are the known horror scenarios Telematic Dreaming – Sheila Pinkel, Anna Couey, Kathy Brew, Christa Schneebauer, Homepage (1996/P 114) as a machine against forgetting (1996/K 188) network variation (Public Voice) in the dark (Station Rose) emotional interaction catalogue of trigger words Bio Art (1) of the electronic globetrotter, otaku or Barbara Becker (L), Faith Wilding (L), Melita Zajc (L), virtual contacts and touching (J. Domsich) (1997/K 364) Wiring Africa (2002/F 08) video, installation and (1995/K 200) (R. Alton-Scheidl) (triggered by coded objects) (Rupert Huber) (Willem de Ridder) (Elisa Rose, Gary Danner) data dandy who holes up, lonely but in Donna Haraway, Verena Kuni (L), Nancy Buchanan, Ushi Reiter, (Paul Sermon) (M. Jensen, Michel Mavros, Birama cyberspace as name for psychological space (H. Ishii) (2001/K 258) (1998/K 236) Sherry Turkle, magician, performer (1989/K 124) a teleorgiastic mood, in his media center, Mona Singer, Silke Bellanger, Dagmar Fink, Andrea zur Nieden, the recipient creates artists have always wanted (Graham Harwood) Diallo, K. Goddard, D. Muntanga, a psychotic space (1994/K 158) Sadie Plant, (1990/II-K 309, K 311) research camp in Cairo which is connected to the rest of the Cornelia Sollfrank (1996), Helene von Oldenburg, Marina Grzinic, information (1995/K 34) to create "monsters" (1998/K 156) Lisa Goldman-Carney) Unplugged (2) (Peter Weibel) Donna Haraway, "Hollywood of the Arabic world" world via networks. At the same time, Eva Ursprung, Claudia Reiche, Adele Eisenstein, Sadie Plant, Affective Computing (2000) (Joe Davis) ethics in cyberspace (1990/II-K 30) Art as Scene of (M. Minsky) the future Sandy Stone, (AH) limitation of the observer's selfthe environment does not interest him Mc. Donald – collected criticism Marie-Luise Angerer (L), Karin Spaink, Birgit Richard (L), Monika Treut (L) (2003/K 260) Internet contents computer ethics convergence of science, Global Conflicts database with models Zoe Sofouilis In der Vergangenheit hatten die recognition due to technology (2004) Digital Communities involves at all (Rötzer) (1994/K 108) (1996/P 98) (n. n. ) art and psychology (1990/II-K 97) of conflict avoidance (A. Rosanne Stone) (1996/K 184) (in closed-circuit-Installationen). . . Mobile Feelings meisten Sportarten mehr bridging the geographical, but also the view of memory the 90 s as the era Artists on the topic: Steina Vasulka, Joan Jonas, Dara Birnbaum (OK), (D. A. Plewe) (1999) hacker ethics (1999/J 312) the compulsion to adapt to the laws of the (2003/K 258) Zuschauer als Mitspieler; jetzt gendered "Digital Divide" of the brain Valy Export, Margarete Jahrmann, Sonya Rapoport, Lynn Hershman, see also: political view / historical view Wiring Africa (AH) a net museum collects opinions (1998/K 17) können wir uns Spiele vorstellen, interface (1990/P 08) (Sommerer, Mignonneau) Nancy Paterson, Pauline Oliveros, Rebecca Allen, Donna J. Cox, Agnes Hegedüs, and views, things and testimonials of (unplugged Symposion) Who is unplugged 1996 1. Cybercafé wo es mehr Mitspieler als Judith Barry, Jennifer Hall, Brenda Laurel, Monika Fleischmann, Char Davies, see also: home as environment of life (2002/F 09) Afrikas (Oumou Sy) (AH) These works thus demand a new behavior (Symposion) Zuschauer gibt (R. Malina) Cecile Le Prado, Pamela Z, Nell Tenhaaf, Valerie Soe, Kathy Rae Huffman, Diane Fenster, Tonga Mobile feelings telephones: mini-bio-sensors social view (2002/K 92) aesthetics as art theory from the exhibition visitor, tearing him out of The Hiroshima Project questioning (2002/F 08) (1995/P 30) Leslie Ross, Dawn Stoppiello, Christa Sommerer, Sabine Zimmermann, Marita Liulia Legend Artistic Aggression and controllers for measuing heartbeat (blood Online out of control (3) mere "contemplative observation". (Akke Wagenaar) aesthetic discourse ideas involving (unplugged Symposion) (2002/P 60) pressure and pulse), und Puls), skin The aim of the Electronic 1987 art in the network (1995/K 318) view of cyber and online normality art theory / morphology Symposium "Cyberfeminismus" (2002/F 08) conductivity, persperation and smell Frontier Foundation is to a shirt's lonely journey rotating loudspeaker arm that (Kunsthalle Hamburg) XXERO – collaborative MOO-based (Michael Hoch, demonstrations (Harwood) friendship theory of perception 1998 documenta X of the user (2003/K 261) protect virtual through hell: (J. Laederbach) interacts with visitors and can (image commentary by Local Conflicts – (2001/K 18) environment (2001/K 313) Mathias Melchor, globalization of (1996/P 140) and love sublimeness debate Ambitious Bitch communities from Unnatural bodies get out of control (Stahl Stenslie) tel-emotion society by recipients on PC) Global Media (Ushi Reiter, Florence Ormezzo, Tamiko Thiel, Masahiro Miwa) campaigns (2000/K 379) reacting to viewers fem networks (Marita Liulia) physical interference (Jim Whiting) aura debate (2001/P 115) (2000/K 213) "registering" and "depicting" the through sensors (unplugged Symposion) Marlena Corcoran, Valentina Djordjevic, The project "Survivors of the Shoah Visual (1997/P 148) by government Global Conflicts – (1991/K 73) (E. van der Heide, M. de Nijs) repulsion theory central role of the (2002/F 09) (Akitsugu Maebayashi) Aileen Derieg) viewer (AH) (1989/K 170) History" makes use of the authorities. Local Networks FACES mailinglist (women working observer (1992) communication aesthetics perceiving other people in technological breakthrough of (AH) For Shaw it is especially interesting that the non-active (John Perry Barlow) (unplugged Symposion) notes from the underground Deep Media (comprehensively electric ladyland in the field of media) (2001/K 313) a darkened room through political from the technically "moving image" data storage: 10000 hours of bad girls versus viewer also has an opportunity to experience the art work as (1995/K 132) (2002/F 11) including the context of the (Melissa Gould) Sadie Plant: Cyberfeminism is nothing a VR heartbeat – Literature (Valentina Djordjevic, Kathy Rae Huffman, the astronaut christ mood management net projects to the "moving viewer" (AH) filmed memories can be digitally it is seen with the eyes of another, so that this manifestation user) (1991/K 177) on concepts of proximity Diana Mc. Carthy) other than the recognition that the days (2001/K 236) (C. Mikunda) archived (1996/K 236) (Hari Kunzru) attains the character of a performance. redemocraticization of the technodemocracy gender issues (1998/P 90) user, player, participant, of patriarchy are counted (1996/K 182) (1999/J 168) (Sandy Internets (Yury Gitman) (1998/K 129) (AH) The implied intentionality expressed in the (1998/II-K 297) (in MOOs & MUDs) (1997/K 100) (1999/J 315) recipient, visitor, viewer, (2003/P 28) Stone) catalyst for selfactive intervention completely suppresses the form cyberdemocracy reader, observer (Toshihiro Anzai, Tamio Kihara) (AH) revealing the viewer to himself globality (AH) the future of democracy and the four discovery (AH) of disinterested viewing, it is even contrary to it. (Klotz) intermedia persona performance emotional turn (1997/K 259). . . you can paint as a voyeur (Lynn Hershman) basic principles of computer communication (Susanne Widl, Valie Export, Patricia Jünger) with it and "make" music at the (Dieter Daniels) guitar amplifier as special net art (1994/K 206) (Howard Rheingold) discourses controlling facial Mißbrauchte Frauen (1988/K 135) Code-Katzen political and activist software: same time emotional amplifier cf. atmospheric studies psychophysical interface hands-on interactivity self-perception instead (ML) With interactive muscles many-to-many medium Betababies cease-and-desist-ware, illicit SW, advanced studies (1984/K 250) In order to be truly contemporary, artists must see Cyborg Manifesto (Werner Cee, Horst Prehn) of perception of the work ("Huge Harry" = voice synthesis installations, there are no (AH) new type of sensibility (1994/K 207) Cyberschlampen software resistance, useful activist SW method complexes themselves as nodes in a technologically determined (Donna Haraway) (1993/P 114) playing with longer viewers, but only Pain Station machine) (1997/K 110/P 134) radically decentralized (1996/K 182, K 189) (2003/K 229) environment - and thus assume a highly political (1997/K 46) theory complex actors. people's desires (V. Morawe, T. Reiff) qualifying use of emotion media activists emotional program Touch-Screen (MF) an experience of attention and responsibility. (Stocker) (1996/J 53) (Goodeve) (2002/F 047/P 102) research directions (L. Larcher, Rich. Art) (1993/K 227) art&politics (1989/K 235) interaction oriented to the human being get in touch (Resitor Sensor) PEU = pain execution virtual emotions (R. Adrian X, R. Braun, discipline (mixed reality architecture) (Lynn Hershman) (1996/K 418) (Thecla Schiphorst) unit (S. Schemat) (1993/K 230) R. Woelfl) (1996/K 248) CODE = LAW (symposium contributions) affective. Cinema (Jan Torpus, Michel Durieux) Führer Museum (transmediale) control through bio-feedback (2003/F 06) (Cindy A. Cohn, J. Grimmelmann) proximity and manipulation (AH) identity and artificiality stolen art via GSR sensor (Galvanic Skin Response) Black Culture theory political discourse interface design (AH) With the development of the (2003/K 26) (1979/Knnn) illusion of an emotional encounter participation (1989/K 75) cultural criticism e-government repoliticization discourse microprocessor, in particular, we have (Machiko Kusahara) (1997/K 219) (Catherine Ikam) (2000/K 401) cyberlaw (2001/K 244) (R. Lozano-Hemmer) regulation and (AH) putting the viewer into the GSR opened up vast physical, sensory, feminist studies / feminist theory postcolonialist discourse motion-capture cannot convey role of collaborator cybercrime see also: emotional, mental and conceptional (2001/K 192, K 212) gender studies emotions exoticism discourse Humphrey (AEC) teleparticipation touching and transforming possibilities. participation and historical view Open-Law combination of VR and force-feedback anthropologie of gender race discourse (1995/K 178) Cyberrechte a face (Jim Campbell) interaction (AH) view of rhetoric technologies (2003/K 433) cultural history studies agression, flesh, lust, craziness, regionalism debate no interface (2000/F 35) BUMP – telematic installation mechatronic set-up view of action (2004) "Digital Communities" blood frenzy and fantasy postmodern views minorities debate apparatuses at all Linz – Budapest !!(1999/K 421) (2001/P 87) (Les Levine) (AH) based on the phenomena of (flying over Linz) (H. Ranzenbacher) the new category acknowledges the political (Linda Dement) (1994/P 46) (2001/K 246) tactile interface – pressure generate postcolonial theory Eurocentrism debate stimulation, exchange and playing, participative projects (Stadtwerkstatt) potential of digital and networked systems (R. Lozano-Hemmer) counter-pressure (physical interface) How can feeling be programmed media law critical discourse the concept of art achieves a new force-feedback mouse force-feedback word-of-mouth meaning in music? (Klaus Netzle) cyberlaw (resistance increases with media law force-feedback device technologies (1980/K 72) Prize-Winners Net Categories force-feedback device every selection) with elastic screen the view of things compulsory guidance system for re-introduction of 1995: Robin Hanson, Konrad Becker, Pattie Maes & Max Metral, Station Rose, Antonio Muntadas, (Orit Kruglanski) (2000/F 33) (Hiroo Iwata) (Slavoj Zizek) recipients gravity Digital Instinct talking to a neuro baby Ed Stastny, Stephanie Cunningham, Andrew Anker, Scott B. Gregory, Charles Henrich, Klaus J. Rusch, (1999/K 351) 1979 (1992/K 113) (Automatic Radio) (Douglas Edric Stanley) (electrolobby Panel) (emotional reactions) see above: therapeutic view psychical view Bonnie Mitchell, David Chaum, Catherine de Courten, Christoph J. Mutter 1989 (1993/K 245) (R. A. M. S. attack) (2000/P 100) (2001/F 16) (Naoko Tosa) (1993/K 353) haptic force-feedback 1996: etoy, Ed Stastny, Manuel Schilcher, Trevor Blackwell, Mark Pesce, Masaki Fujihata, Mc Spotlight, 1996 (intentional lies) joysticks (Rebecca Allen) Ron Newman, Kevin Mc. Curley, Andruid Kerne, Joey Anuff, Maria Winslow, Lisa Hutton, Stuart Moulthrop, (2000/F 33) see also: object view (1999/K 357) Timothy Leary unarticulated communication similarity and manifesto of tactilism 1997: Project Taos, Gordon Selley & Rycharde Hawkes & Jane Prophet, Rolf Schmidt, Amy Alexander, bodies don't lie touch media theory emotional turn Global String Bruce Damer, Ryoichiro Debuchi, Hermann-Josef Hack, Omar Khan, Zervos Komninos-Kostant, Steve (2000/P 102) (Atau Tanaka, K. Toeplitz) (literature studies) existentialism (primacy of action) see also: view Mann, Joan Heemskerk & Dirk Paesmans, Markus Schulthess, Alexei Shulgin, Mark von Rahden (2002/F 045/P 108) media discourse psychoanalysis / repulsion theory of the atmosphere 1998: knowbotic research, E-LAB, Kazuhiko Hachiya, Bruce Damer, Andy Deck, Paul Garrin & Andreas psychological space media studies Lacanism discourse (Kathy Rae Huffman) Troeger, Matthew Fuller & Collin Green & Simon Pope, Koji Ito, Thomax Kaulmann, Susan Meiselas & art art as as techno-science research method discourse (1995/K 171) spaces of knowledge (Agnes Hegedüs) (knowbotic research) Publication of genom data (Lincoln Stein) (2000/F 23) 1995 ars: knowledge society According to Forian Cramer, the focus on a purely perceptual aesthetics of art is clearly a continuation of Romantic philosophy and the privileging of aisthesis (perception) over poeisis (construction). (2003/K 140) Philosophical round table (1988): Peter Gente, Hannes Böhringer, Vilém Flusser, Peter Weibel, Jean Baudrillard, Friedrich Kittler, Heinz von Foerster (1988/K 83) (1989/J 169) visual effects ars: semantic web & collective intelligence discourse view knowledge management art as content 16 impact/effect view perception view 1996 art as life energy art as challenge art as image analytical view 1995 16 epistemological view AI view World Wide Web Sites 1990 art as presence art as shock view of literature 15 content view of meaning art as edification art as breaking taboos ars on digital typography ars: MAPPING in the age of digital media 2002 view of the personality art as apparition 1979 -80 art as school of life art as framework of communication actor view 15 typographical view 14 artist view of text design authors view of graphical design diagrammatic view II cartographical view art as transmission view of hybridity (II) 13 identity view visual effects color view net vision 12 aesthetic view Literature: Die Wissenschaft vom Künstlichen / H. A. Simon Erkenntnis Maschinen Verstehen / Terry Winograd Fernando Flores Encyclopedia of artificial intelligence / C. Shapiro Künstliche Intelligenz – Repräsentation von Wissen und natürlichsprachlichen Systemen Kognitive Psychologie – Eine Einführung / J. R. Anderson Kognitionswissenschaft – Kognitionstechnik / Francisco J. Varela KI – Überblick und Grundlagen / K. Böhling u. a. Künstliche Intelligenz / Patrick Henry Winston KI – von den Grenzen der Denkmaschine und dem Wert der Intuition / H. L. & S. E. Dreyfus Probleme der KI / Oswald Wiener Expertensysteme – Nicht nur für Informatiker Peter Schnupp, Ute Leibraandt Expertensystem-Praktikum / P. Schnupp, C. T. Nguyen Huu Problemlösungsmethoden in Expertensystemen / Frank Puppe Mentopolis / Marvin Minsky Mind Children / Hans Moravec Assoziation / Gerhard Strube 5 th generation computer systems / T. Moto-oka Gödel, Escher, Bach / Douglas R. Hofstadter Metamagicum / Douglas R. Hofstadter Einsicht ins Ich / Douglas R. Hofstadter Dynamische semantische Netze / Stephan Mehl Hypermediabasiertes Knowledge Engineering für verteilte wissensbasierte Systeme / Frank Maurer Endophysik – Die Welt des inneren Beobachters Otto E. Rösler Making Art of Databases / V 2_Publishing Literature: LEONARDO (journal) Computer Graphics and Art (journal) Art @ Science / Christa Sommerer & Laurent Mignonneau (Ed. ) information arts – intersections of art, science, and technology / Stephen Wilson Jenseits von Kunst / Peter Weibel Diskurs der Systeme (z. B. ) / Feuerstein et al. Kunst, Wissenschaft, Kommunikation / Richard Kriesche (Ed. ) Kunst und Wissenschaft / 1986! Kunstf. Bd. 85 Dialog und Infiltration – Wissenschaftliche Strategien in der Kunst / Kunstforum Bd. 144 Forschungen / Udo Wid Literature: Mapping – in the age of digital media The Yale Symposion / Ed. by M. Silver et al. Mapping – An illustrated guide to graphic navigational systems / R. Fawcett-Tang Information Visualization – Perception for Design Colin Ware – University of New Hampshire Readings in Information Visualzation – Using vision to think / Ed. by Stuart K. Card et al. Digital Information Graphics / Matt Woolman Bits and spaces / Ed. by Maia Engeli Mapping cyberspace / M. Dodge & R. Kitchin Visual Explanations / Edward R. Tufte Envisioning Information / Edward R. Tufte The Visual Display of Quantitative Information / Edward R. Tufte Semiologie graphique / Jacques Bertin Exploring the Invisible – art, science and the spiritual / Lynn Gamwell Picturing Science Producing Art / Caroline A. Jones & Peter Galison Maeda & Media / John Maeda Dimensional Typography / J. Abbott Miller Information Graphics – Innovative Lösungen im Bereich Informationsdesign / P. Wildbur u. a. Technologische Bilder – Aspekte visueller Argumentation / Martin Scholz sonic graphics – seeing sound / Matt Woolman The Society of Text – Hypertext, Hypermedia, and the Social Construction of Information / Edward Barrett The Alphabet and the Brain / D. de Kerckhove. . . Prose Comprehension Beyond the Word / Arthur C. Graesser Collective Intelligence – mankind´s emerging world in cyberspace / Pierre Lévy Transformationen der Techno-Ästhetik (article in: Digitaler Schein) / P. Weibel 14 existential view visual view / light view I view of the apparitional 1991 1995 World Wide Web Sites Telematic Embrace / Roy Ascott Am Nerv der Zeit / G. Johann Lischka (CD) researcher view ars: digital identities net excellence Literature: Philosophien der neuen Technologien / Merve Im Netz der Systeme / Merve Geist, Hirn und Wissenschaft / John R. Searle The Renaissance Computer – Knowledge technology in the first age of print Ed. by Neil Rhodes, Jonathan Sawday Ins Universum der technischen Bilder / Vilém Flusser Medienphilosophie – Beiträge zur Klärung eines Begriffs / Ed. Münker, Roesler, Sandbothe Kunst als Medientheorie / Hans Ulrich Reck Objekte / Ranulph Glanville Medien-Welten Wirklichkeiten / Ed. Gianni Vattimo, Wolfgang Welsch Unter Verdacht – Eine Phänomenologie der Medien / Boris Groys Texte zur Medientheorie / Reclam / Ed. Günter Helmes, Werner Köster Kursbuch Medienkultur – Die maßgeblichen Theorien von Brecht bis Baudrillard Cyber_Reader – Critical writings for the digital era / Ed. by Neil Spiller Medien der Vernunft / Matthias Vogel Kunst und Medium / Dieter Mersch (DM) view of sensor technology Literature: Technologische Kultur – Eine Studie über die künstlerische Auseinandersetzung mit neuen Technologien / Hochgerner, Molnar, Pilz et al. Ästhetik des Erscheines / Martin Seel Was sich zeigt – Materialität, Präsenz, Ereignis / Dieter Mersch Sphären der Kunst / Richard Kriesche 11 light view II 1989 view of networks (II) energetic view 2002 10 Internet view 13 intensity view of dramatization 09 ars: cyberfeminism achievement view of destruction 2002 view of concern 1991 12 ethical view nn view monument view / memorial view intercultural view of worldviews legal view political view 11 feminist view psychoanalytical view / psychophysical view observer view 09 emotional view media anthropology communication theory information theory net discourse / cyber-discourse simulation discourse nomadology discourse Literature: Vom Tafelbild zum globalen Datenraum / Ed. Peter Weibel Log. buch – Materialien zu log. in – netz | kunst | werke / Matthias Klos, Mathias Neidhart Web. Fictions – Zerstreute Anwesenheiten in elektronischen Netzen / M. Faßler, Z. Wiener. . . net. art – Materialien zur Netzkunst / Tilman Baumgärtel net. art 2. 0 – Neue Materialien zur Netzkunst / Tilman Baumgärtel net_condition – art and global media / Ed. Peter Weibel, Timothy Druckrey net_condition Kunst/Politik im Online-Universum Peter Weibel (Steir. Herbst) Literature (2): Medien – Systeme – Netze; Elemente einer Theorie der Cyber-Netzwerke / Stefan Weber on line – Kunst im Netz / Projekt: G. Stocker 93 Intertwinedness – reflecting the structure of the net – Überlegungen zur Netzkultur / Margarete Jahrmann, Christa Schneebauer Net Criticism - ZK Proceedings 1995 Total digital – Die Welt zwischen 0 und 1 – oder Die Zukunft der Kommunikation / Negroponte Telepolis – Die Zeitschrift für Netzkultur Lob der Oberflächlichkeit – Für eine Phänomenologie der Medien / Vilém Flusser Netzwerke / Manfred Faßler 10 recipient view of the mood Literature: Der bewegte Betrachter – Theorien der interaktiven Medienkunst / Annette Hünnekens Die Individualität der Medien – Eine Geschichte der Wissenschaften vom Menschen / Stefan Rieger Bildbeschreibung als Verbindung von visuellem und sprachlichem Raum / Jörg. R. J. Schirra Im Netz der Systeme / Merve Information und Kommunikation in Geschichte und Gegenwart / Margarete Rehm Kursbuch Neue Medien – Trends in Wirtschaft Politik, Wissenschaft und Kultur / S. Bollmann Die Wüste Internet / Clifford Stoll Kursbuch Internet – Anschlüsse an Wirtschaft u. Politik, Wissenschaft und Kultur / Bollmann Internet Lesebuch / Ed. Marion Fugléwic queer theory gender studies psychological theories of performance psychology / psychology of action Literature (2): Elektronische Nächte – Die Welt der Mailboxen und Computernetze / Dieter Grönling 24 Stunden im 21. Jahrhundert - Onlinesein Zu Besuch in der Neuesten Welt / Peter Glaser Der Flusser-Reader zu Kommunikation, Medien und Design Kommunikologie / Vilém Flusser Kunst als Sendung – Von der Telegrafie zum Internet / Dieter Daniels Digitales Österreich – Informationhighway: Initiativen, Projekte, Entwicklungen 1995 / P. A. Bruck, Andrea Mulrenin (cf. ars 1995) Österreich Online ´ 96 (cf. ars 1995) Klare Sicht am Info-Highway – Geschäfte via Internet & Co. / H. R. Hansen Literature: Ulrike Rosenbach / Videkunst, Foto, Aktion / Performance, feministische Kunst CODE – und andere Gesetze des Cyberspace / Lawrence Lessig Women, Art, and Technology / Ed. Judy Malloy The spezialization of technology: from elsewhere to cyberfeminism and back – institutional modes of the cyberworld / Ed. Marina Crzinic, Adele Eisenstein Data Body Sex Machine - Technoscience und Sciencefiction aus feministischer Sicht / Ed. Karin Giselbrecht, Michaela Hafner Feminismus und Medien / Ed. G. J. Lischka Vectorial Elevation – Relational Architecture No. 4 Rafael Lozano-Hemmer Zeitschrift für Kulturaustausch 1995/4 / Neue Medien und internationale Kulturbeziehungen Literature: (2) Politische Theorien des Cyberspace (article) / Horst Bredekamp (in: Kritik des Sehens) Techno-Kolonialismus / Oliver Marchart Mehr Licht / Paul Virilio, F. Kittler, et al. Literature: Design goes virtual – Entwürfe zur Ästhetik in der Informationsgesellschaft / Peter Zec Digitaler Schein – Ästhetik der elektronischen Medien / Ed. Florian Rötzer Ästhetik des Immateriellen ? Zum Verhältnis von Kunst und Neuen Technologien – Teil I / Kunstforum Bd. 97 – 1988 Florian Rötzer Ästhetik des Immateriellen ? Das Verhältnis von Kunst und Neuen Technologien – Teil II / Kunstforum Bd. 98 – 1989 Florian Rötzer Das neue Bild der Welt – Wissenschaft und Ästhetik – Chaos-, Gehirn-, Systemforschung, Robotik, KI, VR – 1993 / Kunstforum Bd. 124 Kybernetische Ästhetik – Phänomen Kunst / H. W. Franke Literature: (2) Ästhetische Information und Kunst / Herbert W. Franke Aesthetica – Einführung in die neue Aesthetik / Max Bense Die Unwahrscheinlichkeit des Ästhetischen und die semiotische Konzeption der Kunst / Max Bense Handbook of Visual Analysis / Carey Jewitt, Theo van Leeuwen Der entfesselte Blick - symposium workshop exhibition / Ed. Gerhard Johann Lischka Bilder in Bewegung – Traditionen digitaler Ästhetik / Ed. Kai-Uwe Hemken Mehr Licht / Ed. VVS Saarbrücken Literature: Perform or Else – From Discipline to Performance Jon Mc. Kenzie Destruktionskunst / Justin Hoffmann Choreografie der Gewalt / Kunstforum Bd. 153 Alison Cornyn & Sue Johnson, Lothar Bongartz & Burak Kozan, James Stevens, Andreas Trottmann, Wendy Vissar, Michael G. Wagner & Shane Carroll 1999: Linus Torvalds (Linux), Jean-Marc Philippe, Willy Henshall & Matt Moller, David P. Anderson, Joanna Berzowska, CAAD ETH-Zürich, Help B 92 Coalition, Eric Loyer, Daniel J. Lundgren, Fumio Matsumoto & Shoei Matsukawa, Mark Napier, Nick Philip, Ramana Rao, Crista Sommerer & Laurent Mignonneau, Martin Wattenberg & Joon Yu 2000: Neal Stephenson, Sharon Denning, Telezone-Team, Ichiro Aikawa, Natalie Bookchin, Tom Corby & Gavin Bailey, Kensuke Sembo & Yae Akaiwa, Reinhold Grether, Jie Geng, Ursula Hentschläger & Zelko Wiener, Stefan Huber & Ralph Ammer & Birte Steffan, Patrick Lichty, Peter Mühlfriedel & Gundula Markeffsky & Leonard Schaumann, Kazushi Mukaiyama 2001 net vision: Team c. Hm. An, Neeraj Jhanji, Yuji Naka, Gino Esposto & Michael Burkhardt & Paco Manzanares, Ranjit Bhatnagar, Frank Lantz, Peter Lee, Eric Zimmerman, 2001 net excellence: Joshua Davis, Chris Mc. Grail & Dorian Moore & Dan Sayers, Brian Mc. Grath & Mark Watkins, Alison Cornyn & Sue Johnson, Laurence Desarzens & Raoul Cannemeijer, Bradley Grosh, Philip Kaplan, Netbaby World, Barbara Neumayr, Frederick Noronha & Paratha Pratim Sarkar, Toke Nygaard & Michael Schmidt & Per Jorgensen, Tarun Tejpal, Mark Tribe & Alex Galloway, ultrashock. com, Voltaire, walker art center, Steve Whitehouse 2002: Radical Software Group – rhizome. org, Michael Aschauer & Josef Deinhofer & Maia Gusberti & Nik Thönen, Sven Halling & Ivar Gaitan & Johan Rahm, Jonathan Gay, Alexandra Jugovic & Florian Schmitt, Harper Reed, Josh On, Alexandra Jugovic & Florian Schmitt, schoenerwissen – Anne Pascual & Marcus Hauer, Sabine Bitter & Thomas Schneider & Helmut Weber, Kenneth Tin-Kin Hung, Francis Lam, Elan Lee 2003: Yuri Gitman & Carlos J. Gomez de Llarena, Sulake Labs Oy, David Crawford, Golan Levin, Lia, James Tindall, Antoni Abad, Christophe Bruno, Amit Pitaru & James Paterson, Agathe Jacquillat & Tomi Vollauschek, Jared Tarbell & Lola Brine, Axel Heide & Philip Pocock & Gregor Stehle, Han Hoogerbrugge, LAN, Michael Breidenbrücker & Felix Miller & Martin Stiksel, Frederic Durieu & Kristine Maiden & Jean. Jacques Birgs, E. Maria Haas & Luzius A. Bernhard, Shinya Yamamoto, sourgeforge These views are intended to demarcate content/analytical perspectives and delineate zones of content. Placement within these zones follows the principle: spatial proximity = proximity of content. The outer ring is generally more abstract than the inner area. These could also be called achaeological fields in Foucault's sense. The literature cited is available in Linz (from the authors of the study). Ars Electronica catalogues are only listed here, where special thematic issues are concerned. Literature that is not directly available is marked separately. The archaeology follows the axis: discursive practice => knowledge => science. Relevant discourse, research directions (knowledge fields) and method complexes are listed here in this sense. Discipline: as set of methods (of a scholarly discipline) This categorization approach is especially suitable for Ars topics, because different fields of science (and of knowlege) are used systematically. Source information: time period, source, page Sources: K = catalogue, P = Prix catalogue, F = program folder, J = anniversary issues T = timeline/milestones (context of the Ars) The catalogue from 1979 was only available in the Internet version. The page numbers therefore refer to the PDF version. Artists, who are quoted but may not have taken part in the Ars Note: theoreticians are not highlighted in color (L): spoke in Linz Artists, groups, persons who took part in the respective Ars Electronica Artists' first names are written out. Main Phases in Time 1979 – 1988 Initiation/definition phase (Leopoldseder, Franke, Bognermayr, et al. 1982 Stadlmayr, Leopoldseder / 1984 Hattinger, Schöpf 1986 -88 Hattinger with Weibel as consultent or co-program organizer 1986 with Patsch 1987 build-up of the PRIX (to most important international prize) Leopoldseder calls 1986 -89 the phase of re-conception 1989 – 1995 Intensification phase / more scholarly orientation (Weibel) / turn after 10 yrs. Ars Electronica / "art blessing" (Kunstforum) 1989 -91 with Hattinger, 1989 catalogue Kunstforum with Lischka 1992 -95 with Gsöllpointner, Schöpf / 1992 with Vasicek 1996 – 2004 Consolidation phase / Completion (Stocker, Schöpf) no experiments with curatorial personnel Specialist curators: see the relevant catalogues The color coding in each sector makes it immediately visible who formulated or explored which emphases Within the possibilities of the cluster representation, this study addresses views/issues of art history studies with the indication of time periods. direction field / approach Canonized art directions (trends, movements) Vergleiche auch: Performance-Richtungen Field of design, technical approach (e. g. VR, immersive media, . . . ) The technical view was purposely not depicted as a separate sector. Title proposals for future Ars Electronica events ars : . .

01 contextual view 1968 The machine as seen at the end of the mechanical age – the horrors of technification (NY) (Pontus Hulten) (AH) from the object-oriented "context-based art" 1965: M. Noll & intelligent environments that synthetic scenography 1968 Some more Beginnings – Experiments in Art and Technology (NY) (Gruppe E. A. T. ) to the context-oriented phase returns in the 90 s in B. Julesz organize can act autonomously (PW) 1969 Cybernetic Serendipity – The computer and the arts (ICA London) (Jasia Reichardt) (08. 1968 ? ) (see: context study) net alternatives the first US (1994/K 07) (AH). . . especially in computer-controlled works, (AH) from text to context (John Whitney, Keneth C. Knowlton, A. Michael Noll, Nam June Paik, James Seawright, E. Ihnatowicz, C. Csuri) (1995/K 62) exhibition of comp. context-controlled 1970 Software, Information, Technology. It´s New Meaning for Art (NY) (Jack Burnham) // 1970 Kunstverein München attention is shifted to an "aesthetics of the context-aware theories graphics (Howard Cloud of Sound looking at the context of other posts event world (AH) 1970 Interactive Sound and Visual Systems (College of Atrs, Columbus, Ohio) (Charles Csuri) atmosphere", a world of perception, in which the contextualism discourse Wise Gallery) in the Danube area analog /vs/ digital (AH) Von Autonomie zu generated Die Ästhetik des Internet – in a defined grid 1979 ars electronica (Linz) cast media: viewer is mentally and physically immersed theories of meta-communication the Ars Electronica in the atmospheres Kontext als Medium Kovarianz environment-encompassing art works and Doors of Percption (Ed Stastny) (1996/P 86) lab atmosphere 1983 Electra Electricity and Electronics in the Art of 20 th Century (exhibition Paris) (Frank Popper) radio as invisible sculpture analog: atmospheric, field-oriented (Lischka, Weibel) aesthetic discourse (2003/P 50) (1997/P 16) (Joichi Ito) context of other conference in Amsterdam (1997/K 153) interactive art events (1989/K 166) atmosphere/aura of (Tom de Witt, Sonja Sheridan, Nelson Max, Roy Ascott) (1989/K 290) (Hank Bull) mood management (see below) digital: discrete, coded, diagrammatic Ambient (James Tindall) body theory / body philosophy dense, charged media projects (AH): (Stephen Wilson) 1984 Kunst und Technik (exhibition Bonn) media art works machine-human (Lucie Schauer) the hallucinatory space (Maelstrom South Pole) phenomenology of perception atmosphere a space in which media sunlight, artificial light & robots 1985 Les Immatériaux (Ausstellung Paris) (J. F. Lyotard) (innovative major exhibition on virtuality, bachelor machines (Szeemann) (was announced as machine exhibition) atmospheric arrangements The idea of Ars Electronica of electronics (P. Weibel) immersion in color (1988/K 104) and moods are constantly (HK) On ZKM (Zentrum für Kunst und virtual immersion with its aura of new technologies and the revolution of electronic communication) to control reflections machine age (Pontus Hulten) TV set projection / multi user is based on a more generally light shafts, ocean of light, (1989/J 23) sound atmosphere Medientechnologie): it is important for me to stress changing (2001/K 78) quiet (2002/K 297) (P. Quéau) 1986 42 nd Biennale Venedig (Paul K. Hoenich) (1980/K 115) environment (CH Expo 2002) conceived concept of the color spaces (Wonder, (Jim Denley, Rick Rue) that the traditional arts are also included, because (Sponge/Fo. AM) (DM) With all the success attributed to technical media - the 1986 Les Machines sentimentales (Villeneuve-les-Avignon) (MEGO, Involving System) Viennese Künstlerhaus: the friction surfaces of the future will be in allowing H. Goebbels, Müller) atmospheric projections atmosphere of a steel factory (1989/K 318) simulative force of digitalization, the invention of virtual, 1987 Imaginaire et Technologies (Bagneux) electronic atmospheres fluid environment An exhibition entitled the old art genres to collide with the new. (Fadi Dorninger) (2000/K 311) completely unknown, even unimaginable spaces, the 1987 Les Mécaniciens de lÍmaginaire (La Villette) flowing changing images on electronic art "Ars ex Machina" was intended complete immersion immersive installations atmospheric One cannot focus only on new technologies and (AH) we need permeable (1998/K 276) Ridiná train speed of implementation and processing, allowing 1987 Kunst im Netzwerk (Kunsthalle Hamburg) (image commentaries by recipients on PC) What can media contribute to arranging water walls (Andrea Zapp, Paul Sermon) (1989/P 90) sounds to illuminate the special situation as atmospheric approach "wallpapers" dissipative codes media aesthetics, because the old genres change (1999/K 387) (Radian) extraordinary journeys to the unreal - it is always also 1989 Maschinen-Menschen (Kunsthalle Berlin / Peter Funken & Lucie Schauer) the atmosphere of places? (2000/F 36/P 106) vibrating aura arising from the use of electronically 1989 Wonderland of Science Art – Invitation to Interactive Art (Japan) (Itsuo Sakane) in the course of confrontation too. die alten important to keep in mind their barriers, their boundaries. image and sound terrarium (AH) The essence of electronic art (Weibel): Liquid Cities (immersing, ambient display (H. Ishii) glowing atmosphere controllable machines in the Gattungen verändern. Music Creatures (AH) Huhtamo: new way of dealing Even more: it is the boundaries that first make it possible 1993 Machine Culture – exhibition of interactive media art (Anaheim) (Stadtwerkstatt). . . it propels the development of electronic art from the floating, . . . ) (Michel Redolfi) (2001/K 255) (T. Shannon, J. Hassell) creative field. (The exhibition never 1999 Puppen Körper Automaten – Phantasmen der Moderne Messa di Voce (Tmema) – thinking about (Marc Downie) with images (VR and cyberspace to probe the specific potencies and achievements of media. (1984/K 385) object-oriented to the context- and viewer-oriented phase, (1996/K 310) (1988/K 113) took place. ) (1996/J 56) (Franke) the meaning and impact of verbal (2003/K 402) practices): dive in, submerge, travel. . . (Düsseldorf / Katharina Sykora, Pia Müller-Tamm) SETI 100, 000 s of computers media terrarium becoming a "motor of the transformation from modernism to conjoined realities (HK) I do not focus on media aural architecture Liquid Meditation sounds/acts and the immersive (HK) The old arts will never become sound atmosphere (cf. atmospheres study (DG)) postmodernism, in other words the transition from closed to Public space immersion (M. Naimark) (Hiroo Iwata)(1996/P 142) in search of technology in the sense of a (Maryanne Amacher) as habitat "diving in" atmosphere of our language anachronistic, but instead we simply open systems, from decision-defined and complete systems to (ML) immersion can lead to a extraterrestrial intelligence replacement of what was art compare with (1997/K 310) (1997/K 328) CAVE (Golan Lewin, Zachary Lieberman) have a broader spectrum of media hybridity of media, arts and networks (AH) Weibel names a total of 21 features or criteria lack of differentiation between (1999/P 32)(David P. Anderson) indefinite and incomplete systems, from the world of the yesterday Roy Ascott's (Margaret H. Watson) tele-immersion (2003/K 320) transmissions. that are characteristic for this new art, whereby interactivity necessity to a world of viewer-controlled variables, from the human and machine (ML) Immersion, as diving in (AH) It is better to speak of an "art of "Apparitional Aesthetics" Software as hidden force (1997/K 168) virtual mental space appears to be a reflection on new properties of media, such hybrid computers mono-perspective to multiple perspectives, from the monopoly completely into digital worlds hybridation", which is not to be confused with (Hiroo Iwata) (1997/K 263) (HK) The history of art over the past 180 years in the background (2003/K 139) (M. Fleischmann, W. Strauss) as simultaneity, ubiquity, globality, mapping, freely scalable, to pluralism, from hegemony to plurality, from text to context, VR work (yet the interface must not be marked "collage", "mixture" or "Patchwork" immersive media immersives spatial display – has proven, in any case, that the spectrum of media cf. code interest in image studies infinity, immateriality, semioticization, acceleration, from locality to non-locality, from proximity to telematics, from absence and transparency (Maria Roussos, Hisham Bizri) immersive interaction (2002) as the boundary between human complete all-around perspective has been expanded without any medium becoming temporalization, dislocation and the suspension of identity to difference, from totality to particularity, from objectivity (1998/K 222) (M. Kusch) (1994/II-K 78) and machine) how art is always looked for in conceptual weaknesses obsolete. identity and the body. Masaki Fujihata (1996/P 120) to viewer-relativity, from autonomy to co-variance, from the VRML and JAVA (MARS development) auto-navigation system with AR (AEC) the wrong place (2001/K 34) Media art will never be limited to the artistic use of technical immersive media Immersion (eintauchen, einbetten) dictate of subjectivity to the separate world of the apparatuses. " hybrid spaces (1997/K 199) (CAM perspecive overlaid with route) (Joline Blais, Jon Ippolito) Charlotte (Char) Davies (1995) media. It is always also aesthetic investigation, critical analysis and net art as concept art (1992/K 11) social critique of our world view indexed by science and superimposed 2 -player games (2002/P 96) VR work osmosis (2002/P 16) With its results, the Prix once again (Bettina Lockemann 2004) concept art (Weibel) The festival was not up-to-date and Der Versuch die Leiblichkeit GMD Digital Media Lab / ETH Zürich technology (Stocker) (2003/K 13) (Ryota Kuwabuko) immersive installation demonstrates the complete emancipation of cyberart (art field) outside the art system. zurück zu erobern new kind of virtual art 360 -degree dome (K. Sims) from traditional art. Elaborated independent (1999/J 71) augmented reality: AR facilities (1979/K 03) conceptual-systemic art (1) (AH) concepts. . . (C. Schöpf) CODE-Kritik Collective Creativity self-organization of data picking up, reinforcing and even fusioned media design groups (CODE symposium) (knowbotik research) (1993/K 249) setting trends (1999/J 73) virtuality immersive architecture interlocking two realities representations (MESO, Involving Systems) (2003/F 11) simulation space "mosaic of mobile data Software & Art I / II (CODE symposium) (1999/J 94) robot ecosystem (Adrian David Cheok (2002/F 12), issues of sounds" Take-over as theme (2001) Agnes Hegedüs VR art (? ) (2003/F 12/F 13) (L. -P. Demers, Magic Book (Kato) take over Prof. Hirokazu Kato, --(1998/II-K 306) media art as collaborative research lab interdisciplinarity playing real scenes walk-in database (see right) Jeffrey Shaw (how does the system of "fine virtual art B. Vorn) (1996/P 126) (1997/K 262) posthuman Bruce Thomas, view of manifestos software concept for art and science Cyberspace Manifesto into a virtual environment (2003/K 226) Michael Naimark life forms art" react. . . ) Christopher Lindinger) (2001/K 20) (Oron Catts, Stuart Bunt) (2001/K 136) (AH) Paul Sermon (student of Ascott) Chico Mac. Murtrie & Rick Sayre research focus (Alvin Toffeler) virtuality in software conceptual software (S. Stenslie, mixed-reality applications (2003/K 328) center for artistic investigations (1991/P 127) "tumbling man" But no art term yet? explored the intimacy of virtual Knut Mork, (DM) No medium is capable of re-forming (AH) Weibel characterized this The Hidden World of Noise and performances transferred to avatars see also: loudspeaker arm as tactile experiences (1993/P 126) the evolution of functional robots+avatars K. A. Oygard) (AH) from the dictate of telepresence and co-presence form of art as so-called Voice (2002/K 408) (Futurelab, or translating another without loss or absense as pursuer (2001/F 34/P 114) simulation view robo-ecologies (Mark W. Tilden) ! (1999/P 76) subjectivity to the separate world Lack of a further development (1997/K 199) "post-ontological art", as an art G. Levin, Z. Lieberman, C. coercion. . . virtuality (Edwin van der Heide) trademark of the festival: (1993/K 195) (K-Team) of apparatuses in the CAVE. Packing it away in of "virtuality", of "variability" and Lindinger, D. Offenhuber, M. Breidenbrücker, VR virtual reality (DG) a "take over" is meaningless in this VR (Marnix de Nijs) view of art genres Kunstzeugwelten openness (1989/J 14) favor of cheaper video game of "viability". G. Stocker, R. Abt, R. Praxmarer, S. Mittelböck) phenomena art international expert conference sense too (Morgan Russell) (Ulrike Gabriel) Homo Cyber Sapiens It is not an achievement to transfer traditional systems? (2000/P 67) CAVE crisis ? Robo. Cup stereographic real time "Industrial Robots" (1990/II-K 215) robot performance (2000/K 362) VR facilities (1993/K 350) (1995/K 28) artistic patterns and behavior schemata to media with "software" Burnham established a (2000/F 37/P 108) Strategies of art are more and applications for CAVE at the. Kepler UNI (1982/K 267) (1999/J 242) Pixelspaces (add. offers) (AH) (Itsuo Sakane) LEONARDO on the aesthetics of art; the challenge is to invent new ones. connection between computer technology CAVE variations AEC department: Behind the Scenes (CAVE) more frequently and lastingly and Immersa. Desk (1999/J 100) (1989/J 35) (Horst Hörtner) art in the apparatus stadium robots in the spotlight !! automatons (Werner (G. Stocker) (1999/J 68) Is the pleasure in high. Literature: Virtual Reality diffused in other areas of society. (AH) What is problematic about today's VR and concept art (2003/K 125) CAVE goes PC (T. Feuerstein, K. Strickner) (N. A. Baginsky) (1991/K 221) Vollerts) (1991/K 221) technological art (1999/F 30) (Simon Penny) tech experiment already high tech /vs/ low tech (2) Citycluster – VR networking Strategien des Scheins – Kunst Computer (1997/K 12) Art dissolves like minerals in systems is that the participant has to be (Erkki Huhtamo) (2001/F 10) (1993/K 302) Pixelspaces (additional offers) If you don´t think this project for networked declining? (1999/J 95) application (F. Fischnaller) liquid. (2001/K 19) Medien / Ed. Florian Rötzer, Peter Weibel completely "wired" with data helmet and Joshua Davis (helpful spirits) is art. . . (2001/K 60) CAVE versus game engines CAVEs: transmission of (Leo Schatzl) robotics / automation (2003/K 429) Self-dissolution ! (DG) data glove. (2001/P 42) Kunst als Medientheorie / Hans Ulrich Reck high technology art (Kittler) With respect to the (C. Ebner, U. Winters) (2001/F 10) vergl. (2000/P 67) technology fetishism body traces "juke_bots" interactive robot The Thing data helmet & data glove Media-made – Wie kommen wir uns nahe? institutional critique high-tech art "structure of norms" the. . . artists integration of art, science and (lack of content) sound installation (transmediale) exploring virtual worlds semi-spherical projectionthree versions of a virtually Rhizom. org questioning legal claims robotics conference at AEC (2003/K 228) (who promise radio art in radio or Hg. Gerhard J. Lischka, Thomas Feuerstein and technology (at MIT) (Otto Piene) (Gommel, Haitz, Zappe) (Monika Fleischmann, in WEB galleries (2000/P 62) with head-mounted displays (Warren Robinett) see also: furnished room: only comprehensible Alexander (Luc Courchesne) digital illusion computer art on the computer) have (1980/K 96) Granular-Synthesis Offene Systeme I – Beiträge zur Zeitstruktur (ML) affinity of (1990/II-K 119) (AH) mechanic-kinetic works Ulrike Gabriel) (1990/II-K 138) technoscience art in the interaction with the real R. Galloway (0100101110101101. ORG ) view of the field (2002/P 92) (A. Trottmann) always come too late. (1995/K 376)(1998) media and von Information, Entropie und Evolution / (Ivan E, Sutherland) Jean Tinguely (1955) "Meta-Matic-Roboter" we are human beings furniture techno-scientific art (1998/P 58) standardized interface the universal Robert Adrian X (Ulf Langheinrich, dynamics and openness of interactive, machines (1990/II-K 123) (AH) Nam June Paik (1964) Ed. Ulrich von Weizsäcker (D. Dennett) (1997/K 181) (Perry Hoberman) (1999/F 25) (1997/K 1121) domain-grabbing Festival for Art (1991/P 30) VR was practically not cyberstalking robot (1999/346) Kurt Hentschläger) cybernetic processes (2003/K 13) "Robot K-456" (PW) on the origin of (1997/K 296) beyond the Medien Archiv / Agentur Bilwelt and Technology (1989/J 13) nano-robots Kraftwerk re-engineering (re-using) represented in entries in recent years (spying out data) (Hans Moravec) John Sanborn Cybersquatting interplay techno-art in the Cyborg Detector machines robot body parts science art (1999/K 28) Medien / Texte zur Kunst 1998 -8 -Heft 32 Coder, Hacker, commercial systems (AH) freedoms (1991/K 13) Christiane Paul (2003/K 136) (1986/K 121) (squatting on the (1989/K 81) mailbomb industrial revolution (Berger, Futterer, Stone) (Max More) Rakuschan hacker (Stelarc) surreal incubation, cultural viruses, Unnatural bodies Open Sourcer, (2003/P 83) Hybridkultur – Medien Netze Künste / Ed. calculated by the artist machine art see also: Internet) M. Moswitzer impact management (Dan) Daniel J. Sandin Cabaret Voltaire Irmela Schneider, Christian W. Thomsen Cyborg = cybernetic-organism (AH) (Jim Whiting) computer chaos club Circuit Bender simulation view information and entropy (etoy) (2000/K 360) M. Jahrmann robot interaction cybotage (1991/K 73) (2001/K 20) using devices and systems symposium "Robots, Animation (1996/J 84) (2001/K 299) The cyberspace handbook / Jason Whittaker Ron Hays (1982/K 198) first presentation of the (1995/K 09) Van Gogh TV (2003) (1986) (R. Kriesche) contrary to their market and Artificial Creatures" synaesthaesia is one of the new possibilities of automation WEB-Shredder electro-mechanic instruments Jack Burnham Täuschung, Ähnlichkeit und Immersion TI home computer in Europe Ponton European Media Art Lab (1999/K 400) cyborg art (1989/K 141) view of openness definition (2001/K 20) (1993/K 171) (R. A. Brooks) leitmotifs of media art (Maywa Denki) (2003/F 39) 1968 System dysfunctionality: (M. Napier) Mark W. Tilden Otto Piene (1979/K 43) (article) / Jörg R. J. Schirra Stadtwerkstatt TV (H. Ranzenbacher) (1999/P 46) Jim Whiting pneumatic denial of service, (1993/K 195) (1999/J 352) clear board Virtual Art - From Illusion To Immersion / free scalability (AH) from autonomy to out of control The Robot SPA 12 SRL anthromorphosization etoy (2003/K 342) the art of machine "tinkerers" Are machines on the (1991/K 73) exoskeleton ! virus – security the open art work (1970/T) foundin of Xerox Palo Alto Research Center MESO Oliver Grau (Virtuelle Kunst in Geschichte (1979/K 27) (1989/J 102) multifunctionality of co-variance (2) Contained Masaki Fujihata Sulake Labs Oy drawing tool with (Marcel li Antunez Roca) (2003/K 229) rise again? Bernhard Leitner (AH) The concept of the "closed art work", (1972/T) HP 35 pocket calculator Involving Systems hidden microphones largest (game rules of art) und Gegenwart: Visuelle Strategien) the universal computer (2003/F 43) Time´s Up (2003/P 34) (2001/K 74, K 320, P 120) expressive parameters the dominance of aspired image: "comprehensible" (1982/K 160) Interactive Talking Robots according to Klotz, is also fundamentally (1976/T) CRAY-1 super calculator (Sabotage – R. Jelinek) open source intertextuality (AH) transition from Virtual Reality Technology / Grigore Burdea (Joanna Berzowska) complex manifestations Giaco Schiesser mechanization Matt Heckert (1989/K 174) called into question by the aspect of Joichi Ito (1977/T) Apple sells the first completely Golan Levin Just Merrit SW development (1994/II-K 38) Nanotechnology: self(1999/P 74) Soundcreatures closed to open (1999/P 34) (2003/K 371) (zu Giedion) (Paul De. Marinis, (1996/P 210) interactivity. assembled personal computer (color graphics) (2001/K 387) (1999/J 403) web site (2002/K 252) chaos cube (M. Klein) you can't teach an old reproducing microscopic Pierre Lévy sound communication – robots systems Laetitia Sonami) (1991/K 51) (1997/P 200/K 311) robots (1977/T) Commodore PET (2002/P 98) (2003/P 079) (1994/II-K 71) machine new tricks robots (1992/K 71) instrument developer as (1995/K 91) (1999/K 411) John Maeda (Kouichirou Eto) Harry de Wit roomware (1979/T) LISA development (2003/P 42) OSDN (T. Sherman) (2003/K 170) tool designer Hiroshi Ishii (2002/K 396) Kingdom of Piracy: Whiteg Wenig, LAMP (Linux, Apache, Like the analog techniques of Mechatronic Show as soon as it works, Stelarc Florian Rötzer (1979/T) ++++ ars electronica ++++ (2000/K 305/P 82) (1997/K 196) (2000/K 385) (music compiler, . . . ) it is obsolete (1997/K 198) Mukul Patel, Manu Luksch, Rhizome. org, My. SQL, Python/Perl/php) sculptor as photo and film, media art goes room elements like walls, doors and (Marcel li Antunez Roca) (1999/J 411) (1994/K 108) (1980/T) Apple III Ken Goldberg 0100101110101101, Joy Chatterjee, (2002/K 394) Alain Escalle machine builder / through several phases: the (2001/K 254) Team c. Hm. An furniture are integrated in information (2003/K 322/P 118) (1994/P 06) (1997/K 149) (1995/K 28) (1980/T) Commodore VC 20 (1996/K 297) Public access TV und Radio media primarily involve enabling (2001/P 28) double. Negatives, p, RT, Eastwood – RTSG, Kingdom of Piracy (1999/P 145) ars metallica material, corporeal, machinic (2003/F 12) and communication technology exoskeleton (1980/T) Commodore C 64 Kathy Rae Huffman normative power of structures (DM) (Stadtwerkstatt, Radio FRO) Diane Ludin, Dragan Espenschied, Alvar Freude, (A. Medosch, Shu Lea phase. . . (AH) digital technology also enables Dan Graham (1982/T) Compaq founded (1991/K 261) (1994/K 156) Dennis Muren David Rokeby Manuel De. Landa David Dunn software monopolies F. Stalder, Agnese Trocchi, Olia Lialina, A. Tang, Cheang, Yukiko Shikata) Free Software free software panel-like screens, tables with (1994/P 67) mechatronic new developments in apparative (1992/K 136) Tool /vs/ Medium (1992/II-K 21) (1982/T) SUN network computing on TCP/IP basis current technology (1993/P 122) (2003/K 12) Roger F. Malina (1994/K 168) movement Ilya Eric Lee, exonemo, J. J. King project (2000/K 351) integrated screens (Interac. Table) art (control techniques) (1983/T) Atari home computer 1200 XL perfect usability Itsuo Sakane Agentur Bilwet Timothy Druckrey (1997/K 258) (1999/J 319) virtual workbank account Steina & Woody Vasulka Piazza Virtuale – (2003/K 29) art as procedure / (1983/T) MS Windows development announced (1980/K 47) (1998/II-K 290) cf. : view of objects (2002/F 043) Dialogue with the knowbotic (1999/F 08) (1999/224) (W. Krüger) (1994/P 122) System dysfunctionality: open law apparative art (1973) (1992/K 81) Service Area art as method (1984/T) Apple presents the Macintosh Video/Audio Technology Timeline according to Vasulka: Char Davies South (1994/K 243/ Geert Lovink H. W. Franke denial of service (1979/K 54) multimedia versus (1994/K 234) (Giaco Schiesser ) John Lasseter Frank Popper Symphonies for Dot Matrix Printers !! open source computer in an advertisement (196 x/T) Video Feed Back (Skip Sweeney) (Frans Evers) chessboard interface (1996/P 144) Service (1995/K 180) (2003/K 229) Scott de. Lahunta synaesthetic TV broadcasts in (2003/K 372) (1996/P 164) Cristopher G. Langton (a multitude of obsolete office machines) (1984/T) IBM PC AT Bruno Latour Peter Eisenman (1999/J 152) (1962/T) Hybrid Graphic Animation Computer (1988/K 268) controls scenes (knowbotic (2003/K 302, K 311) interaction concepts the context of (2000/P 124) (1999/K 381/P 183) (The User) Linux developments (1984/T) UNIX and SGI 3 D Chip on the rise (AH) machine art forms of apparatuses (1964/T) Audio synthesizer (Don Buchla) the 3 rd synaesthetic (Norbert Artner) (1988/K 171) research) (1994/K 38, K 11) G. J. Lischka (Mixed Reality) teachers at service Friedrich Kittler pioneers of electronics (1985/T) Atari 520 ST service projects on the Internet (1968/T) Chrominance Synthesizer (E. Siegel) wave in modern art video chess installation (1989/K 88) Donna Cedric Price (Linus Torvalds) (1999/P 24) Daniel Charles atelier computer (1986/K 13) (M. Fleischmann) Robert Moog, Carlos media colleges (1995/K 79) (1985/T) Commodore AMIGA 1000 (Manuel Schilcher) (1993/T Machine Culture – exhibition of (1968/T) Modula Audio Synthesizer (R. Moog) Haraway (1994/K 30) the net as system house artist (1979/K 44) principle of redundancy (1980/K 07) (1985/T) CD-Rom as new storage medium Paul Virilio (1999/J 173) (Keith Goddard) influence of MIDI on interactive media art Anaheim (1968/T) x y z Driver/Sequencer (Bill Hearn) (1997/K 46) Bernard Cache (prisoner in a golden cage) Marshall Mc. Luhan open channel (Prof. Machiko Kusahara) distance loan - distance exchange (Hans Kropshofer, (ars intermedia) Martina Leeker MIDI (1984/K 161) (2003/K 15) (1986/T) Atari 1040 ST (Aladin as Mac emulator) (Stadtwerkstadt Linz) (1994/K 94) (1968/T) Hybrid digital/analog audio synthesizer art project et al. (1989/J 24) Karl Heinz Maier) (1998/K 116) robot lady Brenda Laurel (1987/T) Sun market leader for workstations (public netbase t 0) (1995/K 293) (1995/K 24) (AH) synaesthetic interaction (Weibel) (1988/K 27) (Pulsa Group, P. Kindelman) Ulrike Rosenbach (2002/P 146) Hans Moravec Heinz von Foerster loan and exchange – an interdiscourse interface as variable (2001/K 367) (Cardea) MIT (1987/T) Mac II (the thing) (1995/K 313) (1990/II-K 259) (1991) (between different elements of design) (1969/T) sal-mar construction (S. Martirano) Media Survival Kit (Yasuhiro Yoshiura) high tech /vs/ low tech (1) (1991/K 13) Michel Serres (2002/K 238) border rescue Marie-Luise Angerer projection (Audiopad)! (A. Hirsch) Media Literacy 2004 Kontextsystem (Service-Plattformen): (1987/T) CGA graphic screen as PC standard (Lioba Reddeker) Abraham A. Moles (1969/T) Sony CV Portapak (1996 Prix) Fred Forest fantastic young talent (1999/J 116) escape routes (2003/K 349) (2000/K 166) (James Patten, Ben Saskia Sassen Mixed Reality: (MF) Bionic-Mailboxen (padeluun, rena tangens), (1990/T) Windows 3. 0 danger for MAC for the first time (1970/T) Direct Video Synthesizer (S. Beck) new technology and (1995/K 164) (H. Schmutzhard) (1984/K 386) software as tool Jean Baudrillard Recht) (2003/K 414) Louis Bec (1995/K 186) (1999/F 26) (Sommerer, the interface as input/output instrument is not a Roy Ascott The Thing, De Digital Stad Amsterdam, (1990/T) Apple offers the first program for image Gene Youngblood (1970/T) Electronic Video Synthesizer) (E. Siegel) design creativity (2002/K 378) (1991/K 07) or art content ? (2002/F 08/K 25) Sybille Krämer various media colleges present Mignonneau) multimedia instrument, but one of action for the Internationale Stadt Berlin, Public Netbase t 0, processing (video context) (1984/K 119) (1989, 90 -95) (1970/T) Colorizer, Camera Scan Processor (A. R. M. Eshaq) (2001/K 47) Key Grip Vilém Flusser Paul Sermon train window as interface Jeffrey Shaw synaesthetic transformation of the perception of themselves during the Ars: V 2, CCC, adaweb, stadiumweb, turbulence, (1991/T) Power. Book Mailboxen (1971/T) Paik/Ab Synthesizer Scan Modulator (Justin Manor) Marvin Minsky (1990) Xchange (E-LAB) (1999/J 202) (91, 93, 97, 99) (Virilio) There are no more surfaces. (1990/P 187) media space. Servus (Satdtwerkstatt) (1993/T) SGI and Nintendo develop Graphic-Engine Bill Viola 2001 take over campus: Visuelle Mediengestaltung Vienna The construction of (1971/T) Video Synthesizer (G. Brown) Nam June Paik (2003/K 330) (1998/P 34) valuation in the PRIX (1993/P 126) The interface is the new form of the (1995/T) SUN – Java: Standard for the Internet experience. Interface as (1971/T) IP – Image Processor (D. Sandin) => Derrick de Kerckhove 2002 Kunsthochschule für Medien Cologne these cooperations are Heinrich Klotz Myron Krueger synaesthesia surface. Thanks to electronics, tele. Jury INTERACTION: A. Adriaansens, R. Ascott, B. Blau, (1996/T) SGI Visual Workstation O 2 and Superc. Onyx Gordon Pask (1999/234) Which interfaces determine content. (David Rokeby) (1972/T) Dual Colorizer – analog (E. Siegel) DIVE: Free Software, online collaboration, 2003 HS für Gestaltung und Kunst Zürich mirrored in the symposium unplugged (1990/P 169) (1988/K 12) control, teleperception, videasts and H. Branscomb, F. Brody, Coco Conn, S. S. Fisher, Matt Mullican (19 nn/T) IP networks for computer collectives the overlapping of real (1972/T) Scan Processor Prototype (Rutt, Etra) piracy (2003/F 38) (2002/K 271) Knowbotic Research Peter Weibel (1999/K 423) Interfaces as Neo. Baroque ? architects meet on this interface. M. Fujihata, Ulrike Gabriel, V. Giacci, Christophe Héry, P. Higgins, (1997/T) economical workstation on NT-basis and virtual space (MF) (1994/P 158) (1973/T) Videola Installation (D. Hallock) E-zine Das Télécentre Communautaire standardization of Austrian rigidified (1993/P 101) (1998/P 28) P. Hoberman, J. H. Horn, Hiroshi Ishii, Machiko Kusahara, Masuyama, Karl Sims (2001/T) SGI Workstation 230 Gilles Deleuze (1973/T) Multikeyer (G. Brown) the high art of Polyvalent in Timbuktu (2002/K 177) (2001/K 213) interaction design – Culture Service perception framework (1993/T) Pentium processor (1996/P 144) (1993/K 249) youth as Literature studies examine, among R. F. Malina, J. Markoff, T. Moriyama, Monique Mulder, M. Naimark, (1991/P 79) (1990) (1994) (1973/T) RUTT/ETRA Scan Processor (Rutt, Etra) conveying science performative interfaces (see above) (D. Rokeby) (Birama Diallo) set off by training courses (1995/K 290) (1999/J 391) users of excellence other things, how much techniques and J. Paradiso, C. Paul, B. Robertson, F. Rötzer, J. Sauter, H-P. Schwarz, (1992/P 51) (1993) (1973/T) Video Outliner (S. Beck) (Science Education Team) planned but never realized (2002/P 70) personal computer (2001/K 396) media influence or even determine the P. Sermon, Y. Shikata, J. Snoddy, S. Stenslie (1999/J 390) Joko Project (service) Christa Sommerer & view of "new technologies (1974/T) Hybrid audio/video Installation (Behrman, Diamond, Watts) hybrid system exclusively (1999/K 332) (2000/K 274) or partially realized in 1997 contents of the arts. (D. Daniels) Christa Sommerer, S. Stenslie, G. Stocker (Lisa Goldman-Carney) Laurent Mignonneau (1974/T) Digital Video Weaver (S. Beck) for artistic purposes bicycle as interface Pixelspaces – DAMPF (2) (2002/K 186) (1999/P 93) (1999/J 393) Interface-Prof. Art UNI (1976/T) Digital Frame Buffer (D. Jones) (Shaw, Nancy Paterson, (ars intermedia) affordable U 19 Cybergeneration (PRIX) In its expansion to "image studies", it will first become possible to performance theory Sensory Environments – art as procedure / (Christa Sommerer) (1976/T) Spatial and Intensity Digitizer (D. Mc. Arthur) Note: the selection reflects time´s up)(R. Makkuni) (1979/K 44) Jury ANIMATION: M. Benayoun, M. Bielicky, L. Carpenter, O. Cauwet, H. Chida, Literature: workstation examine how art is not only influenced by the media, but how art works Immaterial Interfaces cognition theory art as method (1976/T) Digital Image Generator (Mc. Arthur, J. Schier) the opinion of G. Dirmoser Lynn Hershmann (2002/P 88) Larry Cuba, M. Dippé, J. Duesing, P. Eason, Valie Export, Lisa Fisher, Ines Hardtke, Ex. Machina / Eine Geschichte des Roboters von Indian (HK) the computer also supply an analysis of the potential and the impacts of media at the (2003/F 14) (de. Lahunta, (Giaco Schiesser ) (right) R. Herken, C. Héry, J. H. Horn, R. John, M. Kaas, P. Kogler, R. Legato, G. J. Lischka, (197 x/T) Le Movicolor Colorizer (M. Dupouy) dialogical approaches (AH) Computer: on influence (analysis of diverse specialized (1995/P 121) 1950 bis heute interfaces per se is not an RISC organization of the same time. (DD) J. Manor, J. Dießl, S. Oschatz, (2003/K 372) on media forms and art forms (1979/T) ++++ ars electronica ++++ (1992/K 96) literature) postmodern view Mickey Mc. Govern, A. J. Mitchel, M. Mullican, Lucy Petrovich, P. Quéau, Barbara (1989, 93, 99) designs integrative force 1994: Computers and Games user's scope of action Puppen Körper Automaten – Phantasmen der the dynamic of the TAKEOVER does not come from A. Cheok, H. Kato, H. Hörtner) Robertson, Sally N. Rosenthal, B. Sabiston, R. Sayre, Rita Street, robotics Reduced Instruction (R. Makkuni) shift of ideas and methods Jury NET: D. Blair, B. Blau, A. Broeckmann, E. Burton, (2001/K 294) art's places of education, practice and communication Moderne / Ed. Pia Müller-Tamm, Kath. Sykora interactive exhibition of prizeinterface design computer as paintbrush M. Tolson, C. Volckman, M. Wahrman, Chris Wedge, P. Weibel interface development Pioneers of electronic art / open source (see left) obstinacy of the medium (AH) Artists are even more interested in informatics / electronics Set Computing (2002/F 044/P 86) (G. Bonsiepe). . . "intermedia", J. Davis, Tanja Diezmann, Oliver Frommel, R. Gehorsam, (2001/K 17) (see left) winning student works Computers – Eine illustrierte Geschichte / Container Projects: the paradigm of B. Buxton, S. Maschwitz parallels to "media structures of organization" separate world of apparatuses (1996/K 221) (Giaco Schiesser ) "multimedia" disciplines Claudia Giannetti, Solveig Godeluck, Lisa Goldman, AI research / AI discourse on the interface (precursor of the Prix) Hot Wired interactive imagination Christian Wurster (AH) The convergence and combination of the most (1986) Container-City "Ponton" hacktivism (see left) collaborative development of than in the tradition of art production. Jury MUSIC: C. Amirkhanian, S. Arnold, Types of interfaces: breath sensor, brainwave (1992/II-K) (Vasulka, Dunn) (2003/K 371) (1988/K 63) Derrick de Kerckhove, Machiko Kusahara, Joichi Ito, modern primitives connectionism Is the "digital city" a of pre-arranged (1994/II-K 137) Online Publishing various techniques are crucial for the formation absolute milestones: (Brenda Laurel) Multimodal Discourse – The modes and media practical demonstration of free and architecture projects PHASE(x)3 Sam Auinger, J-B. Barriere, L-G. Bodin, sensor, data glove, bicycle, video instruments F. Manola, J. Markoff, D. Mc. Cullagh, C. Reas, (Andrea Juno) (above) medium or a forum? dialogue structure (AH) cyberdiscourse / cybertheory "The next Idea" (1996/K 393) Forms whose definition is of the new art form. (Popper) (1990/II-K 262) WWW, VRML, (1999/P 36) ETH Zürich N. Bouhalassa, L. Brümmer, K. Eshun, A. Greie, S. Rogers, Demetria Royals, M. Russell, joystick, camera shots, of contemporary communication / Gunther creative arrangement of information Why did cooperation with the Sexy tech modfied bodies (1995/K 183) (PRIX category for oriented more to scientificnet discourse dealing with digital appropriation of media art R. Friedl, J. Harrison, T. Herrington, N. Humon, plants, camera, game engine, TV-critical AEC: Techniklastiges Kress & Theo van Leeuwen (cf. development of Servus) Kepler UNI only take place in the The Computer: Handtool (2001/K 407) Y. Shikata, John F. Simon, Karin Spaink, (1990/II-K 234) The dynamic of the TAKEOVER does not come from age 19 to 27 / 2004) technical disciplines, to interface techniques (ML) user interface technoscience and cyberculture NET categories: 1) best "self-servers", W. Jauk, Kaffe Matthew, A. Mongeau, scanner by fine art Ambiente des Lernraumes net broadband first years through symposia? (1989/J 135) projects or Thinktool ? (OG) (Christine Goestl) Marleen Stikker, M. Takemura, Optische Medien – Berliner Vorlesung 1999 / the places where art is trained, practiced, conveyed. development and information 2) best public "watchdog" service, techno-discourse B. Neill, R. Normandeau, Bob Ostertag, (1996/J 114) Takeover (symposium) NEXT SEX Friedrich Kittler Cybersex with data suit and all the appliances (2001/K 17) "net system art" as Ars electronica –Event system-analytical development Z. Parkins, J. O´Rourke, M. Schmickler, Andrea D. Traub, Pete Barr-Watson, architecture, or to net culture intelligible tool see also: view of 3) best public information service (DH) New media generally emerge from non. Restart 1996 with AEC Tina Cassani, Bruno Beusch, The Undertakings of Art – Symposium (2000/F 09) for stimulation and stimulating body surfaces "permanent conference" Technikkultur – Inszenierte Technik – of aesthetic-generative basic AEC department: and lifestyle of gaming communities, für ein Fachpublikum? (1995/P 45) (1979/K 44) artistic situations. Artistic applications are derived Sodomka, Laetitia Sonami, I. Stoianova, interactivity What is the state of media art, since its Casey Reas Who will survive? (Marie Luise Angerer, Nobuya Unno, (J. Kirchgeorg) already looks like nostalgic mechanics for (after Beuys) (1995/K 65) programs training/education than to the isms of the art transformierte Wahrnehmung / Ästhetik & Digital Hollywood (most important special uses. P. Rehberg, R. Rimbaud, T. Wishart, D. Toop, development and public attention derives (2001/F 09) J. Reich, Xin Mao, C. Djerassi, Natacha Internationale Stadt (1997/P 146) tele-intimacy, a kind of chivalrous romanticism programs make the Jury CYBERGEN. : S. Amann, (1997/K 12) discourse (2001/K 20) (H. W. Franke) pixelporno school for digital media design Kommunikation Heft 75 – 1990 W. Vollert, B. Blectum, F. Hecker, C. Watson computer art systems from the same dynamics as the New Economy? synthetiseurs Merritt, S. Messina, J. Davis, Katie Egan, (Berlin) the ideal It is obvious that the (1994/K 109) virtual electronic works of different T. Auer, Etoy e 04, N. Filz, (2000/K 357) in Japan (Tomoyuki Sugiyama) (1980/K 95) future learning Kunst im Kontext Neuer Technologien of the "Centre Pompidou" (2001/K 17) WBT on the Silk Road (1979/K 45) intermedia connections Marta de Menezes, Oron Catts, Ionat city on the Internet (Rosa von Suess, appropriation of media art (Simon Penny) While robots then covered the calculated path, neighborhood authors appear very living spaces F. Hecker, H. Hörtner, body art digital media art (2001/K 89) (Prof. Max Mühlhäuser) (1979/K 42) Paramour / K. Gsöllpointner, U. Hentschläger (Jie Geng) Zurr, G. Ben-Ary, Monika Treut, B. Loibner) by fine art is no longer Art & Tech the environment was newly measured, the data entered in the The idea of the digital revolution is (Nick West / YORB) (1995/K 254) similar (1992/P 12) G. Hupfer, M. Nürnberger, Brave New Porn telecooperation, project Treminal-Sex (Stahl Stenslie) (2000/P 50) K. Behrends, Joanne Finkelstein, Bruce Arch+ 167 / Off-Architekture 2 digital clubs acceptable. Digital plan, which was then altered as necessary. This method was experiencing its first real crisis. (1995/K 196) Archi. Media (2001/K 404) creative lethargy intermedia art (HK) We must be careful not to M. Pieper, R. Pöcksteiner, (Sergio Messina) "Knowledge Net – Future Learning" (2000/K 202) canonization of (Simon Penny) series of research called the top-down paradigm. In practice these robots were new isms of the Bagemihl, Veena Gowda, R. Thornhill, (2001/K 20) (Stocker) Revolution Reflexionen zu Kunst und neue Medien - UNITn (Flatz) cultural identity crisis (2001/K 17) misjudge the tool character of M. Riebe, S. Sagmeister, (2000/F 28) (1996/J 109) next sex media art (2001/K 20) electronic costumes projects loosely assembled under very slow: a cockroach was better able to cross the street than media (art) Allucquère Rosanne Stone, C. T. Palmer Porno Operations. What is the point of this polarization? (DG) (1999/K 17) demontage What does that mean for ars and AEC ? education opportunities at the Art UNI LEONARDO – Journal of the international the computer. demo applications: Hans Wu, B. Lippe, M. Pieper, Cybersex (Sachiko Kobayashi) the term "Bottom-Up Robot discourse (DG) technological innovation (ars intermedia) (John Duncan) simulation the most powerful computer! (1991/K 129) (15 -year wait for relevant professorhsips) body sections indications of what could miss monochrom media critique from: society for the arts sciences and technology (2001/K 91) Technology". . . now challenge coaching the arts sex noises (1979/K 44) (1991/K 119) means view (1995/K 192) (1996/K 194) The "visible human project" be done if one had more telephone sex as safe sex Heiko Idensen, Matthias Krohn, development environment for virtual the top-down approach various introductions on virtual sex and the (1991/K 276) (unplugged symposium) (Webster Lewin) infotainment education in Vienna virtual environments, media are means (DM) "Art" or rather invention ? (AH) AI as abbreviation for Artificial Insects projects on image material time/money (Melita Zajc) Florian Rötzer, Heinrich Klotz, MEME (2) (1996/K 194) reality (Eric Gullichsen, Patrice (Aaron Funk, Rachael Kozak) loss of desire (2002/F 10) MK Weibel, Roy Ascott personal simulation and Rodney Brooks contradicted the edutainement (Christian Möller) on Bill Barminski (1995/K 68) (1999/J 292) Derrick de Kerckhove, Andrian X the sex industrie Gelband) (1990/II-K 302, K 305) webucation (2003/P 198) Computer and Internet as guiding technology (S. Zizek)(1995/K 122) We are on our one out in cyberspace, we (1986/K 312) notion that a cockroach (see right) telepresence distance learning (2001/K 295) (1995/P 126) et al. businesses (in Japan) have electronic art Stages Elements Humans online (R. Baker) (2000/K 37) the festival. . . as site "Block Jam" instrument have to re-invent the world and ourselves, of current changes (2001/K 17) (Franz Xaver Mittermair) (Scott S. Fisher) "made a map". community (2001/F 36) porn-o-mat learned nothing from the ideas (Gina Czarnecki) (1999/K 329) (1989/J 11) telepresence Multimedia digital body worlds of valuation made of combinations of bottom up. (Ruth Schnell) (1990/II-K 147) tele-symbiosis (1993/P 90) Thinking the Sexual (M. L. Angerer) (2000/K 166) (platonic ideal) ASF, AVI, MP 3, MPEG, (Joshua Davis) (2000/K 287) CBT WBT and visions (of artists) creativity /vs/ betting on important issues (1989/J 20) (2002/P 012) blocks (H. Newton-Dunn, (1995/P 16) (R. Ascott) (1999/J 107) (1993/P 90) Quicktime, Real. Audio, resources view figures generated for (2001/K 90) see also: view of transformation mini-computer in fabric (Baudrillard) All kinds of protheses can contribute Symposium "The Desire art ? lecture series (1982/K 260) of science and technology H. Nakano, J. Gibson, Real. Video, SWF, from Slow-Scan-TV films view of instruments (AH) electronic extension to giving man pleasure, but he cannot invent any for Immortality - Cloning, techniques view art of fragmentary approaches Unnatural bodies communication technologies – (1995/P 54) (Robin Hanson) multimedia SW WMV/WMA electronic classroom (1999/J 104) R. Kuwakubo) art (does not equal) creativity & economy tinkering televirtual environments (s. above) CAD CAM CIM to picture telephone cell phone as necklace of the human body that feel pleasure for him. Cryonics and Cosmetics" (Jim Whiting) new media in education, business (2003/K 417/P 116) (Sony) techno-art as anti-art (PW) gene-technical interventions (1993/K 157) (Klaus Madzia, networked learning Infotrainer (AEC) (1991/K 73) s. l. and administration the paradigm of virtual reality introduced New media all emerge through re-mediatization, i. e. new media = MP 3 -player (PW) Tool culture has entered cyberspace university remote presence (1993/P 91) Telerobotik Computer Aided Design G. J. Lischka, Reimara blind for art (2003/K 211) scientific acceptance with theme of what works, is already through the translation, rearrangement, reshaping TV Bra, TV Cello, TV Bed. . . online projects that can also slow scan earring for monitoring on upper arm into a new phase, into the (Frank Ogden) the feedback loop: new art ? view of networks Computer Aided Manufacturing Rössler, M. Wabl) history the "interface" gene manipulation set obsolete (PV) of other media, . . . at the level of content as well as (Charlotte Moorman) be used in the teaching context adaptive separate world of the world of (1995/K 102) blood pressure interactive systems cannot be Computer Integrated Manufacturing Teleroboter (1997) eye-tracking (see right) (1992/K 20) (PW) (A. Popper, K. Stockhammer) form (Ludwig Jäger) (1982/K 59) „Sky Kiss“ (2002/P 24) concept of techno-selectives net view apparatuses. (1994/K 24) slow-scan robot (Ascott) imagined without feedback media guerilla (1993/K 240) everyday electronics Concert for TV-Cello : (Gusberti, Aschauer, Thönen, Deinhofer) participative and explorative (2002/K 62) "new" media (1989/K 109) robot prothesis (Nur Schrec) artistic tool (Joachim Sauter, PAL version (ORF) learning facilities (2001/K 229) (ML) the viewer as author in (ML) Interfaces of biofeedback entertainment electronics Multi Mega Book (1996/K 34) On this, see the detail study: Has Ars Electronica really been able(1995/K 281) media as site of educating (DM) artistic tool – audiovisual Dirk Lüsebrink) repeal of the body (AH) Bodysuit – (Charlotte Moorman, Nam June Paik) (P. Higgins) neuro-digital feedback for interactive performances dialogical approaches the topic was "covered" in Linz with Work&Culture in 1998 Literature: in the CAVE to liberate itself from the classical media? (DG) No ! multisensory (1982/K 65) artistic tool – narrative art in education is research (Horst Prehn) robot body parts extended hands operating system discourse symposium virtual office Telenoia – Kritik der virtuellen Bilder / Ed. (F. Fischnaller, electronic media self-dissolution (in take over) – dissolving into the "old" media (1997/K 299) (Eva Wohlgemuth) cell phone culture environment view into the inside of Wet Computing (P. Pocock) (Stelarc) VR flipchart re-designing the body the world‘s first full body (for Chiat / Day, Inc. ) artistic tool – useless (game rules of art) Y. M. Singh) Elisabeth von Samsonow, Eric Alliez cf. the ZKM study: future cinema digital media 3 D whole body Body. Scan (Mork, Pendry, the body (Stelarc) Open X: temporary open-plan atelier (2003/K 224) (1999/K 29) (2002/K 342) obsolete bodies tele-tactile communication (J. Singh, J. Chung) (1997/K 316) (Roy Ascott) (1995/P 20) Ereignis und Aura – Untersuchungen zu einer audio-skirts (AH) prosthetic forms of attaching Stale Stenslie) Innovation & digital pacemaker walk-in network (1997/K 384) Bioinfornatik existing software hybrid man-machine systems system cyber. SM (1993) (1994/K 214) mass customized production body halves – search for Brain-TV biofeedback computer as tool /vs/ electronic (Benoit Maubrey & the body to the virtual Ästhetik des Performativen / Dieter Mersch (1996/P 149) avant-garde system (Stelarc) (Stahl Stenslie) Cyber. SEX Take over skyscrapers and streets bioelectronics Boneware manipulations (2003/K 227) (Stelarc) (1992/K 233) physical/emotional completion (1980) programs wetware digital environment (1994/K 116) resurrection die Audio Gruppe) networked structures for on Vilém Flusser, Paul Virilio, Heinz von (2004) tele-homework AEC: Future Lab – the from text and images (R. R. Birge) (1997/K 131) (1997/K 152) hand controlled through (2000/K 213) Takeover I (symposium) (2002/P 133) (Peter Mc. Donald) (R. Kriesche) creativity (1979/K 30) of Bauhaus (2000/K 19) (1991/P 145) organism & chips best equipped "lab/atelier" new forms of collaborative Foerster. . . cf. various sectors (1997/K 322) (F. Sparacino, A. Pentland, (1997/K 83) (1994/K 114) WIRED on sounding bodies EMG signals (1989/K 135) plagiarism "breaking out (2001/K 12) on the change of paradigms, Aorta (Jeanette Yanikian) technology is changing from a prothesis part in Austria (1997/K 12) G. Davenport, M. Hlavac, M. . Obelnicki) work (Mixed Realities) (MF) Ars Electronica – Facing the Future / and speaking clothes (Stelarc) (1997/K 149) (2003/K 228) (AH) neuro-muscular (out of the art scene) new roles, working models and audio-uniform medical devices as sound and product ensemble into a comprehensive, home-production feeling of touch & (Rolf Langebartels) training view Ed. by Timothy Druckrey Eye-Tracking interface for directly concerts (1986/K 277) technology as extended body (PW) the creativity burst transmitters: rushing of blood, rear-view mirror to reality: coaching the arts artificially intelligent environment linking control of action life on the net (1994/K 205) (1986/K 276) technical-pragmatic controlling a synthesizer Touchscreen audio-clothing Exploring Collective Autorship (2001/F 08) changed framework conditions pounding heart, breathing, (1996/K 337) (Just Merrit) (H. -P. Schwarz, Gunalan Nadarajan, everything together (PW) (1994/K 08) (Stelarc) (1997/K 153) (calculable) avant-garde (Biomuse) (Benoit Maubrey, Eyephones (M. Shamiyeh) (2002/K 336) digestion (1989/J 143) Heros of Industrial Culture A. Moore, Marie-Luise Angerer, artistic work TV view platform for online music collaboration clothing that (and artistic innovation? ) Masters theses from Zurich: (Marc Lee, S. Leuthold, Mario Hans. Peter Kuhn) Body Surfacing interactions – Data Glove (Throbbing Cristle, SRL) G. Funk, R. Kannonier) (2002/F 11) (AH) seeing machines, TV helmets, Brainball – winning Jamming Software (Willy Henshall, Matt Moller) makes noises (see above) (Idensen, Krohn) brain/computer interface Pukathofer, Niki Schawalder, Annina Rüst, F. O. K. ) 3 D-patterns triggered by physical Projects by: (Hermann Atzlinger, radio vests, Handgeräte und through relaxation Head Mouted Display Presentation of important studios: Padua, Paris, Marseilles, (1999/P 30) visible (2000/F 34) (Peter Fromherz) (1999/J 166) (M. Hampel, F. Eggmann, M. Rheiner, G. Huber, I. Sterzinger, body language and lying KHM at ars electronica (2002/K 334) actions (1989/K 215) entries without video Tina Auer, Sam Auinger, Nicolas andere Extensionen des Leibes (2001/F 33/P 111) issues of Stockholm, Utrecht, Munich, Berlin, Budapest and (1997/K 158) Anne-Lea Werlen, Carmen Weisskopf, Doma Smoljo, (Naoko Tosa) (A. de Campo, J. Lindenmaier, M. (AH) seeing machines, TV helmets, (2000/P 104) (Myron W. Krueger) tape were unfortunately head-mounted display Anatol Baginsky, Todd Blair, Tim Brain Bar complexity 3 D computer(Tomoko Ueyama) R. Wigger, Mascha Leummens, Annia Rüst, T. Cmomiotto, Warsaw (1989/J 55) (2000/F 33) Erdbacher, J. Garancs, Dagmar Keller, radio vests, hand devices and not considered (Warren Robinett) (2001/K 375) (2001/F 37) brainwave scanner tomograms (PV) permanently reachable Boykett, Denise Carusso, Tatjana (1992/K 57) (Bayle, Risset, Barrière, Parmegiani, Bodin, Ungvary, Cyclops – Sex i(n) motion M. Wittwer, Anja Kempe, Yun-Chui Kim, N. Schawalder, Christine Szababo, Valentina Vuksic, other extensions of the body (2) (1996/P 57) the art work as (1990/II-K 119) (Ole Lütjens) Didenko, John Duncan, Chip Flynn, (AH) media art as new (Smart Studio) house slavery (G. Kampis) telemotorics computer technology on (1995/K 191) Zwedberg, Parmerud, Grimsson, Nsaveld, Vink, Kayn, gestures of calligraphy gestures of (Science Viola Klein, T. Kubli, S. Mann, Ko Kubota, Susan Wintsch, Milica Tomic, Hildegard Spielhofer, communication framework (Ivan E. Sutherland) Collaborative Web Tools L. A. Gladsjo, Brett Goldstone, genre (relative to the Data glove, data suit, (1995/K 178) the brain (1979/K 30) Gabriela Gerber, L. Bardill, J. Köppl, Felix S. Huber, the modulated (head-hand) (Roman Verostko) perception Education Team) Anke Limprecht, Agnes Meyer. Hashagen, Riedl, Blacher, Szigeti, Pongracz, Rudnik) (1995/K 63) (1990/II-K 123) Matt Heckert, Rudolf Heidebrecht, traditional arts) data glasses, database – dependency on data glove F. Wüst, Cornelia Heusser, T. Karrer human (1979/K 29) (2003/K 162) (1993) (2002/K 413) (2000/K 274) (1996/P 25) Brandis, Aurelia Mihai, (Mark Federman) Neurohacking Erik Hobijn, Kathy Huffmann, Laura tele-surgery (1995) The Visible Human Project they all suggest the existence Meatspace Clearboard – double projection the film and the realization of artistic Naujokaite Neringa, M. communication design (2003/F 11) (1994/K 109) Kikauka, David Moises, Gordon (AH)new sensibilization: (1997/K 292) (1996/P 182) (John Clyne) of a new world, the data Architexture avatars in the Gesture is an important point for every ongoing work table (speaking and drawing contributions from UNI Stuttgart and TU Vienna ideas can often only be advertising industry Neuenhofer, Susanne (increasingly located in the field Monahan, Mathias Moses, Marc 9, body and medium data helmet world. Dataism instead of (interaction) world of work tele-surgery, VR and the medium, and software is capable of conveying and together through a glass wall) to the AEC elevator (2003/K 406) (Karin (AH) evoking a "new sensibilization accomplished with Schönberg, Note: electronic media operation of the visual today) Linda Nilsson, Fritz Ostermeier, Dadaism. (Peter Weibel) (May, Modler, Saup) (2001/K 408) new world order in interpreting gesture. (2003/K 182) Stereotaktisches (using gaze awareness, acting by showing) considerable technological dependency on Reisinger, Margit Thieme, A. Mäule, V. of man in terms of being conditioned medicine and art Cathrin Vahl, are naturally treated in simulators Martin Reiter, Herbert Schager, (1990/II-K 32) data suit (1994/II-K 64) (Satdtwerkstatt) medicine (R. M. Satava) Golan Levin's software AVES consists of programs Computergerät (Minoru Kobayashi) (2001/K 260) Gebhard, Emilie Hagen & Minka Ludwig) by the body super computer or effort (1979/K 29) Olaf Vahl every sector (1995/K 192) (Adrian X) (1989/K 146) Leo Schatzl, Manuel Schilcher, (1995/K 187) that amplify hand movements by transforming (1979/K 57) computer cluster Jochen Viehoff Telecenter (2004) drawing gestures "Kunst-Funk" was the attempt to Franz Selbst, Suzanne Stephanac, medical cybernetics Telepresence Surgery System the derived data into images and sounds. models of networked collaboration controlling interactive data glasses codes are part of every brain stimulation device (AH) interactive works (S. S. Snibbe) experience what radio could have Gordon W, Doris Weichselbaumer, Cyborg Bodies Customized Footwear CSCW Computer(H. Trappl) (1990) remote operation presuppose physical An application assigns a sound to the video images through (1996/K 408) (Nobuya Suzuki) transmission medium (1979/K 57) facial space (1996/P 130) been, if it had not become a Jim Whiting, Kathrin Wilkes, Liz (2003/K 285) Supported Cooperetive telecommunication over 24 hours exploration. . . actions of structure of each gesture. marionette wires (2003/K 15) CAVE (2002/K 347) tele-diagnosis cybermedicine centralized mass media Young, Erwin Zeppezauer, Berthold configurator SW physical view – achievement (see also view of achievement) discovery Wearable Computer Work (1997/K 199) (Robert Adrian X) helping to hands-on interactivity telematic interaction (Douglas Edric Stanley) (G. Deutsch) (1997/K 292) picking up gestures of Zettelmeier, Alex Zuljevic develop the use of telecommunication virtual marionettes (2000/F 34) Remote Viewing lifestyle telepresence and jointly used (J. Canny, the sensomotoric aspect deaf-mutes Art Com Electronic Network significance of technologies (1982/K 145) (Steve Mann) (1997/K 221) parametricized objects (W. Hilbert) spread-spectrum wireless network Installation (K. Becker) co-presence work area E. Paulos) (e. g. of gaming communities) Roidinger (since 1982 experiencing corporeality is very important in ACEN (1986) (1989/K 133) telecommunications Slow-Scan-Television, Telefaksimile, supportive infrastructure (2003/K 288) (1997/K 304) devices for wireless nodes (1997/K 389) (1997/K 199) telephone booth gestural control of Computer Art Studio (microphones on the body) installations (1982/K 35) I. P. -Sharp-Computer-Timesharing-Netzwerk Digital Mudra (Sonya Rapoport) in the clothes marionette cross in Africa (2002/K 146) calls with survey video processing (Justin Manor) ACROASIS) electroacousitc performance (W. Cooper, L. Ortner, O. Mittmannsgruber, working world as theme: interface (Stahl Stenslie) (1993/P 104) (Stephen (2003/P 110) (Syntvioline) Dictionary of Primal (Steve Mann) performance theory N. Hinterberger, C. Kaltenbacher, Linzer Stahlsinfonie (Klaus Schulze) (1980) on the mechanism of human Bodytainment symposium: a life from the Internet (1989/K 110) (1989/K 146) Non Host Radio Wilson) (Mia Zabelka, Peter A. Ecker) Behaviour (Urtica (FRY)) (1997/K 227) dialogical approaches Karl-Heinz-Klopf, Markus Geiger, gestural control of music CB radio modem facial expression as a medium (2000/K 216) beyond the office (1988/K 153) installation with two (2003/F 31) Wear. Cam VR Chart Heimo Zobernig, . . . et al. ) operating system discourse amateur radio / CB telecomputing gestures of an interactive (Nur Schrec) ICT information and Mudra for interactive art of the future Wear. Comp deploying shadows of users (Flipchart AEC) interactive bodies robotic installation (2001/P 108) (1989/K 128) (1995/K 281) multimedia communication technologies (Randal Walser) (1988) "Very Nervous (Scott Snibbe) (2003/F 40/P 122) ("Huge Harry" = voice synthesis It is not a matter of making art within the given (F. Fischnaller) (1995/P 116) (spy camera, infrared sensors / cybernetic application machine) (1997/K 110) (1990/II-K 209) System" ! (D. Rokeby) Art & Working World communication channels, but of grasping the telecommunications lab reaction to visitors) (Kenneth Rinaldo) hedonism (1994/K 199) tactility of the interface (Georgsdorf) VOIP Voice-over-IP one-way gestural control communication channels as the possibility of (AH) Mc. Luhan's thesis: technologies are (central theme in Linz) sign language jokes (1986/K 341) art-Btx Life. Science (formerly – delta T) Gestische Steuerung von navigation art as Life-Art fax and telephone art multi-sensory an art form. (1988) (1989/K 278) projections and continuations of mental gestural control of applications see also: view of fashion (Bettina Henkel) (2002/K 433) focal point (1997/F 23) Net Sauna Body Brush Multimedia-Installationen (K. Tin-Kin Hung) (2000/K 211) and physical properties of the human being information processing Future Office Projekt (AEC) see also: view of adornment (2000/K 19) BTX Minitel 1985 Minitel at (J. Hopkins, T. Mäkelä, (Y. Hay, H. Ip, (2002/P 62) vision-based Motion Picture from the graphical to the (cf. diagrammatic classifications too (DG)) (CAVE) Uzume – reacting (2001/F 27) telematic Les Immatrériaux telecommunication events (1982/K 63) T. Penttilä, Liisa A. Tang Chi-Chung) journey through the body / Criticism (R. Adrian X) (1989/K 147) (Emily Weil) touchable user interface dynamic environment everyday life in the office gesture recognition video-text systems (Charlotte Moorman, Nam June Paik) Fictitious Portraits Today it is not even a matter of having a Vähäkylä) (2002/F 047) physical violence within the Since the communication networks do (1999/K 355) (2001/K 254) (H. Ishii) (Petra Gemeinböck, R. Blach, text rain net art / net. art (Elizabeth Goldring, Edward le Poulin) (Keith Cottingham) body, but of being connected to one's telematic human body / not allow the creation of real products listeners should (user gestures) N. Kirisits (2003/K 426) The deciding technologies (Camille (Aldo Tambellini, Sarah Dickinson) (1994/P 38) registering gestures through ultrasound interface character design body. (Baudrillard) gestural system pumping violence in the sculpture. . . telematic simulations of products Internet, WWW, . . . rearrange their Meatspace are those that disappear. They Utterback) (Horst H. Baumann) GAMS: Gesture and Media System (2001/K 199) reincorporating the arteries (Jeanette Yanikian) (R. Kriesche) Electric Field Sensor emerge. . . "I'll show you mine, if you autonomous characters furniture at home: robot gestures (mutual see : Internet view (ML) David Rokeby describes interfaces (fleshly space) interweave with everyday (2000/K 389) (Po. Mo Co. Mo) (1992/K 226) sensory functions (Agnes Hegedüs) (1987/K 138) live combination ISDN show me yours". capable of expression a remote-directed dance explanation) as generators of experiences, because they ZKM SW (Gideon May) (1992/K 101) better: corporeal space digital technology is life. (1994/K 169) Unnatural bodies (Van Gogh TV) communication network hand as "disruptive factor" of radio and telephone (The Synthetic Character Group) of solitude (AH) communicating through a (2001/K 268) overlay the organic interfaces of the (1995/K 133) difficult to conjoin with (Jim Whiting) picture telephone (1989/K 72) picture telephone, Slow Scan (1989/K 287) artificial placenta (2002/P 110) (1989/K 288) set of digitalized hand gestures biological body like spectacles. our peripheral senses (1991/K 73) s. l. network Ethernet WAN, LAN artificial SMS project (2002/F 12) (V. von Borries) artificial life (Nobuya Unno) knocking gestures on (Agnes Hegedüs) Bump (2001/F 31) (1997/K 138) (M. Weiser) enhanced gestures / (1990/I-K 166) (2002/K 355) table and bench as videoconferencing molecules touchscreen installation the gestures of destruction (Siehe: Verhalten) glass (2001/K 262) (1995/K 248) (2000/K 70) physiologically oriented wooden bridge as tactile obsolete desires interface (H. Maat, R. Miltenburg) biocybernetics – a biologically (2000/250) ISDN, ATM, Frame Relay, DSL (2002/K 137) (A. Tambellini) (1980/K 111) (Anna Anders, K. Gasteiger) interface ! (association. or of misuse (J. Paradiso) interface design incubation system (Stelarc) (1992/K 233) Frequency Hopping (1994/II-K 58) controlled interactive (J. Davis, Katie Egan) (1999/K 345) (1999/J 87) electronic architecture text exchange, image exchange video conference projects (80 s) (1994/K 196) creation) telephone music (J. Domsich) (1997/K 364) (R. Brem, T. Ligthart) interface (1994/K 195) flesh factor synthetic library of gesture icons mimetic/gestural codes (Kit Galloway, Sherrie Rabinowitz) is communication (UR) What is crucial today involves gestures, their polemics for establishing (1998/K 189) telegraph (D. Warner, J. Sale, T. Anderson, artificial life – simulations SW Transworld Telefone (Stelarc) (1997/K 149) (1994/K 156) electronic transfer media (John Gerrard) (2003/K 408) life force-feedback (2002/K 420) SMSspace and their time, no longer expression. human ordinariness ; J. Johanson) Concert (1986/K 265) Ekman's Facial Action Code transfer protocols FAX, Telefax art womb tele-copier Poly-World (Larry Yaeger) (1993/K 122) answering machine Animation in the Refrigerator (Time´s up) Kids (Stattwerkstatt) (Warren Robinett) (Oron Catts, Ionat Zurr, (2003/K 12) Creators of Life (symposium) building artificial creatures (Pattie Maes) see also: communication art (Ernst Spiessberger) communication theory (2001/K 18) (1989/K 331) (Lucas Cejpek) transfroming bodily gestures backbone (1990/II-K 119) Guy Ben-Ary) genetic technology methods (1993/K 184) bandwidth design view pedagogy / art pedagogy experience-oriented into a 3 D painting in real time (AH) For the new technology arising from (2000/255) aesthetics of as artistic tools Operated by Art total data work The Three Faces of Life design of cyberspace design theory (Young Hay, Horace Ip, Animates the combining of computers and telecommunicative (2001/F 08) communication (unplugged Symposion) physical issues in (1993/K 12) (John L. Casti) (Roy Ascott) (1989/K 100) (Randal Walser) A. Tang Chi-Chung) see also: systems, Simon Nora coined the term "telematics" city links with sounds theater theory communication art Prize-Winners: Interactive Art (movement 1968: CAVE environments microscopic automatons art as field work of ecological Remake-Remodel (Domsich) connectivity, (1990/II-K 202) (2002/P 112) in 1978. (Maryanne Amacher) view of orality body theory Fred Forest, 1990: Myron Krueger, Norman T. White, Jeffrey Shaw, Jill Scott, Benjamin Britton, (Simon Penny) (inhabiting our body) transformation and (PW) all technology thinking, art at its boundaries (1989/K 248) (ML) tying the virtual world of life science body philosophy / body sociology Mario Costa) Chico Mc. Murtrie, Waltraut Cooper, Richard Greene, Peter DÁgostino, Kristi Allik & handling gestures pacemaker transendence is teletechnology (2002/F 10) Wireless (AH) communicative interaction computers to the sustantiality (1999/P 86) The Virtual WLAN Note: virtual travel journal Hiper. LAN new cell phone concepts measuring devices (D. Rokeby). . . adapting the Robert Mulder, Tamás Waliczky, Kyoko Abe, Ruth Schnell, Michael Rodemer, Stuart Bender telematics as term (Weibel) (between persons) LAN of the human physis again open wireless Body telematic networking Simulator SW/HW Ethernet was orig. (WWW projects) separated from technique of interfaces to Ubiquitous Computing (left) (Crispin Jones) dosage devices & Angelo Funicelli (1978) (Simon Nora) (de Kerckhove) (free) access to wireless movement (C. Richards) radio-based (UNI simultaneous layers of Pervasive Computing (left) (2003/K 412) body view GPS-Tracking Design Noir – 1991: Paul Sermon, Chico Mc. Murtrie & Rick Sayre, David Rokeby, David Eagle, Nola (PV) since 1962 (Telestar networks (NY, airports, MQ, Lentos, . . . ) (2003/P 32) (1994/P 134) Simulator: flight training for (AH) Ersatz journeys of remembering, Hawai) (2002/K 355) physical communication Ambient Computing (left) the secret life (2001/K 74) image traces recording movement satellite) there is a total over. Farman, Ale Guzzetti, Peter Krieg, Mark Madel, Benoit Maubrey & die Audio Gruppe, Die the "clean" world of computers wireless, mobile and battle helicopters forgetting and reconstructing. electronic objects (Masaki Fujihata) track-the-tracker Wireless-LAN projects (2003, 2004) gestures using "curlybot" exposure of "see it now" entfremdete traffic ubiquitous Christine Meierhofer, Stephen Wilson, Jim Pallas, Don Ritter, Mona Sarkis, Robert Mulder & (change of blood chemistry) (removed from material, garbage Enriching daily life with digital journey as destination (MF) "seeing with the sense of (Fiona Raby) cf. 1996 (H. Ishii) (2001/K 257) (2003/K 379) Hand (2003/P 16) Kristi Allik and corporeality) information: when utility objects /goods (M. Schilcher) (1996/P 90) (Mark Ries) balance" is what we call navigating (2003/K 273) ship & train / journey&dream Ubiquitous Computing (Annina Rüst) (1994/K 224) intelligent 1992: Monika Fleischmann & Wolfgang Strauss, Joachim Sauter & Dirk Lüsebrink, William begin to communicate. through virtual scenarios on the Virtual Frame (Maelstromsüdpol) (1988/K 104) UMTS images from earth observation Pervasive Computing Looking at Jeffrey Shaw's works, GPS trace traffic systems Virtual Balance, a weight-sensitive (Kunsthalle) Seaman, Kristi Allik & Robert Mulder, Rajinder Chand, Luc Courchesne, Robert Mc. Fadden, intelligent ambients (3) (Wonder, H. Goebbels, Müller) satellites (D. Offenhuber) Popper suspects a new art genre and using devices Ambient Computing Exodus (Bielicky) (1994/K 168) platform Balance System Rebecca Fuson, Troy Innocent, Beverly Reiser & Hans Reiser, Henry W. See, Simone (1998/K 173) role of GPS availability for describes its reception form as a Centerbeam (Gyorgy Kepes) contrary to market (1995/K 214) kitchen utensils computer diat Simons & Peter Bosch, Martin Spanjaard films in AEC elevator art projects (among others) (D. Rokeby) Real experience journey (AH) 61 m lange structure transporting balance recognition definition (2004) Digital Communities liberated from their (D. Rokeby) The explosion of interest in interactivity (1980/K 08) traveling through, Elevated Space 1993: Knowbotic Research – Christian Hübler, Alexander Tuchacek, Yvonne Wilhelm, has a fundamental integrity that air pressure, gas, water, steam, neon, (seeing with the body) takes into consideration the most current everyday existence may be part of a search for asylums for safe traversing (T. Lorenz) (2003/K 405) argon, sound, electricity and "media" virtual experience does not have. Georg Fleischmann, Michael Hoch, Detlev Schwabe, Rajele Jain, Will Bauer; satellite art piggyback art GPS developments in the area of mobile (Rania Ho) (2000/F 34/P 92) interaction: for clean, sterile, non-physical spaces, Maschinen, die keinen Körper (1980/K 98) Stephen Wilson, Jill Scott, Joseph Bates, Werner Cee & Horst Prehn, Agnes Hegedüs, Internet/data network view communication and wireless networks in which we can satisfy our natural human desire besitzen, können die Welt virtual department stores (abov Lynn Hershman, Catherine IKAM, David Rokeby, Kevin Ruston, Paul S. Sermon, Gerfried connection of spatially (1980/K 26) to delve into things outside ourselves. niemals in derselben microprocess-controlled media theory (MF) Which function and meaning do distant projects objects taken along in the transport support electronic Stocker & Horst Hörtner, Van Gogh TV, Akke Wagenaar, Peter Weibel, Mia Zabelka & GSM Weise begreifen wie wir bodies and senses have in real space household appliances (literature studies) tele-shopping (above) Space Shuttle fox hunt through portability G. Stocker & Andres Bosshard GPRS (1996/K 198) Digital media and satellite ear Can you see me now? in comparison with virtual space? newsgroups (1980/K 07) turn to media discourse (Fabrikanten) 1994: Christa Sommerer & Laurent Mignonneau, Loren Carpenter, Transit, Max Almy & communication bridge (Blast Theory, Mixed (mixed reality) role of GSM availability mobilized through mobility media studies How intelligent does your bed Teri Yarbrow, Edward Elliott, Friedrich Förster, Michael Girard & Susan Amkraut, Richard (D. Rokeby) Only through (1989/K 277) Reality Lab) GPS/PDA for art and other projects mobile phones satellite communication (2000/P 09) "Telepistemological" implications: intelligent media anthropology have to be, before you are desensitization was it possible the intelligent Kriesche, Wolfgang Krüger, Brenda Laurel & Rachel Strickland, George Legrady, Patti Maes, (2003/F 38/P 88) symposium: (Neeraj Jhanji) (1980/K 29) Presence and Distance (OG) afraid to go to sleep at night? ambients (2) communication theory for me to activate the spatial postman (GPS-Tracking) The Orbital Age Christian Möller, C. M. & Rüdiger Kramm, Catherine Richards (2001/F 36) satellite technology in ORF and Bluetooth portable systems (Rich Gold) ! (1994/K 187) illusion that the VR system (M. Bielicky) (1994/II-K 82) information theory (1986/K 219) 1995: Tim Berners-Lee, Michael Saup, William Seaman, Michael Tolson, Maurice Benayoun, 3 SAT context keyboards strapped to the hands Who will program the default Which "images" are capable of physically conveys. . . net discourse / cyber-discourse Peter dÁgostino, Franz Fischnaller, Peter Grucza, Lynn Hershman, Morgens Jacobsen, (Michel Waisvisz) (1987/K 144) intelligent products settings for the intelligent mobile art in field computer, CE computer, including the viewer (as with VR technology)? Returning to "real" space, the The Satellite Art Project (1986/KII-291) Artsat 1991 (Graz) simulation discourse PDA M. Kosugi & Y. Ando, Webster Lewin, Lozano-Hemmer & Will Bauer, Jon Mc. Cormack, 2000 - handheld, Walkphone, house? Mom? Dad? The kids? daily life (1994/K 167) inner ear did not immediately signals run through a 90. 000 km (R. Kriesche) the human body as nomadology discourse (1994/K 190) (Sommerer) Christian Möller, Kirk A. Woolford (AH) the transition from the real material return to work: a wave of loop (Text: Gene Youngblood) 2004 Personal Digital Assistants musical instrument (1987/K 143) (2003/K 261) environment to the virtual interactive environment sea sickness. . 1996: Masaki Fujihata, Louis-Philippe Demers & Bill Vorn, Scott Sona Snibbe, Ken Feingold, bridges to everyday Meteosat (weather data control contact microphone Elisabeth Goldring, Kazuhiko Hachiya, Harwood, Hiroo Iwata, knowbotic research, Ronen media bus "A Little Night Music" life (1979/K 03) (Harry de Wit) WAP mobile computing (Ponton) (1989/K 117) (ML) Theater as one of the last Mintz & Jason Ditmars & Brian Duggan, Knut Mork & Kate Pendry & Stale Stenslie, (1988) (R. Kriesche) (ML) this mixture of sound-body performances Communication Grill Chang-Tei" resources and bastions of (1989/K 139) Nobuya Suzuki, Erwin Redl, Michel Redolfi & Luc Martinez, Silver technical mediality as freely movable display for 3 D viewing basic electronic Aorta (Jeanette Yanikian) (1987/K 138) (1989/J 143) WAP WML (2003/K 204) (K. Sueda, Koji Ishii) performance and corporeal physical reality 1997: Toshio Iwai & Ryuichi Sakamoto, Dirk Lüsebrink & Joachim Sauter, Paul Garrin & "golden calf" (Jeffrey Shaw) (1994/II-K 84) supply Konstrument (Harry de Wit) (1989/J 143) I-mode Performance defines what is special about the connection of David Rokeby, Hachiya Kazuhiko, Toshihiro Anzai & Tamio Kihara, knowbotic research, TV-Diner Touch Monkeys (Michel Waisvisz) Japan developed a technological Net Sauna (2001/K 87) theater and media Monitor Cafeteria Arthur Elsenaar & „Huge Harry“ & Remko Scha, Mark Madel, Jon Berge, Stefan Zeyen, (1987/K 144) (1989/J 59) standard with i-mode "services"; (Tapio Mäkelä) (Kanae Ushiro, Electronic Cafe transferred heart rhythms Automatische Bar Bill Barminski & Webster Lewin & Jerry Hesketh, Ludwig John & Bertram Quosdorf, Jutta Europe with WAP (2001/K 201) (1997/K 391) (D. Rokeby) Consciousness lagging behind the body: Takashi Morimoto) (1986/KII-299) (1989/K 302) (W. Temmel) (1991/K 227) Kirchgeorg, Marita Liulia, Die Veteranen programming that reacts to the smallest movements under I-mode cell phone (2001/K 200) (1994/K 160) 1/10 sec. . . In fact, the system seemed to react at the same 1998: Maurice Benayoun & Jean-Baptiste Barriere, Peter Broadwell & Rob Myers, Christian moment as I decided to move. . Möller, Jim Campell, Christoph Ebener & Uli Winters, Rafael Lozano-Hemmer & Will Bauer, At this point we experience the system and its reactions in queer theory / gender studies Akitsugu Maebayashi, Joseph Michael, Iain Mott & Marc Raszewski & Jim Sosnin, Lisa Prah, the same way as we experience our body. The interactive U 19 Prize-Winners: sexuality discourse / AIDS debate David Small & Tom White, Scot Sona Snibbe, Rachel Strickland, Tamás Walicky, Stephen system is integrated in our proprioceptive system. 1998: Michael Mossburger & Florian Nehonsky & Valerian Wurzer, Leonhard Huber, Literature: 3 DELUXE / Projects – Interior and graphic design / Ed. Robert Klanten COOL – Kap. Die Kälte der Schaltkreise Ulf Poschardt analog und digital / Otl Aicher Atmosphäre / Gernot Böhme Die Welt der Atmosphären / G. Dirmoser Dieter Mersch Transmediale. 02 – Aktuelle Positionen der Medienkunst / Andreas Broeckmann, Susanne Jaschko 01 atmospheres view see also: view of the field underwater real-time musical instrument (1996/P 154) (M. Redolfi, Martinez) (1998/K 91) (Erik Davis) What is so potentially immersive about the auditive? . . . The term "atmosphere" describes this aspect very well: the sound generates an atmosphere, almost like incense. Sounds and smells are carriers of vectors of mood and affect, which change the qualitative organization of a space. . (cf. Flow & Radio) ambient. Room: using light, shadows, background noises, air currents (1997/K 203) Ambient Media: the use of spatial situations like noises, light, air currents and water movements as background interfaces (Ishii) (1997/K 202) art as atmosphere view of the framework art as release art as concept art as software concept operating system view 1990 circumstances view art as service art as open source art as techno-science 2001 02 conceptual view of absense view of eros 1991/93 view of hybridity (I) 02 view of limitlessness art art ars technologica chaos view as as method quality claim complexity innovation ars: intelligent machines view of virtuality / immersion 1991 art as procedure art as tool experience art as public cultural production machine view - robots view of multifunctionality 03 interdisciplinarity view synaesthetic view art as education art as practice field art as ideal art art 2002 interface ars 1980 s 1990 s view of PC/computer/video technology 1997 influential thinkers as as media criticism media analysis media art communication transmission media event communication framework cybergeneration U 19 freestyle computing 03 service view / project view art as energy art as impertinence art as creation 1970 er 1979 art as everyday life interface view interfaces view net vision procedure view 2000 05 tool view / instruments 1996 functional view ars: computerized world of work view of intention 06 education view of educators (in teaching) view of ideas 04 view of innovation view of instruction view of art criticism / valuation body extensions methods view subversion view / media-critical view 07 view of media 1979 view of electronic media 08 body view ars: data dandy 05 view of artistic production view of the working world view of sexuality view of clothing view of medicine 09 everyday view 1980 1997 view of designing gestures 1982 06 gestural view habitual view 1999 1994 view of transportation networks (I) 07 view of communication 1994 view of telecommunications transport view / view of travelling view of portability Stephan Mitterndorfer, Martin Ankerl, Philipp Gühring & Raimund Schumacher & Andreas Stürmer & Thomas Stummer, Gottfried Haider, Verena Holzknecht, HS Mittersill, Helmut Klinger, Alexander Kvasnicka, Doris Mätzler & Jürgen Bereuter, Kathrin Meralla & Paul Swoboda, Thomas Oberhofer, Paul Pak, Thomas Pintaric & Christoph Sprenger & Alexander Koschier, Peter Plessas, Markus Strahlhofer, VS Veriensgasse 1999: Raimund Schumacher & Jürgen Oman, Alexander Fischl & Gregor Koschicek, Phil E. Haindl, Franz Berger, Sebastian Endt, Simon Gassner, Alexander Kvasnicka, Stefanie Mitter, Takuya Nimmerrichter, Simon Oberhammer, Benedikt Schalk, Markus Strahlhofer, Patrick Toifl, stefan Trischler, Armin Weihbold 2000: Verena Riedl & Michaela Hermann, Gerhard Schwoiger, Erich Hanschitz, Marlene Maier, Lisa Hofstadler, Markus Zwickl, Lisa Ratzenböck, Sebastian Endt, Kevin Ku, Mario Meir-Huber, David Feiler, Gottfreid Haider, Lukas Fichtinger & Thomas Köckerbauer, Alexander Fischl, Lukas Pilat 2001: Martin Leonhartsberger, Johannes Schiehsl & Peter Strobl & Conrad Tambour, Markus Triska, Andrea Maria Gintner & Michaela Maria Plöchl, Jürgen Hoog, Marvin Jagadits & Michael Payer, Nicole Karner & Tanja Payerl, Marian Kogler, Thomas Lettner, Fabian Schlager, Martin Spazierer & Daniel Spreitzer, Philipp Strahl, Sonja Rosa Vrisk, René Weirather, Thomas Winkler 2002: Karola Hummer, Philipp Luftensteiner, Ulrich Reiterer & Jona Hoier & Markus Murschitz & Milo Tesselaar, Semen Aklan & Gülcan Ates & N. Brahimi & Flamur Kryezi & Franz Fiser & Asif M. Naseri & Jean Paul Nduwayezu & Ferda Özel & Ruwani Rosa & Reza Soltani & Sezer Üzum, BG XIX, Stephan Hamberger, Dominik Jais, Marian Kogler, Martin Kucera, Raphael Murr, Lucas Reeh, Iris & Silvia Schweinöster, René Weirather 2003: G. Sochurek, M. Leonhartsberger & S. Astrid Fugger, A. Ronacher & N. Mikschofsky, D. Dorn, G. Gruber, M. Fallmann, D. Hackl, T. Hainscho, HS Steinerkirchen, Alexandra Vogelreiter & Katharina Krummel & Anna Obermeier, HBLA for Artistic Design, F. Wengler & Christof Haidinger, Borg 3, T. Schererbauer & M. König & S. Schreiner Wilson 1999: Lynn Hershman, Luc Courchesne, Perry Hoberman, Joachim Blank & Karl Heinz Jeron, Christoph Ebener & Frank Fietzek & Uli Winters, Kouichirou Eto, F. A. B. R. I. CATORS, Beate Garmer, Bill Keays & Ron Mac. Neil, Russet Lederman, Eric Paulos, Simon Penny, Daniel Rozin, Stefan Schemat & Michael Joyce & Hiroki Maekawa & Dominica Freyer & Burki Carstens & Mike Felsmann & Isabella Bordoni & Roberto Paci Dalò, Christa Sommerer & Laurent Mignonneau 2000: Raffael Lozano-Hemmer, Institute for Applied Autonomy, Golan Levin, Julien Alma & Laurent Hart, Michael Bielicky & Bernd Linterman, Jim Campbell, Rania Ho, Istvan Kantor, Orit Kruglanski, Jason E. Lewis & Alex Weyers, Douglas Edric Stanley, Naoko Tosa, Tomoko Ueyama, Andrea Zapp & Paul Sermon, Hiroaki Kitano 2001: association. creation, Carsten Nicolai & Marko Peljhan, Haruki Nishijima, Paul De. Marinis, Magali Desbazeille & Siegfried Canto, Gerhard Eckel, Frank Fietzek, Hiroo Iwata, Kenneth Rinaldo, Thomas Broom, Keiko Takahashi & Shinji Sasada & Koichi Nishi, Edwin Van der Heide & Marnix de Nijs, Adrian Ward, Herwig Weiser & Albert Bleckmann 2002: David Rokeby, Rafael Lozano-Hemmer, Ranjit Makkuni, Autorenwerkstatt MEET – Bodo Lensh & Doris Villa & Peter Serocka & Petr Zubek & Gudrun Teich & u. a. , Luc Courchesne, Crispin Jones, Ryota Kuwabuko, Golan Lewin & Scott Gibbons & Greg Shakar & Yasmin Sohrawardy & Joris Gruber & Erich Semlak & Gunther Schmidl & Jörg Lehner, Tetsuya Mizuguchi, Volker Morawe & Tilman Reiff, Michael Saup, Yasuhiro Suzuki, Atau Tanaka & Kasper Toeplitz, the Synthetic Character Group, Young Hay & Horace Ip & Alex Tang Chi-Chung 2003: Mixed Reality Lab – Matt Adams & Ju Row Farr & Nick Tandavanitj & u. a. , Margarete Jahrmann & Max Moswitzer, Maywa Denki & Ross Cooper & Jussi Ängeslevä, d. ECOi, Sibylle Hauert & Daniel Reichmuth & Volker Böhm, Haruo Ishii, George Legrady, Justin Manor, Agnes Meyer-Brandis, Iori Nakai, Henri Newton-Dunn & Hiroaki Nakano & James Gibson & Ryota Kuwakubo, Marcel. li Antúnez Roca, Marie Sester, Scott Snibbe body theory / body philosophy body sociology dance theory / new body theories phenomenology of perception repulsion theory bioenergetic therapy Literature: Work & Culture – Büro. Inszenierung von Arbeit / Herbert Lachmayer, Eleonora Louis (Ed. ) Laboratorium / Ed. By. Hans Ulrich Obrist & Barbara Vanderlinden Interface – Design neu begreifen / Gui Bonsiepe Interfaces – Medien- und kommunikationstheoretische Elemente einer Interfacetheorie Wulf R. Halbach The art of human-computer interface design / Ed. by Brenda Laurel Code_X – Multimediales Design / Mischa Schaub Literature: Der Daten. Dandy – Über Medien, New Age, Technokultur / Agentur BILWET Design goes virtual – Entwürfe zur Ästhetik in der Informationsgesellschaft / Peter Zec Formdiskurs 2, I/1997 / Design und Neue Medien Maßlos informiert – Die Enteignung des Denkens / Karl Steinbuch Literature: Information und Kommunikation in Geschichte und Gegenwart / Margarete Rehm Kursbuch Neue Medien – Trends in Wirtschaft Politik, Wissenschaft und Kultur / S. Bollmann Der Flusser-Reader zu Kommunikation, Medien und Design Kommunikologie / Vilém Flusser Kunst als Sendung – Von der Telegrafie zum Internet / Dieter Daniels Lob der Oberflächlichkeit – Für eine Phänomenologie der Medien / Vilém Flusser Die magischen Kanäle – Understanding Media / Marshall Mc. Luhan Das Medium ist die Botschaft / Marshall Mc. Luhan Virtual Frame – Kunsthalle Wien Literature (2): Medien. Kunst. Passagen / beginning Heft 1/92 Grundzüge der Medien- und Kommunikationsgeschichte / Jürgen Wilke Beiträge zu Kunst und Medientheorie / Ed. Hans Belting, Ulrich Schuulze Alles jetzt! – Die Mediatisierung / Gerhard Johann Lischka Vom Verschwinden der Ferne Telekommunikation und Kunst / Edith Decker, Peter Weibel Art Telecommunication / Heidi Grundmann Kommunikation im 21. Jhd. – Allzeit zuhanden – Gemeinschaft u. Erkenntnis im Mobilzeitalter / Ed. Kristóf Nyiri Windows and Mirrors – interaction design, digital art and the myth of transparency view of agriculture 08 body view / gustative view see also: economic view of cleanliness Literature: Der digitale Körper – digital flesh / Arthur Kroker Die Eroberung des Körpers – Vom Übermenschen zum überzeitlichen Menschen / Paul Virilio The Connected Body? / Ed. By Ric Allsopp & Scott de. Lahunta future_bodies – zur visualisierung von körpern in science und fiction / Hg. Marie-Luise Angerer Kathrin Peters, Zoé Sofoulis Puppen Körper Automaten – Phantasmen der Moderne / Pia Müller-Tamm, Katharina Sykora Die Zukunft des Körpers I / Kunstforum Bd. 132 01. 1996 ! / Florian Rötzer Die Zukunft des Körpers II / Kunstforum Bd. 133 04. 1996 ! / Florian Rötzer view of commodity world supply view sociology cultural studies new subjectivism privatism debate life philosophy 09 everyday view Literature: vergangene zukunft – design zwischen utopie und wissenschaft / Ed. Carl Aigner, Uli Marchsteiner Welche Dinge braucht der Mensch / Ed. Dagmar Steffen