http://95.216.75.113:8080/xmlui/handle/123456789/7 Contains paper presentations, videos, slides, abstracts and keynotes from all the presentations, panels and posters. 2026-04-06T10:51:02Z http://95.216.75.113:8080/xmlui/handle/123456789/209 The Ephemerality of Digital Monuments: Swedish Public Art at the Turn of the Millennium, the case of Tidsdokumentet Orrghen, Anna http://95.216.75.113:8080/xmlui/handle/123456789/208 “Westerners (and even many Japanese) hardly know what to make of actor prints”: An empirical study on the aesthetic experience of Japanese and Austrian students Brinkmann, Hanna http://95.216.75.113:8080/xmlui/handle/123456789/207 Establishing Established: Reversed Remediation in Broersen and Lukács’ ‘Establishing Eden’ Korsten, Saskia Isabella Maria Artists Persijn Broersen and Margit Lukács, reveal the way the New Zealand landscape is appropriated by Hollywood movies such as ‘The Lord of the Rings’ and ‘The Hobbit.’ In Establishing Eden (2016), the viewer becomes trapped in a perpetual establishing shot through a collage of two-dimensional photographic clips. Eventually, it displays the naked structure of how Establishing Eden is constructed from flat database images taken from the ‘library’ of a digital video editing program. Whilst some of the scenery images maintain a coherent illusion of an unspoiled landscape by using the structure of a tracking shot, the flipping image clips reveal a two-dimensional diorama. Therefore, looking at Establishing Eden with this oscillation in mind, the film seems to produce what Ruskin might mean with his “third way” of treating a surface. The depth of its conventional structure shines through the exposed flatness of the image. In this paper, I relate Broersen and Lukács’ work to my notion of reversed remediation in which hypermediacy generates an oscillation space between what Bolter and Grusin call remediation and reversed remediation. http://95.216.75.113:8080/xmlui/handle/123456789/181 Monument as Archive: artistic strategies from anti- to meta-memorial Kluszczynski, Ryszard W. In Kluszczynski's talk, he will address the issue of art that challenges colonization of social consciousness and collective memory. He will focus on selected works of Krzysztof Wodiczko, Sanja Iveković, and Masaki Fujihata to discuss different fields of such activity: the public space control and marginalization of the Stranger; the historical policy and its social consequences; the cyberspace and grass-root social memorization. Kluszczynski will discuss deconstruction of the monument as their artistic strategies (anti-monument, living memorial, meta-monument). Biography: Kluszczynski (PhD, media art scholar, writer and curator) investigates issues of new media arts and cyberculture, contemporary art theory, avant-garde, and recent art practices with the focus on interactions between art, science and technology. His recent book publications: Human Traits. Patrick Tresset and the Art of Creative Machines (2016); Guy Ben-Ary: Nervoplastica. Bio-robotic Art and its Cultural Contexts (2015); Ken Feingold: Figures of Speech (2014); Meat, Metal & Code / Contestable Chimeras: Stelarc (2014); Robotic Art and Culture. Bill Vorn and His Hysterical Machines (2014); Wonderful Life: Laurent Mignonneau + Christa Sommerer (2012); Crude Life. The Tissue Culture & Art Project: Oron Catts + Ionat Zurr (2012); Towards the Third Culture. The Co-Existence of Art, Science and Technology (2011); Interactive Art. From Artwork-Instrument to Interactive Spectacle, 2010. In 1990-2001 Kluszczyński was a Chief Curator of Film, Video and Multimedia Arts in the Centre for Contemporary Art – Ujazdowski Castle in Warsaw. In 2010 co-curated with Tsutomu Mizusawa Beyond Mediations, the main exhibition of The Second International Biennale of Contemporary Art in Poznan, Poland. Since 2011 he has held the position of the Artistic Director of Art + Science Meeting Project in the Centre for Contemporary Art in Gdansk. His most recent exhibition there has been Masaki Fujihata’s Augmenting the World (2017).