Now showing items 62-81 of 118

    • Making Studies in New Media Critical 

      Lenoir, Tim
      Science Studies faces new challenges in making public the societal and ethical implications of contemporary technoscience. Not only must we contend with its multidisciplinary character, and its close linkage to entrepreneurial ...
    • Media Art in Pakistan - Not just another "in your face" advertisement campaign! 

      Malik, Atteqa (2005-10)
      In the last few years Pakistani city dwellers have witnessed a series of audio visual explosions. Along with towering billboards obstructing the city skyline and distracting mobile phones that ring in public spaces, a ...
    • 'Media Art Net': Database and Context 

      Frieling, Rudolf
      "Media Art Net": Database and Context "Media Art Net" aims at mediating and contextualizing media art online, a project edited by Rudolf Frieling and Dieter Daniels and commissioned by ZKM (Center for Art and Media), ...
    • Media Art Sciences & Feminist Theories: New Alliances? 

      Paul, Barbara (2005-10)
      The old and odd discussion concerning High Art versus Low Culture might be still alive in mainstream art history as well as in an advanced media art history and/or media art sciences. I do not want to force this issue ...
    • Media Art: Hybridization and Autonomy 

      Couchot, Edmond (2005-10)
      In order to replace Media Art in its intercultural and historical context, the author attempts to define what characterizes it, beyond the sometimes great differences of its expressions. And what characterizes it is ...
    • Media Arts and Media Archaeology - Collision or Convergence 

      Huhtamo, Erkki
      The defining characteristic of the media arts is often considered to be their occupation with the most recent technologies. Purporting to uncover their unused potential, media artists push their boundaries, scrutinizing ...
    • MediaArtHistories: Times & Landscapes (Introduction to the Session) 

      Grau, Oliver
      After photography, film, video, and the little known media art history of the 1960s-80s, today media artists are active in a wide range of digital areas (including interactive, genetic, telematic and nanoart). Media Art ...
    • MediaArtHistories: Times & Landscapes 1 (Q&A session) 

      Carpo, Mario; Grau, Oliver; Nadarajan, Gunalan
      The panel consisted of the following presentations: • ‘Islamic Automation: A reading of al-Jazari’s The Book of Knowledge of Ingenious Mechanical Devices (1206)’ by Gunalan Nadarajan; • ‘REMEMBER THE PHANTASMAGORIA! ...
    • MediaArtHistories: Times and Landscapes 2 (Introduction to the Session) 

      Shanken, Edward
      Although there has been important scholarship on intersections between art and technology, there is no comprehensive technological history of art (as there are feminist and Marxist histories of art, for example.) Canonical ...
    • MediaArtHistories: Times and Landscapes 2 (Q&A session) 

      Fernandez, Maria; Lacerte, Sylvie; Collins Goodyear, Anne; Seck Langill, Caroline; Shanken, Edward; Rosen, Margit; Fritz, Darko; Grant, Taylor; Gere, Charly
      The panel consisted of the following presentations: • ‘Towards a Comprehensive Technological History of Art’ by Edward Shanken; • ‘Early British Computer Art: the Findings of the CACHe Project’ by Charly Gere; • ‘How ...
    • Methodologies (Introduction to the Session) 

      Hansen, Mark; Huhtamo, Erkki
      This session tries to give a critical overview of which methods art history has been using during the past to approach media art. Papers regarding media archaeological, anthropological, narrative and observer oriented ...
    • Methodologies (Q&A session) 

      Hansen, Mark; Huhtamo, Erkki; Broeckmann, Andreas
      The panel consisted of the following presentations: • ‘Between Media and Art, or Media Art with and against Art History’ by Mark Hansen; • ‘Media Arts and Media Archaeology – Collision or Convergence’ by Erkki Huhtamo; ...
    • Music: The First Digital Art 

      Kahn, Douglas
      The early period of computers arts, from the mainframes of the 1950s through the first microcomputers during the late-1970s, has been understood as a period of attempts and possibilities rather than achievements. The ...
    • New Media in an Adhocracy 

      Century, Michael (2005-10)
      In previous studies, I sketched a three-part typology of modern studio-laboratories as institutions committed to research and creation in new media. In this paper I extend and problematize the three-part categorization by ...
    • On Cross Cultural Initiatives and Collaborative Practice 

      Czegledy, Nina (2005-10)
      The presentation -based on two decades of personal experience-, is focused on cross-cultural, interdisciplinary collaborations. Current case studies include the Aurora Public Feast at the Finnish Heureka Science Museum, ...
    • On the History of Interaction between Art and Technology -Toward the Cultural Evolution of Human-being 

      Sakane, Itsuo
      Reflection on the historical contribution of several key institutions in the world, which could have changed the art movement since 60s till now drastically, and about the insightful role of the key leaders who had deeply ...
    • Once upon a time there was a database: Database and narrative from a cognitive point of view 

      Veel, Kristin (2005-10)
      If narration makes up a core element in how we perceive and understand the world, such as has been argued from various corners of the academic field within the last couple of decades, how should we then understand the ...
    • Open Source Culture 

      Tribe, Mark
      Artists have always influenced and imitated one another, but in the 20th century various forms of appropriation, from collage to sampling, emerged as an alternative to originary creativity. Instead of making things entirely ...
    • Origins of Virtualism: An Interview with Frank POPPER 

      Nechvatal, Joseph; Popper, Frank (2004)
    • Oscillations... Occasions of Excess and Interrogation 

      Sharma, Aparna
      This paper discusses the complexity surrounding inter-cultural exchange, from a post-colonial, critical Indian perspective. For this, I consider my film practice, informed by discourses and thoughts I have engaged within ...