25 years of ars electronica

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 McKenna & 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 McCormack, 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 McDonald, 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 TransPublic Linz
Version 1.1 E
Comments/notes and requests for the file:
gerhard.dirmoser@energieag.at / G. Dirmoser Waltherstr. 2 – 4020 Linz
The original PowerPoint file is available for study purposes (revisions).
Placement on the Internet, print-outs and distribution in paper form (4x A0 oder A1) are desired.
Thanks to: H.W. Franke, Boris Nieslony, Astrit Schmidt-Burkhardt, TransPublic, 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
The occasion: 25 years of working as a systems analyst in Linz &
25 years of attending "ars electronica" ( ... a journey through time) & 25 years of the Stadtwerkstatt & 25 years of Atelier Wels
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 McKenzie
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
VideoKunst / 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/P15) /
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
(1982) (Nam June Paik,
Charlotte Moorman)
(1989/J115)
see also: view of handicaps
see also: transport view
see also: view of performativity
25 acoustic "view"
view of music
choreography view
Moviephon – opto-acoustic
transformer (influencing sound)
(K&K Experimentalstudio) (1980/K124)
installation for ballet.
interaction with light
link between code and
(C. Möller) (1995/P132)
choreographical processes
The virtual cage (1994/P131)
(2003/K303) (Scott deLahunta)
Dance of the Machines - 2003
Open-Source choreography?
(Qrio: walking robots)
(2003/K311) (Scott deLahunta)
speed view
(1997/K305)
computer-generated
dancers
(M. Helene Tramus)
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
stereophony (PV)
auditive view
electronic aids
microphones and loudspeakers
(1979/K09)
MP3, RealAudio
digital musics (PRIX)
problems of definition and
stagnation
various music projects 1986 (Richard Teitelbaum)
(2000/P58) Set of
techno-instruments
(P. Mühlfriedel, G.
Markeffsky, L. Schaumann)
(SLP)
(1990/K-I-95)
musical Bruckner
experiment (1979/K25)
symphonic Bruckner
sound environment
(1979/K25)
environment concert
(1987/K148) Schiffshörner
(Alvin Curran)
music in real time
audio performance
electronic dance projects
dance theater "Tobias Zapfel"
electronic sound carpet
(1979/K35)
(Thomas Pernes, Tanztheater Wien)
(1980/K11)
Black and White
dance and electronic-architectonic
On the method: The structure of the verb study serves as the starting arrangement.
(1984/K265)
Gameboyzz Orchestra
Platzkonzert
(2002/K440)
set-up (photo-cells) to control
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/K420)
(1987/K166)
(66b/cell)
synthesizer sounds (Chris Janney)
computer graphics and
(this edition of the ars electronica can be read as a kind of preliminary balance).
Clouds of Sound
(1979/K02)
(Stadtwerkstatt)
film theory
see also:
(1980/K103)
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
view of the
musical-cybernetic
clip (Han Hoogerbrugge) (Win Grabill)
(1986/K299)
Online-Instrument
(in a mirror scenary)
(AH) interactive
partnership of dance and
music performances
(on the symposium lectures) and relevant literature.
(1999/P116)
process theories
image
environment (1979/K43)
(2003/P64)
(1999/P42) Lundgren
(1979) (1989/J105)
(1982/K86)
technology as a dancer
(1980/K07)
dance & drawing dance performances
Cf. methods of "grounded theory".
(P. Vogel)
MidiDancer
(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.
Symposium: Electronics in Music /
distorters & faders
(1995/K386)
(Dawn Stoppiello)
it opens up new possibilities of
computer-acoustic dance theater
The time of the
(1958/T) Ampex presents the first color video recorder
(Tommy Lehner)
Synthesizer – Music Computer –
Telechoreographie
perception for the dancer)
(Tanztheater 46) (1982/K207)
Ancien Régime
(1963/T)
fully
transistorized
recorder
Digital Technology (1980/K65)
notes: video works have been very selectively
networked virtual
(AH) dynamic instead
Members of the staff of ars electonica, AEC or ORF had no influence on the selection and arrangement.
(1997/K154) (Stelarc)
(1) electronic
of
the
(1965/T)
Portapak
–
first
affordable
B/W
camera
(Douglas Kahn)
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
(1999/J1987)
to the body (1962)
a subject of art-historical analyses
(Josephine Anstey,
electronic
Projection adapted to the body
performance
Questions about completeness:
is
over.
Astonish
us
or
(1980/T) Camcorder is presented
(AH) dance and controlled D. Pape, D. Neveu)
(1992/K92)
electronic
wind instruments
(K. Obermaier, C. Haring))(2000/K299)
(Istvan Kantor)
Due to the limitations of the available surface, it is not possible to provide a complete detailed presentation
disappear ! (Jury ! 2000/P196)
(1984/T) first videodisc in the art field
real-time videos
small economical
(Gary Hill) Computer controlled laserdisc
Streaming Media
(Lee Harrison III) (1992/II-K93)
(2001/K301)
orchestra
(1980/K43)
VIVISECTOR (2002/K430)
(2000/K290/P94)
(Rupert
of all the participating artists, scientists and developers (about 3100 persons are listed). All the participants
video systems (1980/K94)
(1988, 1992, 1994, 1996, 1998)
computer organ
(1979/K15)
MPEG, RealAudio, RealVideo
metal
junk
video lab
stage set projection (D. Bruckmayr)
Huber)
video-film processor
(1989/T) Sony Hi8
game
electronics
self-made
instruments
were compared with the AEC/Ars database.
computer
dancer
(1979/K49)
analog
synthesizer
electronic
(1986/K335)
for dance performance (Marina Koraiman) Kepler's Dream
(1999/K345)
(1989/K180)
(L. Rehberg)
link between video art and
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-K37)
see also: history of
control
(2001/K116)
First electronic orgel
John Sanborn
music theater
(Georges K. Shortess)
(1979/K49)
computer film (1979/K10)
(2003/P96)
(1993/K415)
The study is intended to provide a wide-ranging survey, but it cannot substitute for reading the catalogues.
(1996/K410)
(E.
Redl)
"Audio/Video Instruments" (1992/II-K89)
computer as
(1929) (Laurens Hammond) digital synthesizer
(1986/K121)
(Giorgio Battistelli)
puppet dance
interactive choreography system for a
(1984/K48)
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/K150)
(Giorgio Battistelli)
(1990/K-I-43)
electronic purgatory
live synthesizer fortresses
(rockefeller Foundation 1976)
(1986/K180)
(1984/K55)
Electro Clips (Installation for
Image Processing and
(Michael Saup)
(Shelley Lake) (1980/K106)
in catalogues.
(1982/K11)
music theater (Kristi Allik, Robert Mulder)
(1980/K11)
(1992/II-K63) (Johanna Branson Gill)
(Kazuo
Uehara)
live electronics
sound processors
ballet) (C. Möller, Stephen
Video Synthesis (1975)
(1995/P100)
ICARUS laser opera for
(1992/K205)
The Kitchen (1992/II-K83)
Video Art
ORF Videonale 86
(1971/T) start of the electronic kitchen NY
(1984/K157)
Galloway) (1994/II-K122)
(Stephen Beck) (1992/II-K161)
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/K392-1)
(1974/T)
Projekt
74
(Jean-Baptiste Barrière)
manipulating video
(1979/K35)
(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/K94)
Proposal
from
Bognermayr
in
1979
for
an
MIDI
shows American video
in real time
The Video Synthesizer
electronic sound
VideoOnDemand
Dark
symphony (2003)
Mini-Moog
(1970)
(1982/K50)
interesting
relationship
of
tension
between
performativity discourse
productions extensively
pdf files in the AEC database.
electronics symposium, an "Electronic
(Justin Manor)
(Tom DeWitt) (1992/II-K165)
storing original
The more technology
deformation device
(1977/T) documenta 6 focuses
(2001/K295)
(Tim Didymus)
(Robert A. Moog)
theater as live performance and mediatized
for the first time in
performance studies
(1998/K250)
Music
&
Video
Art
Symposium"
(1989/J12)
(2003/F42/P110)
sounds
the more boring
(1979/K43)
on film, video !
(1980/K69/K70)
(Paul Virilio) (2002/K238)
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/K34)
the result
opening with a video satellite transmission
synthesizer
velocity of terror
to the computer game.
(1997/K310)
(J.
Harrison)
(Experimental Television Center)
sound like? (R. Spour, M. Veitl)
from
scratch)
Infermental (1987/K174)
language game theory/praxeology
(C. Steiger) (1994/K32)
(1997/P44)
(1979/K09/K39)
Kepler's last dream
Spectro-Morphology
(Sherry Miller Hocking, Richard Brewster)
(1999/K337)
magazine on video cassettes
(1996/P60)
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/K383)
(1989/T) Cologne: exhibition "Video-Skulptur" ...)
umbrella as
(Frances-Marie Uitti)
(1992/II-K169)
the dream of flying
(jomasounds) (1999/K380) (2000/K315)
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/K07)
interactive video installation
vocoder, digital reverberation,
(1998/K273)
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/K397) (Gideon May)
equalizer,
harmonizer,
delaymulti-monitor multi-channel installaiton
multi-track
electronic music (1992/K240)
(Rupert Huber)
(J. Impett)
performed before an audience
(Robert Arn) (1992/II-K183)
(1988/K190)
see also: dance view
(2001/F04)
(2001/F17)
pragmatic-hermeneutical turn
Traffic Cams, earth observation satellites,
staircase as piano
Synchronopse (in: look at me – Video – 25 Jahre Videoästhetik) / Petra Wenzel
devices, ... (1979/K26/K39)
(1986/KII-261)
polyphony
J. Chowning, J. Fritsch, B. Mason,
(1994/P142)
(Ron Kuivila,
theater view
ATM cameras, ...
Space-Time Dynamics in
role theory (T. Sarbin)
keys
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/K58)
media theory
electronic
film
Digitaler Schein – Ästhetik der elektronischen Medien / Ed. Florian Rötzer
Note: this study can also be read
videoinfography (PV)
(1984/K40)
D. Youngerman
used on stage
Sound-Engine
(1980/K11)
data sounds (knowbotic research)
jazz und electronic
long-stringed installation
(1980/K10)
(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/F35)
(1982/K251)
(1987/K110)
(1992/II-K191)
performativity
as
mediality
(2003/K228)
(1997/K360)
D. Wiesner)
(Ron
Hays)
(1982/K199)
X-topia
(E.
Sharp,
videos into a VR environment (2000/K290)
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 McKenzie (JM)
sound
dome
(P. Panhuysen, J. Goedhart)
(Bruce Odland)
(1993/K273)
(Sybille Krämer)
Soldier String Quartet)
He is the creator of the first
(Jaron Lanier)
Jon
McKenzie:
perform
or
else
–
(1979/K37)
(Tod
Machover
/
MIT
Media
Lab)
(1996/K422)
stereoscopic
film
media
studies
(Leo Küpper)
Kunst als Medientheorie / Hans Ulrich Reck (UR)
game animation
(Sam Auinger)
(ML) In media performance the liveness
(1994/II-K116)
completely multimedia concerts,
"Horizonscan"
interactive
sound
sculptures
from
discipline
to
performance
interactive
videodisc
art
(1996/K300)
space-filling
(T.
Shannon,
J.
Hassell)
(1984/K16)
media anthropology
cell phone concert
Various articles by: Monika Fleischmann (MF) / Peter Weibel (PW) / Dieter Mersch (DM) /
(2001/F16)
(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/K261)
(1989/K240) (David Tafler)
Glockenspiel !
(1988/K111)
communication theory
(2001/K57) (2002/P98)
computer sonology
(1995/K206)
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/K246)
(Peter
D´Agostino)
Sound from the same hands
(Haruo Ishii)
interactive
"performative"
WebCinema
apparitional
(Golan Levin)
(1984/K48)
(2002/K417)
(1979/K36)
a way that they achieve a synthesis in the
PERFORMANCE-ART Kontext (poster study) / G. Dirmoser (DG), B. Nieslony
(1979/K14)
projections, slide overlays, fireworks,
(1988/K274)
(Jaron Lanier) (1994/II-K110)
(2003/F42/P106)
video narrative
aesthetics (see below)
liberation of sound
(S. Gibbons, G. Shakar,
programs
mediatized performance (ML)
The videodisc was technically
listening perspective
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/P15) (R. Ascott)!!
Well-tempered-Synthesizer
Yasmin Sohrawardy)
already available in 1970; it was
execution of symbolic acts.
dummy head / quadrophony
videodisc (1989/K225)
are combined.
etoy
interactive narrative
concert machine –
Studie Stadtwerkstatt-TV (on the ars electronica TV-projects and others) / G. Dirmoser
(1979/K19)
combination of installation,
the
first
interactive
wind-driven
(1996/K382)
Performativer approach 1995!
(1980/K71)
not used for artistic works, though,
(1980/K19)
sound lab
tyranny of the tuned
(Grahame Weinbren)
The intersection between media and
(1996/P80)
(4-fold projection)
mathematical
Designing Gestures (poster study on ars electronica 2003) / G. Dirmoser
performance and website
video record (1989/K232)
sequenzer
Winfried
Ritsch
until the early 80s at MIT
sound animation as real-time
(1986/K332)
piano (1980/K52)
theater is thus the performative.
Video Clip
sound
digital hijack
(Luc Courchesne)
musical instrument
abrasion of art on the construction site
graphical music visible music
(Fakeshop) (1999/K321)
(Lynn Hershman)
(1987/K98)
Institutions affiliated with ArchiMedia & ars electronica / G. Dirmoser
underwater microphones
process (K. Obermaier, R. Spour)
(AH) the art work does not exist
(1999/P66)
(W. Giers) (1979/K46)
(1979/K19)
(Stadtwerkstatt)
(1994/II-K108)
(1979/K18)
(1987/K57)
Additional specialized literature is listed radially in the area of the content sectors
electronic
timbre
interactive videos
(1993/K260)
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/K106)
(1989/K294)
(1979/K17)
audio microscope (1987/K59) (1980/K43)
(1999/J94) (1989/K225)
the analysis and synthesis of
Social Club
switch the time and space
(1994/II-K120) (G. Rabl)
(Luc Courchesne)
Japanese Animation!
(Jon Rose)
(AH) The art object is not the
(magnifying small sounds)
music (1979/K03)
suggestion
for
a
PRIX
category
(Stadtwerkstatt)
axes
(1998/K197)
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/K385)
electroacoustics
(2000/K283) (MAIZ)
(M. Reinhart,
Peter Weibel, Bill Seaman ... their interactive
the electronic musician
(AH) Mandala System (V. John Vincent)
(LesLevine) (1979/K10)
expanded cinema
(2003/F19,K393)
(Jane Veeder)(1984/K128)
What does all of this have to do with art?
(Mark Trayle)
interactivity of both interacting
(Peter Krieg) (1991/P140)
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-K26)
Old /vs/ new (electronic) media
with the participant.
Cyberspace and society
(Erik Hobijn, Lydia
experience with performance art (AH)
(1990/II-K295)
ethnology
loudspeakers
(1990/II-K307)
Performance stage as
Hirata, S. Sakamoto, A. Kondoh, M. Shinka)
future cinema
(2002/T exhibition "Animations" P.S.1 NY
Interstitial (1994/K162)
algorithmic audio
"take over" of electronic media art (take over /vs/ self-disbandment)
Why are aesthetic criteria
Lunch, Z´EV)
(1996/K268)
sensory
environment
theology / New Age discourse
Sound Experiments
(Carole Ann Klonarides)
(2003/K228)
Siehe auch: Sicht der Sorge
many performances use "new"
(S. Krämer, R. Ascott)
applied to software
(1991/K103)
white noise
digital advertising
(Auinger, Just Merrit, et al.)
these projects are ultimately nothing other than
(2003/K300)
ethnography
(2001/K94) (H. Deisl)
media (see: Performance Study)
kulturtheoretische Sicht
(2003/K13)
...
and
not
(1982/K184)
Live
Electronic
carnival shows (1997/P53)
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/K209)
cultural anthropology
Anthroposcope (1993/K398)
editing (1984/K122)
performance art
(1992/II-K48)
historical view
(2003/F14, K299) (Heimo Ranzenbacher, Horst Hörtner)
(Laura Bellof) (1999/K402)
comp. generated
media actions
http://www.servus.at/kontext/ARS/weitere_Studien/
media anthropology
(Laurent Mignonneau, Christa Sommerer)
video transmission
Film (Rolf Herken)
Raindance !!
(Fred
Forest)
structural
affinity
with
mixed
reality
sociology and performance
WebCinema (2001/K106)
media performance
(1979/T) Walkman is presented
Festival for: Art, Technology and
media performance
Sensory Environments
electronic nozzles
media art
(Nora Barry)
performance
(MF)
sociological discourse
(PRIX)
(1994/P108)
(1985/T)
portable
CD-Player
VJs of the club scene
(1989/K275)
Trace of the viewer in the
1969 Ronald Michael Baecker:
modulate a stream
http://www.servus.at/kontext/ausstellungskunst/art_in_context.htm
Society (1979/K01)
(cf. construction of this study)
TRANSIT:
I.
Bordoni,
exoticism discourse
stagnation in perfection
(David Chesworth)
(2001/K87)
image ... (MF)
Interactive Computer-mediated
of water
view of signs (2)
(AH) "closed-circuit" of the
see: process view
view of
(1997/K354)
(H.
Zachmann)
A.Bosshard,
K.
Hentschläger,
Join-In Concert
tribalism debate
democraticization of
mixed reality applications (2003/K328)
real-time animation software
Animation (PW)
(2001/P98)
(D. Bruckmayr)
view
of
agreement
interactive
video
image
control systems
3D
audio-siphon
(Peter
Zegveld)
H.
Hörtner,
M.
Kreihsl,
R.
Paci
(1980/K05/K55)
cartoon (film) culture
(tribal culture)
Performances transferred to avatars (see below) DAMPF Lab: dance performance
mass events
(Paul DeMarinis)
(2001/K25)
vector-based
Realtime 3D Visuals
real-time animation
(1991/K314)
Daló, W. Rogojsza, G. Stocker,
Cologne, Futurelab, V2_Lab Rotterdam,
Linzer
Sound
Street
(1980/K05)
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/K61)
Online-Performances (2001/K37)
formula (2000/P197) (Peter Rehberg)
(game rules of art)
installations
virtual time –
loudspeaker
(2001/K196) "Banja" total simulation feature photorealism
Interactive Performance (3 ORF Landesstudios)
M. Bruner, K. Taschler,
(1999/K349)
through the process
patchwork
(2003/K302)
(Michael Jüllich) (AH) society of
PRIX
stochastic
matrix
film
(1984/K124)
(1990/P70)
can
the
subjective
(John
Driscoll)
(new art form) developed by ..... Stocker´s Ruf nach Linz
Nappi) (2000/K314)
view to performative
biographies
interactivity
Jury
(for
chord
concatenations)
experience
of
time
(1980/K132)
Scott Fisher, Ann Marion
culture for all
analysis
Interactive
VR
art
works
(1979/K36)
be
programmed?
Online communities
compare:
(AH) the performer controls electronic
whirling
Community
Internet
Radio
schematizing
compositional
in
real
time
(2001/K301)
(Georg Franck)
and reputation capital
Literature:
stage images through sensors (attached
performance focus
historical view
control system technology
Flying large fourinstruments
Broadcasting (2002/K196)
processes (1979/K34)
(T. Margolis)
(1990/II-K57)
view of acceleration (AH)
(2002/K258)
(Baudrillard) All our machines are screens, we ourselves
Musikgesteuerte
to the body) in real time
Wie geWOHNT – Neue Wohnkezepte auf dem
dimensional figures in
(1989/K320)
(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/K386)
MUDs, MOOs
temporalization (AH)
another have become those of screens.
(Paul Earls) (1980/K102)
(PoMo CoMo) (1992/K226)
socio-cultural
orbital acceleration
(Steve Poleskie)
LifeTool, Computer Aided Communication
active
score
–
(1995/K175)
sensory systems
(Monika Fleischmann)
concert performance (2)
Terminal bar
(Bruce Damer) animation projects
(R.
Lozano-Hemmer
et
al.)
automatic musical
(1986/K231)
(1982/K106)
social networking
software scene
interactive
(J. Smetschka) (2001/K358)
Die Individualität der Medien – Eine Geschichte
life counselling for
Kickass-Engine
(2001/K57)
(Steve Mann) (1997/K218)
(David Rokeby) Those who create interactive
BBS, Info-DB
(1997/P84)
composition (P. Barbaud)
Telesteuerung (PV)
the term "process" was central
cybernetic sculptures
(1980/K05)
culture
graphical instrument
systems (2004)
participants/children interfaces assume social responsibility
(2001/K207)
der Wissenschaften vom Menschen /
An Internet actuated and electronic
high-speed surveillance
Recombinant 9.9.99
video performance
(1979/K51)
for Ascott around 1980
(Wen-Ying Tsai)
Face Settings
(K. Furukawa,
film series "artificial
performance
uploaded
Performance
(2003/P23)
Stefan Rieger
superhighways
(see
right)
Happening
concert performance
gaming communities (2001/K20)
Telecenter (2004)
mutual effects between
(Kathy Rae Huffman)
M. Fujihata,
life" (1993/K282)
(1997/K154)
(Stelarc)
Technologies for People With Handicaps
conceptual-systemic
(1997/F51)
(K: Naut Humon) (1999/K380)
lines of demarcation
Elektronic Happening
real-time composition for
environment and artwork
(1997/K364)
W. Münch)
Internet
cafe
In
Yokohama,
Ito
realized
a
performance
of
Multi-User-Dungeons
MediaMOO:
Social Web
(Sound Traffic Control, Mixvisual sensor registering movements
1994/K98/2
art (2) (AH)
"separating" persons in
(1984/K147) (Paik, Moorman)
12 radio receivers
MOO Workshop
(1999/K347)
MUD
MOO
(G.
Stocker)
The
products
of
this
(media)
art
"networks"
for
"samplers",
"performance
devices",
for media
(John Coate, Multi-User-Dimensions
Electronic Cafe
master Mike, Scratch Perverts,
real-time
in space
a space
(1989/K317) (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/K253)
collective weblogs (2004)
Powerbook Orchrstra, The
functional descriptions of dance
movement
(Project 1984 Los Angeles)
(1998/P100) (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/K139)
User, T. Brinkmann, Richie
notation show similarities with those
control
virtual communities
essence
Viewers and actors on site can be networked with
works
(1996/K389)
Text collection from Willi Mayrwöger:
FreeNet initiatives (2004)
or as the Japanese researcher-artist Masaki
with other networks
(optical
tracking)
(2004)
Digital
Communities
Hawtin,
Ikue
Mori,
Barry
of
software
code
(1995/K178)
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/K59)
Computer-Didaktik in der Sonderpädagogik /
foundation of cybernetic
first approximations to the performative view
addresses the wide-ranging
Schwartz, Stefan Betke,
(2003/K314) (Scott deLahunta)
Multimedia for all (H.-J. Hack)
process
Roy Ascott had his first idea of an
(1999/J68) (2001/K322)
reading the user's
R. Bonfranchi
thinking (1986/II-125)
social impacts of the Internet
Otomo
Yoshhide,
Scot
Jenerik,
Mazk,
Sam
Auinger,
(1997/P88)
"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-K64) OODA-Loop:
as early as 1966
inherently interactively processual. (Stahl Stenslie) the flowing,
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/P27)
(2003/F11)
decentral, process-oriented
gaming communities
... who set links to other artists
(Alex McLean, Adrian Ward)
nichtsprechende SchülerInnen ... / A. Lingen
understanding
music
as
a
kind
(Golan
Levin)
all
kinds
...
from
installations
orientation
media
art
(2003/K13)
character
of
a
large
portion
in turn (1996/P47)
(2004)
dynamic systems
Radio FRO conference
(2003/F38)
of software (H. Ranzenbacher)
cybernetic sculpture
(2000/K308)
(AH) ... Myron Krueger, Roy Ascott and
Computer- und Informationstechnologie –
community art
On paradigm changes,
all the way to performance
decision
cybernetic art
beyond a rigid
therapeutic discourse
process-oriented of interactive art
Towards a Society of Control
shift of significance from the
(Wenig-Ying Tsai) (1983)
(M. Fujihata, K. Furukawa, Code – Notation (2003/K341)
Fred Forest thus also stress the "concept of action" or the
control society
Geistigbehinderten-pädagogische Perspektiven
new role models, working
(2004)
action
participative WWW works (DH)
CODE (2)
(2000/K214)
geometry (AH)
disability studies
languages
(2003/F15) (Cindy Cohn,
object to the dynamic system
W. Münch) ((2000/K309)
"matrix of behavior" as a fundamental precondition for
Towards a Society of Control?
models, and the creative
download, manipulate, upload,
Hg. Wolfgang Lamers
Art Com Electronic Network
shift in time
self-organization
Christiane Asschenfeld, Juliane
(2003/K13)
the participants' behavior and aesthetic characteristic
Gestalt therapy
Code and Music – Technique and
(O.L. Tremetzberger) (2003/K54)
burst(2001/F08)
control (robots)
The term "behavior" was
ACEN (1986) (1989/K130)
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/K136)
spatial representations
David Beukelmann, Pat Mirenda
As artists working with
Electroacoustic
reproducability
process character of action
triggern
(K. Becker, A. Toner, M. Vojtechovsky,
controlled projection
(Jonathan Norton) (2003/K294)
Modern
in the form of a project:
of WWW works
therapeutic pedagogy
(electronic
Bulletin
Board)
digital
media,
we
are
constantly
pseudo
3D
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/P119)
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/P20)
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/K05)
(1986/K83)(1989/J59)
implanted and emergent
animation works
(AH) Appropriation and
(1997/K285) (Stadtwerkstatt)
Joachim
Blank,
Karl
Heinz
Jeron)
see
also:
historical
view
(1990/II-K234)
self-controlling,
simulation
software
communities
(2004)
counterpart
virtual machines. Every aid (regardless
behavior (the parasites, the undomesticated,
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/K187)
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/K334) 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/K203) (Simon Penny)
Multi-User-VRML
Logicaland (M. Aschauer,
(1996/K262) see below
regarded as social constants that were stable,
(1995/K220)
Simulation
ultrasound
movement
set of operations
(P. Barbaud) (1979/K51)
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/P129)
except for marginal changes. This characteristic
interactive 3D-cinema world (1997/K390)
holograms
Wearable System (GPS for
(M.
Desbazeille,
hobby religion in
(Leo Findeisen) (2003/K73)
virtualization of action with
Nik Thönen) (2002/K364)
social structure or symbolic order that
gets lost in the discussion of "memes".
(1988/K276)
light-kinetic
simulation
space
mosaic
of
mobile
determining position) Conveying
S.
Canto)
(2001/P100)
(AH) disclosing
films like
decentered connective
regulators
To simulate processes of life: Evolution,
electronic remote action (PV) (1998)
(2002/P34)
could do without art (DM)
(1996/K34) (H. Hrachovec)
the kinetic complex
objects (H.M. Ihme)
belonging to a community (MF)
data
sounds
(Knowbotic
Research)
Changing the behavior of
actions
Indian philosophy
breeding and selection (OG): Thomas
final phantasie
actions (ML)
Centerbeam (Gyorgy Kepes)
Speaker Swinging
light machine
(AH) Krueger discovered that users
Concerns of music are
science fiction, socio-fiction, political fiction ...
puppets through changes in
(1993/P98)
syntax of binary images
Social Software
Ray, Christa Sommerer, Karl Sims,
Behavior is movement, in which an
Indranet
(1980/K98)
(Gordon Monahan)
(1980/K120)
quickly identify with a figure in a
tendencies to excessive
Thse are role plays, parallel strategies,
stockmarket courses
kinetic
feedback
(Woody Vasulka)
Artifical Life (2)
AEC as "Evangelist"
cybernetic
(2004)
(MF) Unlike immersive image strategies
Jane Prophet
Is God flat? Is the devil
intention can be recognized. The
games
as
simulation
(1988/K277)
harmonizing
actions
game, if it reacts to instructions in
behaivor
(Diamanda
Galas)
...
scattered
images
of
a
future
cyberspace
(PV)
A
brief
introduction
to
the
Station Rose in the
(Erwin Redl) (1996/P152)
light sculpture
(1989/J22)
(1996/P14)
play of movement (2001/K353)
that draw the viewer into a space of illusion,
curved? (1995/P112)
(Nam
June
Paik)
his career:
combination of simple behavior
kinetic
sculpture
(war
games
with
simulated
real time. It is not the realistic
(1986/K84)
art
of
flight
simulation
Music
for
Mechanical
Metal
Social Web (1997/K426)
(Stahl Stenslie)
(C. Möller,
(Roland Kayn)
the mixed reality concept focusing on the
(M.
Benayoun)
patterns produces "personality"
transforming
television
and
new
(Chryssa
Vardea)
radar
data
on
missile
(Monika
Fleischmann)
Mixed
Reality:
portrayal
that
determines
(Ron
Reisman)
(1996/P211)
behavior of complex systems
Techno-religious ecstasies
spin-offs
R. Kramm)
cyberneticists and physicists
Holography and Society
(1986/K184)
body-space experience leads the viewer into an
or "predisposition" (2003/K183)
video techniques into contemporary
(1980/K101)
guiding computer systems)
The interfaces as input/output instrument is not a
aesthetic pleasure, but rather the
(1990/II-K159)
(Gordon Monahan)
(2000/K213)
(1994/P132)
H.W. Franke – ars co-founder
(Vito Orazem)
action-oriented
situation
that
leaves
room
and
Immersion
in
war
pictures
removing,
art
(1982/K102)
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
(1979/K02)
Survival by
calculations by
kinetic water display
imagination
for
thinking.
deleting (Maurice Benayoun, JeanInstinct TV
for a synaesthetic transformation of the perception
of a god in the MOO
Journey through the
products, intelligent
behavior of complex systems (1994/K09)
Kinetic Art
Simulation
analog computers
(1989/K191)
Fiction
and
Simulation
Babtiste
Barriere)
CAVE
work
(AH) What these "systems of media art
Instant TV
of media space.
(1997/K174)
... the immediacy of experience results from the
spiritual essence of the trance
ambients, the whole
(AH) 3D simulation as a new
(Peter Weibel)
are a kinetic
(Stephen Pevnick)
(Friedrich A. Kittler)
(MF) the transfer of image data is
(1998/P70)
have in common is that the virtual world
(U.
Reck)
...
For
this
reason,
aesthetic
endeavors
Reaction-Action
TV
realistic
behavior
and
not
from
the
realistic
(2002/P100) (United Game Artists)
technology
evolution
show
quality
of
illusion
models of behavior and actions
(1990/II-K20)
"acting out"
(1988/K87)
thus harmonized with the dynamics of
changes depending on and with the observer
(Alison Cornyn, Sue Johnson)
and
developed
practices
are
currently
progressing
50s-70s
/
affinity
Catastrophe
TV
graphical
representation.
that
we
are
always
handicapped
(Tetsuya Mizuguchie) (based on Kandinsky)
(1998/P30) (knowbotic research) Tokyo 1997
kinetic sculpture
electronic
physical actions
as part of the system in real time. Weibel
prison life (2001/P50)
decidedly from representation to activity, from
to media art
Fernsehfamilie
Gyroscope (tilt and
(Edmont Couchot) The extent of
without knowing it (1994/K26)
(J. Sauter, D. Lüsebrink) (1997/K258)
simultaneity
(AH) Die Vorstellung von einem „idealen Zuschauer“, der sich
confessional
HDTV
mimesis to experimental action.
(1991/K91) (Stadtwerkstatt)
lateral movement), odometer consequently regards them as "cybernetic
magical mystery tour
the space of possibility that a
interactive television
(Roy Ascott) (1995/P20) 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)
systems", the events of which are structured
real time (terms)
Scientology vs.
simulation model opens up, depends
"Turn On, Turn In, DropOut ..."
architecture following the pan of the camera
the irrational
(1998/P60) (Wendy Vissar)
Installation for computer-controlled
zugewiesene Rolle ernst nimmt oder seine ihm angebotene
recursively as feedback.
(Martina Leeker) Theater people criticize
(1971/T) "Media-Bus"
Newsgroup (1996/P100)
sound mapping project
victims of the information age
(1979/K35)
on the boundaries of the model.
Timothy
Leary
(LSD-Guru)
(Mark
Pauline)
accidence – remote-controlled
short-wave receivers (1998/K175)
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/P94)
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-K232)
car jumps (Leo Schatzl)
(R. Adrian, N. Math)
interpassivity. They establish an shortened
City (1998/P50)
by artists
Delphi Digital
structuralism (discourse)
(Iain Mott, Marc Raszewski,
(B. Loibner, T. Sherman) (1998/K244)
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-K241)
(1991/K215) 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
B92
(1984/T)
MTV
sendet
in
Europa
(1991/K163)
telematic radio network
(1989/K154)
digital intro for TV
(E. Couchot)
deconstructivism
of being handicapped visible.
(1997/P136) (Mark Madel)
(ML) The emphasis on the performative does
system for
(PW) We move too slowly, that is why
(1999/K395) project (1995/K354)
(ML)
The
transgression
lies
in
the
fact
that
in
the
(1986/T)
television
project
PONTON
(K149)
2h
TV
(Stadtwerkstatt)
broadcasts
(1994/K17)
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/P38)
(1987/T) Stadtwerkstatt TV 1st attempt (K165)
PureDataConnections
(G. Stocker) (1999/J397)
Realtime-AudioLiterature:
(Manfred Riepe) mystical dimensions
posing stimuli on the screen
(Baudrillard)
transformation itself instead becomes the new
(1984/K48)
alchemy, hermetics
airplanes; we can't calculate fast enough ...
as a paradigm for action, but as a performative
(1989/K148)
(1987/T) STWST-TV Kabel-FS im Hotel (1988/K213)
Radiotopia
(2003/K203)
Cinematics
(1991/K286)
SOS Radio TNC
(2003/K188) (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
(Claire Roudenko-Bertin)
esoteric debates / New Age discourse
Radio Free Utopia
(1989/T) Van Gogh TV – Studio (1989/K115)
(2002/K427)
(M. Pinter, Renate Oblak,
digital
broadcasting
(1999/K380)
(Beusch, Cassani)
Behavior rules and reactive
Radio Lada (1998/K79)
his computer, makes love via the screen
(Anita Gratzer)
Mona Sarkis
notice it. (1994/K17)
with what is happening.
(1992/K159)
(Friederike Pezold)
(1989/T) Gründung University TV (1990/I-K198)
psychology
W. Ritsch, M. Pichlmaier)
(1999/K405)
search for elves
(1996/K366)
structures (2003/K192)
and lectures through teleconferencing. He
(1999/K324)
Free Speech
media as site of transition (DM)
sonic graphics – seeing sound / Matt Woolman
(1989/T) Stadtwerkstatt - slot machine TV, live on 3sat
performative theories
remixing radio programs
(Agnes Meyer-Brandis)
interest in myths (Darrin Butts)
Online-Generation/Automation of Data/Sounds
Stille elektronische Post (1986)
TNC
Network
becomes
both
motorically
and
cerebrally
(1990/T) Van Gogh TV – Hotel Pompino (1990/I-K159)
Speech, music, sound / Theo van Leeuwen
Looking at ORF Kunstradio, VanGoghTV and
"heavy rotation revisor" (2003 OK) Camp – FRO On-line/On-site/On-air sound installation
(2003/F42/P112)
(1993/P68)
ethnology
(R. Kriesche, G. Bechthold)
handicapped ....
Information is thus the
(1996/K412) (Harwood)
(2000/F46)
(1990/T) STWST-TV – Invasion-Okkupation (Buffalo NY)
Xchange, one notes an interesting development:
(MEGO)
Medien/Stimmen / Hg. Cornelia Epping-Jäger,
(Colin Fallows, Heidi Grundmann)
analytical philosophy
Zusammenschaltung
2er
Studios
illusionist
out
of
body
experiences
Radio FRO (2001/K406)
exact opposite of myth
Rehearsal of Memory (mental patients
Ponton – Van Gogh TV:
(1991/T) STWST-TV Out of Control (1991/K89) first TV ars
... cheaper and simpler technology creates
(A. Krach, J. Sienknecht, S. Gründler, C. Fallows, Dusan Bauk,
Erika Linz
(1986/II-K275)
linguistic philosophy
Radioqualia
(1998/K105)
(Kittler)
in
a
high
security
hospital)
radio
project
(1992/T)
Piazza
Virtuale
–
documenta
9
performative transformations
greater freedom, individuality and diversity
ritual performance with butchering
A.Vasiljevic, R. Klajn, G. Paunovic, A. Garton, J. Curtis,
Zwische Rauschen und Offenbarung – Zur
face made of
net
radio
rhetoric / topic
(1995/K79)
(1989/K110)
(1992/T)
STWST-TV
Im
Teilchendschungel
der
W.
...
(92/K198)
(P. Eisenman) (cf. 1994/K56)
(1998/K78)
and preparation of a chicken. (1986)
TV-Sculpture
M. Smith, Sandra Wintner, G. Gregson, S. Cathey,
Out of control (4)
single drawings
Kultur- und Mediengeschichte der Stimme /
radio
technology
linguistics
(1995/T)
STWST-TV
Checkpoint
95
(1995/K323)
Eliza dialogues (1966)
transformation of the sign
(Minus Delta T) (1989/J135)
(Aldo Tambellini)
Familie Auer (Kunstradio)
Emilia Telese, T.M. Didymus, H. Harger, A. Hyde,
avatars
exhibition
of
the
Prinzhorn
collection
(S.
Zeyen)
Kunstradio
network
Myth
of
Information
Ed. F. Kittler, Th. Macho, Sigrid Weigel
(2000/T) Televisio – Kunst sieht fern / Vienna
structuralism
(Selim Koder) (1994/K51)
(Weizenbaum)
(1992/II-K110)
(1997/K411)
R. Bastien, S. Chappelle, Joelle Ciona,
(1991/K245)
(Ferenc
Jádi)
(1997/P140)
Beginning
1987
ORF
and
its
partner
3SAT
(1995/K)
(1995/K117)
Manifesto
(1998/K101)
Transformationen der Techno-Ästhetik (essay
overall data work see below
speech act theory
(1992/K194)
the virtual vampire
P. Courtemanche, anna Friz, Eileen Kage,
New Age cyberculture
free radios and from NET:ART to NET.RADIO
open
transmissions
for
media
artists
world
premiere
of
the
television
(McKenzie
Wark)
in: Digitaler Schein) / Peter Weibel
(Roy Ascott) (1989/K100)
(1994/II-K98) color recognition device, whistle
(Doro Franck)
B. Mullan, W. Sergeant, T. Cole,
(Heidi Grundmann)
pragmatics/interactions and
(1996/K231)
their problems (1998/K75) (Josephine Bosma)
throughout Europe
spectacle "Willoughby Sharp´s
interface to telephone, keyboard for the blind,
emoticons / Karin Niedermeier
connectivity,
(1990/II-K221)
Andrea Sodomka, M. Breindl, N. Math
(1989/K276)
Morphing
see also: filmic view
conversation analysis
Morphing
Software
from
Van
Gogh
TV
and
Stadtwerkstatt
Downtown
NY
1986"
(1986/K388)
The New Myth
see below
Speaking Thermometer, ...)
the mythical TV space
W. Ritsch
(1996/K352)
see also: topological view
transformation and ideological tendencies
sociolinguistics
(1996/J98)
(first TV project at the ars!)
(Frank Ogden)
of
media
art
Open Air – A Radiotopia
"My Neighbourhood"
(1999/J90)
transcendence
see also: body view, education view etc.
IBVA system (Interactive Brainware
linguistic performance theory
(1995/K99)
100th
image
as
morphing
basis
(New
Age
cultures)
(1998/K290)
radio art
On line – on site – on air
(1994/K160)
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/P137) (T. Waliczky)
(DM) mathematics and its
robot arms moved solely
(unplugged 2002/F16)
the confrontation of art at
Minus Delta t
(Code) (2003/K12)
as magician
"Piazza
Virtuale",
the
interactive
computer
Mysticifactions:
(1989/J51/J52)
(Gebhard
Sengmüller)
to its environment
literature discourse
nimbus of the magical
by thought
Radiophone
poetry
–
the
archetypal
level
shows
technology
(Randal
Walser)
voice, breath and gaze
handicapped by a
Radiolabor (1992/K202)
environment for live TV from the Ponton European
Bermuda Triangle (Isao Tomita) (1982/K193)
technological magic
(1998/P21)
(1993/K382)
(1998/K75)
The
myth
of
Radio
Subcom
linguistic turn (discourse)
(Spiegel
03.2004)
new
radio
play
(1995/K223)
(I.
Burgbacher-Krupka)
mystically
(1986/K07)
(1990/II-K206)
wheelchair
Media Art Lab, with Picturephone, ISDN, with games
recognition systems
(1989/J118) (1999/J356)
(1989/J52)
VR als virtual drug (1990)
(1989/K163)
radio
goals
(J.
Sugár)
the
artificial
(1991)
(1980/K07)
media
mysticism
(1986/K148)
Video Magic
Live TV experiments
(Jon Berge) (1997/P138)
and activities that can be controlled with via telephone
The Mind of Universe (Isao Tomita) (1984) (1989/J122) (1998/II-K290)
(AH) Technological progress goes from the
(AH) physical
(1996/K352)
Cyborgsurrealismus
(E. Schoener)
existence in electronic
keys, and chat programs using modem, fax, telephone
Erdenklang (Erika Gangl, Bognermayr, Zuschrader, ...)
"guided hand" (keyboard or mouse) to gesture and voice,
2nd
Nature
(E. Kluitenberg, E. Davis,
diabolic
invisibility
RealRadio
rehabilitation
measures
art as transmission
(1997/K63) s.u.
wheelchair as interface
cosmological
model
(1979/K50)
space
(1994/K158)
and
live
entry
points
Myth
of
the
Computer
(1982)
(1989/J120)
then
to
the
simple
gaze
and
finally
from
the
gaze
magical-symbolic elements
Rasa Smite, Raitis Smits,
(Markus Seidl)
(MF) (GMD)
(Dieter Daniels)
for
navigation
gambling
and
spirituality
(Haraway)
Mullicans
(1994/K160)
Aurora Electronica (...)
to thought.
musical magic
Borut Savski, Rachel
(1997/K388)
Myth of AI
manipulation
aids
(Mintz,
Ditmars,
Duggan)
(1996/K420)
(Nancy
Paterson)
Closed-circuit-TV
Piazza Virtuale – Service Area (1994/K232)
Intergalactic "mating" (Jon Hassell, Thomas Shannon)
(1990/K-I-20) (S. Leoni)
Baker (1998/K90)
electronic cane for the blind (1996/P146)
art is media-mysticism
Cyborg as carnivalesque
(1994/K159)
(1988) (19989/J151)
mobility aids
(1989/J52)
Thus, telepresence maps onto three long-term projects in the
(GuideCane)
autonomous wheelchair
transitional figure
every art form has
Ugo Ugo Lhuga
(Adrian X) (1989/K146) see below
mythological-electronic
(1998/II-K275)
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
"art radio" was the attempt to experience
transformations of
music theater "collisions"
techno-utopianism
(S. Hawking)
(Stadtwerkstatt)
perception aids
connotations. These are, first, the dream of artificial life and
(1996/K35)
(1997/K135)
electro-acoustical
has been relocated
(1991/K111)
computer-generated figures in
radio as it could have been, if it had not
technique
with
handicaps
techno-aesthetics (PW)
(Transcenic/Theatre
d´en
Face)
(1994/K19)
techno-paganism
(1995/K323)
automation; second, the tradition of virtual realities in art;
(Z. Karkowski)
a television show (Toshio Iwai)
become a centralized mass medium
visitation mass
(1994/II-K98)
(1984/K223) (1989/J125)
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/K252) (1999/J428)
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 Ugo Lhuga Live
MARX (O. Augst, M. Daemgen,
radio art is not
(1986/K83)(1989/J59)
electronic aids for
Internet (1996/P136)
(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/F22)
sound art
the
handicapped
(VR)
design
was
(Elisabeth
Goldring)
bandwidth)
Electrolobby as international
(1999/J336)
(Stadtwerkstatt)
techno-séance
(1998/K101)
inspired by alchemist The techno-world of machines represents a
game lab (2001/K195)
(P.
Weibel)
Instead
of
original
technical
reproductions,
(1994/K162)
voice
distortions
COMPUTER as handicap - what computers can't do
SLO – Scanning
practices (Silver)
radical transformation of being (PW)
scientist-comedians
Live TV with telepresence
Ready-Made-Medium
appropriation
and
simulation,
instead
of
author
collective,
Unplugged – Methods (Symposiums)
Laser Ophtalmoscope
(1996/P156)
(1998/II-K178)
(1992/II-K28)
(Joe Davis)
(Stadtwerkstatt) (Lev Manovich)
as presentation form/TV
Vocoder
machine, text, instead of truth - verdiction and virtuality,
creating realities that can be
The techno-transformations of art, from
video gamel – urban Until the late 80s military
(1995/K324) (1995/K343)
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/K55)
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/K20)
(connectionist
installation)
Voice Boxes
(2000/F34)
knowledge
(CBT)
like flight simulators In the worst case, what
supported communication
The history of technology
Live transmissions of
A carvival of misplaced devotion
simulation.
(Natalie Jeremijenko)
were considered the
prosthetic aids
will be left of the VR
facilitated communication:
has always been the history
operations from the
(paper
tiger
TV)
(S.R.L.) (Seattle 1990)(1990/II-K233) adapted shooter games
collection
of
(1996/K402)
RE:MARK – transforming sounds into
origin of the commercial
movement will be only an
touched or supported while
of its myths and utopias (OG)
public hospital
(PW) The transformation of techno-art can
(1995/K337)
light
signals
Nybble-engine-toolZ
onomatopoeia
dynamic forms (Golan Levin)
video game
infantile toy industry
writing
means for controlling the
Borderland (shooter video game techniques
are extremely popular
be described as a transformation of the
auditive battle game
(M. Jahrmann, M. Moswitzer)
(Agathe Jacquillat,
(instead of acoustic output
(2002/K410)
TV
as
domestic
Literature:
(Peter Weibel)
(J. Alma, L. Hart) (2000/P86)
(Melita Zajc)
ontological triple (being, work, truth) into the
environment (remote control)
KlangKanone (Stichting Rainstick)
(2003/F40/P92)
Tomi Vollauschek)
telescopy
(PV)
(1990/II-K30)
Blick, Stimme und (k)ein Körper – Der Einsatz
(1995/K77)
semiotic triple (sign, medium, power).
voice recognition
(1995/K258)
(2003/P58)
Voice System
Glasfieber – bowling alley
(1998/II-K178)
Bio-Mechanical Gameshow
commands through face
Biocybernetic technology
ARSDOOM
Happy Doomsday!
der elektronischen Medien im Theater und in
AAC = augmentative and
(Stadtwerkstatt) (1996/K324) (Cálin Dan) (1998/K148)
DOOM II and the
(1997/K362) (Time´s up)
muscles (1994/K198)
(1994/K198) (for paraplegics)
art adventure
professional gamers (2001/K192)
speech recognition
interaktiven Installationen / Mona Sarkis
VR-landscape "PlaceHolder"
alternative communication
speech recognition
auditive poetry
military version
(T.H.H. Boykett: Theory of Hypercompetition)
(C. Helbock)
(1995/K262)
culture of war
(Brenda Laurel, Rachel Strickland)
(1989/K167)
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/K163)
Brucknerhaus
(1971/T) Noan Bushnell invents the world's
Text Rain (2000/K389)
(1994/P124)
interactive art on the Net
(Eku
Wand)
of
the
user)
der Schnittstelle zu digitalen Welten /
and problem-solving behavior
developers are the
(1980/K76)
hand and foot signals, head movements,
(Orhan Kipcak)
first commercial video game
(Camille Utterback, Romy Achituv)
(Eduardo
Kac)
(1995/K170)
(1993/P87)
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
(ML) Since the publication of
Computers as Theatre / Brenda Laurel
(Leo Küpper) (1984/K29)
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/K263) macpanic "Computers as Theater" (Brenda Laurel)
modifikation (2003/K227)
(1996/P150)
foot-mouse, headpointer,
Voice Recognition
linguistic notations of
Alternative
forms
of
communication:
human voice
Spielfiguren in virtuellen Welten / Natascha
voice and apparatuses (1970)
all 256 levels after 20 years)
eyetracker
interactive games ... are designed and
the voice (1989/K272)
sign
language,
images,
graphic
symbols
Feedback
Speech
Translation
AR / Audio Reality (instead of VR) (Diamanda Galas) (1986)
(AH) interactivity is generated in the various
sound mikado
(Ernst Jandl) (1980/K88)
Adamowsky
judged according to aspects of theater.
two-way interaction
video games see above
(Amanda Stewart)
(Wolfgang Georgsdorf)
playful art
(1999/P80)
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)
Virtual Labyrinth
electroacoustic singer
(1995/K205)
acoustics or sight
(1987/K100)
Messa di Voce – visualized
Interactive theater for 4 virtual
therapy (1994/K199)
Künstliche Spiele / Ed. Georg Hartwagner,
(AH)
game
structure
as
model
Braille
display
Responsive Environments
(Bill Keays, Ron
(1986/K90)
speech and song (a performance)
beings and live audience
street theater
Stefan Iglhaut, Florian Rötzer
(2000/K365)
database-based
for work structure
MacNeil)
interactive
(2003/K311) (Tmema, Jaap Blonk, Joan La Barbara)
console kids
sound-therapeutic objects
(AH) mid-80s as the
(1996/K404) (Luc Courchesne)
interactive kaleidoskop
Sissy Fight
narration (2001/K108)
(1984/K359)
Intermedialität – Das System Peter Greenaway
(Machiko Kusahara)
circuit systems
console games
The Ludic Society (Neil Postman) /
(1979/K37)
beginning of the ludic society
(Sidney Fels) (1998/K201)
(Nora
Barry)
Urban
Sax
(K364)
(1998/P62)
(PW) The origin of technology
games
and
traditional
Yvonne Spielmann
dynamic
animation
through
gestures
taking
the
(1979/K47)
story telling
game on literature passages
virtual mask celebration,
online gamehall homo ludens (Flusser) the topic was covered
rhetoric of hypermedia
escape
game
is rooted in this universal
culture
in
Japan
voice into consideration / visual performance system
(AH) In 1962 at MIT
(1994/K40) (Elfriede Jelinek,
remote-controlled puppet theater
Art_server: stargate to netculture / Margarete
for Ascott the concept of "interaction
(2001/K194)
by the O.K Linz with "Toys´n Noise"
(Indesen, Krohn)
(M.G. Wagner, Concept: computers as
condition of lack. (1994/K17)
(Golan Levin) (2000/P82) Audiovisual Environment Suite
E. Sutherland described
G. Hüngsberg, H. Franz)
(Ken Feingold)
moments of interactivity
was central around 1980
Jahrmann & OK (Ed.)
(Art_server: stargate to netculture)
digital storytellers
S. Carroll)
phenomena of perception in
GOLEM – an
a
"sketchpad
system"
for
(1996/P134)
theater
(Brenda
Laurel)
(at
Ars
before
1989)
(PW)
Nybble-Engine / M. Jahrmann, M. Moswitzer
consoles (R. Kuwakubo)
computer games (2001/K69)
(DM) films are determined to a
interactive opera
interactive computer
("Huge Harry" = voice synthesis
(1989/K87)
on dramatic interaction
immersive
new methods of storytelling (?)
Shared Environments
Der bewegte Betrachter – Theorien der
(2002/F044)
literature game (2000/K397)
high degree by rhetoric
(Richard Teitelbaum)
(T. O. Meissner)
graphics
ATHE-MOO
machine) (1997/K110)
see also: view of fashion
(1990/II-K259)
(mixed reality technology – pop-up book)
media opera by
interaction (2002)
der Multi-User-Games
interaktiven Medienkunst / Annette Hünnekens
(1997/K433) (1990/K-I-84)
Virtual Voices
(Kenji Iguchi, Tomoki Saso) (2003/K420)
(2001/K20)
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/K120)
(AH) Merging individual art forms into an integral
every machine, every technology,
see: sports aspects
mobile games (2002/P24)
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 90s
see: interface view
(1986/K55)
(2002/F12)
Unexpected Obstacles – The work of Perry
(Masuyama)
N-cha(n)t
opera, performance, ...
body in the heart of theater
theater theory
(PRIX)
for an interactive art
CAVE was conceived as
game
(David Rokeby)
performance (on "Zulu Time")
Hoberman 1982-1997
(HK) Yet we are also confronted with computer
theater studies
(AH) (Roger Malina) Interactivity was first
(AH) Interactive Media
cyber-opera (P. Weibel)
(ars 1989)
"Virtual Reality Theater"
a kind of dialogue
turbulent operette in
producer
the computer picks up
freaks that basically don't want to do anything
Mark von Raden / Energized Gaming Culture
theater anthropology
officially proclaimed a new art form with the
Festival (Los Angeles) (1995)
"Wagner's Madness"
with scientific content and
electroacoustic fashion
(2002/F12)
utterances and freely develops
media opera
with the systems
but operate pinball machines.
(D.
Rokeby)
the
Animax
multimedia
theater
(1997/P102)
establishment of the prize (1990)!
"Sparky Prize"
(1995/K368)
dramatic discourse
projection possibilities corresponding
(1984/K329) (Altmüller/Bogner)
them (2002/F042/P072))
(1979/K03)
Perfect
Lives
(Robert
Ashley)
key word "interactivity
for
children
(2002/P90)
LINZ ... !
multimedia opera (?)
performance studies
performance and play
to the criteria of the showcase (SIGGRAPH 92).
An
Opera
for
Television
arose in 1988
(Autorenwerkstatt MEET)
music game (2002/K418) the world of
interactivity
"Wild-style Video Operette"
(Daniel J. Sandin) (1996/J85)
performance theory
playful interaction (2002)
computer
games
(1986/KII-218)
interactive
(Tina Blaine, C. Forlines)
E.W. Adams (2002/F12)
about ecology, fun, politics, evolution, Europe, energy (the three sacred E's),
types of interaction (1999)
Theater
game theory
(1996/K406)
(Masaki
Fujihata)
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/K239)(1989/J24/J124)
(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/K38)
"without content" (Huhtamo)
sophisticated technology
group dynamics (1994)
Interactive Computer
(Lawine Torrèn)
(1998/K203)
playful interaction as a
(robo-games)
is interactivity
interaction design (2001)
Theater of hybrid machines
Art Com Electronic Network (2000/K294)
telematics and total data work (AH)
Theater (1981)
central
"pattern"
of
the
Ars:
(1989/K87)
(1996/K274) (Don Ritter)
the
mechanical
Bauhaus
stage
(Woody
Vasulka,
David
Dunn)
(ML) the boundary between theater
dialogical interaction (2001)
(ML) theatrical-performativeACEN (1986) (1989/K130)
(1989/K168)
see also: music theater view
creative
(Bruce Thomas) Wearable AR System modified use of games
(1988/K93) (Theater of Sounds)
games, music tools, ...
(2001/K79)
and performance and mediatized
(1990/II-K265)
mobile phone
digital Installation
Online-Theater
(ML) Emphasizing the performative in
(Stephen Wilson)
for
the
game
Quake
(2002/F12)
(Mathias
Fuchs,
Sylvia
Eckermann,
interaction
(AH)
perusing,
traversing,
performance occurs today at the
medium of interaction (2000)
(Penelope Wehrli)
media performance simultaneously forms
games
M.
Jahrmann,
Max
Moswitzer,
Why
has
this
field
not
been
mined
searching, exploring, ... interactive WWW
level of "liveness", the co-presence
(ML) theatrical digital
the nexus to the discourses on media
(2001/K87)
tele-interaction
(ML)
Orhan
Kipcak)
at
Ars
Electronica?
(Technical
music-construction-game-machine
interaction tool (2003)
of actors and viewers
(in)voluntary
experimental arrangement (ML) the relevance of theater (MF) the communicative
works (DH)
and theater
(Kanae Ushiro,
modified use of video games
framework conditions at Brucknerhaus?
(Sybille Hauert, D. Reichmuth)
within information technology guidelines of theater could
interactive narration
interaction (1996/P55)
go-programs
works that don't
Takashi Morimoto)
cf.:
Maschinen,
Medien,
Performances
–
Theater
an
der
Schnittstelle
media performance
(ML) liveness should also be retained
(Stadtwerkstatt)
Costs of one-off performances?)
(2003/F41/P104)
and telecommunications
(A. Steininger)
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)
of digital technologies
(ML) a new art form is developing from
art (Weibel, Lischka) (1989/K65) domino game (2002/K415)
electronic-digital media
scenic concerts
(Stadtwerkstatt) (1997/K284)
(S. Schießl)
directly linking theater/performance
external interaction /vs/
documentation
culture and work
(ML) the technical concept of
musical play
(AH) Motor of transformation: from
cyberspace theater
networked
stage
(MF)
Autodrom Crashcourse
3rd computer chess championship
and digital media
Web scene projects
internal interaction (of modules)
and reproduction
"liveness" on the media side:
"Le système du monde"
are a unit
at the theatrical level the mixed reality performance
modernism to postmodernism
(1980/K177)
(Heiner Goebbels)
(2001/K354)
(1979/K05)
interaction in real time
motoric electronics:
playing figures in
All Play (Cinematrix) – audience participation
constitutes a continuous feeling of tension between
(1982/K25)
scenic concert with
(1998/II-K267)
E.
Said:
The
new
electronics
...
live
demonstrations
transmitting
live
(AH)
new
forms
of
(G.
Squad,
M.
Chalcraft,
Re-establishment of an equal balance
(Gérard Pistillo) !!
(Loren & Rachel Carpenter) (1994/II-K102/P105) virtual worlds
the actuality and virtuality of the networked stages
MIDI
instruments
theater
performance
could
pose
a
greater
threat
to
independence
than
colonialism.
(1979/K03)
events
scenic
interaction
Anette
Schäfer)
Summer
Academy
–
Hellerau
1999:
experiment of a
between the cultural and the commercial
(1990/K-I-88)
(1999/J395)
concept of live electronics
culture-critical
(1988/K121)
(1997/K333)
The
new
media
are
strong
enough
to
penetrate
deeper
into
medium
of
TV
(1989/K87)
(PW)
Theater and New Media
InfoWar takes place in the
Cultural Ecology
field (2002/K52)
(1980/K52)
(Isabella Bordoni,
"receiver" cultures than was possible for any previous manifestation perspektive
simulation of a story
(1989/K154)
(ML) the media do not touch
sphere of new cultural
(Andruid Kerne)
(MF) exploring theater itself
net culture
(1998/II-K256)
(2000/K19)
R. P. Dalò, G. Pensili)
(AH) more complex forms of staging
of western technology.
from a Japanese
(Stadtwerkstatt)
the liveness of theater
techniques (1998/K23)
(1996/P104)
inter-art project
Literature:
as an apparatus
For the cultural programmer the
and dramaturgy
(ML) With the emphasis on the performative,
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/P124)
not only is a new, generally acknowledged order
(1999/K380)
use of music computer
(2002/P118)
Presence shifted to spheres
performance theater
(MF) Are media
as desired context
Theorien von Brecht bis Baudrillard
threat than the channel zapper
(2001/K20)
established, but transformation itself becomes the new
performance software
Cultural impact – as criterion
outside
the
art
world
(2001/K12)
theater media?
twofold
Mapping (mixed reality)
Kursbuch Neue Medien – Trends in Wirtschaft
principle
of
cultural
order
(1988/K129)
for the PRIX ARS Jury
settling into the inevitable (symposium)
software cultures links
Art as public cultural production
creates
a
complex
theatrical
Politik, Wissenschaft und Kultur / S. Bollmann
Brucknerhaus location
Context Kepler-UNI
multimedia work (1989/K87)
(cf. Ars 2004 – What Will the Future Bring in 25 Years)
cultural sciences
(2003/K229)
(Christiane Paul) (2003/K136)
(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)
and RISC (over 15 yrs. too
Internet as cultural space
Globe Theater – A history play
Computer culture
cultural
philosophy
theater
and
media
advances
to
the
key
term
for
with the opening of AEC
(1996/K72)
u. Politik, Wissenschaft und Kultur / Bollmann
LIVA/Brucknerhaus
(Cloud of Sound
ideological stereotypes of
little
cooperation
with
ars)
for robots (Adrianne Wortzel)
(1989/J20)
cultural
anthropology
Culture
is
a
market
full
of
a
culture
of
constantly
transgressing
boundaries
and
units of cultural
(organization withdrawn from
(F. Pichler)
the digital revolution
Der DatenDandy – Über Medien, New Age,
as partner for content
projects)
Not enough events/lectures in the field of
Research cooperation at AEC
(1997/K350)
(1986/K09) Symposium
Digitales
Age
Art's
claim
to
an
contradictions
(2002/K230)
dealing
with
what
is
unpredictable
and
indefinable
information
Black cultural theory
LIVA) (1999/J74)
(1996/J51)
new media outside Ars Electonica (even
Technokultur / Agentur BILWET
opening, but then little
(until 1995)
(Gene Youngblood, Larry Cuba,
(R:
Wischenbart)
unbounded future (1989/J07)
(1996/K26)
cultural studies (discourse)
hardly any support
during the year at AEC only a few projects
cooperation with the ars
Kathy Rae Huffman, Franke,
Collective Intelligence – mankind´s emerging
music orientation
knowledge society
"Information Society"
OK (and Gallery of the Province before that)
cultural history
like Intertwindness (1997/1998):
(30.6.95 Prof. Pomberger member
for media art from the
Hans Donner)
initially with Bruckner reference
world in cyberspace / Pierre Lévy
ORF
as
media
institution
(and
facilitator
Continues to stand for a
Globalization creates a
interest in certain forms of installation art
knowledge cultures
Margarete
Jahrmann,
Christa
Schneebauer)
context-aware
theories
of
the
AEC
Board
of
Directors)
The
effects
of
industrial
(machine-based)
and
postindustrial
federal
government
Prerequisites for a
Visuelle Kultur – körper räume medien /
in the fields of video, TV, radio, satellite
Pop culture building on
rhetorical project in everyday life,
neo-cultural environment
(information-based) cultural machinization, mediatization, simulation,
neo-situationsims discourse
humane information
technology (2001/K18)
Cyberspace and
Ed. Peter Mörtenböck, Helge Mooshammer
broadcasting)
(Christine
Schöpf,
Hannes
Leopoldseder)
as exaggeration, misconception
(2002/K81)
Context Art University
synthetics, semiosis, artificial reality, withdrawal of being, etc. (PW)
Media professorship first in
postmodernism discourse
society (1997/K210)
humanities only as
Lentos will only start including
cyberculture
and underestimation
Das Medium ist Massage / Marshall McLuhan,
(1992/K10)
No risk capital to finance art
(cooperation with other universities
2003/2004 (Sommerer)
(P.
Fleissner)
MediaMOO
as
multicultural
Since 1996 the Ars is managed
"minor" services
(1998/K21)
contemporary media beginning
Quentin Fiore
in conjunction with Ars)
re-engineering of
light works (W. Cooper)
chaos (1995/K139)
"single-handedly".
in 2004
see also: identity view
(PW) Psycho-Techne,
(1996/P15)
cultural systems
AEC as carrier of
2004 will be a key year –
Mechatronikum (Prof. Pichler)
protheses civilization
The AEC is intended to be a prototype
missing gallery
obligation to program
AEC ended up with too
ArchiMedia-Institute (proximity to AEC)
ORF withdraws from PRIX –
cultural competence
Media Linz (Hattinger), Scene Center (Feuerstein)
Defining the position of
Ars Electronica Futurlab
(1994/K24)
Design Centers (1994)
Media Era (DM)
(DDDr. Schwendter) of this kind of site of a new digital
context
The future of AEC & ARS is to be designed (exhibitions in conjunction with ars)
little
space
(1996/J46)
as further ideas of content for AEC location
"Electronic Culture" (2003/F38)
(in-house products)
phase of culture (Leopoldseder)
due to electronic or digital
in terms of structure and personnel.
(1984) (1989/J163)
(including Christian Möller)
(compare Paderborn or ZKM)
(1996/J33)
Magnet (print and web magazine)
media, among others
film, video, TV (I)
(1970/T) AEG/Teldec/Decca put the
first image record on the market
(1971/T) U-Matic as the first
cassette video system in the world
Improvisation Technologies. A Tool for
the Analytical Dance Eye (coproduction
with William Forsythe) (2003/K311)
(1995) project by M. Saup for Forsythe
27 filmic view
1979
view of animation
1970s
1986/87/88/...
1982
28 performativity as view
performance view (I)
1987
performative installations
Ars: Performativity
as Mediality
29 socio-logical view
societal view
cybernetic view
computer animation /
visual effects
anthropological view /
ethnological view
25 systemic view
26 temporal view
formal view
view of the score
script view
theological view
Ars: Performance – mixed reality
1984
ritual view
1979-82
movement view / dynamic
27 process view
view of the act
simulation view
2004
1960/70s
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 sensation
31 view of metamorphosis
art as real-time event
magical view
transformation view
30 therapeutic view
trash view
1989
view of handicaps
art as energy flow
art as act
art as action
art as performance
art as broadcast
ars: on handicaps
voice view
1994
31 orality view
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
art as therapy
competitive view
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 TechnoFuture
situation view (Linz)
01 culture-theoretical view
01 contextual view
art as location factor
art as culture
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
perception theory of
architecture
phenomenology of
perception
location research
theory of urban locations
architectural theory / arch. discourse
25 spatial view
view of places
geographical view
see also: cartographic view
art as form of space –
from multimedia space
to multimedia terminal
(1989/J26)
hyperbolic space
(Dana S. Scott) (1992/P60)
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
InFormation – 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
Is there a place in cyberspace?
(John Perry Barlow)
(1995/K130) video images represented spatially
along a GPS track (Masaki Fujihata)
Location(2001/K74)
GPS
based games
(2002/P38)
geographical
(itsalive)
issues
24 structural/structuring view
topological view
view of layering
sound-space installation
(Bernhard Leitner)
(1982/K159)
the seeing ear
Sound space motion system
(1993/K254) !!! (F. Paschke)
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
space simulator
(1982/K213)
see also:
view of transformation /
formal view /
system view
A. Shulgin (1997/P100)
Form Art
(James McCartney)
(2003/F11)
Composer; author of the
object oriented synthesis
language "SuperColider"
tectonic view
code view
view of mathematics
view of informatics
Literature:
alt.culture – an a-to-z guide to the ´90sunderground, 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
IdN international designers network 2003/10/2
flights of fancy
IdN 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 McNabb,
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 DeMarinis, Rose Dodd & Stephen Connolly, John Duncan &
Francisco López, Bernhard Günter, Richard Hawtin, Zbigniew Karkowski & Masami Akita,
Andi Toma & Jan S. Werner, Terre Thaemlitz,Thomas McIntosh & 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: bLectum from bLechdom, Ryoji Ikeda, Markus Popp, Ted Apel, Aeron Bergman &
Alejandra Salinas, Richard Chartier, Louis Duford, Orm Finnendahl, John Hudak, kid606,
J Lesser, Mille Plateaux, Pan sonic, Janek Schaefer, Tigerbeat6
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 McSherry, 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 MacKay, Stewart McSherry, 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 McCluskey, 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 McElwee, 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/K16)
simulated spaces (VR)
free sounds – open spaces
(2003/K12)
(for interior spaces)
(DM) With the technicization of the aesthetic and
view of signs (1)
American military machine
(1987) (1989/J28)
VR journey in a caravan with situative
the increasing spread of technical reproduction
data space
student crushed
power theories
(P. Virilio) (2002/K240)
feeds (P. d´Agostino) (1995/P114)
information spaces
the
view
of
informatics
is
media, the history of media flows into a history
(R. Ascott) (1993/P08)
by tank in
triangular navigation
the world of protocols
power discourse (with Foucault)
Bernard Cache
(1990/II-K36)
the
first
"totally
electronic
distributed
throughout
of mathematicization (cf. Kittler)
Tian-An-Men Platz
(Cécile Le Prado)
Objectile (2003/P93)
and formats
organizational theory
war"
(P.
Virilio)
(1996/P35)
data
space
placemaking
cyberspace
several
sectors
(1996/P190)
(1997/K347)
discourse of institutional criticism
Pixelspaces Mixed Reality: overlapping
(A.
Lamorlette)
obsession
with
structure
(1984/K188) acoustic
illusionary spaces
cultural manager debate
the data space with the
programming languages
(Virilio) ... I reject the notion of the
(Franke) discovery of
(Eric
Loyer)
(1999/P40)
space simulation systems
(Ruth Schnell) (1989)
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
for my departure from semantics,
in art
Liquid Space (1999/K433)
uses and impacts of new
conversion
problems
(Olia Lialina)
A
colossal
change
of
power
has
see
also:
energetic
view
performative
concepts
of
expanded
(Joshua Davis)
semiotics and semiology.
(W. Jauk, H. Ranzenbacher)
technologies
(1999/K403)
been taking place recently
space (Dietmar Offenhuber)
see also: historical view
digital poetry
image spaces (DM)
(2001/P42) CODE diary
(1998/II-K219) the
semioticization (AH)
(1994/K206) (Howard Rheingold)
America
as
(Waltraut
Cooper)
(Virilio) we now notice the
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/K330)
Ubiquity(omnipresence) (AH)
space artists of the interface
(1996/K355) (Jocelyn Robert)
does not lead through the cardinal paths
CODE
(1989/K142) (Robert Adrian X)
another
source
of
power
is
the
convergence
(Arthur Kroker)
images of power (P. Weibel)
ubiquitous computer (1999/P60)
eGovernment
of semiotics or hermeneutics ...
report on project from 1981
of all other media into a single digital
(1990/II-K264)
(T. Munzner, S. Levy)
CODE = ART
electronic colonialism
eDemocracy (2004)
basic modalities of space
medium
(1994/K209)
(DM) Computer: its formalism works with
The meaning of CODE (symposium)
differential topology
(1988/K247)
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/P164)
(2003/F10)
(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/K25)
(Jeffrey
Shaw)
ascii
art
(1996/K36)
corporate
connections
negated
"semiotic machine" ...
(1990/II-K265,K271)
of electronic developments
globalization is just a
transcending
(1994/K213)
(Saskia Sassen)
bar
code
as
interface
(1990/II-K320)
(2003/K227)
(2002/K373/P48)
space (A. D´Urbano)
diagrammatic analysis
(DG) Transferred to human brainware ... (?)
Bar code hotel
synonym for neospace
(Perry Hoberman)
(Josh On)
(1994/II-K46)
(AH)
from
hegemony
Carnivore
as
communication,
of
power
structures
sphericalCAVE:
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-K54)
(2002/K1204)
(K. Becker, W. Zinggl)
(AH) from totality to
(Mesias Maiguashca)
conveying an
Improvisation, Sport &
variation
of
the
(Lucien
Sfez)
view from an
networks
can
only
be
(1979/K26)
the
sound
of
chaos
(1995/K25) (Virilo)
(time´s up)
(1993/K205) (1996/K219)
particularity
Tamas Walicky developed
(1990/K-I-79)
Transponder
(PV)
Evolution (Jon Rose)
infamous
(1995/K398)
airship
fought
with
networks
(B.
Steritberg,
K.
Balzer)
incredible
injunction against web site
Chaos & Order
(2000/K302)
alternative perspective
electronic handcuffs
(1996/K94)
FBI-SW DCS1000
(1990/K-I-35)
CAVE outside
(2003/P75) (etoy)
the theme of the fractals was "exploited"
Object-oriented hypertext systems
sense of space (Hiroo Iwata)
Ground Truth (1999/J431)
RoboCup
the
structure
of
the
Internet
systems (program to convey
(2002/K358) (A.R. Galloway)
(2001/F32/P107) 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/F37)
The
battle
for
the
control
of
code
CAVE
protocol
and
counter-protocol
Universal
Product
other spatial experiences) (ML)
Teleklettergarten
(F.O.K)
media theory
(2002/P030)
time (1996/J15)
(in collaboration with the ars electronica Linz)
Cracker
is a battle for freedom
slacker luddites
(A.
Galloway,
Eugene
Thacker)
Code
(Barcode)
(Mario
Purkathofer)
(2003/K384)
pop theory / pop-theoret. discourse
virtual
digitale
coding
space communicated through media
world
rogues
(2003/K42) (Howard Rheingold)
Visualization of
(critical art ensemble)
(2003/K60)
Every medium is (always)
Hacktivism
The World of Numbers
flying
High & Low discourse
(Mixed-Reality-Architektur)
superpower (1999/K217)
(AH) due to the inclusion of the body
(1995/K142)
(1999/J300)
architecture projects
Infowar
(1998)
already rooted in
(Golan Levin)
overestimation of the digital – digital art
an event chaos of art,
technoculture discourse
publication of
Cyber-Terrorist (PV)
cyberclasm
practiced
by
interactive
systems,
the
in the CAVE
information
(2003/P42)
grammar of space
use of virtual spaces for
power (DM)
(with Flusser, Weibel, ...) ... "turning everything into pixels"
science, magic
(1996/K259)
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-K47)
force far beyond the paradigmatic
digitally produced for years
E-Sport
(Saskia Sassen)
"pop fears" of the
(Blanchard u.a.) (1990/II-K190)
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
the power of
Digital Sport
(1995/K186)
Suck
my
code,
ars
organizers
(and
(1991) Gulf War
The topic now seems to be covered by the Art University due to
programs
Lotte Schreiber)
fun debate
(Tammy Knipp)
in relation to
in the (re-) production of
Cyber-Athletics
media
agencies
war
zones
in
former
Yugoslavia
General!
Prix jury members)
the first "totally electronic war"
the DOM Institute. suggested cooperation: DOM, ArchitekturForum,
(DM) the location of sound
(2003/K398)
(1998/K216)
command
and
ontology of the event
images
(2001/K215)
Tangible
CODE
(symposium)
(Mailbox:
Bionic
in
Zerberus)
The cyberspaces of
(1996/K189)
(Paul Virilio) (1991/P06)
AEC, ars => arsARCH +
Genetische
of the musical, is the
REUTERS (1995/K297)
control has long been (Rena Tangens)
pop culture building on
sociology (Bourdieu) (Mauss)
finance, for instance,
(2003/F12)
Telezone: An architecture
competition-oriented
perfect
example
of
simulation
Algorithmen
performative
SDS3 Small Dish Satellite
a weak point of
technology (2001/K18)(right)
Control Society
(1995/K61)
New Subjectivism
are the spaces where
for net architecture
computer
games
generative approaches
overestimation of chance (1999/K29)
(J.
Baudrillard)
DJ-Culture
(90er)
see
also:
view
of
playing
(for receiving data)
centralized,
(1990/K-I-59) (Iannis Xenakis)
(1997/K343)
Towards a Society of Control?
music box for
profit is produced and
(futurelab) (1999/K362)
privatism debate
mathematicization of
(2001/K215)
(2003/K227)
and entropy
(1993/P22) (M. Tolson)
MS hate page
offers for currency traders
electrolobby
(2)
(1997/F43) architecture project realized
hierarchical
Musicians
who
use
computers
are
prize-winners came from the
(c. Jerez, J. Iges)
(O.L. Tremetzberger) (2003/K54)
cover versions
power is founded.
(Ken Goldberg)
architectonic space
(C. J. Mutter)
world of games
E-Sport:
in game software (A. Jalsovec,
structures.
(2001/K192)
generally
theoretical
cripples,
especially
non-university area for the first time
(linking structure)
Firewall
correspondences between
(Steve Mann) (1997/K218)
(1995/K186)
(E. Berger, V. Christian,
Cyberpunk
(1994/K11)
film about a formula
(1995/P90) revealing the tools of the
Gaming goes
P. Reichart, G. Rossbacher)
in terms of ideas of mathematics,
Digital Culture
(1999/K371)
(MESO)
the development of music
high-speed surveillance
P. Purgathofer) (2000/P36)
(Steve Mann)
(newest direction of
(Thorsten Fleisch)
generative art
(1998/II-K84)
Firewall
and
Colophony
Circuit
Pro
(2001/F14)
physics and acoustics.
freestyle
secret services (A.R. Galloway)
& Lifestyle
and mathematics
superhighways
(1999/J420) (1997/P94)
micro-videokamera (PV)
virtual tour of planned
science fiction literature)
(2003/P154)
Information
Frontier
(Electric
Indigo,
virtual
architecture
(PW)
structures
of
(AH) virtual worlds and hypertext
rock mass by
(Tina Cassani,
(Iannis Xenakis)
(1997/K144/K217)
architecture
(Elisa Rose, Gary Danner) Mia Zabelka)
Generative
Tools
generativity
program
(DG)
Separations
into categories of serious
(1994/K08)
highlight the labyrinthine character
Eela Craig (1978) sound systems
(1998/II-K71) an essential tool in the
Bruno Beusch)
(1990/K-I-74)
(1990/II-K251)
(1989/K124)
(2003/K336)
Darwinism
and entertainment or high and low culture lead
(Involving
Systems,
public
spaces
under
surveillance
of the world and the texts
(1979/K02)
information
war
consists
of
corrupting
Can
software
(2003/K345)
(1996/K180,K210)
architectonic storytelling
parametrimizable art/design
(Peter Weibel)
to an unproductive dead end //
MESO)
Screen savers (2003/K227)
Symposium
(London)
information
invisible surveillance technique
itself be art?
Chipkarte im AEC
(1994/K147) (Herman Verkerk)
Housetool (1997)
386x – cyberpunk rock band
(1990/II-K13)
complexity and quality can be found
electronic
Emergency
Broadcast
(1999/F24) (Lynn Hershman) (light dome) (Marie Sester)
Code:
there
are
no
ambiguities,
(2001/K375)
(Monotonik)
Youth Marketing
(2003/K13)
(1996/J15)
demolition variations
(Alexej Shulgin) (2003/K337)
in every area
Don´t panic! Hack it!
pop culture
surveillance techniques
architects losing ground in the
Network (Robert Deacon)
(2003/F41/P120)
multi-user sculpture:
smart
card
dynamic
architecture
no
hidden
meanings
(2003/K36)
Beta
Lounge
(2000/K348)
(2001/K193)
It
seems
that
we
always
include
a
relation
(MEGO)
(1998/K49)
(1998/II-K157)
shadow of image-engineers
(1996/K316)
surveillance, voyeurism
installation (2001/K308)
(electronic
Intelligent / Ambient Techno
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/K281) (M. Shamiyeh)
crypto-controversies surveillance
stage technology (underground resistance, Station Rose, extent – Rave parties enable
(2002/P165)
(Simon Penny) It should not go unmentioned
(ESCAPE*spHERE)
live music)
means (DM)
Contracts with HW and SW
Information.Macht.Krieg (essays)
informatics in conjunction with the ars
(1979/K31)
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/K265)
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-K126)
globalization discourse
the independent scene ("the
(J. Arqilla & D. Ronfeldt, G.J. Stein, S. Weiguang,
available (in Austria).
(1979/K32)
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-K13) using "Augmented
(Melita Zajc)
sponsored ...")
C.H. Gray, Ute Bernhardt, M. Geyer, B. Richard,
(2003/K225)
to "Diffusion" jockeys (1999/K380) (DJ Spooky)
economy as discourse (Foucault)
master/slave, general/soldier, boss/
from the pop field
tapeziert sind
Reality" (to enhance sensory
(1995/K68)
M DeLanda, J. doyne Farmer, M. Müller & W. Wagner,
office design
code art – code poetry
extreme scratching
(2003/F23)
(game rules of art)
music, video and games culture
(PV) mass
worker ... are repeated and reinforced.
Interface
design
(cf.
below)
(1995/K26) (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/K194)
cyber-capitalism
a
roaming
command
center
G. Lovink, P. Riemens, RTMARK, R. Adrian, P. Garrin,
(1979/32)
Laurie Anderson
Typodesign (cf. below)
music cuts (Involving Systems)
deep antipathy
(1996/K212)
Aural Screenshots
T. Druckrey, F. Kittler)
post-symbolic
(1995/K384)
(1998/II-K25) VR systems for
Exercising power in an installation (D. Rokeby)
Cybersquatting
towards
(2003/P66)
(Fadi
Dorninger)
electronics – popularization
discovery
of
the
show
as
electrotecture
online
catalogue (Rossbacher)
communication
simulation and training purposes
I found out that the user's feeling of being able to
(Domain Spekulation)
Micro-DJ lectures
pop culture building on
popular
artificial
(1995/K365)
CyberWar, NetWar, knowledge war, info-tech,
of art (1979/K20)
(1999/K403)
an absolute art form –
(1994/K80)
(Jaron Lanier)
exercise
power
grew,
as
soon
as
I
reduced
the
number
(Kodwo
Eshun)
culture
villains
simulated
electronic
technologyr
PsyOps, popular information war, robot soldiers,
Tele-buyers (PV)
(1990/II-K186)
The paranoid rationality of the
communication and entertainment
(boombox) (2000/K354)
of the dimensions of interaction.
(2000/F19)
see also: view of
(2000/
as mail traffic
remote electronic control battle systems (REC),
Telekiosking
architecture
Gulf Massacre (Les Levidow)
(1989/K125)
Telebanking
und
including
Ambient,
DJ-Culture,
P194)
(LAN)
designing gestures
Tronic
Artcore
Event
robotic
war,
net
war
techniques
(PV)
The
control
music
video
for
Fuckhead
(1995/P160)
(1994/K139)
as medium
(1995/K80) cf. (2003)
(Station Rose)
Drum & Bass, Techno, ....
Teleshopping
(K. Becker, J. Hennrich,
(1998/II-K) cybernetic war, information war
(1998/II-K15) electronically
society predicted
(Violet Suk, Martin Koch)
(1994/K61)
Electronic Orientalism
(Elisa Rose, Gary Danner)
Performance software for
(1999/K371)
B2B-trade (2002/K49)
(1994/K07)
M. Retschitzegger,
(1998/K42)
induced blindness and paralysis
by Deleuze
Architecture as the art of the
Point of Sale
High-Tech Barbarism
Digital-Arabesque-Lightshow
see also: view of clothing
Festival A/V-Collision (2003/Graz)
visualizing any musical
virtual department
Leo Schatzl)
see also:
next millennium?
(1998/II-K157)
Point of Information
Deleuze: smooth & striated (fold & discrete units) /
(wars, weapons, media
devoted to the relationship of
digital money
parameters
AfroElectro-Genres
(1995/K388)
stores
(2)
view of unboundedness
(1994/K35)
information technology (Lynn Hershman)
Teleshopping
wave and particle / field and particle / analog and digital
visuals and music
(MESO)
TRON-House: completely
(Bernhard Vief)
Sub´tronic ´96
(2002/K116)
Bugrace99
(Stadtwerkstatt)
Body scanned architecture
Why is virtual reality always
view of atmospheres
webmall
as weapon
(1996/J18)
track & phase
possibilities of achieving
(1995/P120)
(Fritz Fitzke, Pan Sonic, Sofa 23,
Leader function among
CyberCash
Sub´bass, Sub´harmonics,
computerized house
(1999/K339) sport event
(1998/II-K230)
(Venedig 1995)
imagined in terms of space,
light view
HipHop Worldwide
Art Com Electronic Network
Tina Frank (with Mego))
continuous income as a
festival events
electronic wallet
Sub´culture, Sub´stance,
(1994/K131)
1
Jul.
95:
appointment
of
media
ownership in cyberspace when time is the only remaining
Interactive Home
(Ruth Schnell, Gideon May,
view of change
(2002/F022)
ACEN (1986) (1989/K129/K131)
Inter-disciplinarity
Instead of the disco ball: computer
(2003/P12)
(1997/K176)
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/K190)
transformation
view
virtual
shopping
street
from
digital
thinking
graphics, high-tech
Inter-media
(1996/K318) (F. Dorninger)
Kurzweil
TRON hyperintelligent building
director of the AEC Betriebsgesellschaft
(1990/II-K208) B2B
21,000 works
electronic
shopping
view
of
economic takeover
to field theory (Itsuo Sakane)
animations
The future of Austria –
Inter-activity
(1994/K134)
system architecture
(1996/J15)
C2B
soap performance
submitted
Design office for digital staging
view of
hypermedia mall
(1997/K370)
ars electronica
administration
living
in
the
year
2019
(1999/J83)
information architecture
Inter-net
B2C
(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/K281)
(1999/K398)
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/P102) (R. Strickland)
overhead VJ(Jutta Schmiederer) view of
(Jungk,
Franke,
Schwendter,
(RTMark)
of public space
Online shopping
sniper's camera
(MF) Neither reductive abstraction nor
Direct television democracy
hyperreal property ownership
(2003/Q14)
increasing the intelligence of
museum of the future AEC
design, technology and games)
projections
et al.
architecture
Zemanek)
Cybermoney
(1995/K182)
computer kitsch
tele shopping (2) system (C. McGrail) (Bruce Sterling)
(Paul Garrin)
decypherable symbolism "apply to" or
state
(1990/I-K159)
the artificial environment (PW)
AEC
domicile generator
(2001/F36)
(D. Rokeby)
translate the phenomenon of "interactivity",
(1990/II-K228)(1999/J114)
administration
(1994/K06)
future research
Container projects:
DMCA Digital Millenium
"discrete" art works
festival culture
(Walczak, Wattenberg,
penetration of the media into
(1997/K97/K258)
i.e. a mutual inter-relation of man and
(Virilio) I wonder whether there is not an
(1986) Container-City implanting artificial intelligence
Copyright Act (2001/K212)
Feinberg) (2001/K288)
through microtechnology
urban
space
(1994/K157)
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
C3 Center Budapest
Copy protection and digital
complex
media
machines
GPS,
GSM
and
field
book/PDA
(1984/K371)
be seen and/or tactilly experienced.
with the trading program during the Wall
control for
Symposium „Intelligent Building“
Theories of the public sphere
(2001/K299)
rights management
political view
Ulli A. Rützel (first Ars)
endophysics emerged from
the house as site of
New-style conference for the
V2 Lab Rotterdam
Street stockmarket crash, reveals an
bridge lighting
DigiCash
game industry
(1989/Karlsruhe) (with V. Flusser)
(1989/J12)
view of action
(FF) For artists it has not been easy to
chaos theory
intermedia activity (PW)
art history
digital generation (2001/K192)
(2001/K299)
acceleration
of
the
transactions
that
no
longer
Worlds
Within
(K.
Dudesek,
Van
Gogh
TV)
license
piracy
(2001/K25)
(MESO)
(D.
Chaum)
as
multi-billion
buildings were previously inanimate
Media Lab Helsinki
AEC: ... once again,
field concepts
gain access to modern networks, which
(Otto Rössler) (1992/K09,K56)
(1994/K16)
of the Net (DH) view of art theory
take
place
in
the
time
of
the
stockmarket
Multi-User-Domain
–
a
public
Napster
(1995/P86)
dollar
market
machines (1994/K17)
(1997/K153)
electronic fields
something has been created
(Andrew M. McKenzie)
are reserved primarily for the military, the
(1999/J244)
cyberarchitecture
traders, but rather in that of the machines.
electronic place (1996/K376)
AEC as digital
(2001/K19)
Concept for the ZKM Karlsruhe
that is unparalleled throughout
(John Warnock)
Thesaurus on media art (Oliver Grau)
(1990/K-I-105)
banks and industrial corporations.
Event City, Pandora's
....
Disaster
of
every
general
interactivity.
event
view
II
decided in 1988
media center
symposium "Architecture &
the world
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
Intelligent Ambients
(experience view)
(Klotz as founding director)
(1996/J41)
electron. Media" (1994/II-08)
(1996/J58) (Franke)
(2003/F11)
(1989/J203)
response to the impending
(Hou Hanru)
street
musician
marketplace
has
now
been
assumed
by
education
cultural history studies
1968 world expo in London:
(1989/J194)
"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/K181)
the invention of VisiCalc
(2002/K325)
feasibility assessment for Ars themes
(1997/P80)
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/P10)
(1995/K138)
in 1976 Cedric Price
ART+COM Berlin
(1989/J16)
Hoch) (1999/K359)
(2000/P08)
philosophy/theory of collecting
reacting
Imagina
(France)
real
market
for
PCs
entertainment
–
binary notations
Nano-Computer
(1999/K414) (Stocker)
REUTERS
already designed the project
(founded 1988)
bypass solutions
pavilion
memory discourse
(1994/K210)
living map –
Digital effects (in film), themselves
on a digital
(1992/K08)
20 years of ars electronica (AH) Interactive media art is difficult to
(1995/K298)
s.l.
Computer/Software
trade
fairs
AEC
was
set
Symposium
"Generator",
in
which
the
(1989/J195)
ISEA Int. Symp on Electronic Art
(1989/K218)
Information technologies currently
memory theories
analog: atmospheric, field-oriented
up-to-date facts
presented artistically (2002/P119)
architecture
would
naturally
be
a
reason
assign
to
the
conventional
categories
SDS3 Small Dish Satellite
up
with
building
constantly
changes
for
providing
ideas
AEC
conception
Map of the market
(Regina Cornwell)
still prevail by rather unimaginatively
(S. Wilson)
"end of history" discourse
(see left)
(1994/K150)
for
an
archeology
of
the
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/P106)
(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/K30)
(1999/P54)
(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
CAAD computer aided
the world of the interstice
implemented ?)
Research Institute (Kyote)
(Stocker) (1996/J52)
(1996/P16)
printing buildings
art to the category of "art" or of "game"
J. Parisi, Gordon Pask, R. Rosen,
(1996/J54) (Stocker)
Space Laboratory
(1992/T)
Multimediale
1
at
ZKM
and
information
technologies
on
architectural design
(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,
(1994/K145)
the problem of the lack of
design (Peter Zec)
(1994/K144)
(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/K285)
Andreas
K.E. Drexler, Jane E. Frommer
(03.1992/T) project ideas for AUO (AEC proposal
CAVE-cavern
digital
design
historical distance (DH)
(1979/K31)
categories
(1979/K03)
gov't. 10%) (workplace: Christa Sommerer,
see
also:
theater
view
and
identity
view
up-to-date (1989/J33)
Broeckmann
(DG) Why OR and not AND ?
from Leopoldseder, ORF director)
diagrammatical
(P. Kogler,
(Kay
Friedrichs)
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
F. Pomassl)
(1994/K177)
(AH) Interactive media art
car body has depended significantly
Experience-Designer
(1996/J121)
recruiting agency
material (1994/K58)
(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)
(1999/K367)
significant impact on product design
as "entertainment pieces ?
on software.
(2001/K20)
event culture
point of fun
Research areas: Human Interface,
(AH) In 1952 Ben F. Lapowsky first mentioned
economy of
for artists
still not a recognized part of the art historical
(1998/P20)
use of technology
the possible future of
and in other artistic fields. (1989/J16)
Speech
Recognition,
Voice
Recognition,
graphical
images
generated
from
the
interaction
attention
(Irational)
canon
(PV) With this kind of mutable
V2_Organisation
Art occupying territory in the domains of technology
(1997/T) Opening of the Media Art Museum
(see supplementary observations)
architecture (M. Fujihata,
experimental
Entertainment-Architekten
Info/Edu-tainment
Will all arts be transformed into design in the
"Cloud of Sound" since
Speech
Translation,
Radio
Optics,
between
a
cathode
ray
oscillograph
and
a
(1996/K230)
(1999/K401)
wall (opaque wall screen), the
and its fields of business (?) (2001/K19)
at ZKM
Kei´Ichi Irie) (1994/K121)
(2001/K281) (M. Shamiyeh)
(2001/K295)
entertainment
age of information technology? (Zec)
the
first
Ars
(1979)
Virtual
Reality
cathode
ray
tube
outside can be turned into 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
inside and the inside 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
(Nam
June
Paik)
(Steve Mann) (1997/K219)
entertainment
(Ranzenbacher)
(2001/K258)
outside
(2003/P54)(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
everyone
Abstraction
now
(2003
Vienna)
Questioning the concept of the
PlayZone
computers
(1989/K87)
(H.
Hörtner)
(2001/K294)
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
(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/P36)
computer and IT industry?
Biennales of Kwangju, Lyon, Nagoya
Even for someone who has been a
households can state
event culture
culture)
(2001/K221)
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/P22) (Stocker)
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
(Stahl Stenslie)
research is practicable and feasible (DG)
at ICC for one year
(1989/J40)
(2001/K289) (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:
InterCommunication
Center
Design
Noir
–
sculptural architecture ...
(1994/K77)
celebration culture
character at all (1989/J180)
Bodytainment
NeoGeo
inherent secret: ... how it invariably
(SW: Open TV)
intelligent toiletts", "intelligent
the secret life of
(Otto Piene) (1980/K96)
experience engineering (MEGO, Involving Systems) projection (TV Studio)
(2000/K216)
(editor
of
ART)
Media
history
instead
of
art
history?
online
(FF) The age of representation is followed, as
manages to find and attract the main
earth rays – electron rays
(media highway)
lightswitches", H.I concentrates on
(MEGO, Involving System)
Banff Center for the Arts (Canada)
electronic objects
Radio art as
advertising and Only "OK" as reaction
Paul Virilio says, by that of "presentation".
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)
from
document
to
event
(2001)
NeoGeo
(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"
(HK) for a media
of what is new, who are always a step
(1989/K137)
being.
possibilities for
ubiquitous
(2003/K273)
Technical
history
instead
of
art
history?
electronic
arts
of architecture (1994/K143)
V. Cizkovsky, D. Dobesberger, L. Dobusch,
MIT – image databases
(1989/K278)
create objects, it does not work on concrete forms,
gesamtkunstwerk
ahead ... (1996/J71) (Roy Ascott)
Takeover (Symposion)
advertising is affirmative
deriving continuous
computer (1994/K132)
electrolobby
(3)
–
application
history
(G. Schmitt, F. Wenz, Kurmann) Container City on the Internet
M. Falkinger, O. Frommel, D. Haider,
(1997/F51)
it addresses "space-time".
ORF – media database
It is obvious – from art
Engineers of Experience –
If advertising designers apply
Live sound portrait
(ML) technical history of
and experiments with
income
as
a
media
showroom
for
digital
culture
raster microscopes crossing through
V2_ Rotterdam C3 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?
memetic technologies on a large
of a city (1989/K304)
mankind in theater
desires
design group
(Roy Ascott) (1995/P20) A change from the art of representation
&
lifestyle
(2001/F13)
nuclear landscapes
J. Kern, W. Modera, C. Mutter, D. Offenhuber,
view of
context-driven event worlds" (Weibel)
(1997/P98)
technologies, from TV –
Der Boom von Edu- und
scale, which possible influence is
(Bill Fontana)
and performance
zu erzielen
to a culture of the manifestation holds multiple shifts:
E-brand
(1992/K80)
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
left
to
an
artist?
reception
–
negotiation
(orientation
to
action),
Web entertainment
strategies of
Spam
Soundwalking –
T. Weber, G. Stocker, u.a.
(Eva Grubinger) (1995/K245)
(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
(1996/K133)
representation – construction, hermeneutics – heuristics, tunnel vision –
agency (Moccu)
Repetition of
city as acoustic
seduction
(AH)
outside
conventional
institutional
with
the
new
telecommunication
media:
like
the
analog
techniques
of
(1997/P90)
of digital film production
(Kirk A. Woolford) (1995/P134)
(2001/F09)
bird's-eye view, content – context, object – process, survey – immersion,
(2001/K197)
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/K68)
Manhattan Timeformations
figure/ground – pattern, iconicity – bionicity(cf. embodiedness), nature –
the climate for art reflects the climate
(1989/K308)
as
Art
Deco
(2000/K359)
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/F36)
artificial life, certainty – contingency, dissolution – evolution,
of the city (1989/J07)
(Hildegard
(etoy)
(1979/32)
(singing pool) (Stadtwerkstatt)
followed by the wireless, immaterial, bodiless phase of electronic sounds
informatics institutions
scale presentations
Gallery „bitforms“
(1989/K87) (PW) The analysis of types of activity
Takeover II (symposium)
computer as tool – digital environment, observed reality –
institutional criticism discourse
Westerkamp)
and images - of video art and performance, for example - and then the
"media stage design"
(2003/K218) (Steve Sacks)
confirms this central view/direction (DG)
(1997/F021) Net.Shop as
constructed reality, paranoia – telenoia, autonomous brain – distributed
Digital culture & lifestyle in action:
curators debate
sound city? role of the ars electronica
productive intersections of
cf.: view of art studies
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
für die Stadt Linz
featuring electrolobby residents
entertainment, design, gaming,
material debate
(1979/K25)
AEC department:
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/F08)
Open Source, E- and M-business
habitat &
(AH) Should the
philosophy of difference
aura of art or culture, thus demonstrating the
TRANSIMS – in the last 3 yrs.,
(1994/K141)
(see
the
left
half
of
this
study)
Rhizome
(1999/K398)
stimulating environment,
(2001/K192)
urban planning
concept of art be
Icontown
permanent self-exhibition
Atlas Linz – analysis of the
compatibility of "two cultures". This is naturally
rhizomatics
a team around C. Barrett developed
(ART+COM)
(2001/P68)
Lifestyle
(2001/K20)
dayclubbing, informal
(1997/K12)
abandoned?
(virtual city) soundscape (1998/K120)
(Jennifer Ringley) (see below)
linked with economic interests.
Interface as landscape (D. Rokeby)
an electronic replica of the city of
being exhibited with media
Social
Entertainment
Where
is
the
new
place
of
art?
archive
of
critical
writing
media conference,
(Malina 1990)
(2000/F22)
(Bordoni, Marchesin, Paci Dalò)
valleys, in which users tend to gather
promotional
Youth Marketing
Albuquerque (investigating
WEB-CAM, homepage, TV-container, ...
Environment (2001/K205)
"Is fine art at an end?"
on media art
networked showroom
The fundamental question arises as to
Streetscape (Iori Nakai)
(well-worn paths with optimized
(AH) "crisis of the picture" in terms of its
interactions (MEGO)
traffic
patterns)
(1997/P06) (P. Virilo)
(Mark Tribe, Alex Galloway)
the global
(2001/K192)
(1999/F08) Symposium ars electronica 79-99
(2002/K265) pushing the
The
world's
first
global
art
gallery
for
the meaningfulness of an "exhibition design"
(2003/K417/P114)
operations)
(1996/K141)
center for
capability for representation
(1999/P144)
village
entertainment electronics:
(R. Ascott, E. Bannwart, H.W. Franke, W. Haupt,
envelope of the fashion show
electronic art (Ed Stastny) (1995/P72)
for this kind of "electronic centre for
visualization projects
electronic art
Archive – former
(1997/F09)
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/K01) (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/J79)
wireless devices, ...
(G. Legrady) (1994/
(Rachel de Boer, Isabella
for a complex film
museums as entertainment
Electronic Galleries
3D-visualization of
(Edouard Bannwart)
Digital cities or "Freenets" (2004)
(Robin Clark) (2002/F12)
(1997/P142) (Barminski, Lewin, Hesketh)
that doesn't even need an exhibition
P126)
Bordoni, M. Brandt, Gordon W.,
(Alain Escalle) !!
collection of Internet films
manufacturing plants
(1994/K138)
(Internet, CD-ROM, TV ...)
(1995/K180) (1994 Amsterdam)
Multimedia fashion show Designed major exhibitions, incl.
at all? (2000/K322) (openX-setting)
Huge Harry, R. Lozano-Hemmer,
(MEGO, Involving Systems)
multimedia city
(electronic galleries on the Internet)
XS4all Server (Hacktic Group)
communication and entertainment
navigation aids
Playzone in the Milleniumdome
a club's collection of music
(1997/P24)
M. Huutajat, P. Öttl, C.M. Silva,
(future lab)
(visionaries & the dispossessed (CD-ROM))
(1989/K126)
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/K129)
(since
1992:
Toshihiro
Anzai,
TRON
computer
city
ArtBase
from
Rhizome
&
(TH Darmstadt)
as supplier and gallery
M. Janssen, D. Kousbroek
International City
Digital Archive
(1996/J101)
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/K136)
Variable Media Initiative
The Happiness
(1995/K61)
(1996/P22) (Stocker)
(Berlin) the ideal
(user contributions) emulators (2001/K340)
(mailorder catalogue as exhibition - folder, Internet)
dealing with artifacts for
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
30
years
when the artwork involves experiences
space.art – an electronic
(2001/K345)
(1990/P09)
animation in conventional industry films
(digital possibilities
(1995/K254)
(2003/F38/P108)
Obereder, Pichler, Rakuschan, Wid, et al.)
(walk-in screen bunker)
using MiniCave
and contexts. It is absurd to exhibit
museum – virtual interactive
from
Hollywood
and
for
leisure
parks
thus
Computer
City
experience
(1998/II-K230)
of communication:
(1994/139)
Takeover (Symposium)
(television gallery – 1000 masterpieces)
Video monitoring service code
collections
(2003)
CD-ROMs
in
a
museum
one
does
not
go
3D
CAVE
installation
urban
development
project
(2004)
not
only
popularizes
computer
animation,
at
least
as
symposium
(1994/K93)
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/K330)
citizens) (Janko)
a multimedia city center
What will remain?
experimental gallery
selected art works
navigate image discs
deleted many news broadcasts
(R. Malina) (1995/P31)
(2003/K431)
exhibition design
of its possibilities. (PW) (1992/P42)
the museum as a
(1994/K131)
(P. Maresch)
(1996/J29)
(1994/K141)
Museum of the Future – AEC
(2001/F09)
(1995/P74)
(2001/K266)
design of the PRIX exhibitions
recorded between 1981-88
(1992/KII-06)
The
Electronic
Gallery
Linz as city of technology
(Fareed Armaly) (1994/II-K50)
laboratory
Terminal
Art
Electronic Pool
virtual city –
(Stephanie Cunningham)
how to exhibit web sites
(Frank Ogden)
(art laboratory: Max Kossatz, Oskar Obereder,
(1996/J29)
(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/K101)
F.E.
Rakuschan,
Franz
Xaver)
(1995/K271)
synthetic exhibition
(1986/K322)
surface image provides nothing more
conservation of digital art
inspection and display
(Expo CH 2002)
"meta-city" (PV)
(1986/K291)
(Gerda Lampalzer, Gerwald Rockenschaub,
"old" media (material) /vs/
(1993/P37) (David Haxton)
Symposium: what holds the city together
porting, migrating,
than a site of penetration into deepter
(Johannes Deutsch) (2001/K346)
the first museum of all
(2001/K266)
(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/P120)
Reisinger, Helmut Mark, Helmut Stadlmann,
15
years
of
Ars
Electronica
(CD
ROM)
(1995/P19)
(R.
Ascott)
the
PRIX
merely
placed
their
portfolios
on
the
homepage,
or
(1994/K70) (Mark C. Taylor) city (Toyo Ito) (1994/K84)
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/K105) (Jeffrey Shaw)
digital signature
Pangaro, Alonso,
Hubert Matt, H.R. Fricker, Jürg Meister,
(1979/K26)
Hypermedia Lexicon
wall (1996/P38) ... The result of this is no more
the perspectives of
common denominator
entertainment
(2002/K92)
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/J15)
(2001/K366)
cyber city flight –
situation (Landesgalerie)
(Jean-Marc Philippe) (1999/P28)
Santos)
Kurt Kren, Leo Schatzl, Literatur und Medien,
(1994/K155)
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 CODeDOC 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/P126)
(ART+COM)
from the flipbook to the
4 uncensored pages
K259)
Art Com Electronic Network
(John F. Simon, Annja Krautgasser, Rainer Mandl,
Fuchs, Matta Wagnest, Max Moswitzer,
presentations,
games,
wellness,
ACEN (1986) (1989/K132)
(1998/P28) (knowbotic
(1994/K94) (P. Virilio)
(1994/II-K95)
artificial/electronic noses
museum on the air
The law of the libraries:
per participant
ACEN (1986) (1989/K130)
epidemiC, 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/K249)
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/K181)
available.
Ruth Schnell, Sabine Bitter, Stoph Sauter,
(1985), inspired by Lyotard, developed
controlling
James Johnson, Judy Malloy,
(Heiko Idensen) (Mathias Krohn)
experiencable gallery (1995/P46)
(1994/K97)
computer visualization studies
and
atmospheric
design
(1996/K257)
The
other
way
International Concept
Tassilo Blittersdorf, Tin, Tristan Thönnissen,
from the design discussion about
Firefly music database //
devices
(Mark Malmberg) (1993/P64)
Stephen Moore, Sonya Rapoport,
(1990/K-I-131)
(WaxWeb, 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/K84)
computer
performance
(AH) connecting
(1998/P215)
mixing two- and threeJoe 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/P64)
(Gordon Monahan)
dimensional procedures
(1997/F45) 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/K181)
video sculptures
program and
(AH) immateriality instead of material
(1994/K108)
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/K102)
(AH) living memory –
(1989/K196)
immateriality (AH)
The visible computer
wall of building, monitor, projection wall,
(Istvan
Kantor)
secrets of the
(1993/P18)
game console as basis
(1994/157)
determined.
new work concepts:
software as material
electronic sculptures
expanded museum
water wall
vibrating crates –
(2000/K290/P94)
the materiality of new media
city (1996/K288)
of projection (2002/F043)
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/K272)
(Y. Suzuki, N. Morita)
Video-Disc
(1982/T) first digital audio 5-inch CD
because they indicate a new aesthetic, which
media works
(1998/P200)
virtual space;
hardware archaeology
(cf. Contained)
Kinetic visual sculpture
(AH) virtual and
boring
show
of
(2002/P106)
dematerialization
of
art
(1985/T) Standard for CD-ROM
no longer operates mimetically or materially,
(P. Bosch, Simone Simons)
elastic collision
artware
(1997/K307)
(Vasulka) (1992)
imitation
images
imaginary
museums
Klettergarten
(1979/K32)
(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/P35) (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/K37)
disappearance
performative media installations
(1992/K173)
programming languages as
(A. Nemeczek) (1990/P19)
(1994/K82)
deconstructed with the help of media
(1998/P220)
begins
now
with
the
invention
of
video,
(1997/T) founding of MP3.com
installation
based
(PW) viable architecture:
incomprehensible materiality
recording media
of material
material with very special
Soa(pOp)era
for
data
processing
and
holography
(2003/K228)
stop thinking only in materials
manifestations
The digitalization of art turns the
properties (2003/K180)
(AH) reaktive sculptures
Standstill of the development –
machine sculptures
Labtop-Computer
computer as material (Casey Reas)
(1994/K15)
(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/K45/K84)
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
first prototype of multimedia SW!!
by the screen in the opaque sense.
(Hovagimyan,
P.
Sinclair)
fewer
"machine
builders"
and
material properties of certain
(1996/K205)
(DM) As functions they designate something
Btx gallery (1986/K310)
(2003/K228)
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/P20)
(1982/K42)
unitM
–
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/P46)
their possibilities.
monitor installations
Physically-Based (HK) It is just one pixel next to
(2001/K325)
digital art
(1982/K47/K84)
depiction of computer-generated,
(PW) (1993/P52) Dirt finally
another. That has an entirely different
as an indication of
(also see access conditions)
SPIN (Spherical
playable
(1992/K127) (Michael Bielicky)
Modelling
floor
display
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/K05)
performance (time´s up)(2000/K302)
(F. Nake)
(Daniel
J.
Sandin)
(1996/J84)
(1999/P70)
(J.
Blank,
K.H.
Jeron)
fractal
geometry
...)
...
departure
(reaction to noise from the environment)
(1997/K311)
has always called himself a
(Symposium)
(1998/K255)
(T.
Oursler)
from the seduction of the surface,
(Sachiko Kodama, Minako Takeno)
(1997/P200)
"media sculptor"
(2003/F10)
repetition of art history
view of photography
INFLATABLES
(granular & synthesis)
Visualizations
image databases
performative deformation
from the clarity that actually
(2003/K424)
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
(2003/F29)
technical drawing
(Marius
Watz,
(1980/K29)
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/P188)
of commodity aesthetics.
(1996/K426) (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-K91)
C. Möller)
(1997/K300)
Gerda Palmetshofer,
as "sculptor of information"
on the grammar of objects
the dullest, most non-innovative
information (1997/K201)
the JumboTRON
"Trash Mirror" (Daniel Rozin)
Anonymous Muttering
typewriter graphics
traveling through 3D spaces made of
inflatable puppets
M. Subotnick,
(Fred Forest)
art form of the 80's.
(Constanze Ruhm) (Graz 1993)
(2003/K223) s.r.
(knowbotic research) (1997/P132)
(1999/P68) (Perry Hoberman)
(1979/K41)
video projections
(C. M. Silva)
Visual Codes
Workshop
(1989/K337) (Brian Reffin Smith)
Shared Physical Objects
Eidophor color TV projector
image synthesis Justin Manor,
"Wooden Mirror" (2000)
3 versions of a furnished space.
(1989/K336)
(1989/K209) (J. Shaw)
For the first time, a computer(Matt Gorbet, Magie Orth)
Sue Costabile,
(Joshua Davis)
large project.
(H. Ishii) (2001/K255)
(1979/K36) (1980/K11)
(1989/K106)
Each version is monitored by a real/virtual
SW: paint box (1986/K13)
animated fur was able to convey
(1997/K280) triangular objects can
Lia) (Bill Viola)
genetic images
(2003/F38)
Huge & Mobile
(no
boundary
between
Material-Display
synthesis images (AH)
camera and combined into one video image
a realistic tactile feeling.
be combined (each with a separate
(Ryoji Ikeda)
(1993/K401)
input and output)
Internet garbage disposal (12 fax machines)
(Jim
Campbell)
Can
image
and
diagram
"Trash
Mirror"
(Daniel
Rozin)
variability, combinatorics, aleatorics
computer-generated images (Karl Sims) ! (Ryoji Ikeda)
(2002/P116/P122) (Pete Docter)
identity)
(Sue Costabile)
(1998/P84)
stereo-lithographic
in paper form – junk mail, spam, ...
research
effect
a
drive?
(2003/K223)
music visualization (Otomo Yoshihide)
tactile interfaces
models (light-hardened
drawing machines algorithmic image algorithmic
projection techniques
(nowhere.com / Nick Philip)
(DM) Seeing something as
art of projection techniques
(2001/F20)
Computer Aided Design
car design as a new field of
panorama
images
(2003/K228)
In
tele-rendering,
both
(2003/K260)
(Sommerer)
plastic - laser exposure
(1999/P48)
image has always also
(1979/K42)
art?
sculptural
design.
(former PRIX category)
Picture Processing Methoden
(Romy
Achituv)
(2000/K401)
components of computer3D CAM/CAD)
meant seeing the mediality
Steam Screen
object design using CAD
Auto-Illustrator
shadows in simulation
interactive image
Use of software for car and
tactile
Videograms: photocopies
(1979/K17)
(2002/P94) (Crispin Jones)
gestural shadow plays
graphical image generation,
(Ayre Wachsmuth) (1993/K292)
of the medium too.
(1982/K46)
(2001/F32) (Ade Ward)
(2001/K259)
photorealistic representations
Real-time 3DIdeas, not pixels!
manipulation
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/K246) (2002/P73)
computer graphics
data-object
(1989/K221)
technical
image
from
the
indexical
to
the
separated. (SH)
(Aldo Tambellinie)
Design goes virtual (Zec)
(1999/P92) (Sommerer, Mignonneau)
and 360-degree projections
(1989/K209)
(Herbert Schager)
(M. Jahrmann)
(Timothy Binkley)
laser image projectionShadow Dream
(former PRIX)
interaktive video panorama
interactive. It becomes a sensitive field,
laser-sintering
touching images from a window
(M. Belge, R. Harrington)
(J. Shaw)
(Franke)
possibility
of
(spatially)
(1984,87,88,96,2000) (1982/K113)
(1992/K130)
(1982/K35)
see
also:
Tangible
Interface
(Luc
Courchesne)
(2002/F45/P92)
a hyper-image. (SH)
multimedia sculptress
Computer graphics were ultimately
(1996/K416)
(1986/K75)
unlimited (virtual) image spaces
Cladnyian
(Scott Sona Snibbe)
(1997/K120) (Catherine IKAM)
(FF) The aesthetics of communication does not aim to
"making" painting & music
three-dimensional
sensor-controlled
panoramas from the
characterized by being active without
(Gerhard Funk)
physically
tangible
interface
sound
figures
(1996/K414)
circular
panorama
cinema
of
the
composed
diagram-forming
produce objects, it does not work on forms,
(1997/P130)
painting (1993/P18)
video projection
19th century (2001/K340)
the influence of any theoretical
multi-projection
movement
–
images
(1979/K36)
(Hiroshi
Ishii,
Christa
Sommerer)
Science
Center
(AH)
(AH) In 1952 Ben F. Lapowsky (Laposky)
color-form interplay considerations (H.W. Franke) (1989/J37)
procedures
it addresses "space-time". (see above)
(Char Davies)
(1989/K195)
(Carbaret Voltaire)
(AH) The motto "art and life" is transformed
Omnimax-Cinema (70's)
used an analog computer and an
(1979/K10)
Analog/digital hybrids
tactile feedback through
(Ruth Schnell)
image-defining procedures
... hardly "suitable for art"
(1986/K96)
visual
music
(2001/F31) Electron. into the motto "art and technology" today.
oscillograph with a cathode tube for the first
instruments
for
(1977)
active
vibration
floor
(AH)
EVE
–
Extended
Virtual
Environment:
MIDI-controlled
butterflies
in various research fields
time in the USA to compose his
QTVR Panorama-Film
controlling rebuilt
(1992/K91)
(2001/P102) (Gerhard Eckl)
robot-aided dome projection
instant projection /
The role of computers in
special projection
Relationale
graphical music graphical improvisation
abstract
image generation
(Haruki Nishijima)
self-organization
Electronic Abstraction.
(Sanjin
Jukic)
(1998/K111)
(1979/K10/K22)
TV
sets
(1979/K10)
(Garry Hill)
Transgenic Art
(Jeffrey Shaw) "hidden panorama"
immediate replay
studying life and other
spaces
Architecture
(AH) The virtual is currently in
image scenes (1979/K10)
(Michael Saup)
interactive
animal
(AH) artificial worlds
video synthesizer
re-introduction of the picture frame (as
(1979/K31)
complex systems (1993/K35)
(Constanze Ruhm,
(R. Lozano-Hemmer)
the "painting phase", not yet the
(1979/K11)
modelling life
(1992/K246)
evolution
homosexualities
Artificial
Life
abstract
color-form
Dual
Colorizer
(1973)
from plotting to
(Artificial Reality)
(Nam June Paik, Shuya Abe)
movable window)
swarm behavior
Peter Sandbichler)
(1997/K337)
photography phase. (Boissier)
(Karl Sims)
(B. Bagemihl)
(Christopher
G.
Langton)
(1992/K89)
image
&
sound
terrarium
biology
of cognition
compositions
(1979/K10)
(1997/K356/P112)
(T.
Iwai,
R.
Sakamoto)
interactive graphics
(1979/K10) (Eric Siegel) (1992/K84)
(1997/K313) (CAVE)
hypermates and
(1994/K07)
(1994/II-K42)
(1998/P88)
Bio Art
(1992/K132)
(1993/K119) (1992/K38) (Maturana, Varela)
(2000/K103)
(1993/K25)
(Vasulka, Siegel)
(Stadtwerkstatt)
Music Plays Images x Images
(1984/K134) (H.W. Franke)
VIDIUM (Bill Hearn) (1968) (1992/K87)
Fotosafari ins Land des Krieges
postbiological life
(2002/F003/P073)
(Eduardo
Kac)
growth models for morphogenetic
cellular automata, evolution,
genetic art
(1984/K385)
Processing (2003/K201): Casey Reas, Play Music
(M. Benayoun, J-B. Barriére)
(Peter Weibel)
(2001/K125)
LifeScience-Symposium (1999/K14)
(Valie Export)
drawing on the screen
studies (Yoichiro Kawaguchi) (1989/J22)
genetic algorithms, adaptation,
(AH) The oscillograms by H. W. Franke (1956) were followed in 1960 by
previously no VR programs
media terrarium (cricket) (1990/II-K14)
Ben Fry, Amit Pitaru, Carlos Rocha,
EMS Videosizer
artifical
life
sun painting
genetic art –
biotelematics
Birgit Richard, J. Rifkin, R. Lanza, Z. Chen,
(1986,88,92,93,96)
(Richard Greene)
wetware
the first computer graphics (Kurt Alsleben, W. Fetter), which were created Hernado Barragan, Golan Levin, Lia,
yet that contain rainbows
electronic
paint
box
(1979/K10/49)
(Hoenig) (1979/K09)
artificial life (1)
M. Specter, Lori B. Andrews, D.J. Kevles,
sheep music concert
(1990/P200)
since 1965 using a digital computer in Germany (Frieder Nake, Georg
(1992/K13)
redesigning
Marius Watz, Schoenerwissen, Juha
(AH)
charged
relationship
between
transgenic
the
future
Bio Art (2)
(1979/K10)
interaktive plant growing
P. Virilio, D. de Kerckhove, D.H. Hamer,
(1993/K)
(H. Christiansen)
(2000/K391)
Nees), and the USA (Michael Noll, Kenneth C. Knowlton, B. Julesz).
butterfly
wings
Huuskonen (2003/K210)
replica
and
own
life,
artificial
and
art
(E.
Kac)
interactive graphics systems
of evolution
zoosystemic
physical ambient
Solar Music (Joe Jones) (1988/K259)
(Christa Sommerer, Mignonneau) Interactive Poetic
H. Gottweis, B. Latour, R.V. Anuradha,
(1988/K256)
(Marta de Menezes)
Symposium
"Artificial
Life"
(1993/K105)
natural
world
(Crista
Sommerer,
(1999/K296)
(1996/K26)
of nature (1982/K65)
(1989/K99)
(1993/K408)
(Shirley Shor) (2003/F31)
Eugene Thacker, M. DeLanda, G.
cognition theory
(2003/K202) LeCielEstBleu, 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/K299)
evolution theory
T.
White)
P.
Prusinkiewicz,
K.
Sims,
L.
Yeager,
electronic
fountain
art has lost its traditional monopoly
Leaves (reacting piles
(1996/K294) Genetic Manipulator
bio-robots
dependency (2002/K349)
Dorothy Nelkin, C. Tonderai Mundede,
(AH) synergetic interaction (Weibel)
environmental art
(LeCielEstBleu)
(C. Ebener, U. Winters)
techno-ecology
natural science
weather data from
F. Dietrich)
(1989/K193) (S. Pevnick)
in image production (PW)
of leaves) (A. Elsenaar)
(2000/K393)
Life
Spacies
II
E.
Kac,
G.
Von
Hagens,
K.
Stefansson,
(works that react to changes in the environment)
as event.
(2003/K241/P073)
(1998/P86)
artificial clouds
all over the world
Symposium "Gene Technology" (1993/K131)
art of the environment, like ecological sculpture,
(1991/K207)
(1994/P100)
A-Volve
sound meadow (1987/K104)
bio-informatics
K. Ammann
simulated
Reaching for the
(1980/K26)
simulated nature
(C. Henrich)
Nerve Garden (1998/P40)
bio-cybernetic research
Christian Brünner, Reinhard Löw, Lothar Müller, Helmut Ruis,
art of natural elements and SKY ART ...
environmental art
(Christina Kubisch)
(1999/K25)
plants as interface
organic surface regulation
(Gail Wight)
stars becomes a
growth
(1995/P80)
(Bruce Damer)
(SymioticA)
Horst Seidler, J. Voggenhuber, Ernst Wagner, Erwin F. Wagner)
(Otto
Piene)
(1980/K96)
Fluid
Sound
(1988)
(Karpfen-Becken)
(touching
the
leaves)
environmental
with the morphogenesis model
Operated by Art (2)
(1999/K315)
cf. weather building
physical gesture
climate converter (2002/K382)
(Oron Catts, Stuart Bunt)
flash-triggering
sculpture
digital
growth
the
body
as
pure
Sonare
Technologien
harmony
of
the
spheres
sound
(Yoichiro Kawaguchi) (1986/II-151)
(unplugged Symposion)
(1980/K23)
(1982/K58)
sky harp
(W. Jauk, H. Ranzenbacher)
(Stadtwerkstatt) (1988)
The greatest weakness of the Memesis
(2001/K144)
(1995/P118)
(P.
Grucza)
information
(1999/K27)
(Liz
Phillips)
(1989/K98)
(Joe
Davis)
(1982/K41)
interactive
sound
installation
(1990/K-I-07) (R. Maedel)
(1989/K260)
art as field work of ecological
(1992/P114) (Kristi Allik, R. Mulder)
Genetic Images
Statement lies in its awkward
(1988/K199) (1989/J153)
radio souncscape
(Sensors for localizing fish)
(David Dunn)
(Gene Genies Worldwide)
thinking, art at its limits
(Carl Sims / 1991)
biological analogies (1996/K30)
landscape simulation
Wetware (W. Maass) (2001/K153)
Technosphere
(1989/K267)
(Warren
Burt)
simulated
clouds
Telegarden
floral kitsch
(Liz Philips)
CAN: Computer Aided Nature (Reck)
Solar Music
(1999/K335)
(2002/F10)
see
also:
material
view
(dECOi) (2003/P102)
(R. Hawkes u.a.)
and air currents
interaction between a computer-controlled
simulated
(1991/K195)
(Ken Goldberg)
(Joe Jones)
(Hou Hanru, Peter Fend,
aesthetics
and
fabulous
epistemology
earthquake
(S. Spiegel) (1995/K305)
(1997/P76)
robot and gerbil (Nicholas
water currents and
Bugrace99 (Stadtwerkstatt)
(1996/K297)
greenhouse
Mark Napier, Azza El´Hassen)
of artificial life (Louis Bec)
sky art
view of the blue planet
(1997/P70)
Antarctica
–
idea
Negroponte / 1968)
wave movements
(1999/K339) sport event
(1989/J56)
(1993/K172) applied zoosemiotics
the logic of the snake communication with
with
the
aid
of
VRML
technique
(Project
Taos)
and reality
virtual creatures
evolution and growth (C. Sommer,
(sound installation)
small creatures
fractal boxes
(1996/P94)
(M.
Pesce)
aspects
of
the
original
sky
art
conference
(Louis
Bec)
(1980/K06/K23)
water machines
(1986/K381)
genetic algorithms
Is genius migrating to
creatures (D. Harada) (1993/K345)
(Peter Kogler)
L. Mignonneau, L. Bec, K. Sims,
(Erik Samakh)
(Yasushi & Hiroshi Matoba) permutational art
(Jenifer Bacon, Joe Takai)
illuminated
zones
of
the
earth
landscape
in
video
sculpture
sky
and
sea
zoosystematicians
(Christoph Steffner)
(1982/K33/K67)
(Otto Piene)
(1992/P48) (Karl Sims)
the computer?
(1993/K346)
Berndt Lintermann)
(1991/K199)
(1999/K339)
(1991/K156)
(1996/P96)
(M.
Fujihata)
(1989/K326) (Joan Brassil)
(Jürgen Claus) (1982/K75)
Institute of Paranaturalist Research
(1992/K165)
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
view of the in-between (space)
view of interior architecture
view of magnitude
financing view /
costs view / sponsors view
design view
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
view of fashion / adornment
1994 ars: digital design
ars: a case for art history after 30 years
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
view of cities and regions
21 view of the (art) market
view of advertising
art as surroundings
art as spatial experience
19 view of representation
art as field manifestation
art as program
art as mathematics
view of the exhibition
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
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.)
against an official contemporary art –
(PV) (1998) Following the acceleration of the history
(2003/K142) There is hope that a growing
(1999/K414)
informatic art is outside
Because of the enormous speed at which
for an art in keeping with the times
(HK) superficial philosophy of hope
cyber-philosophers
"Home of the Brain"
Literature:
philosopher-artists
of so-called "classical" art, we are now confronted with
awareness of the art historical "affinity"
media art has developed and spread in
modern era of information the realm of the formal
(Fred
Forest)
(1995/K164)
(Agentur Bilwet)
mental edifice of the four
Philosophien der neuen Technologien / Merve
the acceleration of the reality of so-called "contemporary"
between concept art and software art will
bourgeois concept of art
recent years, it is urgently necessary to
the blindness of
polycontexturality
(1990/II-K91)
media scholars Flusser, Virilio, Minsky,
philosophical and artistic
And what is art about it?
Cf. (art) historical view
art and the emergence of topical art, which seems to aspire
lead to a greater acceptance of media art
(1997/K383) (Ranzenbacher) resume and extend these fundamental
Im Netz der Systeme / Merve
view of art history
(on: Gotthard Günther)
Weizenbaum (Monika Fleischmann)
art history studies
orientation of the Ars through
(Beusch, Cassani) (1999/K417)
New art theory
to resist the imminent breakthrough of a virtual art in the
in the field of contemporary art.
discourses about a contemporary
view of the philosophy of art
Geist, Hirn und Wissenschaft / John R. Searle
art theory
multivalent logic
(Wolfgang Strauss)
P. Weibel (1996/J38) (Leopoldseder)
age of cyberculture. (cf. Take over)
(Christiane Paul)
media art theory. (Stocker) (2003/K13)
Against idiocy in
praise for the parasites
necessary?
In 1995 Hans Belting noted for the areas of
The Renaissance Computer – Knowledge
(DM) Art without media would be as much
philosophy
(Peter
Weibel)
media
theory
as
art
theory
technomorphology
The ARS has unfortunately contributed
electronic art (against
(F. Rötzer on M. Serres)
video and installation: Art history, as the official
Why should art and philosophy
for a digital renaissance
technology in the first age of print
a contradicto in adjecto as a language
(1990/II-K23)
proposal
for
a
analytical
philosophy
(1997/K18)
little to this over the years (DG)
the imitation of existing
(1993/K92)
(B. Mitterauer)
chronical of meaningful activity, has not even
intervene in the dynamics of
of Situationism
without language.
Ed. by Neil Rhodes, Jonathan Sawday
(1999/K236) a history of art
really "new physics"
epistemology
media
theoreticians
idiocies) (Friederike Pezold)
computer viruses
architectonics
become
established
here,
we
could
say
it
has
(1999/K418)
visualization? Because actuation can
(1996/K428)
It makes use of media, seeking to address,
media philosophy
involving DNA (G. Gessert)
Ins Universum der technischen Bilder /
(Nick Herbert)
(1990/K-I-126)
postmodernism
discourse
not
yet
started
to
work
through
activities
that
(1990)
breaking down
sometimes lead to realization, because
(H. Ranzenbacher)
as a kind of exaggeration of the boundary,
Belting's major project of a
(a transitional manifestation?)
(1990/II-K39)
Bazon Brock
Vilém Flusser
It is obvious that visual art's appropriation
are meanwhile almost three decades old and
nomadology discourse
boundaries
heterogenesis can degenerate into
(1999/J161)
as its paradoxical figuration, a withdrawal,
"media history of art
symposium preparation
The more "art" we try to pack into
(1999/J101)
(1999/J376)
of
media
art
will
no
longer
hold
Medienphilosophie – Beiträge zur Klärung eines
philosophies
of
have
indisputably
taken
place
in
the
art
scene.
(PW) The new image technologies have
between
individual
deconstructivism
discourse
alienation,
because
the
development
of
a
gap
or
chronic
insufficiency....
(2001/K394)
postmodern
philosophy
using net discussion
cyberspace, the less probable it
(2001/K20) (Stocker)
(1996/K395)
Begriffs / Ed. Münker, Roesler, Sandbothe
a significant influence on the area of the
new technologies
art genres
a new velocity can turn into mere
philosophical database
performance studies
(1996/K28)
will be that it will show any
... art theories have yet to be written for
the same is true for interactive installations
acquisition, storage, distribution and
Kunst als Medientheorie / Hans Ulrich Reck
acceleration, because virtualization often
(Mike Hentz, Minus Delta T)
performance theory
aesthetic qualities.
Herbert
Hrachovec
informations
superhighways
this.
(2001/K20)
communication of knowledge.
navigation experiences
blocks topicality... (P. Levy) (1995/K97)
Objekte / Ranulph Glanville
(1984/K132) (1999/J358)
EARTHSTATION control of the
(1995/P16) (R. Ascott) !
cognitive behavior patterns (see above)
Collaborative Filtering
(1994/K206)
Philosophical round table (1988):
What is the point of this polarization ?(DG)
(1995/K171)
Medien-Welten Wirklichkeiten / Ed. Gianni
"Gaia" ecosystem (vision)
spaces of knowledge
The aesthetics of the manifesting !
A
philosophical
experiment
Publication of genom data
(1996/K34)
Peter Gente, Hannes Böhringer, Vilém Flusser,
According to Forian Cramer, the focus on
Proj. center for media and
search engines that rank
The emphasis on the central
(G. Mayer-Kress, Gideon May, Brad DeGraf,
(Agnes Hegedüs)
(cf. Mersch & Co)
on the way to digital consciousness
Vattimo, Wolfgang Welsch
(Lincoln Stein) (2000/F23)
(DM) separation between aesthetic and
datamining
Peter
Weibel,
Jean
Baudrillard,
Friedrich
Kittler,
a
purely
perceptual
aesthetics
of
art
is
clearly
knowledge
cultures
"paid" contents high in the
function of code and the algorithm
Gregory Kramer, Jenifer Bacon, Joe Takai,
(knowbotic research)
(Gerd Döben-Henisch) (1995/K227)
Unter
Verdacht – Eine Phänomenologie der
discursive
media
a
continuation
of
Romantic
philosophy
and
(2001/K398)
Heinz von Foerster (1988/K83) (1989/J169)
knowledge cultures search results
level symbolizes concentration on a
knowledge database for Tom Affinto, John Chachere) (1991/K147)
Information is alienated
knowledge on the net
Medien / Boris Groys
Riding the Net
the privileging of aisthesis (perception) over
For
Linz
the
first
concrete
contact
with
philosophical
"firm
core"
that
is
often
believed
to
have
(NEXT
computer
/
spatial
data
organization)
multimedia
developers
experience
(Jaron
Lanier)
Mindmusic (1990)
specialized thesauruses
(1996/J15) Designing a Database
(2003/K225)
new orders of knowledge
Texte zur Medientheorie / Reclam /
Meme Symposium
poeisis (construction). (2003/K140)
proponents of postmodernism and constructivism
disappeared in the postmodern world.
purely optical, immersive
(ultrashock) (2001/P70)
(1995/K130)
(Sommerer)
Cinema (Marsha Kinder)
(R. Dawkins, F. Heylighen,
Ed. Günter Helmes, Werner Köster
MIC
Media
Integration
and
(Erkki
Huhtamo)
(2003/K127)
image strategies /vs/ the impossibility of seeing oneself
astonishing graphical
Myth of Information
the artist as archivist
(Leo Findeisen) (2003/K73)
J.S. Lateiner, A. Rosanne Stone,
Kursbuch Medienkultur – Die maßgeblichen
Communication System Lab (at ATR):
NeoStrukturalism, NeoSemiotics (DG)
knowledge
technologies
cyber-flood
effect
(1979/K40)
mixed
reality
without distortions
R. Born, H. Hrachovec, Jon Rose,
How to make art
integrating art as a new method of
Theorien von Brecht bis Baudrillard
(2)
(1995/K116)
search engines
arranging the order of knowledge The job of the artists of tomorrow is that of
crawlers
(P.Weibel, Bob O´Kane)
Sadie Plant, D. Rushkoff, Rober
Focus (T. Walicky)
of databases
interpersonal communication in the
Cyber_Reader – Critical writings for the digital
(AH)
A
"Center
for
Art
and
Knowledge
Technologies"
(1998/II-K297)
an
intermediary,
a
catalyst
between
different
(1992/K110)
Adrian X, P. Hoberman, T. Sherman
Datenbanken
Semantic
Web
(1998/P104)
(Anne Nigten)
research process
could be newly created in this virtual way.
era / Ed. by Neil Spiller
ridiculous and terribly
fields of knowledge, models of thinking and
John L. Casti, H. Ranzenbacher,
bot = robot =
Metasearch
(Marc Canter) (2003/K60)
(workplace: Christa Sommerer,
(ML) problematizing digital
(In 1999 P. Weibel announced a restructuring of the ZKM
touching with the eyes
funny neo-Jungian
Medien
der Vernunft / Matthias Vogel
society,
solution
strategies.
(2001/K18)
KünstlerInnen
Bots
&
agents
autonomous
search
strategies
Zerseher
J. Engelberger, D. Back, Karin Spaink,
spider
Index
camera pan through
Laurent Mignonneau) (1996/J122)
technology as a realization of
in this sense)
ideas of "collective
Kunst und Medium / Dieter Mersch (DM)
VNS Matrix, S. Penny, M. Dery,
(Joachim Sauter,
Datenbanken
(2003/K225)
all objects
an
"intellectual
world
view"
Information as new
intelligence" (T. Druckrey)
2002/2003 trained knowledge managers
retina scanner
K. Becker, G. Lovink, A. Lichtblau,
indexes supervised by specialists
The Enjoyable Internet
(Lioba Reddeker)
Dirk Lüsebrink)
natural science /vs/ humanities
(BUF) (2002/P117)
(C. Hegemann)
(1992/K25)
"material"
self-organization of data
are available in Krems, Linz, Vienna, ...
Telematic Embrace / Roy Ascott
Tjebbe van Tijen (1996/K06)(1999/J158)
Digester (Jaaanis Garancs)
information handling
(cf. courses offered in Linz)
projecting
images
directly
onto
(knowbotik
research)
(1993/K249)
(1995/K265)
material
mirror
(popular
theme
in
the
3rd
round?)
camera
parameters
as
basis
informationarchitecture
Am Nerv der Zeit / G. Johann Lischka (CD)
(1997/K393)
Multimind
decentralized
intelligence
(1979/K07)
Internet
there is no medium
interplay of
the scientific claim reaches
the retina with laser
MARS : Media, Arts,
Simulation space "mosaic of mobile data sounds"
for virtual shapes (1997/P118)
from the poetry of
(Oliver Schürer)
Search-Engine-Client
archives
(1979/K14)
of sense or
art
and
science
a
high
point
in
1992
mindmapping with networks
a
walk-in
database
discourse
tracks
of
the
(D.
Lüsebrink,
J.
Sauter)
Research & Science
programming to
u. 3D-Browser. Fundstellen
MAK design database
wooden mirror (Daniel Rozin)
portals
Data Jockey
Collective Intelligence
meaning (DM)
(Christa Sommerer)
(1999/J73)
(2000/P56)(Patrick Lichty)
(Christian Hübler, Alexander Tuchacek, Yvonne
poetic appropriation of
(GMD Sankt Augustin
research as an
Ars Electronica
organisieren sich (Anziehung
cooperating memes:
3D representation
(1999/K418)
(1995/K95)
(2003/K93)
(1996/J120)
Information
Wilhelm, Georg Fleischmann, Detlev Schwabe,
electronic
program code (2003/K104) (F. Cramer)
eye tracking
knowledge bodies
near Bonn / M. Fleischmann)
art form (2003/K250)
und Abstoßung)
on
the
way
to
the
global
(Pierre Lévy)
Data transformation /
Architecture
Michael Hoch, Will Bauer, Toblas Pfeil,
mirror (C. Möller)
program code as artistic material
knowbots
(Eugene Thacker)
(Mignonneau, Sommerer)
(Tom Corby, Gavin Bailey)
collective intelligence (CI) brain? (1996/K53)
Literature:
Data collage (2003/K226) Dataspace
(2001/K20)
Rajele Jain, Udo Zyber)
(1994/II-K75)
(1999/K399)
code
and
(2000/P44)
tracking
set-ups
(1)
art
of
technoscience
poetics and aesthetics of software code
image
disc
CD
ROM
mediated by technology
Die Wissenschaft vom Künstlichen / H. A. Simon
The WWW as a
(1994/K146) Data-Jockey
material concept
(F.E. Rakuschan)
A comparison with the "third culture" of the
"style of writing" (Christiane Paul)
Erkenntnis Maschinen Verstehen / Terry Winograd
SuperBrain
(Florian Wenz) (2000/K350)
CM technology
DMS
Very Nervous System
stereoscopic
merging/reconciliation of natural sciences and
virtual
reality
for
collective
laser
disc
(2003/K137)
randomly colliding
the image disc as medium technoscience is the tragic phenomenon
(J. Bollen)
Es gibt kein Medium
vision without glasses
science art (2)
Fernando Flores
humanities would be inadequate (2001/K18)
(perception
installation)
artist
as
catalyst
pleasurable way of dealing
cognitive
processing
of a knowledge that has suddenly become
contents (1996/P92)
for artists (1986/K318)
(1996/K34)
des Sinns oder der
(Futurelab)
poetry of
Content Management
(David Rokeby) !
with data/information
Encyclopedia of artificial intelligence / C. Shapiro
(Derrick de Kerckhove)
between fields of knowledge
cybernetic
(Trevor Blackwell)
MUDs
DVD
Bedeutung (DM)
(2003/F49)
programming (2003)
(1991/P130)
(1990/II-K171)
Künstliche Intelligenz – Repräsentation von
(UR) In Ulm the call for a scientific art
(PV) (1998)
hypertext consciousness
CDTV
CD-I
approaches of
Media art as background research
research as art form (2003)
Memory Theater VR
was en vogue from the late 1950s until
Wissen und natürlichsprachlichen Systemen
visual computer art
exchanged visual perspectives!
(2002/K271)
Geschichten vor Ort nachvollziehen.
Dyn.
search
engines
&
spatial
organization
knowledge
representation
(1)
or
application
research?
(Ruth
Schnell)
memory theater ! (Giulio Camillo)
science fiction
far into the 1970s
(1979/K16)
(Kazuhiko Hachiya) (1996/P138)
Kognitive Psychologie – Eine Einführung /
augmented reality fiction
MOOs
of
knowledge
(proximity
=
quality
of
results)
research
lab
as
machine
(2002/K00)
(Agnes Hegedüs) (1997)
(Fakeshop) (1999/K321)
palaces of contents
building/space organization: mnemotechniques
(1999/P90) (S. Schemat, M. Joyce,
J. R. Anderson
(Stefan Huber, R. Ammer, B. Steffan)
(AH) theory of perception
televirtual environments
VR Panorama
Virtual Worlds: The Emperor's
(2001/K313)
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
Kognitionswissenschaft – Kognitionstechnik /
(DM) The aisthetic media especially include those
(2000/P54)
(AH) fiction instead of reality
New
Bodies
(Peter
Weibel)
in
artificial
realities
Editor:
Nutzung
der
Zeichen(1994/P32)
discursively?
...
Because
of
its
I. Bordoni, R.P. Dalò)
(1993/K181)
Das universelle Datenwerk
that relate to perception: the systems of optics and
Media-spasm, senseless
Francisco J. Varela
performative explorations
agent
Infotainment (see left)
(1990/II-K09)
Ketten als genetischen Code
(M. J. Grey)
(Olia Lialina)
transience and complexity, the
shredder function for data
(R. Kriesche) (2003/K148)
acoustics, the arts, image-forming procedures of all
video installation
perceiving perspectives
(AH)
cognitively
oriented
(PW) Klassische Kunst und Medienkunst teilen
distraction
and
crash
KI – Überblick und Grundlagen / K. Böhling u.a.
(1999/P52)
(Sommerer,
Mignonneau)
(1997/K394)
performative transgresses the
see:
view
of
sensor
technology
VRML visualization of encryption
(ML)
drafting
and
performatively
testing
kinds, ... etc. They are all grounded in the sensory,
(Steina Vasulka)
(Mulder, Lüsebrink,
sich einen gemeinsamen semantischen Raum
installations
Reputation Points
(2001) modern science has increasingly
Künstliche Intelligenz / Patrick Henry Winston
representational capacity of
(Peter Broadwell, Rob Myers)
a "technical history of humanity"
(William Gibson)
interactive poetry
whereas discursive media refer to structures, orders,
cyber-novels
(1990/K-I-124)
G. May) (1994/II-K68)
nonlinear
valuation proposal
KI – von den Grenzen der Denkmaschine und
languages and signs.
become a TECHNOTakeover
III
(symposium)
(1998/P76)
talking
to
a
neuro
baby
(ML) Institution for Media Performance Research
Info-Stories
(1990/II-K225)
(2000/P96) (Orit Kruglanski)
discrete categorizations and caesura ...
Most information on the
tools
(2001/K203)
science fiction in praxis: film, video,
science (PV) (1998)
content development
dem Wert der Intuition / H.L. & S.E. Dreyfus
(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/K167)
a purely static representation
(Naoko Tosa) (1993/K353)
Probleme der KI / Oswald Wiener
interactive story-telling
Raitis Smits)
auditive poetry (see left)
fuzzy
logic
not with content.
network (Timothy Druckrey)
(Virilio)
(2001/F08)
(1993/23)
Meme
(in AI) is not powerful enough
Criteria: Best Netzine: (Hotwired,
(Josephine Anstey, Dave Pape)
Expertensysteme – Nicht nur für Informatiker
(1997/K364)
(1997/P18) (Joichi Ito)
see: sensor view
(1995/K139)(1999/J305)
sensor techniques
Myth of Information
(1995/P108)
(1990/II-K55)
surrealist
Mediamatic, Tightrope, t0 Public
(1998/K211)
poetry-writing program POE
Peter Schnupp, Ute Leibraandt
(R. Trappl) med. cybernetics (1990/II)
Richard
Dawkin
(Michael
Tolson)
(Myron Krueger)
writing game /
Netbase) (1995/P46)
Perception is a
(Franz Josef Czernin,
content issues /vs/
lack of content
Expertensystem-Praktikum
/ P. Schnupp,
Cyberpoetry
(G.
Dorfer)
neural
networks
(1990/II)
interactive
story
mind viruses
AARON al AI-based
(1969) computer-controlled environment
growth of a
Netbase (K. Becker) (1995/P60)
process in formation. remote-controlled sensory
Ferdinand Schmatz)
tool fixation
(technology fetishism)
AI (2003/K224)
(1997/P92) (Z.
(P. Smolensky) connectio. SW (1990/II)
C.T. Nguyen Huu
(1998/P96) (Lisa Prah)
(AH) from objectivity
(1996/K40)
program (Harald
(1970) interaction with video projection
systems (AH)
Connectionist
SW
story
Hotwired (1995/P76)
(Ecke
Bonk)
(1990/K-I-136)
(H. cohen, J. Petrow, (R. Cummins) connectionism (1990/II)
Komninos-Kostant)
Problemlösungsmethoden in Expertensystemen /
Cohen) (2003/K122)
(1971) using sensor floors
to viewer relativity
(AH) rejecting all narrative
(Sharon Denning)
(1995/K48)
G. Papp, T. Spiller,
Sensor that feels its way
(G. Schwarz) learning processes (1990/II-K107)
the stifling insight that technology
interactive poetic
information architecture (2)
non-linear
computer-generated
(1972) start of the Videoplace project (NICA 1990!)
Frank Puppe
(never at the ars?)
discovering stories oneself
text
synthesis
(2000/P32)
connectivism (1990)
Lyle
Zapato)
through
the
space
(M.
Veitl)
med.
cybernetics
(1990/II-K51)
without
"content"
might
not
be
garden
(1998/P98)
MIT
(DH)
reactive
works:
revealing
(D. Rokeby) Our user interfaces are also a
(1990/P169)
narrative (AH)
literature (1980/K07)
(Bill Seaman)
Mentopolis / Marvin Minsky
(1989/K106)
(H.
Haagsma)
(1998/K264)
(B.
Mitterauer)
architectonics
(1990/II)
sellable (1996/P24)
(D. Small, T. White)
content through clicking/scrolling
kind of belief system, because they hold and
(Tamara Munzner)
connectionist improvement
very free contextualization
The construction of
Mind Children / Hans Moravec
virtual brain
Time´s up (Tim Boykett)
cyberslang
(M. Minsky) Mentopolis (1990/II-K97)
elegant retreat to
affirm our assumptions about the essence of
(David Blair, Oliver Frommel, Vera Frenkel, Doug Aitkens, Dean Kuipers)
differential topology
of AI systems (AH)
computers as "authors" of
(1996/P106) (Joey Anuff)
experience. Interface as
Assoziation / Gerhard Strube
"pseudoscientists"
:
art-immanent
digital poetry
term hypertext
things
and
reality.
(1995/P164)
mapping
specialist
cybernetic
cybernetic art works
content (David Rokeby) (left) (Steve Mann)
the 90s as the era
3 AI creatures (Joseph Bates)
5th generation computer systems / T.Moto-oka
(Staalplaat, Negativland,
positions (2001/K20)
1974 from Ted Nelson
Computer
–
from
calculating
tool
interactive novels
methods
(1979/K30)
(1999/J420)
(former PRIX)
of the brain
in search of the order behind it
Hypertext
Decision-Support-System
MIT (1997/P112)
Muzictoerist, Barbed,
Gödel, Escher, Bach / Douglas R. Hofstadter
(1990/II-K253)
to mankind's creative partner?
in
literature
(1997/K144/K217)
analytical
philosophy
(1990/P08)
(Daniela Alina Plewe) (1998/K140)
(2003/K140) Is software art more successful, if one
People like us, N.A, Baginsky,
most prize-winners last year did not
science fiction workshop
Metamagicum / Douglas R. Hofstadter
text-software /
(1979/K29) 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
Gordon Monahan, Leo Schatzl,
intend to be artists
new narrative structures
(1982/K08/K167)
AI works
(HK) one should push forward in
art related
Einsicht ins Ich / Douglas R. Hofstadter
(1980/K78)
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/P50) (WEB)
cognition sciences
Heiko Idensen
in computer games
recording
the direction of AI as far as possible
(2003/K229)
Dynamische semantische Netze / Stephan Mehl
(1996/P110) (Lisa Hutton) (1997/P144) zu Jandl
(Luc Steels)
of problem solutions
"AI-Laboratory"
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/K308)
(1996/K204)
(1986/K338)
Hypermediabasiertes Knowledge Engineering
to radiophone poetry
Instruments,
Prema
Murthy,
on
the
PC
since
1986
ordering
material
artistic
skills
of
the
(1996/K162)
In the beginning was the
profile cluster as MusicMap
artistic research
realized web works (Julia Scher,
distributed authorship
Art is increasingly less suitable as a
artist generation
visual poetry and
E-zine
für verteilte wissensbasierte Systeme /
(1980/K76)
literature in image and
John Duncan, Nuoc mam dirndl,
computer (1979/K30)
command line (Neal Stephenson)
(2003/P71)
(AH)
artificial
intelligence
creature:
Jenny Holzer, Antonio Muntadas,
(1983) (1989/K104)
source
for
visual
design,
because
it
has
constructivism
(1996/P23)
scientific jokes
cybernetic research:
sound symposium
HyperCard
expert system
Frank Maurer
Gelatin) artist as researcher
(2000/P24)
(M. Breidenbrücker, F. Miller,
Artificial
Reality
and
Artificial
Life
hypertext fiction (S. Moulthrop)
David Blair, ...)
less
and
less
influence
on
the
language
Visually Deconstructing Code
similarity theories
(Jared Tarbell, Lola Brine)
connection of mind and
the job of the artists of tomorrow is that of an
(1980/K75)
HyperCard stacks
although they don't earn money
HyperTalk
Endophysik
– Die Welt des inneren Beobachters
M. Stiksel)
(1196/P112)
of
the
dominant
media
and
has
long
(Ben Fry) (2003/K197)
(2003/P60)
machine (the anti group)
media design groups:
discourse analysis
intermediary, a catalyst between different fields
(Judy Malloy) (1989/K133)
(Baudrillard) Yet those intelligent machines are only
on the net, their work gets out
Toolbook
Otto E. Rösler
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/K238)
MESO
&
Involving
Systems
(Kazuhiko Hachiya) (1997/K260)
artificial in the most limited sense, because they merely
to people
(Golan Levin) (2003/K240)
Making Art of Databases / V2_Publishing
codes. (UR)
remote-controlled robot
(Natacha Merrit)
walk-in knowledge spaces
solution strategies (2001/K18)
(Steffan Ammon, Martin Bott,
Mega Diary – a global, open
break down linguistic, gendered, scientific processes into
(1996/P45)
Electronic Diary
as
GraffitiWriter
(2000/262)
The
Odyssey
(1989/K133)
Sebastian Gregor, Michael Höpfel,
diary project (1997/P126)
simplest,
digitalized
moments,
....
The
Active
Text
Project
Storyspace
CAVE
did
not
develop
from
video
games
or
From the beginning, the media industry was
(1989/K235)
(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/K171) (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/F36/P78)
justification "artist" is no
(Fortner
Anderson,
Henry
See)
Max
Wolf)
(2003/F12)
(ars intermedia)
(2000/F35/P98)
typography
Gender Idendity – L G B T
diagrammatic
in scientific visualization and the demands of the
of art, because even with thousands of trained
Literature:
digital body manipulations
(1993/K181)
longer interesting; it is as
Patti Maes
(1979/K44)
lesbian, gay, bisexuell, transgendered
(1996/K404) (Luc Courchesne)
design for CocaCola
SIGGRAPH 92 Showcase (Daniel J. Sandin)
computer scientists, by itself it is not capable of
(2000/267)
LEONARDO (journal)
(Ross Harley) (1993)
traditional genres of applied
"sculptor" of
unnecessary as the positions
satellite
images
as
(1994/P128)
(Monika Treut) (2000/K202) pioneers:
interactive theater through
(derived from
(1996/J85) (CAVE development 1991)
putting sophisticated and attractive products on
visual rhetoric (typography, graphics,
information
(FF)
Computer Graphics and Art (journal)
it
is
supposed
to
defend.
picture
basis
AI
dissertation
Body
mapping:
Telepräsenzinstallation
(Sandy Stone, Susan Stryker, Judith
5 computers with HyperCard (see above)
lettering)
CAVE was conceived as a tool for
the market. (B. Serexhe)
boundary betw. video
posters, book design, print media)
(2001/K19) (Stocker)
(Mario Sasso, Nicola Sani)
Art @ Science / Christa Sommerer &
PET Positron Emmisions
Das stellvertretende Cyborg-ICH
"Jack" Halberstam, Kate Bornstein,
(2002/F12)
scientific
visualization
Landsat
satellites:
system
game and literature
(AH) (Huhtamo) system developers, who regard themselves
among others, with the goal of persuasion
(1990/P81)
Tomography (1997/K16)
Laurent Mignonneau (Ed.)
(centre for metahuman exploration)
Electro Magnetic Poetry
Jordy Jones, Jacob Hale, Pat Califia)
(2001/K299)
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/K212)
(1996/P108) (Maria
information arts – intersections of art, science,
A.Witkin and M. Kass come from the field
(Tom Van Sant) (1982/K42)
(2003/K97) (Pierre Lévy)
(2000/P42)
and arrangement of "code": Myron Krueger, Vivid Group
meanings flowing into
VR
for
the
visualization
of
the
artist
bodies (1993/P30)
technical history of writing
Tomography (fMRT)
Winslow)
Three basic electronic
of science. Nevertheless, their graphics
VRML, 2D, text
VR: 3D Diagrams
and technology / Stephen Wilson
Gene_Mixing and Loops of the Self
dynamic typographical
mapping the position of the
(Mandala System) – system art
one another
of large medical
(J. Heemskerk, D. Paesmans)
Lingua Franca
(Thomas Bayrle)
Habbo identity
Map of the market
(DISS project Thomas Maier)
palettes: television,
have a new, resounding aesthetic.
as user interface
(Birgit Richard) (1999/K267)
sculpture out of web sites
or voxel avatars
collective
intelligence
of
a
community
Jenseits
von Kunst / Peter Weibel
(W.
Seaman)
databases
(1997/P96) (JODI)
(language of intercourse)
(2001/K205)
(Tom Wolfe) (1997/K219)
(M. Wattenberg, Joon Yu)
computer graphics, video
(Milan Knizak) (1992/P14)
(D.A. Plewe) (1999)
(B. Fry) (2001/K290)
(1997/K177)
writing software oneself or working
diagrammatic interface
Diskurs der Systeme (zB.) / Feuerstein et al.
(1995/P106)
(1995/K194)
typographical positioning system
(2003/K12)
"Brain
Imaging"
(1999/P54)
conference (1995/P43)
Double: identical with the self
knowledge representation (2)
artist/programmer
closely together with a programmer
Kunst, Wissenschaft, Kommunikation / Richard
(Casey Reas, Golan Levin) (2000/K387)
identity and mask in
body mapping
3D electroencephalography for games and music programs
listening station for
communication artists (FF)
(Birgit Richard) (1999/K271)
experimental typography
Books on demand
(1979/K22)
(Myron Krueger, Harold Cohen,
Krypton – Aurora Elettronica
Information: C.F. von
(MEGO) Mapping Toolkit (M. Bielicky, B. Lintermann) (2000/P88)
Bi-Gender Show
virtual reality
Kriesche (Ed.)
MRS
Magnet
Resonance
Radiotopia (2002/K428)
the
visual
artist
as
programmer
Duplication and hope of
(Fuse
–
Neville
Brody)
(2003/P76)
(Shinya
Yamamoto)
David
Rokeby)
(2003/K121)
The Metamorphosis of Light
Weizsäcker
also
defines
it
(2000/F13)
Alphabet Zoo
(Blanchard et al.)
Spectroscopy
Kunst und Wissenschaft / 1986! Kunstf. Bd. 85
the artist as system
(H. Huitric, Monique Nahas)
Blogging
immortality
(1999/K272)
(1986/K19)
as an "amount of
(Peter Cho) (2000/F42)
(1990/II-K191)
integrator
artist/technician
(1986/KII-143)
Dialog und Infiltration – Wissenschaftliche
Lightstick (writes images
Live journal
copyright and intellectual
(2000/K398)
form" (Ecke Bonk)
male identity
light theater moving) (Bill Bell) (1982/K69)
(1986/KII-296)
application
research
/vs/
Strategien in der Kunst / Kunstforum Bd.144
abstract typography
property
Letters of BIT
(1995/K42)
Gender
Bender
(1997/F38)
gender-hacking
"brotherhood"
(1980/K23)
(DG) elusive job
at least as a symposium
background research
Forschungen / Udo Wid
(James McCartney)
(Kenji Komoto)
diagrammatic interface
testing the specifics of gender
playing with identity
(Elisabeth Schedlberger - CODE)
(Woody
Vasulka)
(1994/II-K87)
Text and tectonics, set-up and
description (2001/K19)
light show of the 60s (G. P. Garvey)
diagrammatic typography
(2003/F11)
light technology
for music computer – UPIC
(1996/K185)
World Maps – Change the Map
this development is carried by people who
students who want to design
order, shape and arrangement.
(Walter Pamminger)
Typodesign
Composer;
author
of
the
the
drawings
are
interpreted
as
(AH)
collective
instead
of
author
installation for ballet.
faked identities – disinformation as
locate their identity in between artist, engineer,
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/P68) (LAN)
social worker and experience designer
of design rather than art
formation. Schema and pattern.
Talmud Project – typographical
(1979/K19)
conventional projection curves, scores ...
(2000/K113)
language
"SuperColider"
effective
development
of
a
configural
(1980/K23)
(1995/K42)
(C. Möller) (1995/P132)
Forget concepts like gender
(2001/K20)
(Lia) re:move research (David Small, Tom White)
(2001/K34)
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/K46)
(2000/K403)
(1995/K250)
light robots
computer-controlled
Multibind-Deadlock(1990/I-K69,K72)
Navigation
(1979/K25)
are what you want to be.
data visualization
(2003/P46)
Open Sourcer, permanent self-exhibition
(2002/P56)
Markus Huemer
Hyperbolic tree
(1980/K94)
Coma (1996/K226)
neon installation
(1992/II-K44)
Symposium
(S. Zizek) (1995/K127)
laser in concert
Stop Motion Studies – studies
(2002/P23)
maps to
Circuit Bender
Re-Mapping
Our
Mental
Model
(R.
Rao)
(1999/P50)
(Jennifer
Ringley)
Mapping
view
of
visualization
contolling reflective images
(1986/K331)
(1993/P45)
(E. Schoener)
in the subway (D. Crawford)
(2001/K20)
(Scott Brave, Andy Dahley)
the project Maps
(R.
Buckminster
Fuller)
(2002/K17)
walk
through
light sculptures Flight Case
issues of identity
(Constanze Ruhm)
Homepages and e-mail
author
linking concepts (2003/P40)
(1979/K50)
(1997/K278) life is more than the
implements cartography in
(Rudolf Macher)
typography and
(1979/K09)
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/K151)
view of illustration
rhetoric / topic
components of an artist biography
Sonoscope (A. Vitkine)
being
in
electronic
(B. Fry) (2001/K291)
media as a network
editor
(2001/K113)
KaspaH´s Home
laser light drawings (1980/K113)
(2001/K21)
Legible
City
structuralism
(1996/J53)
space (1994/K158)
Audioskop (M. P. Kage)
designing radiography
information
mapping
(1989/K108)
(Mathias
Fuchs)
(Catherine de Courten)
designer
(J. Shaw, Dirk Groeneveld)
virtual identity and avatars
diagrammatics
electronic
mapping
(1979/K19/K61)
(C5)
(1999/K395)
and
light
graphics
(1954)
mapping
(1995/P88)
(PV) Presentation is
In 1960 T.H. Maiman first succeeded
Colourspace
producer
(1989/K209)
Graph. programming
(Barbara Becker)
video world and fractal subject
(1998/II-K174)
mapping discourse
conflict zones –
(H.W.Franke) (1979/K54)
in producing an active laser. Artistic
(1989/K256)
visual music
effecting
the
manifestation
of
a
thing.
programmer
(Lia) (2003/P49)
information visualization
In Sommerer's installations
(Jean Baudrillard) (1988/K88)
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/K159)
artist
death is employed as a necessary
high tech and psychodelics
diagrammatic
(Peter
Fend)
structuralism (discourse)
(Brian
McGrath,
Mark
Watkins)
identity
(Ishii,
Orth,
Gorbet)
(2001/K38)
(T. Feuerstein)
(AH) Krueger discovered that users
(PV) New era of videoscopy:
light/color piano
laser light in an
tabula rasa
(1993/P77) (George Barber)
film (L. Houplan) (2003/P158)
(2002/K271)
(2001/F36/P48)
literature discourse
(1997/K204)
quickly identify with a figure in a game,
... lighting is no longer done electrically,
(1988/K194)
interactive performance
telepresence installation:
substitute objects
Mapping
Time
"Terminal act" (PV) (1998)
laser beam
deconstructivism
light-kinetic
if
it
reacts
to
instructions
in
real
time.
but
is
instead
an
indirect
electronic
(1993/K261) (P. Böhm)
Light Music in the Soviet Union
Bots as verbal "personalities"
web design
the second player is present
desk top publishing
cybernetic euthanasia
(Ross Cooper, Jussi Ängeslevä)
see also: view of
used to control
DTP
visual music
No Man´s Land
oscillograms
memory theories
works
It is not the realistic representation that
illumination.
(Roberta Reeder, Claass Cordes)
(Rainer Jessl)
as long as something is happening
as a crossed laser beam
(2003/F41/P100)
artistic production
Immateriaux II
robot installlation /
(1980/112)
is crucial for aesthetic pleasure, but rather
projections
(1992/II-K225)
surviving
(PW)
If
we
consider
the
influential
aesthetics
Where
there
should
have
been
on
the
stage
a
videostream
flows
(Lozano-Hemmer, Will Bauer)
(K. Obermair,
implanted and emergent
imagine objects that stage or dramatize
(ML) aesthetic effects of linking
the identification with the controlled
laser technology
pictures that dissolve
Data transformation /
body mapping
making music online
of the past two centuries, then it is evident that
design, there was a huge hole
(2001/K207) (Axel Heide, P. Pocock,
robots
(1995/P128)
R. Spour)
behavior (the parasites, the
"existential moments" - such as a conflict
Crack-Intros
theater with electronic-digital media
behavior.
electronic
into a color when
Visualization (2003/K226)
(1999/K309)
(Koji Ito) (1998/P48)
they are constructed on an ontology of the picture,
in the web in 1995 (2001/K214)
G. Stehle)
Laser Art
(1992/K246)
untamed,
the
inverted
(Fiona
Raby)
(2003/K276)
(2001/K207)
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 MediaMOO where each
(2000/P90) (J. Campbell)
(1979/K34)
artistic use
(1997/K390) (N. Math,
(2002/K362)
the medium hides itself in the process of brought the myth
information (1999/P44)
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)
i.e. an expert for "intelligent"
cyberneti aesthetics (1973)
coming-into-being, of apparition, is replacing the
Japanese
(1996/K262/P126) s.o.
from identity to difference (AH)
and a "real name."
terminal-existentialism
(A. Sina) (1980/K110)
Iannis Xenakis, Paul Ears .... used laser technology for
Internet
stereoscopy (PV)
virtual worlds (2)
from academic
(unfortunately not the case with many works)
visualization systems and
(H.W. Franke) (1979/K54)
quality of representation, of appearance, which has
MUDs
illustrators
(1997/K174)
(Victoria
Vesna)
Voice over IP
in
Life
Art
multimedia
performances
(FP)
making gene
virtual volumn
discussion into
audio
data
streams
RealAudio
machine aesthetic
the
self
techniques (Zec)
for so long characterized western art. (1995/P19) (R. Ascott)!!
identity and artificiality
(2001/K21)
Broadband
(2002/K167)
(2000/K213)
maps (1999/
recognition for the
the world of the
(1996/P170) (Marc Caro,
constructed
by
optimization principle of aesthetics (1965)
(Catherine Ikam) (2000/K401)
cancellation of identity (AH)
media should be almost "transparent"
Japanese
(FP) nighttime laser shows:
ADSL
K121)
quality
of
selfrational
aesthetics
(ML)
Theater
for
hyperreal.
(1996/P36)
"Form
Art"
Competition
Jean-Pierre
Jeunet)
the
brain
broadband
internet
in
(H.W.
Franke)
(1979/K54)
Voice Mail
from NET:ART to NET.RADIO
Real Audio
A virtual reality is principally real to the extent
holography and laser lab
(AH) being in two worlds
(1989/K110)
understanding of
(ancillary invisibility)
Rockne Krebs, Dani Karavan, Horst H. Baumann
representation
(Station
Rose)
internalizing
a
(Alexei
Shulgin)
(1955)
(P.
Smith
the
catalytic
the cities 2002
(2002/K178)
(1998/K75) (Josephine Bosma)
Servers´
that it depends on a complex physical apparatus.
virtual realities
Internet-Metric typography
at the same time
(1986/K324) (Horst Baumann,
artistic holography
aesthetics of disappearance
(1995/P68)
computer
aesthetics
"digitized"
existence
(1997/K393)
Churchland)
(H.W.
Franke)
effect of new media
Network
Image space, on the other hand, is virtual. (SH)
mailboxes
eMail
plastic light
on the violence of the
(T. Feuerstein) (2001/K199)
Dan Schweitzer, Dieter Jung)
(Harriet Casdin-Silver)
(P. Virilio) (1994/K71)
development of complex
(D. de Kerckhove)
Net.radio OZOne (1999/K397)
(1997/K70)
(1979/K54)
(1996/K61)
every bit has its own
existing means being scanned
web games
the aesthetics of programming
(F. Förster) (1994/P116)
proper name in virtual
Flash-Art
(2002/K380)
mail art
(1980/K100)
the
telephone
already
communication spaces:
aesthetics of the interface (ML)
(1994/K163) (Carole Ann Klonarides)
(1992/K183)
aura (1994/K165)
worlds (domain)
--Net.broadcaster (1998/K92)
aesthetics of the nets
Telepresence is an amalgam of three
invading living spaces
live radio via Internet
represents
an
instrument
PostPet e-mail pets (1998/P36)
holography
–
media (martial) art
(David Rokeby)
mixed-reality architecture
(FP) The hologram was invented in 1948 by
domain concepts
(Birgit Richard) (etoy)
(1995/K166)(Forest)
technologies: robotics, telecommuniholographic stereogram
(AH) images becoming via web camera
(2002/K165)
of telepresence (1995/K92)
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 visible
(Shunsuke Mitamura)
(Helen Thorington)
of
our
day
(Resitor
Sensor:
pressure,
touch,
force)
a
monochrome
white-light
hologram.
(1998/P44)
(Jonathan Gay)
(AH) It is noticable that although
(Richard Kriesche)
apparitional
(1999/K394)
visual aesthetics
(Keith Cottingham)
(an expiration date is built in
in the interaction
(1990/K-I-120)
net
technology
(1997/K422)
(1996/K418)
(Thecla
Schiphorst)
forming
presences
(DM)
first Java
(2002/P26)
the artists named (Ascott, Boissier, Couchot,
telepresence (2) Traces – Telepresence
(Stadtwerkstatt)
(1984/K345)
aesthetics
Reality TV
(1994/P38)
due to HW/SW requirements)
see also: cultural theory view
hologram collages
retro-gaming style
(1999/P68) (Perry Hoberman) (above)
browser art (2003/K225)
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/K205)
Holodeck
–
interaction
with
computervirtual
computer
camera
3
versions
of
a
furnished
room
(S.
Biggs,
Opera
software,
(TXTD.sign) (1997/K265) (Ranzenb.)
hardly any
(1996/P44)
for the development
means of computer science, they still frequently
a few years? (2000)
Privacy
(on four aspects of artistic
(1995/P15) (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/P92)
frozen in the air
Kikuchi, Myron Turner, Sintron,
as
elementary
form
of
expression
many
technologies
semantic
aesthetics
artificial
ghosts
traditional
aesthetics
exploration)
(1998/K211)
Web-ness
(Joichi Ito)
movement, form
(Simon Penny)
animation (Ichiro Aikawa) (2000/P40)
(Arndt Röttgers) (2001)
newsgroups
GAMS: Gesture and Media System
(1996/P174)
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/K204) ( Jeffrey Shaw)
(2002/K254)
mobilized via
describing the world as
(PoMo CoMo) (1992/K229)
(M. Gondry, P. Buffin)
holographic art
the
hand
as
"disturbance
factor"
artists working exclusively in the medium
(see:
PRIX)
(1989/K218)
holographic video (holograms rendered in
tele-existence
light barriers (1989/K207)
(2002/K389) 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/K111)
Art Com Electronic Network
of the Internet (DH): (Joachim Blank,
(Regina Cornwell)
real time) real-time holography
Space Balance
(1993/P90)
South Africa (M. Neustetter)
(I/O/D)
(Neeraj Jhanji)
rotography - light diodes (2001/K387)
Critique (Patrice Pavis) (1999):
Charles Proteus Steinmetz
(1992/K12) (PW)
the "killer app"
life energy
ACEN (1986) (1989/K129)
affectiveCinema
(Jan
Torpus,
Michel
Durieux)
Holger Friese, Alexej Shulgin, Philipp
(Harriet Casdin-Silver) (1982/K73) (1989/J45)
visual sensors that register
aesthetics of the
(Christian Möller)
(Scott S.
(1998/P46)
(2001/F36)
Despite the apparent victory of
and the magic of electricity
possibilities of
(Otto
Frühling)
(1994/K212)
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/K155)
static (PW)
computer specialists over directors
(Franz Pichler) (1992/K218)
expressive
net violence
holographic stereogram
(1980/K94/K114)
(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/K299)
listserv
and
of
the
machine
function
over
the
netiquette
computer art
artist as
(Shunsuke
Mitamura)
Vision
System
(2)
(autoaggressive
potentials)
mailinglists
(American
Pulsa
Group)
(1980/K93)
of being? (David Rokeby)
net installation
hypermedia projects
rotating mirror
see also: energetic view
Rotting Apple
aesthetic object, what is repressed of
Tesla machines
AI robots (Luc Steels)
(1990/K-I-120)
browser browser
GSR (2)
raw and informed
(optic tracking)
(Sabine Seymour)
(PooL-Processing)
light traces sensor
Deep Blue (R. Adrian X,
(Franz Xaver)
(Piotr Kowalski) (1980/104)
Trusted Computing
the body and human presence, of the
(Günther
Held)
developer
touch
sensor,
infrared
sensor
energy (Mark Ries)
Internet
user-controlled
large(1998/K113)
(Idensen,
Krohn)
(pursuit
of
bathing
caps)
Xchange started as mailing
Sam Auinger) (1996/K251)
gopher
(1982/K93)
(Fred von Lohmann)
voice and the text suddenly
(1992/K142)
(recognizing obstacles)
Music playes Images x
(1994/K224)
Pixelspaces
–
DAMPF
apparitional
scale
light
installation:
result
movement
analysis
energy potentials are
list network (1998/K78,K89)
rotating display
(2003/K49)
returns.
(Henry Jesionka)
(1995/K308)
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/K315)
virtual shadows
tapped from the Internet
(David Moises) (2002/K420)
radioactive rays
(1992/K209)
(Alex McLean) (2003/F13)
metastructure (Kensuke Sembo,
(2003/F14)
(Roy Ascott)
communication
(FF)
(2000/P74) (Raffael Lozano-Hemmer)
(Toshio Iwai, Ryuichi Sakamoto)
XML
XHTML
the AEC Center as prototype
and the local movement
(the secret life of things)
(Gudrun
Bielz)
SOLAR-Projekt
thresholds of control
Yae Akaiwa) (2000/F44)
Sensory Environments (2)
Blogosphere (2003/K70)
abstract computer realism
Pixelspaces – DAMPF (2) (AH) process instead of being (1995/P15)
(1999/J29) (1999/J428)
of a new power location
of
the
viewers
(2002/K411)
(1996/K424)
hyperlink
web magazine
(1998/K179)
destruction art and terminal
amateur journalism
cf. Stadtwerkstatt/Servus project :
(1994/P56) (S. McSherry)
Sensory Environments –
(1969) ARPANET (1979) Usenet
of digital culture
(2002/P104) (M. Saup)
Tool´s Life
a protocol is a system for
(AH) an aesthetic of the object
(2003/F38)
culture (Kristine Stiles)
(1999/P177)
URL
HTML 1.x 1994
eco-installation measurement points
Generali building as display and
Immaterial Interfaces
(1990/T) WWW developed at CERN
(1996/J39)
(Motoshi Chikamori,
fire film
aesthetics of digital
maintaining
organization
and
still
dominates
over
an
aesthetic
existentialism
(1991/K29)
(1999/J124)
collaborative
weblogs (2002,2004)
(Makrolab) (1998)
light sculpture
(2003/F14)
(1989/90 Tim Berners-Lee)
Kyoko Kunoh)
(Manfred Laumer)
grammars (2003/K127)
control in networks
of the sign ...
parasites – transforming
the visualization of the
(primacy of acting)
electroacoustic
WWW Internet
(1993/T) only a few WWW servers
photovoltaics
an unsettling thing
destruction of
Literature:
(2000/P178)
(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/P175)
(1994/T) already over 10,000 WWW servers
(Paul
de
Marinis)
web sites on
(2003/K62)
into electrical energy
Technologische Kultur – Eine Studie über die
(1986/K285)
digital
aesthetics
(PW)
darkness
(John
Duncan,
(PV)
Following
the
telescope
and
the
microscope,
subjectivism
debate
robotic
installation
(1986/K297)
(2003/K142)
Device with Heterodyne Mutation
the role of the WWW
nylon threads in laser light
Hacking
(1994/T) first artistic works in WWW (DH)
(1991/K191)
HTML basis
(Frank Fietzek) (2001/P104)
künstlerische Auseinandersetzung mit neuen
Francisco López)
criteria:
(spy camera, infrared
(Krüppelschlag)
(1991/K211)
now
we
have
video
photography.
It
represents
the
performative
theories
from
Hacking
Millenium
Park
(Paul
DeMarinis)
(1995/T) first literature on net.art (DH)
for art projects
(Kensuke Sembo,
kinetic
aesthetics of
holographic stereogram
Technologien / Hochgerner, Molnar, Pilz et al.
transfer protocols
techno-aesthetics (AH)
most useful sensors / (2001/F34/P108)
(Just
Merrit
et
al.)
(TNC
network)
(1998/K107)
third
stage
of
illumination.
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
on the whole, the concept of
(Shunsuke Mitamura)
Video:Violence
(2003/K12)
sensor
reaction to visitors)
Internet 2
Ästhetik
des Erscheines / Martin Seel
(Harold
Edgerton)
stroboscopy
(2000/T) sharp decrease in PRIX entries
out
of
control
(2)
performativity discourse
(2000/P46)
(Kathy Rae Huffman)
(C. Möller,
(1996/P102) DigiCrime
only does a new aesthetics emerge with
(1990/K-I-120)
Richard Kern Retrospektive
(1995/P47) (Kenneth Rinaldo) (2)
aesthetics is not very helpful
TCP-IP, FTP, HTTP,
video images as light images (O. Piene)
(AH) developing the aesthetic
accident – remote-controlled
Was sich zeigt – Materialität, Präsenz, Ereignis /
high-speed photography
R. Kramm)
on the dangers of the net
the
invention
of
systems,
which
first
leads
PRIX erstmals 1995:
exhibitions:
(political violence, personal violence)
physical dramaturgy
(modifications do not really add
Welcome to the
possibilities of a technology
car jumps (Leo Schatzl)
(1999/F24/P64) (Lynn Hershman)
DNS
Dieter Mersch
(1994/P132)
(Kevin McCurley)
pyrotechnical installation based on the
(1982/K82)
to a new aesthetic theory in its description,
In an artificial ambient, the computer
"Kunst-Licht-Kunst" (1966) (Popper) (Eindhoven)
(1991/K261)
anything either) (DG)
(1991/K215)
Performance
(through bodies)
Wired World (ars 1995) VRML multi-user sculpture
Sphären der Kunst / Richard Kriesche
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/K278)
(1998/II-K222)
Reichian
convulsive
breathing
running
into
the
limitations
RIP, NTP, NNTP, NFS
(Erik Hobijn) (1991/K107)
(1997 renamed: .NET)
of traditional forms.
(1997/K306)
three-dimensional storage
supports sensor technology and
classical aesthetics
(Andreas Broeckmann)
Telnet
Datenautobahn
automatized
exercise (John Duncan)
of VRML
VRML
fire as the medium of possession ;
(AH) Weibel shows that the means
squashing teddy
(R.
R.
Birge)
(1998/P151)
artificial senses. (PW)
(Rooted
in
the
sign?)
2001
Net
vision
(PRIX)
netculture
(1999/J438)
light and sound sculpture
violence in film (R. Kern) (1991/K281)
explosions
(1991/K277)
(remote login)
(promoted
by
Al
Gore)
the
"Dante
Organ"
Symbiotic
exchange
of
(1998/II-K257)
for realizing depictions have basically
(DG) We should leave the aesthetics concept
(U. Winters, C. Ebner)
(1997/K85)
investigation of experimental (1997/K303)
(1994/K07)
(Christian Möller)
(Roman
Signer)
2001 Net excellence (PRIX)
militarization
of
science
and
(1998/II-K263)
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/P80)
light and sound effects
(2000/P58) RMF – rich
(1991/K81)
and
its
culture
of
death
(since
the
(1982) mailbox and
(Critical Art Ensemble)
self-sacrifice D.S.I. (1991/K108)
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 80s) (PV) (1998)
conference system
Like power, resistance must
(1999/K317/P72) Goldhamster
medium?
atmospheric considerations.
(P. Mühlfriedel, G.
(ML) "energetic" bodies acting through waves and
combination
of
energy
transference
post-scientific
extremism
(Adrian X) (1989/K145)
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
holographic stereogram
and
transformation
systems
(1980/K98)
Net Art / net.art
technological adventuring
environment, is the all(Ed Burton) (2003/F38)
Cyberspace must first be realized
communication.
Crisis 2000: decrease
media and the performatization of theater
(Shunsuke Mitamura)
net-meeting
encompassing topic. (O. Piene)
Wireless-LAN
projects
(2004)
Internet
meets
TV
as
a
location
and
instrument
of
of submissions from
forms of brutism (PW)
public display
RealVideo
(1990/K-I-120)
lab people, who go to the most extreme
Schmarotzer – Parasites
(2002/K178) (2001/K192)
resistance.
wireless
experts
(2001/K192)
(UR)
The
unkind
and
unfortunately
inevitable
discussion
(Steve
Mann)
(1997/K223)
(Masami Akita, Z. Karkowski) = (Mazk)
500 to 250
Digital Zapatismo (1998/K56)
(Einstürzende Neubauten,
ethical boundary (PV) (1998)
drawing energy from the
Wilder Efeu (Stadtwerkstatt)
e-hub
of
"digital
kitsch"
or
"computer
kitsch"
still
remains
a
Laterna Magica
Personal security devices:
Extreme Computer-Electronica (1999/K382)
(2000/P18)
fight against the slavery of
(R. Dominguez)
(Kaucyila Brooke)
Throbbing Gristle)
mobile Internet
body of their carriers (2001/F34)
Network of Systems
(F. Xaver, Chris Mutter)
political satire
reprehensible trivialization, if it does not see art as
(L. Filatov, J. Eckl)
2 radar units, video cameras,
Webcasting and
research at the service
(2000/K271)
CUSeeMe
gravity (Joe Davis)
(1987/K12)
(2001/K201)
(Frank
Fietzek)
Metadesign
reunites
art
and
NYC
Gedankenbilder
(Andy
Deck)
Clickscape
98
(Stadtwerkstatt)
(1998/K183)
decribing
planes
of
an
diving into electronic
dynamic, as action, potential, and method of connection.
(A. Garton) foreigners and
(1997/K308)
microphone, infrared system
Grrrl e-zines
digital broadcasting
of the advertising and
(1982/K42)
politics:
it
enables
art
to
(Russet
Lederman)
(1998/P42)
Feedback
via
pixel
graphics
on
building,
controllable
light
global networks
expanding hypersphere
stateless persons (1997/K385)
and a host of sensors
art and war (2002/K284)
The Gods of Thunder (1987/K133)
film industry
Project Teledesic – Internet
have a political impact.
(1999/P82)
IRC channel (1997/K388)
girl culture
sculpture (Lehner, Seidl, Ritter, Estl)
(Ascott) (1989/K103)
virus
vending machine
(Glenn
Branca)
(1984/K207)
feminist
strategies
of
young
formation
of
surreal
net
research
(Azza El-Hassan)
(Rhys Chatham)
for the whole world via satellite
polyethnical media and cultural
Metadesigners work with
(1999/P84)
(Franke) rational aesthetics
growth structures, fluid motion, ...
artists: Nine Budde, Snergurtuschka,
(2000/P48) etoy toywar
ethics
of
business
and
chat
environments
diversity
(2002/K278)
(Tremetzberger,
IRC
cultural
context.
Global Conflicts – Local Networks
Muntadas thus showed that the TV broadcasts that
Einladung zur Beteiligung an
cf. view of the field
girlie network
(Eric Paulos)
Lina Hoshino, Cue P Doll, ...) (2001/K113)
huge stockmarket losses
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/J126)
The "culture-meter" or the art
chatroom
(1986/K238)
Alex Galloway, D. de Kerckhove,
personal feelings and paved the way for holy
women's networks
FAX (1989/K106): EARN, DITNET,
(M. Jacobsen)
methods of feminist practice
musical energy turning pillars of air
of multicultural mixing
GMUC Graphical
R. Wischenbart) (2002/F11)
war, originated in cozy private spaces.
art as the scene of global
I.P.Sharp
(1995/P122)
(net art: Kathy Rae Huffman,
communication aesthetics
Cabaret Voltaire shows
Net Criticism (1995)
into acoustic steamrollers
countering the dominance
(1993/K393) (W. Hilbert)
cyberfeminism
(1992)
MultiUser Conversations
The control of politics, religion and communication
conflicts (Peter Fend) (2002/K319)
Faith Wilding, Cornelia Sollfrank,
technology violently
ZK Proceedings 1995
sociology (Bourdieu)
of English on the Internet
(political
strategy,
(1997/K176)
suck my code
East/West dialogue
is in the same hands.
Unplugged (3)
(Cabaret Voltaire) (1986) (1989/J133)
Victoria Vesna, ...) (2001/K113)
(1986/K07) (1999/J366)
Internet-driven digital culture
(2002/K145) (French funding)
identity discourse
"Net Symposium" as
artistic methods)
collective memory (1998/P52)
(1996/K35)
As
a
dynamic
Internet
archive,
the
"File
Room"
project
beginning
1988
(1989/J16)
brutal confrontation
& lifestyle (2001/K192)
performativity theories
communication form (1999/K38)
(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/K200)
(1997/F46) (Marita Liulia)
increased involvement media winds from Asia
postmodern views
(Jean
Baudrillard)
morphology and
VNS-Matrix
(cyber(1996/K180)
(Nova
Delahunty)
Hanru
Hou,
Peter
Fend,
of
censorship.
(Danny Schechter, Jennifer Sibanda,
(Keigo Yamamoto)
artists, teachers, designers, curators,
of the Japanese
(1991/K07)
syntax of the "slasher"
feministische Gruppe) Ambitious Bitch – western
M. Napier, Azza El´Hassen,
(1995/K172) (Antonio Muntadas) (1995/K285/P70)
Winters Negbenebor, P, Quéau,
(1994/K215)
(1999/J286)
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/K35)
T. Sherman) (2002/F10)
D. der Kerckhove) (2002/F09)
women (2002/K194)
henchmen of the media industry
(Iba Ndiaye Djiadji) (2002/K77)
Tokyo scene
as criterion for web applications
(1986/K98)
issues of the psyche
increased
involvement
ff-female
takeover
(B. Serexhe)
artistic aggression
(1997/F06) (R. Sifuentes)
(2001/K86)
(1995/P40) D. de Kerckhove)
Mind
Machines
(John Duncan)
Zensur
cultural
(Terence McKenna)
Who is unplugged?
(2001/K111)
and globalization
of the French
psycho-active
research
in
service
to
(Tomohiro
Okada)
(Rudolf
Kapllner)
In Tokyo the broadcasts from the
composting
(1990/II-K277)
(G. Stocker, Aminata Traoré, Saskia Sassen,
Horizontal
Radio:
electroacoustics
(1990/II-K323)
the weapons industry
pirate radio that he built and operated
(Amy Alexander)
the Internet stands as
Women, art & technology
Jeremy Rifkin) (2002/F08)
(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/P82)
"voice and memory" in
the "virtual realities" of
(Harwood, Mongrel) (1999/K326)
to
the
separate
world
of
apparatuses
(Uri Dotan) (2002/K263)
project
(1995/K358)
(1990/II-K339)
the group VNS Matrix
Artistic Aggression
(1997/K63)
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-K336)
(1991/K300)
(1995/K173)
Burkle Bonecchi, Simone Osthoff, Jashree K. Odin, Patricia
(David Sheff)
(1996/K326)
Cyperspace signalizes adventure,
(1990/II-K343)
technologies for
Davis O. Nejo, M. Neustetter, The Trinity Session,
Arge Zimbabwe
Bentson, Judy Malloy, Patric D. Prince, Margaret Morse,
(1990/II-K239)
Just Merrit's laboratory of the past
imagination, new territory (1992/P07)
their work
Andreas Hirsch) (2002/F08)
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/P114)
as a machine against forgetting
(1996/K188)
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/K364)
Wiring Africa (2002/F08)
video, installation and
(1995/K200)
(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/K258)
(1998/K236)
Sherry Turkle,
magician, performer
(1989/K124)
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/K158)
Sadie Plant,
(1990/II-K309,K311)
research camp in Cairo
which is connected to the rest of the
Cornelia Sollfrank (1996), Helene von Oldenburg, Marina Grzinic,
information (1995/K34)
to create "monsters"
(1998/K156)
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
ethics in cyberspace (2000) (Joe Davis)
Art as Scene of
(1990/II-K30)
(M. Minsky) the future
Sandy
Stone,
(AH)
limitation
of
the
observer's
selfthe
environment
does
not
interest
him
McDonald
– collected criticism
Marie-Luise Angerer (L), Karin Spaink, Birgit Richard (L), Monika Treut (L)
(2003/K260)
Internet contents
computer ethics
convergence of science,
Global Conflicts
database with models
Zoe Sofouilis
recognition due to technology
In der Vergangenheit hatten die
(2004) Digital Communities involves
at all (Rötzer) (1994/K108)
(1996/P98) (n.n.)
art
and
psychology
(1990/II-K97)
of conflict avoidance
(1996/K184)
(A. Rosanne Stone)
(in closed-circuit-Installationen) ...
Mobile Feelings
meisten Sportarten mehr
bridging the geographical, but also the
view of memory
the 90s as the era
Artists on the topic: Steina Vasulka, Joan Jonas, Dara Birnbaum (OK),
(D.A. Plewe) (1999)
hacker ethics
(1999/J312)
the compulsion to adapt to the laws of the
(2003/K258)
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
1996 1.Cybercafé
(1998/K17)
können wir uns Spiele vorstellen, interface
(1990/P08)
(Sommerer, Mignonneau)
Nancy Paterson, Pauline Oliveros, Rebecca Allen, Donna J. Cox, Agnes Hegedüs,
and views, things and testimonials of
(unplugged
Symposion)
Who
is
unplugged
Afrikas
(Oumou
Sy)
wo es mehr Mitspieler als
Judith Barry, Jennifer Hall, Brenda Laurel, Monika Fleischmann, Char Davies,
see also:
home as environment of life
(2002/F09)
(2002/K92)
(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
aesthetics as art theory
from the exhibition visitor, tearing him out of
The Hiroshima Project questioning
(2002/F08)
(1995/P30)
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/P60)
pressure and pulse), und Puls), skin
The aim of the Electronic
These views are intended to demarcate content/analytical perspectives and
1987 art in the network
(1995/K318)
view of
cyber and online
normality
art theory / morphology
Symposium "Cyberfeminismus"
(2002/F08)
conductivity, persperation and smell
Frontier Foundation is to
a shirt's lonely journey
rotating loudspeaker arm that
delineate zones of content. Placement within these zones follows the
(Kunsthalle Hamburg)
XXERO – collaborative MOO-based
(Michael
Hoch,
demonstrations
(Harwood)
friendship
theory of perception
1998 documenta X
of the user (2003/K261)
protect virtual
through hell: (J. Laederbach)
interacts with visitors and can
(image commentary by
principle: spatial proximity = proximity of content.
Local Conflicts – (2001/K18)
environment
(2001/K313)
Mathias
Melchor,
globalization
of
(1996/P140)
and love
"registering" and "depicting" the
sublimeness debate
Ambitious Bitch
communities from
Unnatural bodies
get out of control
(Stahl Stenslie) tel-emotion society
by recipients on PC)
Global Media
The outer ring is generally more abstract than the inner area.
(Ushi Reiter, Florence Ormezzo, Tamiko Thiel,
Masahiro Miwa)
campaigns (2000/K379)
reacting to viewers
fem
networks
(Marita
Liulia)
physical
interference
viewer
(AH)
(Jim
Whiting)
aura
debate
(2001/P115)
(2000/K213)
(unplugged Symposion)
Marlena Corcoran, Valentina Djordjevic,
These could also be called achaeological fields in Foucault's sense.
through
sensors
The
project
"Survivors
of
the
Shoah
Visual
(1997/P148)
by
government
Global
Conflicts
–
(1991/K73)
(E. van der Heide, M. de Nijs)
repulsion theory
central role of the
(2002/F09)
(Akitsugu Maebayashi)
Aileen Derieg)
(1989/K170)
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/K313)
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/K132)
(2002/F11)
including
the
context
of
the
(Melissa
Gould)
a VR heartbeat –
Literature
The literature cited is available in Linz (from the authors of the study).
(Valentina Djordjevic, Kathy Rae Huffman, the astronaut christ
mood management
Sadie Plant: Cyberfeminism is nothing
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/K177)
on concepts of proximity
Diana McCarthy)
Ars Electronica catalogues are only listed here, where special thematic
other than the recognition that the days
(2001/K236) (C. Mikunda)
archived (1996/K236)
(Hari Kunzru)
attains the character of a performance.
redemocraticization of the technodemocracy
gender issues
(1998/P90)
user, player, participant,
of patriarchy are counted (1996/K182)
issues are concerned.
(1999/J168) (Sandy
Internets (Yury Gitman)
(1998/K129)
(AH) The implied intentionality expressed in the
(1998/II-K297)
(in MOOs & MUDs) (1997/K100)
(1999/J315)
recipient, visitor, viewer,
Literature that is not directly available is marked separately.
(2003/P28)
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/K259) ... 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
The archaeology follows the axis: discursive practice => knowledge => science.
special
net
art
(1994/K206)
(Howard
Rheingold)
discourses
controlling facial
Mißbrauchte Frauen (1988/K135)
Code-Katzen
political
and
activist
software:
same
time
emotional amplifier
cf. atmospheric studies
Relevant discourse, research directions (knowledge fields) and method complexes
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/K250)
In order to be truly contemporary, artists must see
Cyborg Manifesto
are listed here in this sense.
(Werner Cee, Horst Prehn) of perception of the work ("Huge Harry" = voice synthesis
installations, there are no
(AH) new type of sensibility
(1994/K207)
Cyberschlampen
software resistance, useful activist SW
method complexes
themselves as nodes in a technologically determined
(Donna Haraway)
(1993/P114)
Discipline: as set of methods (of a scholarly discipline)
playing with
longer viewers, but only
Pain Station
machine) (1997/K110/P134)
radically decentralized
(1996/K182, K189)
(2003/K229)
environment - and thus assume a highly political
(1997/K46)
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/J53)
(Goodeve)
(2002/F047/P102)
research directions
(L. Larcher, Rich.Art) (1993/K227)
This categorization approach is especially suitable for Ars topics, because different
art&politics
(1989/K235)
interaction oriented to the human being
get in touch (Resitor Sensor)
PEU = pain execution
virtual emotions
(R. Adrian X, R. Braun,
fields of science (and of knowlege) are used systematically.
discipline
(mixed reality architecture)
(Lynn Hershman)
(1996/K418) (Thecla Schiphorst)
unit
(S. Schemat) (1993/K230)
R. Woelfl) (1996/K248) CODE = LAW (symposium contributions)
affectiveCinema (Jan Torpus, Michel Durieux)
Führer Museum
(transmediale) control through bio-feedback
(2003/F06) (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
Source information: time period, source, page
(AH) With the development of the
(2003/K26)
(1979/Knnn)
illusion of an emotional encounter
participation
(1989/K75)
e-government
cultural criticism
repoliticization discourse
microprocessor, in particular, we have
Sources: K = catalogue, P = Prix catalogue, F = program folder,
(Machiko Kusahara) (1997/K219)
(Catherine Ikam) (2000/K401)
cyberlaw
(2001/K244)
(R.
Lozano-Hemmer)
regulation
and
(AH)
putting
the
viewer
into
the
GSR
opened up vast physical, sensory,
feminist studies / feminist theory
postcolonialist discourse
J = anniversary issues
motion-capture cannot convey
see
also:
role
of
collaborator
cybercrime
emotional, mental and conceptional
(2001/K192, K212)
gender studies
emotions
exoticism discourse
Humphrey (AEC)
T = timeline/milestones (context of the Ars)
historical view
teleparticipation
touching and transforming
possibilities.
participation and
Open-Law
combination of VR and force-feedback
anthropologie of gender
race discourse
The catalogue from 1979 was only available in the Internet version.
(1995/K178)
Cyberrechte
a face (Jim Campbell)
view of rhetoric
interaction (AH)
technologies (2003/K433)
cultural history studies
agression, flesh, lust, craziness,
regionalism debate
no interface
The page numbers therefore refer to the PDF version.
(2000/F35)
BUMP – telematic installation
view of action
(AH) based on the phenomena of
mechatronic set-up
(2004) "Digital Communities"
blood frenzy and fantasy
postmodern views
minorities debate
apparatuses at all
Linz – Budapest !!(1999/K421) (2001/P87)
(Les Levine)
stimulation,
exchange
and
playing,
(flying
over
Linz)
(H.
Ranzenbacher)
the new category acknowledges the political
(Linda Dement) (1994/P46)
(2001/K246)
tactile interface – pressure generate
postcolonial theory
Eurocentrism debate
Artists, who are quoted but may not have taken part in the Ars
participative projects
the concept of art achieves a new
(Stadtwerkstatt)
potential of digital and networked systems
(R. Lozano-Hemmer)
counter-pressure (physical interface)
holographic stereogram
media law
critical discourse
Note: theoreticians are not highlighted in color
meaning
force-feedback mouse
force-feedback
word-of-mouth
(Shunsuke Mitamura)
cyberlaw
(L): spoke in Linz
(resistance increases with
media law
force-feedback device
technologies
compulsory
guidance
system
for
Prize-Winners Net Categories
force-feedback device
(1990/K-I-120)
Artists, groups, persons who took part in the respective Ars Electronica
every selection)
with elastic screen
recipients
the view of things
re-introduction of
1995: Robin Hanson, Konrad Becker, Pattie Maes & Max Metral, Station Rose, Antonio Muntadas,
Artists' first names are written out.
(Orit Kruglanski) (2000/F33)
(Hiroo Iwata)
(Automatic Radio)
(Slavoj Zizek)
gravity
Digital Instinct
talking to a neuro baby
Ed Stastny, Stephanie Cunningham, Andrew Anker, Scott B. Gregory, Charles Henrich, Klaus J. Rusch,
(1999/K351)
(1993/K245) (R.A.M.S. attack)
1979
(1992/K113)
(Douglas
Edric
Stanley)
(electrolobby Panel)
(emotional reactions)
see above: therapeutic view
psychical view
Bonnie Mitchell, David Chaum, Catherine de Courten, Christoph J. Mutter
Main Phases in Time
1989
(2000/P100)
(2001/F16)
(Naoko Tosa) (1993/K353)
haptic force-feedback
1996: etoy, Ed Stastny, Manuel Schilcher, Trevor Blackwell, Mark Pesce, Masaki Fujihata, Mc Spotlight,
1979 – 1988 Initiation/definition phase (Leopoldseder, Franke, Bognermayr, et al.
1996
(intentional lies)
joysticks (Rebecca Allen)
Ron Newman, Kevin McCurley, Andruid Kerne, Joey Anuff, Maria Winslow, Lisa Hutton, Stuart Moulthrop,
1982 Stadlmayr, Leopoldseder / 1984 Hattinger, Schöpf
(2000/F33)
see
also:
object
view
(1999/K357)
Timothy Leary
1986-88 Hattinger with Weibel as consultent or co-program organizer
unarticulated communication
similarity and
manifesto of tactilism
1997: Project Taos, Gordon Selley & Rycharde Hawkes & Jane Prophet, Rolf Schmidt, Amy Alexander,
bodies don't lie
1986 with Patsch
touch
media theory
emotional
turn
Global String
Bruce Damer, Ryoichiro Debuchi, Hermann-Josef Hack, Omar Khan, Zervos Komninos-Kostant, Steve
(2000/P102)
1987 build-up of the PRIX (to most important international prize)
(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
Leopoldseder calls 1986-89 the phase of re-conception
(2002/F045/P108)
media discourse
psychoanalysis
/
repulsion
theory
of the atmosphere
1998: knowbotic research, E-LAB, Kazuhiko Hachiya, Bruce Damer, Andy Deck, Paul Garrin & Andreas
psychological space
1989 – 1995 Intensification phase / more scholarly orientation (Weibel) /
art as cognition tool
17 media philosophy view
17 view of art studies
1988
art
art
art
art
as
as
as
as
techno-science
research
method
discourse
1995
ars: knowledge society
visual effects
ars: semantic web &
collective intelligence
discourse view
art as content
knowledge management
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
view of meaning
art as edification
art as breaking taboos
ars on digital typography
ars: MAPPING in the age of digital media
2002
researcher view
ars: digital identities
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
view of text design
authors view
view of graphical design
diagrammatic view II
cartographical view
art as transmission
view of hybridity (II)
13 identity view
visual effects
net excellence
color view
net vision
12 aesthetic view
14 existential view
visual view / light view I
view of the apparitional
1991
1995 World Wide Web Sites
view of sensor technology
11 light view II
1989
view of networks (II)
energetic view
2002
10 Internet view
13 intensity view
view of dramatization
09
ars: cyberfeminism
achievement view
view of destruction
2002
view of concern
1991
12 ethical view
nn view
monument view / memorial view
intercultural view
view of worldviews
legal view
political view
11 feminist view
psychoanalytical view /
psychophysical view
(Kathy Rae Huffman)
09 emotional view
media studies
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
WebFictions – 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
observer view
10 recipient view
Lacanism discourse
queer theory
gender studies
psychological theories of performance
psychology / psychology of action
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
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 McKenzie
Destruktionskunst / Justin Hoffmann
Choreografie der Gewalt / Kunstforum Bd. 153
Troeger, Matthew Fuller & Collin Green & Simon Pope, Koji Ito, Thomax Kaulmann, Susan Meiselas &
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 B92 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 cHmAn, Neeraj Jhanji, Yuji Naka, Gino Esposto & Michael Burkhardt & Paco
Manzanares, Ranjit Bhatnagar, Frank Lantz, Peter Lee, Eric Zimmerman,
2001 net excellence: Joshua Davis, Chris McGrail & Dorian Moore & Dan Sayers, Brian McGrath & 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 Jorgen 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 & JeanJacques Birgs, E. Maria Haas & Luzius A. Bernhard, Shinya Yamamoto, sourgeforge
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 : ....
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 90s 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/K07)
(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/K62)
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
(AH) Von Autonomie zu
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
analog /vs/ digital
Wise Gallery)
generated
Die Ästhetik des Internet –
in the Danube area
Kovarianz
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
Doors of Percption
(Ed Stastny) (1996/P86)
lab atmosphere
environment-encompassing art works and
1983
Electra
Electricity
and
Electronics
in
the
Art
of
20th
Century
(exhibition
Paris)
(Frank
Popper)
radio
as
invisible
sculpture
analog:
atmospheric,
field-oriented
(Lischka, Weibel)
aesthetic discourse
(2003/P50)
(1997/P16) (Joichi Ito)
context of other
conference in Amsterdam (1997/K153)
interactive art events (1989/K166)
atmosphere/aura of
(Tom de Witt, Sonja Sheridan, Nelson Max, Roy Ascott)
(1989/K290)
(Hank
Bull)
mood
management
(see
below)
digital:
discrete,
coded,
diagrammatic
(James Tindall)
body theory / body philosophy
dense, charged
media projects (AH):
Ambient
(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/K104) and moods are constantly
virtual immersion with its aura of
(HK) On ZKM (Zentrum für Kunst und
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/J23)
sound atmosphere
changing (2001/K78)
quiet (2002/K297) (P. Quéau)
Medientechnologie): it is important for me to stress
1986 42nd Biennale Venedig
(Paul K. Hoenich) (1980/K115)
environment (CH Expo 2002)
conceived concept of the
color spaces (Wonder,
(Jim Denley, Rick Rue)
(Sponge/FoAM)
(DM) With all the success attributed to technical media - the
that the traditional arts are also included, because
1986 Les Machines sentimentales (Villeneuve-les-Avignon)
(MEGO,
Involving
System)
Viennese Künstlerhaus:
H. Goebbels, Müller)
atmospheric projections
atmosphere of a steel factory
(1989/K318)
simulative force of digitalization, the invention of virtual,
the friction surfaces of the future will be in allowing
1987 Imaginaire et Technologies (Bagneux)
electronic atmospheres
fluid environment
An exhibition entitled
(Fadi Dorninger) (2000/K311)
completely unknown, even unimaginable spaces, the
the old art genres to collide with the new.
1987 Les Mécaniciens de l´Imaginaire (La Villette)
flowing
changing
images
on
electronic
art
complete immersion immersive installations
atmospheric
"Ars ex Machina" was intended
atmospheric
(AH) we need permeable
(1998/K276) Ridin´a train
speed of implementation and processing, allowing
One cannot focus only on new technologies and
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/P90)
sounds
to illuminate the special situation
as
atmospheric
approach
"wallpapers"
dissipative
codes
(1999/K387)
(Radian)
extraordinary journeys to the unreal - it is always also
media aesthetics, because the old genres change
1989 Maschinen-Menschen (Kunsthalle Berlin / Peter Funken & Lucie Schauer)
the atmosphere of places?
(2000/F36/P106)
vibrating aura arising from the use of electronically
important to keep in mind their barriers, their boundaries.
in the course of confrontation too. die alten
1989 Wonderland of Science Art – Invitation to Interactive Art (Japan) (Itsuo Sakane)
(AH) The essence of electronic art (Weibel):
Liquid Cities (immersing,
ambient display (H. Ishii)
glowing atmosphere
image
and
sound
terrarium
controllable
machines
in
the
Music Creatures
Even more: it is the boundaries that first make it possible
Gattungen verändern.
1993 Machine Culture – exhibition of interactive media art (Anaheim)
(AH) Huhtamo: new way of dealing
... it propels the development of electronic art from the
floating, ...) (Michel Redolfi)
(2001/K255)
(T.
Shannon,
J.
Hassell)
(Stadtwerkstatt)
creative
field.
(The
exhibition
never
Messa di Voce (Tmema) – thinking about
(Marc Downie)
to probe the specific potencies and achievements of media.
1999 Puppen Körper Automaten – Phantasmen der Moderne
with images (VR and cyberspace
object-oriented to the context- and viewer-oriented phase,
(1996/K310)
(1988/K113)
(1984/K385)
took
place.)
(1996/J56)
(Franke)
the meaning and impact of verbal
(2003/K402)
conjoined realities
(Düsseldorf / Katharina Sykora, Pia Müller-Tamm) SETI 100,000s of computers
practices): dive in, submerge, travel...
becoming a "motor of the transformation from modernism to
(HK) I do not focus on media
media terrarium
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/P142)
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/K310)
(1997/K328) 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/P32)(David P. Anderson) indefinite and incomplete systems, from the world of the
yesterday
Roy Ascott's
(Margaret H. Watson)
(2003/K320)
tele-immersion
transmissions.
that are characteristic for this new art, whereby interactivity
necessity to a world of viewer-controlled variables, from the
(ML) Immersion, as diving in human and machine
"Apparitional Aesthetics"
Software as hidden force
(1997/K168)
virtual mental space
appears to be a reflection on new properties of media, such
mono-perspective
to
multiple
perspectives,
from
the
monopoly
hybrid
computers
(AH)
It
is
better
to
speak
of
an
"art
of
completely into digital worlds
(HK) The history of art over the past 180 years
in the background (2003/K139)
(Hiroo Iwata) (1997/K263)
(M. Fleischmann, W. Strauss)
as simultaneity, ubiquity, globality, mapping, freely scalable,
to pluralism, from hegemony to plurality, from text to context,
VR work
hybridation", which is not to be confused
(yet the interface must not be marked
immersive media
has proven, in any case, that the spectrum of media
immersives spatial display –
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)
With "collage", "mixture" or "Patchwork"
immersive interaction (2002) as the boundary between human
has been expanded without any medium becoming
complete all-around perspective
temporalization, dislocation and the suspension of
identity to difference, from totality to particularity, from objectivity
(1998/K222)
(M. Kusch) (1994/II-K78)
and machine)
how art is always looked for in
conceptual weaknesses
obsolete.
identity and the body.
Masaki Fujihata (1996/P120)
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/K34)
Media art will never be limited to the artistic use of technical media
immersive media
Immersion (eintauchen, einbetten)
dictate of subjectivity to the separate world of the apparatuses."
hybrid spaces (1997/K199)
(CAM
perspecive
overlaid
with
route)
(Joline
Blais,
Jon
Ippolito)
Charlotte (Char) Davies (1995)
It is always also aesthetic investigation, critical analysis and
net art as concept art
(1992/K11)
superimposed 2-player games (2002/P96) VR work osmosis
social critique of our world view indexed by science and
(Bettina Lockemann 2004)
concept
art
(Weibel)
The
festival
was
not
up-to-date
and
Der Versuch die Leiblichkeit
GMD Digital Media Lab / ETH Zürich
(2002/P16) With its results, the Prix once again
(Ryota Kuwabuko)
technology (Stocker) (2003/K13)
immersive installation
(art
field)
outside
the
art
system.
zurück zu erobern
new kind of virtual art
Collective Creativity
demonstrates the complete emancipation of cyberart
360-degree dome (K. Sims)
(1999/J71)
augmented
reality:
AR
facilities
(CODE symposium)
from traditional art. Elaborated independent
(1979/K03)
conceptual-systemic art (1) (AH)
CODE-Kritik
self-organization of data
picking up, reinforcing and even
(2003/F11)
concepts ... (C. Schöpf)
fusioned
media design groups
(knowbotik research) (1993/K249)
setting trends (1999/J73)
virtuality
immersive architecture
interlocking two realities
representations
(MESO, Involving Systems)
robot ecosystem
simulation space "mosaic of mobile data
Software
&
Art
I
/
II
(CODE
symposium)
Take-over
as
theme
(2001)
(1999/J94)
(Adrian David Cheok (2002/F12),
issues of
(L.-P. Demers,
sounds"
Agnes Hegedüs
VR art (?)
(2003/F12/F13)
(how
does
the
system
of
"fine
Magic
Book
(Kato)
take
over
Prof.
Hirokazu
Kato,
--(1998/II-K306)
media art as
collaborative research lab
interdisciplinarity
playing real scenes
B. Vorn) (1996/P126)
walk-in database (see right)
Jeffrey Shaw
virtual art
(1997/K262)
posthuman
art"
react
...)
Bruce
Thomas,
view of manifestos
software concept
for art and science
Cyberspace Manifesto
into a virtual environment
Michael Naimark
life
forms
Christopher Lindinger)
(2001/K20)
(Oron Catts, Stuart Bunt) (2001/K136)
(AH) Paul Sermon (student of Ascott)
Chico MacMurtrie & Rick Sayre
research focus
(Alvin Toffeler)
(2003/K226)
virtuality in software
(DM) No medium is capable of re-forming
(S. Stenslie,
mixed-reality applications (2003/K328)
center for artistic investigations
(1991/P127) "tumbling man"
But no art term yet?
explored the intimacy of virtual
conceptual software
or
translating
another
without
loss
or
Knut
Mork,
(AH) Weibel characterized this
The Hidden World of Noise and
performances transferred to avatars
see also:
loudspeaker arm as
tactile experiences (1993/P126)
the evolution of functional
robots+avatars
K.A.
Oygard)
(AH)
from
the
dictate
of
coercion
...
form of art as so-called
Voice (2002/K408) (Futurelab,
absense as
pursuer (2001/F34/P114)
simulation view
robo-ecologies (Mark W. Tilden) !
(1999/P76)
telepresence and co-presence
subjectivity to the separate world
(DG) a "take over" is meaningless in this
Lack of a further development
"post-ontological art", as an art
G. Levin, Z. Lieberman, C.
virtuality
(Edwin van der Heide)
trademark of the festival:
(1993/K195)
(K-Team)
(1997/K199)
of apparatuses
sense too
in the CAVE. Packing it away in
of "virtuality", of "variability" and
Lindinger, D. Offenhuber, M. Breidenbrücker,
VR
VR
virtual
reality
(Marnix de Nijs)
view of art genres
Kunstzeugwelten
openness (1989/J14)
favor of cheaper video game
of "viability".
G. Stocker, R. Abt, R. Praxmarer, S. Mittelböck)
(Morgan Russell)
phenomena art
international expert conference
(Ulrike Gabriel)
Homo Cyber Sapiens
with "software" Burnham established a
It is not an achievement to transfer traditional
systems? (2000/P67) CAVE crisis ?
RoboCup
(1990/II-K215)
stereographic real time
"Industrial Robots"
robot performance
(2000/K362)
VR facilities
(1993/K350)
(1995/K28)
connection
between
computer
technology
artistic
patterns
and
behavior
schemata
to
media
(2000/F37/P108)
(1999/J242)
Strategies of art are more and
applications for CAVE
at theKepler UNI (1982/K267)
Pixelspaces (add. offers)
(AH) (Itsuo Sakane)
LEONARDO
on the aesthetics of
and concept art (2003/K125)
art; the challenge is to invent new ones.
CAVE variations
AEC department: Behind the Scenes (CAVE)
more frequently and lastingly
and ImmersaDesk (1999/J100)
(1989/J35)
(Horst Hörtner)
art
in
the apparatus stadium
robots in the spotlight !!
automatons (Werner
(G. Stocker) (1999/J68)
(Erkki Huhtamo)
Is the pleasure in highLiterature:
Virtual Reality
diffused in other areas of society. (AH) What is problematic about today's VR
CAVE goes PC
(T. Feuerstein, K. Strickner)
(N. A. Baginsky) (1991/K221)
Vollerts)
(1991/K221)
technological
art
(1999/F30)
(Simon
Penny)
tech
experiment
already
high
tech
/vs/
low
tech
(2)
Citycluster – VR networking
Strategien des Scheins – Kunst Computer
(1997/K12)
Art dissolves like minerals in
systems is that the participant has to be
(2001/F10)
(1993/K302)
Pixelspaces (additional offers)
If you don´t think this
project for networked
declining? (1999/J95)
application (F. Fischnaller)
liquid. (2001/K19)
Medien / Ed. Florian Rötzer, Peter Weibel
completely "wired" with data helmet and
Joshua Davis
(helpful
spirits)
is
art
...
(2001/K60)
CAVE
versus
game
engines
CAVEs: transmission of
(Leo Schatzl)
robotics / automation
(2003/K429)
Self-dissolution ! (DG)
data glove.
(2001/P42)
Kunst als Medientheorie / Hans Ulrich Reck
high
technology
art
(Kittler)
With
respect
to
the
(C.
Ebner,
U.
Winters)
(2001/F10)
vergl.
(2000/P67)
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)
three versions of a virtually
exploring virtual worlds
Rhizom.org
semi-spherical projection
digital illusion
robotics conference at AEC
(2003/K228)
(who promise radio art in radio or
Hg. Gerhard J. Lischka, Thomas Feuerstein
and technology (at MIT) (Otto Piene)
(Gommel, Haitz, Zappe)
questioning legal claims
furnished room: only comprehensible
(Monika Fleischmann,
with head-mounted displays (Warren Robinett)
see also:
Alexander
(A. Trottmann)
(Luc
Courchesne)
computer
art
on
the
computer)
have
(1980/K96)
Granular-Synthesis
Offene Systeme I – Beiträge zur Zeitstruktur
(ML) affinity of
(1990/II-K119)
in WEB galleries (2000/P62)
(AH) mechanic-kinetic works
in the interaction with the real
Ulrike Gabriel)
(1990/II-K138)
technoscience art
R. Galloway
view of the field
(1998/P58)
always come too late.
(2002/P92)
(1995/K376)(1998)
media and
von Information, Entropie und Evolution /
(Ivan E, Sutherland)
(0100101110101101.ORG)
Jean Tinguely (1955) "Meta-Matic-Roboter"
furniture
we are human beings
techno-scientific art
standardized
interface
the universal
Robert Adrian X
(Ulf Langheinrich,
dynamics and openness of interactive,
machines
(1990/II-K123)
(AH) Nam June Paik (1964)
(Perry Hoberman) (1999/F25)
Ed. Ulrich von Weizsäcker
(D. Dennett) (1997/K181)
(1997/K1121)
domain-grabbing
Festival
for
Art
(1991/P30) VR was practically not
cyberstalking
robot
(1999/346)
Kurt Hentschläger)
cybernetic processes (2003/K13)
"Robot K-456"
(PW)
on
the
origin
of
(1997/K296)
beyond
the
Medien Archiv / Agentur Bilwelt
and
Technology
(1989/J13)
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/K28)
Medien / Texte zur Kunst 1998-8-Heft32
Coder, Hacker, (squatting on the
commercial systems
(AH) freedoms
(1991/K13)
Christiane Paul (2003/K136)
(1986/K121)
(1989/K81)
mailbomb hacker
industrial revolution
(Berger,Futterer,Stone)
(Max More)
Rakuschan
(Stelarc)
surreal incubation, cultural viruses,
Unnatural bodies
Open Sourcer,
(2003/P83)
Hybridkultur – Medien Netze Künste / Ed.
calculated by the artist
machine art
see also:
Internet)
M.
Moswitzer
impact management
Circuit Bender
(Dan) Daniel J. Sandin
Cabaret Voltaire
Irmela Schneider, Christian W. Thomsen
Cyborg = cybernetic-organism (AH) (Jim Whiting)
computer chaos club
simulation view
information and entropy (etoy) (2000/K360)
M. Jahrmann
robot interaction
cybotage
(1991/K73)
(2001/K20)
using devices and systems
symposium "Robots, Animation
(1996/J84) (2001/K299)
The cyberspace handbook / Jason Whittaker
Ron
Hays
(1982/K198)
first presentation of the
(1995/K09)
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/K400)
cyborg art
(1989/K141)
view of openness
definition (2001/K20)
(1993/K171) (R. A. Brooks)
leitmotifs of media art
(Maywa Denki) (2003/F39)
1968
System dysfunctionality: (M. Napier)
Mark W. Tilden
Otto Piene
(1979/K43)
(article) / Jörg R. J. Schirra
Stadtwerkstatt TV
(H. Ranzenbacher)
(1999/P46)
Jim
Whiting
pneumatic
denial
of
service,
(1993/K195)
(1999/J352)
clear
board
Virtual Art - From Illusion To Immersion /
free scalability (AH)
(AH) from autonomy to
out of control
The
Robot
SPA
12
SRL
anthromorphosization
etoy
(2003/K342)
the art of machine "tinkerers"
Are machines on the
(1991/K73)
exoskeleton !
virus – security
the open art work
(1970/T) foundin of Xerox Palo Alto Research Center
MESO
Oliver Grau (Virtuelle Kunst in Geschichte
(1979/K27) (1989/J102)
multifunctionality
of
co-variance (2)
Contained
Masaki Fujihata
Sulake Labs Oy
drawing tool with
(Marcel li Antunez Roca)
rise again?
(2003/K229)
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/F43)
Time´s Up
(2003/P34)
(2001/K74, K320,P120)
expressive parameters
the dominance of
aspired image: "comprehensible"
(1982/K160)
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/K174)
called into question by the aspect of
Joichi
Ito
(1977/T)
Apple
sells
the
first
completely
Golan Levin
Just Merrit
SW development (1994/II-K38)
Nanotechnology: self(1999/P74) Soundcreatures
closed to open
(1999/P34)
(2003/K371)
(zu
Giedion)
(Paul
DeMarinis,
(1996/P210)
interactivity.
assembled personal computer (color graphics)
(2001/K387)
(1999/J403)
web site
(2002/K252)
chaos cube (M. Klein)
you can't teach an old
reproducing microscopic
Pierre Lévy
sound communication – robots
systems
Laetitia Sonami) (1991/K51)
(1997/P200/K311)
robots
(1977/T) Commodore PET
(2002/P98)
(2003/P079)
(1994/II-K71)
machine new tricks
robots (1992/K71)
instrument developer as
(1995/K91) (1999/K411) John Maeda
(Kouichirou Eto)
Harry de Wit
roomware
(1979/T) LISA development
(2003/P42)
OSDN
(T. Sherman)
(2003/K170)
tool designer
as soon as it works,
Hiroshi Ishii
(2002/K396) Kingdom of Piracy: Whiteg Wenig,
LAMP (Linux, Apache,
Like the analog techniques of
Stelarc
Florian Rötzer
(1979/T) ++++ ars electronica ++++
(2000/K305/P82)
(1997/K196)
Mechatronic Show
(2000/K385)
it is obsolete
(music compiler, ...)
(1997/K198)
Mukul Patel, Manu Luksch, Rhizome.org,
MySQL, Python/Perl/php)
sculptor
as
photo
and
film,
media
art
goes
room elements like walls, doors and
(1999/J411)
(1994/K108)
(1980/T) Apple III
Ken
Goldberg
(Marcel
li
Antunez
Roca)
(1994/P06)
0100101110101101, Joy Chatterjee,
(2002/K394)
Alain Escalle
machine builder / through several phases: the
(2001/K254) Team cHmAn
furniture are integrated in information
(1997/K149)
(1995/K28)
(1980/T)
Commodore
VC
20
(1996/K297)
(2003/K322/P118)
Public access TV und Radio
media primarily involve enabling
(2001/P28)
doubleNegatives, p,RT, Eastwood – RTSG,
Kingdom of Piracy
(1999/P145)
ars metallica
material, corporeal, machinic
(2003/F12)
and communication technology
(1980/T)
Commodore
C
64
Kathy
Rae
Huffman
normative
power of
exoskeleton
structures (DM)
(Stadtwerkstatt, Radio FRO)
Diane Ludin, Dragan Espenschied, Alvar Freude,
(A. Medosch, Shu Lea
phase ... (AH)
digital technology also enables
Dan Graham
David Dunn
(1982/T) Compaq founded
(1991/K261) (1994/K156) Dennis Muren
David
Rokeby
software
monopolies
Manuel
DeLanda
F. Stalder, Agnese Trocchi, Olia Lialina, A. Tang,
Cheang, Yukiko Shikata) Free Software
free software
panel-like screens, tables with
(1994/P67)
new developments in apparative
(1992/K136)
Tool /vs/ Medium
(1992/II-K21)
(1982/T) SUN network computing on TCP/IP basis
current technology
mechatronic
(1993/P122)
(2003/K12)
Roger F. Malina
(1994/K168)
Ilya Eric Lee, exonemo, J.J. King
movement
project (2000/K351) integrated screens (InteracTable)
art (control techniques)
(1983/T) Atari home computer 1200 XL
perfect usability
Timothy
Druckrey
(1997/K258)
Itsuo
Sakane
Agentur
Bilwet
(1999/J319)
virtual
workbank
account
art as procedure /
Steina
&
Woody
Vasulka
Piazza Virtuale – (2003/K29)
(1983/T) MS Windows development announced
(1980/K47)
(1998/II-K290)
cf.: view of objects
(2002/F043)
Dialogue with the knowbotic
(1999/F08)
(1999/224)
(W. Krüger) (1994/P122)
System dysfunctionality:
open law
art as method
apparative art (1973)
(1992/K81)
Service Area
(1984/T) Apple presents the Macintosh
Video/Audio
Technology
Timeline
according
to
Vasulka:
Char
Davies
South
(1994/K243/
Geert Lovink
H.W. Franke
denial of service
(Giaco Schiesser )
(1979/K54)
multimedia versus
(1994/K234)
John Lasseter
Frank Popper
Symphonies for Dot Matrix Printers !!
open source
computer
in
an
advertisement
(196x/T)
Video
Feed
Back
(Skip
Sweeney)
chessboard
interface
(Frans
Evers)
(1996/P144)
Service
(1995/K180)
(2003/K229)
Scott deLahunta
(2003/K372)
synaesthetic
TV broadcasts in
(1996/P164)
Cristopher G. Langton
(a multitude of obsolete office machines)
(1984/T) IBM PC AT
Bruno Latour Peter Eisenman (1999/J152)
(1962/T) Hybrid Graphic Animation Computer
controls scenes
(1988/K268)
(knowbotic
(2003/K302,K311)
interaction concepts
the context of
(2000/P124)
(1999/K381/P183) (The User)
Linux developments
(1984/T) UNIX and SGI 3D Chip on the rise
(AH) machine art forms of apparatuses
(1964/T) Audio synthesizer (Don Buchla)
(Norbert
Artner)
(1988/K171)
the 3rd synaesthetic
research)
(1994/K38,K11)
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)
video chess installation (1989/K88)
wave in modern art
Donna
Cedric Price
(Linus Torvalds) (1999/P24)
Daniel Charles
atelier computer
(1986/K13)
(M. Fleischmann)
Robert
Moog,
Carlos
media colleges
(1995/K79)
(1985/T)
Commodore
AMIGA
1000
(Manuel Schilcher)
(1993/T
Machine
Culture
–
exhibition
of
(1968/T) Modula Audio Synthesizer (R. Moog)
Haraway
(1994/K30)
the net as
system house artist
(1979/K44)
principle of redundancy
(1980/K07)
(1985/T) CD-Rom as new storage medium
Paul Virilio (1999/J173)
(Keith Goddard)
influence of MIDI on
interactive media art Anaheim
distance loan - distance exchange (Hans
(1968/T) x y z Driver/Sequencer (Bill Hearn)
(1997/K46)
Bernard Cache
(prisoner
in
a
golden
cage)
Marshall
McLuhan
open
channel
(Prof. Machiko Kusahara)
(ars intermedia)
Martina Leeker
MIDI
(1984/K161)
(2003/K15)
(1986/T) Atari 1040 ST (Aladin as Mac emulator)
(Stadtwerkstadt Linz)
(1994/K94)
Kropshofer, Karl Heinz Maier) (1998/K116)
(1968/T) Hybrid digital/analog audio synthesizer
art project et al.
(1989/J24)
robot lady
Brenda Laurel
(1987/T) Sun market leader for workstations
(public netbase t0) (1995/K293)
(1995/K24)
(AH) synaesthetic interaction (Weibel) (1988/K27)
loan and exchange – an interdiscourse
(Pulsa Group, P. Kindelman)
Ulrike
Rosenbach
(2002/P146)
Hans
Moravec
Heinz von Foerster
interface as variable
(2001/K367)
(Cardea) MIT
(1987/T) Mac II
(the thing) (1995/K313)
(1990/II-K259) (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/K13)
Michel Serres (2002/K238)
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)
(1969/T)
Sony
CV
Portapak
Abraham
A.
Moles
(1996
Prix)
Fred
Forest
fantastic
young
talent
(1999/J116)
escape routes
(2003/K349)
(2000/K166)
(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/K164)
(H. Schmutzhard)
software as tool
Jean Baudrillard
Recht) (2003/K414)
Louis Bec
(1995/K186)
(1999/F26) (Sommerer,
the interface as input/output instrument is not a
Roy Ascott (1984/K386)
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/K378)
(1991/K07)
or
art
content
?
(2002/F08/K25) Sybille Krämer
various media colleges present
Mignonneau)
multimedia instrument, but one of action for the
Internationale Stadt Berlin, Public Netbase t0,
processing (video context)
(1984/K119)
(1989,90-95)
(1970/T) Colorizer, Camera Scan Processor
(A. R. M. Eshaq) (2001/K47)
Key Grip
Vilém Flusser
Paul
Sermon
train window as interface
Jeffrey Shaw
themselves during the Ars:
synaesthetic transformation of the perception of
V2, CCC, adaweb, stadiumweb, turbulence,
(1991/T) PowerBook
Mailboxen
(1971/T) Paik/Ab Synthesizer Scan Modulator
(Justin Manor)
Marvin Minsky (1990)
Xchange (E-LAB)
(1999/J202)
(91,93,97,99)
(Virilio) There are no more surfaces.
media space.
(1990/P187)
Servus (Satdtwerkstatt)
(1993/T) SGI and Nintendo develop Graphic-Engine
Bill Viola
2001 take over campus: Visuelle Mediengestaltung Vienna
(1971/T) Video Synthesizer (G. Brown)
The construction of
Nam June Paik
(2003/K330)
(1998/P34)
valuation in the PRIX (1993/P126)
The interface is the new form of the
(1995/T) SUN – Java: Standard for the Internet
(1971/T) IP – Image Processor (D. Sandin) =>
experience. Interface as
Derrick de Kerckhove
2002 Kunsthochschule für Medien Cologne
these cooperations are
Heinrich Klotz
Myron Krueger
synaesthesia
surface. Thanks to electronics, teleJury INTERACTION: A. Adriaansens, R. Ascott, B. Blau,
(1996/T) SGI Visual Workstation O2 and Superc. Onyx
Gordon Pask (1999/234)
Which interfaces determine
(1972/T) Dual Colorizer – analog (E. Siegel)
content. (David Rokeby)
DIVE: Free Software, online collaboration,
2003 HS für Gestaltung und Kunst Zürich
mirrored in the
unplugged
(1990/P169)
(1988/K12)
control,
teleperception,
videasts
and
H.
Branscomb,
F.
Brody,
Coco
Conn,
S.S.
Fisher,
Matt
Mullican
(19nn/T)
IP
networks
for
computer
collectives
the overlapping of real
(1972/T) Scan Processor Prototype (Rutt, Etra)
piracy (2003/F38)
(2002/K271) Knowbotic Research
symposium
Peter Weibel
(1999/K423)
Interfaces
as
NeoBaroque
?
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/P158)
(1973/T) Videola Installation (D. Hallock)
E-zine
Das Télécentre Communautaire
standardization
of
Austrian
rigidified
(1993/P101)
(1998/P28)
P. Hoberman, J. H. Horn, Hiroshi Ishii, Machiko Kusahara, Masuyama,
(2001/T) SGI Workstation 230
Karl Sims
Gilles Deleuze
(1973/T) Multikeyer (G. Brown)
the high art of
Polyvalent in Timbuktu (2002/K177)
(2001/K213)
interaction design –
Culture Service
perception framework
(1993/T) Pentium processor
(1996/P144) (1993/K249)
youth as
Literature studies examine, among
R. F. Malina, J. Markoff, T. Moriyama, Monique Mulder, M. Naimark,
(1991/P79) (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/K290)
(1999/J391)
users of excellence
other things, how much techniques and
J. Paradiso, C. Paul, B. Robertson, F. Rötzer, J. Sauter, H-P. Schwarz,
(1992/P51) (1993)
(1973/T) Video Outliner (S. Beck)
(Science Education Team)
planned but never realized
(2002/P70)
personal
computer
(2001/K396)
media influence or even determine the
P. Sermon, Y. Shikata, J. Snoddy, S. Stenslie
(1999/J390)
Joko Project (service)
Christa Sommerer &
view of new technologies
(1974/T) Hybrid audio/video Installation (Behrman, Diamond, Watts)
hybrid system exclusively
(1999/K332) (2000/K274)
or partially realized in 1997
bicycle
as
interface
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
(Shaw, Nancy Paterson,
Pixelspaces – DAMPF (2)
(2002/K186)
(1999/P93) (1999/J393)
(1976/T) Digital Frame Buffer (D. Jones)
Interface-Prof. Art UNI
(ars intermedia)
affordable
time´s up)(R. Makkuni)
U19 Cybergeneration (PRIX)
In its expansion to "image studies", it will first become possible to
performance theory
Sensory Environments –
art as procedure /
(1976/T) Spatial and Intensity Digitizer (D. McArthur)
(Christa Sommerer)
(1979/K44)
Note: the selection reflects
Literature:
Jury ANIMATION: M. Benayoun, M. Bielicky, L. Carpenter, O. Cauwet, H. Chida,
workstation
(2002/P88)
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 (McArthur, J. Schier)
the opinion of G. Dirmoser
Lynn Hershmann
Larry Cuba, M. Dippé, J. Duesing, P. Eason, Valie Export, Lisa Fisher, Ines Hardtke,
ExMachina / Eine Geschichte des Roboters von
Indian
(HK) the computer
also supply an analysis of the potential and the impacts of media at the
(2003/F14) (deLahunta,
(Giaco Schiesser ) (right) R. Herken, C. Héry, J.H. Horn, R. John, M. Kaas, P. Kogler, R. Legato, G. J. Lischka,
(197x/T) Le Movicolor Colorizer (M. Dupouy)
dialogical
approaches
(AH)
Computer:
on
influence
(analysis
of
diverse
specialized
(1995/P121)
1950 bis heute
interfaces
per se is not an
RISC
organization of the
same time. (DD)
J. Manor, J. Dießl, S. Oschatz,
(2003/K372)
on media forms and art forms (1979/T) ++++ ars electronica ++++ (1992/K96)
literature)
postmodern
view
Mickey McGovern, A.J. Mitchel, M. Mullican, Lucy Petrovich, P. Quéau, Barbara
(1989,93,99)
designs
integrative force
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)
1994: Computers and Games
(AH) Artists are even more interested in
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/K294)
art's places of education, practice and communication
Moderne / Ed. Pia Müller-Tamm, Kath. Sykora
interactive exhibition of prizeinterface design
parallels to "media structures of organization"
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
informatics
/
electronics
Set Computing
Container
Projects:
(2002/F044/P86)
...
"intermedia",
J.
Davis,
Tanja
Diezmann,
Oliver
Frommel,
R.
Gehorsam,
(G.
Bonsiepe)
(2001/K17)
(see
left)
winning student works
Computers – Eine illustrierte Geschichte /
than in the tradition of art production.
the paradigm of
B. Buxton, S. Maschwitz
separate
world
of
apparatuses
(Giaco
Schiesser
)
(1996/K221)
"multimedia"
disciplines
Claudia
Giannetti,
Solveig
Godeluck,
Lisa
Goldman,
AI
research
/
AI
discourse
(1986) Container-City "Ponton"
(precursor of the Prix)
Hot Wired
interactive imagination
Christian Wurster
(AH) The convergence and combination of the most on the interface
hacktivism (see left)
collaborative development of
Jury MUSIC: C. Amirkhanian, S. Arnold,
Types of interfaces: breath sensor, brainwave
(1992/II-K)
(Vasulka,
Dunn)
(2003/K371)
(1988/K63)
Derrick
de
Kerckhove,
Machiko
Kusahara,
Joichi
Ito,
modern primitives
connectionism
Is the "digital city" a
of pre-arranged
practical demonstration of free and
(1994/II-K137)
Online Publishing
various techniques are crucial for the formation
(Brenda Laurel)
absolute milestones:
Multimodal Discourse – The modes and media
architecture projects PHASE(x)3
Sam Auinger, J-B. Barriere, L-G. Bodin,
sensor, data glove, bicycle,
video instruments
F. Manola, J. Markoff, D. McCullagh, C. Reas,
(Andrea Juno) (above)
medium or a forum?
dialogue
structure
(AH)
cyberdiscourse
/
cybertheory
creative
arrangement
of
information
"The
next
Idea"
(1996/K393)
Forms whose definition is
of the new art form. (Popper)
(1990/II-K262)
(1999/P36) ETH Zürich
WWW, VRML,
of contemporary communication / Gunther
N. Bouhalassa, L. Brümmer, K. Eshun, A. Greie, S. Rogers, Demetria Royals, M. Russell,
joystick, camera shots,
Why did cooperation with the
Sexy tech
modfied bodies
(1995/K183)
(PRIX category for
oriented more to scientificnet
discourse
(cf.
development
of
Servus)
dealing
with
digital
appropriation
of
media
art
R.
Friedl,
J.
Harrison,
T.
Herrington,
N.
Humon,
plants,
camera,
TV-critical
game
engine,
AEC: Techniklastiges
Kress & Theo van Leeuwen
Kepler UNI only take place in the
The Computer: Handtool
Y. Shikata, John F. Simon, Karin Spaink,
(2001/K407)
(1990/II-K234)
The dynamic of the TAKEOVER does not come from
age 19 to 27 / 2004)
technical disciplines, to interface
techniques (ML)
(1989/J135)
user
interface
technoscience
and
cyberculture
NET
categories:
1)
best
"self-servers",
W.
Jauk,
Kaffe
Matthew,
A.Mongeau,
scanner
by fine art
Ambiente des Lernraumes
first years through symposia?
projects
or Thinktool ? (OG)
net broadband
Marleen Stikker, M. Takemura,
(Christine Goestl)
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/J114)
Takeover (symposium)
NEXT SEX
Friedrich Kittler
Cybersex with data suit and all the appliances
(2001/K17)
"net system art" as
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 nonRestart 1996 with AEC
Ars electronica –Event
Tina Cassani, Bruno Beusch,
The Undertakings of Art –
Symposium (2000/F09)
for stimulation and stimulating body surfaces
"permanent conference"
Technikkultur – Inszenierte Technik –
of
aesthetic-generative
basic
AEC
department:
and
lifestyle
of
gaming
communities,
(1979/K44)
(1995/P45)
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)
für ein Fachpublikum?
already looks like nostalgic mechanics for
(after Beuys) (1995/K65)
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/F09)
J. Reich, Xin Mao, C. Djerassi, Natacha
Internationale Stadt
(1997/P146)
tele-intimacy,
a
kind
of
chivalrous
romanticism
programs
make
the
Jury
CYBERGEN.:
S.
Amann,
(1997/K12)
discourse
(2001/K20)
(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
(1994/K109)
virtual
electronic
works of different
intermedia
connections
T.
Auer,
Etoy
e04,
N.
Filz,
(2000/K357)
in Japan (Tomoyuki Sugiyama)
(1980/K95)
future learning
It is obvious that the
Kunst im Kontext Neuer Technologien of the "Centre Pompidou"
(2001/K17)
WBT on the Silk Road
(1979/K45)
Marta de Menezes, Oron Catts, Ionat
city on the Internet
(Rosa von Suess,
(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/K89)
(Prof.
Max
Mühlhäuser)
appropriation
of
media
art
(1979/K42)
Terminal-Sex
(Stahl
Stenslie)
Paramour / K. Gsöllpointner, U. Hentschläger
(Jie
Geng)
Zurr, G. Ben-Ary, Monika Treut,
B. Loibner)
Art & Tech
the environment was newly measured, the data entered in the
The idea of the digital revolution is
(Nick West / YORB) (1995/K254)
similar (1992/P12)
G. Hupfer, M. Nürnberger,
Brave New Porn
telecooperation,
project
by
fine
art
is
no
longer
(2000/K202)
(2000/P50)
K. Behrends, Joanne Finkelstein, Bruce
Arch+ 167 / Off-Architekture 2
digital clubs
plan, which was then altered as necessary. This method was
experiencing its first real crisis.
ArchiMedia (2001/K404)
(1995/K196)
intermedia art
creative lethargy
(HK) We must be careful not to
M. Pieper, R. Pöcksteiner,
(Sergio Messina)
"Knowledge Net – Future Learning"
acceptable.
canonization of
Digital
(Simon Penny) series of research called the top-down paradigm. In practice these robots were
new isms of the
Bagemihl, Veena Gowda, R. Thornhill,
Reflexionen zu Kunst und neue Medien - UNITn
(Flatz)
cultural identity crisis (2001/K17)
misjudge the tool character of
M. Riebe, S. Sagmeister,
(2000/F28)
next
sex
(1996/J109)
(2001/K20)
(Stocker)
media
art
(2001/K20)
electronic costumes
Revolution
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
Operationsdemontage
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
What is the point of this polarization?(DG)
(Sachiko Kobayashi)
(1999/K17)
the term "Bottom-Up Robot
discourse (DG)
technological
innovation
(John
Duncan)
simulation
the
most
powerful
computer!
(1991/K129)
(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/K91)
Technology" ... now challenge
coaching the arts
(ars intermedia)
(1991/K119)
means view
(1995/K192)
(1996/K194)
The
"visible
human
project"
sex
noises
be done if one had more
telephone
sex
as
safe
sex
Heiko
Idensen,
Matthias
Krohn,
development environment for virtual
the top-down approach
(1979/K44)
on virtual sex and the
(unplugged symposium) (Webster Lewin)
(1991/K276)
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
various
introductions
time/money
(Melita
Zajc)
Florian
Rötzer,
Heinrich
Klotz,
MEME (2) (1996/K194)
reality (Eric Gullichsen, Patrice
loss of desire
(2002/F10)
MK Weibel, Roy Ascott
personal simulation and
Rodney Brooks contradicted the
edutainement
(Christian Möller)
(Aaron Funk, Rachael Kozak)
on Bill Barminski
(1995/K68) (1999/J292)
Derrick de Kerckhove, Andrian X
the sex industrie
Gelband) (1990/II-K302,K305)
webucation
Computer and Internet as guiding technology
(S. Zizek)(1995/K122)
We are on our one out in cyberspace, we
(1986/K312)
notion that a cockroach
(see right) telepresence
distance learning
(2001/K295)
(2003/P198)
(1995/P126)
et al.
businesses (in Japan) have
electronic
art
online (R. Baker) (2000/K37)
Stages
Elements
Humans
of
current
changes
(2001/K17)
the festival ... as site
"Block Jam" instrument
have to re-invent the world and ourselves,
(Franz Xaver Mittermair)
(Scott S. Fisher)
"made a map".
community (2001/F36)
porn-o-mat
learned nothing from the ideas
(1989/J11)
telepresence
(Gina
Czarnecki)
(1999/K329)
Multimedia
digital body worlds
of valuation
made of combinations of
bottom up.
tele-symbiosis (1993/P90)
(Ruth Schnell)
(1990/II-K147)
Thinking the Sexual (M.L. Angerer) (2000/K166)
(platonic ideal)
ASF, AVI, MP3, MPEG,
(Joshua Davis)
(2000/K287)
CBT WBT
and visions (of artists)
creativity /vs/
betting on important issues
(1989/J20)
(2002/P012)
blocks (H. Newton-Dunn,
(1995/P16) (R. Ascott)
(1999/J107) (1993/P90)
Quicktime, RealAudio,
resources view
figures generated for
(2001/K90)
see also: view of transformation
mini-computer in fabric
(Baudrillard)
All
kinds
of
protheses
can
contribute
Symposium
"The
Desire
art ?
lecture
series
(1982/K260)
of science and technology
H. Nakano, J. Gibson,
RealVideo, 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/P54) (Robin Hanson)
multimedia SW WMV/WMA
electronic classroom (1999/J104)
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/K417/P116) (Sony)
techno-art as anti-art (PW)
gene-technical interventions (1993/K157) (Klaus Madzia,
networked learning
Infotrainer (AEC)
(1991/K73) s.l.
and administration
the
paradigm
of
virtual
reality
introduced
New
media
all
emerge
through
re-mediatization,
i.e.
new media =
MP3-player
(PW) Tool culture has entered
cyberspace university
remote presence (1993/P91)
Telerobotik
Computer Aided Design
G.J. Lischka, Reimara
blind for art
(2003/K211)
scientific acceptance with the 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/K102)
blood pressure
interactive systems cannot be
Computer Integrated Manufacturing
Teleroboter (1997)
eye-tracking
(see right)
(1992/K20) (PW)
(A. Popper, K. Stockhammer)
form (Ludwig Jäger)
(1982/K59) „Sky Kiss“
(2002/P24)
concept of
techno-selectives
net view
apparatuses. (1994/K24)
slow-scan robot (Ascott)
imagined without feedback
media guerilla
(1993/K240)
everyday electronics
Concert
for
TV-Cello
:
(Gusberti,
Aschauer,
Thönen,
Deinhofer)
participative and explorative
(2002/K62)
"new" media
(1989/K109)
robot prothesis
(Nur Schrec)
artistic tool
(Joachim Sauter,
PAL version (ORF)
learning facilities (2001/K229)
(ML) the viewer as author in
(ML)
Interfaces
of
biofeedback
entertainment
electronics
Multi Mega Book
(1996/K34)
On this, see the detail study: Has Ars Electronica really been able(1995/K281)
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/K65)
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/K299) (Eva Wohlgemuth)
cell phone culture environment
view into the inside of
Wet Computing
(P. Pocock)
(Stelarc)
(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
3D whole body - BodyScan
(Mork, Pendry,
the body (Stelarc)
Open X: temporary open-plan atelier
(2003/K224)
(1999/K29)
(2002/K342)
obsolete bodies
tele-tactile communication
(J. Singh, J. Chung)
(1997/K316)
(Roy Ascott) (1995/P20)
Ereignis und Aura – Untersuchungen zu einer
audio-skirts
(AH) prosthetic forms of attaching
Stale Stenslie)
Innovation &
digital
pacemaker
walk-in network (1997/K384)
Bioinfornatik
existing software
hybrid man-machine systems
system cyberSM (1993)
(1994/K214)
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/P149)
avant-garde
system (Stelarc) (Stahl Stenslie) CyberSEX
Take over
skyscrapers and streets
bioelectronics Boneware
manipulations (2003/K227)
(Stelarc)
(1992/K233)
physical/emotional
completion
(1980)
programs
wetware
digital
environment
(1994/K116)
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/K131) (1997/K152)
hand
controlled
through
(2000/K213)
Takeover I (symposium)
(2002/P133)
(Peter
McDonald)
(R.
Kriesche)
creativity
(1979/K30)
of Bauhaus
(2000/K19)
(1991/P145)
organism & chips
best equipped "lab/atelier"
new forms of collaborative
Foerster ... cf. various sectors
(1997/K322) (F. Sparacino, A. Pentland,
(1997/K83)
(1994/K114)
WIRED
on sounding bodies
EMG signals
(1989/K135)
plagiarism
"breaking out (2001/K12)
on the change of paradigms,
Aorta (Jeanette Yanikian)
technology is changing from a prothesis part
in Austria (1997/K12)
G.
Davenport,
M.
Hlavac,
M..
Obelnicki)
work
(Mixed
Realities)
(MF)
Ars Electronica – Facing the Future /
and speaking clothes
(Stelarc)
(1997/K149)
(2003/K228)
(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/K277)
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/K205)
(1986/K276)
technical-pragmatic
controlling
a
synthesizer
Touchscreen
audio-clothing
pounding heart, breathing,
Exploring Collective Autorship
(2001/F08)
changed framework conditions
(1996/K337) (Just Merrit)
(H.-P. Schwarz, Gunalan Nadarajan,
everything together (PW) (1994/K08)
(Stelarc) (1997/K153)
(calculable) avant-garde
(Biomuse)
(Benoit
Maubrey,
Eyephones
digestion (1989/J143)
(M. Shamiyeh) (2002/K336)
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
HansPeter Kuhn)
Body Surfacing interactions –
Data Glove
(Throbbing Cristle, SRL)
G. Funk, R. Kannonier) (2002/F11)
(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.)
3D-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/P30)
visible (2000/F34)
(Peter Fromherz) (1999/J166)
(M. Hampel, F. Eggmann, M. Rheiner, G. Huber, I. Sterzinger,
body language and lying
KHM at ars electronica (2002/K334)
actions
(1989/K215)
entries
without
video
Tina
Auer,
Sam
Auinger,
Nicolas
andere
Extensionen
des
Leibes
(2001/F33/P111)
issues of
(2000/P104)
Stockholm, Utrecht, Munich, Berlin, Budapest and
(1997/K158)
Anne-Lea Werlen, Carmen Weisskopf, Doma Smoljo,
(Naoko Tosa)
(A. de Campo, J. Lindenmaier, M.
(Myron
W.
Krueger)
tape
were
unfortunately
head-mounted
display
Anatol
Baginsky,
Todd
Blair,
Tim
Brain
Bar
complexity
3D computer(AH) seeing machines, TV helmets, (Tomoko Ueyama)
R. Wigger, Mascha Leummens, Annia Rüst, T. Cmomiotto,
Warsaw (1989/J55)
(2000/F33)
Erdbacher, J. Garancs, Dagmar Keller,
not
considered
(Warren
Robinett)
(2001/K375)
Boykett,
Denise
Carusso,
Tatjana
(2001/F37)
brainwave
scanner
(PV) permanently reachable
(1992/K57)
tomograms
radio vests, hand devices and
(Bayle, Risset, Barrière, Parmegiani, Bodin, Ungvary,
Cyclops –
Sex i(n) motion
M. Wittwer, Anja Kempe, Yun-Chui Kim, N. Schawalder, Christine Szababo, Valentina Vuksic,
(1996/P57)
the art work as
(1990/II-K119)
(Ole Lütjens)
Didenko, John Duncan, Chip Flynn,
(AH) media art as new
(Smart Studio)
house slavery
(G. Kampis)
telemotorics
computer technology on (1995/K191)
other extensions of the body (2)
Susan Wintsch, Milica Tomic, Hildegard Spielhofer,
Zwedberg, Parmerud, Grimsson, Nsaveld, Vink, Kayn,
gestures
of
calligraphy
gestures
of
(Science
Viola
Klein,
T.
Kubli,
S.
Mann,
Ko
Kubota,
communication
framework
(Ivan
E.
Sutherland)
Collaborative
Web
Tools
L.A. Gladsjo, Brett Goldstone,
genre (relative to the
(1995/K178)
the brain (1979/K30)
Gabriela Gerber, L. Bardill, J. Köppl, Felix S. Huber,
the modulated
(head-hand) (Roman Verostko) perception
Education
Team)
Anke
Limprecht,
Agnes
MeyerHashagen,
Riedl,
Blacher,
Szigeti,
Pongracz,
Rudnik)
(1995/K63)
(1990/II-K123)
Matt Heckert, Rudolf Heidebrecht,
Data glove, data suit,
traditional arts)
dependency on
data glove
F. Wüst, Cornelia Heusser, T. Karrer
human (1979/K29)
(2003/K162) (1993)
(2002/K413)
(2000/K274)
(1996/P25)
Brandis, Aurelia Mihai,
(Mark Federman)
Neurohacking
Erik Hobijn, Kathy Huffmann, Laura
data glasses, database –
tele-surgery (1995)
The Visible Human Project
Meatspace
Clearboard – double projection
the film and
the
realization
of
artistic
Naujokaite
Neringa,
M.
(2003/F11)
communication design
(1994/K109)
Kikauka, David Moises, Gordon
they all suggest the existence
(AH)new sensibilization:
(1997/K292)
(1996/P182) (John Clyne)
Architexture
avatars in the
Gesture is an important point for every ongoing
work table (speaking and drawing
contributions from UNI Stuttgart and TU Vienna
advertising industry
ideas
can
often
only
be
Neuenhofer,
Susanne
(increasingly located in the field
Monahan, Mathias Moses, Marc 9,
of a new world, the data
body and medium
data helmet
(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/K406)
(Karin
(AH)
evoking
a
"new
sensibilization
accomplished
with
Schönberg,
Note: electronic media
operation
of the visual today)
Linda Nilsson, Fritz Ostermeier,
world. Dataism instead of
(May, Modler, Saup)
(2001/K408)
new
world
order
in
interpreting gesture. (2003/K182)
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,
Dadaism. (Peter Weibel)
data suit
(1994/II-K64)
(Satdtwerkstatt)
medicine (R.M. Satava)
Golan Levin's software AVES consists of programs
Computergerät
(Minoru Kobayashi) (2001/K260)
Gebhard,
Emilie
Hagen
&
Minka
Ludwig)
by
the
body
super computer or
effort
(1979/K29)
Olaf Vahl
every sector
(1995/K192)
(Adrian X) (1989/K146)
Leo Schatzl, Manuel Schilcher,
(1990/II-K32)
(1995/K187)
that
amplify
hand
movements
by
transforming
(1979/K57)
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.
(AH)
interactive
works
models of networked collaboration
controlling interactive
data
glasses
codes are part of every
brain stimulation device
(S.S. Snibbe)
experience what radio could have
Gordon W, Doris Weichselbaumer,
Cyborg Bodies
Customized Footwear
CSCW Computer(H. Trappl) (1990)
remote operation
An application assigns a sound to the
presuppose physical
video images through
(1996/K408) (Nobuya Suzuki)
transmission medium
(1979/K57)
facial space
(1996/P130)
been, if it had not become a
Jim Whiting, Kathrin Wilkes, Liz
(2003/K285)
Supported Cooperetive
telecommunication
over
24
hours
structure
of
each
gesture.
exploration ... actions of
marionette
wires
(2003/K15)
CAVE
(2002/K347)
tele-diagnosis
cybermedicine
centralized mass media
Young, Erwin Zeppezauer, Berthold
configurator SW
Wearable Computer
Work (1997/K199)
(Robert Adrian X) helping to
hands-on interactivity
telematic interaction
discovery
physical view – achievement (see also view of achievement)
(Douglas Edric Stanley)
(G.
Deutsch)
(1997/K292)
picking
up
gestures
of
Zettelmeier, Alex Zuljevic
develop the use of telecommunication
virtual marionettes (2000/F34)
Remote Viewing lifestyle
telepresence and jointly used
(J.
Canny,
the sensomotoric aspect
deaf-mutes
Art Com Electronic Network
significance of
technologies (1982/K145)
(Steve Mann) (1997/K221)
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/K133)
telecommunications
Slow-Scan-Television, Telefaksimile,
supportive infrastructure
(2003/K288)
(1997/K304)
devices
for
wireless
nodes
(1997/K389)
(1997/K199)
(1997/K199)
telephone booth
gestural control of
Computer Art Studio
(microphones
on
the
body)
installations
(1982/K35)
I.P.-Sharp-Computer-Timesharing-Netzwerk
Digital Mudra (Sonya Rapoport)
in the clothes
marionette cross
in Africa (2002/K146)
calls with survey
video
processing
(Justin
Manor)
ACROASIS)
electroacousitc
performance
(W. Cooper, L. Ortner, O. Mittmannsgruber,
working world as theme:
interface
(Stahl Stenslie)
(1993/P104) (Stephen
(2003/P110)
(Syntvioline)
Dictionary of Primal
(Steve Mann)
performance theory
N. Hinterberger, C. Kaltenbacher,
Linzer Stahlsinfonie (Klaus Schulze) (1980)
Non Host Radio
on the mechanism of human
Bodytainment
symposium: a life from the Internet
(1989/K110) (1989/K146)
Wilson)
(Mia
Zabelka,
Peter
A.
Ecker)
Behaviour
(Urtica
(FRY))
(1997/K227)
dialogical approaches
Karl-Heinz-Klopf,
Markus
Geiger,
gestural control of music
CB
radio
modem
facial expression as a medium
(2000/K216)
beyond the office
(1988/K153) installation with two
(2003/F31)
WearCam
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
WearComp
deploying shadows of users
(Flipchart AEC)
interactive
bodies
robotic
installation
(2001/P108)
(1989/K128)
(1995/K281)
multimedia
communication technologies
("Huge Harry" = voice synthesis
(Randal Walser)
(1988) "Very Nervous
(Scott Snibbe) (2003/F40/P122)
It
is
not
a
matter
of
making
art
within
the
given
(F.
Fischnaller)
(1995/P116)
(spy
camera,
infrared
sensors
/
cybernetic
application
machine) (1997/K110)
(1990/II-K209)
System" ! (D. Rokeby)
Art & Working World
communication channels, but of grasping the
telecommunications lab
reaction to visitors) (Kenneth Rinaldo)
hedonism (1994/K199)
tactility of the interface
(Georgsdorf)
VOIP Voice-over-IP
one-way
gestural control
communication
channels
as
the
possibility
of
(AH)
McLuhan's
thesis:
technologies
are
(central theme in Linz)
sign language jokes
(1986/K341) art-Btx
LifeScience
(formerly – delta T)
Gestische Steuerung von
navigation
art
as
Life-Art
fax
and
telephone
art
multi-sensory
an
art
form.
(1988)
(1989/K278)
projections
and
continuations
of
mental
gestural
control
of
applications
see also: view of fashion
(Bettina Henkel) (2002/K433)
focal point
(1997/F23) Net Sauna
Body Brush
Multimedia-Installationen
(K. Tin-Kin Hung)
(2000/K211)
and physical properties of the human being
information processing
Future Office Projekt (AEC)
see also: view of adornment
(2000/K19)
BTX
Minitel 1985 Minitel at
(J. Hopkins, T. Mäkelä,
(Y. Hay, H. Ip,
(2002/P62)
vision-based
Motion Picture
from the graphical to the
(cf. diagrammatic classifications too (DG))
(CAVE) Uzume – reacting
(2001/F27) telematic
Les Immatrériaux
telecommunication events (1982/K63)
T. Penttilä, Liisa
A. Tang Chi-Chung)
journey
through
the
body
/
Criticism
(R.
Adrian
X)
(1989/K147)
(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/F047)
physical violence within the
The deciding technologies
Since the communication networks do
(1999/K355)
(2001/K254) (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
/
are those that disappear. They
not allow the creation of real products
listeners
should
(user
gestures)
N.
Kirisits
(2003/K426)
(Camille
(Aldo
Tambellini,
Sarah
Dickinson)
(1994/P38)
registering gestures through ultrasound interface
character design
body. (Baudrillard)
gestural system
sculpture
pumping violence in the
interweave with everyday
... telematic simulations of products
Internet, WWW, ...
rearrange their
Meatspace
Utterback)
(Horst H. Baumann)
GAMS: Gesture and Media System
(2001/K199)
reincorporating the
arteries
(Jeanette
Yanikian)
(R.
Kriesche)
Electric Field Sensor
life. (1994/K169)
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)
(2000/K389)
(PoMo CoMo) (1992/K226)
sensory
functions
(Agnes
Hegedüs)
(1987/K138)
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/K101)
better: corporeal space
digital technology is
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/K268)
overlay the organic interfaces of the
(1995/K133)
difficult to conjoin with
(Jim Whiting)
picture telephone (1989/K72)
picture telephone, Slow Scan
(1989/K287)
artificial placenta
(2002/P110)
(1989/K288)
set of digitalized hand gestures
biological body like spectacles.
our peripheral senses
(1991/K73) s.l.
network
Ethernet
WAN,
LAN
artificial
SMS project (2002/F12) (V. von Borries)
artificial life
(Nobuya Unno)
knocking gestures on
(Agnes Hegedüs)
Bump (2001/F31)
(1997/K138) (M. Weiser)
enhanced gestures /
(1990/I-K166) (2002/K355)
table
and bench as
videoconferencing
molecules
touchscreen installation
the gestures of destruction
(Siehe: Verhalten)
glass (2001/K262)
(1995/K248)
(2000/K70)
physiologically oriented
wooden bridge as tactile
obsolete desires
interface (H. Maat, R. Miltenburg)
biocybernetics – a biologically
(2000/250)
ISDN, ATM, Frame Relay, DSL (2002/K137)
(A. Tambellini) (1980/K111)
(Anna Anders, K. Gasteiger) interface ! (association.
or of misuse
(J.
Paradiso)
interface design
incubation system
(Stelarc) (1992/K233)
Frequency Hopping
(1994/II-K58)
controlled interactive
(J. Davis, Katie Egan)
(1999/K345)
(1999/J87)
electronic architecture
text exchange, image exchange
video conference projects (80s)
(1994/K196)
creation)
telephone music
(J. Domsich) (1997/K364)
(R. Brem, T. Ligthart)
interface
(1994/K195)
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/K189)
telegraph
(D. Warner, J. Sale, T. Anderson,
artificial life – simulations SW
Transworld Telefone
(Stelarc) (1997/K149)
(1994/K156)
electronic transfer media
(John Gerrard) (2003/K408)
life
force-feedback
(2002/K420)
SMSspace and their time, no longer expression.
human ordinariness ;
J. Johanson)
Concert (1986/K265)
Ekman's Facial Action Code
transfer protocols
FAX, Telefax
art
womb
tele-copier
Poly-World
(Larry
Yaeger)
(1993/K122)
answering machine
Animation in the Refrigerator
(Time´s up)
Kids
(Stattwerkstatt)
(Warren
Robinett)
(Oron
Catts,
Ionat
Zurr,
(2003/K12)
Creators
of
Life
(symposium)
building artificial creatures (Pattie Maes)
see also:
communication art
(Ernst Spiessberger)
communication theory
(2001/K18) (1989/K331) (Lucas Cejpek)
transfroming bodily gestures
backbone
(1990/II-K119)
Guy
Ben-Ary)
genetic
technology
methods
(1993/K184)
bandwidth
design view
pedagogy / art pedagogy
experience-oriented
into a 3D 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/F08)
communication
(unplugged Symposion)
physical issues in
(1993/K12) (John L. Casti)
(Roy Ascott) (1989/K100)
(Randal Walser)
A.
Tang
Chi-Chung)
see
also:
systems,
Simon
Nora
coined
the
term
"telematics"
theater
theory
city
links
with
sounds
communication
art
Prize-Winners: Interactive Art
(movement 1968:
CAVE environments microscopic automatons
art as field work of ecological
Remake-Remodel (Domsich)
connectivity,
(1990/II-K202)
(2002/P112)
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/K248)
(ML) tying the virtual world of
life
science
body
philosophy
/
body
sociology
Mario
Costa)
Chico McMurtrie, Waltraut Cooper, Richard Greene, Peter D´Agostino, Kristi Allik &
handling gestures
pacemaker
(1999/P86)
transendence
is teletechnology
(2002/F10)
Wireless
(AH) communicative interaction
computers to the sustantiality
The
Virtual
WLAN
Note:
virtual
travel
journal
HiperLAN
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/K412)
body view
GPS-Tracking
Design Noir –
1991: Paul Sermon, Chico McMurtrie & Rick Sayre, David Rokeby, David Eagle, Nola
(PV)
since
1962
(Telestar
networks
(NY,
airports,
MQ,
Lentos,
...)
(2003/P32)
(1994/P134)
Simulator: flight training for
(AH) Ersatz journeys of remembering,
Hawai) (2002/K355)
physical communication
Ambient Computing (left)
the secret life
(2001/K74) image traces
recording movement
satellite)
there
is
a
total
overFarman, 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/K257)
(2003/K379)
Hand
(2003/P16)
Kristi Allik
and
corporeality)
information:
when
utility
objects
/goods
(M. Schilcher) (1996/P90) (Mark Ries)
balance" is what we call navigating
(2003/K273)
ship & train / journey&dream
Ubiquitous Computing
(Annina Rüst)
(1994/K224)
1992: Monika Fleischmann & Wolfgang Strauss, Joachim Sauter & Dirk Lüsebrink, William
intelligent
begin to communicate.
through virtual scenarios on the
Virtual Frame
(Maelstromsüdpol) (1988/K104)
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 McFadden,
intelligent ambients (3)
(Wonder, H. Goebbels, Müller)
satellites (D. Offenhuber)
Popper suspects a new art genre and
using devices
Ambient Computing
Exodus (Bielicky)
(1994/K168)
Balance System
platform
Rebecca Fuson, Troy Innocent, Beverly Reiser & Hans Reiser, Henry W. See, Simone
(1998/K173)
role
of
GPS
availability
for
describes its reception form as a
Centerbeam (Gyorgy Kepes)
contrary to market
(1995/K214)
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/K08)
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/K405) 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/F34/P92)
interaction: for clean, sterile, non-physical spaces,
Maschinen, die keinen Körper
Stephen Wilson, Jill Scott, Joseph Bates, Werner Cee & Horst Prehn, Agnes Hegedüs,
(1980/K98)
Internet/data network view
communication and wireless networks
in which we can satisfy our natural human desire
besitzen, können die Welt
virtual department stores (above)
Lynn Hershman, Catherine IKAM, David Rokeby, Kevin Ruston, Paul S. Sermon, Gerfried
connection of spatially
(1980/K26)
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/K198)
Digital media and
satellite ear
Can you see me now?
in comparison with virtual space?
newsgroups
(1980/K07)
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/K277)
Reality Lab) GPS/PDA
for art and other projects
mobile phones
satellite communication
"Telepistemological" implications:
(2000/P09)
intelligent
media anthropology
have to be, before you are
desensitization was it possible
Kriesche, Wolfgang Krüger, Brenda Laurel & Rachel Strickland, George Legrady, Patti Maes,
(2003/F38/P88)
symposium:
(Neeraj Jhanji)
(1980/K29)
the intelligent
Presence
and
Distance
(OG)
afraid to go to sleep at night?
ambients (2)
communication theory
for me to activate the spatial
The Orbital Age
Christian Möller, C.M. & Rüdiger Kramm, Catherine Richards
(2001/F36)
satellite technology in ORF and
postman
(GPS-Tracking)
Bluetooth
portable systems
(Rich Gold) ! (1994/K187)
illusion that the VR system
information theory
(1986/K219)
1995: Tim Berners-Lee, Michael Saup, William Seaman, Michael Tolson, Maurice Benayoun,
3SAT context
(M. Bielicky) (1994/II-K82)
keyboards strapped to the hands
Who will program the default
Which "images" are capable of physically
conveys ...
net discourse / cyber-discourse
Peter d´Agostino, Franz Fischnaller, Peter Grucza, Lynn Hershman, Morgens Jacobsen,
(Michel Waisvisz) (1987/K144)
intelligent products
mobile art in
settings for the intelligent
including the viewer (as with VR technology)?
Returning to "real" space, the
The Satellite Art Project (1986/KII-291)
field computer, CE computer, PDA
Artsat
1991
(Graz)
simulation
discourse
M. Kosugi & Y. Ando, Webster Lewin, Lozano-Hemmer & Will Bauer, Jon McCormack,
2000- handheld, Walkphone,
daily life
house? Mom? Dad? The kids?
(1994/K167)
inner ear did not immediately
signals run through a 90.000 km
(R.
Kriesche)
the
human
body
as
nomadology discourse
(Sommerer)
(1994/K190)
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/K143)
Meteosat (weather data control
(2003/K261)
environment to the virtual interactive environment sea sickness ....
1996: Masaki Fujihata, Louis-Philippe Demers & Bill Vorn, Scott Sona Snibbe, Ken Feingold,
bridges
to
everyday
contact microphone
"A Little Night Music"
Elisabeth Goldring, Kazuhiko Hachiya, Harwood, Hiroo Iwata, knowbotic research, Ronen
media bus
life (1979/K03)
(Harry de Wit)
(1988) (R. Kriesche)
WAP
mobile computing
(Ponton) (1989/K117)
Mintz & Jason Ditmars & Brian Duggan, Knut Mork & Kate Pendry & Stale Stenslie,
(ML) Theater as one of the last
(ML) this mixture of
(1989/K139)
sound-body
performances
Communication Grill Chang-Tei"
resources and bastions of
Nobuya Suzuki, Erwin Redl, Michel Redolfi & Luc Martinez, Silver
technical mediality as
freely movable display for 3D viewing
basic electronic
Aorta (Jeanette Yanikian) (1987/K138) (1989/J143)
WAP WML
(2003/K204) (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-K84)
supply
Konstrument
(Harry
de
Wit)
(1989/J143)
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)
Net Sauna
Japan developed a technological
(2001/K87)
theater and media
Monitor Cafeteria
Arthur Elsenaar & „Huge Harry“ & Remko Scha, Mark Madel, Jon Berge, Stefan Zeyen,
(1987/K144) (1989/J59)
(Tapio Mäkelä)
standard with i-mode "services"; (Kanae Ushiro,
Electronic Cafe
transferred heart rhythms
Automatische
Bar
Bill Barminski & Webster Lewin & Jerry Hesketh, Ludwig John & Bertram Quosdorf, Jutta
(1997/K391)
(D. Rokeby) Consciousness lagging behind the body:
Europe with WAP (2001/K201)
Takashi Morimoto)
(1986/KII-299)
(1989/K302) (W. Temmel)
(1991/K227)
Kirchgeorg, Marita Liulia, Die Veteranen
programming that reacts to the smallest movements under
I-mode cell phone (2001/K200)
(1994/K160)
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
U19 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:
3DELUXE / 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
(1998/K91) (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)
underwater real-time
musical instrument
(1996/P154)
(M. Redolfi, Martinez)
ambientRoom: using
light, shadows,
background noises,
air currents
(1997/K203)
Ambient Media: the use of spatial
situations like noises, light,
air currents and water movements
as background interfaces (Ishii)
(1997/K202)
01 contextual view
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
view of absense
view of eros
1991/93
view of hybridity (I)
02 view of limitlessness
art
art
art
art
ars technologica
as
as
as
as
method
quality claim
complexity
innovation
chaos view
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
art
art
art
art
art
2002
interface ars
1980s
1990s
view of PC/computer/video technology
1997
influential thinkers
as
as
as
as
as
as
as
media criticism
media analysis
media art
communication
transmission
media event
communication framework
cybergeneration
U19 freestyle computing
03 service view / project view
art as energy
art as impertinence
art as creation
1970er
1979
art as everyday life
interface view
interfaces view
net vision
2000
procedure view
05 tool view / instruments
1996
functional view
ars: computerized world of work
view of intention
06 education view
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
1999
habitual view
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 MacNeil, 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
DeMarinis, 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, dECOi, 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 DatenDandy – 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 McLuhan
Das Medium ist die Botschaft / Marshall McLuhan
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
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 deLahunta
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