MediaArtHistories

Faculty (Auszug)

Sean Cubitt

TESTIMONIAL: "Great teachers, strategic location in the heart of Europe's new media scene, but most of all, a wonderful group of students who spur each other on to the forefront of debate and research."

Sean Cubitt was born in Lincolnshire of Irish parents. He studied at Queens' College Cambridge and McGill University, Montreal. In the 1980s he worked freelance in art schools, community arts, journalism, the Open University and as National Organiser for the Society for Education in Film and Television. He spent the 1990s in Liverpool, where he became Professor of Media Arts at Liverpool John Moores University, and was involved in developing the Foundation for Art and Creative Technology (FACT). In 2000, he moved to New Zealand with wife Alison and dog Zebedee, where he was Professor of Screen and Media Studies at the University of Waikato. In 2002 he was appointed Honorary Professor of the University of Dundee. He now holds dual nationality with New Zealand and the UK. In July 2006 he moved to Melbourne, where he was Professor and Director of the Program in Media and Communications. From February 2011 he returned to the UK to become Professor of Global Media and Communications at Winchester School of Art, University of Southampton. He retains his links as Professorial Fellow at the University of Melbourne. He is now professor on the Goldsmiths University, London

Lev Manovich

TESTIMONIAL: "Teaching at Image Science program at Danube University Krems was a real treat for me. I had extremely stimulating discussions with the students, and I found that format set up by the program - an intensive seminar where the students focus on just one topic in depth - is very productive."

Lev Manovich (www.manovich.net) is a Professor at The Graduate Center, CUNY (City University of New York).
Manovich is the author of Software Takes Command (Olivares: Milan; English version released under CC license, 2008), Black Box - White Cube (Merve Verlag Berlin, 2005), Soft Cinema DVD (The MIT Press, 2005),The Language of New Media (The MIT Press, 2001), Metamediji (Belgrade, 2001), Tekstura: Russian Essays on Visual Culture (Chicago University Press, 1993) as well as over 100 articles which have been published in 30 countries and reprinted over 400 times.

Christiane Paul

TESTIMONIAL: "MediaArtHistories is a truly unique and outstanding masters program that successfully links an excellent curriculum with a faculty of international experts to provide students with a comprehensive understanding of the histories, forms, as well as practical and conceptual implications of today's media art. Working with the program's highly motivated students in the stunning environment of a 14th century monastery has been a memorable and inspiring experience."

Christiane Paul is Adjunct Curator of New Media Arts at the Whitney Museum of American Art and Associate Prof. at the School of Media Studies, The New School. She has written extensively on new media arts and lectured internationally on art and technology. Her recent books are Context Providers – Conditions of Meaning in Media Arts (Intellect, 2011; Beijing Beepub Media & Culture Publishing Co., 2012), co-edited with Margot Lovejoy and Victoria Vesna; New Media in the White Cube and Beyond (UC Press, 2008); and Digital Art (Thames and Hudson 2003; expanded new edition 2008). As Adjunct Curator of New Media Arts at the Whitney Museum of American Art, she curated several exhibitions—including Cory Arcangel: Pro Tools, Profiling (2007), Data Dynamics (2001) and the net art selection for the 2002 Whitney Biennial—as well as artport, the Whitney Museum’s website devoted to Internet art.

Erkki Huhtamo

TESTIMONIAL: "Krems and Stift Gottweig are ideal places for media-archaeological revelations: new media culture emerges from encounters with deep history."

Erkki Huhtamo, media historian and pioneering media archaeologist, is Professor in the Department of Design Media Arts at the University of California, Los Angeles. He is the coeditor of Media Archaeology: Approaches, Applications, and Implications.
Professor Huhtamo has applied this approach to phenomena like "peep media" (a notion he has coined), the screen, panoramas and dioramas, video games, and mobile media. He has also written about the work of many media artists, including Paul deMarinis, Rafael Lozano-Hemmer, Golan Levin, and Bernie Lubell. Professor Huhtamo's most recent books are Media Archaeology. Approaches, Applications, and Implications (ed. with Dr. Jussi Parikka, University of California Press, 2011) and the large monograph Illusions in Motion. Media Archaeology of the Moving Panorama and Related Spectacles (The MIT Press, 2012). He is currently working on a book on interactive media (The MIT Press, under contract).
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Jens Hauser

TESTIMONIAL: "A program for professionals and practitioners wishing to specialize both in media art history and the practical challenges of just emerging fields was certainly overdue. It would be difficult to find a better place for efficient group learning than the Monastery Göttweig, where pure ‘newness’ is confronted with the larger history of art in its ever changing role."

Jens Hauser is a Paris-based curator, author and arts and culture critic. With a background in Media Studies and Science Journalism, he focuses on the interactions between art and technology, as well as on trans-genre and contextual aesthetics. He has curated exhibitions such as L’Art Biotech (Nantes, 2003), Still, Living (Perth, 2007), sk-interfaces (Liverpool, 2008/Luxembourg, 2009), the Article Biennale (Stavanger, 2008), Transbiotics (Riga 2010), Fingerprints... (Berlin, 2011) and Synth-ethic (Wien, 2011). Hauser organizes interdisciplinary conferences and guest lectures at universities and international art academies. In his current research at Ruhr-Universität Bochum, he investigates the biomediality and wetware paradigms. Hauser is also a founding collaborator of the European culture channel ARTE and has produced numerous radio features. His recent publications include sk-interfaces. Exploding Borders – Creating Membranes in Art, Technology and Society. (Liverpool University Press, 2008) and Fingerprints... Paul Vanouse. Index–Imprint–Trace (argobooks, 2011).

Oliver Grau

TESTIMONIAL: "The MediaArtHistory, MA, the first of its kind shall help to bridge the gap Media Art still has to cross to get better integrated into our societies and their cultural institutions."

Oliver Grau was appointed in 2005 the first Chair Professor of Image Science in the German speaking countries.
His books include Virtual Art: From Illusion to Immersion, Cambridge/Mass., MIT-Press 2003, Mediale Emotionen, Frankfurt 2005, MediaArtHistories, MIT-Press 2007, Imagery of the 21st Century, MIT-Press 2011. He was invited to more than 200 lectures world wide, is translated in 12 languages and received various awards.
His research focuses on the history of media art, the history of immersion and emotions and the history, idea, and culture of telepresence, genetic art, and artificial intelligence. Grau developed new international curricula for Image Science MA and MediaArtHistories, MA, and served as an advisory board member of numerous international journals. He was elected as member of the Young Academy of the Berlin-Brandenburg Academy of Sciences and the Leopoldina.

Paul Sermon

TESTIMONIAL: "On my last visit I presented my new work concerning presence and absence in Second Life, which really resonated with students at Krems, this was an occasion I was able to unpack this emerging critical discourse and explore very new creative directions in my work and that of the students. I look forward to my return visit."

Studied BA Hon's Fine Art degree under Professor Roy Ascott at The University of Wales and a Post-graduate MFA degree at The University of Reading, England. Awarded the Prix Ars Electronica "Golden Nica", in the category of interactive art, for the hyper media installation "Think about the People now", in Linz, Austria, September 1991. Produced the ISDN videoconference installation "Telematic Vision" as an Artist in Residence at the Center for Art and Media Technology (ZKM) in Karlsruhe, Germany, from February to November 1993. Received the "Sparkey Award" from the Interactive Media Festival in Los Angeles, for the telepresent video installation "Telematic Dreaming", June 1994. From 1993 to 1999 employed as Dozent for Media Art at the HGB Academy of Visual Arts in Leipzig, Germany. During this time continued to produced further interactive telematic installations including "Telamatic Encounter" in 1996 and "The Tables Turned" in 1997 for the Ars Electronica Centre in Linz, and the ZKM Media Museum in Karlsruhe. From 1997 to 2001 employed as Guest Professor for Performance and Environment at the University of Art and Industrial Design in Linz, Austria.
Since June 2000 based at The University of Salford working primarily within the research field of immersive and expanded telematic environments.

Irina Aristarkhova

TESTIMONIAL: "The Danube University Krems has excellent facilities to make one's study as productive as possible. I particularly enjoyed working closely with an international group of students in a beautiful setting of Wachau Valley. The world-class team at the department of Image Science does an excellent job in organizing a learning and teaching experience."

Irina Aristarkhova writes on and lectures in comparative feminist theory and contemporary aesthetics. She joined the School of Art & Design faculty as an Associate Professor in 2012. She has held faculty positions at the Pennsylvania State University (University Park), National University of Singapore (where she directed Cyberarts Research Initiative, 2001-2005), and Lasalle College of the Arts.
Aristarkhova’s book Hospitality of the Matrix: Philosophy, Biomedicine, and Culture (2012) is available from Columbia University Press.
Aristarkhova studied philosophy and sociology at Moscow State University, and did her Master's Degree at the University of Warwick, UK. She completed her PhD in Contemporary French Psychoanalytic Theory at the Institute of Sociology, Russian Academy of Sciences.

Frieder Nake

TESTIMONIAL: "The dialectics of algorithmics and aesthetics was on my mind when I came to teach about digital art. We started out on this, but soon students' attention and concentration had caught me so much that we landed elsewhere when the day was gone. Nobody complained about extra time. And we stayed on in the restaurant till midnight. Learning as a form of living."

Nake is a professor of interactive computer graphics at University of Bremen. He is also a lecturer of digital media at University of the Arts, Bremen. He holds the degrees of a Diplom-Mathematiker (1963) and a Dr.rer.nat. (1967) in mathematics from the University of Stuttgart. He was a post-doctoral fellow in computer science at the University of Toronto (1968-69) and an assistant professor at University of British Columbia, Vancouver (1970-72) before he became a full professor in Bremen. He has been visiting professor in Vienna, Oslo, Boulder (CO, USA), Xian (China), Aarhus (Denmark), Lübeck, Basel. He is known for pioneering work in computer art. He has an extensive record in publications both in science and art, and in exhibitions. His current research interests are in computer graphics, digital media, computer art, design of interactive systems, computational semiotics, and theory of computing science.

Jeffrey Shaw

Jeffrey Shaw has been a leading figure in new media art since the 1960's. In a prolific oeuvre of widely exhibited and critically acclaimed works (www.jeffrey shaw.net) he has pioneered and set benchmarks for the creative use of digital media technologies in the fields of virtual and augmented reality, immersive visualization environments, navigable cinematic systems and interactive narrative. Shaw was co founder of the Eventstructure Research Group in Amsterdam (1969 1979), and founding director of the ZKM Institute for Visual Media Karlsruhe (1991 2002). In 2003 he was awarded an Australian Research Council Federation Fellowship to co found and direct the UNSW iCinema Centre for Interactive Cinema Research (www.icinema.unsw.edu.au). Since 2009 Shaw has been Chair Professor of Media Art and Dean of the School of Creative Media at City University in Hong Kong (www.cityu.edu.hk/scm) where he is also Director of the Centre for Applied Computing and Interactive Media and Director of the Applied Laboratory for Interactive Visualisation and Embodiment (www.cityu.edu.hk/alive)

Sarah COOK

Sarah Cook is a Canadian scholar, historian and curator in the field of New Media art, who is based in Newcastle upon Tyne. Cook is a Research Fellow at the University of Sunderland, where she works with the research institute CRUMB – Curatorial Resource for Upstart Media Bliss, that she co-founded with Beryl Graham in 2000, and teaches on the MA Curating course. For many years, she has curated exhibitions of New Media art and was instrumental in establishing New media as an academic subject and an accepted art form.
Cook received her MA from the Center for Curatorial Studies and Art in Contemporary Culture at Bard College and her PhD from the University of Sunderland. She writes comprehensively on new media arts and lectures on art and technology. Together with Beryl Graham, she authored the seminal Rethinking Curating – Art after New Media (2010), and also co-edited A Brief History of Curating New Media Art - Conversations with Curators (2010) and A Brief History of Working with New Media Art - Conversations with Artists (2010).
In 2011 she co-chaired Re:wire, the Fourth International Conference on the histories of media, science and technology in art with FACT in Liverpool.

Margit Rosen

Margit Rosen studied art history, political science, philosophy and
media arts at the Ludwig-Maximilians-University Munich, the HfG |
Karlsruhe University of Arts and Design, the University of Paris I
(Panthéon-Sorbonne) and the EHESS in Paris.
She has been research associate and curator at the ZKM | Center for Art
and Media Karlsruhe since 1999. Together with the Christian Schön, she
also curated the lothringer13/halle, the Municipal Art Gallery, Munich
in 2002-2003.
Margit Rosen taught at the HfG | Karlsruhe and is a faculty member of
the Master's program MediaArtHistories at the Danube University Krems.
As a visiting professor she taught at the Art Academy Münster, in 2011.
Margit Rosen publishes on 20th and 21st century art, the history of
photography and the history of artistic use of computing technologies.
Her latest book "A Little-Known Story About A Movement, A Magazine, And
The Computer’s Arrival In Art. New Tendencies and Bit International,
1961–1973" was published in 2011.
She lives in Karlsruhe and Munich.

Darko Fritz

Fritz is artist and independent curator and researcher. He was born in 1966, in Croatia, and currently he lives and works in Amsterdam, Zagreb and Kor􀀃ula. He studied architecture at the University of Zagreb [1986 - 1989] and media art at Rijksakademie van Beeldende Kunsten in Amsterdam [1990 - 1992].

Fritz was a founding member of the artist collectives Cathedral [1988], Imitation of Life Studio [1987 – 1990]. He has curated numerous exhibitions and edited companion exhibition catalogues for print and web publication, including I am Still Alive (early computer-generated art and recent low-tech and internet art), Zagreb, 2000.

Nat Muller

Nat Muller is an independent curator and critic based in Rotterdam. She has held positions as staff curator at V2_, Institute for Unstable Media (Rotterdam) and De Balie, Centre for Culture and Politics (Amsterdam). Her main interests include: the intersections of aesthetics, media and politics; media art and contemporary art in the Middle East. She has published articles in off- and online media; is a regular contributor for Springerin, Bidoun, and MetropolisM and has given presentations on the subject of media art (inter)nationally. Her latest projects include The Trans_European Picnic - The Art and Media of Accession (Novi Sad, 2004), DEAF_04: Affective Turbulence: The Art of Open Systems (Rotterdam, 2004); INFRA_ctures (Rotterdam, 2005), Xeno_Sonic: a series of experimental sound performances from the Middle East (Amsterdam, 2005), DEAF07 (Rotterdam, 2007), the workshop 'Between a Rock and a Hard Place? Negotiating Artistic Practice, Audiences, Representation and Collaboration within Local and International Frameworks' (Amman, 2007). She has curated video screenings for projects and festivals in a.o. Amsterdam, Rotterdam, Berlin, New York, Istanbul, Copenhagen, Grimstad, Lugano, Dubai, Cairo and Beirut. She recently co-edited the Mag.net Reader2: Between Paper and Pixel with Alessandro Ludovico (2007), and Mag.net Reader3: Processual Publishing. Actual Gestures, based on a series of debates organized at Documenta XII. She has taught at the Willem de Kooning Academy (NL), ALBA (Beirut), the Lebanese American University (Beirut), and A.U.D. in Dubai (UAE). She serves as an advisor on Euro-Med collaborations for the European Cultural Foundation (ECF) and the European Commission.

Edward Shanken

Edward A. Shanken writes and teaches about the entwinement of art, science, and technology with a focus on interdisciplinary practices involving new media. He is Universitair Docent in New Media, University of Amsterdam, and a member of the Media Art History faculty at the Donau University in Krems, Austria. He was formerly Executive Director of the Information Science + Information Studies program at Duke University and Professor of Art History and Media Theory at Savannah College of Art and Design. Recent and forthcoming publications include essays on art and technology in the 1960s, information aesthetics, interactivity and agency, and the cultural implications of cybernetics, robotics, and biotechnology. He edited and wrote the introduction to a collection of essays by Roy Ascott, Telematic Embrace: Visionary Theories of Art, Technology and Consciousness (University of California Press, 2003). His critically praised survey, Art and Electronic Media, was published by Phaidon Press in 2009.

Morten Sondergaard

Morten Søndergaard is a media art curator and writer based in Copenhagen, DK and co-author (with Mogens Jacobsen) of the book Re_Action – The Digital Archive Experience (Aalborg University Press, 2010); co-editor (with Peter Weibel) of Magnet: The Data Practice of Thorbjørn Lausten (ZKM &
Kehrer Verlag) and (with Perttu Rastas and Bjørn Norberg) of Get Real – Real Time + Art (New York: George Braziller, 2005). He is currently Associate Professor in Interactive Media Art at University of Aalborg (Copenhagen Campus), where he is head of research on the Unheard Avant-garde project, which is part of the Sound Archive Infrastructure Project LARM. He co-founded and co-chairs re-new digital arts festival and IMAC – Interactive Media Art Conference in Copenhagen, where he is also Senior Curator. He is a contributing editor of Leonardo Electronic Almanac and co-chair of Design Cases at Nordichi 2012

Jacob Wamberg

Jacob Wamberg (b. 1961) is Professor of Art History at the University of Aarhus, Denmark. He works on evolutionistic theories of the visual arts, especially in relation to nature and technology. His present focus is posthuman aspects of avant-garde art. His publications include Landscape as World Picture: Tracing Cultural Evolution in Images (2009), Totalitarian Art and Modernity (2010, ed. with Mikkel Bolt Rasmussen) and The Posthuman Condition: Ethics, Aesthetics and Politics of Biotechnological Challenges (2012, ed. with Kasper Lippert-Rasmussen and Mads Rosendahl Thomsen).

Kathy Rae Huffman

Kathy Rae Huffman is a freelance curator, lecturer, networker and media art collector currently based in Berlin. She has written about, consulted for, and coordinated events for a variety of international festivals and organisations. Her research interests focus around issues of female environments in the Internet, the history of video art, and artists’ experimental television. She co-founded the international and longstanding online community for women FACES (with Diana McCarty and Valie Djordjevic) in 1997.

Andreas Lange

Andreas Lange (*67) studied Comparative Religions and Dramatics (M.A.) at Freie Universität Berlin. His 1994 graduation work "The Stories of Computer Games - Analysed as Myths." was one of the first academic works, in which computer games are treated as cultural artefacts. Since than he works in the business of interactive digital entertainment culture as a curator, author, consultant and an expert among others for the German age rating system USK. Since 1996 he is the director of the Computer Game Museum in Berlin, which opens early 1997 the worlds first permanent exhibition dedicated solely to interactive digital entertainment culture.
Since 2002 he is cofounder and CEO of DiGA e.V. - The Digital Game Archive. He is participant at nestor - the German Network of expertise in Digital long-term preservation, DINI the German Initative of Networked Information, the SIG Games of the German Gesellschaft für Medienwissenschaft/ GfM (Society for Media Studies) and is member of the Academy of the German Games Developer Award. He lectures amongst other at the Games Academy in Berlin and the University of Potsdam.

Christopher Salter

Christopher Salter is a media artist, performance director and composer/sound designer based in Montreal, Canada and Berlin, Germany.


His artistic and research interests revolve around the development and production of real time, computationally-augmented responsive performance environments fusing space, sound, image, architectural material and sensor-based technologies.

Salter has published in the areas of technology and performance, real time responsive environments, mobile real time media and cultural politics. He is the author of the forthcoming book Entangled: Technology and the Transformation of Performance published by MIT Press in 2010. He is currently Assistant Professor in the Department of Design and Computation Arts at Concordia University in Montreal, Canada, where he teaches in the areas of real time digital audio, immersive environments, critical theories of media and performance and technology.

Elinor Nina Czegledy Nagy

Nina Czegledy, artist, curator, educator, works internationally on collaborative art& science& technology projects. Paradigm shifts in contemporary art and the changing perception of the human body and its environment shape the focus of her projects. She has exhibited widely, won awards for her artwork and has lead and participated in workshops, forums and festivals worldwide. Czegledy curated numerous international touring projects and published extensively. Czegledy is a Senior Fellow, KMDI, University of Toronto; Associate Adjunct Professor Concordia University, Montreal; Senior Fellow, Hungarian University of Fine Arts, Budapest; member of the Leonardo/ISAST Governing Board, member of Observatoire Leonardo des Arts des Techno-Sciences OLATS, Research Fellow Intercreate org, New Zealand, Board Member, Year Zero 01, Toronto and contributing editor to LEA, the Leonardo Electronic Almanac. http://www.ninaczegledy.net

Roger Malina

Roger F. Malina is an astronomer and editor. He is a Distinguished Professor of Art and Technology at the University of Texas, Dallas where he is developing Art-Science R and D and Experimental publishing research. Former Director of the Observatoire Astronomique de Marseille Provence. His specialty is in space instrumentation; he was the Principal Investigator for the NASA Extreme Ultraviolet Explorer Satellite at the University of California, Berkeley. He also has been involved for 25 years with the Leonardo organization whose mission is to promote and make visible work that explores the interaction of the arts and sciences and the arts and new technologies. Since 1982 he has been the Executive Editor of the Leonardo Publications at MIT Press. More recently he has helped set up the Mediterranean Institute for Advanced Studies (IMERA) and is co chair of the ASIL ( Arts, Sciences, Instrumentation and Language) Initiative of IMERA which hosts artists in residence in scientific research laboratories of the Marseille region.
URLS: www.oamp.fr / www.leonardo.info / www.olats.org / www.imera.fr

Jussi Parikka

Dr Jussi Parikka is a Finnish media theorist and writer. He graduated with a PhD from University of Turku, Finland in 2007 and has since then worked in Berlin, Cambridge (Anglia Ruskin) and now at Winchester School of Art. He is the author of various publications, including the monographs Koneoppi (2004), Digital Contagions: A Media Archaeology of Computer Viruses (2007), Insect Media: An Archaeology of Animals and Technology and the forthcoming What is Media Archaeology (2012). In addition, he has edited and co-edited such publications as The Spam Book: On Porn, Viruses and Other Anomalous Objects from the Dark Side of Digital Culture (2009), Media Archaeology: Approaches, Applications and Implications (2011).

Ramón Reichert

Ramón Reichert is Professor at the Department of Theatre, Film and Media Studies at the University of Vienna. His research interests include the historiography of media and technology, the impact of new media and communication technologies such as the Internet, social media, visual culture and identity politics. He is author of Im Kino der Humanwissenschaften: Studien zur Medialisierung wissenschaftlichen Wissens (2007), Amateure im Netz: Selbstmanagement und Wissenstechniken im Web 2.0 (2008), Das Wissen der Börse: Medien und Praktiken des Finanzmarktes (2009) and co-editor of Reader Neue Medien (2006), Theorien des Comics (2011).

Gunalan Nadarajan

Gunalan Nadarajan is an art theorist and curator working at the intersections of art, science and technology. His publications include Ambulations (2000), Construction Site (edited; 2004) and Contemporary Art in Singapore (co-authored; 2007), Place Studies in Art, Media, Science and Technology: Historical Investigations on the Sites and Migration of Knowledge (co-edited; 2009), The Handbook of Visual Culture (co-edited; 2012) and over 100 book chapters, catalogue essays, academic articles and reviews. He has curated twenty international exhibitions including Ambulations (Singapore, 1999), 180KG (Jogjakarta, 2002), media_city (Seoul, 2002), Negotiating Spaces (Auckland, 2004) and DenseLocal (Mexico City, 2009). He was contributing curator for Documenta XI (Kassel, Germany, 2002) and the Singapore Biennale (2006) and served on the jury of a number of international exhibitions, like ISEA2004 (Helsinki / Talinn), transmediale 05 (Berlin), ISEA2006 (San Jose) and FutureEverything Festival (Manchester, 2009). He was Artistic Co-Director of the Ogaki Biennale 2006, Japan and Artistic Director of ISEA2008 (International Symposium on Electronic Art) in Singapore.
He is active in the development of media arts internationally and has previously served on the Board of Directors of the Inter Society for Electronic Art and is on the Advisory Board of the Database of Virtual Art. Presently, he is also working on a National Science Foundation funded initiative to develop a national network for collaborative research, education and creative practice between sciences, engineering, arts and design. He was elected a Fellow of the Royal Society of Art.
He also had previous appointments as Associate Dean for Research and Graduate Studies at the College of Arts and Architecture, Pennsylvania State University and Dean of Visual Arts at the Lasalle College of the Arts, Singapore.

Christa Sommerer

TESTIMONIAL: "The study of media art histories is essential if we want to preserve and study the cultural heritage that media artists and scholars have produced over the past decades. The program of Image Science in Krems will help us to reach this goal through professional research and dedicated scholars."

Christa Sommerer studied Biology and Botany (1982-85), followed by Art Education and Art Study in Modern Sculpture (1985-90) in Vienna, Austria. She concluded her post graduate study at the Staedelschule Institut for New Media, Frankfurt (1993-94). Subsequently, Christa Sommerer was an artist-in-resident at the NCSA National Center for Supercomputing Application, Beckman Institute (US) and at the InterCommunication Center ICC-NTT (JP).
Since 1992, she has been collaborating with Laurent Mignonneau. Christa Sommerer & Laurent Mignonneau are internationally renowned media artists. They are researchers and artistic directors at the ATR Media Integration and Communications Research Lab in Kyoto, Japan and associate professors at the IAMAS International Academy of Media Arts and Sciences in Gifu, Japan. Their interactive artworks have been called "epoch making" for pioneering the use of natural interfaces to create a new language of interactivity based on artificial life and evolutionary image processes. They have won many major international media awards, for example the Golden Nica Ars Electronica Award for Interactive Art 1994 (Linz, Austria), the Ovation Award of the Interactive Media Festival 1995 (Los Angeles, USA), and the Multi Media Award '95 of the Multimedia Association Japan. In 1997, they edited the Art @ Science book, Springer, Vienna/New York.

Gerfried Stocker

Gerfried Stocker, media artist, manager. Completed training in audio engineering and telecommunications. In 1991, he set up the x-space team to carry out interdisciplinary projects. Out of this came numerous installations and performance projects at the nexus of interaction, robotics and telecommunications. Stocker was also responsible for the conception of radio network projects and the organization of worldwide “Horizontal Radio.” Since 1995, he has been CEO of the Ars Electronica Center and, since 1996, jointly with Christine Schöpf, artistic director of Ars Electronica

Alain Depocas

TESTIMONIAL: "My two days in Krems with the MediaArtHistories masters program's students was a great experience. The students already have a deep understanding of the many challenges we are facing regarding the conservation and documentation of media art. They were very generous and we had very productive discussions and exchanges. I also really appreciate to collaborate with the program team, and especially with it's director Oliver Grau."

Alain Depocas is the head of the Centre for Research and Documentation (CR+D) of The Daniel Langlois Foundation since September 1999, Alain Depocas has been named Director of the CR+D in March 2003. In this capacity, he is in charge of a documentary collection covering the history, works and practices associated with the media, electronic and digital arts. He has also set up a database for managing the collection and information on CR+D's areas of interest.
After studying art history at the Université de Montréal, he worked from 1991 to 1999 as a researcher and then documentalist at the Musée d'art contemporain de Montréal (MACM). Among other duties there, he was responsible for the MACM Media Centre's Web site and was involved in developing a contemporary art thematic scan project. From 2002 to 2004 he co-directed the Variable Media Network in the context of a partnership between the Guggenheim Museum in new York and the Daniel Langlois Foundation. It is also in the context of this project that he co-edited in 2003 a publication entitled Permanence Through Change: The Variable Media Approach. Since 2005, he is the Research Director of DOCAM: Documentation and Conservation of the Media Arts Heritage, an important international multidisciplinary research alliance involving many universities and museums.

Ana Peraica

Ana Peraica holds a Ph. D. in aesthetics of photography. After graduating from University of Zagreb, in fields of art history and philosophy, she became a researcher in art theory at the Jan Van Eyck Akademie, Maastricht, where awarded UNESCO-IFPC, In parallel she undertook three year doctorate course in cultural analysis, theory and interpretation at ASCA, University of Amsterdam and defended her thesis entitled Photography as the Evidence at University of Rijeka.

She is an editor of the reader "Zena na raskrizju ideologija" (Split, HULU / Governmental Office for the Equality of Rights Split, 2007), Victims Symptom – PTSD and Culture (Institute for Networked Cultures, Amsterdam, 2009) and author of Sub/versions (Revolver Publishing, 2009/in print). She regularly writes for cultural magazines such as Springerin and Pavilion, as well as academic journals Afterimage (RIT) and Leonardo (MIT) where she also works in the editorial group. She currently works as adjunct professor on Rochester Institute of Technology's depositure ACMT in Dubrovnik and in her family photo-atelier Perajica on Peristil. Peraica is a member of AICA, IKT, ISEA and ISAST.

Christopher Lindinger

Christopher Lindinger studied computer science at the Johannes Kepler University of Linz and culture management in Salzburg. He worked as a scientist in the area of the supercomputer visualization in Chicago and freelance for the computer game industry.
Due to his activities in the area of the new technologies, digital culture and art, he is involved into the Ars Electronica since 1997. At present, he conducts the area of research and innovation in the Ars Electronica Futurelab and works besides advice activities for the industry and government facilities as a teaching representative at all sorts of universities in Germany and England. He is also guest professor at the art University of Linz.

Gerhard Dirmoser

Gerhard Dirmoser is computer scientist and systems analyst and carries out studies in the art field and in the context of picture sciences for 25 years. Dirmoser carried out numerous exhibitions among others for the Ars Electronica festival, the Ludwig Boltzmann Institute für Medien.Kunst.Forschung, and the Zentrum für Gegenwartskunst, Linz. Projects of the last years include: “Diagrammatik of architecture”, “A diagram is a/no picture”, “Semantic nets to different topics“ ( with the help of the software SemaSpace –together with Dietmar Offenhuber ). Poster studies to context art, performance art, media art (Ars Electronica) and atmospheric design questions.

Maximilian Schich

Dr. Maximilian Schich is an art historian, joining The University of Texas at Dallas as an Associate Professor for Art and Technology in January 2013. He works to converge hermeneutics, information visualization, computer science, and physics to understand art, history, and culture.
Recently, Maximilian worked on complex networks in the arts and humanities with Dirk Helbing, FuturICT coordinator at ETH Zurich (2012), and Albert-László Barabási, complex network physicist at Northeastern University in Boston (2008-2012). He was a DFG Research Fellow (2009-2012) and received funding from the Special Innovation Fund of the President of Max-Planck-Society (2008).
Previously, Max obtained his PhD in Art History from Humboldt-University in Berlin (2007), and his MA in Art History, Classic Archaeology, and Psychology from Ludwig Maximilians University Munich (2001). Besides, he looks back at over a decade of consulting experience, working with (graph) data in libraries, museums, and large research projects (1996-2008).
Maximilian is the organizing chair of the ongoing NetSci symposia series on Arts, Humanities, and Complex Networks, as well as an Editorial Advisor at Leonardo Journal (MIT-Press). He publishes in multiple disciplines and is a prolific speaker, translating his ideas to diverse audiences across academia and industry.

Ksenia Fedorova

Ksenia Fedorova received her MA in Philosophy at the Department of philosophy, subdepartment of aesthetics, ethics, history and theory of culture, Ural State University (Ekaterinburg, Russia) in 2005 and MA in Art History at the Art and Art History department, University of Colorado at Boulder (USA, 2007), where she’s been a Fulbright scholar specializing in theory of contemporary art and media. While in the U.S. she has interned at the San Francisco Museum of Modern Art (Interactive educational technologies Department) and MCA Chicago (Performance programs Department).
She is currently a PhD candidate and a lecturer at the Ural State University, Department of Philosophy, Department of Art History and Cultural Studies teaching courses on the issues of contemporary art, media art and philosophy. The topic of her PhD thesis is “The Phenomenon of the Sublime in Contemporary Art (on the material of media art)”
She also holds position of a curator and senior researcher at the National Center for Contemporary Arts, Ekaterinburg branch. Curated shows include “In Transition Russia 2008” (2008), “Material Resistance: Elements and Effects” (2009) and others.
She has participated in many national and international conferences and workshops and is an author of multiple articles and essays on the issues of aesthetics, ethics, cultural studies, history and theory of contemporary art and media.

Wolf Lieser

Wolf Lieser is an owner of a gallery. After his high-school diploma in 1978 his interests as an artist were in photography. But as his mediator activity increased he soon found himself working as an artist manager during the eighties. He worked as an Art Consultant and founded his first gallery in 1994. Further main emphases were conception and realization of art projects for enterprises. He founded the virtual Digital Art Museum, www.dam.org,in 1998. He became a partner of the Colville Place Gallery in London, the first gallery for digital art in England, in 1999. The London gallery was closed in 2002. Since 2003 Wolf Lieser is in Berlin with the gallery Wolf Lieser and the first location of the DAM.

Slavko Kacunko

Slavko Kacunko, b. 1964 in Osijek (Croatia), Art- and Culture Historian, Media Theorist and Philosopher. He studied Philosophy, Art History and Pedagogy at the University of Zagreb and Osijek, Promotion in Dusseldorf (1999), Habilitation in Osnabruck (2006). 2003 – 2009 Junior Professor for Art History of the Modern Period at the University of Osnabruck (Germany).

Published Books (in German): Marcel Odenbach. Performance, Video, Installation 1975 – 1998, (1999); Dieter Kiessling. Closed-Circuit Video 1982 – 2000 (2001); Las Meninas transmedial. Painting. Catoptrics. Videofeedback“ (2001); Closed Circuit Video Installations. A Contribution to the History and Theory of Media Art (2004); Mirror. Medium. Art. On the History of Mirror in the Age of Image (2010).

Michael Century

TESTIMONIAL: "The Media Art Histories course at Danube University is a much needed specialist credential in a field of study that is still neglected in the traditional humanities disciplines. The intensive teaching format is innovative and productive. The high caliber of students
proves that the course will be of benefit to working professionals across a wide range of specializations in the visual and media arts."

Professor in the Arts Department at Rensselaer Polytechnic Institute, which he joined in August, 2002. Long associated with The Banff Centre for the Arts, Century founded the Centre's Media Arts Division in 1988. From 1993-2002 he was a program manager, consultant, and policy advisor for art and technology, serving public institutions, foundations, and research laboratories in Canada. He was educated in humanities, piano performance, and musicology at the Universities of Toronto California, Berkeley, and science/technology policy at Sussex University (U.K.)

Steve Dietz

Steve Dietz ist Kurator für Neue Medien und Direktor des ISEA 2006 Symposium ZeroOne San Jose International Festival of Art and Technology; 1996–2003 Walker Art Center in Minneapolis, Minnesota, USA, wo er das New Media Initiatives department gründete, die Online Art Gallery 9 und die Digital Art Study Sammlung; Dietz war Gründer und Leiter der Publications and New Media Initiatives am Smithsonian American Art Museum und Redakteur des Magazins American Art. Er organisierte und kuratierte eine Reihe von Ausstellungen zu Neuen Medien, u. a. einige der ersten Online-Ausstellungen »Beyond Interface: net art and Art on the Net« (1998)

Christian Hübler

TESTIMONIAL: "MediaArtHistory- a special remote location to
reflect, address and enact the medialities of media from artistic viewpoints students from various cultural backgrounds who confront their own work and those of the lecturers with intensities a place of presence worthwhile to develop it further."


krcf (knowbotic research) arbeitet seit 1991 als Künstlergruppe an den Schnittstellen zwischen Kunst, Medien und Gesellschaft. Themen wie Urbanität, die Konstruktion von Wissen, immaterielle Arbeit und Probleme der politischen Repräsentation werden von krcf in langfristig angelegten Projektreihen entwickelt. Die Arbeiten bieten offene und komplexe Handlungsanlagen, die eine experimentelle, prozessorientierte und dynamische Auseinandersetzung und Teilnahme des Publikums ermöglichen.
Die Gruppe, bestehend aus Yvonne Wilhelm, Alexander Tuchaceck und Christian Hübler, hat in Zürich eine Professur am Studiengang Kunst und Medien der Hochschule für Gestaltung und Kunst (HGKZ).

Preise und Auszeichnungen:
2001 Claasen Prize for Media Art and Photography, Cologne; 2000 international ZKM Media-art award; 1998 Prix Arts Electronica, Golden Nica for net.art; 1997 August Seeling-Award of Wilhelm Lehmbruck Museum; 1994 Prix Arts Electronica, Golden Nica for interactive art

Martina Leeker

TESTIMONIAL: "Mir hat der Unterricht sehr gut gefallen und viel Spass gemacht. Sehr beeindruckt war ich vom Kenntnisstand und Engagement der TeilnehmerInnen. Mir erschien es sehr sinnvoll mit Fortgeschrittenen Studierenden zu arbeiten, die schon ein Studium oder eine Berufsausbildung/Berufserfahrung mitbringen und mit ihnen gemeinsam meine Inputs im Hinblick auf die spezifischen Interessen und Fragestellungen der Studierenden zu beziehen. Dies war auch für mich selbst sehr bereichernd."

Professur für Theater und Medien an der Universität Bayreuth; Martina Leeker studierte Theaterwissenschaft und Philosophie in Berlin und Paris. Sie absolvierte eine Theater- und Mimeausbildung in Paris bei Etienne Decroux und Jacques Lecoq sowie Weiterbildungen in Tanz und Schauspiel in Berlin. Schwerpunkt ihrer wissenschaftlichen und künstlerischen Arbeit bildet die Verbindung von Theater/ Performance und digitalen Medien. Martina Leeker ist ründungsmitglied von transARTES, Akademie für Darstellende Kunst, Medien und Kultur.

Christine Schöpf

TESTIMONIAL: "Die Kenntnis der Mediengeschichte ist gerade für diejenigen unabdingbar die die aktuelle Medienkultur formulieren und mitgestalten. Das Studienangebot Medienkunstgeschichte war also längst überfällig. Dass es eine so intelligente wie interessierte internationale Gruppe von Studierenden gefunden hat ist umso erfreulicher."

Studium der Germanistik und Romanistik an der Universität Wien, 1981 - 2008, Leiterin Kultur/Wissenschaft beim ORF-Oberösterreich mit Schwerpunkt Ars Electronica, 1987 - 2003 Konzeption und Durchführung Prix Ars Electronica, seit 1996 gemeinsam mit Gerfried Stocker Co-Direktorin des Festivals Ars
Electronica.

Sylvia Grace Borda

TESTIMONIAL: "In my teaching practice, I try to present a balance of history, theory and direct application so that students will be able to position themselves in relation to contemporary and historical aesthetics. Teaching should expand a student's knowledge of past and current practices while grounding the student's experiences in learning new applications and by encouraging new ways of assessing media and criticality. Information (conceptual content, theoretical frameworks and related exercises) and technique (process) are balanced in a yin-yang model - neither one should be greater than the other, both are equal in accomplishing successful work. Similarly, the dialogue between student and teacher should arise through reciprocity, rather than a single directional approach.

It has been immensely rewarding to participate as a mentor at Krems University in an environment that clearly values the professional development of its students and the fostering of ideas and dialogue. Exponential growth, rapid changes, and market innovations characterize the modern world, and there is a need to approach these challenges with critical thinking, problem solving, and collaboration. Such an approach defines the Krems University 'experience' - and positions it among the forefront of cutting edge pedagogy and learning in the field of new media, as well as critical and cultural studies."

Dietmar Offenhuber

FELLOWSHIPS & AWARDS (SELECTION)
2004 Japan Foundation Fellowship, IAMAS Institute, ifu, Japan
2003 EMARE, Artist in Residence, Werkleitz Ges., Halle, Germany
2003 Top 10 Finalist Digital Architecture, FEIDAD Award, Taiwan
2003 Art Directors Club, Silver Award, New Media category
2003 ZKM international media art award, Nomination
2003 Transmediale Award, Honorary Mention Category Image
PROFESSIONAL EXPERIENCE
since 2008 Art University Linz, Professor in Interface Culture / Visualization
since 2008 Ludwig Boltzmann Institute for Media Art Research, Key Researcher for Visualization
2004-06 Upper Austria University of Applied Sciences, Professor for Computer Animation and Interactive Media
2002-04 Ars Electronica Futurelab, Art & Research, 1995-2002, Key Researcher