Francesca Franco is a Venetian-born art historian and curator based in the UK. She is Senior Research Fellow at the University of Exeter, where she is researching the history of media art and the Venice Biennale. She is CI on the AHRC-funded project "Documenting digital art: re-thinking histories and practices of documentation in the museum and beyond". Francesca is Visiting Lecturer at Danube University Krems, where she teaches Media Art and Curatorial Practice (MA Media Arts Cultures and MA Media Art Histories). In 2017, she was curator-in-residence at the Fondazione Bevilacqua La Masa Venice, where she curated “Algorithmic Signs”, an exhibition that explored the history of pioneering generative art. The central theme of Francesca’s research is the history of art and technology and the pioneers of computer art. A major focus has been the history of the Venice Biennale culminating in a series of publications that have been translated into various languages. Her first solo-authored book, Generative Systems Art, was published by Routledge in 2018. Her second monograph, The Algorithmic Dimension, will be published by Springer in 2020. She is currently working on her next curatorial project, a large-scale exhibition of computer art for the 2021 Venice Biennale.
Patricia Falcao is a Time-based Media Conservator with a broad interest in the preservation of digital components of contemporary artworks. She has worked at Tate since 2008 and currently focuses on the acquisition of new time-based media artworks into the Collection. Patricia also works with Tate’s Research Department in the Reshaping the Collectible project, in a case study about preservation of websites in Tate’s context. She also works closely with Tate’s Technology team to continue to develop Tate's strategy for the preservation of high value digital assets.
Patricia completed her MA at the University of the Arts in Bern with a thesis on risk assessment for software-based artworks. She continues to develop research in this field in her role as a Doctoral Researcher in the AHRC funded Collaborative Doctoral Program, between Tate Research and the Computing Department at Goldsmiths College, University of London. The subject of her research are the practices of software-based art preservation in collections, by artists and in the gaming industry.
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.
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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.
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).
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.
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.
Since 2016 she is Head of Collections, Archives and Research at ZKM | Center for Art and Media Karlsruhe, where she has been a research associate and curator 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.
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).
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.
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.
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.
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.
Wendy Coones M.Ed. ist wissenschaftliche Mitarbeiterin und Lehrgangsleiterin für Exhibition Development, CP, MediaArtHistories, MA und MediaArtCultures, MA. Sie studierte am San Francisco Arts Institute und war über zehn Jahre an verschiedenen Museen und Science Centern in den USA tätig. Seit 2002 lebt sie in Europa und arbeitete zunächst für die Humboldt-Universität zu Berlin und am Max-Planck-Institut für Wissenschaftsgeschichte. Seit 2005 forscht und lehrt sie als wissenschaftliche Mitarbeiterin an der Donau-Universität Krems.
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