/// Panel 1: Medienkunst – bildende Kunst
/// Panel 2: Kunst, Wissenschaft und Technologie
/// Panel 3: Kunst und Musik

Panel 1

Medienkunst – bildende Kunst: Divergenz oder Dialog?

Christian Höller
»Deaf Dumb Mute Blind. Zum künstlerischen Umgang mit (popkulturellen) Bild-Ton-Beziehungen«

Popkulturelle Phänomene stellen seit langem ein reichhaltiges Untersuchungsfeld der bildenden Kunst dar. Dabei geht es zumeist weniger darum, den Eigengesetzlichkeiten der Populärkultur auf anderem Terrain Paroli zu bieten als vielmehr die darin verankerten Bild-Ton-Verhältnisse aufzugreifen und verschiedentlich zu bearbeiten. Indem die mediale Spezifik dieser Verhältnisse in den Mittelpunkt gerückt wird, tritt popbezogene Kunst weniger als Konkurrent denn vielmehr als eine Art transmedialer Schatten von Pop- und Rockkultur auf. Anhand mehrerer Zugangsweisen, je nachdem, welcher Teilaspekt des Bild-Ton-Verhältnisses besonders hervorgehoben wird, soll dieses Schattendasein konkreter ausgeleuchtet werden. Dabei zeigt sich, dass die bildende Kunst eigenständige Hybride hervorzubringen imstande ist, die sich zu den überholten Unterscheidungen von High und Low, Avantgarde und Pop, aber auch zur immer noch gerne bemühten Differenz von Medien- und sonstiger Kunst querlegen. /// Biografie

Chris Salter
»Saturation versus Silence: Audio-Visual Perception in the Visual and Media Arts«

In 1968, visual artists Robert Irwin and James Turrell were invited to participate in curator Maurice Tuchman’s groundbreaking Art and Technology program (1967–1971) at the Los Angeles County Museum of Art. In contrast to that other now legendary art and technology project of the 1960s, the 9 Evenings: Theater and Engineering which brought together experimental New York-based performing artists and Bell Labs engineers, Tuchman’s project aimed to unite the crème of the crop of international visual artists (among them, Richard Serra, Jean Dubuffet, Roy Lichtenstein, Jamie Lee Byars) with iconic military-industrial corporations like RAND, Kaiser Steel and IBM. Working with psychologist Edward Wortz at Garett Aerospace in Los Angeles, Turrell and Irwin’s unrealized project set out to explore the transformation of consciousness that could occur through the extreme reduction of audio-visual sensory input in an external environment. In setting up a physical environment with extremely low intensity levels of sound and light in which spectators were required to “pay attention to the images and sounds of their own perception,” Turrell and Irwin called into question the static object-hood (Michael Fried) of the visual arts and turned towards the question of the performance of experiencing act itself as the artwork.

Now, some forty years later, the visual and media arts scenes are increasingly linked through their focus artworks and practices focused on the production of experience and its affects. The interest in technological innovation and questions of human-computer interaction that enabled the rise of media arts institutions in the 1980s–1990s is increasingly giving way to an interest in the aesthetics of experience. Similarly, the visual arts world increasingly embraces temporal “unobjects” and events that range from phenomenological investigations to technically saturated, responsive a/v environments—dissolving not only Fried’s notion of object-hood but also the notion of the work external to human perception itself. This talk will examine the repercussions of Turrell’s and Irwin’s proposal to investigate the thresholds of perception in an experiential environment. Specifically, I will focus on the conception of the self and body in both contemporary artistic practices with media coupled with recent concepts arising from enactive cognition. What happens to the “sensing self” and its embodiment in audio-visual environments that overload or reduce our perception and how does this self expand or dissolve through such encounters? /// Biografie

David Rokeby
»Life in the Feedback Loop«
David Rokeby’s Very Nervous System is a vision system that produces sound. It looks at the world, and creates a soundscape to reflect what it sees. It is a consumer of the visual world but produces no visual output. Instead it creates a real-time synaesthetic translation of what it is seeing and in doing so mixes these two perceptual realms into an intense feedback-loop. This sort of transformed reflection formed the basis for a lot of Rokeby’s thoughts about interactivity in the 80’s and early 90’s. He will discuss his thoughts and experiences of this feedback loop and the relationships between vision and sound. In addition he will briefly discuss his experiences of the challenges of getting new media into private collections and “fine” arts institutions. /// Biografie

Panel 2

Kunst, Wissenschaft und Technologie: Instrumente oder Kunstwerke?

Birgit Schneider
»Von hörenden Augen und sehenden Ohren. Elemente einer Geschichte der Medienästhetik unterschiedlicher Verhältnisse von Ton und Bild«

Im Rahmen des Vortrags werden historische Versuche, eine Überbrückung von Hören und Sehen zu realisieren, hinsichtlich der ästhetischen Konzepte und Auffassungen der Koppelung von Ton und Bild analysiert. Gefragt wird, in welcher Form und mit welchem ästhetischen Ergebnis diese realisiert wurden. Im Interesse steht dabei weniger eine allgemeine Geschichte der Farblichtmusik, als vielmehr die verschiedenen technischen Dispositive, mit deren Hilfe eine Korrelation von Farben, Formen und Tönen hergestellt werden sollte.
Um die Parallelität von Mediengeschichte und Farbmusik greifbar zu machen, dienen Projekte als Beispiele, die den Transfer von Tönen in Bilder und Bildern in Töne mittels medientechnischer Übertragungen und Verschaltung direkt zu leisten beanspruchten wie die optophonetischen Projekte des Künstlers Raoul Hausman und des Elektroingenieurs Fritz W. Winckel zwischen 1920 und 1930. Es ist die Rolle der Medientechnik, welcher hierbei als Schnittstelle zwischen den Gattungen in ihrer Eigenschaft, eine Techno-Ästhetik zu prägen, nachgegangen wird. /// Biografie

Yvonne Spielmann
»Early Video Tools – Some Refections on Co-Creativity«

With the formation of electronic media, television and video, the ways in which artists use technolgy reveal closes collaborations and shared creativity between artists and engineers. The technical developments of synthesizers and processors play an equal part to artistic-aesthetic explorations of the language of the audio-visual medium. /// Biografie

Golan Levin and Katja Kwastek
»On the creation, experience and research of audiovisual interactive art« – a talk with Katja Kwastek

Golan Levin and Katja Kwastek will discuss the design, experience and research of real-time systems for the creation, manipulation and performance of simultaneous image and sound. The discussion will be based on a combination of live demonstrations and video documentations in order to illustrate the various systems, reveal some common threads, and propose some design as well as research desiderata. /// Biografie Levin /// Biografie Kwastek

Panel 3

Kunst und Musik: Intermedialität – Intermodalität – Interdisziplinarität?

Branden W. Joseph
»Biomusic and the End of Representation«

This talk will discuss the emergence and development of the notion and practice of »biomusic« in the late-1960s and 1970s. At stake was an epistemological shift in the notion of advanced musical practice—from »experimental music« to what composer Manford L. Eaton termed »experiential music«—as it was understood to address and impact the intellect and physiology of the listener. At stake was the larger conception of music as a distinct art form, which was understood to cede before an implicitly audiovisual feedback loop that engaged with the »real« of the body as against the »imaginary« of (audiovisual) representation and the »symbolic« domain of the musical score. Ultimately, the notion of biomusic proposed a new vision of the listening subject in line with cybernetic and proto-cybernetic models developing within the post-World War II era. /// Biografie

Simon Shaw-Miller
»Syncretism: Art and Music in the Modern Period«

This talk will chart the play of concepts concerning art and music in the modern period, demonstrating their constant, if sometimes contradictory, interrelationships. It will characterize two significant strands within modern art: formal modernism and contextual modernism. Formal modernism, which is synonymous with the theories of the American critic Clement Greenberg, is an ideology that is dependent on clear and unequivocal divisions (or frames) between media. Contextual modernism has its roots in the ideas of the German composer Richard Wagner and aspires to a form of aesthetic synthesis. It became manifest, in a modulated form, in the early 20^th-century art movements of Futurism and Dada, where the issue of media divisions becomes more confusing because their aesthetic centers on performance. By mid-century this confluence of media was at a high point within the work of the American John Cage, where the question of what constitutes artistic divisions and frames is most pronounced. Cage’s practice is both inside and outside categories. His employment of silence is a clear case of this because it seems to shift from music (sound) to ‘theatre’ (sight). Contextual modernism gives way to postmodernism as the coexistence of styles, practices, and media evolves. The contemporary work of the British artist Sam Taylor Wood and the Swiss-American artist Christian Marclay form a coda, witnessing the constant presence of the visual within music. /// Biografie

Symposium
Ton-Bild-Relationen in Kunst, Medien und Wahrnehmung
2.–3. September 2009

Programm

Keine Anmeldung erforderlich, freier Eintritt
In deutscher und englischer Sprache (Tony Conrad: in englischer Sprache)

Mittwoch, 2. September 2009, 19.30 Uhr
Auftaktveranstaltung:
Tony Conrad im Gespräch mit Chris Salter
(in Vertretung für Branden W. Joseph)
anschließend Performance von Tony Conrad

Donnerstag, 3. September 2009, 10–19.30 Uhr

10–10.30 Uhr Einführung:
Dieter Daniels
Leiter, Ludwig Boltzmann Institut Medien.Kunst.Forschung., Linz

Sandra Naumann
Wissenschaftliche Mitarbeiterin, Ludwig Boltzmann Institut Medien.Kunst.Forschung., Linz

10.30–12.30 Uhr Panel 1:
Medienkunst – bildende Kunst: Divergenz oder Dialog?

Christian Höller
Autor, Kurator, Redakteur und Mitherausgeber springerin, Wien
»Deaf Dumb Mute Blind. Zum künstlerischen Umgang mit (popkulturellen) Bild-Ton-Beziehungen«

Chris Salter
Assistant Professor of Digital Media Concordia University, Montreal
»Saturation versus Silence: Audio-Visual Perception in the Visual and Media Arts«

David Rokeby
Künstler, Toronto
»Life in the Feedback Loop«

14–16 Uhr Panel 2:
Kunst, Wissenschaft und Technologie: Instrumente oder Kunstwerke?

Birgit Schneider
Dilthey-Stipendiatin der Fritz-Thyssen-Stiftung, Universität Potsdam, Institut für Künste und Medien
»Von hörenden Augen und sehenden Ohren. Elemente einer Geschichte der Medienästhetik unterschiedlicher Verhältnisse von Ton und Bild«

Yvonne Spielmann
Chair of New Media, University of the West of Scotland, School of Creative Industries, Glasgow
»Early Video Tools – Some Refections on Co-Creativity«

Golan Levin
Golan Levin, Künstler / Associate Professor of Electronic Art and Director of the STUDIO for Creative Inquiry at Carnegie Mellon University, Pittsburg
»On the creation, experience and research of audiovisual interactive art« – ein Gespräch mit Katja Kwastek
Vizeleiterin Ludwig Boltzmann Institut Medien.Kunst.Forschung., Linz

17–19 Uhr Panel 3:
Kunst und Musik: Intermedialität – Intermodalität – Interdisziplinarität?

Branden W. Joseph
Frank Gallipoli Professor of Modern and Contemporary Art, Columbia University, New York, Department of Art History and Archaeology
»Biomusic and the End of Representation«

Helga de la Motte-Haber
Technische Universität Berlin, Institut für Sprache und Kommunikation, Fachgebiet Musikwissenschaft
»Augenmusik – Hörbilder.«
Laudatio für den Preisträger des Media.Art.Research Award

Gewinner Media.Art.Research. Award 2009 für »Eye hEar: Music, Art, Film & the Culture of Synesthesia«:
Simon Shaw-Miller
Senior Lecturer and Head of School, School of History of Art, Film & Visual Media, Birkbeck College, University of London
»Syncretism: Art and Music in the Modern Period«

19 Uhr Abschlussperformance

Mikomikona
(Birgit Schneider & Andreas Eberlein, Berlin)
»Fouriertransformation I + II«
Sound-Vision-Performance mit zwei Overhead-Projektoren

/// Tony Conrad
/// Christian Höller
/// Katja Kwastek
/// Golan Levin
/// Branden W. Joseph
/// Mikomikona
/// Helga de la Motte
/// David Rokeby
/// Chris Salter
/// Birgit Schneider
/// Simon Shaw-Miller
/// Yvonne Spielmann

Tony Conrad, born 1940 in Concord, NH.
Lives & works in Buffalo and New York, NY.
Solo Exhibitions
2009 – Burchfield Penney Art Center, Buffalo, NY
2007 – Beholden to Victory, Overduin & Kite, Los Angeles ; Yellow Movies, Greene Naftali, New York
2006 – Yellow Movies, Galerie Daniel Buchholz, Cologne
Selected Performances
2008 – Tate Modern, London, organized by Stuart Comer ; Reykjavik Experiment Marathon, Reykjavik Art Museum, organized by Hans Ulrich Obrist and Olafur Eliasson
2007 – Window Enactment, performance for Performa 07, Greene Naftali, New York
Monographs
Joseph, Branden W. Beyond the Dream Syndicate, Tony Conrad and the Arts after Cage, Zone Books, 2008.
Tony Conrad: Yellow Movies. ed.s Christopher Müller and Jay Sanders. Greene Naftali Gallery: New York, 2008.

Christian Höller ist Redakteur und Mitherausgeber der Zeitschrift springerin – Hefte für Gegenwartskunst; seit 1994 umfassende Publikationstätigkeit im Bereich Kunst- und Kulturtheorie; Kurator des Sonderprogramms Pop Unlimited? Imagetransfers und Bildproduktion in der aktuellen Popkultur bei den 46. Internationalen Kurzfilmtagen Oberhausen, Mai 2000; von 2002 bis 2007 Gastprofessor an der École supérieure des beaux-arts in Genf; 2006/07 wissenschaftlicher Editor von documenta 12 magazines; Herausgeber der Sammelbände Pop Unlimited? (Verlag Turia + Kant, Wien, 2001), Techno-Visionen (Folio Verlag, Wien/Bozen, 2005; gemeinsam mit Sandro Droschl und Harald A. Wiltsche) und des Katalogbuchs Hans Weigand (Verlag der Buchhandlung Walther König, Köln, 2005); Autor des Interviewbandes Time Action Vision: Conversations in Cultural Studies, Theory, and Activism (in Vorbereitung).
/// Abstract

Katja Kwastek (born in Münster, DE) is art historian and vice director of the Ludwig Boltzmann Institute Media.Art.Research. where she directs the research project »Interactive Art« since 2006.
Before, she worked as assistant professor at the art history department of the Ludwig-Maximilians-University in Munich and was a Visiting Scholar at the Rhode Island School of Design (Providence, RI) in Spring 2006. Her research focuses on digital media art, e.g. on changing spatial conceptions due to the rise of (wireless) communication technologies and on the aesthetics of media art. She has curated exhibition projects, lectured widely and internationally and published many books and essays, including »Ohne Schnur. Art and Wireless Communication«, Frankfurt (2004).
Selected Publications:
Interaktion, Interaktivität, Interaktive Kunst, in: Gerfried Stocker / Hannes Leopoldseder / Christine Schoepf (Ed.): Our new Cultural Economy, Ars Electronica 2008, Ostfildern 2008.
Interactivity – A word in process, in: L.C. Jain / Laurent Mignonneau / Christa Sommerer (Ed.) : The Art and Science of Interface and Interaction Design, Berlin/ Heidelberg 2008, 15-26.
Opus Ludens. Towards an aesthetics of interactivity, in: Christa Sommerer / Laurent Mignonneau / Dorothee King (Ed.): Interface Cultures. Artistic Aspects of Interaction, Bielefeld 2008, 153-163.
The invention of interactive art, in: Dieter Daniels / Barbara U. Schmidt (Ed.) Artists as Inventors / Inventors as Artists, Ostfildern 2008, 182-195.
Art without Time and Space?, Radio in the Visual Arts of the Twentieth and Twenty-First Centuries, in: Heidi Grundmann / Elisabeth Zimmerman (Hg): Re-inventing Radio, Frankfurt 2008, 131-146.
/// Abstract

Golan Levin is an artist/engineer interested in the exploration of new modes of reactive expression. His work focuses on the design of systems for the creation, manipulation and performance of simultaneous image and sound, as part of a more general inquiry into formal languages of interactivity, and of nonverbal communications protocols in cybernetic systems. Through performances, digital artifacts, and virtual environments, Levin applies creative twists to digital technologies that highlight our relationship with machines, make visible our ways of interacting with each other, and explore the intersection of abstract communication and interactivity. Presently he is Associate Professor of Electronic Art and Director of the STUDIO for Creative Inquiry at Carnegie Mellon University, Pittsburgh.
/// Abstract

Branden W. Joseph (Ph.D.) is Frank Gallipoli Professor of Modern and Contemporary Art at Columbia University (Department of Art History and Archaeology), he was previously Assistant and Associate Professor at the University of California, Irvine and Lecturer and Fellow at Princeton University.
Branden W. Joseph graduated at Stanford University (Art History) and Harvard (History of Art and Architecture) and was Exchange Scholar at Columbia University. He received his Ph.D. for the dissertation “Experimental Art: John Cage, Robert Rauschenberg, and the Neo-Avant-Garde” (Advisor: Yve-Alain Bois. Readers: Benjamin H.D. Buchloh and Norman Bryson)
Branden W. Joseph is founding editor of Grey Room, a scholarly journal of the history and theory of architecture, art, media, and politics. Published quarterly by MIT Press since Fall 2000.
He wrote numerous articles, led interviews and roundtable discussions, reviewed books and exhibitions, lectured extensively and was member of several conferences and panel discussions.
Beyond the Dream Syndicate: Tony Conrad and the Arts after Cage
New York: Zone Books, 2008.
Anthony McCall: The Solid Light Films and Related Works
Text, Branden W. Joseph; interview with the artist, Jonathan Walley; ed., Christopher Eamon.
Evanston, IL: Northwestern University Press/Göttingen: Steidl, 2005.
Random Order: Robert Rauschenberg and the Neo-Avant-Garde
Cambridge: MIT Press, 2003. Paperback edition, 2007.
Robert Rauschenberg (ed. and preface)
Cambridge: MIT Press, 2002. Essays by Leo Steinberg, Rosalind Krauss, Douglas Crimp,
Helen Molesworth, and Branden W. Joseph.
/// Abstract

Mikomikona untersucht experimentell die dynamische Transformierbarkeit von Klängen in Bilder und Bilder in Klänge sowie die Effekte einer solchen Medienverkreuzung. Hierzu hat das Duo verschiedene Schaltungen entwickelt, die es ermöglichen, optische Signale in akustische umzuwandeln und vice versa.
Verwendet werden die Schaltungen in Live-Performances, die analoge Medientechnik involvieren, wie Overhead Projektoren, Film- und Videotechnik. In der Umnutzung inzwischen veralteter Techniken als Musik- und Bildinstrumente gleichermaßen werden Effekte, die heute mit Digitalität verbunden werden, bereits in analoge Medien implantiert. Auf diese Weise machen die Perfomances nicht nur medientechnische Umsetzungen von “Synästhesie” erfahrbar, sondern auch, wie die Idee einer symbolischen Neucodierung bereits in Analogmedien angelegt ist.
Performances (Auswahl):
Club Transmediale Februar/Berlin, netmage Festival/Bologna,
Ram 6/Wilma-Festival, Ars Electronica/Linz, Sonar Festival/Barcelona,
The Art of the Overhead/Kopenhagen, XFilm Festival/Sofia, Rencontres
internationales/Madrid,
Todaysart Festival/Den Haag, Shift Festival der elektronischen
Künste/Basel, Némo, Le Rendez-vous Multimédia d’Arcadi/Paris

Helga de la Motte, geb. 1938 in Ludwigshafen, Studium der Psychologie und Musikwissenschaft, Diplom im Fach Psychologie, Promotion und Habilitation im Fach Musikwissenschaft, 1972 bis 1978 Prof. an der Pädagogischen Hochschule, seit 1978 an der Technischen Universität Berlin, seit 2004 ohne Lehrverpflichtungen.
Schriften zur Musikpsychologie, Musikästhetik und neuen Musik.

David Rokeby is an installation artist based in Toronto, Canada. He has been creating and exhibiting since 1982. For the first part of his career he focussed on interactive pieces that directly engage the human body, or that involve artificial perception systems. In the last decade, his practice has expanded to included video, kinetic and static sculpture. His work has been performed / exhibited in shows across Canada, the United States, Europe and Asia, including:
the Venice Biennale in 1986
Ars Electronica (Linz Austria) in 1991
the Mediale (Hamburg Germany) in 1993
the Kwangju Biennale (Korea) in 1995
the Biennale di Firenze (Florence, Italy) in 1996
Alien Intelligence (Kiasma, Helsinki) in 2000
The National Gallery of Canada in 2002
The Venice Architecture Biennale in 2002
Ars Electronica in 2002
Algorithmische Revolution (ZKM, Germany) in 2004
Silicon Remembers Carbon (retrospective) (Fact, Liverpool, UK) in 2007
Silicon Remembers Carbon (retrospective) (CCA, Glasgow, Scotland) in 2007
Profiling (Whitney Museum, New York, USA) in 2007
e-art (Museé des Beaux-Arts de Montréal, Montréal, Canada) in 2007
Synthetic Time (Beijing, China) in 2008
LuminaTO Festival (Toronto, Canada) in 2009
Awards include the first BAFTA (British Academy of Film and Television Arts) award for Interactive Art in 2000, a 2002 Governor General’s award in Visual and Media Arts and the Prix Ars Electronica Golden Nica for Interactive Art 2002. He was awarded the first Petro-Canada Award for Media Arts in 1988, the Prix Ars Electronica Award of Distinction for Interactive Art (Austria) in 1991 and 1997.
/// Abstract

Chris Salter is an artist, assistant professor for computation arts at Concordia University and researcher at the Hexagram Institute in Montreal. He studied economics and philosophy and received his Ph.D. in the areas of theatre and computer generated sound at Stanford University. He collaborated with Peter Sellars, and William Forsythe and co-founded the art research organization Sponge, whose works stretched between artistic production, theoretical reflection and scientific research. Salter’s performances, installations, research and publications have been presented at numerous festivals and conferences around the world including the Venice Architecture Biennale, Ars Electronica, Exit Festival-MAC Creteil, V2-Rotterdam, Shanghai Dance Festival, Attakkalari Center for Movement Arts-Bangalore, Elektra Festival-Montreal, Dance Theater Workshop, Transmediale and many others. He is the author of the forthcoming Entangled: Technology and the Transformation of Performance (MIT Press, 2010).
/// Abstract

Dr. Birgit Schneider studierte Kunstwissenschaft, Medientheorie und Medienkunst an der Hochschule für Gestaltung Karlsruhe, am Goldsmiths College London und an der Humboldt-Universität zu Berlin.
Neben ihrer Tätigkeit als freie Grafikerin in einem Gestaltungsbüro und Projektraum (1997 bis 2002) war sie von 2000 bis 2007 wissenschaftliche Mitarbeiterin der Abteilung »Das Technische Bild« am Hermann von Helmholtz-Zentrum für Kulturtechnik der Humboldt-Universität zu Berlin. Ihre Dissertation erschien unter dem Titel »Textiles Prozessieren. Eine Mediengeschichte der Lochkartenweberei« (Berlin/Zürich 2007).
2008 war sie mit der inhaltlichen Leitung für eine Ausstellung zum Thema »Nachhaltigkeit und Klimawandel« durch die Mediengestalterfirma art + com betraut. 2009 begann sie als Dilthey-Stipendiatin der Thyssen-Stiftung am Institut für Kunst und Medien der Universität Potsdam ein Forschungsprojekt zum Thema »Klimabilder. Eine Typologie der Visualisierung des Klimas und seiner Wandlungen seit 1800« zu forschen.
Neben ihrer wissenschaftlichen Arbeit tritt sie seit 2002 mit künstlerischen Performances im Bereich von Interferenz und Sound & Vision bzw. technischer Synästhesie im Rahmen von »mikomikona« auf (u.a. ars elektronica, shift Basel, clubtransmediale Berlin).
/// Abstract

Simon Shaw-Miller ist Senior Lecturer am Birkbeck College (University of London) und dort Head of School der School of History of Art, Film & Visual Media, seit 2005 auch Honorary Research Fellow der Royal Academy of Music. Simon Shaw-Miller beschäftigt sich in seinen Publikationen mit den Themen Synästhesie und Interferenzen zwischen Bildender Kunst und Musik.
Veröffentlichungen (Auswahl):
Visible Deeds of Music: Art & Music from Wagner to Cage, Yale University Press, New Haven & London, 2002.
F. Guy, S. Shaw-Miller & M. Tucker, Eye-Music: Kandinsky, Klee and All that Jazz, Pallant House, Chichester, 2007.
The Last Post: Music after Modernism, (ed. S. Shaw-Miller) (Music and Society series, Manchester University Press and St.Martin’s Press, 1993.
/// Abstract

Professor Yvonne Spielmann (Ph.D. habil.) is Chair of New Media at The University of the West of Scotland, previously Professor of Visual Media at Braunschweig School of Art. She is author of the German langauge monographs »Eine Pfütze in bezug aufs Mehr. Avantgarde« (1991), »Intermedialität. Das System Peter Greenaway« (1998), and »Video. Das reflexive Medium« (2005). The Engish edition »Video. The Reflexive Medium« is published with MIT Press, 2008. She is currently writing a new book on hybridity in digital media.
Research grants and fellowships include the Getty Center (1989/90), The Society for the Humanities at Cornell University (2000/2001), The Rockefeller Foundation’s Bellagio Study & Conference Center (2002), The Daniel Langlois Foundation (2003 and 2004), the Japan Foundation (2005), the National University of Singapore (2007), The Royal Society of Edinburgh (2008), and the Great Britain Sasakawa Foundation (2009).
/// Abstract