MediaArtHistories program faculty include: Irina ARISTARKHOVA, Andreas BROECKMANN, Sean CUBITT, Oliver GRAU, Monika FLEISCHMANN, Darko FRITZ, Jens HAUSER, Kathy Rae HUFFMAN, Erkki HUHTAMO, KNOWBOTIC RESEARCH, Machiko KUSAHARA, Andreas LANGE, Martina LEEKER, Christopher LINDINGER, Wolf LIESER, Roger MALINA, Lev MANOVICH, Nat MULLER, Gunalan NADARAJAN, Frieder NAKE, Jussi PARIKKA, Christiane PAUL, Ana PERAICA, Margit ROSEN, Christopher SALTER, Paul SERMON, Edward SHANKEN, Jeffrey SHAW, Christa SOMMERER, Morten SONDERGAARD, UBERMORGEN, and others.
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.
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.
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.
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: “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).
TESTIMONIAL: “I very much enjoyed the lessons. Impressed by commitment and knowledge of the international participants, it seemed to me very useful to work with advanced students who either already have a degree, vocational training, or professional experience. For me, it was also extremely enriching to share my input in regards to the students’ specific interests and questions.”
Martina Leeker is a scholar and lecturer for theatre- and media-science. Recently she is a senior researcher at Digital Cultures Research Lab (DCRL: http://cdc.leuphana.com/structure/digital-cultures-research-lab/) at Centre for Digital Cultures (CDC: http://cdc.leuphana.com/), Leuphana University Lueneburg. She was assistant professor for theatre and media at university in Bayreuth (2002 – 2010) and guestprofessor at Bauhaus University Weimar and University of the Arts in Berlin. She is also a writer and director in “theory-theatre”. Her research areas include media theory, critical media anthropology, theatre and media, art and technology, artictic research and interventions. Among her publications are the monograph Mime, Mimesis und Technology (1995), as editor (With Derrick de Kerckhove and Kerstin Schmidt) McLuhan neu lesen (2008), and the web publication (With Irina Kaldrack): Experiments&Interventions. Diskursanalytische Aesthetiken für digitale Kulturen (http://projects.digital-cultures.net/dcrl-experiments-interventions/).
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.
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.
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.
TESTIMONIAL: “The research, scholarly activities and academic programs from the Department of Image Science are internationally renowned for excellence, academic rigor and exacting quality. Indeed, the Department of Image Science is unparalleled in its international leadership of systematic research and scholarly training in MediaArtHistories.”
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.
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.
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.
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.
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.
EDWARD A. 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.
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)
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.