To install click the Add extension button. That's it.

The source code for the WIKI 2 extension is being checked by specialists of the Mozilla Foundation, Google, and Apple. You could also do it yourself at any point in time.

Kelly Slayton
Congratulations on this excellent venture… what a great idea!
Alexander Grigorievskiy
I use WIKI 2 every day and almost forgot how the original Wikipedia looks like.
Live Statistics
English Articles
Improved in 24 Hours
Added in 24 Hours
What we do. Every page goes through several hundred of perfecting techniques; in live mode. Quite the same Wikipedia. Just better.

From Wikipedia, the free encyclopedia

Grau in transmediale 2010.
Grau in transmediale 2010.

Oliver Grau (born 24 October 1965) is a German art historian and media theoretician with a focus on image science, modernity and media art as well as culture of the 19th century and Italian art of the Renaissance.

YouTube Encyclopedic

  • 1/3
    363 538
    3 631 032
  • ✪ A scientific approach to the paranormal | Carrie Poppy
  • ✪ Science Slam: Felix Grau - Die Erde ist eine Kugel und Tomaten kommen vom Dach!
  • ✪ How This Roller Coaster Was Literally Designed to Kill You


Eight years ago, I was haunted by an evil spirit. I was 25 at the time, and I was living in a tiny house behind someone else's house in Los Angeles. It was this guest house, it had kind of been dilapidated, not taken care of for a long time. And one night, I was sitting there and I got this really spooky feeling, kind of the feeling like you're being watched. But no one was there except my two dogs, and they were just chewing their feet. And I looked around. No one was there. And I thought, OK, it's just my imagination. But the feeling just kept getting worse, and I started to feel this pressure in my chest, sort of like the feeling when you get bad news. But it started to sink lower and lower and almost hurt. And over the course of that week, this feeling got worse and worse, and I started to become convinced that something was there in my little guest house, haunting me. And I started to hear these sounds, this "whoosh," kind of whisper, like something passing through me. I called my best friend, Claire, and said, "I know this is going to sound crazy, but, um ... I think there's a ghost in my house, and I need to get rid of it." And she said -- she's very open-minded -- and she said, "I don't think you're crazy. I think you just need to do a cleansing ritual." (Laughter) "So get some sage and burn it, and tell it to go away." So I said, "OK," and I went and I bought sage. I had never done this before, so I set the sage on fire, waved it about, and said, "Go away! This is my house! I live here. You don't live here!" But the feeling stayed. Nothing got better. And then I started to think, OK, well now this thing is probably just laughing at me, because it hasn't left, and I probably just look like this impotent, powerless thing that couldn't get it to go away. So every day I'd come home and you guys, this feeling got so bad that -- I mean, I'm laughing at it now -- but I would sit there in bed and cry every night. And the feeling on my chest got worse and worse. It was physically painful. And I even went to a psychiatrist and tried to get her to prescribe me medicine, and she wouldn't just because I don't have schizophrenia, OK. (Laughter) So finally I got on the internet, and I Googled "hauntings." And I came upon this forum of ghost hunters. But these were a special kind of ghost hunters -- they were skeptics. They believed that every case of ghosts that they had investigated so far had been explained away by science. And I was like, "OK, smart guys, this is what's happening to me, and if you have an explanation for me, I would love to hear it." And one of them said, "OK. Um, have you heard of carbon monoxide poisoning?" And I said, "Yeah. Like, gas poisoning?" Carbon monoxide poisoning is when you have a gas leak leaking into your home. I looked it up, and the symptoms of carbon monoxide poisoning include a pressure on your chest, auditory hallucinations -- whoosh -- and an unexplained feeling of dread. So that night, I called the gas company. I said, "I have an emergency. I need you to come out. I don't want to get into the story now, but I need you to come out." (Laughter) They came out. I said, "I suspect a gas leak." They brought their carbon monoxide detector, and the man said, "It's a really good thing that you called us tonight, because you could have been dead very soon." Thirty-seven percent of Americans believe in haunted houses, and I wonder how many of them have been in one and how many of them have been in danger. So that haunting story has led me to my job. I'm an investigator, and I'm an investigator in two senses: I'm an investigative journalist, and I'm also an investigator of the claims of the paranormal and claims of the spiritual. And that means a few things. Sometimes that means that I'm pretending to need an exorcism so I can get -- yes, that's right! -- so I can go to an exorcist and see if he's using gimmicks or psychological tricks to try to convince someone that they're possessed. Sometimes that means I'm going undercover in a fringe group which I report on for a podcast that I co-host. And I've done over 70 investigations like this with my co-host, Ross. I would love to tell you that nine times out of 10, science wins, saves the day, it's all explained. That's not true. The truth is, 10 times out of 10, science wins, it saves the day. (Applause) And that doesn't mean there's no such thing as a mystery. Of course there are mysteries, but a mystery is a mystery. It is not a ghost. Now, I believe there are two kinds of truth, and it's taken me a while to get to this place, but I think this is right, so hear me out. I think there is outer truth and there's inner truth. So if you say to me, "There was a man named Jesus and he once existed," that's outer truth, right? And we can go and look at the historical record. We can determine whether that seems to be true. And I would argue, it does seem to be true. If you say, "Jesus rose from the dead," -- ooh, trickier. (Laughter) I would say that's an outer-truth claim, because he physically rose or he didn't. I'm not going to get into whether he rose or he didn't, but I would say that's an outer-truth claim. It happened or it didn't happen. But if you say, "I don't care whether he rose from the dead. It's symbolically important to me, and that metaphor is so meaningful, so purposeful to me, and I'm not going to try to persuade you of it," now you've moved it from outer truth to inner truth, from science to art. And I think we have a tendency to not be clear about this, to try to move our inner truths to outer truths, or to not be fair about it to each other, and when people are telling us their inner truths, to try to make them defend them by outer-truth standards. So I'm talking here about outer truth, about objective things. And there was an objective reality in my haunted house, right? Now that I've told you about the gas leak, I doubt a single person here would be like, "I still think there was a ghost, too" -- (Laughter) because as soon as we have these scientific explanations, we know to give up the ghost. We use these things as stopgaps for things that we can't explain. We don't believe them because of evidence; we believe them because of a lack of evidence. So there is a group in Los Angeles called the Independent Investigations Group, or the IIG, and they do great work. They'll give a $10,000 prize to anyone who can show, under scientific conditions, that they have a paranormal ability. No one's done it yet, but they've had a couple people who claim that they were clairaudients, which means that they can hear voices either from the great beyond or they can read minds. And they had one person who was very sincere, who believed that he could read minds. So they set up a test with him, and this is the way it always works. The group says, "OK, we have a protocol, we have a way to scientifically test this. Do you agree with it?" The person says yes. Then they test it. It's very important that both sides agree. They did that, they tested him. They said, "OK, you know what? You weren't able to predict what Lisa was thinking. It matched up about the same as chance. Looks like you don't have the power." And that gave them the opportunity to compassionately sit down with him and have a very difficult discussion, which basically amounted to, "Hey, we know you're sincere, and what that means is, you do hear something in your head." And that guy got to make the very difficult decision, but really the life-changing decision about whether to go get help. We're actually helping people to make these connections that maybe before seemed like otherworldly explanations, help draw us into reality and maybe change our lives for the better. Now, on the other hand, maybe one time it'll turn out to be true. Maybe we'll find out there are ghosts, and holy shit, it will be the best thing! And every time I do one of these investigations, I still get so excited, and I'm like 75 into them, and still I swear on number 76, I'm going to be like, "This is the one!" (Laughter) Maybe I'm just eternally optimistic, but I hope I never lose this hope, and I invite you to take this same attitude when people share their outer beliefs with you. When talking about testable claims, respect them enough to ask these good questions. Challenge and see how you can examine them together, because there's this idea that you can't respect a belief and still challenge it, but that's not true. When we jiggle the lock, when we test the claim, we're saying, OK, I respect you, I'm listening to what you're saying, I'm going to test it out with you. We've all had that experience where you're telling someone something, and they're like, "Oh, that's really interesting, yeah," you know you're being had. But when someone says, "Really? Huh. Sounds a little sketchy to me, but I'm listening," you at least know you're being engaged and respected. And that's the kind of attitude we should have with these claims. That's showing someone that you care what they're saying. That's respect. Now, yes, most of these searches will come up empty, but that's how all of science works. Every cure for cancer so far has not panned out, but we don't stop looking, for two reasons. Because number one, the answer matters. Whether it's looking at the afterlife or the paranormal or the cure for cancer, it all amounts to the same question: How long will we be here? And two, because looking for the truth, being open-minded, and being willing to be wrong and to change your whole worldview is awe-inspiring. I still get excited at ghost stories every single time. I still consider that every group I join might be right, and I hope I never lose that hope. Let's all never lose that hope, because searching for what's out there helps us understand what's in here. And also, please have a carbon monoxide detector in your home. Thank you. (Applause)



Oliver Grau is Professor of Image Science and Head of the Department for Image Science at the Danube University Krems.

His books include:

  • Virtual Art: From Illusion to Immersion (MIT Press/Leonardo Book Series, 2003)
  • Mediale Emotionen (Fischer, 2005)
  • MediaArtHistories (MIT Press/Leonardo Book Series, 2007).
  • Imagery in the 21st Century. Cambridge, MA: MIT-Press 2011.
  • Эмоции и иммерсия: ключевые элементы визуальных исследований. / Пер. с нем. А. М. Гайсина, EDIOS Publishing House, St. Petersburg 2013.
  • On the Visual Power of Digital Arts. Editiones de la Universitad de Castiiia-La-Mancha, 2016.
  • Museum and Archive on the Move: Changing cultural Institutions in the digital Era. Munich: DeGruyter 2017.

He has conducted international invited lecture tours,[1] received numerous awards,[2] and produced international publications in English, Spanish, Portuguese, Serbian, Macedonian, Slovenian, Korean, Chinese. His main research is in the history of media art, immersion (virtual reality), and emotions, as well as the history, idea and culture of telepresence and artificial life.

Immersion research

Grau's book Virtual Art, which received more than 70 reviews,[3] offered for the first time a historic comparison in image-viewer theory of immersion as well as a systematic analysis of the triad of artist, work and viewer on conditions of digital art. The research is linked to the novel model of an evolutionary history of illusionistic which results on the one hand from a relative dependence on new sensual potentials of suggestion and on the other hand from the variable strength of alienation of the viewer (media competence)(Grau 2000).

Using an interdisciplinary approach Grau also analysed methods which elicit or heighten the impression of immersion in digital image spaces for the viewer. He found that this is primarily induced by interaction; reaction of the images in real-time to the viewer’s movements (Grau 1999–2007), the utilisation of evolutionary image processes — for example, genetic algorithms — (Grau 1997 and 2001), haptic feedback, the natural design of the interface (Grau 2002), the impression of telematic presence (Grau 2000), and particularly the dimensions and design of the image display, which must fill the viewer’s field of vision completely and extend up to 360° both horizontally and vertically (Grau 2001 and 2003). These studies sought to transcend customary single media approaches in research on perceptual illusions and to introduce concepts such as polysensuality, suggestive potential, image space, disposition of the individual observer, and evolution of the visual media as well as to expand the theoretical work on distance by Ernst Cassirer and Erwin Panofsky, amongst others. In addition Grau undertook studies of innovative linkages of architecture and immersive moving images (Grau 2003,etc.), as well as of immersion in the history of film (Grau 2006 and 2007). The majority of these publications resulted from two research projects of the Deutsche Forschungsgemeinschaft (DFG — German Research Foundation): Art History and Media Theories of Virtual Reality, 1998–2002, and Immersive Art, 2002–2005.

Emotion research

Several research projects conducted at the Berlin-Brandenburg Academy of Sciences and Humanities and the German Academyof Sciences Leopoldina and two summer academies supported by the Volkswagen Foundation gave rise to an interdisciplinary study on the history of managing feelings through images and sound (Grau 2005). Building on the work of Antonio Damasio, Joseph LeDoux, and Wolf Singer, and using the examples of Matthias Grünewald’s Isenheimer Altarpiece, Leni Riefenstahl’s film Triumph of the Will, and the computer game “America’s Army”, it was demonstrated how emotional experiences with images can forge a sense of community; in this way a contribution was made to research on a problematic key concept of image science.

Media Art Histories and Image Science

Since 2002 Grau has initiated interdisciplinary meetings and world conferences of scholars working on media art and its history (cf. Grau 2007); the first conference on the history of media art was held in Banff, Canada, in 2005. Further conferences were organised in Berlin (2007), Melbourne (2009), Liverpool (2011), Riga (2013), Montreal (2015), Krems, Göttweig Abbey and Vienna (2017), the series continues with a conference in Aalborg in 2019. His volume "Imagery in the 21st Century", MIT-Press 2011 expanded the context of Image Science.

Digital Humanities / Image Science

Grau conceived new scientific tools for image science and directed the project "Immersive Art" of the German Research Foundation (DFG) developing the first international Archive for Digital Art (ADA, since 1999), which is being continued at the Danube University Krems as an open source project. ADA is the first online archive that, since 2000, has regularly streamed video documentations. Since 2005 Grau also manages the database of the Graphic Art Collection of Göttweig Abbey, the largest private graphic collection in Austria, which contains over 30,000 works, from Albrecht Dürer to Gustav Klimt, and is accessible online since 2007.

Grau has conceived new scientific tools for the humanities/digital humanities, he managed the project "Immersive Art" of The German Research Foundation (DFG) whose team started developing in 1998 the first international archive for digital art[4] written on an open source platform at the Danube-University Krems and has since been followed up by a number of spin-off projects. Since 2000 the DVA was the first online archive to regularly stream video documentations. Since 2005 Grau is head of the database of Goettweigs Graphic Collection, Austria's largest private graphic collection that contains 30,000 works, ranging from Albrecht Dürer to Gustav Klimt.


Grau developed new international curricula for image sciences: MediaArtHistories MA, academic expert programmes in Digital Collection Management and Exhibit Design, Visual Competencies and the masters course in Image Science.[5] Moreover, with the Danube Telelectures a new interactive format of lectures and debates came into being that is streamed worldwide.

After his studies in Hamburg, Siena and Berlin and his doctoral work, Grau lectured at the Humboldt University Berlin, was a guest researcher in several research labs in Japan and USA and following his post doctoral lecture qualification (habilitation) in 2003, he worked as professor at different international universities. He has acted as adviser for international professional journals and different associations. Grau manages different conferences.[6] Since 2002 Grau tried to bring together the research on media art and its history which is dispersed over many fields and therefore was founding director of Refresh! First International Conference on the History of Media Art, Science and Technology, Banff 2005 (2007 Berlin, 2009 Melbourne, 2011 Liverpool, 2013 Riga, 2015 Montreal, 2017 Krems, Göttweig Abbey and Vienna). O. Grau: MediaArtHistories, MIT-Press 2007 and the online text archive result from the world conference series.

Awards and distinctions

Awards among other things: 2001 voted into Young Academy of the Berlin-Brandenburgischen Scientific Academy and the Leopoldina; 2002 InterNations/Goethe Institute; 2003 Book of the Month, Scientific American; 2003 Research Scholarship from the German-Italian Center Villa Vigoni; 2004 Media Award of the Humboldt University Society. 2014 he received an honorary doctorate and in 2015 he was elected into the Academia Europaea.

writings (monographs)

  • Die Sehnsucht, im Bild zu sein. Zur Kunstgeschichte der virtuellen Realität. Dissertation. Humboldt-Universität, Berlin 1999.
  • Virtual Art. From Illusion to Immersion. MIT-Press, Cambridge 2003 (Chinesisch 2006, Serbisch 2008, Portugiesisch 2009).
  • Bildwerdung. Habilitationsschrift. Kunstuniversität, Linz 2004.
  • Эмоции и иммерсия: ключевые элементы визуальных исследований / Пер. с нем. А. М. Гайсина, EDIOS Publishing House, St. Petersburg 2013.
  • On the Visual Power of Digital Arts. For a New Archive and Museum Infrastructure in the 21st Century, Editiones de la Universitad de Castiiia-La-Mancha, 2016.

writings (selected editions)

  • Imagery of the 21st Century, Cambridge: MIT-Press 2011.
  • MediaArtHistories, Cambridge: MIT Press 2007 (Übersetzungen in Brasilien und Mazedonien).
  • Mediale Emotionen. Zur Lenkung von Gefühlen durch Bild und Sound, (gemeinsam mit Andreas Keil): Frankfurt/Main: Fischer 2005.

Published databases

Selected publications

  • The Complex and Multifarious Expression of Digital Art & Its Impact on Archives and Humanities. In A Companion to Digital Art, edited by Christiane Paul. New York: Wiley-Blackwell, 2016, 23-45.
  • New Media Art. In Oxford Bibliographies in Art History, edited by Prof. Thomas DaCosta Kaufmann. New York: Oxford University Press 2016, 1-18.
  • Our Digital Culture threatened by Loss, in: Valentino Catricalà: Media Art: Towards a new definition of Arts in the Age of Technology, Pistoia 2015, pp. 39–44.
  • ARCHIVE 2.0: Media Arts Impact and the Need for (Digital) Humanities, in: Giselle Beiguelman (Ed.): (itaú cultural), São Paulo 2014, p. 97-118.
  • Druckgrafik bis Medienkunst: Neue Analyseinstrumente für die historisch vergleichende Bildforschung. in: Rundbrief Fotografie, Vol. 21 (2014), No. 1/2 [N.F. 81/82], S. 108-116.
  • Our Digital Culture Threatened by Loss, in: The World Financial Review, 2014, pp. 40–42.
  • New Perspectives for the (Digital) Humanities, in: The Challenge of the Object, Congress Proceedings of the 33rd Congress of the International Committee of the History of Art. T. 1-3. Ed. by G. Ulrich Großmann/Petra Krutisch, Nuremberg 2013, S. 990-994.
  • Image Science & MediaArtHistories. New Infrastructures for 21st Century. in: Gunther Friesinger, Johannes Grenzfurthner, Thomas Ballhaus (Eds.): Mind and Matter. Comparative Approaches towards Complexity, Bielefeld: transcript 2011, S. 29-37.
  • Media Art’s Challenge for our Societies. in: 2010 International Humanities Conference, Boundary Crossing Humanities and Symbiotic Society, Yonsei University, Seoul 2010, S. 163-193.
  • Imagery in the 21st Century. MIT-Press, Cambridge 2011. With contributions by James Elkins, Eduardo Kac, Peter Weibel, Lev Manovich, Olaf Breitbach, Martin Kemp, Sean Cubitt, Christa Sommerer, Marie Luise Angerer, Wendy Chun a.o.
  • Renewing knowledge structures for Media Art. in: EVA London 2010. Electronic Visualisation and the Arts, BCS London, Alan SEAL, Jonathan BOWEN and Kia NG (Eds.), S. 286-295.
  • Истории на медиумската уметност (Media Art Histories, Macedonian Translation), Генекс, Кочани, 2009
  • Lembrem a Fantasmagoria! Política da Ilusão do Século XVIII e sua vida após a morte Multimídia, In: Diana Domingues: Arte, Ciência e Tecnologia (Media Art Histories, Portuguese Translation), São Paulo, Editora Unesp: 2009
  • Living Habitats: Immersive Strategies. in: Christa Sommerer, Laurent Mignonneau (Hg.): Interactive Art Research, Springer, Vienna/New York 2009, S. 170-175.
  • Media Art Needs Histories and Archives. in: Zhuangshi, Beijing 2008, No. 7, S. 50-61.
  • Virtuelna umetnost, (Virtual Art: From Illusion to Immersion, Serbian Translation), Beograd: Clio, 2008
  • Media art needs Histories and Archives (Korean Translation), In: The 5th Seoul international Media Art Biennale, conference proceedings, Seoul: 2008
  • Intermedijske etap navidezne resni`cnosti v 20. stoletju: Umetnost kot navdih evolucije medijev (Intermedia Stages of Virtual Reality in the Twentieth Century: Art as Inspiration of Evolving Media, Slovenian Translation), In: Mojca Zlokarnik: Likovne Besede, Ljubljana, Janus: 2008
  • The Recombinant Reality – Immersion and Interactive Image Spaces. in: Synthetic Times, Cambridge, M.A.: MIT Press 2008, S. 72-93 (German/Chinese).
  • “Vorsicht! Es scheint, das er direkt auf die Dunkelheit zustürzt, in der Sie sitzen.” Immersions- und Emotionsforschung, Kernelemente der Bildwissenschaft. in: Klaus Herding/Antje Krause-Wahl (Eds.): Wie sich Gefühle Ausdruck verschaffen, Taunusstein: Verlag Dr. H. H. Driesen GmbH 2007, S. 263-288.
  • Media Art Histories, MIT Press/Leonardo Book Series, 2007.
  • Phantasmagorischer Bildzauber des 18. Jahrhunderts und sein Nachleben in der Medienkunst. in: Brigitte Felderer (Ed.): Rare Künste: Zur Kultur und Mediengeschichte der Zauberkunst, Vienna 2006, S. 461-480.
  • Virtual Art: From Illusion to Immersion, (Chinese Translation), Tsinghua University Press 2006
  • Kunst als Inspiration medialer Evolution: Überwindungsvisionen der Kinoleinwand vom Stereopticon zur Telepräsenz. in: Thomas Hensel, Klaus Krüger, Tanja Michalsky (Eds.): Das bewegte Bild. Film und Kunst, Munich 2006, S. 419-448.
  • MedienKunstGeschichte: Für eine transdisziplinäre Bildwissenschaft in: Matthias Bruhn and Karsten Borgmann (Eds.): Sichtbarkeit der Geschichte. Beiträge zu einer Historiografie der Bilder / ed. for H-Arthist and H-Soz-u-Kult. Berlin: Clio-online and Humboldt University of Berlin 2005.
  • Mediale Emotionen. Zur Lenkung von Gefühlen durch Bild und Sound Fischer, Frankfurt/Main 2005.
  • Arte Virtual. Da Ilusào à imersào (Virtual Art, Portuguese Translation), São Paulo, Editora Unesp: 2005
  • Der Digitale Bau: Aktuelle Tendenzen der Raumvisualisierung und ihre Vorläufer in: Thesis, Wissenschaftliche Zeitschrift der Bauhaus-Universität Weimar, 2004, Vol. 3, S. 112-121.
  • For an Expanded Concept of Documentation: The Database of Virtual Art, ICHIM, École du Louvre, Cultural institutions and digital technology, acte publié avec le soutien de la Mission de la Recherche et de la Technologie du Ministère della Culture et de la Communication, Paris 2003, Proceedings, CD-Rom, pp. 2-15.
  • Virtual Art: From Illusion to Immersion, MIT Press/Leonardo Book Series, 2003.
  • The Database of Virtual Art: For an expanded concept of documentation, in: ICHIM, Ecole du Louvre, Ministere de la Culture et de la Communication, Proceedings, Paris 2003, S. 2-15.
  • Bilder von Kunst und Wissenschaft: Auf dem Weg zur Bildwissenschaft, in: Gegenworte: Zeitschrift für den Disput über Wissen, edited by BBAW, Berlin 2002, pp. 25-30.
  • Kunst als Inspiration medialer Evolution. Intermediale Etappen des Virtuellen im 20. Jahrhundert, in: Christoph Tholen (Ed.): Intervalle 5, Schriftenreihe des Wissenschaftlichen Zentrums der Universität Kassel: Kassel University Press 2002, pp. 57-76.
  • New Images from Life, in: Art Inquiry: Recherches sur les Arts, Ryszard Kluszinsky (Ed.), annual publication by Lodz Scientific Society, 2001, pp. 7-26.
  • Zwischen Bildsuggestion und Distanzgewinn, in: Klaus Sachs-Hombach (Ed.): Vom Realismus der Bilder: Interdisziplinäre Forschungen zur Semantik bildlicher Darstellungsformen, Magdeburg 2001, pp. 213-227.
  • Telepräsenz: Zu Genealogie und Epistemologie von Interaktion und Simulation, in: Peter Gendolla u.a. (Hg.): Formen interaktiver Medienkunst. Geschichte, Tendenzen, Utopien, Frankfurt/Main: Suhrkamp 2001, S. 39-63.
  • The History of Telepresence: Automata, Illusion, and The Rejection of the Body in: Ken Goldberg (Ed.): The Robot in the Garden: Telerobotics and Telepistemology on the Internet, Cambridge/Mass.: MIT-Press 2000, pp. 226-246.
  • Into the Belly of the Image: Historical Aspects of Virtual Reality, in: Leonardo: Journal of the International Society for the Arts, Sciences and Technology (Leonardo/ISAST), Vol. 32, Issue 5, 1999, pp. 365-372.
  • Hingabe an das Nichts: Der Cyberspace zwischen Utopie, Ökonomie und Kunst, in: Medien.Kunst.Passagen, No. 4, 1994, pp. 17–30.

Boardmember of scientific journals and institutions

  • International Journal of Art and Technology, United Kingdom
  • EKFRASE: Nordisk Tidsskrift for Visuell Kultur, Norway
  • International Journal of Media & Cultural Politics, United Kingdom
  • IMAGES, Journal for Visual Studies in Southeast Europe
  • IJArt Journal, United Kingdom
  • JUNCTURES The Journal for Thematic Dialogue, New Zealand
  • Jordan Journal of the Arts
  • SECOND NATURE: International Journal of Creative Media, Australia
  • Interdisciplinary Research Center Humanities/Art/Technology, Adam Mickiewicz University, Poznan, Poland


  1. ^ Among others:
    • Denmark, Aarhus, University of Aarhus, 16.-17.09.2010, invited lecture
    • China, Hong Kong City University, School for Creative Media, Renewing Knowledge Structures For Digital
    • Humanities, 11.8.2010, Invited Lecture
    • Great Britain, London, EVA, British Computer Society, Covent Garden, 05.-07.07.2010, Keynote
    • Russia, Moskau, Museum Garage, Center for Contemporary Culture, , 23.05.2010, invited lecture
    • London: University of Westminster, Visual Culture Studies in Europe, 05.02.2010, Keynote
    • Colombia, Universidad Nacional de Colombia, Escuela de Artes Plásticas, Bogota, Internationale Conference, INTERMEDIOS - SOCIEDAD Y TRANSPARENCIA, 09.-11.09.2009, Keynote
  2. ^ Awards among other things:
    • 2001 voted into Young Academy of the Berlin-Brandenburgischen Scientific
    • Academy and the Leopoldina
    • 2002 InterNations/Goethe Institute
    • 2003 Book of the Month, Scientific American
    • 2003 Research Scholarship from the German-Italian Center Villa Vigoni;
    • 2004 Media Award of the Humboldt University
  3. ^
  4. ^ Database of Virtual Art, Austria.
  5. ^ Department for Image Science:
  6. ^ * First International Conference on the Histories of Media Art, Science and Technology:

External links

This page was last edited on 20 December 2018, at 13:53
Basis of this page is in Wikipedia. Text is available under the CC BY-SA 3.0 Unported License. Non-text media are available under their specified licenses. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc. WIKI 2 is an independent company and has no affiliation with Wikimedia Foundation.