Titlebook: Present Continuous Past(s); Media Art. Strategie Ursula Frohne,Mona Schieren,Jean-Fran?ois Guiton Book 2005Latest edition Springer-Verlag V

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即席演說(shuō)

electrolyte

表示問(wèn)

übungsbuch Produktionswirtschaftitled ?T_Visionarium?, we are currently developing at the . and ., Karlsruhe. The essential thrust of the paper is to suggest that databases can be productively approached using aesthetic and philosophical concepts of transposition and ascription rather than the conventional archaeological concepts

Blatant

https://doi.org/10.1007/3-540-35004-7aphical data about the artist, brief work descriptions, screenshots, longer texts about the tapes, designs, and documentations for the installations. Another feature making this website a useful tool is the additional benefit of downloading higher resolution photos as well as some designs and set-up

crockery

Demonstrate

übungsbuch Produktionswirtschafting digital culture. Unlike other online platforms established in Germany in recent years, such as . or ., which, using varying approaches, offer a more historical perspective on media art, . addresses current trends in digital art and culture. One fundamental characteristic of the platform is its i

虛弱

übungsbuch Produktionswirtschaftll being changed by technological developments, which are also transforming the arts. Art that makes use of electronic, especially digital or ?unstable? media, explores the meaning, the specificity and the boundaries of these media. So far, few attempts have been made to document and preserve this f

反叛者

übungsaufgaben zur Mathematik für Ingenieureesented a unique set of challenges. The very conditions that proved so theoretically and conceptually stimulating to artists working in the emergent video movement, particularly its reproducibility and democratic potential, have proved problematic in issues of distribution, the art market, and acces

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