advisors:
Mary Flanagan (USA)
Ryszard W. Kluszczynski (PL)
Piotr Krajewski (PL)
Esther Leslie (UK)
Armin Medosch (A/UK)
Christiane Paul (D/USA)
Michael Punt (UK)
Chin-tao Wu (Taiwan)
Dr. Mary Flanagan is an artist, writer, and designer. She directs the Tiltfactor game research lab at Hunter College in New York. Her essays on digital art, cyberculture, and gaming have appeared in periodicals such as Art Journal, Wide Angle, Convergence, and Culture Machine. She published several books including co-edited collection 'Reload: Rethinking Women + Cyberculture' (MIT Press, 2002) and 're: skin' (MIT Press 2007). http://www.maryflanagan.com
Dr. Ryszard W. Kluszczynski is Professor at University of Lodz (Poland), where he is the Head of Electronic Media Department, and Professor at the Academy of Fine Arts in Lodz (Poland) teaching Theory of Art. He is editor of 'Art Inquiry' (Lodz Scientific Society) and co-editor of 'Cultural Studies Review' (Przeglad Kulturoznawczy). In the years 1990-2001, he was Chief-Curator of Film, Video and Multimedia at the Centre for Contemporary Art Castle (Warsaw) where he curated a number of international art exhibitions. His research is in the field of contemporary art theory and alternative art (avant-garde) and he has written extensively on information society, theory of media and communication, cyberculture and multimedia arts. His more recent publications include 'Information Society. Cyberculture. Multimedia Arts' (2001), 'Workshop of the Film Form 1970-1977' (2000), 'Film. Video. Media. Art of the Moving Picture in the Era of Electronics' (1999), 'Images at Large. Study on the History of Media Art in Poland' (1998), 'Avant- garde. Theoretical Study' (1997), and 'Film. Art of the Great Avant- garde' (1990).
Piotr Krajewski is a co-founder of Open Studio Co-operative (1988) and WRO Foundation Media Art Centre (1998) organising WRO Media Art Festival in Wroclaw, Poland (from 1989) (http://www.wro.art.pl). He is also a founding director of PRIX VISIONICA International Festival for Creative Television (http://prixvisionica.pl). Currently he is the artistic director of WRO International Media Art Biennale and curator of numerous art events and exhibitions abroad and in Poland. His recent curatorial contribution includes art events in Sao Paulo (Brasil), Vienna (Austria), Tel Aviv (Israel), Wroclaw (Poland) and Berlin (Germany). He is director and producer (together with Violetta Krajewska) of art programs for Channel 2 of Polish State TV. He is Visiting Fellow at Wroclaw University Theory of Culture Department, Senior Lecturer at the Academy of Fine Art, Intermedia Department, in Poznan (from 2006), Arts Link Fellow at the Art Institute of Chicago (1999) and received a grant from Goethe Institute (2001). He was a member of jury panels of international media art events, including festivals in Berlin (Germany), Kiev (Ukraine), Split (Croatia), Warsaw (Poland), Moscow (Russia), Lucerne (Switzerland), Minsk (Belarussia) and Oberhausen (Germany). He is also a founding member (1999) of European Culture Backbone (http://www.e-c-b.net), a member of AICA - International Arts Critics Association, of Polish Aesthetics Society and of AICA - International Arts Critics Association (board member of Polish Section).
Esther Leslie is Professor of Political Aesthetics at Birkbeck, University of London. Her books include 'Hollywood Flatlands: Animation, Critical Theory and the Avant Garde' and 'Synthetic Worlds: Art, Nature and the Chemical Industry'. A biography of Walter Benjamin will appear with Reaktion in the Autumn of 2007. She is on the editorial boards of the journals 'Historical Materialism', 'Radical Philosophy' and 'Revolutionary History'. Together with Ben Watson, she runs a website of polemics, rants and pictures called Militant Esthetix - findable at http://www.militantesthetix.co.uk
Armin Medosch is a writer, artist and curator specialising in media theory, media art and network culture. His recent work includes the exhibition WAVES, Riga 2006, the new live event format PLENUM with Kingdom of Piracy, London 2006, and the research project 'The Next Layer, an investigation into the culture of open sources'. http://theoriebild.ung.at/view http://rixc.lv/waves/ http://kop.kein.org/ http://armin.manme.org.uk/blog/
Christiane Paul is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of Intelligent Agent, a service organisation dedicated to digital art. She has written extensively on new media arts and her book 'Digital Art' (part of the World of Art Series by Thames & Hudson, UK) was published in July 2003. She teaches as an adjunct in the MFA computer arts department at the School of Visual Arts in New York and the Digital+Media Department of the Rhode Island School of Design and has lectured internationally on art and technology. At the Whitney Museum, she curated the shows 'Profiling' (2007) and 'Data Dynamics' (2001); the net art selection for the 2002 Whitney Biennial; the online exhibition 'CODeDOC' (2002) for artport, the Whitney Museum's online portal to Internet art for which she is responsible; as well as 'Follow Through' by Scott Paterson and Jennifer Crowe (2005). Other curatorial work includes 'Feedback' (Laboral Center for Art and Industrial Creation, Gijon, Asturias, Spain, 2007); 'Second Natures' (Eli & Edythe Broad Art Center, UCLA, LA, 2006); the blackbox at ARCO art fair (Madrid, 2006); 'The Passage of Mirage' (Chelsea Art Museum, New York, 2004); 'Evident Traces' (Ciberarts Festival Bilbao, 2004); 'eVolution -- the art of living systems' (Art Interactive, Boston, 2004); 'CODeDOC II' (Ars Electronica, 2003); the New York Digital Salon's 10th anniversary exhibition (NYC, 2003); 'Mapping Transitions' at the University of Boulder, Colorado (2002); 'Re-Media' (Fotofest, Houston, Texas, 2002); and a net art selection for 'Evo1' (Gallery L, Moscow, October 2001).
Michael Punt is Professor of Art and Technology at the University of
Plymouth and is Editor-in-Chief of Leonardo Reviews. He is a member of the
Leonardo/ISATS Advisory Board, and the MIT/Leonardo Book Series Committee.
He has had over one hundred exhibitions of his work including one person
shows, made 15 films. He gained his PhD at the University of Amsterdam
(Early Cinema and the Technological Imaginary, 2000) and has published over
80 articles on cinema history and digital technology for The Velvet Light
Trap, Leonardo, Design Issues, Technoetic Arts and Convergence. Between 1996
and 2000 he was a regular contributor to Skrien, a Dutch journal of film and
television criticism, where he wrote a monthly column on cinema, art and the
Internet. His most recent book, in collaboration with Robert Pepperell,
'Screening Consciousness: Cinema, Mind and WorldÕ (Rodopi 2006) follows
their earlier collaboration, 'The Post-Digital Membrane: imagination,
technology and desire' (Intellect Books 2000). A full list of publications, films and exhibitions can be found at:
http://www.trans-techresearch.net
Chin-tao Wu specialises in contemporary art and culture, and has contributed to New Left Review and New Statesman. Her latest book, 'Privatising Culture: Corporate Art Intervention since the 1980s', published by Verso in 2002, has several foreign language translations, including Turkish edition (2005), Portuguese (2006) and Spanish (2007). She is currently Assistant Research Fellow at Academia Sinica in Taiwan and an Honorary Research Fellow at University College London.
