by Nobert Herber

Composer and sound artist Nobert Herber explores the question "What kinds of compositional technique can be used to create a music" in the field of computer games and interactive digital media where the line between "composition" and "instrument" is increasingly blurred.

by Domenico Quaranta

"software art is conceptual art's acknowledged son" is the hypothesis around which art critic and curator Domenico Quaranta builds his anyalisis on genealogy of software art: "Is the history of conceptual art relevant to the idea of software as art?"

by Miguel Álvarez Fernández

Composer, musicologist and curator Miguel Álvarez Fernández deconstructs the reading of history of electroacoustic music through the concepts of dissonance and noise.

by Sachiko Hayashi

With sampling as starting point, artist Sachiko Hayashi relocates several issues relevant to the culture of digital media.

by Art Clay

By "using wearable computing technology within global ubiquitous networks as an art tool," Sound artist Art Clay's new project "China Gate" opens up our civic space for "one of the most important functions of public performance: social interaction. "

by Ewa Wojtowicz

"If there is a navigable cyberspace – does it imply navigable time as well?" New Media Art historian Ewa Wojtowicz examines net art practice that employs time from various perspectives.