Das Kulturzentrum Wand (German Edition)

The Earth is surrounded by a layer of gases which we call the atmosphere. It is the product of photosynthesis, of algae working for millions of years, converting light energy from the sun into air. Thus the atmosphere is essential for most living organisms, including people. For around years now, we have been surrounded by an infosphere, as well. With this neologism the technical network is meant, consisting of telegraphy, telephony, television, radio, radar, satellites, and the Internet, which covers the globe and enables global exchange of data as well as the organization of transport for people and goods.

Without the global traffic in data, goods, and passengers it would be impossible to meet the biological and social needs and aspirations of over seven billion people. In the nineteenth century, new transport routes and paths of communication were developed through machines operating on land, sea, and in the air. In the years to , Heinrich Hertz conducted experiments proving the existence of electromagnetic waves and demonstrating that light consists of these electromagnetic waves.

With this discovery, the age of wireless communication began, which enabled message and messenger to be separated: Henceforth data could travel through space without the body of a messenger. In the twentieth century, this resulted in a densely interconnected communication and information network of mobile media: Using artificial, technical organs human beings can, for the first time, use electromagnetic waves for the wireless transmission of words, images, and other data — waves for which humans do not actually possess a sensorium.

The social media, which have changed our daily lives, are a part of these technological networks. Now that the alphabetic code has been supplemented by the numeric code, algorithms constitute a fundamental element of our social order — from stock exchanges to airports. Against this backdrop, contemporary art operating in the thematic field of big data is especially significant. Description Knowledge is power. And power is possessed especially by whoever controls the flow of information.

This applies particularly in digital culture, where all the information in the World Wide Web can be manipulated, uncontrolled. For a long time, a hope for new forms of democratic participation arose from the use of these digital instruments, but recently they have been misused as the ideal door opener for the surveillance of billions of people. Besides mass analysis of communications metadata and massive access to personal data, there is increasingly open or clandestine censorship through manipulation or shutting down.

Where the fear of this threat has no effect, the secrecy of important information is enforced, with methods ranging from hindering publication to kidnapping and assassinating journalists. Being at the mercy of overwhelmingly powerful authorities of control and censorship has become the conditio humana of our time. Today a large part of the public has already resigned in the face of a ubiquitous state and commercial surveillance. This exhibition is based on the collaboration with a network of scientists, journalists, activists, and artists in some twenty countries around the world, and in cooperation with expert organizations such as the German PEN Center, the Chaos Computer Club, Reporters Without Borders, and such platforms as netzpolitik.

Poetics and Politics of Data reflects life in a world increasingly controlled by data and presents artistic positions that aim to make continuous streams of data visible — whether using Internet-based installations or graphic data visualizations. The participating artists question the relevance and place of the individual in a technologically connected society in which every day, each of us generates a nearly incomprehensible amount of data: Our every move on the Internet leaves behind a digital trace.

This is a solid publication that goes beyond its simple role of being an art catalogue. The Japan Media Arts Festival is a comprehensive festival of Media Arts Media Geijutsu that honors outstanding works from a diverse range of media — from animation and comics to media art and games.

The festival gives awards in each of its four divisions: Art, Entertainment, Animation, and Manga. It also provides a platform for appreciation of the award-winning and other notable works. The exhibition presents the Award-winning Works from the four divisions of Art, Entertainment, Animation and Manga, chosen by the jury from among a record number of 3, entries from 71 countries and regions.

The winners of Special Achievement Awards will also be shown. The Award-winning Works, selected after a rigorous judging process, reflect the most recent trends in their respective fields. Sie sehen, wie in nanotechnologischen Fabriken aus dem Feind CO2 der Freund gemacht wird, indem das Oxygen vom Kohlenstoff abgespalten und zur Erzeugung synthetischer Brennstoffe verwendet wird. Jahrhunderts — erschaffen von einer neuen Allianz zwischen Kunst und Wissenschaft, der Renaissance 2.

Birth of a Museum: Documenting the Construction of MMCA, Seoul MMCA presents five special exhibitions on the occasion of her inauguration that anticipate the vision and direction of the new museum, introducing artworks by approximately artists in seven disciplines. The exhibition represents a fresh inquiry into the ways in which our individual values and ideas may erupt into the world, igniting communication and forcing us to reassess the value of art in any given era or society. Ions of convergence and synthesis between disciplines. In the marvelous new venue.

Worldwide networking creates new, global aesthetic tendencies: It presents a selection of outstanding key works by international artists of the five continents. Inspired by applied, formal, and aesthetic qualities, the artists deal with the exploration of the opportunities and risks associated with these new resources, which are brought to bear in the various arts presented in this exhibition: The selection includes works in formats such as video sculpture, video art, video performance, video installation, audiovisual installation, interactive installation, and interactive sound installation.

We highlight the relation between the etymologies of both terms and the artistic genres shown: A widely used concept in the field of contemporary art, intervention usually stands for interference, manipulation and interaction between oeuvre and audience. Die Auswahl der Werke umfasst Formate wie Video-Skulptur oder Videokunst, aber auch Videoinstallation, audiovisuelle oder interaktive Installation und Klanginstallation. TV Bot, Marc Lee. The Project digital art conservation. This could be the ultimate, decisive question in the future when it comes to preserving and making the art of our time accessible for future generations.

The book presents the results of the digital art conservation project that was conceived at the ZKM Center for Art and Media Karlsruhe in It includes text contributions by major theorists, restorers, programmers, and artists as well as case studies. It is designed to foster the international debate on the conservation of digital art. Deutsche Edition Konservierung digitaler Kunst: Das Projekt digital art conservation.

Le Projet digital art conservation. Neckar-Vlg Sammelmappe 24,5 x 32,5 cm, inkl. Meisterwerke der Medienkunst Marc Lee geb. The gateways catalogue introduces artists whose works deal with the changed conditions of an interconnected world that increasingly is influenced by media. Art and Networked Culture introduces a young generation of artists whose work deals with the changing conditions of a networked world — a world increasingly transmitted through media. The artistic works presented here use various means to tackle the theme of gateways that lead to realms of action and experience in our digitally interconnected culture.

Through their use of electronic networks and mobile technologies, the artists encourage the public to participate actively and transport new experiences in perception. Eingebettet in ein didaktisches Rahmenprogramm werden die Kunstwerke als solche im Mittelpunkt stehen: Artists 10 Herbert W. Soll sie zu Revolutionen anstiften und Menschen dazu bewegen, sich zur Wehr zu setzen?

Schweizer Medienkünstler Marc Lee stellt in Seoul aus

Hildegard Fraueneder, geboren , Kunstwissenschaftlerin und Ausstellungskuratorin. Leiterin der Galerie in Salzburg. Gianni Stiletto, geboren , freier Komponist und Keyboarder. In the publication Owning Online Art — Selling and Collecting Netbased Artworks, art historians discuss the critical positioning of selected works of net art Rachel Mader and approach questions on the relationship between internet art and the art market from the standpoint of the history of media Peter Schneemann.

Using the example of specific works, artists discuss aspects of the materiality of net-based art Markus Schwander and reflect on their experience with curators and collectors, as well as with the issues of the commercialisation and conservation of net art Olia Lialina, Carlo Zanni. Our research partner, the AktiveArchive project contributed its expertise in the areas of documentation, conservation and restoration of electronic art and discussed solutions for the restoration of net-based works Tabea Lurk. A number of different economies can be applied to the issue of the relationship between net-based art and the art market: The text section closes with the answers of the 17 international artists to the questionnaire sent out by the OOA research project.

Publication of the research contributions is available in four formats. The decision towards this variety is linked to the object of investigation of our research project in the field of online culture: We want to test established and new publication formats for their benefits for research publications. Rachel Mader University of Berne , Prof.

Peter Schneemann University of Berne , Dr.

Differences between die Mauer, das Wall, das Wand ? And "Der Bau" (the construction)

Die Entscheidung zu dieser Vielfalt hat mit dem Untersuchungsgegenstand unseres Forschungsprojekts im Bereich der Online-Kultur zu tun: They can act as artists, curators and producers. Visitors to the exhibition are central as users, as emancipated consumers.

YOU are the content in this exhibition! YOU are a part of the universe: YOU are the user of the world and part of the world, and with that a participant in the world. Whoever is a part of the world also bears some responsibility for the world, of which they are a part. Through their participation, the YOU, the user, has the chance to change the world. In the most technologically advanced environments and installations, the most recent state of the art of participation, pARTicipation, is being shown.

That reinforces that tendency, which becomes established in the spirit of the enlightenment for democracy, for untrammelled access to education for all and for the creativity of all. In the global context of the information and communication society, the Biacs3 will make a new map of Global Art, World Art, addressing the specific aspect of media, environment and technology. Under the title youniverse, the Biennial of Seville will show how contemporary art worldwide has changed through the influence of media, technology, science and architecture by fostering one main goal: The creations of the selected artists approximately works will revolve around mobility, individualisation through technologies, quantum physics, nanotechnology, hydraulic engineering, architecture and the environment.

One aspect will be to show that technology as man-made nature can help to solve our problems with natural environments. The other aspect will be the democratization of art. The audience, rather than the artists, is the star. Spain , Immaterial museum. Andrei Ujica Rumania , Out of the Present, Antonio Barrese Italia , Zeus playing, Italia , No-Stop-City, Bas Princen Holland , Birdwatchers, Bose Krishnamachari India , Ghost: Catherine Ikam France , Yoona 1, Claude Parent France , Oblique Potentialism. Spain , Media-Tic Building, Coop Himmelb l au Austria , Villa Rosa, France , Ex — lles, Italia , Animal Pharm, Emergent Architecture Tom Wiscombe.

France , Chair model, Gianni Pettena Italia , Wearable Chairs, Gregor Eichinger Austria , Urbar, installation. Gonzalo Puch Spain , Sin titulo, Hiraki Sawa Japan , Eight Minutes, Holland , Cell Phone Disco, France , Maison H, Portrait to Smile Once a Year, Jones Partners Architecture Wes Jones. Juan Carlos Robles Spain , Volker, Germany , Metropol Parasol, USA , Inversabrane, Manolo Bautista Spain , Diamond Motel. Martin Walde Austria , Production Limits.

Masaki Fujihata Japan , Beyond Pages, USA , Beast, Spain , Plaza de las Libertades. Michael Sailstorfer Germany , Sternschnuppe, Holland , Pavillon H2O, Oh Yong-Seok Korea , Drama, Oliver van der Berg Germany , Kameras, Holland , Portals, Madrid, Spain , Civil Registry Office, A Light Rain, Holland , Luma2solator, Caja de sombras 2. Rosalie Germany , Helios, France , Dusty relief, Bangkok, France , Akousmaflore, USA , Spoorg, Shilpa Gupta India , Untitled, Stephan von Huene EE.

SunMyoung Choi Korea , Evidence of the invisible 1. Tim Macmillan Germany , Ferment. Tom Kovac Australia , Visualising the virtual concourse, Wolfgang Munch Germany , Bubbles, Ai Ran Kang Korea , Digital book. Dave Griffiths UK , Aljazari, Eli Gur Arie Israel , Untitled, Monitored Feeding Station, Eugenio Ampudia Spain , En Juego, Kim Shin-il Korea , Water. Sangkyoon Noh Korea , One End.

What are You Looking for. WAYLF — me — pink. Media art is one of the most exciting experimental fields to emerge in contemporary art in recent years—and yet its innovations have been sparsely documented. Media Arts Zurich, the third yearbook published by the Department New Media at the newly founded Zurich University of the Arts, seeks to fill this gap, offering an illuminating overview of the Swiss media art scene of the past decade.

This book examines the varying approaches, techniques, and strategies of acclaimed media artists as well as the public reception of their work. Accompanied by a companion DVD in PAL format and lavish illustrations, this volume presents thirteen individual artists and groups in the context of their backgrounds, exhibitions, and the state of European media art.

A "Mauer" seperates two things like a fence , a "Wand" is the seperates a hollow space e. The material of a wand is variable stone, wood, Shoji-paper, or even gingerbread in a gingerbread house. However, if the house is still in construction, the material is stone and the room is not yet finished there is no roof for example , you can call it "Wand" or "Mauer". The word "Mauer" refers to "masonry. A "Wand" is a wall that is merely "upright," that acts as a "divider" within a building.

It is usually made of wood, but could be glass or plastic in offices or even something as flimsy as paper or cloth. It is used to mark off "rooms," Zimmer , not a whole building. You can put up a poster against either a Mauer or a Wand. If you put up a poster on the inside of the stone external structure, the latter is a Mauer. If against a wooden, interior structure, a Wand. By clicking "Post Your Answer", you acknowledge that you have read our updated terms of service , privacy policy and cookie policy , and that your continued use of the website is subject to these policies. Home Questions Tags Users Unanswered.

Abdulhamid Abdalla

Wand, Mauer Ask Question. I have translated wall into German.

1. DANCING WITH JESUS: WARNING: NOT POLITICALLY CORRECT.
2. The Ugly Duckling!
3. La Figure jaune (French Edition).
4. File history.
5. Password (Michael Bellicher 3) (German Edition).
6. The Devils Chosen: A Search for Understanding?
7. Prizes and Awards.

There are two translations: Wand Mauer My hypothesis: If you put on poster on a wall, you put it on Wand or also can I use Mauer? What is the difference? I never noticed that Wand and Mauer both translate as wall. Ich denke die Bilder helfen niemandem weiter.

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Big holes are for doors and windows. In english this is not " wall ". If its the outside wall of a building, in my experience people say mostly "Hauswand" not "Mauer".