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Alexander Amir Alexander (US): Death in Paris: When Mathematics became Art
Aristarkhova Irina Aristarkhova (RU/US): Stepanova’s ‘Laboratory’
Arns Inke Arns (DE): The Avant-Garde in the Rear View Mirror
Ballard Su Ballard (NZ): ‘Real Time’: Early Encounters with Immersive Installation in Aotearoa New Zealand
Bardiot Clarisse Bardiot (FR): The Artists and Engineers of 9 Evenings: Theatre and Engineering, New York, 1966
Barker Michele Barker (AU): From Life to Cognition: investigating the rol of biology and neurology in new media arts practice
Bochnek Ross Bochnek (US): When Clinical Neuropsychology Met Time-Based Art
Borelli Arianna Borrelli (IT/DE): The Media Perspective in the Study of Scientific Abstraction
Broeckmann Andreas Broeckmann re:place co-chair
Jochen Brüning – Helmholtz Zentrum
Century Michael Century (CA/US): Encoding motion in the early computer: knowledge transfers between studio and laboratory
Chapple Boo Chapple (AU): Sound, Matter, Flesh: A history of crosstalk from medicine to contemporary art and biology
Chowdhury Manosh Chowdhury (Bangladesh/JP): Can there be an ‘Art History’ in the South?: Myth of Intertextuality and Subversion in the Age of Media Art
Chun Wendy Hui Kyong Chun (US): The Enduring Ephemeral, or the Future is a Memory
Clements Wayne Clements (UK): The Descent of New Media: Art, Warfare and Cambridge Cybernetics
Cox Geoff Cox (UK): Software Art has No History
Darroch Michael Darroch & Janine Marchessault (CA)/(CA): Anonymous History as Methodology: The Collaborations of Siegfried Giedion, Jacqueline Tyrwhitt, and the Explorations Group (1951-53)
Daston Lorrain Daston: Dreams of a Perfect Medium
Sara Diamond -Moderator
Dolanova Lenka Dolanova (CZ): What They Were Cooking in There: Cooks, Their Kitchen and the Taste of Fresh Video
Druckrey Timothy Druckrey (US): Cinemedia: Archaeologies of Computation and AI in Cinema
Dunbar Christina Dunbar-Hester (US): Listening to Cybernetics: Music, Machines, and Nervous Systems, 1950-1980
Edmonds Ernest Edmonds (UK/AU): Human and Robot Behaviour: Art meets AI
Fachinello Yara Guasque (BR), Sandra Albuquerque Reis Fachinello (BR), Silvia Guadagnini (BR): Skipping Stages
Farley Kathryn Farley (US): Generative Systems: The Art and Technology of Classroom Collaboration
Fogue Kuate Francis Arsene Fogue Kuate (Cameroon): Media and society in Cameroon: from the French Period to the beginning of the XXIst century
Franco Francesca Franco (IT/UK): New Media Art and an Institutional Crisis in the History of the Venice Biennale, 1968
Fritz Darko Fritz (HR/NL): Vladimir Bonacic: Dynamic Objects (1968-1971) – computer-generated works made in Zagreb within New Tendencies art network
Gansing Kristoffer Gansing (SE): Humans thinking like Machines – Incidental Media Art in the Swedish Welfare State
Goriunova Olga Goriunova (RU): Cultural critique of technology in philosophy of technology and religious philosophy of early XX century Russia
Grau Oliver Grau – MediaArtHistory – Image Science – Digital Humanities
Guadadnini Silvia Guadagnini,(BR) Yara Guasque (BR), Sandra Albuquerque Reis Fachinello (BR): Skipping Stages.
Guasque Silvia Guadagnini,(BR) Yara Guasque (BR), Sandra Albuquerque Reis Fachinello (BR): Skipping Stages.
Hamel Catherine Hamel (CA): Crossing Into The Border – an intersection of vertical and horizontal migration
Hansson Karl Hansson (SE): Haptic Connections – On Hapticality and the History of Visual Media
High Kathy High (US), Carolyn Tennant (US): The Experimental Television Center
Hudek Antony Hudek & Antonia Wunderlich: Between Tomorrow and Yesterday: charting Les Immatériaux as technoscientific event
Huhtamo Erkki Huhtamo (FI/US): Intercultural Interfaces: Correcting the pro-Western Bias of Media History
Ingham Karen Ingham (UK): A Ticket to The Theatre of The Dead: Re-framing Interdisciplinarity in the Bio-medical Theatre
Jones Stephen Jones (AU): The Confluence of Computing and Fine Arts at the University of Sydney, 1968-1975
Kaniari Assimina Kaniari (GR/UK), Morphogenesis in Action: D’Arcy Thompson and the experimental in Leonardo from LL Whyte to now
Kluetsch Christoph Klütsch (DE): The roots and influences of information aesthetics in Germany, Canada, US, Brazil and Japan
Kluszczynski Ryszard W. Kluszczynski (PL): From Media Art to Techno Culture. Reflections on the Transformation of the Avant-Gardes (the Polish case)
Kusahara Machiko Kusahara (JP): A Turning Point in Japanese Avant-garde Art: 1964 – 1970
Langill Caroline Seck Langill (CA): Corridors of Practice I: Technology and Performance Art on the North American Pacific Coast in the 1970s and Early 80s
Ligier Maude Ligier (FR): How cybernetics entered the world of art? The case of Nicolas Schöffer
Link David Link (DE): Memory for Love Letters. Computer Archaeology of a Very Early Program.
Thomas Macho – Helmholtz Zentrum
Marchessault Janine Marchessault (CA)& Michael Darroch (CA): Anonymous History as Methodology: The Collaborations of Siegfried Giedion, Jacqueline Tyrwhitt, and the Explorations Group (1951-53)
Marks Laura Marks (CA): Artificial life from classical Islamic art to new media art, via 17th-century Holland
McConville David McConville (US): Cosmological Cinema: Pedagogy, Propaganda, and Perturbation in Early Dome Theaters
Michelkevici Vytautas Michelkevicius (LT): (Post)Photography and Media Art: Rethinking Institutionalization and Public Curatorship in Lithuania
Mills Simon Mills (UK): framed: Interviews with New Media Writers and Artists
Monteiro Rosana Horio Monteiro (BR): Art and Science Playing on the Margins. On the discovery of photography in the 19th century Brazil
Moraga Eva Moraga (ES): The Computation Center at Madrid University, 1966-1973: An example of true interaction between art, science and technology
Nadarajan – re:place co-chair
Oppenheimer Robin Oppenheimer (US/CA): Network Forums and Trading Zones: How Two Experimental, Collaborative Art and Engineering Subcultures Spawned the “9 Evenings: Theatre and Engineering” and E.A.T.
Osthoff Simone Osthoff (BR/US): Philosophizing in Translation: Vilem Flusser’s Brazilian Writings
Palmer Daniel Palmer (AU): Media Art and Its Critics in the Australian Context
Parikka Jussi Parikka (FI): Insect Media of the Nineteenth Century
Miklos Peternak – Moderator
Petty Sheila Petty (CA):African Digital Imaginaries
Ingeborg Reichle (DE) – Moderator
Roeller Nils Röller (DE/CH): An Individual Academy: Vilem Flusser’s passage from institutional to individual practices
Salter Christopher Salter (US/CA): Unstable Events: Performative Science, Materiality and Machinic Practices
Samuel Nina Samuel (DE/CH): Re-Reading Fractals: Towards an Archeology of the Digital Form
Bernd Scherer – Moderator
Edward Shanken – Moderator
Smith Brian Reffin Smith (UK/DE): Hijack! How the computer was wasted for art
Sonvilla Stefan Sonvilla-Weiss (AT/FI): Paul Otlet’s impact on visual knowledge building in current developments of Web 2.0
Sukaityte Renata Sukaityte (LT): Electronic art in Estonia, Latvia and Lithuania: the interplay of local, regional and global processes
Tennent Carolyn Tennant (US), Kathy High (US): The Experimental Television Center
Thomas Paul Thomas (AU): Constructed infinite smallness
Thurtle Phillip Thurtle (US), Claudia X. Valdes: From Spiderman to Alba: transgenics in a post-nuclear world
Tillberg Margareta Tillberg (SE/DE): Cybernetics and Arts: The Soviet Group Dvizhenie (Movement) 1962-1972
Tilly Ariane Noel de Tilly (CA): The different ‘versions’ of John Massey’s As the Hammer Strikes (A Partial Illustration)
Valdes Claudia X. Valdes (CL/US), Phillip Thurtle (US): From Spiderman to Alba: transgenics in a post-nuclear world
Voehringer Margarete Voehringer (DE): ‘Space, not Stones’ Nikolai Ladovski’s Psychotechnical Laboratory for Architecture, Moscow 1926
Voropai Lioudmila Voropai (RU/DE): Institutionalisation of Media Art in the Post-Soviet Space: The Role of Cultural Policy and Socioeconomic Factors
Ward Cynthia Ward (US): Minding Realities: Geometries of Cultural Cognition
Wunderlich Antonia Wunderlich & Antony Hudek: Between Tomorrow and Yesterday: charting Les Immatériaux as technoscientific event
Siegfried Zielinski: On Deep Time Relations between Arts, Sciences, and Technologies – Questioning the Established Concepts of Media