to the book Imagery in the 21st Century

Biographies of Imagery in the 21st Century Contributors

Sean CUBITT is Professor of Global Media and Communications at Winchester School of Art, University of Southampton, and Professorial Fellow in Media and Communications at the University of Melbourne. . His publications include Timeshift: On Video Culture (Comedia/Routledge, 1991); Videography: Video Media as Art and Culture (Macmillan/St. Martins Press, 1993); Digital Aesthetics (Theory, Culture and Society/ Sage, 1998); Simulation and Social Theory (Theory, Culture and Society/Sage, 2001); The Cinema Effect (MIT Press, 2004); and EcoMedia (Rodopi, 2005). He was the coeditor of Aliens R Us: Postcolonial Science Fiction with Ziauddin Sardar (Pluto Press, 2002) and The Third Text Reader with Rasheed Araeen and Ziauddin Sardar (Athlone/Continuum, 2002) and How to Study the Event Film: The Lord of the Rings (Manchester University Press, 2008). He is an editor of Cultural Politics and serves on the editorial boards of a dozen journals including Screen, Third Text, Visual Communication, Futures, and the International Journal of Cultural Studies. He is the series editor for Leonardo Books at MIT Press. His current research is on public screens and the transformation of public space, and on genealogies of digital light.

Martin SCHULZ is Professor at Hochschule für Gestaltung in the Center for Art and Media in Karlsruhe Staatliche Hochschule für Gestaltung, Karlsruhe, and coordinator for the Ph.D. program “Image, Body, and Medium: An Anthropological Approach.” He has published numerous texts concerning contemporary art and picture theory, including (with Hans Belting), Quel Corps? Eine Frage der Repräsentation (Munich, 2002), Ordnungen der Bilder (Munich, 2005); with Birgit Mersmann), Kulturen des Bildes (Munich, 2006); “Die Sichtbarkeit des Todes im Medium der Fotografie,” in Die neue Sichtbarkeit des Todes, ed. Thomas Macho and Kristin Marek (Munich, 2007), 289–313; and “The Immersive Image of Landscape: Space Voyages and Time Travel,” in That’s What a Chameleon Looks Like: Contesting Immersive Cultures, ed. Kiwi Menrath and Alexander Schwinghammer (Cologne, 2009).

Eduardo KAC is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web 1880s, Eduardo Kac (pronounced “Katz”) emerged in the early 1990s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology, and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the “exotic” (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his “transgenic art”—first with a groundbreaking piece entitled Genesis (1999), which included an “artist’s gene” he invented, and then with GFP Bunny, his fluorescent rabbit named Alba (2000).

Thomas VEIGL studied and worked at the Institute for Cultural- and Social Anthropology at the University of Vienna. With a main focus on the origination of media technologies and their dependency and influence on social evolution, he wrote his thesis about a cross cultural comparison on the evolution of letterpress printing with movable metal type in East Asia and Europe. Since 2008 he is part of the scientific stuff of the Department for Image Science at the Danube-University Krems, where he was responsible for the organization of the second international conference on image science “Gazing into the 21st Century.” Currently he is preparing for his doctoral thesis.

Stefan HEIDENREICH is working as writer and journalist (taz, F.A.Z., de:bug), art critic (F.A.Z., Monopol), Web consultant (Metaversum, Designmai, Iconicturn), photographer (, and Assistant Professor (Humboldt-Universität Berlin). He studied philosophy, science of communication, German philology, and temporarily economy and physics at Bochum and Berlin. He published “Flipflop: Digitale Datenströme und die Kultur des 21. Jahrhunderts” (2004) and “Was verspricht die Kunst?” (1998).

Olaf BREIDBACH is Chair for the History of Sciences and Head of the Institute for the History of Medicine, Science and Technology and the museum “Ernst-Haeckel-Haus” of the Friedrich Schiller University, Jena. His publications include Die Materialisierung des Ichs (Frankfurt: Suhrkamp, 1997); Das Anschauliche oder über die Anschauung von Welt (Vienna: Springer, 2000); ed., Naturwissenschaften um 1800 (Weimar: Böhlau, 2001); Deutungen (Weilerswist: Vellbrück, 2001); Bilder des Wissens (Munich: Fink, 2005); with T. Bach, ed., Naturphilosophie nach Schelling (Stuttgart-Bad: Cannstatt, 2005); with G. F. Frigo, ed., Scienza e filosofia nel positivismo italiano e tedesco (Il Poligrafo casa editrice srl. Padova, 2005); Goethes Metamorphosenlehre (Munich: Fink, 2006); Visions of Nature: The Art and Science of Ernst Haeckel (Munich: Prestel, 2008): Neue Wissensordnungen (Frankfurt: Suhrkamp); editor of Theory in Biosciences and Yearbook for European Culture of Science.

David STEINMAN has spent more than a decade working to integrate the fields of computer modeling and medical imaging. He is a Professor of Mechanical and Biomedical Engineering at the University of Toronto, where he heads the Biomedical Simulation Laboratory. Dr. Steinman holds a Career Investigator award from the Heart & Stroke Foundation.

Dolores STEINMAN trained as a pediatrician, before finishing doctoral and postdoctoral research in cancer cell biology. An accomplished photographer, she is interested in the relationship and connection between the humanities and science. Dr. Steinman is currently a Guest Researcher at the University of Toronto.

James ELKINS is E. C. Chadbourne Professor in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago. He writes on art and non-art images; his recent books include On the Strange Place of Religion in Contemporary Art, Visual Studies: A Skeptical Introduction, What Happened to Art Criticism? and Master Narratives and Their Discontents. He edited two book series for Routledge: The Art Seminar (conversations on different subjects in art theory) and Theories of Modernism and Postmodernism in the Visual Arts (short monographs on the shape of the twentieth century); currently he is organizing a seven-year series called the Stone Summer Theory Institute ( Hui Kyong CHUNG is Associate Professor of Modern Culture and Media at Brown University. She has studied both Systems Design Engineering and English Literature, which she combines and mutates in her current work on digital media. She is author of Control and Freedom: Power and Paranoia in the Age of Fiber Optics (MIT Press, 2006), and coeditor (with Thomas Keenan) of New Media, Old Media: A History and Theory Reader (Routledge, 2005). She is currently finishing a monograph entitled Programmed Visions: Software, DNA, Race (MIT Press, 2011).

Christa SOMMERER and Laurent MIGNONNEAU are internationally renowned media artists and researchers. They have jointly created around 20 interactive artworks, which can be found at <>. These artworks have been shown in around 200 exhibitions worldwide and installed in media museums and media collections around the world, including the Van Gogh Museum in Amsterdam, the Museum of Science and Industries in Tokyo, the Media Museum of the ZKM in Karlsruhe, the Cartier Foundation in Paris, the Ars Electronica Center in Linz, the NTT-ICC Museum in Tokyo, the NTT Plan-Net in Nagoya, Japan, the Shiroishi Multimedia Art Center in Shiroishi, Japan, the HOUSE-OF-SHISEIDO in Tokyo and the ITAU CULTURAL Foundation in Sao Paulo. They have won mayor international media awards, among others the “Golden Nica” Prix Ars Electronica Award for Interactive Art 1994 (Linz, Austria). Mignonneau and Sommerer have published on artificial life, complexity, interactivity and interface design, and they have lectured extensively at universities, international conferences, and symposia. They are currently heading the department for Interface Cultures at the University of Art and Design in Linz ,Austria, which specializes in interactive art, interactive media, and interface design. They have published two books: The Art and Science of Interface and Interaction Design, ed. C. Sommerer, L. C. Jain, and L. Mignonneau (Springer Verlag, 2008); and Interface Cultures—Artistic Aspects of Interaction, ed. C. Sommerer, L. Mignonneau, D. King (Transcript Verlag, 2008).

Marie-Luise ANGERER is Professor of Media and Cultural Studies and Gender Studies at the Academy of Media Arts Cologne. Since 2007 she has been Head of the Academy. Her publications include: “Vom Phantasma des Lebens,” in Der Einsatz des Lebens: Lebenswissen, Medialisierung, Geschlecht, ed. Astrid Deuber-Mankowsky, Christoph Holzhey und Anja Michaelsen (Berlin: b_books, 2009), 145–160; Gender goes Life: Die Lebenswissenschaften als Herausforderung für die Gender Studies (co-eds) (Bielefeld: transcript, 2008); and Vom Begehren nach dem Affekt (Zürich, Berlin: diaphanes, 2007).

Peter WEIBEL was appointed Professor for Visual Media Art at the Hochschule für Angewandte Kunst in Vienna in 1984, and from 1984 to 1989 was Associate Professor for Video and Digital Arts, Center for Media Study at the State University at Buffalo, New York. In 1989 he founded the Institute of New Media at the Städelschule in Frankfurt on the Main. Between 1986 and 1995 he was in charge of the Ars Electronica in Linz as artistic consultant and later artistic director. From 1993 to 1998 he was curator at the New Galerie Graz. Since 1999 he has been Chairman and CEO of the ZKM/Center for Art and Media in Karlsruhe.

Adrian David CHEOK is Director of the Mixed Reality Lab, National University of Singapore. He is currently an Associate Professor at the National University of Singapore where he leads a team of over twenty researchers and students. He has been a keynote and invited speaker at numerous international and local conferences and events. He is invited to exhibit for two years in the Ars Electronica Museum of the Future, launching in the Ars Electronica Festival 2003. His works “Human Pacman” and “Magic Land” were selected as one of the worlds top inventions by Wired and invited to be exhibited in Wired NextFest 2005. He was invited to show the works “Human Pacman” and “Magic Land” at Wired NextFest 2005. He was IEEE Singapore Section Chairman 2003, and is currently ACM SIGCHI Chapter President. He was awarded the Hitachi Fellowship 2003, the A-STAR Young Scientist of the Year Award 2003, and the SCS Singapore Young Professional of the Year Award 2004. In 2004 he was invited to be the Singapore representative of the United Nations body IFIP SG 16 on Entertainment Computing and the founding and present Chairman of the Singapore Computer Society Special Interest Group on Entertainment Computing. Also in 2004, he was awarded an Associate of the Arts award by the Minister for Information, Communications and the Arts, Singapore.

Tim Otto ROTH has held lectureships in Madrid, Valencia, and Kassel. He is currently working on a doctoral thesis at the Academy of Media Arts Cologne. His research focuses a phenomenology of shadow pictures and a redefinition of the post-photographic image. Roth is known for his large art and science projects in public space, including work with scientists of top research institutions especially in biology, astrophysics, and particle physics ( and He has received numerous awards including the International Media Art Award/Centre for Art and Media ZKM Karlsruhe.

Andreas DEUTSCH is Head of the Department of Innovative Methods of Computing at the Centre for Information Services and High Performance Computing, Technische Universität Dresden. The research efforts of his lively research group are directed toward theoretical biology with an emphasis on modeling key problems of developmental biology and cancer growth. He is author of a monograph on cellular automaton modeling of biological pattern formation (Birkhäuser, 2004).

Harald KRAEMER is a producer, designer and director of online and off-line hypermedia applications. His work includes Vienna Walk Demo (1998) with Science Wonder Productions; Documentation and Methodology of Contemporary Art (1999–2001) for the German Research Foundation (DFG) at the University of Cologne; and Artcampus (2005–2007) for the University of Berne. With his own company Transfusionen he has realized: Art and Industry (2000), Virtual Transfer Musée Suisse (2002–2003), Museum Schloss Kyburg (2004), and Elisabeth of Thuringia (2006). He has written and published widely on the subject of hypermedia, museum informatics, and digital collections, as well as contemporary art. After teaching art history and new media at the universities in Berne, Cologne, Constance, Luneburg and Zurich, he is recently Docent at the Department for Design at Zurich Academy of Arts and at the Department for Image Sciences at Danube University Krems. Currently he is working on documentation about Knowledge Hypermedia Design & Museum.

Lev MANOVICH is a Professor in Visual Arts Department, University of California–San Diego, Director of the Software Studies Initiative at California Institute for Telecommunications and Information Technology (Calit2), and Visiting Research Professor at Goldsmith College (University of London), De Montfort University (UK) and College of Fine Arts, University of New South Wales (Sydney). His books include Software Takes Command (released under CC license, 2008), Soft Cinema: Navigating the Database (MIT Press, 2005), and The Language of New Media (MIT Press, 2001), which is hailed as “the most suggestive and broad ranging media history since Marshall McLuhan.” He has written 100 articles that have been reprinted over 300 times in 30+ countries. Manovich is much in demand to lecture around the world, having delivered over 400 lectures, seminars, and workshops during the last ten years.

Jeremy DOUGLASS is a Postdoctoral Researcher in Software Studies at the University of California San Diego, in affiliation with Calit2, the Center for Research in Computing and the Arts, and Visual Arts. He researches critical approaches to software and code using the analytic frameworks of the humanities and social sciences.

Martin WARNKE initiated the Department of Computers and Culture, where he developed a curriculum that combines cultural, artistic, and computer science issues theoretically and practically. Since 1983 he has taught in Lüneburg, Basel, and Klagenfurt. His interdisciplinary methodology is illustrated best by the protection and archiving of the artistic estate of the late Anna Oppermann. This methodology consists of hypermedia, interactive systems, image processing, and media technology. He has completed a number of research projects; HyperImage, funded by the German BMBF (Ministery for Education and Research), is being completed right now. During one of his projects the XML standard PeTAL (Picture Text Annotation Language) was developed, which is now entering the scientific community. A project recently funded by the DFG (German Research Association) carries on this research. Together with colleagues from Lüneburg, Berlin and Basel he has established annual “HyperKult” Workshops and the discourse that evolved with it. Since April 2009 he has been the Chairperson of the Kunstverein Springhornhof (an art club in Neuenkirchen).

Oliver GRAU is Professor of Image Science and Head of the Department for Image Science at the Danube University Krems. Recent publications include Virtual Art: From Illusion to Immersion (MIT Press, 2003); Mediale Emotionen (Fischer, 2005); and MediaArtHistories (MIT Press, 2007). He has been on international invited lecture tours, and has been presented numerous awards. His work has been translated into twelve languages. His main research is in the history of media art, immersion (virtual reality), and emotions, as well as the history, ideas, and culture of telepresence and artificial life. His awards include, among others: Elected into the Young Academy of the Berlin- Brandenburgische Scientific Academy and the Leopoldina; Media Award of the Humboldt University; InterNations/Goethe Institute; Book of the Month, Scientific American.

Martin KEMP has written, broadcast, and curated exhibitions on imagery in art and science from the Renaissance to the present day. His books include The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat (Yale University Press) and The Human Animal in Western Art and Science (Chicago University Press, 2007). He has published extensively on Leonardo da Vinci, including the prize-winning Leonardo da Vinci: The Marvelous Works of Nature and Man (1989, 2006). Increasingly, he has focused on issues of visualization, modeling, and representation. He writes a regular column Nature (published as Visualizations, Oxford University Press, 2000, and developed as Seen and Unseen, Oxford University Press, 2006, in which his concept of “structural intuitions” is explored).