[spectre] Fwd: Mediascape Zagreb 2010

[Darko Fritz]

Begin forwarded message:

> From: Daxl_Fuelepp <mediainmotion at online.de>

> MEDIA-SCAPE Zagreb 2010
> www.mediascape.info
>
>
>
> “The Year we Make Contact”
>
> 20 Years of Media-Scape (dedicated to Pierre Schaeffer*)
>
>
>
>
>
> Program:
>
> Events consists of  exhibition, concerts, performances, screenings
>
> ---------------------------------------------------------------------------------------------------------------------------
>
>
>
> Exhibition, Croatian Association of Artists (HDLU), Zagreb,  
> www.hdlu.hr
>
>
>
> 09. - 29. October
>
> 08. October 6 p.m. opening with performance
>
> 28. October 6 p.m. video Screenings:
>
> 29. October 20 p.m. closing with performance
>
>
>
> Screenings, Media Facade of Museum of Contemporary Art, Zagreb, www.msu.hr
>
> 08. - 10. October, 19 p.m.
>
> ---------------------------------------------------------------------------------------------------------------------------
>
>
>
> Concerts, Gorgona Theatre at the Museum of Contemporary Art, Zagreb, www.msu.hr
>
>
>
> 08. - 10. October, 19 p.m.
>
>
>
> ---------------------------------------------------------------------------------------------------------------------------
>
> Curators and Organizers: Heiko Daxl and Ingeborg Fülepp GbR, Media  
> in Motion – Berlin / Zagreb, www.mediainmotion.de
>
>
>
> Concert Curators and Organizers:
>
> Niksa Gligo, Seadeta Midzic, Daniel Teruggi, Dalibor Davidovic
>
>
>
> Partner Event:
>
> International Conference: „Pierre Schaeffer: MediArt“, Rijeka,  
> October 6th- 7th, 2010, Museum of Modern and Contemporary Art in  
> Rijeka, www.mmsu.hr
>
>
>
> ---------------------------------------------------------------------------------------------------------------------------
>
> Participants – Exhibition
>
> BCD, Vladimir Bonacic (D/HR), Andy Cameron (GB), Costantino Ciervo  
> (I/D), Miro Cimerman (HR/D), Heiko Daxl (D), Dunja Donassy (HR/D),  
> Alen Floricic (HR), Ingeborg Fülepp (HR/D), Darko Fritz (HR), Dieter  
> Jung (D), Thomas Gerwin (D), Giulia Gianola (I), Sibylle Hoessler  
> (D), Malcolm Le Grice (GB), Timo Kahlen (D), Zlatko Keser (HR), Hans  
> Peter Kuhn (D), Antal Lux (H/D), Mia Makela (FIN), Dalibor Martinis  
> (HR), Tatjana Marusic (CH), Enes Midzic (HR), Seadeta Midzic (HR),  
> Magdalena Pederin (HR), Ivan Picelj (HR), Ulrich Polster (D), Nika  
> Radic (HR/A), Jakob Schaible (D), Christina Scherrer (D), Goran  
> Skofic (HR), Jan-Peter E. R. Sonntag (D), Wolfgang Spahn (A/D),  
> Henry Stag (D/HR), Maren Strack (D), Yukihiro Taguchi (J), Tobias  
> Trutwin (D), Branka Uzur (AUS/HR), Junko Wada (J/D), Armin Wagner (A)
>
>
>
> Performances
>
> Maren Strack (D), Junko Wada (J/D)
>
>
>
> ---------------------------------------------------------------------------------------------------------------------------
>
>
>
> Concerts with music by: François Bayle, Michel Chion, Frano Curovic,  
> Silvio Foretic, Pierre Henry, Janko Jezovsek, Ivo Malec, Bernard  
> Parmegiani, Pierre Schaeffer, Daniel Teruggi, Christian Zanési
>
>
>
>
>
> ---------------------------------------------------------------------------------------------------------------------------
>
> Financial Support and Sponsors
>
> Ministarstvo kulture Republike Hrvatske, Zagreb
>
> Gradski ured za obrazovanje, kulturu i {port (City of Zagreb
>
> Ambassade de France en Croatie
>
> British Council of Croatia
>
> Directors Lounge, Berlin
>
> EUNIC, European Union National Institutes for Culture
>
> European Commission, DG Education and Culture, Culture Programme  
> 2007 – 2013
>
> HDLU Hrvatsko drustvo likovnih umjetnika (Croatian Artists Society),  
> Zagreb
>
> IFA - Institut für Auslandsbeziehungen, Stuttgart
>
> INA, Paris
>
> Institut Français de Zagreb
>
> Instituto Italiano di Cultura Zagreb
>
> Koncertna direkcija Zagreb
>
> Le Groupe de Recherches Musicales, Paris
>
> Muzej suvremene umjetnosti (Museum of Contemporary Art), Zagreb
>
> Muzej moderne i suvremene umjetnost (Museum of Modern and  
> Contemporary Art), Rijeka
>
> Österreichisches Kulturforum, Zagreb
>
> ProHelvetia, Zürich
>
> SakamotoContemporary Berlin
>
> Sound of Cities, Berlin
>
> strictly-berlin.de
>
> X-OP.eu: eXchange of Art Operators and Producers
>
> mediainmotion, Berlin/Zagreb,
>
>
>
> ---------------------------------------------------------------------------------------------------------------------------
>
> Contact: Ingeborg Fulepp / Heiko Daxl
>
>  info at mediainmotion.de
>
>
>
>
>
>
>
>
>
>
>
>
>
> *Pierre Schaeffer (1910-1995) is considered one of the most  
> influential experimental,
>
> electroacustic and subsequently electronic musicians, having been  
> the first composer
>
> to utilize a number of contemporary recording and sampling techniques
>
> that are now used worldwide by nearly all record production  
> companies. (from Wikipedia)
>
>
>
> His almost unknown works on the interaction between sound and image  
> will be presented in Media-
>
> Scape in a wider context.
>
> 2010 “The Years we Make Contact”
>
> 20 years of Media-Scape, Exhibition, Screenings, Performances,  
> Concerts Symposium (dedicated to
>
> Pierre Schaeffer*)
>
>
>
> Media-Scape is as a set of exhibitions, performances, concerts,  
> actions, film/video programs and
>
> symposia bringing together international and Croatian artists in the  
> context of media art. Media-Scape
>
> is open to a dialogue between public, artists, curators and  
> theoreticians.
>
> It has always been the driving spindle and elixir of avant-garde art  
> to condense intellectual trends,
>
> social developments and technical innovations into an up-to-date  
> interpretation of reality. Media-Scape
>
> focuses critically on these developments, their pre-history and  
> their future perspectives. The concept
>
> of current trends, historical passage and future visions are  
> presented through exhibitions,
>
> performances, concerts, lectures, film and video screenings.
>
>
>
> Media-Scape marks the necessity of a human-shaped media-landscape to  
> present concepts, ideas
>
> and artistic reflections in the discipline of media art. Other than  
> curators who are first writing concepts
>
> and than looking for the artists fitting into their ideas, Media- 
> Scape looks first for the works of art and
>
> personalities who are searching for the new expressions of the media  
> art language. In its exhibitions,
>
> Media-Scape aims to have a point of view on the arts, where the  
> space and objects have a dialogue
>
> within itself. Media-Scape stays on the traditional paths of video  
> installations as sculptures, as objects
>
> or as part of environment, of video-stage, performance act or  
> concert of new music.
>
> Held in reference to the historically pivotal Croatian important art  
> movements such as EXAT 51 in the
>
> fifties, NT (Nove tendencije) in the sixties and symposia "Dialogue  
> with the Machine" (Zagreb 1969)
>
> and "Television Today" (Zagreb 1972) and Music Bienale in Zagreb  
> (since 1959) and in coalescence
>
> with the important contributory role Zagreb has made to the avant- 
> garde of visual arts music.
>
> Media-Scape was founded in Zagreb in May 1991 during the  
> international CAD forum (symposium for
>
> architecture and design) by Heiko Daxl, Ingeborg Fülepp, Bojan  
> Baleti} and Malcolm Le Grice.
>
> Media-artists and theoreticians came together for the first time to  
> discuss the role of new media in their
>
> artistic work and the need for a continuing dialogue. Out of this  
> came the idea of what is today called
>
> Media-Scape.
>
> “During the 1990s, years of war and transition, the Croatian  
> artistic production stagnated, with the
>
> exception of the continual tradition of video art. Given the right- 
> wing (retrograde and traditionally
>
> bound) official cultural policy, the presentations of foreign media  
> art became rare and the scarce work
>
> of Croatian media art was the product of individual enthusiasm  
> without the support of institutions; it
>
> was mostly done abroad. The only people who continually exhibited  
> media art were Media in Motion
>
> (Heiko Daxl and Ingeborg Fulepp), who have since 1991 been  
> organizing Media-Scape - the annual
>
> exhibition and symposium on media art.” (Darko Fritz “A brief  
> overview of media art in Croatia “
>
>
>
> Due to the war situation in Croatia, it took a year to organize the  
> first Media-Scape. From 1993 to 1999
>
> Media-Scape was held regularly every year in Zagreb but often on  
> different locations.
>
> In 2006 Together with Jerica Ziherl, art historian, director and  
> curator of the Gallery RIGO and
>
> Museum Lapidarium and recently director of the Museum of Modern and  
> Contemporary Art in Rijeka,
>
> and Nik{a Gligo, member of the Croatian Academy of Sciences and Arts  
> and professor at the Music
>
> Academy of Zagreb University, in the past one of the most prominent  
> organizers in the best year of
>
> Music Biennale in Zagreb, decided to continue Media-Scape in a small  
> but, reach with cultural history,
>
> city of Novigrad/Cittanova. The concept remained the same; only that  
> Media-Scape became more
>
> oriented to the communication between participants and a local  
> public. Nevertheless, as Media-Scape
>
> was organized on the end of touristic season, many other visitors  
> came to see exhibition or attend to
>
> the symposia, performance or screenings.
>
>
>
>
>
> THE SUBJECT BETWEEN TRADITIONS AND COLLECTIVE MEMORY
>
> by Heiko Daxl
>
>
>
> "The cult of info-underestimates the role of experience and pre- 
> existing knowledge in the processing
>
> and generation of new knowledge." Jules Marshall in Mediamatic
>
>
>
> Our present time evokes more and more the necessity to reflect terms  
> of tradition. It would be
>
> ridiculous and fatal to abandoned these terms and with them the  
> tradition, but it would be even more
>
> naive to escape by redefinition. To follow them without being  
> critical is in most cases also impossible.
>
> Events that follow each other are not independent from each other.  
> Events of the past are so to speak
>
> the cause of events in the future. Time has a direction and absorbs  
> everything what happens. The
>
> sense of sequel is a result from inter linkage of events in  
> direction of new events, but must not be
>
> necessarily in a linear causality. Causality probably just exist as  
> individual experience. The past is
>
> seem as the fact, as unchangeable. The future on the hand has the  
> potential possibility of realisation.
>
> Events in the future are open and are characterised by not yet know  
> or experiences facts.
>
> "Aboriginals, when tracing a songline in the sand, will draw a  
> series of lines with circles in between.
>
> The line represents a stage in the Ancestor's journey. Each circle  
> is a 'stop', 'waterhole', or one of the
>
> Ancestor's campsites." (Bruce Chatwin: The Songlines) If events are  
> facts at every time, there is in
>
> principle just the possibility to explore the undiscovered and to  
> open it for our consciousness. This
>
> actual creates nothing new, but it links facts in a different way.  
> Does is not give the chance for free
>
> structure, for conception and creation in the very sense of the  
> word? We know today, that we are not
>
> observing the world in an objective way, but that we always part of  
> the observation.
>
>
>
> The determining linear principle of classical causality does not  
> help anymore to achieve and
>
> understand our present word. It is more replaced by a non-linear  
> autopoetic philosophy. This new
>
> systems of thinking get and keep their identify, even when their  
> components are constantly changing
>
> or interlining. There is no sufficient explanation by talking is as  
> a mechanistic function of its parts. "The
>
> function of an autopoetic awareness is the observing and listening  
> of the reality, to rethink it in the
>
> mirror of the mental repertoire are recombine it by internal plans  
> and imaginations. So conceptions of
>
> the word and cultures can progress, e.g. reflections of internal  
> conceptions in which me move and act.
>
> 'We' are the human society, that was on one hand created by  
> ourselves, bur on the other hand is
>
> integrating us in its network. by creating our culture we are  
> creating our conditions as well and in the
>
> and the structure of our future." (Ronald Fischer)
>
>
>
> Gradually the sciences are transforming the conventional view on our  
> universe into a complex system
>
> of interdependencies, which is not only beyond the general  
> understanding and description, but is
>
> rattling the basic of the absolute proof of mathematics and physics.  
> Random, chance, dynamic erratic
>
> developments, instability or quite generally the dissolve from order  
> to chaos are the synonyms for this
>
> confusion, a kind of Heisenberg's "relation of the unsharp" of  
> causality. We have reached today the
>
> situation that our world is like gigantic laboratory, more  
> uncontrolled than controlled.
>
> In a world, accelerated by means or transportation and media, our  
> ability of absorbing sensory
>
> impressions has also been accelerated, but we can even state today,  
> that media is still following the
>
> constructions of images that were developed already in the older  
> techniques. obviously the
>
> technological evolution is similar to the biological; that as a rule  
> - even if the opposite is proclaimed -
>
> nothing news is developed from nothing, but that new constructions  
> are always build on the
>
> foundations of the old. Perception is the verification of pre- 
> dreamed hypothesis. We are looking for so
>
> much order, that the word does appear senseless and for so much  
> chance that is does appear boring.
>
> A new mode of creativity is shaping its form. This mode is a  
> transversal one, because it is operating
>
> between the faculties and categories. through navigation and inter  
> linkage it is on the way to new
>
> forms and views.
>
>
>
> Perception is the verification of pre-dreamed hypothesis. We are  
> looking for so much order, that the
>
> world does appear senseless and for so much chance that it does  
> appear boring. A new mode of
>
> creativity is chapping its form. This mode is a transversal one,  
> because it is operating between the
>
> faculties and categories. through navigation and inter linkage it is  
> on the way to new forms and views.
>
> "It might happen for example that someone, who is used work  
> transversal, is understanding the 'ratio
>
> ascend' of our presents society much deeper, than by studying for  
> years sociological, culture diagnostically
>
> or philosophical writings. And that he might get through this  
> interdisciplinary view to a
>
> solution of an old philosophical problem of our century, the  
> problem, how highly different rationality's -
>
> this difference is defining the dynamics of modern times - are  
> connected, how today in a diversity of
>
> rationality reason is still possible." (Wolfgang Welsch). This  
> complex confusion a challenge and a
>
> change to achieve new perspectives in a time of staggering  
> definitions.
>
>
>
> What we can learn from tradition is the richness in the multiplicity  
> of the regional and individual, the
>
> suspension of norms and standards by a global dogmatism to avoid an  
> alienation from future
>
> experiences. We should let traditions act on us; we should take time  
> that they can echo in rethinking.
>
> What we should add is our hope and our engagement in a peaceful but  
> discursive side by with the
>
> inherent possibility of a more human shaped future. The future lies  
> in the open communication, the
>
> pollywog of traditions. Every individual can proof here his  
> competency. It is not the field for teams,
>
> parties or groups in political, diplomacy, economic, media and  
> culture, that even want to tell us, how
>
> an apple should look like. It is the task of the individual to look  
> around, to experience and to accept
>
> advises from time to time, to re-focus for transparency. Because a  
> belief in the development of history
>
> that follows a logic, does not anymore correlate with the facts.
>
>
>
> "Information is a difference that makes difference" (Gregory  
> Bateson) and not a endless recognition of
>
> the eversame patterns.
>
>
>
>
>
> Supporters and Sponsors of Media-Scape 1993 – 2009
>
>
>
>
>
> Croatian Cultural Institutions:
>
> Academy of Drama Arts, Academy of Music, CAD Forum, Zagreb, CARNet -  
> Croatian Academic
>
> Research Network, City of Zagreb, Croatian Society of Architects,  
> Croatian Ministry of Culture,
>
> Croatian Ministry of Science, City of Novigrad / Cittanova, Regional  
> Goverment of Istria, Turist
>
> Association Novigrad / Cittanova, Turist Association of Istria,  
> Croatian Artists Society, Filmoteka 16,
>
> Zagreb, Multimedia Centre in Zagreb, Museum of Contemporary Art in  
> Zagreb, Museum Mimara in
>
> Zagreb, Open Society, Zagreb, School of Architecture, Society of  
> Turism, Soros Centre for
>
> Contemporary Art, Zagreb, Radio 101
>
>
>
> Foreign Institutions:
>
> Ars Electronica in Linz, Austria, Arts Council of Australia, Sydney,  
> Art + Com Berlin, Germany,
>
> Austrian Cultural and Informative Centre in Zagreb, Croatia,  
> Ministry for Education, Art and Sport,
>
> Vienna, Austria, Senat of the City of Berlin, Germany, British  
> Council in Zagreb, Croatia, ZKM - Centre
>
> for Art and Media, Karlsruhe, Germany, CICV - Centre de Recherche  
> Pierre Schaeffer Montbeliard
>
> Belfont, France, Cultural Ministry of Science and Culture  
> Niedersachsen, Hannover, Germany, Royal
>
> Dutch Embassy in Zagreb, Croatia, European Media Art Festival  
> Osnabrück, Germany, French
>
> Institute in Zagreb, Croatia, Ministry of Culture, Paris, France,  
> Goethe Institute in Zagreb, Croatia,
>
> Goethe Institute in Munich, Germany, Soros Centre for Contemporary  
> Art, Warsaw, Poland, ICC
>
> Tokyo, Japan, Japan Foundation, Tokyo, Infermental, International  
> Video Magazine, Italian Cultural
>
> Centre in Zagreb, Croatia, media in motion Berlin, Germany,  
> Mediamatic Amsterdam, Netherlands,
>
> Ministry of Foreign Affair, Bonn, Germany , National Gallery  
> Budapest, Hungary, University of
>
> Westminster in London, Great Britain, VAMP - Video Art Magazine  
> Production Berlin, Germany, Video
>
> Award Marl, Germany, Videokunst Multimedia, Video Positive  
> Liverpool, Great Britain, Film+Arch,
>
> Graz, Austria, Metafort, Aubervilliers, France, Akademie der Kunste  
> Berlin, Germany, Academy for
>
> Film and Television, Potsdam-Babelsberg, Germany, Canadian Embassy  
> Zagreb
>
>
>
> Sponsors:
>
> Alma Print, Zagreb; ANIMAR, Zagreb; Apple Center NOVEL, Zagreb;  
> Badel D.D., Zagreb; "Coca Cola,
>
> Zagreb; Croatia Liber, Zagreb; Delta Airlines; "DAMI" d.o.o. Rijeka;  
> Filex Macintosh, Zagreb; G Team,
>
> Graditeljstvo, Cakovec; Hotel Astoria, Zagreb; Hotel Dubrovnik,  
> Zagreb; Kafeterija "Katarina", Zagreb;
>
> IKOM Zagreb; Kutjevacka vina, Kutjevo; MI Jakopec, Zagreb; Milton  
> Inc., Zagreb; Poduzece za izradu
>
> svijeca - Mladen Siroka; Zagreb, Restoran Kvarner, Zagreb;  
> Sitopapir, Zagreb; Ski Zicare Sljeme,
>
> Zagreb; Taverna, Zagreb; Turisticka zajednica Zagreb; ZET, Zagreb;  
> 4th Domension, Zagreb
>
>
>
> Press:
>
> 1993 Machiko Kusahara; 1994 Vjesnik 1995: Vijenac, Hrvatsko Slovo,  
> Carnet 1996: Glas Istre,
>
> Nedjeljni vjesnik, Slobodna dalmacija, Novi list, Vecernji list,  
> Vjesnik 30.Sept., Vjesnik 2 Okt.1997 Glas
>
> Slavonije, Nedjeljni vjesnik, Novi list, Primorsko-Goranski dnevnik,  
> Slobodna Dalmacija, Vecrnji list
>
> 19.11.,Vecrnji list 20.11., Vecrnji list 25.11., Vjesnik1998: Novi  
> list1999: Vijenac; Novigrad 2006 Glas
>
> Istre, Glas Slavonije, Novi List 1. Sept., Novi List 5. Sept. 2007:  
> Glas Istre 1. Sept., Glas Istre 2. Sept.,
>
> Glas Istre 3. Sep., Novi List2008: Glas Istre 1. Sept., Glas Istre  
> 3. Sept., 2006: Glas Istre, Glas
>
> Slavonije, Novi List 1. Sept., Novi List 5. Sept.; 2007: Glas Istre  
> 1. Sept., Glas Istre 2. Sept., Glas Istre
>
> 3. Sep., Novi List; 2008: Glas Istre 1. Sept., Glas Istre 3. Sept.
>
>
>
> Radio and Television-Broadcast:
>
> Different information and culture programs of Croatian Broadcast HRT  
> (Hrvatska RadioTelevizija)
>
> "Deutschland Funk ", "Deutsche Welle"; Radio 101 and many others
>
>
>
>
>
>
>
> Media-Scape - Paricipants Zagreb 1993-1999 and Novigrad 2005-2009
>
>
>
> Ina Abuschenko-Matwejewa, Anna Anders, Masami Akita, Zemira  
> Alaibegovic, Miroslav Ambros-Kis,
>
> Friedrike Anders, Hanno Baethe, Bojan Baletic, Irit Batsry, Laszlo  
> Beke, Maurice Benayoun, Eddie
>
> Berg, Ursula Berlot, Michael Bielicky, Simon Biggs, Iva-Matija  
> Bitanga, Piet-Jan Blauw, David Blair,
>
> Simon Bogojevic-Narath, Martine Bour, Djanino Bozic, Tomislav  
> Brajnovic, Noam Braslavsky, Thea
>
> Brejzek, Milan Bukovac, Egon Bunne, Peter Callas, Andy Cameron,  
> Vlatko Ceric, Marko Ciciliani,
>
> Roberto Cimador, Gerard Couty, Martin Davorin-Jagodic, Heiko Daxl,  
> Matija Debeljuh, Söke Dinkla,
>
> Stefan Dietrich, Peter Tomas Dobrila, Sanjin Dragojevic, Georg  
> Eisenhut, Arthur Engelbert, Ivan
>
> Faktor, Dror Feiler, Alen Floricic, Branko Franceschi, Ivana Franke,  
> Darko Fritz, Agnes Fuchs,
>
> Ingeborg Fülepp, Jaap de Jonge, Ladislav Galeta, Paul Garrin, Paul  
> de Geetere, Niksa Gligo,
>
> Tomislav Gotovac, Sophie Greenfield, Malcolm Le Grice, Marina  
> Griznic, Jean-Francois Guiton, Akiko
>
> Hada, Gusztav Hamos, Ross Harley, Kim Hi-Cheong, Christoph  
> Hildebrand, Gavin Hodge, Joanna
>
> Hoffmann, Kurt Hofstetter, Wolfgang Höntzke, Kathy Rae Huffman,  
> Erkki Huhtamo, Peter Hutter,
>
> Sanja Ivekovic, Hartmut Jahn, KP Ludwig John, Franz John, Klaus  
> Jung, Stanko Juzbasic, Kain
>
> Karawahn, Lidia Karbowska, Susanne Kienbaum, Ivan Marusic Klif,  
> Zeljko Kipke, Carol Ann
>
> Klonarides, Werner Klotz, Ryszard Kluszczynsky, Vladislav Knezevic,  
> Judit Kopper, Neven Korda,
>
> Marko Kosnik, Richard Kriesche, Markus Krips, Sandra Krizic-Roban,  
> Dubravko Kuhta, Andreja
>
> Kuluncic, Betina Kuntzsch, Machiko Kusahara, Rolf Külz-Mackenzie,  
> Jawek Kwakman, Igor Kuduz,
>
> David Larcher, Kristina Leko, Walter Lenertz, Mladen Lucic, Natasa  
> Lusetic, Antal Lux, Horst
>
> Markgraf, Correnti Magnetichi, Dalibor Martinis, Thomas Marquard,  
> Davor Mezak, Seadetta Midzic,
>
> Mladen Milicevic, Robin Minard, Jonathan Moberly, Axel Möckel, Mona  
> Mur, Dan Oki, Zakiah Omar,
>
> Vito Orazem, Ivan Pajic, Rotraut Pape, Irena Paulus, Jan Peacock,  
> Magdalena Pederin,
>
> Davor Peros-Bonnot, Gunther Petzold, Jochen Piepmeyer, Richard  
> Philpott, Ivan Picelj, Ulrich Plank,
>
> Daniela Alina Plewe, Charlotte Pöchhacker, Nenad Prelog, Nenad  
> Puhovski, Betram Quosdorf, Markus
>
> Ramershoven, Rivka Rinn, Don Ritter, Gilles Rollestone, Rob Rombout,  
> Ilse Ruppert, Sabine Sanio,
>
> Michael Saup, Joachim Sauter, Bill Seaman, Keiko Sei, Jeffrey Shaw,  
> Goran Skofic, Gunilla Sköld,
>
> Aina Smid, George Snow, Jan-Peter E.R. Sonntag, Andras Solyom,  
> Elisabeth Son, Stelarc, Dejan
>
> Stifanic, Iva Stipetic, Michaela Strumberger, Angelika Thiekötter,  
> Tatjana Tikulin, Hvorje Turkovic,
>
> Branka Uzur, Maria Vedder, Veit-Lup, Mirjana Vodopija, Lili Vogt,  
> Lawrence Wallen, Eku Wand,
>
> Jeremy Welsh, Darko Zovko, Angela Zumpe
>
>
>
> www.mediascape.info is a project by www.mediainmotion.de 1990 -2010
>
> ---------------------------------------------------------------
> m e d i a    i n     m o t i o n          berlin/zagreb
> ---------------------------------------------------------------
> d a x l   &   f u e l e p p   gbr
> info at mediainmotion.de
> ---------------------------------------------------------------
>
>
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