UNIVERSIDADE DE ÉVORA Claudia Giannetti

UNIVERSIDADE DE ÉVORA
DOCTORAMENTO EM ARTES VISUAIS
Ph.D. DEGREE PROGRAMME IN VISUAL ARTS
IIFA
Departamento de Artes Visuais e Design
2011-2014
FACULTY BIOGRAPHIES
Claudia Giannetti
http://www.artmetamedia.net
Since 1988 lives in Barcelona, Spain. Took a degree in Art History and her
Ph.D. from the University of Barcelona with a dissertation about Aesthetics of
the Digital. Specialist in Contemporary Art and Media Art. A theoretician, a
writer and an exhibitions and cultural events curator.
Invited Full Professor at the University of Évora (UÉ), Visual Arts Department.
Director of the Ph.D. Programm in Visual Arts, UÉ.
From 1993 to 1999, she was co-founding and the director of the Associació de
Cultura Contemporània L'Angelot, Barcelona, the first space in Spain
specialized in media art. From 1998 to 2007, she was the director of
MECAD\Media Centre of Art & Design, Barcelona. Director of the
Canariasmediafest – International Arts and Digital Cultures Festival of Gran
Canaria (2007-2009).
She has curated more than hundreds activities: exhibitions, congresses,
symposiums, festival and events in national and international museums and
institutions at venues such as Museo Nacional Centre de Arte Reina Sofía,
Madrid/Spain; CCCB ! Centre de Cultura Contemporánia de Barcelona/Spain;
Festival de Vídeo de Navarra, Pamplona/Spain; ZKM Center for Art and Media
Karlsruhe/Germany; Festival de Vídeo y Artes Electrónicas, México DF/Mexico;
Centro Multimedia del Centro Nacional de las Artes, México DF/Mexico;
CaixaForum, Mediateca, Barcelona/Spain; Medi@terra Art & Technology
Festival, Athens/Greece; Expanded Box, ARCO'2008, Madrid/Spain; "The
Discreet Charm of Technology. Art in Spain", MEIAC Museo Extremeño e
Iberoamericano de Arte Contemporáneo de Badajoz/Spain, ZKM de
Karlsruhe/Germany, Neue Galerie Graz, Austria.
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Expert consultant for several cultural institutions internationally including for the
“Cultural Policy” in the Experts’ Group for the Evaluation of the Swiss Federal
Information Society Strategy, Center for Science and Technology Study, Bern,
Switzerland (2001); "Digi-Arts" by UNESCO, Paris/France (since 2002); Beijing
International New Media Arts Symposium, Beijing/China (2005-2006), amongst
others.
She has curated and directed several projects for Internet including "Media art
international", Digi-arts/UNESCO and MECAD; "Playing Field Project Streaming Media Online", Netherlands Media Art Institut Montevideo,
Amsterdam/Holland, and MECAD; "Vídeo online", e-mediateca of CaixaForum,
Barcelona/Spain; "Ästhetik des Digitalen/Aesthetics of the Digital",
Medienkunstnetz, ZKM Center for Art and Media Karlsruhe/Germany;
"Net_España - A panorama of media art in Spain", MECAD, Ministerio de
Cultura, MEIAC (2006).
In the academic sphere she was Professor for Visual Arts Theory at the
University of Barcelona (1995-1998); and Director and Professor at several
Masters Degree by University Ramon Llull / MECAD (2001-2006). She was also
director of the master-study in Digital Arts by the University Lufósona in
Lisbon/Portugal, and invited professor at the University Pompeu Fabra,
Barcelona/Spain. She has given several classes and seminars as invited
professor as well as more than a hundred lectures in universities, museums and
congresses throughout Europe and South America, as well as in the United
States, Canada, India and China.
A prolific writer and theoretician, she has published more than hundreds
articles, essays and publications about aesthetics, art, technologies and
science in art magazines and books, and 33 exhibition catalogues.
She has published the books: "Media Culture" (Barcelona, 1995); "Art in the
Electronic Age - Perspective of a New Aesthetics" (Barcelona, 1997); "Ars
Telemática - Telecomunication, Internet and Cyberspace" (Lisbon, 1998;
Barcelona, 1998); "Arte Facto & Ciencia" (Madrid, 1999); "ArteVisión - A History
of Electronic Art in Spain" (Sabadell, 2000); "Without Emergency Exit"
(Sabadell, 2002); "Aesthetics of the Digital - Syntopy of Art, Science and
Technology" (Barcelona 2002; New York/Vienna 2004; Karlsruhe, 2005; Belo
Horizonte 2006; Lissabon 2011); "Vilém Flusser und Brasilien" (Cologne, 2002);
"The Capricious Reason in the 21st Century. The avatars of the post-industrial
information society" (Las Palmas, 2006); "The Discreet Charm of Technology"
(Madrid/Badajoz 2008).
She has been a jury member for several international art awards. She was
awarded several prizes.
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Eduardo Kac
http://www.ekac.org
Media artist.
Full Professor of Art and Technology, Art and Technology Department, The
School of the Art Institute of Chicago.
Eduardo Kac is internationally recognized for his telepresence and bio art. A
pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac
(pronounced "Katz") emerged in the early '90s 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
transgenic work entitled Genesis (1999), which included an "artist's gene" he
invented, and then with his fluorescent rabbit called Alba (2000).
From his first experiments online in 1985 to his current convergence of the
digital and the biological, Kac has always investigated the philosophical and
political dimensions of communication processes. Equally concerned with the
aesthetic and the social aspects of verbal and non-verbal interaction, in his
work Kac examines linguistic systems, dialogic exchanges, and interspecies
communication. Kac's pieces, which often link virtual and physical spaces,
propose alternative ways of understanding the role of communication
phenomena in creating shared realities.
Kac merges multiple media and biological processes to create hybrids from the
conventional operations of existing communications systems. Kac first
employed telerobotics in 1986 motivated by a desire to convert electronic space
from a medium of representation to a medium for remote agency. He creates
pieces in which actions carried out by Internet participants have direct physical
manifestation in a remote gallery space. Often relying on the indefinite
suspension of closure and the intervention of the participant, his work
encourages dialogical interaction and confronts complex issues concerning
identity, agency, responsibility, and the very possibility of communication.
Kac’s work has been exhibited internationally at venues such as Exit Art and
Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie,
Paris, and Lieu Unique, Nantes, France; OK Contemporary Art Center, Linz,
Austria; InterCommunication Center (ICC), Tokyo; Julia Friedman Gallery,
Chicago; Seoul Museum of Art, Korea; and Museum of Modern Art, Rio de
Janeiro. Kac's work has been showcased in biennials such as Yokohama
Triennial, Japan, Bienal de Sao Paulo, Brazil, and Gwangju Biennale, Korea.
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His work is part of the permanent collection of the Museum of Modern Art in
New York, the ZKM Museum, Karlsruhe, Germany, and the Museum of Modern
Art in Rio de Janeiro, among others.
Kac's work has been featured both in contemporary art publications (Flash Art,
Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine)
and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington
Post, Chicago Tribune, New York Times). Kac has received many awards,
including the Golden Nica Award, the most prestigious award in the field of
media arts and the highest prize awarded by Ars Electronica. He lectures and
publishes worldwide. His work is documented on the Web in eight languages:
http://www.ekac.org.
Kac is a member of the editorial board of the journal Leonardo, published by
MIT Press. Kac's writings on art, which have appeared in several books and
periodicals in many countries, have been collected in two volumes:
Telepresence and Bio Art : Networking Humans, Rabbits and Robots (Ann
Arbor: University of Michigan Press, 2005) and Luz & Letra (Rio de Janeiro:
Contra Capa, 2004). Kac's poetry is collected in Hodibis Potax (Édition Action
Poétique, Ivry-sur-Seine (France) and Kibla, Maribor (Slovenia), 2007). Books
about Kac's work include: Eduardo Kac : Move 36, Elena Giulia Rossi, editor
(Paris : Filigranes Éditions, 2005), The Eighth Day: The Transgenic Art of
Eduardo Kac, Sheilah Britton and Dan Collins, eds. (Tempe: ISA/ASU - New
York: DAP, 2003) and Eduardo Kac (Valencia: IVAM, 2007).
Filipe Rocha da Silva
He is a Visual Artist, best known for his paintings. Ph.D. from Évora University
in 2005 with a thesis titled “The modern maniera - Modernity and Mannerism in
the art of painting”. Since 2007 he directs the Departamento de Artes Visuais e
Design of the same University, where he also teaches. In 2008 was Visiting
Scholar at the School of Visual Arts in New York. He has written several books:
Variações sobre o Maneirismo (Volume I - 2008), Variações sobre o
Maneirismo (Vol. II – fothcoming), Observatório da Critica da Arte (2007), Neo –
landscapes (coordinator - 2007), Lusitania (coord. 2010). This activity has been
developed in the research centre CHAIA, Centro de História da Arte e
Investigação Artística. He has also participated in several projects as lecturer
and consultant and supervises thesis in Master and Ph.D. Courses. As an artist
he has had intense activity, with personal and collective exhibitions in Portugal,
the USA, France, Italy, Spain, Germany, Greece, Monaco, China, Morocco and
Guinea Bissau. His work is represented in some of the major collections in
Portugal as Fundação Calouste Gulbenkian, a Fundação de Serralves, Banco
de Portugal some important collections abroad, as Union Fenosa in Spain.
Several writers and art critics wrote about his work, as Mário Cláudio, Bernardo
Pinto de Almeida, Leonor Nazaré, João Pinharanda, Pilar Ribal and others.
Reproductions of works can be found in www.anamnese.pt and
www.artprojects.com.
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Harum Farocki
Harun Farocki is one of Germany's most respected filmmakers, artists and
writers. Farocki's essay films question the production and perception of images,
decoding the medium of film and examining how audiovisual culture relates to
politics, technology and war.
Born in Nov" Jicin (Neutitschein), in the then German-annexed Czechoslovakia.
1966-1968 studied at the German Film and Television Academy Berlin (West).
1974 - 1984 author and editor of the journal Filmkritik in Munich. 1998 - 1999
Speaking about Godard / Von Godard sprechen, New York / Berlin (with Kaja
Silverman). 1993-1999 visiting professor at the University of California,
Berkeley. Since 1966 over 100 productions for television and cinema:
documentary films, film essays, story films. Since 1996 numerous group and
solo exhibitions in museums and galleries. 2007 at documenta 12 with Deep
Play. Since 2004 guest professor, since 2006 full professor at the Academy of
Fine Arts Vienna. A major UK retrospective of his films at Tate Gallery, London,
2009.
www.farocki-film.de/
http://www.rouge.com.au/12/farocki.html
Inês Secca Ruivo
Inês Secca Ruivo (1972) is an Industrial Designer, with a Ph.D. from University
of Aveiro under the theme Design para o Futuro. O indivíduo entre o artifício e a
natureza/Design for the Future. The individual between artifice and nature.
(ISBN: 978-989-20-1338-1). She is an Assistant Professor in the Design
Programme in University of Évora and a member of the Centro de História da
Arte e Investigação Artística (CHAIA – Centre of History of Art and Artistic
Research), which belongs to the same entity. Between 1995 and 2007, she
developed a prolific activity in the industry through the collaboration with
different international companies, with functions in several departments, such
as Board of Directors, Consultancy and Design Management. In 2005, she was
responsible for the general co-coordination and supervision of the production of
project SMD – Significados da Matéria no Design/Matter Meanings in Design,
from the association Susdesign, within the scope of Design for Sustainability,
distinguished by the Art Institute of Portuguese Ministry of Culture. In 2006, she
was the consultant for Design of Instituto de Engenharia Mecânica e Gestão
Industrial/ Institute of Mechanical Engineering and Industrial Management
(INEGI), at Porto, Portugal. Currently, her main topics of interest and research
include: design management; rhetoric and design; and biotechnical and
ecological methodologies applied to design.
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Irene Borges Duarte
http://www.martin-heidegger.net/membros/IBD/index.html
Born 1952 in Lisbon. Studied Philosophy and Phenomenology in Lisbon,
Madrid, Freiburg im Breisgau and Mainz Universities. Ph.D. 1994 (Madrid,
Complutense University). Since 1996/97 at Évora University, now as Associate
Professor, after several years as a researcher and assistant professor at the
Complutense University Madrid. Director of the Ph.D. Programm in Philosophy,
UÉ. Research Areas: Phenomenological Ontology, Hermeneutics, Philosophy
of Technics, Psychoanalysis, Existential Analysis. Research projects on
“Heidegger in Portuguese” founded by the F.C.T. Editor of Heidegger Works in
Portuguese (by Gulbenkian Foundation and Fim de Século). 2 Awards in
Translation by the União Latina/F.C.T. (2002, 2003).
Some Publications: La presencia de Kant en Heidegger. Dasein,
Transcendencia y Verdad (Madrid, 2001); Heidegger, Linguagem e Tradução.
Actas do Colóquio.(Ed.; Lisboa, 2004) A Natureza das Coisas e as Coisas da
Natureza. Um estudo da Crítica da Razão Pura (Lisboa, 2006); A Morte e a
Origem. Em torno a Heidegger e a Freud. (Ed.; Lisboa, 2008); "Heidegger: a
Arte como epifania" (Lisboa,1989); "La mirada de Atenea. Sobre la conferencia
de Heidegger en Atenas." (Er – Revista de Filosofia, Sevilla, 1992); "La tesis de
Heidegger sobre la técnica" (Anales del Sem. De Historia de la Filosofia,
Madrid, 1993); “Heidegger en vilo. Lenguaje y estilo en las Contribuciones a la
Filosofía” (Sileno, Madrid, 2001), “O templo e o portal. Heidegger entre
Paestum e Klee”, Lisboa, 2005.
Member of Advisory Board of Heidegger-Studies (Berlin), Phainomenon
(Lisboa), Reflexão (Campinas, Brasil).
José Manuel B. Martins
He was born in Evora in 1960. He completed a degree in Philosophy at the
Catholic University in 1986 and obtained a PhD in Philosophy with a thesis on
“Ontology and Historicity in Adorno’s Aesthetic Theory” (University of Évora).
He was a teacher in the Department of Education at the University of Évora
since 1990, and currently in the Department of Philosophy. He lectured mainly
on Education and Aesthetic subjects, covering a wealth of different areas
spanning from undergratuate to postgraduate degrees. His research interests
develop along similar lines within pluri- and interdisciplinary approaches
combining philosophy and the arts. He is a member of the Lisbon Philosophy
Center.
He has concluded his piano studies at the Lisbon Conservatory in 1978, taking
private lessons afterwards with Professors Tania Achot and Miguel Henriques,
and regularly attending Master Classes by Badura-Skoda and Vladimir Viardo.
He performs in public recitals on a regular basis, commenting on the aesthetical
issues involved.
More recent research areas include the new Film-Philosophy domain.
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Mariana de Jesus P. Valente
Member of the Department of Physics, University of Évora and a researcher of
Centro de Estudos de História e Filosofia da Ciência. She took a degree in
Physics at the University of Lisbon; a Master in Education and Development, at
the New University of Lisbon and a Ph.D. in Science Education (1999), at the
New University of Lisbon. Her dissertation was about the historical construction
of the concept of Energy.
In her research she got very interested in the concept of nature in science. In
different publications, as the one Krom, M. e Valente, M. (2008). Habitar o Belo
Natural: o “jardim” e os “sentidos” na arte e na ciência”(In Franco e Gomes,
coord., Jardins do Mundo. Lisboa: Gradiva., pp.185-193), she uses knowledge
about art and science to understand the “bifurcation” of nature produced by
science.
She got involved in different interdisciplinary projects, for instance: MINERVA
and MASTER – two projects about ICTechnologies and Education; SCIENCE
IN THE CITY – a Project whose main aim was to bring science close to people.
She was co-curator of different exhibitions with scientific teaching instruments.
She belongs to the organizing committee of the International Symposium of
Philosophy of Science promoted by Centro de Estudos de História e Filosofia
da Ciência.
She teaches in the Ph.D. Courses, university of Évora: - History and
Philosophy of Science; - Education.
She is Director of the Centre of Educational Technologies, University of Évora.
Norval Baitello Junior
Norval Baitello Junior is a professor of media theory, communication and
cultural studies at the Catholic University of São Paulo and Director of the
Interdisciplinary Research Centre for cultural semiotics and media theory.
Visiting professor at the University of Vienna, at the Universidad de Sevilla,
Universidad Autonoma de Barcelona and University St. Petersburg. Dean of the
Faculty of Communications and Philosophy from 1997-2001, he created the
courses in Communication and the arts of the body and Communication in
multi-media. CNPq researcher since 2001 and since 2007 coordinator of the
scientific field of Communication and Information Sciences at FAPESP.
Books: Die Dada-Internationale, Berlin 1987; Dada-Berlim. Des/Montagem. São
Paulo 1993, O Animal que Parou os Relógios, São Paulo 1997 ; Os Meios da
Incomunicação, São Paulo 2005; A Era da Iconofagia, São Paulo 2005;
Flussers Völlerei, Köln 2007; La era de la iconofagia, Sevilla 2008; A serpente,
a maçã e o holograma, São Paulo 2010.
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Olivier Feron
Professor at the University of Évora, and Invited professor at the University of
Coimbra.
After a PhD on the work of the German philosopher Ernst Cassirer, he
developed his activities in the realms of the contemporary Philosophy,
particularly on the themes of the relations between neokantianism and
Phenomenology, on the nature of Modern Ages, on philosophical Anthropology,
and on the symbolical and metaphorological Thought . Specialist of the work of
the German philosopher Hans Blumenberg, he is Vice-President of the AFFEN
– Portuguese Phenomenologica Association, member of the Internationale
Ernst Cassirer-Gesellschaft, and member of the EPTC - Society for Existential
and Phenomenological Theory and Culture (Canada). Publications
(Selected): Finitude et sensibilité dans la philosophie d'Ernst Cassirer, Paris,
Kimé, 1997, “Angoisse et mise à distance. Éléments d’anthropologie
phénoménologique chez Hans Blumenberg” in D. Trierweiler, Hans
Blumenberg Anthropologie philosophique, Paris. P.U.F., 2010, “La modernité
entre la théodicée et le principe de raison insuffisante” in J. Nicolás, A. Ramirez
(Org.), Leibniz und die Entstehung der Modernität, Studia Leibnitiana SH – 37,
Franz Steiner Verlag, 2010, “Mein Körper als 'Erfahrungsintegral'. Eine
Annäherung an das Vorprädikative bei Merleau-Ponty und an das
Ausdrucksphänomen bei Cassirer”, in Zeitschrift für Kulturphilosophie, Ausgabe
2/2009 "Zur Aktualität Ernst Cassirers", pp. 231-240, “Ichgewißheit und
Weltgewißheit : deux métaphores absolues cartésiennes qui hantent la
modernité ”, in J. Ferrari, P. Guenancia, M. Ruffing, R. Theis, M. Vollet (Eds)
Descartes und Deutschland – Descartes et l’Allemagne, Coll. Europaea
Memoria, Georg Olms-Verlag, Hildesheim-Zürich-New York, 2009, “Mimesis ou
la jouissance du symbolique” in J. Denooz, V. Dortu, R. Steinmetz (Org.),
Mosaïque. Hommage à Pierre Somville, Liège, CIPL, 2007, pp. 103-117.
Paulo Parra
Born in Portugal, in 1961, Paulo Parra has a bachelors degree on “Industrial
Design” by the Faculty of Fine Arts of the University of Lisbon (known as
FBAUL), Master in Sciences degree on “Equipment Design” by the Faculty of
Architecture in the University of Oporto (known as FAUP) and a PHD on
“Design” also by FBAUL, where he applies his academic activity as a Project
Teacher and also by teaching History and Theory of the Industrial Design. He’s
is also Professor and Director of the Design courses in Évora University. Paulo
Parra has a main theme of interest which is Industrial Design, having published
various articles about it and also created a collection called “Ícones do Design”.
Through a Project path in such diverse areas as Lighting, office and home
furniture, house products, industrial products and communication systems ,
achieving national and international awards by Vista Alegre, SONAE, SONY,
ARFLEX, LG Electronics or Best of IF - Industrie Forum Hannover.
Founder member of the Ex-machina group, and guest designer by N.C.S.
/Nuemeister Design, since 1988, developing professional activity in the
Industrial Design area through PAULOPARRADESIGN, having his work
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exposed in Portugal, Spain, France, Italy, Germany, Korea, Japan, and United
States of America.
Siegfried Zielinski
http://www.egs.edu/faculty/siegfriedzielinski.html
Ph.D Michel Foucault Chair at EGS. Chair: Media Theory (focus: Archaeology
and Variantology of Media) Institute for time based media, Berlin University of
Arts.
Siegfried Zielinski studied theatre arts, modern German literature, linguistics,
semiotics, sociology, philosophy, and political science in Marburg and Berlin, at
both the Free University and the Technical University. The major focus of his
studies centred on the field of advanced technical media (radio, film, video,
computers), under Friedrich Knilli, whose institute had developed out of Walter
Höllerer’s Institute of Language in the Age of Technology. In the early 1970s,
Siegfried Zielinski published his first essays on media studies and media
critique in the journal marburger blätter and in other periodicals. While still a
student in Berlin, he set up and supervised an experimental video studio.
In 1979, he was both author and director of the 16 mm documentary film
Responses to Holocaust in Western Germany, which was shown 1979 all over
the U.S.A. in universities and Jewish communities.
In the same year, he graduated with a thesis on Veit Harlan, the film director of
Jud Süss, which was published as his first monograph in 1981.
This was followed by a short period working as a free-lance writer, before
together with Friedrich Knilli, he developed and instituted the first projectoriented study course in media consulting at the Technical University Berlin in
the early 1980s. During this period, he produced with his students numerous
video films, publications, and technical documentations, including on the office
software for the first UNIX machines for a mass market.
His Ph.D. dissertation of 1985 was On the History of the Video Recorder; his
habilitation of 1989 qualified him to teach media studies at the university level.
In the same year, he received his first appointment to a full professorship in
audiovisual studies at the University of Salzburg in Austria, where he set up a
department for teaching, research, and production of Audiovisions, which was
also the title of his first book translated into English. Exhibitions, media events,
the development of the programme Artists in der Residenz (named after a
famous Salzburg location), and an independent publications series were all part
of his work in Austria. He also produced a series of 20 short films on the
Archaeology of Audiovisuality there (with Alois Pluschkowitz). During this
period, he designed the programme European Summer Academy for art, film
and media, in close collaboration with the film director Peter Lilienthal, the
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philosopher Dietmar Kamper, Eckhard Stein from Kleines Fernsehspiel (ZDF) at
the Academy of Arts in Berlin.
In 1993, he was appointed Professor of Communication and Audiovisual
Studies at the Academy of Media Arts Cologne; in 1994, he became its
Founding Director and later was elected its first Rector. In mid-2001, he
returned to teaching and research, focussing on history and theory, particularly
the archaeology of the media.
Since January 2007 he teaches and researches at the Berlin University of Arts.
He regularly gives master classes at the European Graduate School (EGS) in
Saas Fee, Switzerland, where he holds the Michel Foucault professorship.
Siegfried Zielinski has published more than a dozen books and far over 150
essays, primarily in the areas of media history and theory. Currently he is
working on a five volume book series on Variantology — Deep Time relations of
arts, sciences and technologies; vol. 1 has been edited with Silvia Wagnermaier
(2005), vol. 2 with David Link (2006) and vol. 3ff. with Eckhard Fuerlus (2008).
His most recent monographic book in English is entitled Deep Time of the
Media — Towards an Archaeology of Hearing and Seeing by Technical Means),
which was published by MIT Press (Cambridge MA, 2006). This book was also
published in Chinese and Portuguese in 2006 and is currently translated into
Spanish and Russian. Before that he published in English Audiovisions —
Cinema and Television as Entr’actes in History (Amsterdam University Press,
1999), which will also appear in Hungarian in 2008. Zielinski was on the
editorial board of CTheory, the first electronic magazine in the Internet around
the Canadian couple Arthur and Marilouise Kroker, and he co-initiated the
journal Balkan Media, which was founded in 1992 in Sofia (Bulgaria) as an
attempt to counter the destructive crises in the region. As of 1996, he helped to
establish the Center for Communication and Culture (C3) in Budapest. He has
lectured and given seminars in many countries all over the world, and his texts
have been translated into many different languages (for example Chinese,
Dutch, Finnish, Italian, Japanese, Korean, Portuguese, Spanish…). Within the
framework of his activities at the Academy of Media Arts Cologne, he initiated
and directed the annual festival Digitale (1995—1999, in close cooperation with
Nils Roeller), initiated and co-edited the Academy’s year-book Jahrbuch für
Künste und Apparate LAB (Walther König publishers Cologne as of 1995,
seven volumes had been published) and, in collaboration with Silvia
Wagnermaier, established the Vilém_Flusser_Archive and its own small
publications series. In 2008, Flusser's "Bochum Lectures" will be published by
Fischer Verlag, edited by Silvia Wagnermaier and Siegfried Zielinski.
Amongst others Siegfried Zielinski is elected member of the European Film
Academy (EFA), the Berlin-Brandenburg Academy of Arts (Akademie der
Künste) and the Magic Lantern Society of Great Britain. At European Graduate
School in Saas Fee, Switzerland, Zielinski teaches as a Professor of mediology
and technoculture at the Michel Foucault Chair.
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