Difference between revisions of "Ivor Diosi"
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* 2007 “Ivor Diosi” CIANT Gallery, Prague, CZ
* 2007 “Ivor Diosi” CIANT Gallery, Prague, CZ
* 2007 "E.T.U.D.E." ArtExpress Lamparna, performance with CIANT, Labin, HR
* 2007 "E.T.U.D.E." ArtExpress Lamparna, performance with CIANT, Labin, HR
* 2006 NIVAF International Video Art Festival, presented by Katarína Rusnáková, Nagano, J
* 2006 NIVAF International Video Art Festival, presented by Katarína Rusnáková, Nagano, J
* 2006 “runaway” Gallery Priestor for Contemporary Arts, Bratislava, SK
* 2006 “runaway” Gallery Priestor for Contemporary Arts, Bratislava, SK
Revision as of 21:53, 3 February 2015
Ivor is an internationally recognized, award-winning cybershaman and Dasein-alchemist. His main obsessions are identity, the existence of space-time, the emergence of organic life and consciousness. Operates at the intersections of art, science and new technologies, in the fields of neurocinema, game-art, bio-art, mixed realities, machine vision, artificial life, simulacra, synthetic and virtual entities. Working since 1989 and exhibiting internationally since 1997 at over a hundred venues, festivals and galleries around the world. Received several of the most prestigious international awards and distinctions and has been noted by a number of highest authority new media, art-science and cyberculture theoreticians and curators.
Ivor is the founder of _humane after people_ - an art-science group addressing questions of the future of the human condition and aiming for a machine-unreadable humanity. Their projects strive to be detached from socially conditioned perception and our simian legacy as much as possible, and focus on what really matters: the human being as autonomous conscience in the unvoid.
He has created several pioneering works and is the only author coming from Slovakia who has been systematically presenting on the global scene for almost two decades, while achieving worldwide recognition and accolades internationally regarded as significant.
2014 The Qualia Project
Interactive screens with built-in optical face tracking. The artworks react to face movement and gaze - the cyberscapes morph and transform when they feel onlookers' eyes.
Our perception of art is overwhelmingly driven by factors like where a work is displayed and who is viewing it. The evolution of modern art if anything has conditioned viewers to adopt the position that they can and ought to assign an interpretation of their own preference to any and all art. The Qualia project aims to turn this status quo around by empowering the artworks with perception of their own.
Equipped with computer vision technology and a symbolic grain of sentience, the artworks actively observe their observers and change their form and way of presenting themselves in response to their surroundings.
Qualia is a term used in philosophy to refer to individual instances of subjective, conscious experience. It derives from a Latin word meaning "what sort" or "what kind". This unfamiliar term denotes something that could not be more familiar: the ways things seem to each of us, to our particular singular selves. One of the broader definitions is "the 'what it is like' " character of mental states. The way it feels to an autonomous individual entity to have states of feeling pain, seeing a color, hearing a tone.
Instances of human consciousness are unique entities in the unvoid and the Qualia Project artworks choose to present themselves to each according to their own will, to each observer differently. As we continuously construct our own realities through the very act of perception, the Qualia Project introduces a turn of this paradigm, the worx actively instancing unstable, fluxuous, perception-elusive realities, inspired by the sciences of quantum chromodynamics and cellular biology.
2008-14 molding the signifier (_humane after people_)
Art/Science Augmented Life
90% of the cells in our body do not have human DNA - we are a mere host, a topography, for billions of bacteria and fungi. Much as we're convinced that our brains run the show, all the while our microbiomes alter our drives, desires, and behaviors to support their own reproduction and evolution. Just as biome networks, are complex data systems beginning to have points of view, and forms of agency that are beyond human comprehension? What exactly IS a human in the light of current science and technology? We need a re-definition of intelligence, agency and sentience in ways that go beyond the anthropomorphic.
"molding the signifier" is an interdisciplinary project on the intersections of art, cybernetics, ecology, linguistics and biology. It draws from a wide array of particular fields, including neurolinguistics, theories of consciousness, cell research and the study of mental illness. It offers multiple layers of irony and a discursive, confrontational and emotionally charged approach as to what constitutes (human) consciousness and how we perceive what is human from a perspective that is very sensitive to the problem of “uncanny valley” – language.
"molding” draws from state-of-the-art biochemical theories that approach the body as a functional conglomerate of myriads of previously autonomous biological agents, that we traditionally know and call cells. The body is understood as complex ecosystem into itself, like a microcosmic galactical empire with vast holdings and expanses, with billions of different inhabitants, each interdependent but also fighting for power and influence, with consciousness rising as a consequent emergent phenomenon of this microcosmos.
An important observation is that body-ecosystems occurring in nature have no clearly delineated boundaries, a fact which is very counter-intuitive to our everyday experience of our bodies being “whole” and separate from everything else.
The body-ecosystems are in fact ripe with entry points, permeable membranes of every kind, from the physical to the psychological. Body-ecosystems are every-day at war, fighting invasions of foreign agents – from virii to memes, conducting vastly complex exchanges of biochemical information, and updating their microcodes and along with it its emergent “system database” on the go. But sometimes an invasion is successful, and the foreign virality ends up reprogramming the eco-code to serve its own purposes.
The installation deploys an external biological agent to infiltrate and disrupt the body-ecosystem of a virtual human, resulting in a state that we regular humans can perceive, on the surface, as a mental illness. A well known game character has been chosen to be deconstructed as the actor, as that is how most people today are introduced to and come to know virtual humans. This is in effect intended as a social commentary on a culture that is hungry for simulated experiences, yet is stuck on its own evolutionary conditioning – the problem described as the “uncanny valley”.
Data from a contaminated biologic culture (a mold species growing in a petri dish) are continuously monitored via a digital microscope and measured with a set of bioelectric sensors. This real-time input is gradually interspersed into the neuronal logic that govern facial recognition (of exhibition visitors), and the virtual human visualization/simulation combined with emotion expression and speech synthesis.
The virtual human’s apparent manifestation thus comprises a hybrid bio-electrical/cybernetic system – three virtual eco-bodies in the process of being infiltrated by a biological agent. The system evolves in time – at the beginning, the virtual humans have a reasonably high level of mimetic semblance to humans as we know them – they act as convincing conscious persons, engaging visitors in eye contact and speaking to them. Different emotions appear on the virtual faces, depending on the degree to which the facial recognition likes or dislikes the situation in the room.
These processes are over time slowly disrupted by the growing contamination, resulting in increasing levels of perceived digital madness. Their virtual facial features start to twitch and contort with increasing intensity, and glossolalia (speaking in tongues) gradually phases out comprehensible speech.
Production was supported by Fundación Telefónica and Institute of Intermedia Prague
2005 ID Engines vert.ego
2003 ID Engines #05 Home Dictate
1999 ID Engines #00 Das Egoshooter
A bold and pioneering work, inspired by science and philosophy which later gave rise to bio-art, homogene is an interactive installation that explored the possible implications of genetically combining humans with animal and plant DNA, at a time when legality of cloning, and violations of moral and ethical codes of conduct in bio-engineering were widely and fiercely discussed.
homogene is the speculative result of how synthetic biology might satisfy biological urges of the human species while complying versus circumventing societal restraints.
Would the possibility of bio-engineering and then a growing a plant that closely resembles your parent, help? The result being something that is not quite human but that is also not just a plant. It is a combination of the purity that exists in both, the essence of affection one has for their parents and the serene joy one receives from planting a tree.
Speakers are built-in inside the sculptures themselves and an overhead camera tracks the movement of people around the objects. They react with sound, the expression of the artwork (behaviour of the soundscape) depends on the behaviours and choices of those engaged with it.
The observer becomes an interactant, and the interactant becomes a co-creator: the process of engaging with the installation results in a co-construction of the artwork (and of the artwork's meaning). The sequential experience of the work is different for each participant, and many facets of the work are not immediately available, but appear during the time spent with it.
- 2014 CYNETART Media-Art Festival Dresden - CYNETART / Ostsächsische Sparkasse International Award 2014
- 2014 LUMEN Prize "The Global Award for Digital Art" - LUMEN World Tour 2014 Selection
- 2012 Japan Media Arts Festival 2012 Tokyo - Jury Selection (Digital) Art Division
- 2011 Fundación Telefónica VIDA 13.2 Art and Artificial Life International Awards Madrid - Artistic Production Incentive
- 2006 VIPER 2006 Internationales Festival Basel - Official Selection / Nomination VIPER Award “Processing” Section
- 2004 CIANT Centre For Arts And Technologies Prague - Artist In Residence
- 2004 transmediale.04 "Fly Utopia!" Berlin - Honorary Mention
- 2003 International New Film and Media Festival Split - Posebna Nagrada (Special Award) New Media
- 2003 ZKM Kunst und Medientechnologie International Award 2003 “Constructed Life”- Die Besten (Interactive Section)
- 2001 Fundación Telefónica VIDA 4.0 A-Life Art International Awards Madrid - Mención Honorífica
- 2001 ACA Media Arts Festival Tokyo - Awards Nominee Digital Art (Interactive) Division PDF
- 2001 SVA School of Visual Arts "New York Digital Salon 2001" - Official Selection
- 1997 Honeywell Futurist Award ´97 - Winner Eastern Europe / Global Finalist
- 2015 Lumen World Tour Show, Crypt Gallery St Pancras Church, London
- 2015 "Ivor Diosi - the Qualia Project" Window Galleries, Canary Wharf, London, UK
- 2015 Lumen World Tour Show, Gallery 5&33 Art’otel, Amsterdam, NL
- 2014 "Andy Warhol 2015", Pop Art Center Foundation, Prague, CZ
- 2014 Lumen World Tour Show, New York Institute of Technology, NYC, USA
- 2014 CYNETART International Media-Art Festival 2014, Dresden, DE
- 2014 "the Qualia Project" permanent exhibition Gallery39, Canary Wharf, London, UK
- 2014 "Lumen Highlights", FCA, Canary Wharf, London, UK
- 2014 Lumen World Tour Show, Onassis Cultural Centre, Athens, GR
- 2014 Lumen Prize 2014 Opening, Llandaff Cathedral, Cardiff, UK
- 2014 “FabLab” DOX Centre for Contemporary Arts, Prague, CZ
- 2012 Japan Media Arts Festival 2012, Tokyo, J
- 2012 “Ivor Diosi - molding the signifier”, Institute of Intermedia ČVUT, Prague, CZ
- 2011 “VIDA 13.2 Artificial Life Art” ARCO Art Fair / Fundación Telefónica, Madrid, E
- 2010 “end it now Prime Minister”, massive public participation event, Prague, CZ
- 2009 “Robots and Avatars” NESTA, with body>data>space, London, UK
- 2009 amber’09 “(un)Cyborgable?” Art and Technology Festival, Abud Efendi Konağı, Istanbul, TR
- 2009 “Hallerstein” ASEM Culture and Arts Festival, performance with Kibla, Beijing, CN
- 2009 “Hallerstein” National Theatre Slovenia, performance with Kibla, Maribor, SLO
- 2009 Kinetica Art Fair 2009, performance with body>data>space, London, UK
- 2008 CYNETart_08, Trans-Media Academy Hellerau, Dresden, DE
- 2008 “Ludic Times” ISEA 2008 Art Camp, Singapore, SG
- 2008 “PostMe_NewID” ICA London, rehearsals with body>data>space, London, UK
- 2008 “Virtual Physical Bodies” Centre des Arts Enghien, Enghien-les-Bains, Paris, FR
- 2008 “Immediate”, performance with CIANT and Kibla, Maribor, SLO
- 2007 "e-Golems" II Argentinean-Czech Biennial, with CIANT, Buenos Aires, AR
- 2007 “LILITH” Academy of Fine Arts Prague, with Pavel Smetana and CIANT, Prague, CZ
- 2007 “Ivor Diosi” CIANT Gallery, Prague, CZ
- 2007 "E.T.U.D.E." ArtExpress Lamparna, performance with CIANT, Labin, HR
- 2006 "TransGenesis" Art-Science Festival, Academy of Sciences, Prague, CZ
- 2006 NIVAF International Video Art Festival, presented by Katarína Rusnáková, Nagano, J
- 2006 “runaway” Gallery Priestor for Contemporary Arts, Bratislava, SK
- 2006 "E.T.U.D.E." Laboratory for Mixed Realities, performance with CIANT, Köln, DE
- 2006 “Syntapiens – Avatar – Umbot”, performance with Noordung, Ljubljana, SLO
- 2006 VIPER 2006 Internationales Festival Basel, Basel, CH
- 2006 “Chlap, hrdina, duch, stroj” Medium Gallery, Bratislava, SK
- 2005 EnterMultimediale 2 Festival of Art and New Technologies, Prague, CZ
- 2005 “Arc Nomade” Ecole Superieure D’Art, with CIANT, Aix-en-Provence, FR
- 2005 "V.I.R.U.S", performance with CIANT, Ballet Preljocaj and Noordung, Prague, CZ
- 2005 Multiplace IV Festival “bezOBRAZie / Media S-Cream”, GJK Gallery, Trnava, SK
- 2005 “Metro” Gallery Priestor for Contemporary Arts, Bratislava, SK
- 2004 Images Festival, Toronto, CA
- 2004 transmediale.04 "Fly Utopia!", Berlin, DE
- 2003 8th International Festival of New Film and Media, Split, HR
- 2003 Multiplace 2 Festival, Buryzone + Czech Center, Bratislava, SK
- 2003 “Constructed Life” ZKM International Media Art Festival 2003, Karlsruhe, DE
- 2002 “Slovak Photography 1925–2000”, Prague Municipal Gallery, Prague, CZ
- 2002 "New Media Nation" Multiplace Festival, Bratislava, SK
- 2002 “Ivor Diosi” Gallery Priestor for Contemporary Arts, Bratislava, SK
- 2002 Japan Media Arts Festival, Tokyo, J
- 2001 SVA Visual Arts Museum “New York Digital Salon 2001”, New York, USA
- 2001 “VIDA Life 4.0” ARCO Art Fair / Fundación Telefónica, Madrid, E
- 2001 DMF Digital Media Festival 2001, Quezon City / Manila, PH
- 2001 Slovak National Gallery “Slovak Photography 1925–2000”, Bratislava, SK
- 2001 6th International Festival of New Film and Media, Split, HR
- 2001 Metropolitan Museum of Photography / ACA Media Arts Festival, Tokyo, J
- 1999 "Telecom’99" Palexpo, Geneva, CH
- Thecla Schiphorst (Foreword), Susan Broadhurst, Josephine Machon (Editors), "Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity", Palgrave Studies in Performance and Technology, Palgrave Macmillan, ISBN: 978-0230298880, November 2012 (English) <Google Books Preview>
- Katarína Rusnáková, "Rozšírené spôsoby diváckej recepcie digitálneho umenia (Extended Ways of Viewer Reception of Digital Art)", Fakulta výtvarných umení, Akadémia umení v Banskej Bystrici (Academy of Arts Banská Bystrica), ISBN: 978-80-89078-92-9, 2011 (Slovensky (Slovak))
- Franziska Schroeder (Editor) et al., "Performing Technology: User Content and the New Digital Media", Cambridge Scholars Publishing, ISBN: 978-1-4438-1445-4, 2009 (English) <PDF Excerpt>
- Ghislaine Boddington, Dominique Roland, Emmanuel Cusiniere (Editors), "Virtual/Physical Bodies: Corps Virtuels/Physiques", Centre des Arts Enghiens-les-Bains Paris, ISBN: 978-2916639093, 2009 (English) <Amazon>
- Katarína Rusnáková, "História a teória mediálneho umenia na Slovensku (History and Theory of Media Art in Slovakia)", AFAD Press, Academy of Fine Arts Bratislava, ISBN: 80-89259-04-9, with DVD, 2006 (Slovensky (Slovak)) PDF (no OCR)
- Katarína Rusnáková (Editor), "V toku pohyblivých obrazov: Antológia textov o elektronickom a digitálnom umení v kontexte vizuálnej kultúry (In the Stream of Moving Images: An Anthology of Texts on Electronic and Digital Art in the Context of Visual Culture)", AFAD Press, Academy of Fine Arts Bratislava, ISBN: 978-8088675976, 2005 (Slovensky (Slovak)) <Google Books> PDF (no OCR)
- Aurel Hrabušický, Václav Macek, "Slovenská Fotografia 1925-2000: Moderna, Postmoderna, Postfotografia (Slovak Photography 1925-2000: Modernism, Post-Modernism, Post-Photography)", Slovenská Národná Galéria (Slovak National Gallery), ISBN: 978-8080590581, January 2002 (English, Slovensky (Slovak)) <Amazon>
- Hannes Leopoldseder, Christine Schöpf (Editors), "Cyberarts 2000 (Prix Ars Electronica 2000 International Compendium)", ORF Österreichischer Rundfunk, Springer, ISBN: 978-3211834985, September 2000 (English) <Amazon> <Google Books Preview>
- Sheena K, "Live Interaction With Art", FAQD For All Questions Different Magazine faqd.net, Online Magazine, January 2015 (English)
- Becky Chung, "Face Tracking Tech Lets This Artwork Stare at You", Intel / Vice Magazine The Creators Project thecreatorsproject.vice.com, Online Magazine, January 2015 (English)
- LIFO Art Section, "68 εντυπωσιακά έργα του Lumen Prize σε υψηλή ευκρίνεια (68 Stunning Works of Lumen Prize A Changing Art Form and Imaginative Images)" LIFO Magazine lifo.gr, Online Magazine, December 2014 (Έλληνικά (Greek))
- Deborah Hustić, Neja Tomšič, Alain Bieber, Andreas Ullrich, Martin Bricelj Baraga (Jury), CYNETART International Media-Art Award 2014 - Jury Statement > _humane after people_, CYNETART International Media-Art Festival Dresden, Website, November 2014 (English, Deutsch)
- Carla Rapoport (Curator), Clarrie Wallis, Douglas Dodds, Tessa Jackson, Bruce Wands, Michael Fukushima, Jeremy Gardiner (Jury), LUMEN 2014 World Tour Selection, LUMEN Prize "The Global Award for Digital Art", Website, October 2014 (English)
- CIANT International Centre for Art and New Technologies, "Serious Gaming - Seriously? / Ivor Diosi : Unreal Master Class - Presentation of Works 1999-2014 and Musings on Interactive Metaphor", CIANT Prague, Online Newsletter, October 2014 (English) <Vimeo>
- Ondřej Cakl, "On Artificial Worlds and Image Manipulation with Pavel Smetana and Ivor Diosi (S Pavlem Smetanou a Ivorem Diosim o umělých světech a manipulaci obrazu)", Fotograf Magazine #23 "artificial worlds", Print and Online Magazine, June 2014 (English, Česky (Czech)) <iTunes>
- Kamiya Yukie, Okabe Aomi, Takatani Shiro, Hara Kenya, Miwa Masahiro (Jury), Japan Media Arts Awards 2012 - Jury Statement > _humane after people_, Japan Media Arts Festival Tokyo, Website, October 2013 (English, 日本語)
- Katarína Rusnáková, "O odvahe súčasného vizuálneho umenia na Slovensku zbaviť sa estetickej autonómie (On the Courage of Contemporary Visual Art In Slovakia to Get Rid of Esthetic Autonomy)", Jazdec Magazine Year IV Issue 1, pp 4-5, Galéria Cypriána Majerníka Bratislava, January-March 2012 (Slovensky (Slovak))
- Mónica Bello Bugallo, Jens Hauser, Karla Jasso, Sally Jane Norman, Simon Penny, Nell Tenhaaf, Francisco Serrano (Jury), VIDA 13.2 Art and Artificial Life International Awards Statement of Purpose, Fundación Telefónica Madrid, Website, November 2011 (English) <Excerpt @ Wired> PDF Excerpt
- Juraj Ondráš, "Deformácia, Multiplikácia a Mix Reality - Svetoví autori očami interaktívneho umenia (Deformation, Multiplication and Mixed Reality - World Authors through the Eyes of Interactive Art)", Bachelor Thesis, Akadémia Umení v Banskej Bystrici (Academy of Arts Banská Bystrica), 2011 (Slovensky (Slovak))
- Annie Spinster, "Interactive Digital Media Unreal Tournament Art", London Metropolitan University, Master Thesis Research, Website, 2009 (English)
- Annie Spinster, "Virtual Worlds for Virtual Lives", London Metropolitan University, Master Thesis Research, Website, 2009 (English) PDF
- Jo-Anne Green, "Virtual / Physical Bodies (Corps Virtuels / Physiques)", Turbulence turbulence.org, Online Newsletter, October 2008 (English)
- Pavel Sedlák, "Nové umění z kráteru (New Art from the Crater)", Flash Art CZ-SK No.9, July-October 2008 (Česky (Czech))
- Pavel Sedlák, "Umění z kráteru (Art from the Crater)", A2 Magazine No.40/08, October 2008 (Česky (Czech)) PDF
- Mária Rišková, "Agónia a extáza umenia nových médií (Agony and Extasy of New Media Art", Flash Art CZ-SK No.9, July-October 2008 (Slovensky (Slovak)) PDF
- Pavel Bourek, "ivor diosi - humane persistence : experimenty s dvěma realitami (experiments with two realities)", XMAG techno.pop Magazine #98, pp 29, October 2007 (Česky (Czech)) PDF
- Petr Tomaides, Denisa Kera, "Transgenesis – Umělci v laboratořích (Artists in Laboratories)", Česká Televize (Czech TV) Online, Website, October 2007 (Česky (Czech))
- Denisa Kera, Pavel Sedlák (Curators), "Generation 2.0 at "e-Golems" II Argentinean-Czech Biennial", Ministerio de Relaciones Exteriores (Foreign Office) Argentina, September 2007 (English) PDF (Agenda)
- Radio Wave, "Galerie Ciant představuje Castanedize - Rozhovor s Ivorem Diosi (Gallery Ciant Presents Castanedize - Interview with Ivor Diosi)" (With Sound), Český Rozhlas (Czech Radio) Online, Website, October 2007 (Česky (Czech))
- CIANT International Centre for Art and New Technologies Prague, "Interview: Ivor Diosi", Prague TV, Website, September 2007 (English), "Interview: Ivor Diosi" (Translated Blog Repost) scena.cz, Website, September 2007 (Česky (Czech))
- TIMEin, "Umění + technologie + vaše smysly = CIANT (Art + Technologies + Your Senses = CIANT)", TIMEin Magazine, May 2007 (Česky (Czech)) JPG
- Makoto Maruyama, "NIVAF 2006 The 1st Nagano International Video Art Festival Programme", Website, October 2006 (English) PDF
- Jan Rylich, "Ozvěny TransISToru (Echoes of TransISTor)", hrej.cz, Website, July 2006 (Česky (Czech))
- Jan Rylich, "Jaká je budoucnost počítačových her? (What is the Future of Computer Games?)", lupa.cz, Website, June 2006 (Česky (Czech))
- Jan Rylich, "Hry a jejich sociální aspekty (Games and their Social Aspects)", lupa.cz, Website, April 2006 (Česky (Czech))
- SME Bratislava, "Keď je chlap hrdina, duch a stroj (When a Man is Hero, Spirit and Machine)", SME Online sme.sk, Website, January 2006 (Slovensky (Slovak))
- Václav Macek (Curator), "Ivor Diosi - VERT.EGO", Mesiac fotografie 2005 (Month of Photography 2005), Stredoeurópsky dom fotografie (Central European House of Photography) Bratislava, Online Newsletter, September 2005 (English, Slovensky (Slovak))
- Bohuš Získal, "Festival ENTERmultimediale 2 : Multimediální umělecké projekty opět v Praze (Festival ENTERmultimediale 2 : Multimedia Art Projects Again in Prague)", PIXEL Magazine No.103-104, July-August 2005 (Česky (Czech)) JPG
- Adam Zbiejczuk, Eduard Piňos, "Ti, kteří tančí s dráty (Those Who Dance with Wires)", CLICK! Magazine No.7/05, July 2005 (Česky (Czech)) PDF (no OCR)
- Annick Rivoire, "Prague en rade", Liberation, Culture Section, Print News, 06 June 2005 (Française) JPG
- Annick Rivoire, "Coulage de Iconoclastes à Prague", Liberation, Culture Section, Print News, 17 May 2005 (Française)
- Denisa Kera, Tomáš Pospiszyl, "Teorie joysticku: počítačové hry jako umění 21.století (Joystick Theory: Computer Games as the Art of the 21st Century)", Týden tyden.cz Culture Section, Print News and Website, ISSN: 1240-9940, May 2005 (Česky (Czech)) PDF (no OCR)
- Oliver Rehák, "Festival Enter Multimediale ukáže svet nového umenia (Festival Enter Multimediale will Show the World of New Art", SME sme.sk, Print News and Website, May 2005 (Slovensky (Slovak))
- Denisa Kera, Pavel Sedlák (Curators), "Ivor Diosi - vert.ego", EnterMultimediale 2 Festival of Art and New Technologies Prague, Online Catalogue, May 2005 (English, Česky (Czech))
- Denisa Kera, Pavel Sedlák (Curators), "Pavel Smetana with Ivor Diosi and CIANT - LILITH", EnterMultimediale 2 Festival of Art and New Technologies Prague, Online Catalogue, May 2005 (English, Česky (Czech))
- Denisa Kera, Pavel Sedlák (Curators), "V.I.R.U.S. Multimedia Dance Performance", EnterMultimediale 2 Festival of Art and New Technologies Prague, Online Catalogue, May 2005 (English, Česky (Czech))
- Denisa Kera, Pavel Sedlák (Curators), "Archila Vimmi - YMCA Tournament", EnterMultimediale 2 Festival of Art and New Technologies Prague, Online Catalogue, May 2005 (English, Česky (Czech))
- Denisa Kera, Pavel Sedlák, Lenka Dolanová, Jaroslav Balvín ml., Michal Mariánek, Michal Rybka, Friedrich Kirschner, Mária Rišková (Curators), EnterMultimediale 2 Festival of Art and New Technologies Catalogue, EnterMultimediale 2 Festival of Art and New Technologies Prague, May 2005 (English, Česky (Czech)) PDF
- ALTERNE, "LILITH (Project Description and Review)", ALTERNE Alternative Realities in Networked Environments Consortium, Website, May 2005 (English)
- Jeffrey Jacobson, Michael Lewis, "Game Engine Virtual Reality with CaveUT", IEEE Computer Society, April 2005 (English)
- Michaela Sečanská, "Elektronické umenie na Slovensku po roku 1990 (Electronic Art in Slovakia after 1990)", Katedra dejín umenia a kultúry, Trnavská univerzita, Trnava, Master Thesis, 2004 (Slovensky (Slovak))
- Daniel Grúň, "What it Means to Travel by Metro in Bratislava (Metro : Exhibition, Gallery Priestor for Contemporary Arts)", Umělec Magazine / Divus, Print and Website, February 2004 (English, Slovensky (Slovak))
- eldar, "Jitro kouzelníků - Kyberumění (The Dawn of Wizards - CyberArt)", Rádio Akropolis Prague, Online Newsletter, April 2004 (Česky (Czech))
- Peter Weibel (Director), Barbara Könches (Curator), Ursula Frohne, Woody Vasulka, Jean Gagnon, Masaki Fujihata (Jury) ZKM International Media Art Award 2003 - Statement, ZKM Zentrum für Kunst und Medientechnologie Karlsruhe, Website, November 2003 (Deutsch)
- Mária Rišková (Curator) et al., "New Media Nation. Festival of Festivals" (Catalogue), Buryzone Bratislava, 2003 (English, Slovensky (Slovak))
- Lizzy Le Quesne, "Slovak Photography Is Developing a Reputation - Review: Slovak Photography 1925-2000, Prague City Gallery, December 2002-April 2003", Transitions Magazine Online, Website, April 2003 (English)
- Daniel Langlois, Sarah Cook, Daniel Dion, Antoni Muntadas, Jean Gagnon (Jury), The Daniel Langlois Foundation Collection - Anthologie 2003, La Fondation Daniel Langlois pour l'Art, la Science et la Technologie Montreal, Website, 2003 (English, Française)
- Hushegyi Gábor, "Recenzió: Modern – posztmodern – posztfotográfia, A szlovákiai fotóművészet 1925–2000, Szlovák Nemzeti Galéria, Pozsony, 2001.11.3.–2002.2.10 (Review: Modern - Postmodern - Postphotography, Slovak Art Photography 1925–2000, Slovak National Gallery Bratislava)", Kalligram Publishing, Website, May 2002 (Magyar (Hungarian))
- Ladislav Hrbáček, "An Anthology of Five Generations of Slovak Photography - Review: Slovak Photography 1925–2000" (MISSING), Fotograf Magazine #1 "face", 2002 (English, Česky (Czech)) PDF (Excerpt)
- Daniel Canogar, Machiko Kusahara, Rafael Lozano-Hemmer, Sally Jane Norman, Nell Tenhaaf (Jury), VIDA 4.0 Artificial Life Art International Competition - Jury Statements, Fundación Telefónica Madrid, Website, November 2001 (English) <nettime.org Archive>
- Nisar Husain Keshvani, "The Multimedia Art Asia Pacific (MAAP) Festival, Digital Media Festival (DMF) & the fAf Screening Program", Nisar Keshvani Personal Website, October 2001 (English)
- Roger F. Malina (Executive Editor), Victor Acevedo, Jeremy Gardiner, Christiane Paul, Mark Tribe, Bruce Wands (Jury), Ninth New York Digital Salon - Exhibiting Artists and Juror's Statements, Leonardo Journal Vol.34 Issue 5, pp. 518-519, The MIT Press, October 2001 (English) <JSTOR PDF> <Project Muse PDF>
- Harashima Hiroshi, Harada Daizaburo, Ito Koji, Kusahara Machiko, Suzuki Yu, Tanaka Noriyuki (Jury), ACA Media Arts Festival Awards 2001 (Statement MISSING), Japan Media Arts Festival Tokyo, Website, March 2001 (English, 日本語) PDF (Confirmation Only)