Manuela Naveau (PhD) ist Künstlerin, Kuratorin der Ars Electronica Linz und lehrt an der Kunstuniversität Linz. Ihre Forschungsschwerpunkte sind Netzwerke und Wissen im Kontext einer computergestützten künstlerischen Praxis.
Ihr Buch „Crowd and Art – Kunst und Partizipation im Internet“ erschien im Februar 2017 im transcript Verlag.
Penesta Dika studied Art History at Vienna University (Austria). Her master's thesis “Die Computerkunst Herbert W. Frankes“ (Computer—Art of Herbert W. Franke) has been published as a book by Logos in Berlin in Honour of the 80th Birthday of Herbert W. Franke.
In 2008 she received the Doctoral Degree in Philosophy at „Kunstuniversität Linz“ (University of Art and industrial Design in Linz), Austria, at the Institute for Interface Culture, under the supervision of Prof. Dr. Christa Sommerer and Prof. Dr. Oliver Grau. Parts of her dissertation-thesis “The Research of Motifs in Interactive Media Art Concerning the Visual Aspect,” have been presented in conferences and published in international books and journals.
Penesta Dika taught courses at Universities in Kosovo (University of Prishtina, University AAB and the KIJAC – Kosovo Institute of Journalism, undertaken by the American University in Kosovo) and Macedonia (State University of Tetovo) about Art History, Interactive Digital Art, Art History for Journalists, Stage Design, etc.
She wrote several articles for exhibition catalogues which were presented at the exhibitions in Kosovo and Macedonia and was the head of the board at the Kosovo Art Gallery in Prishtina from January to June 2009. She was also a jury member for two of the most important exhibitions in Kosovo such as the “Muslim Mulliqi” Art Prize and the “Artists of Tomorrow”, which is organized in collaboration with the American Embassy in Kosovo and the Kosova Art Gallery.
Penesta Dika is currently on maternity leave. Meanwhile, she is planning curatorial concepts about media art in South-East Europe.
Her main research topics are Media Art History, Interactive Media Art, Computer Art, Fractals, Device Art, Telematic Art, Artificial Intelligence in Design, etc.
The Research of Motifs in Interactive Media Art Concerning the Visual Aspect
Motifs of an artwork define and constitute its content. They define its theme and its overall impression. Motifs can be of different nature, such as for example acoustic, spatial, haptic or visual. They can appear alone, or in combination. This dissertation thesis focuses on the visual motifs. The visual motifs used by artists both in the past and the present to represent different artistic themes generally are in a developing process. In interactive media art, which is an art form including computer-graphics and animations, net-based artworks, telematic art, genetic art, video-installations, virtual-reality-installations and augmented realities, the development process of the visual motifs used depends not only on the aesthetic requirements, but also on the technical evolution. For example, animals were already used as motifs in art in caveman paintings. But different to then with digital technology it is possible to represent the animal not just as static, but in its movement, in its living environment and not just this, it is even possible to represent its creation process. Furthermore, it is possible to create a virtual life of a virtual animal, the parameters of which are defined by the artists, but which are given their definitive shape by the user/observer. Within this thesis the visual motifs in interactive media art are researched not just in the context of interactive media art globally, not just in the context of media art globally, but also in the context of traditional art. This produces at least one direction of development (or several directions of development) and a suggestion can be made as to further developments in the future. To conduct this kind of research methods from art history are used as well as comparative examples from traditional art. Consequently a historical background for the interactive media artworks has been created and illustrates how these already existing visual motifs are used and represented in interactive media art.