About the Author

Oliver Grau is Professor for Image Science and Dean of the Department for Cultural Studies at Danube University. He is the author of Virtual Art- From Illusion to Immersion (2003) and editor of MediaArtHistories (2007), both published by the MIT Press.

Rudolf ARNHEIM is Professor Emeritus of Psychology of Art at Harvard University. His books include Film as Art (1957), Art and Visual Perception- A Psychology of the Creative Eye (1974) and The Dynamics of Architectural Form (1977).

Andreas Broeckmann, an art historian and curator, directs the Leuphana Arts Program at Leuphana University L neburg, Germany.

Ron BURNETT is President of Emily Carr Institute of Art + Design in Vancouver, and Artist/Designer at the New Media Innovation Center. He is the author of Cultures of Vision- Images, Media, and the Imaginary and the editor of Explorations in Film Theory.

Edmond COUCHOT was head of the Department of Arts and Technologies of Image at the University Paris 8. He is the author of Image- De l'optique au numerique (1988); La technologie dans l'art- De la photographie a` la realite virtuelle (1998); and L'art numerique (2003-2005) and was involved in about twenty international exhibitions.

Sean Cubitt is Professor of Film and Television at Goldsmiths, University of London. He is the author of The Cinema Effect and the coeditor of Relive- Media Art Histories, both published by the MIT Press.

Felice C. Frankel is an award-winning science photographer whose photographs have appeared in many publications. A research scientist in the Department of Chemical Engineering at MIT, she is the author ofEnvisioning Science(MIT Press),No Small Matter(with G. M. Whitesides),On the Surface of Things (with G. M. Whitesides), andVisual Strategies(with Angela H. DePace).

Erkki Huhtamo, media historian and pioneering media archaeologist, is Professor in the Department of Design Media Arts at the University of California, Los Angeles. He is the coeditor of Media Archaeology- Approaches, Applications, and Implications.

Douglas Kahn is Professor at the National Institute for Experimental Arts at the University of New South Wales in Sydney, Australia. He is the author of Noise Water Meat- A History of Sound in the Arts (MIT Press) and Earth Sound Earth Signal- Energies and Earth Magnitude in the Arts and coeditor of Wireless Imagination- Sound, Radio, and the Avant-Garde (MIT Press).

Ryszard KLUSZCZYNSKI is professor of cultural and media studies at Lodz University, where he is Head of the Electronic Media Department. His publications include- Information Society. Cyberculture. Multimedia Arts (2001) and Film-Video -Multimedia- Art of the Moving Picture in the Era of Electronics (1999).

Machiko KUSAHARA is Professor at Waseda University and a Visiting Professor at UCLA. She has curated digital art internationally since 1985, and was involved in founding the Tokyo Metropolitan Museum of Photography and ICC. Her recent publications include analyses of Japanese mobile phone culture, game culture, and visual media.

Timothy LENOIR is the Kimberly Jenkins Chair for New Technologies and Society at Duke University. He has published several books and articles on the history of biomedical science from the nineteenth century to the present, and is currently engaged in an investigation of the introduction of computers into biomedical research from the early 1960s to the present.

Lev Manovich is Professor of Visual Arts, University of California, San Diego. His book The Language of New Media (MIT Press, 2001) has been hailed as "the most suggestive and broad ranging media history since Marshall McLuhan."

W.J.T. MITCHEL is Professor of English a

Reviews

A rich selection of important texts by some of the most noteworthy figures in media art history, and together they will do much to shape the content of this new discipline.
*the Art Book*

Hmmm. That looks pretty handy.
*Beyond the Beyond*

MediaArtHistories provides a wide view on the complex, in-progress field of media art, in which this volume intends to stand as one of the main bibliographical reference points.
*Rhizome.org*

The essays presented in MediaArtHistories comprise a compelling addition to the bookshelf of any academic interested in art history. New media art histories need to be positioned with the growing range of books that are coming to terms with technological, scientific, philosophical and social comprehension of art practice.
*realtime +onscreen*

With the growth of media art (and media art programs), MediaArtHistories is an importantand timelybook. Scholars, teachers, and artists all have much to gain from reading it.
*Leonardo Reviews*