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Explore the people, places, events, achievements, struggles and stories that shaped our journey.
Movements, leaders, victories and the continuing fight for equality.
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Pioneers, champions, Negro Leagues, records, activism and excellence.
Meet the people whose lives, choices and achievements shaped the journey.
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Wilmington, North Carolina once had a thriving Black middle class and an elected interracial government. In 1898 white supremacists used violence to overthrow that government, kill Black residents and drive many others from the city.
MORE →Reflects the personal views, recollections, and perspective of the author, Mike Davis.
This is a personal recollection on the Move fire on May 13, 1985
transmediale, stylised in lowercase, is an annual festival and year-round cultural platform for art, digital culture and media theory in Berlin, Germany. Founded in 1988 as VideoFilmFest, a video and media art programme connected to the Berlin International Film Festival (Berlinale), the event later expanded from video art into multimedia, internet culture, software art, theory, performance, exhibitions, workshops and research-based formats.[1][2]
The festival usually takes place in late January or early February. Its programme includes exhibitions, conferences, screenings, performances, workshops and publications, often organised around an annual curatorial theme.[3] Since 2004, transmediale has received long-term support from the German Federal Cultural Foundation (Kulturstiftung des Bundes).[4][5]
The CTM Festival, originally founded as club transmediale, developed in close relation to transmediale but later became an independent festival for experimental music, sound art and audiovisual performance.[6]
transmediale was founded in 1988 as VideoFilmFest, a side programme of the Berlinale's International Forum of New Cinema. It was initiated by Hartmut Horst and video artist Micky Kwella as a platform for electronic media productions that were not commonly included in traditional film-festival contexts.[1][2] In 1989, the programme continued under the name VideoFest.[2]
During its early years, the event focused on video art, experimental film, television and electronic image culture. According to the festival's archive, this focus gradually shifted toward a broader engagement with media culture, multimedia and digital technologies.[2]
In 1997, the festival was renamed transmedia, and in 1998 it became transmediale.[1][2] The name change reflected the expansion of the programme beyond video into multimedia art forms, including internet art, software art and networked cultural practices.[2]
In 1999, club transmediale was founded as a related event. According to CTM Festival's own history, the first edition took place at the Berlin club Maria am Ostbahnhof and was conceived as a series of experimental club nights connecting electronic music, underground dance culture and contemporary media art.[6] The event later developed into the independent CTM Festival, while continuing to cooperate with transmediale.[6]
In 2001, art historian and curator Andreas Broeckmann became artistic director of transmediale.[7] During his tenure from 2001 to 2007, the festival expanded its exhibition, conference and award formats and increasingly positioned itself within international media-art discourse.[1] In 2002, transmediale introduced a more extensive media-art exhibition, and in 2004 the German Federal Cultural Foundation began funding the festival.[4]
In 2006, the festival changed its subtitle from "international media art festival" to "festival for art and digital culture", indicating a broader orientation toward the relations between art, technology, politics and everyday life.[1][2]
In 2007, media and arts researcher Stephen Kovats became artistic director. In 2008, the festival introduced the Vilém Flusser Theory Award, named after the philosopher Vilém Flusser, for theoretical and research-based artistic work.[1][8]
Curator and media researcher Kristoffer Gansing took over as artistic director in 2011, beginning with the 2012 edition. Under his direction, the festival placed increased emphasis on exhibitions, research formats and the discourse around post-digital culture.[9][10] In 2012, the festival replaced its existing awards structure with the Vilém Flusser Residency Programme for Artistic Research.[1]
In 2017, the Sternberg Press volume Across & Beyond: A Transmediale Reader on Post-Digital Practices, Concepts, and Institutions, edited by Ryan Bishop, Kristoffer Gansing, Jussi Parikka and Elvia Wilk, was published. A review in Leonardo Reviews described the book as stemming from the festival's engagement with post-digital practices and as contributing to debates in media theory and post-digital culture.[11]
Nóra Ó Murchú became artistic director in 2021.[12] Her tenure included the 2021–22 edition for refusal, the 2023 edition a model, a map, a fiction and the 2024 edition you're doing amazing sweetie.[13] In July 2024, transmediale announced that Ó Murchú had concluded her tenure as artistic director.[14]
The 2025 festival, titled (near) near but—far, was conceived and co-curated by Elise Misao Hunchuck and Ben Evans James.[15] The 2026 edition, By the Mango Belt & Tamarind Road: Compassing, Protocoling, Metaphoring, was conceived by Neema Githere and Juan Pablo García Sossa.[16][17]
transmediale combines exhibition, conference, screening, performance and workshop formats. Its programme addresses the cultural, political and social implications of media technologies, with attention to digital infrastructures, artistic research, network cultures and the relation between technological systems and everyday life.[3]
From 2001 onward, the festival increasingly adopted annual thematic frameworks, though the consistency and prominence of these themes varied across editions. These themes have included DIY [do it yourself!] in 2001, CAPTURE ALL in 2015, ever elusive in 2017, face value in 2018, E2E in 2020, for refusal in 2021–22, a model, a map, a fiction in 2023 and you're doing amazing sweetie in 2024.[13][18]
The 2018 edition, face value, addressed questions of image culture, finance, online politics and social inequality, with particular attention to facial recognition technology and what can be taken "at face value" in digital culture.[13][19][20]
The 2023 edition, a model, a map, a fiction, included the exhibition Out of Scale, which distributed parts of the programme through sites and networks across Berlin. In Kunstkritikk, Nicholas Norton described transmediale as a recurring meeting point for artists, academics and designers interested in the creative and speculative potential of digital culture, noting the festival's emphasis on lectures and panel discussions as well as aesthetic formats.[21]
The 2024 edition, you're doing amazing sweetie, focused on content culture and the social and political consequences of platformed media. A review in Spike Art Magazine described the festival as a forum for publicly thinking through the role of media and technology in social change and discussed its attempt to create in-person spaces for media practices resisting atomisation.[22]
Until 2020, transmediale was organised and supported by Kulturprojekte Berlin. In 2020, the independent association transmediale e.V. took over the organisation and management of the festival.[4] The German Federal Cultural Foundation has funded transmediale as a cultural institution of excellence since 2004.[5]
In 2011, transmediale/resource was established as a framework for year-round activities, including research, publishing, cooperation projects and the Vilém Flusser Residency Programme for Artistic Research.[1] The festival also organises or co-organises Vorspiel, a pre-festival programme developed in cooperation with CTM Festival and a network of Berlin-based organisations, galleries, independent project spaces and venues.[1]
Until 1992, VideoFilmFest took place at MedienOperative and the Deutsche Akademie der Künste in East Berlin.[1] In 1993, the festival moved to Podewil, which later also housed the transmediale offices.[1]
From 2002 to 2005, the Haus der Kulturen der Welt was the festival's main location. In 2006, transmediale relocated to the Akademie der Künste, before returning to the Haus der Kulturen der Welt in 2008.[1][2]
In 2020, the transmediale office moved to silent green Kulturquartier, where the festival also opened a project space called transmediale studio.[1] The 2021–22 edition took place across several sites, including Haus der Kulturen der Welt, transmediale studio, Kunstraum Kreuzberg/Bethanien and Betonhalle.[13] Later editions have used venues including Akademie der Künste, silent green Kulturquartier, Haus der Kulturen der Welt and CANK.[3]
CTM Festival began in 1999 as club transmediale. Its founders developed the event as an adjacent platform for experimental club culture, electronic music and media art.[6] While CTM and transmediale have remained closely associated in timing, audience and thematic concerns, CTM is financially and curatorially independent and is organised by DISK Initiative Bild & Ton.[23]
Writing about Club Transmediale 2009 in Frieze, Frances Morgan described the event as a ten-day music and visual-arts festival combining discussions of new music and sonic art with night events, electronic music and audiovisual performance.[24]
transmediale has been discussed in international art and media-culture criticism as a forum for digital culture, media theory and artistic research. Kunstkritikk described it as a recurring meeting point for artists, academics and designers interested in the creative and speculative potential of digital culture, while noting the festival's emphasis on lectures, panel discussions and aesthetic formats.[21] Spike Art Magazine described the 2024 edition as an attempt to create in-person spaces for media practices resisting atomisation.[22] Berlin Art Link characterised transmediale as a major German meeting point for art, technology and media culture.[25]
The festival's publishing activity has also contributed to debates about the post-digital. Leonardo Reviews described Across & Beyond, a reader emerging from transmediale's programme and institutional context, as a contribution to discussions in media theory, post-digital practices and artistic research.[11]
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Source: Wikipedia. Article content is retrieved live through the MediaWiki API.
transmediale, stylised in lowercase, is an annual festival and year-round cultural platform for art, digital culture and media theory in Berlin, Germany. Founded in 1988 as VideoFilmFest, a video and media art programme connected to the Berlin International Film Festival (Berlinale), the event later expanded from video art into multimedia, internet culture, software art, theory, performance, exhibitions, workshops and research-based formats. The festival usually takes place in late January or early February. Its programme includes exhibitions, conferences, screenings, performances, workshops and publications, often organised around an annual curatorial theme. Since 2004, transmediale has received long-term support from the German Federal Cultural Foundation (Kulturstiftung des Bundes). The CTM Festival, originally founded as club transmediale, developed in close relation to transmediale but later became an independent festival for experimental music, sound art and audiovisual performance.
The Haus der Kulturen der Welt (HKW), in English House of World Cultures, in Berlin is Germany's national center for the presentation and discussion of international contemporary arts, with a special focus on non-European cultures and societies. It presents art exhibitions, theater and dance performances, concerts, author readings, films and academic conferences on visual art and culture. It is one of the institutions which, due to their national and international standing and the quality of their work, receive funding from the federal government as so-called "lighthouses of culture", from the Federal Minister of State for Culture and the Media as well as from the Federal Foreign Office. As a venue and collaboration partner, HKW has hosted festivals such as the transmediale, curatorial platforms, biennials such as the Berlin Documentary Forum, and mentorship programs such as Forecast. Since 2013, its interdisciplinary elaboration on the Anthropocene discourse has included conferences, exhibitions, and other artistic formats performed together with philosophers, scientists, and artists, such as Bruno Latour and Hans Joachim Schellnhuber.
The annual CTM Festival (from 1999 to 2011 called club transmediale) is a music and visual arts event held in Berlin, Germany. Founded in 1999, the festival originally focused on electronic music, but has since evolved to cover a wide range of genres under the banner "Festival for Adventurous Music and Art". Changing through various shapes and formats over the years, the festival currently takes place as a 10-day long event in which the music program is supplemented by an extensive daytime program of workshops, art installations, panel discussions, screenings and presentations that illustrate the latest artistic, technological and economic developments in music and media cultures. Distinguishing the festival from many others in its field is the fact that CTM spotlights music’s social role in electronic and digital culture. Through the festival, as well as various events curated by CTM throughout the year, the organization reflects the latest musical currents against a backdrop of new technologies, modern art, historical perspective, and social issues. The first festival was founded by five friends: Marcus Weiser and Lillevan Pobjoy of the electronic music duo Rechenzentrum, visual artist Timm Ringewaldt, photographer and lighting engineer Remaclus "Remco" Schuurbiers and experimental media design student Jan Rohlf. After the first edition in 1999, Lillevan Pobjoy and Tim Ringewaldt left. In 2000 the festival was organised by Marcus Weiser, Remaclus "Remco" Schuurbiers and Jan Rohlf. Oliver Baurhenn, who joined the core team in 2002, was part of the organising team in 2000.
The FLOSS Manuals (FM) is a non-profit foundation founded in 2006 by Adam Hyde and based in the Netherlands. The foundation is focused on the creation of quality documentation about how to use free software. Its web site is a wiki (previously using the TWiki and Booki programs, now using Booktype) focused on the collaborative authoring of manuals. The documentation is licensed under the GPL. Although initially the manuals were covered by the GFDL, the material was relicensed to the GPL due to concerns about the limitations of the GFDL. Anyone can contribute to the material at FLOSS Manuals. Each manual has a maintainer – very much like the Debian maintainer system. The maintainer keeps an overview of the manual and discusses with those interested the structure, etc. The maintainer is also responsible for gathering new contributors together. Not all edits are 'live' – the edits are published to the manual when ready. This is to ensure the quality of the manuals is as high and as reliable as possible and that no new user encounters 'half finished' content. Manuals are available as HTML online, or indexed PDF. Additionally manuals can be remixed so anyone can create their own manual and export to indexed PDF, HTML (ZIP/tar) or an 'Ajax' include. In fall 2007, Floss manuals was awarded a 15,000 Euro prize by the Dutch Digital Pioneer fund. It has also been financially supported by Google and NLnet. FLOSS Manuals also received a Transmediale Award for its work on Booki and has also been featured in the Texas Linux Fest 2010.
Before the 1921 destruction of Tulsa’s Greenwood District, Black residents had created a remarkable center of business and community life. The district included stores, professional offices, entertainment venues and homes owned by Black citizens. Understanding Greenwood means learning what was built—not only what was burned.
MORE →Mae Jemison, aboard Space Shuttle Endeavour in 1992.
