1995VideoFest saw beyond the end of ist own nose and explored in detail what the new maigc word Multimedia stands for in the realm of CD-ROM and Internet artworks. There were performances, discussions, an exhibition and workshops.
Technological advances were growing at an exponential rate, and electronic art had started to invariably succumb to the digital. To deal with these developments, the VideoFest had restructured itself: video, television and multimedia were now given equal attention, and even the screening of films made with digital production elements was now possible.
The festival focused again on multimedia, innovative television and video. In 1997, the festival also integrated technological developments and philosophical discourses relevant to these media realms into the programme: brain research, neuroaesthetics, nanotechnology and a (self-) critical debate on the inflationary multiplicity of futuristic discourses.
With a new byline ‘international media arts festival berlin‘, transmediale invited artists, scientists and commercial producers in 1999 to present digital worlds and beings in films, video and games. It acknowledged the entertainment industry and its stimulating experiments with art, design and modern technologies, as well as the revolutionary changes the branch has undergone and brought about.
