“Video Art from America”, VIDEO EN FILM MANIFESTATIE, Catalogue, Bonnefante Museum, Maestricht, Holland, February, 1977.
“Jamais la Vidéo n’abolira le hasard“, with Jean-Paul Fargier, Travers 23, publication of the Centre Georges Pompidou, Paris, France, October, 1981.
“Audiovisuel“, special edition of Art Press, June-July-August, 1982.
“Des images par téléphone“, interview with Don Foresta, Art Press, September, 1982.
“Le Réel de la Vidéo“, Le Vivant et l’artificiel, Avignon Festival, Co-edition Sgraffite, 1984.
“Le Réel de la Vidéo“, 2nd Publication, Art and Satellite, Nam June Paik, DAADGALERIE, Berlin, 1984.
“Telefonzelle für Kunst – Interaktive Kommunikation über Post und Radio“, Õsterreichscher Kunsttag, 1984.
“Artist as Communicator“, contribution to the book “Synthesis, Visual Arts in the Electronic Culture”, editors Manfred Eisenbeis & Heide Hagebölling, UNESCO, 1989.
“The Many Worlds of Art, Science and the New Technologies“, LEONARDO, Vol. 24, No. 2, April, 1991.
Mondes Multiples, Don Foresta, co-edited by BàS & La FEMIS with the participation of the Ministry of Culture, Paris, France, 1991.
“Changement de paradigme dans l’enseignement artistique“, Quaderni, no. 21, Fall, Paris, France, 1993.
“Artistes en réseau: un art de la préfiguration” with Alain Mergier, Les Technimages, Revue d’Esthétique, no. 25, Paris, France, 1994.
“Economie mondiale, média et culture“, Interlope, no. 11/12, December 1994, Magazine of the Ecole des Beaux Arts, Nantes, France.
“The New Space of Communication, the Interface with Culture and Artistic Creativity“, study for the Council of Europe, Strasbourg, France, September, 1995.
English report | French report
“Café Electronique“, the Lyons Biennale “, interview CD-ROM catalogue, Lyons, France, 1995.
“New Ideas in Science and in Art“, Final Acts of the Prague Conference, New Technologies: Cultural Co-operation & Communication, Council of Europe, 19-23, November, 1996, Prague, Czech Republic.
Chronologie historique résumée d’échanges artistiques par télécommunications, Les précurseurs, jusqu’en 1995, avant l’Internet, Georges-Albert Kisfaludi et Gilberto Prado, 1996.
“The Souillac Charter for Art and Industry: A Framework for Collaboration“, with Jonathan Barton, LEONARDO, Vol. 31, No. 3, pp. 225-230, 1998.
“The Souillac II Conference on Art, Industry and Innovation: Final Report“, LEONARDO, Vol. 32, No. 3, pp. 199-207, 1999.
“Un nouvel espace pour la danse“, Conversation en ligne avec Don Foresta, Jean-Pierre Nouhaud, par Patricia Kuypers, “Scientifiquement Danse”, Nouvelles de Danse No. 53, Bruxelles, 2006, page 251.
Social value of high bandwidth networks: creative performance and education, Philosophical Transistions of the Royal Society A, by Robin Mansell & Don Foresta, Published 25 January 2016.DOI: 10.1098/rsta.2015.0124
Networks for Art Work, Frédérik Lesage, An analysis of artistic creative engagements with new media standards: A thesis submitted to the Department of Media and Communications of the London School of Economics for the degree of Doctor of Philosophy, London, June 2009
The Network Metaphor: New Communication Space, Journal of New Frontiers in Spatial Concepts, KIT Scientific Publishing, ISSN 1868-6648 | Volume 4(2012), 83-92.
The Network Metaphor, The Cambridge Journal of Law, Politics, and Art, No. 1, 2021
Principal Video Works
“Paris à la Carte“, a collaboration with video artists John Sanborn & Kit Fitzgerald, with Russell Connor and Nam June Paik, 1977-78, broadcast by PBS, financed by the Rockefeller Foundation.
“Photography from Santa Fe“, with video artists Woody and Steina Vasulka, 1983, grant from the National Endowment for the Arts.
“Les Sites“, choreography de Susan Buirge, 1984, co-production with the Centre Georges Pompidou.
Television Works
“French in Action“, Field producer in France and director for the dramatic sequences of a television series for teaching French. Co-production of WGBH-Boston and Yale University, financed by the Annenberg Fondation. Broadcast of the 65-part programme began in September, 1987 and is still in use in various parts of the US.
This work is licensed under a Creative Commons Attribution.