Georg Vogt

Georg Vogt is Professor and Senior Researcher at the Institute for Creative Media/Technologies at St. Pölten University of Applied Sciences, where he leads research in the Media Creation group within the Department of Media and Digital Technologies. He teaches courses including essayistic writing and film criticism, with scheduled instruction for the Spring 2025 semester. His academic work bridges traditional media studies with cutting-edge digital technologies, with strong connections to the University of Vienna where he also maintains an affiliation.

Dr. Vogt's research interests center on immersive storytelling techniques, digital humanities applications, and creative media technologies. His work explores the intersection of historical documentation with contemporary digital practices, particularly in cultural heritage preservation and memory studies. He has made significant contributions to queer theory and camp aesthetics, evidenced by his co-editing of the influential volume The Dark Side of Camp Aesthetics: Queer Economies of Dirt, Dust and Patina (2017). His research often employs mixed methodology approaches, combining theoretical frameworks with hands-on creative practice.

Analysis of his recent publications reveals a strong focus on applying immersive technologies to cultural heritage preservation, historical documentation, and educational contexts. His work frequently addresses the challenges of preserving precarious data and creating meaningful digital narratives from historical materials, particularly regarding Holocaust studies and NS-era history. The RegioBioGraph project represents a significant thread in his research, exploring how living archives can be narrated through film and digital media. His collaborations with Markus Wintersberger on Wearable Theatre demonstrate innovative approaches to immersive storytelling that blend theatrical performance with virtual reality technologies.

Georg Vogt leads or participates in numerous research projects including RegioBioGraph (focused on living archives), Wearable Theatre (exploring immersive storytelling), CliMeF (Climate Media Frames), and projects documenting NS forced labor camps. His work often involves interdisciplinary teams combining expertise from media studies, computer science, history, and performance arts. The Immersive Media Lab serves as a key facility supporting his research in extended reality technologies and their applications across multiple domains. His projects frequently secure funding for innovative work at the intersection of technology, culture, and historical memory.