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In Timo Kahlen's interactive film and sound projections, 21 works of net art (2005 - 2020), complex and subtle compositions of text, image, sound and vibration are generated - always different and live - according to the varying position, direction

In Timo Kahlen's interactive film and sound projections, 21 works of net art (2005 - 2020), complex and subtle compositions of text, image, sound and vibration are generated - always different and live - according to the varying position, direction

In Timo Kahlen's interactive film and sound projections, 21 works of net art (2005 - 2020), complex and subtle compositions of text, image, sound and vibration are generated - always different and live - according to the varying position, direction

The video work stillalive is a commission for the Kunsthaus Graz and the exhibition ‘Faking the Real’. The concept was to produce an artistic edit of a specific three-minute excerpt from John Carpenter’s film ‘They Live’. This approach corresponds

This early plotter drawing later served as the basis for two different versions of "Sineman Two." In "Sineman Two" Csuri applies the sine curve function to the drawing of "My Father" and then created a black ink drum plotter drawing and a red photo

Two dancers/performers interact with an audio-visual environment. Their movement data control cameras, microphones, and architectural projections of 3D representations of each performance venue. Four scenes, made up of choreography and media, play

Birds in the Hat (1968), presents an iconic example of an early plotter drawing, a printing technique that allowed for an ink pen to be guided by digital input. Executed using an IBM 7094 computer and a drum plotter, this work mathematically

Performers tele-dialogue from two distinct places with a single spectator at a time, whose shadows become the theater of the work. Each performance is unique and constitutes a singular experience for the visitor, who is no longer only a passive

Two dancers, a visual artist and a sound artist, perform live. Performing bodies as an interface between the spectators and the media environment. By manipulating the sensors, spectators can modify certain parameters of the media environment.

Spectators enter an intimate space to meet face-to-face with a performer offering her body as an interface to the media environment. Performer's outfit and scenic environment are equipped with touch sensors, theremins, and multiple buttons and