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... You have the impression that the disasters of the world do not touch you anymore? You feel vaguely sorry for other people’s...

e-Spotting (Emotion Spotting) Internet VR installation a music/internet performance and installation at the Palazzo Strozzi Seen as the world nervous system, the Net should now be the best way to know where pain and pleasure are located

... content is the source of the audiovisual information not censored nor chosen by a certain community, rather produced by the...

Series of 3D prints in polymer additive plaster, highlighting the interrelation between real objects and their 3D virtual counterparts. The 3D print "Inevitable Beauty" is subjected to a temporal maelstrom in its fabrication, while "Compulsive

The "US Department of Art & Technology" is an artist-led, virtual government agency. The US DAT functions as a conduit between the arts and the broader political and economic culture for facilitating the artist' need to extend aesthetic inquiry

Third Person is the second piece of the ShadowBox series of interactive displays with a built-in computerized tracking system. This piece shows the viewer's shadow revealing hundreds of tiny words that are in fact all the verbs of the dictionary

constructued for the Rachel Carson bridge. Carson was an American marine biologist, author, and conservationist whose book Silent Spring and other writings are credited with advancing the global environmental movement. Over 27,000 multicolored LED

Relational Architecture 3 RE:Positioning Fear was the third relational architecture project. A large scale installation on the Landeszeughaus military arsenal with a “teleabsence” interface of projected shadows of passers-by. Using tracking

Bridging the gap between textbook and laboratory learning, CircuiTUI leverages the power of both advanced real-time circuit simulation and the hands-on and the collaborative atmosphere of a laboratory. With CircuiTUI, projected images of circuit

A virtual projection installation created the illusion of looking through the theatre entrance doors at fictional scenes situated in the real space outside the theatre. The installation used the same augmented-reality technology that was first