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A Commodore Amiga hyper-media computer programme, based on the theme of a media reported event from the 1990 Remembrance Ceremony in Whitehall, London. A young man ran out from the crowd and set fire to himself and shouted the words "think about the

In Telematic Dreaming (1992) a live telematic video installation linking two sites first exhibited at the legendary Koti Exhibition in Kajaani, Finnland, a bed is the medium for high definition images: images of a partner, perhaps many thausands of

The technology involved in "The Telematic Séance" is much the same as "Telematic Dreaming", however the situation is somewhat different. During the production of "Telematic Dreaming" I discovered many aspects of user interaction that I have brought

Artistic Statement by Paul Sermon First there was the bed, then came the sofa. The beginnings of this work started with the installation "Telematic Dreaming" produced in June 1992 for the "koti" exhibition in Kajaani, Finland. forwarding the

Texts Bombs and Videotape - A 24 hour fax, E-mail and SlowScan TV event presented as a telematic workstation between Newport School of Fine Art in the UK, The Hochschule fuer angewandte Kunst in Vienna and the Digital Art Exchange in Pittsburgh,

Two dispersed installations are connected via an ISDN teleconferencing link, enabling audio and video communication between the two sites. The first installation (location 1), the main gallery installation consists of a table and chair on a carpet

This installation entitled There's no simulation like home is the culmination of artistic telematic research since 1992. The exterior of the installation resembles the back of a plasterboard stage set, or as if the bricks of a house had been

MURMURING FIELDS – WALK-IN SOUND SPACE 1997–1999 As part of the EU funded eRENA Project (Electronic Arenas for Art, Culture Entertainment), Fleischmann und Strauss and the MARS lab created Murmuring Fields (1997-99), a sequel to Home of the Brain,

VIRTUAL BALANCE: LOOKING WITH THE FEET 1994 Understanding interactivity in cyberspace as a seamless experience rather than a clickable one, Virtual Balance borrows from the myth of the magic carpet to move through data. The magic carpet, popularized

The intention of this work is to emphasize certain aspects of virtuality, such as telepresence and the re-embodiment of the senses. It creates a transverse relation between the real and the virtual by correlating a physical object with its virtual