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In TRANS-E digital technologies provide us with an electronic ritual. Bodies connected by interfaces dialogue with computer electronic memories and can experience "virtual hallucinations" in real time. These "hallucinations" are managed by

A web of relationships through the displacement of the visitor's body in the room space, apprehending the moving figures of the tapes embedded in the columns and the frozen figures of frames from the video "migrações", which are gradually enlarged

Environments: Memories, Serpentarium, Village, Terrarium By penetrating in OUROBOROS’ PLACES we experience the poetic existence in memescapes, inhabiting within artificial landscapes no longer made of earth, but of memory units. Interfaces and

Text Rain is an interactive installation designed to blur the boundaries between physical and virtual space. Viewers play with falling text which responds to their motion. The text may be caught, lifted and released to fall again. If participants

The interactive installation offers exchanges of body signals using a sensorized carpet to capture people displacements. The information are sent to a neural network which mangage the artificial system and gives life to the physic environment. A big

CAGEBIM is an installation where the visitor interacts. The visitor enters in the room and can read a John Cage's affirmation: " I am always interested in listening to. I am always less interested on the fixed relation between the parts. I am

The exhibition TRANS-E (trans, transit, trance!) consists of four installations shown simultaneously: Bio-Biblion, A-fetus, In-fluxus and The Supper. TRANS-E creates a series of experiences for the visitor involving the entire body.BIO-BIBLION is

Paragens is a video installation with three environments: Clareira, Eye and Wall. The room in a dark blue is a like a data space full of electronic images, photographies, projections, reflected images. The visitors by they moving-around can get a

The video performance had been presented in Salerno, Italy, during the ARTMEDIA Congress (1992). The space of Paula Verengia's Gallery had been drawned with slides and video projections on the back of the room. An Italian Dancing Company named

The installation comprises two environments. The first one is darker with light directed towards the inert enlarged photographic images on the wall of the room which is cut in the center by four metallic columns with luminous screens where six video