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"Plasm: not a crime" is the artistic statement of Peter Broadwell and Rob Myers that sharing secrets is not a crime. It used to be that most interactions between people took place face to face. If you had a desire to keep something confidential,

A large, empty room becomes the portal into an alternate universe, explored via two monitors pushed about on rolling stands. When viewed through the screen of each exploratory vehicle, clouds of passive brass flakes are swirled and grasped by unseen

A unique opportunity to create a new learning environment, the new classroom at Mossbrook Special School is a Science teaching space, designed for learning about the natural environment through direct interaction with it. The school is situated in

This KU Theatre for Young people production is another step in the University Theatre's ongoing work with virtual reality technology. Director Patrick Carriere, Bemidji, MN, graduate student, and Mark Reaney professor of theatre & Film teamed

MACHINAL is a play in nine episodes by Sophie Treadwell, first produced in 1928 and published in 1929. The setting is 1920s New York and a seaside hotel. Suggested by a notorious murder case, this expressionistic play (also produced as The Life

This high-tech treatment of Shakespeare's masterpiece played June 29 - July 1, 2000 in the Lumley Studio Theatre at the University of Kent at Canterbury. The Y2K production of A Midsummer Night's Dream marks a collaboration between

"je suis (un readymade)" is a touchscreen television installation. Each participant directs his or her own experience through this unfolding discourse surrounding the issue of "free speech" in a mass media environment. Individuals find themselves

In her VR piece, The Parallel Dimension, Teresa Wennberg based her work concept on a realistic form language combined with highly sophisticated texture maps. There is a clear relation to her earlier works in 2- and 3-dimensional computer animation

Infected is about the nature of the physical body in the context of future possibilities, and the new status of the corporeal body seen through dance and digitally manipulated imagery. The new bio-engineered body is still sexual, stark, brutal,

As you enter into the space you are confronted with a dramatic and disturbing combination of images and sound. A ‘wall’ of figures, naked and staring straight at the audience span the width of the gallery space. The life size figures initially