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Repositioning Fear
1997
-
1997
video
... automatically focused
and
generated sounds. A real-time... RE:Positioning Fear was
the
third relational architecture...
The
Body Remembers
1996
-
1996
...Spanning 22 years
and
three continents,
the
performance, video
and
... ning 22 years
and
three continents,
the
performance, video
and
... Z. Stanhope, www.experi
men
ta.org/mesh/mesh10/10stan.html)...
Paradise Tossed
1992
-
1993
... different apart
men
ts
and
the
ir technical equip
men
t in... aradise Tossed" by Jill Scott gives
the
opportunity - from
the
point... laserdisc player.
The
men
us are laid out like pages...
Digital Body-Automata
1997
-
1997
... digital transformation)
and
Immortal Duality (future... into three parts.
The
se installations are called: A... Immortal Duality (future
mole
cular transformation).
The
y... Housed in a white, clinical environ
men
t, Digital Body- Automata is...
Rambona
1992
-
1994
... of seduction, survival,
and
death are fueled by highly... In "Rambona"
the
artist transposes
the
subject of "woman as object of...
Datamining Bodies in Ruhr
2000
-
2001
... Zeche Zollern II/IV
and
the
online version.
The
...
The
project takes on two forms -
the
installation in an old mine in... is triggered by move
men
t through
the
physical space...
Fugitive
1995
-
1997
... in computer science
and
cognitive science discourses.... an indicator of "mood".
The
user moves through an... gross bodily move
men
t as an indicator of "mood"....
CONTINUUM
1999
video
... on a
the
me of war, power
and
violence. In
the
world of... CONTINUUM is a dance video on a
the
me of war, power
and
violence. In...
Untitled (Computer Project)
1989
-
1990
video
... of his imagination,
and
on
the
o
the
r, taken directly... sign system which is, on
the
one h
and
, a product of his... or determined by
men
tal processes. Blue...
Art Impact, Collective Retinal Memory
2000
-
2000
... On
the
Internet,
and
on
the
screen of
the
Pompidou... parallel subject matters.
The
exposition La Beauté en... people's frag
men
ts of interest into a new...
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