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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

Cross Control was initiated from the perspective of the rapidly changing experiences in the contemporary city, caused by the increased use of computer and mechanical techniques. Machines, intentionally developed as expedients, are being accepted at

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

An Explicit Volume is an interactive installation comprising nine books arranged in a three by three grid. Each book is operated by an electronic page turner. The project is sited in a darkened space where four red vinyl chairs are arranged facing

W E L C O M E T O M Y B R A I N The human brain has hitherto been considered a static organ with a fixed set of neurons that are being used up without ever being replaced again. Now research is discovering that the brain is an extremely dynamic

ELUSIVE SELF A room installation which deals with the capacity of our brain to remember - and to forget, focusing on how we constantly revalue and recreate our relation to ourselves and to our past. Our memory is not like a printed book with an

"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 50's themed diner provides the setting for an interactive encounter with disturbing denizens in the virtual mirror across the counter. On-screen breakfast reassembles itself into characters who react to the customers' every move.

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