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glass era
2005
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2005
Videoinstallation; 3 channels, 3 projections Ed. 2/4 3 Screens ea 225 x 300 cm
lighttrain
2005
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2005
5 channel video installation Screen system: 190.5 x 315 x 11.5 cm. Room dimensions variable
Desert rain
1999
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2003
In this fascinating piece the company worked in collaboration with the Computer Research Group of the School of Computer Science at Nottingham University, UK. The piece was one of the most complex and powerful responses to the first Gulf War
n o w h e r e - ein welt raum spiel
2005
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2006
in cooperation with: Gerald Nestler (Research), Christof Cargnelli (Sound), Oliver Irschitz (Production) --- I treat Wittgenstein's propositions more like axioms. When I negate the axiom, 'We make ourselves a picture of the world'
new element
1945
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1967
Example
Remote Impressionist Art
2006
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2006
Generative art "en plain air": In four squares appearing on the computer screen the viewers of remote impressionist art (2006) see cutouts from heaven above not closer defined places on this world: grey, blue, black white and every shading you can
AirportSim
2003
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2004
AirportSim aids an airport manager interested in efficiency to distribute resources throughout a model airport, balancing cost with customer satisfaction. The AirportSim application is made up of a number of user-manipulable simulation objects that
ambientROOM
1996
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1997
The ambientROOM is a Tangible Bits platform which explores the use of ambient media as a means of communicating information at the periphery of human perception. The ambientROOM allows users to be aware of background bits using ambient display media
Season in Hell: Orf´s Descent
2005
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2005
Video: In this excerpt, Orf engages the speed and power of the aircraft, a weapon of mass destruction in the 21st century, singing: swing low, sweet chariot coming for to carry me home, evoking the extremist allure of the afterlife. (source:
London Dig
2006
London Dig is composed of four 42 inch plasma screens arranged in a rectangular array of two by two screens, creating a larger single image. The imagery displayed on the screens derives from numerous bird's eye views of the City of London, centred
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