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REAL VIRTUALITY
1999
...REAL VIRTUALITY
Art
ist: Tomas RullerComment:
Standby Deliver
2000
... sugar, gum and machine as metaphor for human consumption and waist cycle while offering mouth and eye candy to help the p
art
icipant question the impact of their addictive consumerist behavior and the sugar tweaked cognition that results. Kenneth E....
Flickering Signifiers
1998
Flickering Signifiers is an ambient light installation concerned with the rhythmic nature of television light and how it is used to seduce and compel the viewer into a kind of hypnotic and passive inaction-while watching. Detection of movement has
Watchers
1996
"Watchers" are ambient light sculptures concerned with the rhythmic nature of television light and how it is used to seduce and compel the viewer into a kind of hypnotic and passive inaction. Detection of movement has been at the core of our
Spider Haus
2006
...Spider Haus is a transpecies communication
art
work constructed of stereo lithography plastic and a common house spider (Theridiidae) in the winter and an orbital web spider in the summer. It is designed to amplify and connect the viewer with the delicate beauty of...
Augmented Fish Reality
2004
-
2004
video
... that move the robots in that direction. Humans will interact with the work simply by entering the environment. In past
art
works I have found that the Siamese fighting fish move toward humans, presumably because they associate humans with food. Still,...
Digital Imaging
2000
-
2000
Digital Imaging by Ken Rinaldo My digital imaging works are abstract constructions that consist of scans of original items composited in Photoshop and textures and line brought in with Adobe Illustrator, Bryce 3D, and FormZ.
Trans-E: My Body, My Blood
1997
video
... to capture invisible forces and control physical phenomena when we define the "life" of the interactive work Biological and
art
ificial systems dialogue provoking an enigmatic experience of TRANS-E. Interacting people gain shamanic powers while...
Migrations
1990
-
1990
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
Ouroboros
2002
video
... Terrarium By penetrating in OUROBOROS PLACES we experience the poetic existence in memescapes, inhabiting within
art
ificial landscapes no longer made of e
art
h, but of memory units. Interfaces and data extend gestures beyond the boundaries of the...
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