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In Timo Kahlen's interactive film and sound projections, 21 works of net art (2005 - 2020), complex and subtle compositions of text, image, sound and vibration are generated - always different and live - according to the varying position, direction

Performers tele-dialogue from two distinct places with a single spectator at a time, whose shadows become the theater of the work. Each performance is unique and constitutes a singular experience for the visitor, who is no longer only a passive

Multichannel audiovisual composition (3Ch-Video, 4.1 Ch-Audio) This audiovisual journey focuses on viewing a natural field from a different perspective, with the perception of subtle movements and sounds leading the viewers / listeners to a magical

Abandoned artist's studio featuring a technical apparatus in a process of transition in which analog turns into digital. Reflection on mise-en-scène of media, performance, installation and exhibition: recorded and constructed, present and absent,

Animated film poem created with a constellation of common wayside flowers, gathered during walks on land reclaimed from the sea along the shore of the Laira estuary, on the coast of SW Britain, an endangered habitat now threatened by coastal erosion

“On the Road”, consists of twelve lenticular panels that explore the cinematic narrative potential of the photographic image in non-electronic form. The exhibition’s title “On The Road” makes reference to the defining work of the Beat Generation’s

The November 1973 issue of Scientific American featured an article titled “The Recognition of Faces” by Bell Labs researcher Leon Harmon that explained how we perceive pixelated digital photographic images. Using a low-resolution, portrait of

Campos | Temporales was developed as a large scale architectural video installation for 150 Media Stream, a curated video exhibition space in the lobby of 150 Riverside Plaza in Chicago. A musical composition by Christopher Walczak was presented on

Collection: Museum of Modern Art, New York. Csuri continued with this experimentation on other drawings, including one of a hummingbird in flight. Csuri produced over 14,000 frames, which exploded the bird, scattered it about, and reconstructed it.

Birds in the Hat (1968), presents an iconic example of an early plotter drawing, a printing technique that allowed for an ink pen to be guided by digital input. Executed using an IBM 7094 computer and a drum plotter, this work mathematically