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The Traditions of Changes
2014
This collaborative composition consists of 6 movements, leading the listener through a utopian sonic maelstrom in a modern re- interpretation of some sections of ‘New Atlantis’ (Francis Bacon, 1624- 27). Psychedelica, field recordings and abstract
Thanks Tails
1996
"Thanks Tails" are tails for cars. An organ which express appreciation. To make it easier to understand, it is not expressed by language but by the gesture of tails of dogs. I consider this as an art work only when this is manufactured. This
Unconscious Environment
1999
-
1999
A large scale installation which included a 20 foot screen in portrait displaying a psychiatrist under hypnosis describing an environment, a representation of which was then constructed in two spaces beyond the screen. The work focused on the
Surface Tension
1992
-
1993
... on a plasma screen. (
Photos
by Antimodular Research)
Roaming
2007
-
2007
This experimentation starts from appropriation of small chips present inside those mobile phone charms that light up when a call comes in. In a panel, light is literally launched to the invisible radiation that comes from the mobiles and invades our
Taipei Phototime
2014
... between showing the actual
photos
and their abstraction - color...
Grass
1972
-
1972
video
The original programming language "GRASS" (GRAphics Symbiosis System) was developed by Thomas DeFanti for his Ph.D. dissertation at The Ohio State University in 1974. For further information, see Wayne Carlson, Historical Significance In 1969, the
Displaced Emperors
1997
-
1997
video
... museum in Vienna. (
Photos
by Antimodular Research)
down Jones
2002
excerpt from an Interview with the Thing (http://epidemic.ws/downJones_press/THE_THING_Interview.htm): Q: Your latest project, downJones [sendMail], is a demo of a virus for webmail sofware that slips short phrases into the body of any e-mail. In
CODeDOC exhibition
2002
CURATORIAL STATEMENT CODeDOC takes a reverse look at 'software art' projects by focusing on and comparing the 'back end' of the code that drives the artwork's 'front end'—the result of the code, be it visuals or a more abstract communication
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