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As you approach this piece a sensor turns a light on which projects the worms and tree forms onto the walls and ceiling. The tubefex worms which are the stars of this piece demonstrate a form of supra organization in which these single tubefex worms

The Flock is a group of musical interactive sound sculptures which exhibit behaviors analogous to the flocking found in natural groups such as birds, schooling fish or flying bats. Flocking behaviors demonstrate characteristics of supra

"Residues" is a multimedia installation which mixes materials and supports as large photographies, pigments, water, oil reflexion, electronic screens which are present in the same space with the electronic images. The screens show post-production

PLACEHOLDER was a virtual environment project designed by Brenda Laurel and Rachel Strickland and produced by Brenda Laurel. Placeholder was a two-person fully interactive virtual-reality system, utilizing stereoscopic head-mounted displays,

Measure is a variation of the Very Nervous System, using an extremely simple and regular sound source, a ticking clock. (source: http://homepage.mac.com/davidrokeby/measure.html)

The work is made up of a small natural environment. Four small speakers are hidden under the leaves of the vegetation which covers most of the surface of this world. This world is in fact an island surrounded completely by water. The world is

An interactive digital video projection installation 1 interactive video projection, black and white, silent 8 x 12 x 6 metres The piece is based on the texts of the late Roman philosopher Boethius, and deals with the fluid and ultimately

Upon the invitation of the Lindisfarne Association and the Cathedral Church of St. John the Divine in New York City, a concert of audiovisual mathematics/music took place in the Cathedral Church on 17 October, 1992, at about eight o'clock in

LIQUID VIEWS (1992) - TOUCHING THE VIRTUAL SELF Liquid Views explores the concept of self-reflection in a digital pool. Like Narcissus gazing into the water, visitors see themselves, creating ripples with their touch. But here's the twist: the

In this installation, an interactive format similar to FOURSPACE (1991) has been developed in a different aesthetic direction. The game as a primary modality of interactivity is chosen as the functional context for a strategy of communication