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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

Video: The remix of President George W. Bush's 2005 State of the Union speech is set to Richard Wagner's Liebestod from Tristan und Isolde, a tale of two lovers who suffer a fateful embrace with love and death. In Bush's speech, a

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:

In contemporary times we may ask: is the search for self-knowledge extended and amplified through the medium of digital media? Or, do we find ourselves in a crisis - like that of Narcissus’ confusion or the loss of the soul - in which we can no

Narcissus' Well was originally inspired by the seminal Pepsi Pavilion, which was created by E.A.T. (Experiments in Art & Technology) for Expo ’70 in Osaka, Japan. In the Pepsi Pavilion, a 90-foot diameter spherical mirror engaged viewers in the

Mirrors: the Real and the Virtual, an information display about the project on view at the NASA-Goddard Research Center in Greenbelt, MD, where the project was developed in collaboration with optics engineer Joseph Howard between 2003 - 2005.

With common video formats, almost 17 million different colours can theoretically be represented on the screen today. If these are shown all at once, a condensation in pure white is generated in the digital picture production. Translated into a

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

A work using simulated recombinant genetic algorithms. The piece used two live computed image sources for two of the monitors, one prerecorded computer animated sequence and two live video feeds from surveilance camera's installed in the space. A

Inside the entry curtain, visitors follow a fiber-optic cable to the center of the resonating enclosure where a portal through the floor frames the installation's focal point. The live seismic data stream drives an embedded visual display and