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"Phototropy" is a biological expression describing the force, that keeps organisms or organs, like for example bacteria or plants, following the light, in order to get nutrition and hence, to survive. The interactive computer installation

MURMURING FIELDS – WALK-IN SOUND SPACE 1997–1999 As part of the EU funded eRENA Project (Electronic Arenas for Art, Culture Entertainment), Fleischmann und Strauss and the MARS lab created Murmuring Fields (1997-99), a sequel to Home of the Brain,

Memory Theater VR is an example of a virtual museum that embodies original architectural, interface and visualization strategies that converge the experience of real and virtual formations. The installation itself is set inside a cylindrical space,

Five into one est l'une des premières oeuvres en « réalité virtuelle ». Le principe en est de construire une image tridimensionnelle globale, virtuelle, c'est-à-dire exclusivement calculée et mise en mémoire dans un ordinateur.

"The Trace" is a telepresence installation that invites two participants in remote sites to share the same telematic space. The piece consists of vectors, sounds and graphics that respond to the movement of the participants. Two interactive stations

Inspired by Pier-Paolo Passolini's 1969 film Theorema and by a dream Courchesne's daughter had when she was 10 years old. In the installation, visitors are planted somewhere in the Japanese countryside. From there they will try to make a

"Body Movies" transforms public space with 400 to 1,800 square metres of interactive projections. Thousands of photo portraits taken on the streets of the cities where the project is exhibited are shown using robotically controlled projectors.

Melbourne is a notably multicultural city because of the size and diversity of its many immigrant communities. Melbourne also has the reputation of being the comedy capital of Australia. PLACE ‚ URBANITY presents fifteen fully panoramic video

The second major interactive installation was entitled The Exquisite Mechanism of Shivers (1993). It should be noted that many of Seaman's works were shown in different states and /or alternate contexts. Each version of the work informs other

LORNA 1979-1983 A.D. A.D. "A precondition to video is that it does not talk back. It absorbs, rather than reflects." Preliminary Notes, 1981 While video was like a reflection that did not talk back, interactive works were like a trick, two