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The audience is elevated and observes the stage from a low angle, as in an anatomical theater where humans are enveloped by a swarm of inorganic beings. Graphical entities with their own behavioral code. A show for two dancers and digital particles,

The audience is elevated and observes the stage from a low angle, as in an anatomical theater where humans are enveloped by a swarm of inorganic beings. Graphical entities with their own behavioral code. A show for two dancers and digital particles,

ZKM Aussenkenung are a group of five outdoor LED displays that together constitute the signage for the ZKM Centre for Art and Media in Karlsruhe. The contents of these displays are all freely programmable. 1 and 2. A tall column stands on the main

Y straight forward? A city-tour guide of a different sort The human eye is an omnivore and so constantly feeding the corresponding brain cells with loads of information. Only later the important is segregated from the insignificant, but far more

Fifteen points (XV) defines the role of cognitive dissonance in diverse reactive spaces. In an interactive floor projection, viewers are encouraged to move throughout the space and engage in the manipulation of the art piece. Detecting both sound

World Skin is an interactive artwork presented for the first time at Ars Electronica (Linz, Austria). It won the Golden Nica Award in the Interactive Art category in 1998. Armed with cameras, we are making our way through a three-dimensional

Wissensgewächs interactive facade with 16 screens reacting to passerby’s positions, distance and movements © 2007, Laurent Mignonneau & Christa Sommerer This interactive façade was designed by Mignonneau and Sommerer for the City of Science in

Where are you from?_Stories, 2002-2009, is a net-art piece supported by a one-year research grant from the Canada Council for the Arts. The videos for the net-art piece were selected from approximately 200 15-minute videos captured in special events

The audio-visual environment “Web of Life” is formed by an immersive conjunction of projected three-dimensional computer graphic and video images, together with a fully spatialized acoustic experience and a specially conceived architectural

VR AQUARIUM offered immersion in VR at the digital cavern of the NTAV Lab, installed at the Museum of Natural Sciences of the University of Caxias do Sul. The environment aesthetical appeal was the augmented reality and telepresence which enhanced