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Gallery view from outside. The artist's first robotic brush strokes were achieved in 1987. The strokes achieve spontaneous qualities using coded procedures. The software generates a brush form and requests a paint brush. The artist places a

The Castle is a large scale interactive video projection designed for specific architectural sites. The title makes reference to Kafka's novel of the same name, the work taking as its subject the incomprehensible character of systems of

Part II is a live dance theater performance with master improviser and former William Forsythe/Ballett Frankfurt dancer Michael Schumacher. During the fifty minute work, the spectators experience a person undergoing the traumatic transformation of

'Dark Matter' is a fully immersive, physically interactive, three-dimensional digital projection environment. The artwork explores whether the body might be perceived as an absence, inferred from the physical and cultural information around it. In

Emotion in Space seeks to re-imagine ways in which global real- time datasets can give us a unique perspective on the understanding of world motion through emotional currents emanating from 3200 different cities. Part of the Mechanics of Emotions

Emotion in Space seeks to re-imagine ways in which global real- time datasets can give us a unique perspective on the understanding of world motion through emotional currents emanating from 3200 different cities. Part of the Mechanics of Emotions

Inspired by the Chinese character Zhong (the center, the middle), this audiovisual composition is a search for the CENTER, discovering a universe of constant and eternal modification, a world driven by the dynamic created through opposite fighting

HOMEFRONT Surveillance, monitoring, and tracking technologies are not only media of control; they are media of self-reflection and self-awareness. There is a reciprocity between the way that control technologies function and the way that identity

“Matrix XII Krems” connects the new State Gallery of Lower Austria and the Kunsthalle Krems in a vast space below ground. The individual lights are arranged in a strict square grid on a slanted plane and delineate the border between emptiness and

The Broad Art Foundation's new skin, 2002, presents an evolution from Aitken's earlier styles, both physically and conceptually. Projected from four corners of a room onto a pair of suspended, intersecting oval screens, the work is part film and