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Apparatus for seeing your self from above In computergames you can see your game character from different perspectives. In the first parts of the game GTA (Grand Theft Auto) you lead your character from the bird’s eye view from above. In real

"Time Capsule" is a work-experience that lies somewhere between a local event-installation, a site-specific work in which the site itself is both my body and a remote database, a simulcast on TV and the Web, and interactive webscanning of my body.

The Imaginary Hotel allowed visitors to occupy and design their ideal room within and fill it with personal content and inspiration. The installation architecture resembled a typical hotel room with its ubiquitous furniture and appliances. In

A virtual reality murder mystery - part movie, part performance - was created at The Banff Centre for the Arts in Canada, in collaboration with Michael Mackenzie. It is an immersive interactive narrative piece. It combines interactive computer

A work in progress , is an evening-length interactive media performance performed by two players with the the participation of audience members. Spectropia can also be presented as an interactive installation for two viewers at museums, festivals

Rome & Juliet in Hades is based on the play by Shakespeare. There are two main characters, Romeo and Juliet, in the story and, therefore, this story supplies a good example of multi-person participation. People have a strong desire to act out the

Meet Pikapika--a character influenced by anime and manga; Japanese pop animation and comics. Pikapika embodies movements from bunraku (puppet theater), a movement vocabulary Tomie Hahn studied while learning nihon buyo (Japanese traditional dance)

Adaptation of the opera "Fidelio" (1814) by Beethoven "Fidelio, 21st century" [...] is the first classical to be performed interactively in a three-dimensional virtual reality [...]. On one side of the cellar computer equipment whirs, and the

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 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