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INTROSPECTION: KALEIDOSCOPIC GAZE & SPIRAL FLOATING
2010
Uršula Berlot, Kaleidoscopic Gaze, 2010 video projection onto an image on a mirror (video loop 6′); two mirrors (90 x 180 cm; 90 x 110 cm), foil covering, projection and reflected light Site specific video installation; variable dimensions Uršula
Secret Detours
2017
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2018
The 360° video »Secret Detours« served as an immediate approach to digitally preserve a Chinese garden in Singapore. Currently, my collaborators Benjamin Seide, Ross Wiliams and myself have developed a range of different versions in order to explore
Imaginary Skyrmions
2023
#1 Vortex #2 Torus #3 Skyrmion Lattice #4 Skyrmion Collapse #5 Cross (B=16 Skyrmion) #6 Spiral (cross-section of horizontal vortex) kinetic light objects (series of 6) plexiglass, LED reflectors, turntables variable dimensions, diameter: 60 cm,
Martina Simkovicova
Artist: Martina SimkovicovaComment:
Kunst aus dem Computer
1967
Simmat, William E.. Kunst aus dem Computer Exakte Ästhetik - Methoden und Ergebnisse empirischer und experimenteller Ästhetik 5 (1967).
Digital Mudra
1987
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1987
"Digital Mudra" begins with a collection of photographs from Rapoport's interactive performance entitled Biorhythm (1983). Participants, to test their own evaluation of their biorhythm condition against a computer assessment of their
Neue Medien, neue Welten: Digitale Kunst.
1999
Simmen, Jeannot. Neue Medien, neue Welten: Digitale Kunst. 6 (Feb 1999): p. 151.
Neue Medien, neue Welten: Digitale Kunst.
1999
Simmen, Jeannot, ed. Neue Medien, neue Welten: Digitale Kunst.. Vol.6. 151., Brockhaus, Kunst und Kultur th ed.Leipzig: Brockhaus, 1999.
Neue Medien, neue Welten: Digitale Kunst.
1999
Simmen, Jeannot, ed. Neue Medien, neue Welten: Digitale Kunst.. Vol.6. 151., Brockhaus, Kunst und Kultur th ed.Leipzig: Brockhaus, 1999.
Techno-Transformation und terminale Identität
2002
Weibel, Peter. Techno-Transformation und terminale Identität In Telematik. Netz Moderne Navigatoren, edited by Jeannot Simmen, 9-15. Köln, DE: Verlag der Buchhandlung Walther König, 2002.
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