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RED DROP
2002
The code of this Java-applet describes the movement of a red polygon. There are two modes: Whenever the viewer clicks on the screen, the polygon is attracted to the mouse pointer and forms a flexible circular drop that can be dragged around the
Erwin Redl
My work is based on research into the phenomenological nature of visual perception. The emphasis is on reframing the relationship between traditional fine art media and the ever increasing possibilities of digital media. The artworks reflect upon
Void (Traffic)
2003
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2003
Void transforms the internet traffic through KHM' homepage into sounds and images. The installation provides a spectacular experience of data traffic: a direct, real-time visualisation of the code being executed on the transmediale server. The
Ouroboros
2002
video
Environments: Memories, Serpentarium, Village, Terrarium By penetrating in OUROBOROS PLACES we experience the poetic existence in memescapes, inhabiting within artificial landscapes no longer made of earth, but of memory units. Interfaces and
Analog-Digital-Spiegel und Blind Genes
2004
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2004
The Analog-Digital-Spiegel (programming by Reinhard Möller) shows how an analogue portrait (corresponding to sensory experience) changes into its digital (dismantled and computed) text base. A camera, which is integrated in the projection screen,
Workaholic
2000
A pendulum hangs from the ceiling, with an omnidirectional bar code scanner as the bob (the weight) at the end of the cable. The scanner casts an intense red laser beam downward as it skims the floor, reading symbols printed on a 12 foot diameter
Bar Code Hotel
1994
Bar Code Hotel recycles the ubiquitous symbols found on every consumer product to create an multi-user interface to an unruly virtual environment. The installation makes use of a number of strategies to create a casual, social, multi-person
I'Myth: Zapping Zone
2004
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2004
video
This study presents an evolutionary system which generates images representing myths of human culture as synthetic identities. The myths are described by categorized terms and combined by genetic algorithms producing new individuals. Objects are
Ceci n'est pas un nike
2002
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2004
Ceci n'est pas un nike talks about on line creation and its conditions. Its point of departure is the conceptual confusion between interface and surface. Magritte's pipes are its strongest referencs and it updates the discussion about
//**Code_UP
2004
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2004
//**Code_me_UP investigates the role of the code in the meaning construction and the forms of visibility mediated by mobile communication devices. In the exhibition space, the audience can capture pictures with cell phones with camera and send
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