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  • Truth, Beauty, Freedom, and Money: Technology-Based Art and the Dynamics of Sustainability
    Naimark, Michael. Truth, Beauty, Freedom, and Money: Technology-Based Art and the Dynamics of Sustainability Leonardo/ISAST (May 2003).
  • Cylinder & Bots -
    Within their artistic work Giulia Bowinkel (*1983) and Friedemann Banz (*1980) explore the human perception of the digitally augmented real world. Within their generated scenarios, the computer functions both as tool and topic. The solo exhibition
  • Artistic Gesture: Expression, Communication, Participation
    Kluszczyński, Ryszard W.. Artistic Gesture: Expression, Communication, Participation In Mirosław Rogala: Gestures of Freedom, edited by Ryszard W. KluszczyńskiKraków: Laznia Centre for Contemporary Art, 2001.
  • Control and Freedom: Power and Paranoia in the Age of Fiber Optics
    Kyong Chun, Wendy Hui. Control and Freedom: Power and Paranoia in the Age of Fiber Optics. Cambridge: MIT Press, 2006.
  • Featured Artist Banz&Bowinkel
    .. "Ideally by using these technologies, art should see through them and unveil this imperative role in our society. When it is aesthetically pleasing, the truth doesn’t hurt so much" ..
  • World Stage: United Kingdom
    All the world's a stage, And all the men and women merely players -- Shakespeare. World Stage, uses digital representations of global species of butterflies to animate the powerful iconography of worldwide flags. In a year when national, political
  • LAB 1: ART+COM -
    ART + COM—An Interdisciplinary Media Lab in West-Berlin (1987–1992) How did it all start? In the mid-1980s, few people thought that everyone would have a computer in their home. It was a rather futuristic goal to explore the computer as a tool and
  • Freefall, Arts Council England international artists fellowships 2001-2003
    Boredomresearch. Freefall, Arts Council England international artists fellowships 2001-2003. : Arts Council England, 2004.
  • Ana Peraica
    independent scholar and freelance curator
  • Fruit Machine - video
    In this installation, an interactive format similar to FOURSPACE (1991) has been developed in a different aesthetic direction. The game as a primary modality of interactivity is chosen as the functional context for a strategy of communication
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