Archive Search

  • Lisa Cianci (A.K.A Blackaeonium) is an artist, archivist, and digital media developer from Melbourne, Australia. She makes art in both analogue and digital formats, with her current focus on real-time, code-driven animations, digital video, and
  • Shaw, Jeffrey. Modalities of Interactivity and Virtuality Scan+ Electronic Media Arts 4 (1993): 19-20.
  • Nuit Blanche -
    This experimental video uses 4 different sources for an installation of 25 screen: the electronic Graph-8 palette, coupled with an Apple2C computer, a Slow-Scan equipment, a text generator, a Time Base Corrector and a videocamera recording a live
  • Seeing Double -
    ... also include a series of new works: large watercolors, equestrian sculptures, collage...
  • El Barrio is home! -
    The Caribbean Cultural Center and African Diaspora Institute is a cultural center for the world-wide African diaspora based in East Harlem ("Spanish Harlem") in New York City. Back in 2012 as AR artistic advisor I helped them get a Rockefeller
  • Media bubble doesn’t blow up without a consumer, the installation doesn’t work without the visitor. To make the media field buzzing, to create scandals and little stars, one has to move oneself. You have to type in c**.com or order newyorktimes, you
  • Decode: Digital Design Sensations showcases the latest developments in digital and interactive design, from small, screen-based, graphics to large-scale interactive installations. The exhibition includes works by established international artists
  • Reinhuber, Elke and Benjamin Seide and Ross Williams. The Scale of Immersion : Different audio-visual experiences exemplified by the 360° video Secret Detours Electronic Visualisation and the Arts (Juky 2018): 236-243.
  • Reinhuber, Elke and Benjamin Seide and Ross Williams. The Scale of Immersion : Different audio-visual experiences exemplified by the 360° video Secret Detours Electronic Visualisation and the Arts (July 2018): 236-243.
  • Straw, Will. Paraliterary Scandals in Canada Essays on Canadian writing , no. 62 (1998).