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  • Kyong Chun, Wendy Hui. Control and Freedom: Power and Paranoia in the Age of Fiber Optics. Cambridge: MIT Press, 2006.
  • .. "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" ..
  • 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
  • ART + COM - An Interdisciplinary Media Laboratory in West Berlin (1987 - 1993 - the time when the artists Fleischmann and Strauss were a part of it) How did it all start? In the mid-1980s, few people thought that everyone would have a computer in
  • Boredomresearch. Freefall, Arts Council England international artists fellowships 2001-2003. : Arts Council England, 2004.
  • I have always been deeply interested in the viewer, pondering why some people engage with art while others do not. This curiosity led me to start asking questions directed at the audience. For one project, I asked, "What did you do today?" In this
  • independent scholar and freelance curator
  • Can algorithms ensure greater neutrality and efficiency? Are they as free from human bias as we usually think? The exhibition ‘Codes and algorithms. Wisdom in a calculated world’ seeks to make sense of this phenomenon and it’s implications. n recent
  • SP3X -
    SP3X is a new type of three-dimensional interface for creating, modifying, and navigating volumetric data. It combines the intuitive and improvisational strengths of tangible interfaces with the visualization power of mixed reality. Users can create