Archive
Search
Artist Index
Institution Index
Thesaurus
[Default Title]
ADA Help
About
(current)
Magazine
Tools
Community
Feedback
Join
Theme
Theme
Light
Dark
Auto
Login
Login
Archive Search
Search
Date
1979–1989
1990–1995
1996–2000
2001–2005
2006–2010
2011–2015
2016–2020
2021–now
Genre
Digital Animation
Digital Graphics
Net Art
Social Network
Database Art
Bio Art
Digital Performance
Nano Art
Robotics
Telematics
Installations
Game Art
Glitch Art
Digital Activism
Events
Festival
Exhibition
Other
Conference
Reset
Artist
Scholar
Work
Work with Video
Literature
Institution
Event
Feature
All Categories
1
…
(more)
134
135
136
137
(current)
138
(more)
471
sort by relevancy (down)
Sort by Alphabeth (up)
sort by date (up)
sort by category (up)
Dancing with the Virtual Dervish
1995
-
1995
... Dervish provides interaction and chance p
arti
cipation between
arti
sts and public. A dancer in goggles and gloves interacts with...
The Shredder
1998
-
1998
Shred the Web! An Alternative web browser that turns web pages into digital confetti. At a time when the web browser struggled against print metaphors like magazine and newspapter to find it's own identity, The Shredder revealed the "soft" nature of
Night Canoeing
2004
In the video (plasma screen) and sound installation Night Canoeing, one sees a mysterious image of water, light and steam. Snippets of a river's edge reveal that you are in a boat, part of a journey on a river at night. As both film and sound
House Fire
2001
Cardiff and Miller have been working collaboratively and individually for two decades. Together the pair achieved international renown with their collaborative works The Dark Pool (1995/96) and Muriel Lake Incident (1999). House Fire is a four and
Muriel Lake Incident
1999
Janet Cardiff & George Bures Miller developed in "The Muriel Lake Incident" (1999) a miniature movie theater, in which a maximum of 3 person can have a look inside. The image and sound illussion is made perfect and has the effect that the viewer
To Touch
1993
It seems that a simple wooden table is the only object in a smoothly lighted room. To touch - to finger, to contact, to handle. The common museum traditions, meaning that the viewer is a viewer from distance, are turned around. The art pieces starts
Digital Landfill
1998
-
1998
...An neverending archive of digital trash. The
arti
st has created an interface, in which the User can copy files from his computer or foreign...
p-Soup
2001
-
2001
"p-Soup", a multiuser piece, uses algorithms to generate graphical events on screen whenever a visitor to the piece clicks within the art-work. There are nine graphical "flavors" that the visitor can choose from, but there are endless possibilities
Ripple
1995
-
1995
"p-Soup" and the forerunner "Ripple" are more formal graphic approaches to the Internet and the computer, using the possibilities of the Internet as an interactive shared space for creating aesthetic experience. (source:
The Paradise Institute
2001
... scarily captivating 13-minute multimedia experience. But the
arti
sts' mind-boggling interweaving of visual and aural systems...
1
…
(more)
134
135
136
137
(current)
138
(more)
471