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See No Evil
2021
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2021
SEE NO EVIL is a drawing and text work in the form of a diary. Through a randomizing algorithm, the artist’s fictitious autobiographical text is masked by her original pencil drawings. Twenty-one of these drawings trigger augmented reality
Drowning NYC
2010
video
This fiction informs the audience about rising sea levels due to global warming and how urban populations will cope with it. This experimental form of tactical transmedia fiction was told by actors and narrative devices staged over the Internet and
Digital Resistance: Explorations in Tactical Media
2001
CAE. Digital Resistance: Explorations in Tactical Media. New York: Autonomedia, 2001.
Interactivity and Computer-Based Tactical Media
Event: Interactivity and Computer-Based Tactical MediaInstitution: American Society For AestheticsComment:
Interactivity and Computer-Based Tactical Media
2015
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2015
Event: Interactivity and Computer-Based Tactical MediaInstitution: American Society For AestheticsComment:
Media Facades
2008
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2010
MYTHS AND POTENTIALS OF MEDIA ARCHITECTURE AND URBAN SCREENS Initiated by Mirjam Struppek & Susa Pop, Public Art Lab in cooperation with Media Architecture Group Vienna and the German Center for Architecture (DAZ) Urban Screenings: 16th Oct -
Tactical Media: New approaches to hybrid creativity
2015
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2015
Event: Tactical Media: New approaches to hybrid creativityInstitution: EUROPEAN SOCIETY FOR AESTHETICSComment:
Topical Tactics – Tactical Topics
2012
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2012
Event: Topical Tactics – Tactical TopicsInstitution: The Wrong BiennaleComment:
Where are you from?_Stories
2002
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2009
video
Where are you from?_Stories, 2002-2009, is a net-art piece supported by a one-year research grant from the Canada Council for the Arts. The videos for the net-art piece were selected from approximately 200 15-minute videos captured in special events
Random Rhetoric/Ars Electronica
2020
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2020
video
GARDEN CONCEPT In the context of the Regional STARTS Centers in Greece, the non-profit platform for social innovation projects MADE GROUP, with the support of the Athens Tech College and the Cultural Association of Archilochus of Paros, sets the
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