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Run Motherfucker Run
2001
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2004
Run Motherfucker Run is an interactive installation whereby anyone in good physical condition may try his or her luck in a city of empty streets, disserted intersections, ominous alleyways and unexpected obstacles. When you take position on the
GPSFilm
2008
video
GPS Film is the first locative media narrative system to merge mobile and GPS technologies. A way to watch cinema based on the viewer’s location and movement, the original source code was released as an open source application. Now recognized as
iSee
2002
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2002
iSee is an application for web-browsers and PDAs that charts the locations of closed-circuit television (CCTV) surveillance cameras in urban environments. With iSee, users can find routes that avoid these cameras ("paths of least surveillance")
Chaser
2007
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2007
Chaser transforms the top windows of the Tyne Bridge Tower in Gateshead into a rapidly moving light circuit of intense colour. Visible across the river Tyne in Newcastle, Gateshead and beyond, the animation will continually ‘chase’ around the
Sacred Code
2003
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2003
"Sacred Code" is a rumination on three holy texts:The Old Testament, The New Testament and the Koran, as seen through a digital lens. In this new artwork, Napier has created algorithms that read these three books bit by bit, literally reading
Artic
2015
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2015
Event: ArticInstitution: Musée de la Chasse et de la NatureComment:
Adam et Ève chassés du virtuel
1994
Benayoun, M.. Adam et Ève chassés du virtuel www.benayoun.com.
Adam et Eve chassés du virtuel, réalités de la dimension interactive
1994
Event: Adam et Eve chassés du virtuel, réalités de la dimension interactiveInstitution: le Vivant et le Virtuel, Théâtre 95Comment:
Carré blanc sur fond blanc
1990
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1990
Deux pièces datant du début des années 1980, parmi les toutes premières œuvres de Maurice Benayoun, s’articulent autour de la thématique historique du Carré blanc fond blanc de Kazimir Malevitch. L’artiste n’a alors pas encore exploité le
Televirtual Chit Chat
1993
video
During Imagina '93 computer graphics installations in Monte Carlo and in Karlsruhe were connected by modem through a conventional telephone line. Facing large video screens, the two distant players each shared the same virtual image space.
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