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Re]Activating Mamá Pina's Cookbook
2017
Aceves Sepulveda, Gabriela. Re]Activating Mamá Pina's Cookbook Feminist Media Histories 3, no. 3 (2017): 159-166.
Re]Activating Mamá Pina's Cookbook
2017
Aceves Sepulveda, Gabriela. Re]Activating Mamá Pina's Cookbook Feminist Media Histories 3, no. 3 (2017): 159-166.
Mari Velonaki
Mari Velonaki has worked as an artist and researcher in the field of interactive installation art since 1995. Velonaki has created interactive installations that incorporate movement, speech, touch, breath, electrostatic charge, artificial vision
rePLACEd in EVE
1998
The projection environment of PLACE consists of a cylindrical projection screen and a rotating platform in the center that carries a wide-angle three-projector system fed by an SGI-Onyx computer. The distortion caused by the projection onto the
Panspermia
1990
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1990
Panspermia is the name for the theory that life exists and is distributed throughout the universe in the form of germs or spores. This piece places the viewer in the middle of a virtual world of an aggressively reproducing inter-galactic life
Acoustic Chase
This immersive audio environment explores how humans react to commands imposed by a machine generating its acoustic stimuli on the basis of tracked body movement. In this environment, different states of human and machine action are understood as a
AirBoard
1997
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2001
a board ride on the air Air Board is a sculptured board with jet engine and made for the purpose of hovering in the air. It is loaded with small turbojet engine and allows one person to stand on and hovers a few centimeters high above the ground
Magnet
1997
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1997
Interactive digital video projection environment 14 x 8 x 7 metres 2 large scale video projections, black and white, multi-channel interactive sound In collaboration with Stuart Jones (sound) Produced whilst Artist In Residence at the
Flying Crane
1996
Gallery view from outside. The artist's first robotic brush strokes were achieved in 1987. The strokes achieve spontaneous qualities using coded procedures. The software generates a brush form and requests a paint brush. The artist places a
Time Stratum III
1989
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1989
Toshio Iwai about Time Stratum III: "In this work, in order to achieve a greater scale of 3-dimensional effect, I used 3 acrylic domes to place hundreds of moving shapes. I used 4 computers, one for the real-time performance of music and sending the
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