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  • Mobility and freedom: affective cane for expanded sensorium and embodied cognition
    DOMINGUES, DIANA MARIA G and S FUNGHETTO and M MIRANDA and P. K. C. M BATISTA and P. R. F OLIVEIRA and G. A ASSIS and R TORRES. Mobility and freedom: affective cane for expanded sensorium and embodied cognition VSMM2017- The 23rd International
  • ABSTRACT SHOTS
    The ABSTRACT SHOTS are some of the outcomes of the BRAIN FACTORY that gave the exhibition spectators in Paris, Seoul, Brisbane and Hong Kong the possibility to become “brain-workers”. Using no hands and no words, they gave a shape to human
  • Control and Freedom: Power and Paranoia in the Age of Fiber Optics
    Kyong Chun, Wendy Hui. Control and Freedom: Power and Paranoia in the Age of Fiber Optics. Cambridge: MIT Press, 2006.
  • World Stage: United Kingdom
    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
  • Freefall, Arts Council England international artists fellowships 2001-2003
    Boredomresearch. Freefall, Arts Council England international artists fellowships 2001-2003. : Arts Council England, 2004.
  • Search for Simurgh
    Search for Simurgh is an immersive, interactive performance installation named for the Persian mythological bird akin to a Phoenix. In Search for Simurgh, the audience will move through a series of chambers as they take an active role in this
  • Miroslaw Rogalla
    "A central concept of my artworks is 'freedom of speech.' My understanding of freedom and democracy is not only "rights"and "privileges" ­ the traditional definition in the USA ­ but also of responsibilities. Interactive Media give audiences the
  • Sally Sheinman
    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
  • Ana Peraica
    independent scholar and freelance curator
  • Fruit Machine - video
    In this installation, an interactive format similar to FOURSPACE (1991) has been developed in a different aesthetic direction. The game as a primary modality of interactivity is chosen as the functional context for a strategy of communication
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