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  • Immersion and Interaction. From circular frescoes to interactive image spaces”.
    Grau, Oliver. Immersion and Interaction. From circular frescoes to interactive image spaces”. [].
  • Ryota Matsumoto
    Ryota Matsumoto (松本良多) is an artist, writer, and architect based in New York and Tokyo. Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at
  • Metabodies
    This project investigates the unexpected diversity to be found on the human ecosystem and its 'social network'; this, by focusing on the language of billions of bacteria, which populate it. Sonja Bäumel tested two subjects each of them left hand
  • Feeding Consciousness -
    Feeding Consciousness takes inspiration from the fabled tower of Babel, when a united and ambitious people having attempted to reach for the stars, were confounded by God, their previously common language made incoherent, forcing them to scatter
  • Camerin Obscura -
    *Camerin Obscura* is a hand made Camera Obscura - an ancient tool for visualization - that integrates a basic artificial vision system and a sound server looking for an unusual experience integrating image, audio and computation. From a cultural
  • RESET III and VIRTUAL REALITY -
    With Virtual Reality (VR) a fundamental change is taking place in the digital age. Through the VR glasses people enter a new world instead of only looking at it on a flat screen. The human pursuit of immersion already demonstrated within the
  • Translation, du récit numérique
    Chatonsky, Gregory. Translation, du récit numérique Journal de Fresnoy, Studio National d´ Arts Contemporains (2004).
  • 0.7 OPEN ART
    Event: 0.7 OPEN ARTInstitution: Le Fresnoy, Studio National des Arts ContemporainsComment:
  • Le Fresnoy
  • Architecture scénographies interactives -
    Dans les projets de conception d’exposition, je m’efforce de considérer la scénographie comme une composante significative du message véhiculé par le projet muséographique. Nous sommes en effet passés d’une époque où le muséographe avait
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