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... a situation(changes in the environment, the observers activity, information from Internet, communication with other art works, feeedback on the systems own transformations). The images are narrations, dreams, hallucinations, events which ramifies,...

...Vid-A-Feeba is a play with a chaotic process applied to the generation of artistic images and sounds. The images follow the iterated evolution typical of chaotic systems showing quick change in the visual patterns depending on the bifurcation points. The sound is...

... the top center of the screen. The observer has freedom to move around the room and several observers can interact with the artwork. The images coming from the video-camera are sent to a computer and elaborated by a program which is able to analyze the...

"Tao-interazione" is based on the dynamical interaction between the observer and a multivision system, in which counteracting couples of images and musical compositions are presented. The observer-listener could navigate by walking on the

... on three dimensional computational geometry of the sort normally used in computer animation or computer aided design. The artist called the generic simulated flocking creatures boids. The basic flocking model consists of three simple steering behaviors...

...On Justifying the Hypothetical Nature of Art and the Non-Identicality within the Object WorldArtist: Peter WeibelComment:

...Die Wand, der Vorhang (Grenze, die) fachsprachlich auch: LascauxArtist: Peter WeibelComment:

... (body language), we can say that the body does not lie even while the mind does. Considering this phenomenon, the artist proposed a means of "touching the heart" in a somewhat Japanese way by measuring the heartbeat of the "honest" body and using...

... made of sand - the first such system in the world! The image on the screen varies depending on the temperature of the participant, thus it has the effect of biofeedback. This system can be called a future image creation system which has a capability of...

... and fear. The work also allowed viewers to make music to communicate particular emotions” (Stephen Wilson, Information Arts. Intersections of Art, Science, and Technology, Cambridge/Mass.: MIT Press 2002, pp. 795-796).