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Packet Garden captures information about how you use the internet and uses this stored information to grow a private world you can later explore. To do this, Packet Garden takes note of all the servers you visit, their geographical location and

Generative festival identity for the V&A's new landmark show Decode: Digital Design Sensations. The project is fully open source and include public comptetition to recode the original identity. Commissioned by: Victoria and Albert Museum, London

Satellite Contact is a two-screen video portrait of the British National Archives (formerly known as the Public Records Office). Satellite Contact never touches the ground: it takes the viewer on an hour-long roller-coaster ride through the guts of

In 2009 we began a project with the British Antarctic Survey to explore how the data it derives from its research in the Southern Ocean could be redeployed in public forms. The project builds out from the conceptual themes achieved in our previous

GWEI - Google Will Eat Itself by UBERMORGEN.COM feat. Alessandro Ludovico vs. Paolo Cirio Net.Art, digital Actionism / Media Hacking, mixed Media, 2005 We generate money by serving Google text advertisments on our Websites. With this

Rafael Lozano-Hemmer "Zero Noon", 2013 computer, processing software, square HD display, electronic, metal enclosure 17 x 17 x 4" edition of 12 "Zero Noon" is a digital clock that shows the current time according to eccentric metrics: it uses

Public Art commission consisting of four panels with landscape images modelled with a landscape modelling software. Commissioned by Edmonton Arts Council, Edmonton, Canada, for the newly built Firestation No.5. Completed 2010 The top view images

A revolutionary Poetry Book, programmed in Web Based VRML and conceived for immersion. Texts translated from "Vite de la Banane", available at the New York Public Library, and the urbana Champaign Library of Illinois. Read by the author. The

Two concepts have marked 21st century creation, the metaphysical consequence of which is obvious to everyone, despite their apparent differences. The first is the idea that it is the spectator who creates the picture and the second is that the

The relationship between the work and its frame and between art and its spaces for exhibition and legitimisation has been one of the preoccupations of twentieth-century artists. In the multiple conceptual acrobatics which led Klein to exhibit