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  • Back to Back -
    Two people, watching Blind Love Ready Made are sitting, earphones on, in front of their show, generated abstract shapes moving at the rythm of an invisible couple orgasmic vocalizations. This solitary pleasure is only disturbed by the fact to
  • Dildomatic Opera -
    Discovering the secrets of nostalgic "circuit bending" it seems that here the drive immediately sadistic turns of its true purpose. The crushing nature of games against child trying to convert sounds, notes and voice stuttering, screaming,
  • Event: Patterns+Pleasure: Handmade Music sessionInstitution: STEIMComment:
  • Neuro Baby -
    “Neuro Baby, one of her [Naoko Tosa's] best-known installations, uses sophisticated neural-network programming to create a computer graphic entity that responds to the emotional tones of voices. The baby responds appropriately with crying or cooing
  • .. "Ideally by using these technologies, art should see through them and unveil this imperative role in our society. When it is aesthetically pleasing, the truth doesn’t hurt so much" ..
  • Documentary
  • An Explicit Volume -
    An Explicit Volume is an interactive installation comprising nine books arranged in a three by three grid. Each book is operated by an electronic page turner. The project is sited in a darkened space where four red vinyl chairs are arranged facing
  • Nemo, the robotic fish, is swimming imperturbably in the screen, which is his fish tank as well. The robotic cat is sitting in front of the screen and he is watching it as he was looking at a real fish swimming in a real tank. Time to time he
  • Huhtamo, Erkki. Peristrephic Pleasures, or the Origins of the Moving Panorama In Allegories of Communication: Intermedial Concerns from Cinema to the Digital, edited by Jan Olsson and John Fullerton, 215-248. Rome: John Libbey, 2004.
  • Huhtamo, Erkki. The Pleasures of the Peephole: An Archaeological Exploration of Peep Media In Book of Imaginary Media: Excavating the Dream of the Ultimate Communication Medium, edited by Eric Kluitenberg, 74-155. Rotterdam: NAi, 2006.