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Agieren im Zwischenraum - Gedanken zu einer Ethik der hybriden Identität / Acting in the Interstices - Thoughts on an Ethic of Hybrid Identity
2005
Puff, Melanie. Agieren im Zwischenraum - Gedanken zu einer Ethik der hybriden Identität / Acting in the Interstices - Thoughts on an Ethic of Hybrid Identity In Ars Electronica 2005: Hybrid. Living in Paradox, edited by Gerfried Stocker and
William Kentridge
2009
-
2009
South African artist William Kentridge has garnered international fame and admiration for performance, sculpture, drawings, and work in many other media, but his most indelible contribution is in animated film. Kentridge makes large-
sca
le charcoal
William Kentridge
1999
-
1999
The ensemble, this catalogue and the exhibition document the rich production of work by William Kentridge (Johannesburg, 1955), and especially show that each one of hi
s a
ctivitie
s a
re a way of returning to the act of drawing, an act the artist has
One-person Touchscreen Cinema Showing 14 Interactive Movies
2002
-
2002
This collection of experimental interactive movies, made by the artist over several years, shows live-action works in which the vi
sua
l metaphors for interaction are inherent in the filmic material. Because the movie
s a
re conceived from a vi
sua
l
Room of One`s Own
1990
-
1993
ROOM OF ONE'S OWN (1993) forces the viewers eyes to become immersed into the actual
spa
ce of a tiny articulated interactive electronic peep show. A
sta
inless steel box placed at eye level with movable periscopic viewing device bridges the
Remote Furniture
2000
Two rocking chair
s a
re in
sta
lled on the floor facing each other.The audience sees no interactions between chairs. The interaction is triggered when two people from the audience sit in the chair
s a
nd rock. Each chair ha
s a
sensor and motor.These
Liquid_Eden: The Discreet Paradise of Networks
2005
-
2005
Liquid Eden i
s a
java-based Web project that vi
sua
lizes the collective mark of networked communication. Gardens have both a symbolic and personal relevance to the project. A
s a
frequent subject of land
sca
pe painting, they have been used to
Trans-E: My Body, My Blood
1997
video
In TRANS-E digital technologies provide us with an electronic ritual. Bodies connected by interfaces dialogue with computer electronic memorie
s a
nd can experience "virtual hallucinations" in real time. These "hallucinations" are managed by
Ouroboros
2002
video
Environments: Memories, Serpentarium, Village, Terrarium By penetrating in OUROBOROS PLACES we experience the poetic existence in meme
sca
pes, inhabiting within artificial land
sca
pes no longer made of earth, but of memory units. Interface
s a
nd
Naked Bandit
2004
Knowbotic Re
sea
rch investigates in the context of the "war of terror" legal frameworks which inscribe and determine in mostly invisible layers our public fields of action. KR directs the attention away from the dominant layer of represen-tation
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