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  • MacMahan, Alison. Architecture of the Mind. The Work of Jeffrey Shaw Archis. Architecture-City-Visual Culture 6 (2000): 38-43.
  • PLANCTON was founded in the 1994 by a group of three artists (Annunziato, Pierucci and Gemma de Julio) and started the activities with a series of artworks and experiments on expressive languages based on the fusion of different media (video, music,
  • Heir of cybernetic art, artist and programmer, Antoine Schmitt uses programming as a material to produce installations, CD-ROMs, online exhibitions, and performances in which he confronts the public or performers with autonomous abstract dynamic
  • Napier, JoAnn and Denise Shortt and Emma Smith. Culture: Char Davies, Virtual Artist In Technology with Curves: Women Reshaping the Digital Landscape, Toronto, Ontario: Harper Colllins Ltd, 2000.
  • Pesce, Mark. The Playful World: How Technology Is Transforming Our Imagination. New York: Ballantine Books, 2000.
  • Pesce, Mark. Cathedrals of Light In The Playful World: How Technology is Transforming Our Imagination, edited by Mark Pesce, 248-255; 267. New York: Ballentine Books, 2000.
  • Penny, Simon. 2000 Years of Virtual Reality In Through the Looking Glass, edited by Janine Cirincione and Brian D´AmatoNew York: Jack Tilton Gallery, NY, 1993.
  • Andrea Polli is an artist working at the intersection of art, science and technology whose practice includes media installation, public interventions, curating and directing art and community projects and writing. She has been creating media and
  • Schulze, Holger. Das aleatorische Spiel. Erkundung und Anwendung der nichtintentionalen Werkgenese im 20. Jahrhundert. München, DE: Wilhelm Fink Verlag, 2000.
  • Sondereggerer, Ruth. Für eine Ästhetik des Spiels. Frankfurt/Main: Suhrkamp Verlag, 2000.