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  • Künstliches Leben: Frankensteins Nachkommen
    Cantoni, Rejane and Maria Teresa Santoro. Künstliches Leben: Frankensteins Nachkommen Dichtung Digital (online) (2002).
  • Intelligent Environments: Bodyarchitecture and OP_ERA
    Nöth, Winfried, ed. Intelligent Environments: Bodyarchitecture and OP_ERA. Kassel: Kassel University Press, 2002.
  • Fora do corpo
    Cantoni, Rejane and Priscila Farias. Fora do corpo INTERLAB: labirintos do pensamento contemporâneo. (2002): 207.
  • Out of the Body: from where, to where and how
    Cantoni, Rejane and Priscila Farias. Out of the Body: from where, to where and how edited by Eero Tarasti and Richard LittlefieldImatra, Finland: International Semiotics Institute, Cultural Centre, 2000.
  • MUSEALL
    MUSEALL (prononcer « Musée All », nom alt. : ARTGATE… nom de code) Dispositif Educatif Muséographique Artistique Numérique et Documentaire (DEMAND) Aucun musée ne donne accès à la totalité des collections des autres Musées. Les petites municipalités
  • (in)human sciences -
    “(In)human Sciences” was made for the exhibition Neterotopia, curated by Daniele Balit and Pierre Mertens. During March 2006, my work was displayed in the advertising space of the website of the french newspaper Libération. The exhibition was also
  • Joe Cantrell
    Artist: Joe CantrellComment:
  • Things Spoken -
    Most people collect objects during their lives. These can be gifts, souvenirs, momentos, personal artifacts, found things, etc. Their significance for their 'collectors' are usually contextual and personal. This CD-ROM presents a
  • March -
    In his children's novel Haroun and the Sea of Stories, Salman Rushdie describes an Ocean of Streams of Story containing currents of narrative in fluid form, "weaving in and out of one another like a liquid tapestry of breathtaking complexity."
  • Trigger -
    "Part soft-core pornography, part political allegory and part Modernist play with media," Jordan Crandall's Trigger is a "sermon about masculinity, sex, surveillance, and violence." (Ken Johnson, The New York Times, 15 Nov 2002). "The work
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