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  • Nastplas is an international Artists duo based in Madrid, Spain, formed in 2006 by illustrator Fran R. Learte 'drFranken' and creative director Natalia Molinos 'Na' (together 'Equipo Nastplas'). Our work combines an impressive range of digital
  • BICYCLE TV is a rider controlled real-time video tour of a scenic landscape in the Canadian countryside. This interactive installation consists of a 1950's style bicycle with a colour monitor (mounted in front of the bicycle facing the
  • Through a poetic approach, Kymapetra is a sonorous interactive artwork which pay a special attention to certain minerals and stones : their various forms are forged by time, broken, polished, composite or fossilized, each with a natural vibration
  • Alsos* Sound and interactive installation Alsos* is an interactive clearing. The spectator walks into a space plunged into darkness with a flash light in his hand. Mystic forest music immerses him in a strange universe. He discovers and explores
  • Matières sensibles (Sensitive matters) is a serie of sculptures made of very thin and delicate wood veneer sheets. Here the artists use ash wood. These sheets of wood have distinct sonorous touch zones that follow the natural veins of wood. The
  • Urban Lights contactsArtist: Gregory Lasserre & Anais met den Ancxt - ScenocosmeComment:
  • Scenocosme : Grégory Lasserre & Anaïs met den Ancxt. Hybrid & Sensory Interactive Artworks. _: Scenocosme : Grégory Lasserre & Anaïs met den Ancxt, 2014.
  • “Kryophone“ is a sonorous and luminous interactive sculpture made of ice. This interactive sculpture is composed with ice and reacts to the electrostatic touch of bodies. Sounds and light evolve according to the intensity of electrostatic contact.
  • Gregory Lasserre and Anais met den Ancxt are two artists who work together as a duo under the name Scenocosme (www.scenocosme.com). They live in France. They develop the concept of interactivity in their artworks by using multiple kind of
  • Lasserre, Grégory and Anaïs met den Ancxt. Scenocosme/Interactive Performances The Visual ARTBEAT , no. 8 (January-April 2012): 58-61.