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"Thinking about gesture in art, people usually refer to choreography. If the topic is related to IT, instead, usability becomes the issue. But, what about gesture in computer art? Does it mean natural interaction or is it just a matter of

sonja bäumel in collaboration with maurizio montalti (Officina Corpuscoli) mirko daneluzzo & tommaso casucci (Co-de-iT) Waag Society's Open Wetlab WASP self-initiated WORKSHOP AT THE WAAG SOCIETY AMSTERDAM Interactions between Biological and Digital

Timeline (2004) started out as a poem about getting old, for which I collected a small database of images found on the web which resonated with the lines from the poem. Interactively, the work is based on the device used in packages like Adobe

"In 1988, after completing the "Mobiles" series, Waliczky made a five minute computer animation which he called PICTURES. Based on a set of digitally manipulated snapshots from a family photo album, the work is like a slide show in virtual form:

Animation is an illusion of movement. Movement is based on space and time. SPACE. My work consists of several short animations. Every animation is based on only one photograph. Every photo contains several visual elements, and every photo creates

This was an improvisation performance with digital projections and live video, with script written by Esteban Ulrich. The software Moldeo was used to generate the real-time visuals, and I contributed with some of the programming. It took place at

In this collaboration with Israeli artist Romy Achituv, I implemented a data visualization of the books in the Garden Library for Refugees and Migrant Workers in South Tel-Aviv. This is an open?air library located in a public park, established to

The popular images of fantastic worlds where gratuitous pleasure is provided for every whim are not met by the often mundane experience of, for example, communicating on the internet, or the relative drudgery of complex computer programming. These

A 30 minutes long computer animation, based on a German folk-tale. The visual world of the animation is based on those of shadow-theater. Every virtual puppet, tree, flower or house are hand-drawn, scanned in and used as texture-maps on 2D polygonal

From the curatorial essay by Christina Oyawale and Karina Iskandarsjah: "In this age of instant information and global communication, a key component of the machinery that assembles our 'borderless' world is the global shipping industry. Every year,