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VIRTUAL BALANCE: LOOKING WITH THE FEET 1994 Understanding interactivity in cyberspace as a seamless experience rather than a clickable one, Virtual Balance borrows from the myth of the magic carpet to move through data. The magic carpet, popularized

Traces is a project for networked CAVEs (immersive VR spaces). But it is very different in its goals and its nature from any other CAVE or VR project (to the knowledge of the author). The root of the project is a long standing concern over the

Wild is an interactive virtual sculpture. The structure of the sculpture depends on the movement of objects within the local environment of the work. A video camera pointed at the viewers of the work and the local environment sends digitised

Abstraction Machine / Erotic - The Voyeur of Light (1994) was a site specific installation in a hotel room, Room 33 Gallery, Regent's Court Hotel, Sydney, Australia. The security viewer was inverted so that visitors could view into the room. A

The White Room is a metaphor that illustrates the Brazilian atmosphere face to the constant changes in the domestic economy. Moreover, it points to the delicate balance between North and South ­- in terms of world geography -- after globalization.

Resonance of 4 (1994) is a collaborative music-creation artwork consisting of four adjacent stations, each comprised of a small podium bearing a computer mouse, a 16-by-16 grid projected onto the floor from a video projector above, and a cursor

Gallery based distributed interactive digital video projection environment Multiple rooms, each approximately 12 x 10 x 6 metres 4 large scale projections, black and white and colour, multi-channel interactive sound Produced by The Film and

In "Dislocative Sculptures," Goethe-Institut Second Life Artist in Residence Tamiko Thiel and the United|Dislokations|Kartell (U|D|K) used the unique physics of building in Second Life to create a sculpture that could exist nowhere else. Cyberspace:

What is the condition of the art object in the age of networking and telematics? The piece entitled Dialogical Drawing, 1994, by Eduardo Kac, addresses this question by presenting two identical objects simultaneously at two distinct exhibition