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OP_ERA: Haptic Interface
2004
OP_ERA ist an immersive and interactive interface designed for multisensorial experimentation of
spa
ce concepts. Conceived a
s a
virtual reality environment, this project focuses on re
sea
rch and development of scientific and artistic models of
spa
ce,
Endpiece #79
1990
28. Endpiece, #79, 1990 Open: 6" by 20" Pen plotted drawing. The limited edition of 125 copies, bound in leather, was pulled by hand at the St. Sebastian Press in Minneapolis in 1990. Each copy has original, "one of a kind", tipped in front
Laura Netz
Laura Netz (Barcelona, 1982). Curator, artist, and re
sea
rcher. Currently, she i
s a
n MPhil student at CRiSAP – UAL, where studies the new tendencies in curatorial practices in sonic arts. In 2006, she graduated in Art History (University of
Proxy-Distributed Computation
1996
-
1997
The Tangible Bits platforms make complex use of physical object
s a
nd surfaces monitored by a range of sensors, augmented by a variety of graphical and ambient displays, and linked by a diverse combination of networked computers.
Third Person
2006
-
2006
Third Person is the second piece of the
Sha
dowBox series of interactive displays with a built-in computerized tracking system. This piece shows the viewer's
sha
dow revealing hundreds of tiny words that are in fact all the verbs of the dictionary
PUBLIC DOMAIN
2008
-
2008
The above image show
s A
mber
Sta
nza...it cannot be used reproduced in any form without written consent. Public Domain by
Sta
nza Click on image to enter online labyrinth where live CCTV data gets updates in real time across the network to make the
roots
2005
-
2006
roots, 2005-2006 Glas
sta
nk, water, ironsulfate, copperwires, platinum, computer, sound system The sculpture works in a cyclic way. Two thirds of the cycle it i
s a
ctive: a cry
sta
l object is growing and stretching in
spa
ce. This can be
spectra [for Terminal 5 JFK]
2004
-
2004
The luminal tunnel of Eero
Saa
rinen's TWA Terminal at JFK International Airport wa
s a
lways the perfect symbolic experience of the future. With its plunging vanishing point and
soa
ring roofline,
Saa
rinen's theatrical pa
ssa
ge embodied, if not created,
spectraII
2002
-
2006
The in
sta
llation relies on the intersection of sound and architecture and continues Ikeda's interest in phenomena - be they light, tone or sound - and how they materialise and manifest themselves in the world. The piece is built a
s a
narrow,
Elevator's Music
2007
-
2007
The site-specific in
sta
llation “Elevator’s Music”, visits the topic of synthetic creatures becoming sentient. What if centuries from now, we had the technology to make any machine self-aware? In this di
sta
nt future, if an elevator could be
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