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  • Emoção Art.Ficial 3: interface cibernética
    org. Itaulab. Emoção Art.Ficial 3: interface cibernética Encarte: documentário em DVD.
  • ITCH
    The ITCH acronym stands for “Interactive Technology – Community Hacking”, and as such it tries to represent a wide artistic research project concerning with the impact of personal mobile technologies on social behavior, particularly in the public
  • ITCH. Individual Technology/Community Hacking
    Jihyun Kim and Andres Colubri. ITCH. Individual Technology/Community Hacking. Heidelberg: Kehrer, 2010.
  • ITCH. Individual Technology/Community Hacking
    Jihyun Kim and Andres Colubri. ITCH. Individual Technology/Community Hacking. Heidelberg: Kehrer, 2010.
  • VideoFest '94
    VideoFest in its seventh year, the year of that infamous „itch“ – which wasn’t the case luckily. The interconnections between video and television had become ever more important. The programme showed uncommon television productions and takes that,
  • VALUE OF VALUES ON THE BLOCKCHAIN video
    Value of Values (VoV) is a blockchain-based art project. It aims to find out the real, economic value of human values through EEG (Electroencephalography, and biofeedback). VoV is an extension to the acclaimed Brain Factory project. In both,
  • VALUE OF VALUES, BAUHAUS 100, MACERATA video
    WHEN TRANSACTIONAL AESTHETICS MEET NEURO-DESIGN ON THE BLOCKCHAIN Speculative Speculation on Values Value of Values (VoV) is a blockchain-based art project. It aims to find out the real, economic value of human values through EEG
  • Bonjour, Bonsoir, Adieu Tristesse
    Wegener, Claudia. Bonjour, Bonsoir, Adieu Tristesse Item magazine on line 2002.
  • Lorna - video
    LORNA 1979-1983 A.D. A.D. "A precondition to video is that it does not talk back. It absorbs, rather than reflects." Preliminary Notes, 1981 While video was like a reflection that did not talk back, interactive works were like a trick, two
  • Hyper Real -
    For her new series “Hyper Reality” Olga Kisseleva has photographed food items stolen by consumers in a supermarket and reconstructed them as still lives. Each photo allows one to paint a portrait. Olga Kisseleva’s historical references are situated
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