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Inspired by the "Industrial Revolution" and the subsequent changes in human development brought about by that revolution. A path that has and will lead humanity to both heaven and hell. I wanted to try to capture the paradox of this duality by

Mirror_Piece is a mirror version of Marnix de Nijs’ previous work Physiognomic Scrutinizer. Equipped with biometric video analyzing software, the installation scans facial features and characteristics of anyone looking into its mirror, and compares

"Levels of Nothingness," 2009 Sept 17 - 21, 2009 The Guggenheim Museum, New York performance, installation dimensions variable Inspired by Vasily Kandinsky’s Yellow Sound (1912), Rafael Lozano-Hemmer created an installation where colors are

Interactive installation Emotion vending machine, music, internet The Emotion Vending Machine is the 12th act of an opus including 15 acts : the Mechanics of Emotions. The emotion vending machine is displayed like a vending machine for drinks

Sebastián Sánchez Zelada and Marcello Mercado Azimuth 77, 2006, Performance, 21 min. 26 sec., stereo 4:3 colour http://vimeo.com/59615529 This video is about a serie of performances that relates specific points in the tracking of Iridium-mobile

Palo Alto is Banz & Bowinkel’s second work dealing with the representation of a hypothetical virtual reality. Driven by the notion that the virtual world is not the sphere of simulated reality but rather its counterpart, the computer acts as an

The media art installation Multiverse by Paul Thomas and Kevin Raxworthy is based on research developed from Richard Feynman’s 1979 video lectures where his presentation of diagrams on the blackboard visualises the probability of photons reflecting

To make a hole, three dimensions are necessary. In the two-dimensions of the iconic thought experiment Flatland, organisms that sustain their existence through a digestive system characterized by two holes, would find themselves split in two along

video 13,16′ The recording of dynamic forms of magnetic fluids that are produced by invisible magnetic fields direct the experience of the material in relation to the immaterial. The ferrofluid structures, which are in reality only a few centimeters