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  • O´Sullivan, Dan. Choosing Tools for Virtual Environments Leonardo 27, no. 4 (July/August 1994).
  • The landscape is not just the natural environment or its representation. It is in itself a cultural construct, subject to the codes and beliefs of those who have configured it, be it physically (determining its shape by the arrangement of gardens,
  • ... to expose the failures of western mapping projects. This work has...
  • Morpho Tower -
    Morpho Tower / Two Standing Spirals (2007) Sachiko Kodama Collaborator: Yasushi Miyajima (Sony CSL) “Morpho Towers--Two Standing Spirals” is an installation that consists of two ferrofluid sculptures that moves synthetically to music. The two
  • The Blackest Spot was a five-projector room-sized interactive installation that explored the representation of crowds and the myriad reasons for public gatherings. Animated imagery, ambient crowd sounds, and fragments from well known speeches
  • Exchange Fields (2000), commissioned by the Vision Ruhr Exhibition in Dortmund Germany, incorporates the recorded dance and choreography of Regina van Berkel. The programmer Gideon May also became involved in this project. The central question dealt
  • AutoGene initially entices viewers with a sense of familiarity, appearing as a simple commodity sculpture. However, this impression is rapidly dispelled - with the push of a button. The circular arrangement of the sculpture, paired with the dramatic
  • Universal Translator -
    Universal Translator is an interactive sound and video work focussed on the sound hardware of the human body. The interface for this work is a microphone with a micro video camera embedded in its head so that the camera looks directly at the
  • 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
  • And That’s The Way It Is is a collaboration between the University of Texas’s public art program Landmarks and The Office for Creative Research from the spring of 2012. Drawing on transcripts from the Cronkite archives held by the Briscoe Center and