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  • REFLECTION
    Bend plexiglass, reflected light Dim: 100 x 200 x 60-80 cm 'An object by Ursula: a monochromatic shadowy image drawn on a white screen, on the floor or on the wall, by reflected light shining though deformed and corrugated plexiglass. This shadowy
  • Fields of Origin NEXT NATURE / juried poster exhibition, I -NODE of Planetary Collegium 2015 By Lila Moore Novel forms and ideas arise unexpectedly from unknown or previously unsuspected origin. Being new and full of mysterious possibilities, they
  • Charles A. Csuri is an artist and computer graphics pioneer and Professor, at The Ohio State University. He exhibited his paintings in New York City from 1955-1965. His early work is in the collections of Walter P. Chrysler, movie actor Jose Ferrer,
  • Ascott, Roy. The Cybernetic Stance: My process and Purpose. In Visual Art, Mathematics and Computers, edited by Roger F. Malina, 135-142. London: Pergamon Press, 1979.
  • Ascott, Roy. Behaviourist Art and the Cybernetic Vision In Multimedia. From Wagner to Virtual Reality, edited by Randall Packer and Ken Jordan, 104-120. New York, London: W. W. Norton and Company, 2002.
  • Ascott, Roy. Behaviorist Art and the Cybernetic Vision Cybernetica, Journal of the International Association for Cybernetics 9 (1966): 247-264.
  • Roy Ascott is one of the most important artists and theorists in the field of cybernetics and telematics. His work focuses on the impact of digital and telecommunications networks on consciousness. Since the 1960s, he has been a practitioner of
  • Heir of cybernetic art, artist and programmer, Antoine Schmitt uses programming as a material to produce installations, CD-ROMs, online exhibitions, and performances in which he confronts the public or performers with autonomous abstract dynamic
  • Birringer, Johannes. Virual Realities: Cybernetic Art in the Museum of the Future Tema Celeste , no. 36 (1992): 64-69.
  • Ascott, Roy. The Cybernetic Stance: My Process and Purpose Leonardo 1, no. 1 (1968): 105-112.