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The Tangible Bits platforms make complex use of physical objects and 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.

In this fascinating piece the company worked in collaboration with the Computer Research Group of the School of Computer Science at Nottingham University, UK. The piece was one of the most complex and powerful responses to the first Gulf War

Can You See Me Now?draws upon the near ubiquity of handheld electronic devices in many developed countries. Blast Theory are fascinated by the penetration of the mobile phone into the hands of poorer users, rural users, teenagers and other

The installation 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 as a narrow,

"Shades of Absence: Outside Inside" places silhouettes of artists who have been threatened with arrest or physical violence into the closed curatorial space of the Giardini in Venice. Whether these artists are outsiders or insiders, known

Liverpool city has formalised sibling relationships with a number of other cities around the globe. These arrangements respond to similarities of culture, architecture or commerce and provide a sense of perspective, of a commonality that both

“Shades of Absence: Governing Bodies" Addresses artists who have been censored by - or due to threats by - high members of the U.S. government. Premiered in 2013 at "Manifest:AR," curator Joseph Hale, Corcoran Gallery of Art/Corcoran School of Art

TERRARIUM II net based installation explores in the physic space a ground with rocks and a topography where virtual serpents live. The space offers an immersive virtual reality networked environment which allows people to create and control

Sophie Taeuber-Arp's Vanishing Lines Myriam Thyes, 2015, animation, HD video, 10:10, loop, stereo. Sound: Silvia Pachler. In what is, prima facie, a mesh of abstract lines, no few of the works that Sophie Taeuber-Arp completed between 1940 and 1942

'Dark Matter' is a fully immersive, physically interactive, three-dimensional digital projection environment. The artwork explores whether the body might be perceived as an absence, inferred from the physical and cultural information around it. In