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This work extends the tradition of panorama painting, photography and cinematography in the vector of simulation and virtual reality. The viewer can interactively rotate a projected image around a circular screen and so explore a virtual

The projection environment of PLACE consists of a cylindrical projection screen and a rotating platform in the center that carries a wide-angle three-projector system fed by an SGI-Onyx computer. The distortion caused by the projection onto the

What would life be like if it were made from computer algorithms rather than flesh and blood? Artificial Life is the name given to the simulation of natural forms and processes using materials other than those found in nature. It is not so much a

The first interactive moviemap was produced at MIT in the late 1970s of Aspen, Colorado. A gyroscopic stabilizer with 16mm stop-frame cameras was mounted on top of a camera car and a fifth wheel with an encoder triggered the cameras every 10 feet.

Be Now Here is an installation about landscape and public places. Visitors gain a strong sense of place by wearing 3-D glasses and stepping into an immersive virtual environment. The imagery is of public plazas on the UNESCO World Heritage

For more than 10 years, Matt Mullican has been continuously developing a sign system which is, on the one hand, a product of his imagination, and on the other, taken directly from everyday life. Signs as they can be found in airports, train

... written by Dirk Groeneveld, are conceived as...

Art Impact, Collective Retinal Memory includes several parallel subject matters. The exposition La Beauté en Avignon ('Beauty in Avignon') constitutes the work’s material. The public online or in the Pompidou Centre can actually see some

Ceci n'est pas un oiseau is a projection installation comprising a specially built animation projector and a system of four automated semi-transparent screens. The projector projects a looped series of images of a cockatoo in flight onto the four

Although much work has been done in the field of screen-based interactive art, the mode of interaction in these works is confined by the very existence of image material on a screen, the so called "graphical user interface". I am particularly