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  • Segura, Jean. Un jardin extraordinaire Science et Vie Micro , no. 115 (April 1994).
  • Fischnaller, Franz. Tracking the Net In Ars Electronica ´99: Life Science, , 348-349. : Vienna and New York, 1999.
  • Jones, Caroline A. ;Galison, Peter Louis, ed. Picturing Science, Producing Art. London: Routledge, 1998.
  • Studied mathematics in Stuttgart (Dr.rer.nat. 1967); postdoctoral fellow at Department of computer science, University of Toronto (1968/69); assistant professor computer science, University of B.C., Vancouver (1970-72); professor for computer
  • Chris O’Shea is an artist and experience designer. He creates installations that playfully challenge our perception of spaces and objects. He has been commissioned by BBC Big Screen, Design Museum and Science Gallery, Dublin, and has collaborated
  • Simon Penny is an Australian practitioner in the fields of Digital Cultural Practices, Embodied Interaction and Interactive Art. His practice has included artistic practice, technical research, theoretical writing, pedagogy and institution building.
  • Latour, Bruno and Peter Weibel, ed. Iconoclash: Beyond the Image Wars in Science, Religion, and Art. Cambridge, MA: MIT Press, 2002.
  • Donath, Judith. Mediated Faces In Cognitive Technology: Instruments of Mind. Lecutre Notes in Computer Science. 4th International Conference, edited by Meurig ; Nehaniv,C. L. ; Dautenhahn BeynonVol.2117. , 373-390. Coventry, UK: 2001.
  • Frankel, Felice. Envisioning Science: the Design and the Craft of the Science Image. Cambridge, MASS: The MIT Press, 2004.
  • PLANCTON was founded in the 1994 by a group of three artists (Annunziato, Pierucci and Gemma de Julio) and started the activities with a series of artworks and experiments on expressive languages based on the fusion of different media (video, music,