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Infinite Line
2014
The Infinite Line proposes new modes of spectatorship in the performance of poetry. In the tradition of Oulipo, the ‘workshop of potential literature', this interactive installation gives visitors the opportunity to recombine the poetic ensemble of
Marchive
2014
The authors developed mARChive using the AVIE 360-degree stereoscopic interactive visualization environment. For this project they selected eighty thousand heterogeneous digital records of objects from Museum Victoria collections, out of a total
Capturing Memories
2014
Capturing MemoriesArtist: Emiliano ZucchiniComment:
Microswarm Patchwalk
2016
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2016
Microswarm PatchwalkArtist: Christina McPheeComment:
Dreams Rewired
2015
DREAMS REWIRED traces the desires and anxieties of today’s hyper-connected world back more than a hundred years, when telephone, film and television were new. As revolutionary then as contemporary social media is today, early electric media sparked
Kayak Libre
2010
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2011
Kayak Libre provides a temporary experimental infrastructure in the form of a kayak taxi service along the waterways. The fare is a conversation. (Scource: http://www.function-creep.com/kayaklibre/about/concept/)
Faceless
2002
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2008
The FACELESS Project interrogates the culture of surveillance by redeploying authentic CCTV images recorded in London, the most surveilled city on Earth. These images are heavily inscribed by laws relating to privacy and freedom of information, and
Smart City ABC
2016
SMART CITY ABC aims to decode a territory that has produced a specialist vocabulary, in order to promote acessibility to the debate. The vision of the ‘Smart City’ was introduced by some of the largest tech corporations to address population growth,
CODeDOC II exhibition
2003
CURATORIAL STATEMENT:Many of the prominent international practitioners in the field of software art could not participate in the first version of CODeDOC since the Whitney Museum is, by its mission, devoted to American artists (citizens and artists
SMART PANTHEON
2016
All kinds of people are using their smartphones. The displays don’t show any apps – only the sensual movements of the hands. Each pair of hands plays both roles from Michelangelo’s “Creation of Adam” at the Sistine Chapel: God the father and Adam,
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