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  • Gessner, Ingrid. From Sites of Memory to Cybersights: (Re)Framing Japanese American Experiences. Heidelberg: Winter, 2007.
  • cyberSM -
    The cyberSM project was an attempt to create a real time, visual, auditory, and tactile communication in the world of cyberspace. In the first cyberSM experiment, the user began to experience what others have only talked about for years: live,
  • interskin -
    Whereas the first cyberSM project used a visual interface to influence and control the remote environment, the functionality of the third generation suits shifts the emphasis away from the computerscreen as mediator to the body itself. In the
  • Bühl, Achim. Cybersociety. Mythos und Realität der Informationsgesellschaft. Köln: Papyrossa Verlagsgesellschaft, 1996.
  • eural is a printed magazine established in 1993 dealing with new media art, electronic music and hacktivism. It was founded by Alessandro Ludovico and Minus Habens Records label owner Ivan Iusco in Bari (Italy). In its first issue (distributed in
  • MacKinnon, Richard C.. Searching for the Leviathan in the Usenet In Cybersociety: Computer-Mediated Comunication and Community, edited by Steven G. Jones, 112-137. Thousand Oaks: SAGE Publications, 1994.
  • Djehan Kidd is an "immersive" artist & pionneer of the metaverse, she is based in France and Venice in Italy. She creates the largest and longest running futuristic city in the metaverse since 2007 as part of the mission of the cultural non profit
  • Ming Turner. Ming Turner, “Visualizing post-human and cybersexuality : Lin Pey- Chwen and the Eve Clone series" , East Asian Journal of Popular Culture Vol.2 , No. 2, 2016, page 227-245 “Visualizing post-human and cybersexuality : Lin Pey- Chwen and
  • VIRTUAL BALANCE: LOOKING WITH THE FEET 1994 Understanding interactivity in cyberspace as a seamless experience rather than a clickable one, Virtual Balance borrows from the myth of the magic carpet to move through data. The magic carpet, popularized
  • The Adding Machine -
    Live Theatre Meets Virtual Reality On April 18, 1995 the University Theatre of the University of Kansas brought live theatre to cyberspace through the use of "virtual reality" in a fully mounted theatrical production. Audiences were invited