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  • Young Dancer aged 14;3 -
    Young Dancer aged 14;3Artist: Sophie HedderwickComment:
  • circulation -
    circulation, 2010 MP4 Full HD y Flash (RSS Yahoo) The man: Vincent Charlebois The woman: Mélissa Gagné Production: Agence Topo para Geoweb Circulation elaborates a parallel between two lovers’ discourse and the flow of cars, because
  • make-A-move -
    "make-A-move," is an interactive installation involving two encased flat screens, digital animation, and physical computing. Two automated portraits - a female and a male subject photographed by the artist - react to the movements of passersby.
  • make-A-move - version2 -
    "make-A-move" is a site-specific, responsive, screen-based installation involving two encased flat screens, digital animation, software design, and physical interaction. Two automated portraits - a female and a male subject photographed by the
  • make-A-move
    Paule Mackrous. make-A-move Agence TOPO , no. 1 (NOBEMBER 2015): 1.
  • make-A-move
    Paule Mackrous. make-A-move Agence TOPO , no. 1 (NOBEMBER 2015): 1.
  • make-A-move
    Paule Mackrous. make-A-move Agence TOPO , no. 1 (NOBEMBER 2015): 1.
  • SECURITY IN OUR SOCIETY: WHAT REMAINS OF OUR PERSONAL FREEDOMS? -
    make-A-move is an interactive, video installation composed of two encased screens conceived for exhibition in public space. Two animated portraits - a female and a male - react to the movements of passersby and express passivity, suspicion,
  • Agencia, materialidad y documentación del arte de los medios
    Alsina, Pau and Vanina Hofman. Agencia, materialidad y documentación del arte de los medios ICONO14 12, no. 2 (2014): 56-69.
  • Arte pós-virtual: criação e agenciamento no tempo da Internetdas Coisas e da próxima natureza(Post virtual: art in the Internet of Things age
    Beiguelman, Giselle. Arte pós-virtual: criação e agenciamento no tempo da Internet das Coisas e da próxima natureza (Post virtual: art in the Internet of Things age In Cyber-Arte-Cultura: A trama das redes, edited by Fernando PessoaVol.7.
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