Archive Search

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

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

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

The World wide Panoptikon increases global exposure. Is Big Watcher b[r]othering us? Should we be afraid of being seen or should we enjoy the World's transparency as a way of proclaiming everyone's difference? In Watch Out!

“Viewfinder” is a novel method for users to spatially situate, or “find the pose,” of their photographs, and then to view these photographs, along with others, as perfectly aligned overlays in a 3D world model such as Google Earth. Our objective is

Environmental Media Studies explored new ways of representing landscape and place. Moving Movie #1 (1977) was an inexpensive modest study made at MIT. I was obsessed with why movie cameras move and movie projectors don’t, and filmed the Boston

On a dark computerscreen the viewer sees a threedimensional sphere with a surface showing a closeup view of human skin. By lifting up the mouse and moving the ball underneath with the thumb the movement of the virtual object can be manipulated.

The work “Rara Avis” (1996) of Eduardo Kac consists of a large cage, in which thirty real birds (zebra finches) and a telerobot, which looks like a rare bird, take place. In the macaw’s eyes are installed two cameras with Charge-Coupled Devices

Eduardo Kac pioneered telepresence art in 1986, when he created his first wireless robot, a remote-controlled anthropomorphic figure through which human participants could engage in conversation. In 1989 Kac developed with Ed Bennett the telerobot

I first conceived the Telepresence Garment in 1995 to investigate the notion of the mediascape as an expanded cloth; i.e., to consider wireless networking as a new fabric that envelops the body. The Garment, which I finished in 1996, gives