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Water Wheel(1985), a seven channel installation presented through a circle of monitors, incorporating material from The Water Catalogue Music by Bill Seaman In Water Wheel I was exploring fragments from the linear work The Water Catalogue. A

Duke Performances, Durham, 2018 - world premiere A bold new opera developed at Duke University that uses the high-drama framework of opera and advanced technology to explore ideas of apocalypse, renewal, and survival in the modern age. During each

The audience is elevated and observes the stage from a low angle, as in an anatomical theater where humans are enveloped by a swarm of inorganic beings. Graphical entities with their own behavioral code. A show for two dancers and digital particles,

Four Stories with a Twist is an algorithmically generated ‘music video’ with an original music score and script. The script is based on Albert Camus’ The Stranger and takes place in contemporary Paris. The music was written for a jazz ensemble and

The audience is elevated and observes the stage from a low angle, as in an anatomical theater where humans are enveloped by a swarm of inorganic beings. Graphical entities with their own behavioral code. A show for two dancers and digital particles,

Pulse Room is an interactive installation featuring one to three hundred clear incandescent light bulbs, 300 W each and hung from a cable at a height of three metres. The bulbs are uniformly distributed over the exhibition room, filling it

Presence is a three beam interactive video projection installation commissioned for the Art Machine II exhibition at the Maclellan Galleries, Glasgow. It is composed of three screens using high resolution video projectors and three computers with a

Digital video installation 2 monitors and 12 channel audio, colour, sound audio by Hans Peter Kuhn Golem was a two channel video installation where the two monitors were arranged like the pages of an open book. The imagery was derived from

Preliminary documentation of "Through the Vanishing Point" by David Rokeby and Lewis Kaye. The exhibition was presented at the University of Toronto’s McLuhan Program in Culture and Technology (commonly known as the Coach House) for the