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  • This installation was a singular contribution to the larger multimedia performance Cloud Theatre: Shanghai Odyssey, a confluence of projected images, videos, urban sounds and a dance theatre that took place in the large domed Shanghai Cement Plant
  • X-ray films, series (4) dim: no. 1: 155 x 116 cm, no. 2: 155 x 124 cm, no. 3: 145 x 124 cm, no. 4: 145 x 116 cm The installation Anatomical Transfigurations explores the effects of medical visualizations and mediation of the internal body upon the
  • Development of the eight cubic foot model of the IceCube Neutrino Observatory began as an optimization of an eariler model used by WIPAC for education and outreach. That version had one light per twenty DOMs represented in the IceCube array. One of
  • Laboratory Life (For Oryx and Crake) is a series of over-layered photographs taken at scientific laboratories in Europe ( the European Molecular Biology Laboratory (EMBL) in Rome, the Max Planck Institute in Dresden, and a biophysics lab at Imperial
  • Robertson-von Trotha, Caroline Y. and Jesús Muñoz Morcillo, ed. Öffentliche Wissenschaft und Neue Medien. Vol.1. ISBN 978-3-86644-844-5, Karlsruhe: KIT Scientific Publishing, 2012.
  • Fleischmann, Monika and Wolfgang Strauss. Verborgenes Wissen in Wissensnetzen, Medienkunst und Wissens(chafts)vermittlung In Öffentliche Wissenschaft und Neue Medien, edited by Caroline Y. Robertson-von Trotha and Jesús Muñoz MorcilloVol.1. ISBN
  • Hsin Hsin, Lin. Love @ 1st Byte. Singapore: World Scientific Pub., 1992.
  • Davenport, Glorianna. Your Own Virtual Storyworld Scientific American 283, no. 5 (2000): 79-82.
  • Penny, Simon. Why Do We Want Our Machines to Seem Alive? Scientific American, 150th anniversary issue (September 1995).
  • Penny, Simon. Living Machines Scientific American (September 1995).