Archive Search

This installation entitled There's no simulation like home is the culmination of artistic telematic research since 1992. The exterior of the installation resembles the back of a plasterboard stage set, or as if the bricks of a house had been

MURMURING FIELDS – WALK-IN SOUND SPACE 1997–1999 As part of the EU funded eRENA Project (Electronic Arenas for Art, Culture Entertainment), Fleischmann und Strauss and the MARS lab created Murmuring Fields (1997-99), a sequel to Home of the Brain,

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

In this installation, an interactive format similar to FOURSPACE (1991) has been developed in a different aesthetic direction. The game as a primary modality of interactivity is chosen as the functional context for a strategy of communication

Inspired by Jules Vernes’ classic novel, Ars Electronica, voestalpine and Linz09 are going on a ‘round-the-world journey June 18 to September 7, 2009. “80+1 – A Trip Around the World” is an expedition across the face of our planet and into our

Memory Theater VR is an example of a virtual museum that embodies original architectural, interface and visualization strategies that converge the experience of real and virtual formations. The installation itself is set inside a cylindrical space,

A room was densely and completely filled with confetti that was being vigorously blown about by big fans. At one point a live elephant was brought into the room and the not realized intention (because the elephant had a cold) was to paint his belly

The Waterwalk was a 3-metre-high tetrahedron shaped balloon made from transparent (and sometimes coloured) plastic. A watertight zip allowed people to enter and be sealed inside. When this lightweight structure was inflated with air, one or more

Long lengths of polythene tubing were buried in the sand at a beach in the Camargue in France. This tubing was then slowly inflated so that it gradually rose up and erupted out of the sand.

Emergences of Continuous Forms was one of a series of performances and installations in this period which explored various methods of extending the cinematic image into the space of the viewers and of provoking the viewer's physical