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  • Introduction to Interactive Art
    Sakane, Itsuo. Introduction to Interactive Art In Wonderland of Science-Art (Comittee for Kanawaga International Art and Science Exhibition), , 3. Kanagawa, Japan: 1989.
  • Durch Interaktive Kunst zur Selbsterkenntnis
    Sakane, Itsuo. Durch Interaktive Kunst zur Selbsterkenntnis In Künstliche Spiele, edited by Florian Rötzer and Stefan Iglhaut and Georg Hartwagner, 93. München: Boer Verlag, 1993.
  • HAZE Express
    Sommerer, Christa and Laurent Mignonneau. HAZE Express In The Interaction’99, edited by Itsuo SakaneGifu, Japan: IAMAS Academy and Softopia, Japan, 1999.
  • Liquid Views
    Fleischmann, Monika and Wolfgang Strauss and Christian Bohn. Liquid Views In Interaction ´97, edited by I. SakaneGifu: Ogaki, 1997.
  • Liquid Views - Touch as Vision
    Fleischmann, Monika and Wolfgang Strauss and Christian A. Bohn. Liquid Views - Touch as Vision In Interaction, IAMAS International Academy of Media Arts and Science, Ogaki, Japan, edited by Itsuo SakaneGifu, Japan: 1997.
  • Interactive Plant Growing and A-Volve
    Sommerer, Christa and Laurent Mignonneau. Interactive Plant Growing and A-Volve In The Interaction ´95, edited by Itsuo SakaneGifu: IAMAS Academy and Softopia, 1995.
  • The Adding Machine -
    Live Theatre Meets Virtual Reality On April 18, 1995 the University Theatre of the University of Kansas brought live theatre to cyberspace through the use of "virtual reality" in a fully mounted theatrical production. Audiences were invited
  • SonoMorphis - video
    An organic object is projected in front of the visitors. By means of a control mechanism the user can rotate the object in all directions and observe it from various perspectives. Control sliders allow the viewer to vary diverse parameters of the
  • All you can see -
    With common video formats, almost 17 million different colours can theoretically be represented on the screen today. If these are shown all at once, a condensation in pure white is generated in the digital picture production. Translated into a
  • Sono reMorphed video
    As one of the installation's aesthetic goals is the bodily impression of the generated object on the user, a sound synthesis technique was in demand, that is able to both render a visible object's genuine sound thru all its user-inferred alterations
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