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Smoke Screen Cipher, The Trap Interiors series
2009
-
2013
Unsorted cipher absorbed in copiousness.
Turnstile II
1998
video
Turnstile II creates a virtual gateway where an endless realm of content is generated by the live culling of network objects from HTML pages, live chat and email archives. Through a familiar interface of a typewriter printing characters onto the
netomat
1999
video
netomat is a web browser that takes visitors for a ride into an unexplored internet. Unlike traditional web browsers, which retrieve only predefined web content and rely on the model of the page, netomat engages a different internet -- one that is
Zeitblut (blood of time)
1972
-
1979
Statement of the artist Peter Weibel: "I am holding a speech about the end of time. At the same time blood runs out of my arm into a glas canvas, which covers the whole tv-screen ( the camera is located behind the glas canvas and remains static).
Weltwürfel (world cube)
1993
When a visitor steps on one of the 32 sensors on the floor, a screen in front of her shows one of four little digital worlds, that are partly controllable by the viewer. Hypothetical creatures, autonomous and life-like, live in these worlds.
Arabesque
2007
video
With "Arabesque" I have concerned myself not only with the sculpting of three dimensions but also with a fourth, the dimension of time. I have endeavored to create a sculpture that evolves transforms and even regresses. An artwork that falls
Instant Places
2002
Instant Places is a software fiction that creates a networked formed ad hoc to connect dispersed data places. These data places can stretch over multiple computers and also multiple network systems. They are not bound by geography, time and space.
the tangible image
1991
Peter Weibel is considered to be one of the poineers of interactive, computerbased installations. In this work from the early nineties, the participants are being filmed upon entering a room. They see "their" film on a large screen while there is a
(Another) Point of view
2003
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2003
Two video projections are confronted on the same screen. The first shows the bodies of African dancers in exultant movements, gradually moving into a trance. The other presents the State’s armed forces: the worrying and repressive face of the
Doors
2004
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2007
Two worlds that everything keeps apart are brought together on opposite sides of the same screen. In a narrow street in an Afghan village, men are drinking tea and reading texts. A door is in the centre, opening onto another door in the image on the
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