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Between 0 and 1: Numerical Dream or the Generative Transformation of Virtual Space (1988) "Between Zero and One" is created by changing the numerical values of geometric shapes such as a cube. This process generates an infinite variety of

The ‘Touch’ project aims to transform the general perception of a media façade, in this case the Dexia Tower, from a marketing and corporate image device towards an urban light art work. The challenge lies in the design of participation and

Tele-Touch explores the notion of human touch and telepresence in a computer networked environment. It consists of a jacket equipped with wireless touch output devices that allow the person wearing the jacket to be touched by visitors to the

LIQUID VIEWS (1992) - TOUCHING THE VIRTUAL SELF Liquid Views explores the concept of self-reflection in a digital pool. Like Narcissus gazing into the water, visitors see themselves, creating ripples with their touch. But here's the twist: the

BERLIN-CYBER CITY - VIRTUAL WALKS THROUGH REUNITED BERLIN (1989–90) Berlin-Cyber City was created in response to the fall of the Berlin Wall on November 9, 1989. The work reveals the historical upheaval through virtual walks and initiates a

New Transmediale director Kristoffer Gansing censors "offensive AR art." The 2012 Transmediale stood under the theme "in/compatible," celebrating 25 years of art interventions and proclaiming in the curatorial statement that: "Contrary to the fear

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

Unsorted cipher absorbed in copiousness.

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).

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.