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  • Eric in Orense v02 -
    Archival Digital Print, Sizes: 8”x10” and 13”x19” Pigment Inks on cotton rag substrate or Light Jet digital photo prints. (Also available larger custom sizes or NFT by special order) Date created: March 2001 (detail: horizontal crop) This is a
  • IGUAQUE -
    1998 05:30 min, color, stereo sound. The Muisca legend tells us that Bachué (Mother of humanity) came from the water, from a lagoon called Iguaque and after giving birth to humanity, she returned there. ... The reverie produced by water and the
  • Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical works combining telerobotics and living
  • Orlow's work tackles the impossibility of narrating or representing the past and addresses the spatial conditions of history and memory. Spanning locations in Africa, the Arctic, Eastern Europe and Switzerland, his work can often be seen to employ a
  • Von Amelunxen, Hubertus and Florian Rötzer, ed. Photography after the Photography. Memory and Representation in the Digital Age. Amsterdam: Art Stock, 1996.
  • Pomeroy, Jim and Tim Druckrey and Marnie Gillett, ed. Digital Photography: Captured Images, Volatile Memory, New Montage. : Cameraworks Gallery, 1988.
  • Allen, Rebecca. Memory Palace In The Global Mind - Art Futura 92, edited by Algora MontxoBarcelona: 1992.
  • Oliver, Julian. Buffering Bergson: Matter and Memory in 3D Games .
  • Gessner, Ingrid. From Sites of Memory to Cybersights: (Re)Framing Japanese American Experiences. Heidelberg: Winter, 2007.
  • Kyong Chun, Wendy Hui. Programmed Visions: Software and Memory. Software Studies Series.. Cambridge: MIT Press, 2011.