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  • Interactive online news channel "Be the first to know - watch Loogie.net" «Loogie.net TV» shows you the latest world news about the subjects you choose. By putting in keywords with a special remote control or by SMS you can determine which subjects
  • ITCH
    The ITCH acronym stands for “Interactive Technology – Community Hacking”, and as such it tries to represent a wide artistic research project concerning with the impact of personal mobile technologies on social behavior, particularly in the public
  • ECHOHCE -
    ECHOHCE is a project for a singer and a machine generating text. The singer speaks the title of a song to be generated into a microphone. A speech recognition software translates the words into text and sends it to the Poetry Machine. The software
  • Otocky -
    Designed by popular Japanese multimedia artist Toshio Iwai, "Otokki" or Otocky (which is the appropriate spelling that appears on the game's main title screen) was released for the Famicom Disk System in 1987. Otocky may be best described as a
  • The challenges of the infirmity of landscapes in the sense of affective geographies and health care, biodiversity, affectivity and the infirmity and preservation of the landscapes and life of the planet Reengineering of culture The role of social
  • Using custom made circuits based on Arduino we create an intervention in the lighting systems of public spaces intending to alter the visitors' experiences of space and time, changing their apprehension of the surrounding environment and how they
  • Mark Napier realizes only works for the Internet. He has produced a wide range of Internet projects, including "The Shredder" (1998), an alternative browser that dematerializes the Web; "Digital Landfill" (1998), an endless archive of digital
  • "I am a silicon valley unicorn. I make software art. I communicate between engineers and artists. I think a lot about issues of programming for non-programmers. I am best known for my generative computational aesthetics for Disney's TRON:Legacy. My
  • Technological advances were growing at an exponential rate, and electronic art had started to invariably succumb to the digital. To deal with these developments, the VideoFest had restructured itself: video, television and multimedia were now given
  • Workshop and exhibition, results from the collaborative practice of a group of scientists and artists who were involved in all stages from the preparatory stages, in Brazil, to the event in Havana. LART, in the Art and Science circuit by proposing