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PONTSCREEN : MINORITY REPORT STYLE INTERFACE 2003 PointScreen is an interface for touchless control of a screen. Inspired by the Theremin, the first electric musical instrument that can be played without touch, we have developed a digital technology

HOME OF THE BRAIN (1990-91) - PHILOSOPHICAL DIALOGUES IN VIRTUAL SPACE Created between 1989 and 1991, HOME OF THE BRAIN by Monika Fleischmann and Wolfgang Strauss is considered to be one of the first pieces of Virtual Reality in the world to make

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

What do computer errors sound like? In our everyday use of computers error messages are communicated without sound. Most likely you are presented with matter-of-fact information like, “Server Error. The server has encountered a temporary error and

The work “Dust” bind generative HD video projection with kinetic camera. Since some months I am collecting dust particles on a pice of black plexiglass. Monthly, I photograph the collected set, clean the surface and start from the beginning. The

DIGITAL MONSTERS DON'T BLEED An algorithm is a distinct method of instructions for calculating and solving a problem or a set of problems. It consists of a number of well-defined individual steps and can, for instance, be implemented to execute a

Fluctuating between the worlds of early Baroque and late Ming/early Qing eras, the project explores a rather brief yet multi-faceted period of enlightened dialogue between Europe and China. Although characterised by a respectful scientific exchange,

"Hotel Synthifornia ironically paraphrases the Eagles all-time-classic: 'Such a lovely place, such a lovely face... Relax!' Find yourself caught by the schizophrenic interpretation of a shoot-up game like Epic Games' Unreal. The semantic shift from

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

„Sonic Antarctica“ features natural and industrial field recordings, sonifications and audifications of science data and interviews with weather and climate scientists. The areas recorded include: the „Dry Valleys“ (77°30’S 163°00’E) on the shore of