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  • Gillmor Allison. Memory Tracks Border Crossings (Spring 1995): 53-54.
  • Artist: Allister GallComment:
  • AlloBio
    Organic in the sense that it will become a growing architecture. (source: http://risco3.wordpress.com/2006/05/25/deep-thought/)
  • Bokhorov Constantin. « D’où venons-nous ? Qui sommes-nous ? Où allons-nous ? », in "Where are you ?". Moscow, Russia: Moscow Contemporary Art Institute, 2001.
  • Waterwalk -
    The Waterwalk was a 3-metre-high tetrahedron shaped balloon made from transparent (and sometimes coloured) plastic. A watertight zip allowed people to enter and be sealed inside. When this lightweight structure was inflated with air, one or more
  • Emergences of Continuous Forms was one of a series of performances and installations in this period which explored various methods of extending the cinematic image into the space of the viewers and of provoking the viewer's physical
  • Cube
    An augmented reality apparatus allowed the visitors, when looking through its optical window, to see a rotating computer-generated wire frame cube positioned in the real space of the museum. Further developement of this technology allowed stereo-
  • "Vectorial Elevation" was an interactive art project which allowed thousands of people from 89 countries to control 18 robotic searchlights with 126,000 watts of power and link Cyberspace with Mexico’s most emblematic urban landscape. Mexico City’s
  • Mercury Project combined robotics and archaeology in an interactive art installation. To our knowledge, the Mercury Project was the first system that allowed WWW users to remotely view and alter the real world via tele-robotics. Users excavated
  • “MIC was a male baby with a distinct personality who responded more clearly to a variety of emotions, using voice patterns to make interpretations of emotions. For example, joy (happiness, satisfaction, enjoyment, comfort, smile) was extrapolated