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  • Davenport, Glorianna. Your Own Virtual Storyworld Scientific American 283, no. 5 (2000): 79-82.
  • Laboratory Life (For Oryx and Crake) is a series of over-layered photographs taken at scientific laboratories in Europe ( the European Molecular Biology Laboratory (EMBL) in Rome, the Max Planck Institute in Dresden, and a biophysics lab at Imperial
  • Fleischmann, Monika and Wolfgang Strauss. Verborgenes Wissen in Wissensnetzen, Medienkunst und Wissens(chafts)vermittlung In Öffentliche Wissenschaft und Neue Medien, edited by Caroline Y. Robertson-von Trotha and Jesús Muñoz MorcilloVol.1. ISBN
  • Bernd Lintermann works as artist and scientist in the field of real time computer graphics with a strong focus on interactive and generative systems. The results of his research are applied in the scientific, creative and commercial context. His
  • Mark J. Stock is an artist, scientist, and programmer who creates still and moving images combining elements of nature, physics, chaos, computation, and algorithm. His works explore the tension between the natural world and its simulated
  • Penny, Simon. Why Do We Want Our Machines to Seem Alive? Scientific American, 150th anniversary issue (September 1995).
  • Penny, Simon. Living Machines Scientific American (September 1995).
  • Committee on Virtual Reality Research and Development and National Research Council, ed. Virtual Reality: Scientific and Technological Challenges. Atlanta, USA: The National Academies Press, 1995.
  • Herwig Weiser is an interdisciplinary artist who work collaboratively. His long-term investigation of the relationship between electronic information and data systems, and the raw hardware that drives these technologies, draws on aesthetic,
  • Shaw, Jeffrey. Interactive Computer Graphics: a Meeting between Artists and Scientists edited by Scientific UN Educational and Cultural Organization, 87-93. Paris: UN Educational, Scientific and Cultural Organization, Paris, 1999.