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  • Ubermorgen is a group of artists in Vienna, Austria, founded in 1999 by Hans Bernhard (founder of etoy) and Lizvlx. Ubermorgen focuses on exploring contemporary legal issues, especially those of security, privacy and copyright. Übermorgen is the
  • Portrait of Eve Clone -
    I named it Eve Clone as God created Eve, and humans want to play God and created a cloned Eve. I integrate the elements of the human chrysalis and human beast to shape the double identities of Eve Clone, who was both charming and evil. I quoted the
  • iSee -
    iSee is an application for web-browsers and PDAs that charts the locations of closed-circuit television (CCTV) surveillance cameras in urban environments. With iSee, users can find routes that avoid these cameras ("paths of least surveillance")
  • Power Plant Contemporary Art Gallery, ed. Press/Enter: Between Seduction and Disbelief. Toronto, CAN: Premier Book Marketing, 1995.
  • Homefront -
    HOMEFRONT Surveillance, monitoring, and tracking technologies are not only media of control; they are media of self-reflection and self-awareness. There is a reciprocity between the way that control technologies function and the way that identity
  • Courchesne, Luc. L´exposition comme oeuvre In Muséo-séduction, Muséo-réflexion, , 163-168. Quebec City, CAN: Musée de la civilisation and Service canadien des parcs, 1992.
  • Event: Press Enter: Between Seduction and Disbelief, The Power Plant Contemporary ArtInstitution: Gallery at Harbourfront CentreComment:
  • Event: Press Enter: Between Seduction and DisbeliefInstitution: The Power PlantComment:
  • Harwood started out as an artist during the 1980s. He was involved with publishing initiatives such as the Working Press (books by and about working class culture); Underground newspaper (a London-based free newspaper aimed at promoting and
  • Grau, Oliver. Das Sedanpanorama: Einübung soldatischen Gehorsams im Staatsbild durch Präsenz In Medien der Präsenz. Museum, Bildung und Wissenschaft im 19. Jahrhundert, edited by Jürgen et. al. Fohrmann, 143-169. Köln: DuMont, 2001.