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Development of the eight cubic foot model of the IceCube Neutrino Observatory began as an optimization of an eariler model used by WIPAC for education and outreach. That version had one light per twenty DOMs represented in the IceCube array. One of

"Nuzzle" is a shared 3D virtual environment art work, using digital networking technology. It realizes a new type of communication space where people can meet and talk to each other as avatars from several telematic immersive computer terminals.

Upon entering the former Verwaltungshalle in the administration center of the Zeche Zollern II, a historical sweep through the lives of six workers from the Ruhr region can be experienced. Embedded inside the architectural frieze of the high atrium

The journey by a fleet of small vessels under way between Québec City and New York City on the St-Laurent and Richelieu Rivers, Lake Champlain and the Hudson River is being photographed using a technique developped by Luc Courchesne and a his

In her VR piece, The Parallel Dimension, Teresa Wennberg based her work concept on a realistic form language combined with highly sophisticated texture maps. There is a clear relation to her earlier works in 2- and 3-dimensional computer animation

The “Perpetual Storytelling Apparatus” is a drawing machine illustrating a never-ending story by the use of patent drawings. The machine translates words of a text into patent drawings. Seven million patents — linked by over 22 million references

In a series of 'test cases', Knowbotic Research investigate the construction of identity, power, and communication.The installation Black_Cat confronts the constitution of subjectivity under the current post-media condition. In this installation,

Loc-reverb develops Colson’s themes of location and memory, concerns seen in an earlier CD-ROM "Mindtracker". Loc-reverb blends photography and moving elements to portray the artist’s interrogation of locations, in particular London. It presents the

The Broad Art Foundation's new skin, 2002, presents an evolution from Aitken's earlier styles, both physically and conceptually. Projected from four corners of a room onto a pair of suspended, intersecting oval screens, the work is part film and

"Digital Mudra" begins with a collection of photographs from Rapoport's interactive performance entitled Biorhythm (1983). Participants, to test their own evaluation of their biorhythm condition against a computer assessment of their