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"In the first version of "The forest", made as a computer animation, the image of the forest creates the impression of a three-dimensional space constructed from elements which themselves are only two-dimensional. The basis for the image is a

The installation MULTIPLE voice/vision is the output of a research project in the arts, with as focus how friction between multiple layers of sound and vision can be a trigger for embodied perception. A multitrack registration—for both sound and

TERRARIUM II net based installation explores in the physic space a ground with rocks and a topography where virtual serpents live. The space offers an immersive virtual reality networked environment which allows people to create and control

Pii relies on the development of an interactive sculpture by using sets of mirrors, matrices of light and different types of sensors that analyze the environment to computationally generate a light and sound response, there by creating a variable

"Plasm: not a crime" is the artistic statement of Peter Broadwell and Rob Myers that sharing secrets is not a crime. It used to be that most interactions between people took place face to face. If you had a desire to keep something confidential,

As you enter into the space you are confronted with a dramatic and disturbing combination of images and sound. A ‘wall’ of figures, naked and staring straight at the audience span the width of the gallery space. The life size figures initially

Third Person is the second piece of the ShadowBox series of interactive displays with a built-in computerized tracking system. This piece shows the viewer's shadow revealing hundreds of tiny words that are in fact all the verbs of the dictionary

Exercise in Immersion 4 is an ‘art-game’ devised by the Rotterdam media-artist, Marnix de Nijs and further developed in collaboration with V2_lab. His presentation at Deaf 07 saw the 'first public participation trials". Further software refinement

video 13,16′ The recording of dynamic forms of magnetic fluids that are produced by invisible magnetic fields direct the experience of the material in relation to the immaterial. The ferrofluid structures, which are in reality only a few centimeters