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TouchCounters are computational tags that track the usage of physical objects. TouchCounters sense activity through magnetic, acceleration, and infrared sensors, and indicate their status on bright LED displays. Through magnetic snap connectors,

The Giver of Names is quite simply, a computer system that gives objects names. The installation includes an empty pedestal, a video camera, a computer system and a small video projection. The camera observes the top of the pedestal. The

The physical space of the gallery becomes entangled with the navigable space of the virtual environment in “Off-sense”. This sprawling installation of computer hardware provides access to a virtual world, where avatars float, roam and communicate

"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 Waiting Room" is a virtual space that 50 users share through the Internet. The visitors to the space are strangers, united by the software, the Internet, and the artwork itself. In this space the visitor becomes a participant in a moving

"Now when things have lost their common sense contemplation holds us together"

The Biopresence project began with the destiny of Biscarosse's elm trees, which is indeed the story of all the elms of France, which the so- called "elm disease" has practically wiped from the French countryside. This obliteration has diminished an

To make a hole, three dimensions are necessary. In the two-dimensions of the iconic thought experiment Flatland, organisms that sustain their existence through a digestive system characterized by two holes, would find themselves split in two along

Eve is about the process of how identity is generated. It is an ongoing attempt to reclaim and deconstruct identity. It is about the state of being and the sense of time. The piece is generated in realtime to create a dynamic hybrid image. This

In a world where human transactions mostly apply to human values, where metaphors reside in the syntactic articulation of these values, we may find very peculiar layers of truth that make sense in an unexpected way. Transactional Poetry is