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Why a poem in space? 2017

Marchal, Hugues. Why a poem in space? Espace(s)CNES - The Space Observatory (2017).
Scenocosme / solo show / Musée de Vence / Fondation Émile Hugues 2022 - 2022

Event: Scenocosme / solo show / Musée de Vence / Fondation Émile HuguesInstitution: The Wrong BiennaleComment:
Musée de Vence / Fondation Émile Hugues - Vence (France) / Scenocosme / solo show 2022

Event: Musée de Vence / Fondation Émile Hugues - Vence (France) / Scenocosme / solo showInstitution: Ars Electronica Linz GmbH & Co KGComment:
Latent State 2009 - 2010 video

This project was developed during 2009 as part of my MFA thesis at the Design Media Arts department at UCLA. It consisted in the creation of a live cinema piece using a number of resources for real-time AV performance and a combination of digital
I Always Like to Go Where I Am Not Supposed to Be 2003

Allen, Rebecca and Erkki Huhtamo. I Always Like to Go Where I Am Not Supposed to Be In Women, Art, and Technology, edited by Judy Malloy, 224-241. Cambridge, MA: Massachusetts Institute of Technology, 2003.
George Legrady: Interactive Media Art 1995

Rovaniemi Art Museum, ed. George Legrady: Interactive Media Art. Rovaniemi: 1995.
From Kaleidoscomaniac to Cybernerd. Notes toward an Archeology of the Media 1997

Huhtamo, Erkki. From Kaleidoscomaniac to Cybernerd. Notes toward an Archeology of the Media Leonardo 30, no. 3 (1997): 221-224.
Time Machines in the Gallery: An Archeological Approach in Media Art 1996

Huhtamo, Erkki. Time Machines in the Gallery: An Archeological Approach in Media Art In Immersed in Technology: Art and Virtual Environments, edited by Mary Anne Moser and Douglas McLeod, 232-268. Cambridge, MA: MIT Press, 1996.
Jeffrey Shaw´s EVE and the Panoramic Tradition 1995

Huhtamo, Erkki. Jeffrey Shaw´s EVE and the Panoramic Tradition InterCommunication 14 (1995): 138-139.
Elements of Screenology : Toward an Archaeology of the Screen 2004

Huhtamo, Erkki. Elements of Screenology : Toward an Archaeology of the Screen Iconics: International Studies of the Modern Image 7 (2004): 31-82.

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