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  • Artist Statement: "Increased use of sensor technologies, big data, algorithms, surveillance, monitoring and tracking question what it means to be human in terms of privacy, individuality, authority, and the State. Using robotized voices, enhanced
  • Turnstile I connected a New York City Subway turnstile in Times Square to an identical turnstile placed in the gallery space. When a person passed through the turnstile in Times Square the arm of the turnstile in the gallery would turn in the
  • A telematic performance where the movements of a sensor glove control video, which is reacting to sound from a remote location. The sound is reacting back to the video.
  • Goldberg, Ken and Matthew T. Mason and Russell H. Taylor. Sensor-Based Manipulation Planning as a Game with Nature In Robotics Research, edited by R. Bolles and B. RothCambridge, MAS: MIT Press, 1987.
  • Geolocative performance simultaneously staged in the street and in the theater. The public sits in a tent, on which text messages of an urban passer-by / actor are manipulated by movements of a dancer outside the tent. Surveillance technologies, GPS
  • Geolocative performance simultaneously staged in the street and in the theater. The public sits in a tent, on which text messages of an urban passer-by / actor are manipulated by movements of a dancer outside the tent. Surveillance technologies, GPS
  • Lipton, Leonard. Now Step into a Movie: Sensorama Popular Photography 61-62 (July 1964): 114, 116.
  • Michelin, Simone. O Centro do Crisol In Redes Sensoriais: Arte, Ciencia e Tecnologia, edited by Katia Maciel and André Parente, 107-120. Rio de Janeiro, Brazil: Editora Contracapa, 2003.
  • Maciel, Katia; Parente, Andre and Simone Michelin, ed. Redes Sensoriais: Arte, Ciência e Tecnologia. Essay: O Centro do Crisol.. ISBN 85-86011-74-6, Rio de Janeiro: Editora Contracapa, 2003.
  • Maciel, Katia; Parente, Andre and Simone Michelin, ed. Redes Sensoriais: Arte, Ciência e Tecnologia. Essay: O Centro do Crisol.. ISBN 85-86011-74-6, Rio de Janeiro: Editora Contracapa, 2003.