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Large LED alphanumeric units are mounted in a 13 x 9 grid on the stage tower of this theater. Like a conventional news sign textual information is scrolled through these elements, but because the alphanumeric units are spaced far apart, the

The installation was conceived for the art show 'amour et conscience', Paris, 1999 (Atelier Sévigné, 9/9/99 - 9/12/99). It consists of three parts: Five curtains, representing consciousness, digital word-picture-prints on

It is an environment of artificial life where the individuals, represented by graphics filaments, are endowed with own intelligence and character. They can interact, exchange information and reproduce. Through the mechanisms of genetic mutations,

The Leap carries out a new interpretation of Norwegian national symbols: Henrik Ibsen's "Peer Gynt", Edvard Grieg's music to the play and The Norwegian mountain wilds. In the installation these functions as condensed symbols of our

Marie, a French-speaking Montrealer in her thirties played by actress Paule Ducharme, appears to be lost in reverie. You may try to get her attention: when selecting "Excuse me..." on the display, Marie suddenly stares at you; then, selecting "Do

Imagine a portrait. You walk up to it and engage in conversation. You pick a question from a pre-established set on the screen. The portrait gives you an answer. A new set of questions, or coments appears. You get further reactions. As this

Text Rain is an interactive installation designed to blur the boundaries between physical and virtual space. Viewers play with falling text which responds to their motion. The text may be caught, lifted and released to fall again. If participants

CAGEBIM is an installation where the visitor interacts. The visitor enters in the room and can read a John Cage's affirmation: " I am always interested in listening to. I am always less interested on the fixed relation between the parts. I am

Recording quality priority: the 16-bit-recording quality is the selection criterion for the sound selection of turing tuning. This results in a "deauthorization" of the sound material from the original context of its production in order to be