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  • Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought
    Jay, Martin. Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. Berkeley, CA: University of California Press, 1994.
  • Virtual Ecology: The Work of Char Davies
    O`Donoghue, Karl. Virtual Ecology: The Work of Char Davies In Thought Lines 3: An Anthology of Research, edited by Paul O´Brien, 284-294. Dublin: National College of Art and Design, 1999.
  • What you see is what you get?
    Galloway, Alexander. What you see is what you get? In The archive in motion: new conceptions of the archive in contemporary thought and new media practices, edited by Eivind Røssaak, 155-182. Oslo: Novus Press, 2010.
  • Profilneurose -
    'A profile like a witch' – I often thought when looking in the mirror, or when my shadow flits past me. Cosmetic surgery promises a remedy. But does that make us happier, better, more beautiful, more lovable? First the nose, then the chin, a bit
  • reconfigure(d) - object 2 -
    The sculptures “reconfigure(d) – object 1 and 2” are part of a series of kinetic objects dealing with elusive states of consciousness and the translation of brain activity measurements into rhythms. With this body of work I am studying the
  • The Thoughtbody Environment video
    The Thoughtbody EnvironmentArtist: Bill SeamanComment:
  • Radoslav Rochallyi
    My artwork is critical of social, political, and cultural issues. My work often refers to European history and especially the present. For the last few years, I have been working on my works in the Visual Mathematical form. I process every idea both
  • skin
    A collection of images and thoughts about skin
  • An Ascent
    video, 7,08’ By mixing colourful abstract light patterns and fragments of figurative reality the video aims to visualize a kind of inner psychological landscape, where words, thoughts, memories, emotions and desires combine and coexist in a highly
  • INsideOUT -
    This performance is about the materialization of the performer’s thoughts and feelings on the stage. In the performance, imagination becomes spatial. The stage is a place for the appearance of the invisible. Yasu Ohashi says: “the actors aim at our
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