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  • Trigger
    Trigger explored the vignettes, ebbs, flows and narratives that emerge from the relationships we have with urban spaces. It featured seven projections that were configured to fill the stairwell space. Visitors passed through a set of 12 motion
  • Burnish -
    Burnish is an interactive performance installation that premiered at the 56th Venice Biennale 2015 with 9dragonheads in the official collatoral event Jump Into the Unknown; and at Toronto's Theatre Center in May 2015. It was remounted for
  • MIRROR | ESPELHO -
    Imagine an optical device with a sensory field of 8 meters to 60 centimeters. Fixed to the wall, this mirror is programmed to constantly measure and react to your distance from it. At 8 meters it will be convex, at 60 centimeters it will be concave
  • CEREBRAL LANDSCAPES (REFLECTION)
    Kinetic light installation bended plexiglas, light projection and reflection, electronic light modulator variable dimensions Four projectors illuminate a bent piece of plexiglass positioned horizontally on the floor that reflects a multi-layered
  • Kin>% / Cultura Plasmic INC
    K Woods aka Kin>% / Cultura Plasmic INC is a PhD researcher and multi-pseudonymous artist at the University of Newcastle in Fine Art/Digital Media, with a focus on Digital Fatalism and how algorithmic technologies interplay with agency and the
  • Bob O Kane
    Bob O ' Kane is a professional ""linker"" between art and technology. He used interfaces in order to collaborate with other fellow artist such as Ulrike Gabriel , Peter Weibel and Jeffrey Shaw. Graduated from the Media Studies at Buffalo, he work
  • Wearables and Detection of Falls: A Comparison of Machine Learning Methods and Sensors Positioning
    PINTO, ARTHUR B. A and GILDA A DE ASSIS and LUIZ C. B TORRES and THOMAS BELTRAME. Wearables and Detection of Falls: A Comparison of Machine Learning Methods and Sensors Positioning NEURAL PROCESSING LETTERS 1 (2022): 1-15.
  • Champs Libres -
    “Champs Libres” is an invitation to a sensory journey in a forest opening onto a clearing bathed in light, in which everyone is encouraged to take a break, to feel, to exchange. For centuries, the landscape has been shaped by human action. In the
  • Sugar ´n´Spice: Sensory Overload in Long Beach
    Curtis, Cathy. Sugar ´n´Spice: Sensory Overload in Long Beach Los Angeles Times (April 1993): fl4.
  • Pain Games. Pain as sensory stimulus in the context of videogame-based digital art
    Waelder, Pau. Pain Games. Pain as sensory stimulus in the context of videogame-based digital art artnodes , no. 7 (2007): 61-70.
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