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As one of the installation's aesthetic goals is the bodily impression of the generated object on the user, a sound synthesis technique was in demand, that is able to both render a visible object's genuine sound thru all its user-inferred alterations

This was an improvisation performance with digital projections and live video, with script written by Esteban Ulrich. The software Moldeo was used to generate the real-time visuals, and I contributed with some of the programming. It took place at

I made this video back in 2005 for the S3 Project (Sights and Sounds of Science), organized by the Materials Research Center of the University of Chicago. I combined some video shot inside the old building of the James Frank Institute, with

I participated in the design and implementation of the live digital projections in the theater play “Crave”, using the software Moldeo. The first season of the play was at El Lavapiés Theater, Buenos Aires, between May 20 and December 9, 2006, and

"The Way" is a 3-D computer animation combined with live video. Depicted are three runners followed by a camera down a foggy street in a small German village. To visualize "The Way", I've inverted the common system of the central perspective.

BERLIN-CYBER CITY - VIRTUAL WALKS THROUGH REUNITED BERLIN (1989–90) Berlin-Cyber City was created in response to the fall of the Berlin Wall on November 9, 1989. The work reveals the historical upheaval through virtual walks and initiates a

SEMANTIC MAP - A RADAR FOR THE DATA COSMOS (2001/04) The Semantic Map presents individual documents as nodes in a network of themes and practices. By differentiating and becoming co-producers of meaning, viewers can actively engage with content and

Giving the first impression of a simple commodity sculpture "AutoGene" lures the viewer into a false sense of security which is then at the flick of a switch rapidly dispelled. The seemingly mundane umbrellas are transformed into magical animated

With "Arabesque" I have concerned myself not only with the sculpting of three dimensions but also with a fourth, the dimension of time. I have endeavored to create a sculpture that evolves transforms and even regresses. An artwork that falls

In a public exhibition space (Art Basel Unlimited), von Bismarck spent a week on a paraboloid-shaped cement disc, which rotated around its own axis at a speed of fifteen revolutions per minute. He slept, ate, read, and talked on the telephone while