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Golden Calf
1994
-
1994
video
This work is constituted by a white pedestal on which there stands an LCD colour monitor connected to computing machinery by a cable running through the pedestal. The viewer of this work picks up and holds this monitor in his hands. The screen shows
BOLGERI & MARÍN
“Our creative processes emerge from affections and expand” BOLGERI & MARÍN is an art duo formed by Carla Bolgeri and Francisco Marín that lives between Chile and Italy where they research and produce in the field of performance, music and
Machine Dreams
1994
-
2000
The installation "Machine Dreams" uses video to trigger zones of individual sound samples. It is an interactive installation that uses the reaction of the participant to the visual component of the space to produce a soundscape. The visual
Rambona
1992
-
1994
... of seduction, sur
viva
l, and death are fueled...
Body Movies, Relational Architecture 6
2001
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2006
video
"Body Movies" transforms public space with 400 to 1,800 square metres of interactive projections. Thousands of photo portraits taken on the streets of the cities where the project is exhibited are shown using robotically controlled projectors.
The Telepresence Garment
1995
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1996
I first conceived the Telepresence Garment in 1995 to investigate the notion of the mediascape as an expanded cloth; i.e., to consider wireless networking as a new fabric that envelops the body. The Garment, which I finished in 1996, gives
Predicatable Lab
1999
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1999
" Predictable Lab " has been developed as a response to the work "The Solution Between Two Possibilities - Predictor " by Sophia Kosmaoglou. The "Predictable Lab" performance refers to the anulment of indeterminism. It addresses the possibility of
The Bush Soul (#3)
1999
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1999
Third in a series of interactive art installations. A haptic, force-feedback joystick provides both navigation and tactile sensations, connecting one's physical body and virtual soul. Funded in part by Intel Research Council. (Rebecca Allen)
Deep Contact
1986
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1989
The next interactive piece, DEEP CONTACT (1989), directly involves the body of the viewer/participant who were required to touch the computerscreen. Viewers choreograph their own encounters in the vista of voyeurism by actually putting their hand on
Televised Distance #2
2003
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2003
Even though we have the capability to communicate over long distances, we are losing the senses of "the body" when using modern technology. In the future, can we design a medium that overcomes that? "Televised Distance"is an interactive art project
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634