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The Visitor: Living by Numbers
2001
-
2001
video
... they feel visually com
fort
able. When the action stops,...
Pockets full of Memories
2001
-
2001
During the exhibition of Pockets full of Memories in the Centre Pompidou 20000 visitors came to view the installation and contributed over 3000 objects in their possession, digitally scanning and describing them. This information was stored in a
World, Membrane and the Dismembered Body
1997
-
1998
... Un
fort
unately in the world of...
Cathartic User Interface (CUI)
1995
-
2000
Cathartic User Interface 1.0 and 2.0 (CUI) are interactive, multi-participant installations that allow users to quickly and effectively work through their conflicting emotions concerning the benevolent yet pernicious influences of computer
Catherine B Fisher
... artist for over
fort
y years. She lives in the...
ECHOHCE
2004
-
2004
ECHOHCE is a project for a singer and a machine generating text. The singer speaks the title of a song to be generated into a microphone. A speech recognition software translates the words into text and sends it to the Poetry Machine. The software
Cross Currents
1999
-
1999
The multi-media project Cross Currents is the third part in the Yugoslavian War trilogy with Pietà (Neue Galerie, Graz, 1996, produced in collaboration with scenario URBANO) and Motel Vilina Vlas (Sprengel Museum, Hanover, 1996) forming the second
Otocky
1986
-
1986
Designed by popular Japanese multimedia artist Toshio Iwai, "Otokki" or Otocky (which is the appropriate spelling that appears on the game's main title screen) was released for the Famicom Disk System in 1987. Otocky may be best described as a
Mark Napier
Mark Napier realizes only works for the Internet. He has produced a wide range of Internet projects, including "The Shredder" (1998), an alternative browser that dematerializes the Web; "Digital Landfill" (1998), an endless archive of digital
Five Themes
2009
Combining the political with the poetic, William Kentridge's work has made an indelible mark on the contemporary art scene. Dealing with subjects as sobering as apartheid and colonialism, Kentridge often imbues his art with dreamy, lyrical
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