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XV: Fifteen Points
2015
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2015
video
Fifteen points (XV) defines the role of cognitive dissonance in diverse reactive spaces. In an interactive floor projection, viewers are encouraged to move throughout the space and engage in the manipulation of the art piece. Detecting both sound
metaDESK
1996
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1997
The metaDESK is our first platform for exploring the design of tangible user interfaces. The metaDESK integrates multiple 2D and 3D graphic displays with an assortment of physical objects and instruments, sensed by an array of optical, mechanical,
Traces
1998
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1999
Traces is a project for networked CAVEs (immersive VR spaces). But it is very different in its goals and its nature from any other CAVE or VR project (to the knowledge of the author). The root of the project is a long standing concern over the
Pride of our young nation
1990
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1991
Pride of our young nation is a meditation on machines of war and the psychology which motivates their construction. Its material construction echoes the archetype of a piece of field artillery, unchanged since the napoleonic era, while its control
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
Televised Distance #1
2002
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2002
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
Cloning Senses
Cloning SensesArtist: F.A.B.R.I.CATORSComment:
Primitive
2018
The primitives, whose components include the platonic solids, function as basic modules in every 3D-program. Within computergraphics one can assemble complicated structures from those elementary one-, two- or three-dimensional geometrical shapes.
INsideOUT
2009
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2013
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
Mimesis and Alterity: A Particular History of the Senses
1992
Taussig, Michael. Mimesis and Alterity: A Particular History of the Senses. New York: Routledge, 1992.
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