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  • Christine Hooker and Sara Verosky and Laura Germine and Robert Knight and Mark D'Esposito. Mentalizing about emotion and its relationship to empathy Social Cognitive and Affective Neuroscience , no. 3 (2008): 204-217.
  • Christine Hooker and Sara Verosky and Laura Germine and Robert Knight and Mark D'Esposito. Mentalizing about emotion and its relationship to empathy Social Cognitive and Affective Neuroscience , no. 3 (2008): 204-217.
  • Fields of Origin NEXT NATURE / juried poster exhibition, I -NODE of Planetary Collegium 2015 By Lila Moore Novel forms and ideas arise unexpectedly from unknown or previously unsuspected origin. Being new and full of mysterious possibilities, they
  • Moya, the Artist living in his art work Performer, visual and digital artist, Patrick Moya make an art mediterranean, funny, baroque, generous and delightful. In Nice (big city near the sea), where he lives, he is the last part of the artistic
  • ADA Artist Interview with Victor AcevedoArchive of Digital Art, November 2021Full text and interview by Alejandro Quiñones on ADA:https://www.digitalartarchive.at/features/featured-artists/featured-artist-victor-acevedo.htmlWhat are your current
  • La experiencia que tenemos de las cosas (tangibles e intangibles) se compone de acciones simples enlazadas a símbolos que encontramos en el mundo. Imprimimos estas experiencias a distintas áreas de nuestro cerebro y luego, de alguna manera, perdemos
  • Jaroslav Vančát, Ph.D. New media artist – multimedia art, digital art, computer art, interactive art, visual structuralism, conceptual art, video art Associate Professor at universities in the Czech Republic, new media, visual arts and creativity
  • Continuous Sound and Image Moments is a hand-drawn black-and-white animated film loop with no beginning or end. Conceived as a cinematic expansion of pictorial means, the process of making thousands of drawings (rather than any individual picture)
  • This work created a collage of fictional events within a museum space by making projected images of the events appear contiguous with the real space and actual situations. The work was constituted by two structural elements: a large projection
  • This version of Heavens Gate uses the original video material of this work, but presents it in a somewhat different viewing situation. By means of digital post-processing this video material has been anamorphically deformed, and is projected onto a