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  • Shades of Synchresis: A Proposed Framework for the Classification of Audiovisual Relations in Sound-and-Light Media Installations.
    Basanta, Adam. Shades of Synchresis: A Proposed Framework for the Classification of Audiovisual Relations in Sound-and-Light Media Installations. In Electroacoustic Music Studies Conference 2012, edited by Electroacoustic Music Studies
  • AR Intervention into "NYC 1993"
    "Shades of Absence: Governing Bodies" was placed into the New Museum, NY, as an uninvited intervention in honor of the NEA residency during the exhibit "NYC 1993: Experimental Jet Set, Trash and No Star"
  • Nalini Malani
    Malani's work is influenced by her experiences as a refugee of the Partition of India. She places inherited iconographies and cherished cultural stereotypes under pressure. Her point of view is unwaveringly urban and internationalist, and unsparing
  • Light from Shadow -
    Event: Light from ShadowInstitution: Ivan Dougherty GalleryComment:
  • Shine Together-Turning Natural Melody -
    This work is based on the concept of the refraction of a triangular prism, playing with the transformation of light and shadow in combination with musical creativity. The result is shared on a cloud database, collecting each part of sharing and
  • Lost in Space with Frankenstein's Shadow
    Olynyk, Patricia. Lost in Space with Frankenstein's Shadow In Bio/Matter/Techno/Synthetics, edited by Farrow Trubiano/Franca, 304. : Actar Press, 2024.
  • Shadows in the Rain -
    A unique digital painting on plexiglass, 40" x 40"
  • DER TRAUM VOM RAUM - video
    A light installation for the Night of Museums Berlin inspired by the concept of coloured shadows in Goethe’s Theory of Colours
  • Shadows. The Depiction of Cast Shadows in Western Art
    Gombrich, Ernst Hans. Shadows. The Depiction of Cast Shadows in Western Art. London: National Gallery Publications, 1995.
  • Perception is The Master of Space -
    "(Perception is) The Master of Space" is a variation of "Very Nervous System". String, hanging from the ceiling at 1/2 meter intervals, was used to establish the edges of the perceptual field of the system's camera and its shadows. The camera
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