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100 Days - 100 Imachinations
2002
-
2002
Peter Weibel (head of the ZKM Karlsruhe) describes one of the major qualities of the Imachination project as follows: Emerging at the same time dislocated in different places the Imachination
s a
re both - either original or copy. One image is not
A Midsummer Night's Dream
2000
-
2000
This high-tech treatment of
Sha
kespeare's masterpiece played June 29 - July 1, 2000 in the Lumley Studio Theatre at the University of Kent at Canterbury. The Y2K production of A Midsummer Night's Dream mark
s a
collaboration between
Anabela Co
sta
ANABELA CO
STA
1958 b. Lisbon, Portugal. Lives in Paris. Vi
sua
l Artist, studies Fine Art
s a
t Lisbon Fine Arts University (1980) e-mail : anabelaco
sta
@msn.com Anabela Co
sta
i
s a
vi
sua
l artist, her work were subject of several solo
words
2001
video
This work needs time. Time to
sta
nd, sit or lie in front of your (computer) screen and look at the ongoing disintegration of the never ending Google image
sea
rch. The result of this disintegration are abstract moving images, which run across the
Computer Pieces 1981
1981
-
1981
Digital video 20 mins, colour, silent A set of abstract computer animations based on recombinant geometries. (source: http://www.littlepig.org.uk/)
Computer Pieces 1979
1979
-
1979
Digital video 20 mins, colour, silent A set of abstract black and white realtime computer animations (source: http://www.littlepig.org.uk/)
Babel
2001
-
2001
... and dense that it breaks down into a mean<
spa
n class="hit">ingles
spa
n>
s a
bstract
spa
ce. Viewer
s a
re able to...
plastic trade-off
2006
-
2015
in cooperation with Gerald Nestler --- plastic trade-off i
s a
light sculpture as well a
s a
virtual knowledge
spa
ce. It vi
sua
lizes global financial market
s a
nd thu
s a
core element of global economy. plastic trade-off could be described a
s a
Nothing Remains the Same (Sensoric Organ)
2004
-
2004
Influence, change and transformation are keywords in Peter Hagdahls ¦uvre. In 1992 Andréhn-Schiptjenko showed the in
sta
llation Su
sta
ined where sculpture, painting, drawing,
sna
pshots, paperclipping
s a
nd a powerengine created a system ranging from
Senseboard
2000
-
2001
Senseboard is one facet of our using tangible media for manipulating abstract information. It allows the user to arrange
sma
ll magnetic pucks on a grid, where each puck represent
s a
piece of information to be organized, such a
s a
me
ssa
ge, file,
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