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Virtual Ecology: The Work of Char Davies
1999
O`Donoghue, Karl. Virtual Ecology: The Work of Char Davies In Thought Lines 3: An Anthology of Research, edited by Paul O´Brien, 284-294. Dublin: National College of Art and Design, 1999.
As If
1999
Davies, Char. As If Forbes ASAP Big Issue IV: The Great Convergence (Octobre 1999): 161.
Landscape, Earth, Body, Being, World, and Time in the Immersive Virtual Environments Osmose and Ephémère
2000
Davies, Char. Landscape, Earth, Body, Being, World, and Time in the Immersive Virtual Environments Osmose and Ephémère In Emergent Futures: Art, Interactivity and New Media, edited by Angela Molina and Kepa Landa, 47-58. : Institució Alfonse el
Ephémère: Landscape, Earth, Body, and Time in Immersive Virtual Space
1998
Davies, Char. Ephémère: Landscape, Earth, Body, and Time in Immersive Virtual Space In Reframing Consciousness, edited by Roy Ascott, 196-201. Portland: Exeter, 1998.
Pikapika
2000
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2000
Meet Pikapika--a character influenced by anime and manga; Japanese pop animation and comics. Pikapika embodies movements from bunraku (puppet theater), a movement vocabulary Tomie Hahn studied while learning nihon buyo (Japanese traditional dance)
Flying Crane
1996
Gallery view from outside. The artist's first robotic brush strokes were achieved in 1987. The strokes achieve spontaneous qualities using coded procedures. The software generates a brush form and requests a paint brush. The artist places a
SCHWELLE II
2007
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2008
Part II is a live dance theater performance with master improviser and former William Forsythe/Ballett Frankfurt dancer Michael Schumacher. During the fifty minute work, the spectators experience a person undergoing the traumatic transformation of
Dark Matter
2016
'Dark Matter' is a fully immersive, physically interactive, three-dimensional digital projection environment. The artwork explores whether the body might be perceived as an absence, inferred from the physical and cultural information around it. In
new skin
2002
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2002
The Broad Art Foundation's new skin, 2002, presents an evolution from Aitken's earlier styles, both physically and conceptually. Projected from four corners of a room onto a pair of suspended, intersecting oval screens, the work is part film and
bottlogues
1999
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2000
Glass bottles have been a part of human culture for thousands of years, serving both practical and aesthetic functions. The "bottles" project explores the transparency of an interface that weaves itself into the fabric of everyday life. Seamless
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