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  • Merging art with technology, conceptual artists George Legrady and Angus Forbes have transformed ubiquitous and often annoying cell phones into paint brushes for the 21st century. Their new multimedia video installation "Cell Tango" at Wellesley
  • Interview with Roy Ascott. Meta.Morf 2010: New.Brave.World! Trondheim, Norway November 2010
  • In only its second year, VideoFest has become the largest european video festival. Video is a young artform; from the beginning, it has been a reaction to the “brave new world” of the highly technical mass societies with all their computers, nuclear
  • Brave New World -
    Event: Brave New WorldInstitution: Contemporary Art Centre RurartComment:
  • Chromatic Shifts is a dynamic light installation that explores perceptual changes of shape at a cognitive level. Rhythmic pulses of color illuminate ambiguous and “impossible” shapes as they appear to shift between two and three dimensions.
  • Geode - video
    Taking the shape of a glowing, organic crystal, Geode is a 12-feet-tall video mapped sculpture that fuses soundscape, public art and visual projection into one immersive experience. Each surface of the crystal flows and ebbs with improvisational
  • 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
  • Bodygraphe -
    Bodygraphe is an interactive, visual music application that unifies gestural computing with live performance art. Dancers become instruments and conductors that wholly generate graphics and sounds that correspond with their movements in real time.
  • Inspired both by constructivist avant-gardes and cognitive psychology, Garcia uses shape to test the senses and push the boundaries of visual assumptions. His work looks past the idea of shape as a function and instead explores its endless
  • Andrés Burbano and Esteban García Bravo. Breaking the Navajo Code with Bill Toledo Artnodes. Revista de arte, ciencia y tecnología , no. 16 (2016): 26-33.