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Placed in the middle of the Center for Contemporary Art, the yellow canary was given a very large and comfortable cylindrical white cage, on top of which circuit-boards, a speaker, and a microphone were located. A clear Plexiglas disc separated the

Continuing in the tradition of free online distribution of netart in the 90s, Arcs21 offers the user the possibilities of research, playing and co-creation: browserspace is translated into a realtime artwork which is freely available over the

Re-reading the News (2002) downloads the front page of newspapers as essentially raw data, enabling users to reformat it to their own specifications. The raw data appears in one browser window, reformatting occurs in a second. "Re-reading" sees the

Pii relies on the development of an interactive sculpture by using sets of mirrors, matrices of light and different types of sensors that analyze the environment to computationally generate a light and sound response, there by creating a variable

The Telepresent Onlookers utilizes the EVE (1993) visualization system. In the centre of a large inflatable dome, two video projectors are mounted on a motorised pan/tilt device which can move the projected image anywhere over the inside surface of

Bird & the Moon explores the representation of environmental data by incorporating nature back into the loop – making the live data feed back into a system that aesthetically links us back to the natural world. The work includes a seasonal affective

Narcissus' Well was originally inspired by the seminal Pepsi Pavilion, which was created by E.A.T. (Experiments in Art & Technology) for Expo ’70 in Osaka, Japan. In the Pepsi Pavilion, a 90-foot diameter spherical mirror engaged viewers in the

The Infinite Line proposes new modes of spectatorship in the performance of poetry. In the tradition of Oulipo, the ‘workshop of potential literature', this interactive installation gives visitors the opportunity to recombine the poetic ensemble of