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Susana Pérez Tort, “Multimedia Semiotics of two works of art” 2010

Susana Pérez Tort. Susana Pérez Tort, “Multimedia Semiotics of two works of art” “Multimedia Semiotics of two works of art” (2010).
Susana Pérez Tort, “Semiótica de dos obras Multimediales” 2010

Susana Pérez Tort. Susana Pérez Tort, “Semiótica de dos obras Multimediales” “Semiótica de dos obras Multimediales” (2010).
Processes: The Artista and the Machine. Reflections on the historical Media Art 2016

Escribano Belmar, Beatriz and José Ramón Alcalá Mellado and Rubén Tortosa and Ana Soler and Lieve Prins, ed. Processes: The Artista and the Machine. Reflections on the historical Media Art. Cuenca: Ediciones de la Universidad de Castilla-La Mancha,
Toshinori Kondo

N/A See colaboration with Naoko Tosa
Paradise Tossed 1994

Scott, Jill. Paradise Tossed Leonardo Electronic Almanac 2, no. 3 (March 1994): 8-9.
Triple Echo 2003

... involved becoming interchangeable but inflected...
data.tron [8k enhanced version] 2009 - 2010

the new work is an enhanced version of the audiovisual installation data.tron, where each single pixel of visual image is strictly calculated by mathematical principle, composed from a combination of pure mathematics and the vast sea of data present
Towards Posthuman Creativity: From Kinetic to Bio-Robotic Art 2014

Kluszczyński, Ryszard W.. Towards Posthuman Creativity: From Kinetic to Bio-Robotic Art In Art Line: A Baltic Collaboration, edited by Magdalena Mróz-Grygierowska and Torun Ekstrand, 94-101. Karlskrona: Blekinge Museum, 2014.
Emotion Recognition and its Application to Computer Agents with Spontaneous Interactive Capabilities 1999

Tosa, Naoko and Ryohei Nakatsu and Joy Nicholson. Emotion Recognition and its Application to Computer Agents with Spontaneous Interactive Capabilities In Workshop on Emotion-Based Agent Architectures (EBAA’99), , 84-93. : 1999.
Art Total 2010 - 2010

The relationship between the work and its frame and between art and its spaces for exhibition and legitimisation has been one of the preoccupations of twentieth-century artists. In the multiple conceptual acrobatics which led Klein to exhibit

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