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  • In this essay, media researcher and developer Tiago Martins provides insight into the development process of the mixed-reality archive AR[t]chive during a large research project. The HoloLens based application enables users to explore archived
  • Media Art Learning -
    ... mit digitalen Medien. Hamburger Grund- und...
  • Camouflage -
    Intervention For the temporary intervention 'Camouflage' the ten national flags attached to flagpoles at the bus parking lot on the Bieler Höhe were exchanged for monochrome quartz green banners. Not until they were approached did they appear to
  • ... for Computer Art, Hamburgische Kulturstiftung ...
  • Organizer: Sandrine Amiel, Parlement européen, Direction générale de la Communication Bureau en France, Paris Special thanks to Adrienne Éva Burányi, Director of Institute Liszt, Paris, Emma Bornai, Attachée culturelle of Institute Liszt, Paris, and
  • MINDSCAPE -
    MINDSCAPE is a metaphor of what we are becoming in this digital era. Like most people nowadays, the performer appears isolated and hooked up with a computer, his/her body connected to and surrounded by light wires, creating a distance between the
  • (in)human sciences -
    “(In)human Sciences” was made for the exhibition Neterotopia, curated by Daniele Balit and Pierre Mertens. During March 2006, my work was displayed in the advertising space of the website of the french newspaper Libération. The exhibition was also
  • Spider Haus is a transpecies communication artwork constructed of stereo lithography plastic and a common house spider (Theridiidae) in the winter and an orbital web spider in the summer. It is designed to amplify and connect the viewer with the
  • My Black Cat -
    In a series of 'test cases', Knowbotic Research investigate the construction of identity, power, and communication.The installation Black_Cat confronts the constitution of subjectivity under the current post-media condition. In this installation,
  • Points of View II - Babel addressed issues relating to the Falklands War. It was made using the same functional and iconographic structures as Points of View I, but with a differing content.In BABEL hieroglyphs were used to articulate a