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In 1986 Craig W. Reynolds made a computer model of coordinated animal motion such as bird flocks and fish schools. It was based on three dimensional computational geometry of the sort normally used in computer animation or computer aided design. The

The Leap carries out a new interpretation of Norwegian national symbols: Henrik Ibsen's "Peer Gynt", Edvard Grieg's music to the play and The Norwegian mountain wilds. In the installation these functions as condensed symbols of our

Blow-up is a high resolution interactive display that is designed to fragment a surveillance camera view into 2400 virtual cameras that zoom into the exhibition space in fluid and autonomous motion. Inspired by Antonioni, the piece is intended as a

Morpho Tower / Two Standing Spirals (2007) Sachiko Kodama Collaborator: Yasushi Miyajima (Sony CSL) “Morpho Towers--Two Standing Spirals” is an installation that consists of two ferrofluid sculptures that moves synthetically to music. The two

driessens & verstappen e-volved cultures xxwide, 2008 Variable screen. Software for Mac OS X, installation with 2 projectors Supported by: Mondriaan Foundation, Ámsterdam Acknowledgements: The Netherlands Foundation for Visual Arts,

HMV is a board game. The players can move semi-autonomous ball robots by making sounds. Form and gravity collude with voice, board and chance. Each ball listens to a certain pitch and starts to move if the right frequency was hummed or sung. The

still living (a, b, e, f, g, h, i, j), 2006 Series of infinite visual installations. Computer, specific algorithm Courtesy: the artist This series of visual installations revolves around the concept of living graphics: graphics using

Flack Attack is a magazine coming out of The Port, a community-driven space inside the online 3D world Second Life. Flack Attack explores a distributed model for magazine production. The workflow starts with a wiki, a web page allowing for open and

In Rigid Waves, the acoustic mirroring of Narcissus and Echo is transformed into a visual form. Approaching the mirror, the viewer is confronted with a reflection that does not correspond to normal perception. Only an illusionary visual echo of

When a visitor steps on one of the 32 sensors on the floor, a screen in front of her shows one of four little digital worlds, that are partly controllable by the viewer. Hypothetical creatures, autonomous and life-like, live in these worlds.