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CURATORIAL STATEMENT CODeDOC takes a reverse look at 'software art' projects by focusing on and comparing the 'back end' of the code that drives the artwork's 'front end'—the result of the code, be it visuals or a more abstract communication

I have created a a language to delete, to compact mental texts and graphics, to eliminate unwanted thoughts and make them personal hieroglyphics. 210 graphemes that don´t carry meaning by themselves. One grapheme is not an "A" or a "B" but anything

AL GRANO: Framing Worlds deploys a staging of fact and ction where various registers of images, texts and objects, coexist. These digitally produced 2D and 3D pieces have as common element the manipulation of languages, histories and codes (the

A seed of transgenic corn represents an explosive capsule that on the one hand has the capacity to divide communities and Nations, and on the other hand the ensuing debates have caused movements of conservation and care of ecosystems, the

[in-time-time] ? Date made: 2008 Materials: interactive new media installation, responsive screen-based work, video and digital prints. Other information: Solo exhibition held at the Tarble Arts Center / Eastern Illinois University, Charleston, USA

Where are you from?_Stories, 2002-2009, is a net-art piece supported by a one-year research grant from the Canada Council for the Arts. The videos for the net-art piece were selected from approximately 200 15-minute videos captured in special events

Shirley Shor > CryptoMania Opening Reception: Thursday, November 30, 2017, 20:00 Curator: Yaron Haramati CryptoMania brings the cyberworld and human/machine relations in the post-digital age into the world of art. Shor explores abstract themes like

In Giulia Bowinkel & Friedemann Banz series of ”body paintings”, the body becomes the shaping pulse. Recordings of body movements in space are coupled with fluid simulations. The generated forms follow the movement of people, translating physical

CHAOS [Sonat 1.0, Movement 1.0] is an art project by Sameh al Tawil 2021, which focuses on the visualisation of sound data. The artist is improvising live piano sounds that are developed for a 2D/3D visual/s generation and responses, these produce

In To Be Is To Get Cut, I consider the sociopolitical structures and behaviors that are otherwise hard to realize from inside the microcosm of society. To do that, I use digital media. That allows me to create a self-sustained ecosystem that exists