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“Hello, world!” analyses the ephemerality or longevity of storage media and uses acustic signals for data storage. In a closed system, which is made up of a computer, a loudspeaker, 246 metres of copper pipe and a microphon, circulates a codified,...

in cooperation with various sound artists: Peter Szely, Christof Cargnelli, Electric Indigo --- Resembling a flaneur in an unknown city the bot moves through a "ludic 3D environment" - moved by the hand of the player - robbed of his identity which...

The Nanomandala is an installation by media artist Victoria Vesna, in collaboration with nanoscience pioneer James Gimzewski.

The installation consists of a video projected onto a disk of sand, 8 feet in diameter. Visitors can touch the sand as...

The Mood Swings installation creates states of emotion and perception by translating the viewer's body into a swarm of moving particles that change "moods" from one extreme to another. As the visitor's image is captured on a live video camera,...

Installation, sculptures, video (undone project)
Video projections reflected by polished surfaces distorted by world's emotions

Like the Frozen Feelings, the plates of aluminium are digitally carved on the model of world emotions maps.

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Packaging of the Frozen Feelings
Emotional packaging

Synaptic Caguamas is a kinetic sculpture consisting of a motorized Mexican “cantina” bar table with 30 “Caguama”-sized beer bottles (1-litre each). The bottles spin on the table with patterns generated by cellular automata algorithms that simulate...

An expanded and redesigned version of the PFOM installation, initially produced for the Centre Pompidou, Paris, in 2001. The public contributes data about an object in their possession to a database that accumulates throughout the exhibition's...

Year:2004 (short film, 8min 11sec) Sachiko Kodama
Sound by Ippei Ogura
Breathing Chaos is a short film that uses the dynamic forces of nature to suggest that life emerges from the expression of physical power.
Themes include the chaos of...

Jeffrey Shaw, Bernd Lintermann. 2004