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This multipart work uses real-time data gathered from a colony of naked mole-rats, allowing a peek into their lives. The project reflects Julie Freeman’s fascination with their cooperative lifestyle and how it differs from human social organization.

An organic object is projected in front of the visitors. By means of a control mechanism the user can rotate the object in all directions and observe it from various perspectives. Control sliders allow the viewer to vary diverse parameters of the

Eden is an interactive, self-generating, artificial ecosystem. A cellular world is populated by collections of evolving creatures. Creatures move about the environment, making and listening to sounds, foraging for food, encountering predators and

LORNA 1979-1983 A.D. A.D. "A precondition to video is that it does not talk back. It absorbs, rather than reflects." Preliminary Notes, 1981 While video was like a reflection that did not talk back, interactive works were like a trick, two

The next interactive piece, DEEP CONTACT (1989), directly involves the body of the viewer/participant who were required to touch the computerscreen. Viewers choreograph their own encounters in the vista of voyeurism by actually putting their hand on

Autopoiesis, is a robotic sculpture installation commissioned by the Kiasma Museum in Helsinki, Finland as part of Outoaly, the Alien Intelligence Exhibition curated by Erkki Huhtamo, 2000. It consists of fifteen robotic sound sculptures that

Silvers Alter took the form of a large projection of 22 men and women. This population of people was changed - or evolved - by the audience's presence and movement within the gallery space. When the audience selected a person, information