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Nimbus 7 Composite
1989
Fax transmitted from Chicago to: - "City Portraits: The Suburbs", fax exchange with group Art Reseaux, École Municipale D'Arts Plastiques, Rosny Sous Bois, France, 1990 - "The Globe Show", fax exchange with British artists, Oldham Art Gallery,
Self-portraix
1989
Fax transmited from Chicago to: - "City Portraits: The Suburbs", fax exchange with group Art Reseaux, École Municipale D'Arts Plastiques, Rosny Sous Bois, France, 1990 - "The Globe Show", fax exchange with British artists, Oldham Art Gallery,
R&E
1990
Fax transmited from Chicago to: - "City Portraits: The Suburbs", fax exchange with group Art Reseaux, École Municipale D'Arts Plastiques, Rosny Sous Bois, France, 1990 - "The Globe Show", fax exchange with British artists, Oldham Art Gallery,
L
1990
vintage fax on white paper, transmitted to and exhibited in the show"City Portrait", Gallerie Donguy, Paris, 1990.
Celui qui ne veut se servir des mots
1990
vintage fax on white paper, set of nine 8.5"x11" (21.6 x 27.9 cm) sheets, 1990. Transmitted to and exhibited in the show"City Portrait", Gallerie Donguy, Paris, 1990.
Razzmatazz
1993
Transmitted to Museo Internacional de Electrografia, Cuenca, Spain, 1993, and exhibited in Muestra Internacional de Fax Art, Facultad de Bellas Artes, Cuenca, Spain, 1993.
Elastic Fax 3
2005
Elastic Fax III was realized by participants sending sequential faxes directly from their cell phones to a fax machine in the gallery in São Paulo.
Holopoetry (Series/Concept) 1983-1993
1983
-
1993
Note from Eduardo Kac: "Please note that it is impossible to convey the readerly interactivity and the spatiotemporal qualities of these pieces on a web page. The documentary images below serve as an introduction to this work. Six different points
Não!
1982
"Não!" is organized in text blocks which circulate in virtual space at equal intervals, leaving the screen blank prior to the flow of the next text block. The visual rhythm thus created alternates between appearance and disappearance of the
Geometria do Êxtase
1982
In this poem we look straight down at the top surface of a cube. An invisible light source orbits the cube, casting verbal shadows that can be seen gyrating clockwise, much in the manner of a sundial. As new shadows are cast, the letters permutate
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