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Sine Curve Man Three
1967
The sine curve function was applied to the digitized drawing and many passes were made through it to achieve this image.
My Father
1966
This early plotter drawing later served as the basis for two different versions of "Sineman Two." In "Sineman Two" Csuri applies the sine curve function to the drawing of "My Father" and then created a black ink drum plotter drawing and a red photo
Hummingbird
1968
video
Collection: Museum of Modern Art, New York. Csuri continued with this experimentation on other drawings, including one of a hummingbird in flight. Csuri produced over 14,000 frames, which exploded the bird, scattered it about, and reconstructed it.
Smart Pantheon RGB
2022
2022, interactive online video for mobile devices with touch-screen (runs in web browser; best suited for iPhones and iPads) In her interactive video work Smart Pantheon RGB, Myriam Thyes addresses the almost religious devotion we give to our
She Who Sees The Unknown: Kabous, The Right Witness, and The Left Witness
2019
She Who Sees The Unknown: Kabous, The Right Witness, and The Left WitnessArtist: Morehshin AllahyariComment:
schème
2001
video
Two dancers/performers interact with an audio-visual environment. Their movement data control cameras, microphones, and architectural projections of 3D representations of each performance venue. Four scenes, made up of choreography and media, play
Birds in a Hat
1968
Birds in the Hat (1968), presents an iconic example of an early plotter drawing, a printing technique that allowed for an ink pen to be guided by digital input. Executed using an IBM 7094 computer and a drum plotter, this work mathematically
Numeric Milling
1968
Measurements 33 x 56 x 22 cm (13 x 22 x 8.5 in.) Csuri's wooden sculpture Numeric Milling is one of the few early computer sculptures created with a computer-driven milling machine. Artist's Comments This work made use of the Bessel function to
site-inflexion
2020
The immersive installation site-inflexion invites visitors to take part in a site-specific virtual and acoustic journey. The scenery and soundscapes of the JKU campus are the main actors in the work, alluding to Johannes Kepler’s activity as a
entre-deux
2002
video
Performers tele-dialogue from two distinct places with a single spectator at a time, whose shadows become the theater of the work. Each performance is unique and constitutes a singular experience for the visitor, who is no longer only a passive
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