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  • Amy Youngs
    Amy M. Youngs creates biological art, interactive sculptures, and digital media works that explore interdependencies between technology, plants and animals. Her practice-based research involves entanglements with the non-human, constructing
  • A Modelling Method and Interface for Creating Plants
    Deussen, Oliver and Bernd Lintermann. A Modelling Method and Interface for Creating Plants Computer Graphics Forum 17, no. 1 (March 1998): 73-82.
  • The Interactive Life of Plants
    Frauenfelder, Mark. The Interactive Life of Plants Wired Magazine (July 1994).
  • Interactive Structural and Geometrical Modeling of Plants
    Lintermann, Bernd and Oliver Deussen. Interactive Structural and Geometrical Modeling of Plants IEEE Computer Graphics and Applications 19, no. 1 (Jan/Feb 1999): 2-11.
  • Ken E. Rinaldo
    Ken Rinaldo is internationally recognized for interactive art installations developing hybrid ecologies with animals, algorithms, plants, and bacterial cultures. His art/science practice serves as a platform for hacking complex social, biological,
  • Animals Are Dumb and Plants Even Dumber
    Bismarck, Julius von. Animals Are Dumb and Plants Even Dumber. Bielefeld: Kerber, 2016.
  • Featured Artist Marta de Menezes
    .. an artist, writer and curator, who has worked in the field of Bio Art since the late Nineties ..
  • VR Aquarium - video
    VR AQUARIUM offered immersion in VR at the digital cavern of the NTAV Lab, installed at the Museum of Natural Sciences of the University of Caxias do Sul. The environment aesthetical appeal was the augmented reality and telepresence which enhanced
  • fernfühler
    Fernfühler beleben den öffentlichen Raum und bringen Gestalt und Gestaltung in das Bewusstein der Öffentlichkeit. Fernfühler können auch spielen, da sie mit anderen Fernfühlern verbunden sind und diese (bzw. die Menschen, die auf ihnen sitzen) in
  • Tessarae of Venus -
    Tesserae of Venus imagines a strange future through dynamic photomontages of energy-producing landscapes and related drawings. McPhee borrows from the tectonics of Venus-tesserae, or ‘complex ridged folds,’ in order to structure her images of
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