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European Media Art Festival 1994
1994
By 1994, EMAF had already evolved into one of the largest annual events for innovative experimental works in the areas of film, video and interactive projects. Compared to the created reality of television and the colourful media design of digital
n0time
2000
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2001
Computer technology promised to save us time and provide a renewed sense of community. Instead we are collectively suffering from information overflow and lack of time, and we have to reconsider the established notions of "community". When thinking
FLOOR | PISO
2007
-
2013
FLOOR is an interactive interface designed to transfer data of strength and movement in the human-human relation and the human-space time relation. The mode of agencying the FlOOR interface is very simple: you step on one of the two ends of the
This one's for the Farmer
2013
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2014
‘This one’s for the farmer’ encompasses five bodies of work. Each set of work has been produced with the farming community as a partner. While the title seems to exclude the art viewer, the whole body of work is about enticing viewers to take a
Coleoptera
2018
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2019
video
Coleoptera Learning computer coding concepts for children (age 4 to 10) Developed for the Centre Pompidou, Paris © 2018-2019, Laurent MIGNONNEAU & Christa SOMMERER Coleoptera is an application that enables the creation of computer animated insects
Points of View III - A Three-Dimensional Story
1984
Points of View III - A Three Dimensional Story explored the notion of an open artwork by inviting sixteen people to make narrative contributions which were then interactively linked to the visual scenography so that the viewer could navigate between
Propagation of the Luminous Word
1988
This work addresses the notion of a library of the written language, and gives special aesthetic emphasis to the digital (binary) transformation of language to embody the context of the LBC as a computing center for a larger network of provincial
Genesis
1999
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1999
Genesis is a transgenic artwork that explores the intricate relationship between biology, belief systems,information technology, dialogical interaction, ethics, and the Internet. The key element of the work is an "artist's gene", a synthetic gene
Digital Body-Automata
1997
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1997
Housed in a white, clinical environment, Digital Body- Automata is divided into three parts. These installations are called: A Figurative History (past mechanical transformation); Interskin (present digital transformation) and Immortal Duality
The Telepresence Garment
1995
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1996
I first conceived the Telepresence Garment in 1995 to investigate the notion of the mediascape as an expanded cloth; i.e., to consider wireless networking as a new fabric that envelops the body. The Garment, which I finished in 1996, gives
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