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This piece depicts the upcoming struggle between the virtual and physical sides of our selves. As technology brings us the age of virtual worlds, our existence as individuals becomes less and less dependent on our physical being. Our virtual

"Life Spacies" is an interaction and communication space, where remotely located visitors can interact with each other through evolutionary forms and images. "Life Spacies" enables visitors to integrate themselves into a 3 dimensional complex

"Life SpaciesII" was originally developed for the ICC InterCommunication Museum in Tokyo as part of the museum's permanent collection. It is an artificial life environment where remotely located visitors on the Internet and the on-site visitors

VERBARIUM is an interactive text-to-form editor on the Internet. At the VERBARIUM’s web site, on-line user can choose to write text messages and each of these messages functions as a genetic code to create a visual three-dimensional form. A special

PICO_SCAN is an interactive installation that allows users to measure and capture their users various body data and links them to the creation and evolution of artificial life creatures. The PICO_SCAN system consists of 5 PICO_SCANNER interface

The Tables Turned is preceded by Telematic Dreaming from 1992 and Telematic Vision from 1993. This installation is a continuation of the telematic theme placed within another social context. Dreaming used the bed, Vision used the sofa and The Tables

The powerful social aspect of Sermon’s work is visualized in the site-specific installation A Body of Water (1999), created for the exhibition Connected Cities, which has an atmosphere that borders on the eerie. In a chroma-key room set up in

Three inflatable pavilions, each having a specific function, were specially commissioned for Sonsbeek buiten de perken. Besides the Information Pavilion, an air supported semi-sphere covered with sythetic grass, and the Video Studio, a tensile

Points of View II - Babel addressed issues relating to the Falklands War. It was made using the same functional and iconographic structures as Points of View I, but with a differing content.In BABEL hieroglyphs were used to articulate a