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Adrianne Wortzel
Adrianne Wortzel has worked in the field of robotic and telerobotic art for over five decades. Her works combine historic and cultural perspectives with fictive narrative to deploy that considered mix in several genres: robotic and telerobotic
Tesla Electric
1998
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1998
Tesla Electric, the1998 offering from i.e.VR and KU's University Theatre opened in the William Inge Memorial Theatre on February 12th and ran through the 20th. Tesla Electric chronicles the career of inventor Nikola Tesla in an exciting
33 Questions per Minute, Relational Architecture 5
2000
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2000
"33 Questions per Minute" consists of a computer program which uses gramatical rules to combine words from a dictionary and generate 55 billion unique, fortuituous questions. The automated questions are presented at a rate of 33 per minute --the
Field-Work@Alsace
2002
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2002
The project Field-Work@Alsace is a collection of interviews with local inhabitants and passengers around the border between France and Germany. Whole interviews are located in the place where the interview was done and replayed as it was done
Grove
1994
This videoinstallation offers an artificial and hybrid grove with trunks which
support
television sets with images of tree trunks. These pieces of trees like life pieces contrast with the trunks images which turn on the screens. It provokes a
Mental imMigration
2001
Mental imMigration is a collective networked environment which allows on a playful level experiental approaches to new forms of global teleworking. This work requires from teleworkers a mental, immaterial migration in another cultural logic. This
1000 Platitudes
2003
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2003
1000 PLATITUDES consists of large photomontages and one video documentary, which is shown on a plasma screen. Words commonly used to describe the generic globalized city; --each letter of the alphabet was projected on a different building using the
mimesia
2003
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2003
Mimesia is an interactive painting that draws the viewer into a dream-like flow of unfolding narrative. As if in a dream, the viewer can look around but cannot control what will happen next. The work incorporates paradigms from painting, film and
The Library
1999
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2000
As the Y2K media frenzy and millennium celebrations reached a fever pitch in late 1999, the finishing touches were being put on the design of one of the most ambitious VRML projects on the internet today. With the assistance of modellers, animators
Tunnel
2000
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2000
The coal tunnel has no architecture. Its walls consist of the stuff the mine produces. It has no exterior, an interior shaped by the task for which it is intended, surfaces that are nothing but raw materials, and a shape that must follow the coal
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