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Das Mu-Rätsel
1985
-
1985
video
Stage environment (after Douglas R Hofstadter: Gödel, Escher, Bach) [English title, The MU Puzzle] A media environment was integrated into the stage design of 'Mu-Rätsel', a theatrical production by Hubsi Kramar, shown in the Schauspielhaus Graz as
Der andere Beobachter
1991
-
1992
video
Der andere BeobachterArtist: Ruth SchnellComment:
Facades
2015
-
2015
video
Immersive audio-visual animation 'facades' is an audio-visual animation, conceived for performance in a fulldome. Fulldomes are immersive, dome-based projection environments, which – as an interface – allow full and multimodal integration of the
Decision making
2006
-
2006
video
Intervention at the media facade of the HVB at Potsdamer Platz (SPOTS light- and media facade) as part of the exhibition Salon du Monde, Berlin (Germany). Between 2006 and 2008, the SPOT light and media facade on Potsdamer Platz in Berlin was the
Museum for Insects
2013
-
2017
video
... and engineers a
like
, to dream greatly and...
Ovid
1996
-
1997
video
Video installation Series 'Bags' A text from the sixth book of Metamorphoses runs from the foreground to the background on a three-dimensional "screen" consisting of 39 shopping bags. The tale of the weaving contest between Pallas Athena and
Plüschlove
1984
-
1984
video
Videotape [English title, Plush love] Love scenes from two movie classics are rasterized, overdrawn, overstretched and squeezed, slowed down and accelerated by the computer. 'Plüschlove' is a montage of real, digitized (i.e. computer-generated) and
Positionen
1997
-
1997
video
PositionenArtist: Ruth SchnellComment:
Punching Ball
1989
-
1989
video
Video sculpture A monitor is hung up with rubber bands and steel spirals, and thus installed as a punching ball in the exhibition space. A video shows the world globe seen from orbit. The globe rotates and passes through a process of resolution and
Tür für Huxley
1989
-
1989
video
Interactive computer video installation Three doors of the environment 'Tür für Huxley' ('Door for Huxley') simulate the entrance to different realities. The observer has the choice between pure observance of a conserved and continuosly repeating
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