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The Search Drive (2014) is a video work in which some of the same software programs utilized by the NSA to spy on Americans and foreign nationals, residing in America and abroad, are used by an autonomous agent to search through the web for personal

ScanLink can be described as walking the web backwards. The underlying topology of connectedness, such as popularity and power distribution, is shown through a reverse traversal of links for any given web page. Using ScanLink the user can select a

Performers interact with images and sounds and manipulate four mobile projection surfaces, orchestrating a set of changing architectural constructions. Spectators circulate freely like visitors to an installation, accessing multiple points of view

Mixed-reality installation with live and virtual performers, encountered via the smartphones of the visitors. Real and virtual situations come together, and micro-narratives emerge, based on shifting degrees of presence, traces of daily gestures and

Mixed-reality installation with live and virtual performers, encountered via the smartphones of the visitors. Real and virtual situations come together, and micro-narratives emerge, based on shifting degrees of presence, traces of daily gestures and

Fulldome participatory installation as a metaphor for a prediction machine. Virtual space of knowledge where visitors trigger, via a voice recognition system, one of the twelve clouds of information on the future of work, education, democracy...

Fulldome participatory installation as a metaphor for a prediction machine. Virtual space of knowledge where visitors trigger, via a voice recognition system, one of the twelve clouds of information on the future of work, education, democracy...

Two dancers/performers interact with an audio-visual environment. Their movement data control cameras, microphones, and architectural projections of 3D representations of each performance venue. Four scenes, made up of choreography and media, play

Two dancers/performers interact with an audio-visual environment. Their movement data control cameras, microphones, and architectural projections of 3D representations of each performance venue. Four scenes, made up of choreography and media, play

Performers tele-dialogue from two distinct places with a single spectator at a time, whose shadows become the theater of the work. Each performance is unique and constitutes a singular experience for the visitor, who is no longer only a passive