This performance interlaces the movements of a performer with the choreography of the sound. The flutist uses the sound, the room, and her movements to affect the resonances of a space, mixing technology, music, and pathways to discover new meanings of space.

The logical next evolutionary step is obvious; to embed electronics directly into the food we consume. Our electronics should be as consumable and as perishable as our food.

The LED Kimono is a new light-and-sound instrument made with a single hand-made sleeve embroidered with 444 LED's that respond to sound and movement and occasionally act as a low-resolution monitor interpreting live video.

The installation explores reciprocal musical interactions between the mosquito and the computer. The computer produces a stimulus sound to which the mosquitoes synchronize. Subsequently, the computer sings a third voice that responds to the musical inflections of the mosquitoes’ buzz. These three voices come in and out of harmony depending on the mosquitoes' propensity to maintain sync with the stimulus signal.

Hundreds of satellite dishes infect a skyskraper like a disease. Or is it mankind's unconscious desire to barricade itself from real life, to slow down social life by consuming endlessly accelerating media input? The dishes are pointing in the direction of a distant satellite, expressing the disconnect between people as social beings.

LoopLoop is made from a sequence captured in a train en route to Hanoi. The 1,000 images of this sequence were stitched into one long panoramic image and integrated with other moving elements. Using smooth transitions, animation, and time shifts, the video runs forward and backward, looking for forgotten details, mimicking the way memories are replayed in the mind.

These are skeptical paintings, depicting mounds of old and obsolete computers and televisions rupturing the crisp, wire-frame façade of virtualesque scenes. Computers and televisions (these amalgams of plastic, heavy metals, and other toxic wastes, these transmitters of fantasy, ideology, identity, and creators of virtual worlds) are depicted as accumulating waste in the process of becoming toxic nightmares.

Transformation of a reel-to-reel analog tape recorder, a device that some consider obsolete, into a musical instrument, as a convivial tool using today’s information technology.

The performer, who is surrounded by sound and images, interacts with them using an EEG (electroencephalogram) interface, which measures the performer’s brain activity. Those sounds and images (already stored in the computer) are modified consequently by the brain data via MAX/MSP-Jitter. Hence, the performer determines how those combinations will be revealed to the audience.

Slurb (a word that collapses “slum” and “suburb") encapsulates a dreamy ode to the rise of slime, a watery future in which jellyfish have dominion. The animated, carnivalesque tailgate party loops and stutters like a vinyl record stuck in a groove.

Data from the U.S. Federal Aviation Administration processed to create animations of flight traffic patterns and density.

Yuliya Lanina is a Russian-born American artist living and working in New York City who creates alternate realities based on sexuality, fetishism, and identity. All of her characters are dolls and toys made from dissembled parts that have been restructured with other found objects, which makes her works visually provocative.

The computational world of Artificial Nature consists of organisms interacting within an environment, consuming flowing energy and matter to grow and survive, generating continuous patterns of emergent beauty.

With its peculiar, refined scenic beauty, this exploration of the chaotic enchantment of a Tokyo night view is more a sensual than a cerebral experience.

Paintings by Ito Jakuchu were used as prototypes to produce an immersive virtual environment that allows people to enter the paintings. The result reveals possibilities for new collaborative studies.

Mathematical organization derived from natural forms has always inspired me. I began working with computer-aided design and 3D printing to create my work. I found that CAD allowed me to create organic but precise forms. After my work is modeled on a computer it is produced by a machine that prints in 3D or builds the pieces layer by layer.

The system automatically superimposes animations on t-shirts and projects the resulting image on a screen. To achieve this effect in real time, the system first registers a deformable 2D mesh with the view of the t-shirt. Then it evaluates illumination to reproduce it on the virtual elements. It also segments possible occlusions.

In this work, a bicycle generator powers a water pump and lighting system for a plantation of hydroponically grown, edible plants. The plants provide nourishment for the biker, and this sealed micro-ecosystem asks: What are the limits of human sustainability?

Platonic Tectonics reinterprets the discovery of geologic transitions and composes a contemporary earthquake myth that may awake the lonely planet. It is a live interactive video installation that explores the allegory of human connections. Through a simulated earthquake scenario in an immersive and participatory environment, the audience examines the poetry of spatial relations in a physically near and enclosed, yet visually mediated reunion.

Instances of Commediation recreates the multiplicity of environments we live in today, along with our spatial impermanence. Five LCD screens show different perspectives of simultaneous fictional events that begin as watercolor paintings and later become animated.