Rhizome Newsletter

Since its first appearance in 2002, Hektor has been exhibiting internationally on several occasions, drawing a lot of attention from both the contemporary art and technology worlds. Hektor, the brainchild of artist Jurg Lehni, is a portable spray-paint output device for laptop computers that brings together graphics and artificial intelligence. Although consisting only of two motors, toothed belts, and a can holder, Hektor replicates the motion of a graffiti artist's hand, producing formally engaging work. In Hektor's rare live actions, one notices the contrast between the low-tech dimension of the mechanism and the high aesthetics of its production, which grants a poetic quality to its existence. This can be witnessed next Thursday at the New York's Swiss Institute, which will host a 6-hour event in which Hektor meets Dexter Sinister, a duo known for their just-in-time workshop that collapses design and printing production into an anti-corporate activist process. Hektor will create a series of wall paintings in the Swiss Institute gallery and other areas informed by the 'Lissajous curves', a term mathematician Jules Antoine coined in 1857 to describe the graph of the equations that define complex harmonic motion. In an evening reuniting the ild trio of machines, humans, and mathematics, a re-imagining of the present visual culture will thus take place through the timely collaboration of Hektor and Dexter Sinister. - Miguel Amado

http://www.hektor.ch/

In his own words, Los Angeles-based artist Eddo Stern 'works on the disputed borderlands between fantasy and reality, exploring the uneasy and otherwise unconscious connections between physical existence and electronic simulation.' The works on view in Stern's second solo show at New York's Postmasters Gallery--which will open September 8--result from his obsessive participation in online games. Recently, the artist immersed himself for one year inside 'World of Warcraft' (the most popular online multi-player game), logging over 2000 hours of play. His new pieces--kinetic shadow sculptures and 3D animations--explore documentary material drawn from web forums, YouTube, midi music, and hand made puppets. For instance, in 'Man, Woman, Dragon,' the 'World of Warcraft' is reduced to its core elements: the cult of Chuck Norris, female elves, and a slain dragon. Also worth mentioning is 'Level sounds like Devil (BabyInChrist vs. His Father, May 2006),' in which a teenager living with an adoptive Christian family tries to overcome the spiritual dilemmas of his involvement in the game by asking, 'Is World of Warcraft Evil?' And Stern's 'Best Flame War Ever (King of Bards vs. Squire Rex, June 2004),' is a recreation of a virtual flame war about degrees of expertise around the well-known 'Everquest' game. Mixing innovative narrative techniques with experimental technology, in this exhibition Stern examines the video gaming culture at 'its paradoxical extremes,' as the galley puts it: 'on one hand, an untenable perversity of life spent slaying an endless stream of virtual monsters; on the other, an ultimate mirroring of the most familiar social dynamics.' - Miguel Amado

http://www.eddostern.com/

San Francisco-based artist Jonathon Keats is, in his own words, a 'fabulist.' For example, he once attempted to genetically engineer God in a petri dish in collaboration with scientists at the University of California, and recently he has presented extraterrestrial abstract art at the Judah L. Magnes Museum in Berkeley. When he was choreographing a piece for honeybees at Chico State University last year, Keats became interested in the potential impact of show business on non-human viewers and decided to produce motion pictures for other species, from rose bushes to almond trees. By projecting specially prepared video directly onto foliage, he has found a way to share films with bushes and brambles, for example. Therefore, he decided to open a movie theater for the natural world at Chico's 1078 Gallery, which will begin its program next September 10 with an adult film for the region's flora. As Keats has put it, 'This wasn't the sort of situation where I could learn the audience's mindset. The only thing that would be a sure hit, I figured, was sex.' So, he has made a gritty black-and-white work titled 'Cinema Botanica: Pornography for Plants' that, according to a caption in the footage, 'features explicit acts of cross pollination filmed in photosynthetic silhouette.' While looking for other venues to show the movie, Keats posted on YouTube a trailer ofit that is already drawing the attention of internet users and, perhaps, of the authorities, whom will undoubtedly flag it as inappropriate. Representing a step forward in his exploration of the uncanny, Keat's new project constitutes a revolution in the entertainment industry. - Miguel Amado

http://www.youtube.com/watch?v=tZqzr5ANi7I

Is your blogroll getting stale? Do you need to pump some bass into your RSS feeds? You might consider adding Remix Theory, a relatively new blog maintained by media artist, writer, and curator Eduardo Navas. While Navas has written on the contemporary climate in essays such as 'Regressive and Reflexive Mashups in Sampling Culture,' he makes a distinction between remix culture, and remix proper, and focuses directly on the latter creative act. This inquiry has been addressed by the prolific critic in a number of projects, including his essay on The Blogger as Producer; his curatorial project, The Latency of the Moving Image in New Media, at Los Angeles' Telic Art Space; and his recent interview with Yto (Isabel Eranda) in the Chilean magazine, Escaner Cultural. Remix Theory aggregates Navas's work, alongside excerpts and projects from others. In addition to coverage of various manifestations of the principles of remix, one essential goal of the blog is to define the term, itself. Navas insists that this effort must begin with the study of remixed music, before branching out. Offering copious historical and bibliographic resources to that effect, the site is stimulating on several levels, offering insight into new art works and new means of discussing them. - Elizabeth Johnston

http://remixtheory.net/

Kevin Bewersdorf and Paul Slocum draw on the tragicomic nature of internet culture in their current exhibition, 'Passing Time and the Changing Seasons of Time,' at Austin, Texas gallery Okay Mountain. Both artists share an individual appreciation for music and homebrew instruments, and their hacker aesthetic often leads to other forms of shape-shifting--from websites to videos to multi-part installations. But the current show looks at a different form of change: the seasonal. The word seems to be employed here not only in reference to the weather, but perhaps more so in the way that one refers to 'television seasons.' Their solo and collaborative works investigate the emotional arcs, demographics, and formal qualities peculiar to various epochs of visual production. Some of their more interesting works, in this show, attempt to translate between genres, hand-painting the image of a spam message into a sweatshirt or using computer-knitting programs to embed the image of a fictitious pharmaceutical ad (for a product called 'MaxXimuM SorRoW') into a tapestry. Exploring the mainstream life of the digital image, the artists employed the drugstore Walgreens' online photo service to order the fabrication of mugs, coasters, mouse pads, and silkscreened pillows that display the images retrieved in Google searches. These objects and many others are on display at Okay Mountain through September 1st. - Marisa Olson

http://www.geartekcorporation.com/passingtime/

New York-based Canadian artist Nancy Davenport has been exploring photography's medium-specificity through a series of computer-manipulated photos that challenge the illusion of the real embedded within the photographic document. In 2001, for example, her exhibition 'The Apartments,' presented at New York's Nicole Klagsbrun Gallery one week before 9/11, stormed the international art scene, as it included a group of pictures of fictionalized bomb attacks on modernist architectural edifices, and thus prompted the uncanny feeling that fiction was envisaging reality. Currently, Davenport is completing her latest project, 'Workers,' that is on the checklist of the upcoming Istanbul Biennial. Evoking the famous early film in the history of cinema, the Lumiere Brothers's 1895 'Workers Leaving the Lumiere Factory,' Davenport's installation consists of a multi-screen DVD environment depicting a factory and portraits of sets of both Norwegian blue-collar workers and their out-sourced Chinese counterparts. Referencing nineteenth-century technology yet using more recent image-making techniques, Davenport thus examines the politics of representation within contemporary digital culture. Selecting as her subject matter the global economy, with its never-ending flux of capital, goods, and labor, the artist’s output hits a higher tone, as it reflects a facet of everyday life that often defines our age. - Miguel Amado

http://www.nancydavenport.com/

It can often be hard to describe internet art as a movement, because its participants are spread across so many cities, and work in so many different ways. Net art has also been spread across a time period of great tech development in the last 15 years or more. In fact, some notable critics have already declared net art 'dead.' But this week in New York, one event seems poised to reflect the loud pulse of web-based practices by a new generation of artists. The Great Internet Sleepover, at Eyebeam, will be a night to remember as web-surfers flock to New York from all across the country for a creative lock-in. Most of the participants' activities will happen behind closed doors--a chance to bond and collaborate with colleagues. However, the first two hours of the event, from 8-10pm, will be open to the public. Members of 'group surfing' blogs Double Happiness, Loshadka, Nasty Nets, and Supercentral will be on hand, as will unaffiliated 'surfers' who go by handles such as Seecoy, Ominous Moo, and Wizard is Hungry. These two open hours will provide an inside glimpse into the artists' creative techniques, a chance to get your own hands dirty,a rumored 'free table,' and the requisite roundtable discussion on what all this means. - Elizabeth Johnston

http://www.eyebeam.org/engage/engage.php?page=unique&id=136

This month, the London-based collaborative Furtherfield is hosting an online retrospective of the work of Tales of Tales. Previously known as Entropy8Zuper, this artist partnership is made up of American Auriea Harvey and Belgian Michael Samyn, who were once at the forefront of internet art and now concentrate on game design. The duo came into being with the design of '8,' which they describe as 'an epic single player PC adventure game inspired by the various versions of the folk tale, Sleeping Beauty.' They have since created a number of games borrowing content or form from classical religious or folk literature. Included in Furtherfield's retrospective are 'Eden.Garden,' a browser-like piece in which the activity of the game narrative's characters is driven by the data analyzed at a URL specified by the reader; and 'Guernica,' originally a Doomsday-like 'client' for RSG's legendary network packet-sniffing project, Carnivore. Many of Tale of Tales' projects involve a form of written correspondence between game characters. To some extent, this form of storytelling mirrors the digitally-mediated process by which Harvey and Samyn fell in love and decided to work together. Among these is 'The Godlove Museum,' their newest project, which is 'A series of web-based artworks that mix the personal lives of the authors and political and social commentary with the mythical texts of the Bible,' with references to the War on Terror. These and other projects are linked on Furtherfield's site and are introduced by a major, two-part illustrated interview conducted by Maria Chatzichristodoulou (aka Maria X). - Angela Moreno

http://www.furtherfield.org/displayreview.php?review_id=283

Several Chinese artists have been drawing the attention of the international art scene in recent years. For example, at the current Venice Biennale, the China pavilion -- in its second installment after its 2005 debut -- is showing four female artists that have received a good deal of critical acclaim. Among them is Cao Fei, one of the rising stars of the latest generation of Chinese artists that, as curator Hou Hanru once put it, 'has grown up in the world of electronic entertainments and advertisements prevailing within Hong Kong/Taiwan-style pop music, TV drama, computer games and new subcultures influenced by various global trends such as Japanese Manga, American Rap, and Hong Kong films...' For the Venice Biennale, Fei has developed a new project, an Igloo-like inflated nine-chamber house in which several video projections take place featuring a work protagonized by her Second Life avatar, 'China Tracy.' After discovering Second Life, Fei embarked on a six-month journey through the wonders of the digital realm, as China Tracy, and many came across her through a YouTube stream in which she introduced herself in machinima footage with Chinese subtitles. According to Fei's declaration to Second Life's sponsored New World Notes, all sorts of typical activities occurred during that period: 'Fly, chat, build, teleport, buy, sex, add friends, snapshot...' These experiences were documented and generated the three-part, thirty-minute epic, 'i.Mirror' that Fei is now exhibiting at Venice’s Arsenale back garden as well as on YouTube. A melancholic allegory of consumerism, love, and humanity as seen through the eyes of a late-twenties female Chinese anime character, 'i-Mirror' is a brilliant examination of contemporary society's condition; an observation perhaps only possible today form the perspective of virtual space. As Fei says of Second Life, 'It brings us business and democracy, at the same time with feelings and culture. We can't avoid capitalism's wave; at the same time, we can't avoid Communist aspirations in our heart... Communism is our Utopia, Second Life is our E-topia... It is our mirror, it tells us the truth.' - Miguel Amado

http://www.caofei.com/

It's no wonder that 'privacy' is among the most popular tags for users of the social bookmarking site del.ico.us. The increasing use of surveillance technologies ranging from security cameras to consumer profiling, and RFID tags to telecommunications eavesdropping techniques has placed the question of privacy at the forefront of contemporary political debates. But the bigger question is of the relationship between surveillance and web 2.0 services; particularly social networking sites. That is to say, the same people who make sites like del.icio.us work are caught up in a web of self-surveillance that is indicative of a larger cultural/ political phenomenon. Enter Ars Electronica. Every September, for over 25 years, the Linz, Austria-based new media art center has organized one of the most important international conferences focused on art and technology. Each year includes an academic conference, in tandem with a major art festival and a series of very ambitious public installations. These are always focused around a particular pressing theme and this year's is, not surprisingly, 'Goodbye Privacy.' From September 5-11, dozens of artists, critics, scholars, and media activists will gather to comment not only on the increasingly pervasive threat to privacy, in contemporary culture, but also on the ways that this notion is represented in contemporary art. If you're at all interested in intersections of art, politics, and technology, make your plans now to sneak away to Austria. - Marisa Olson

http://www.aec.at/en/festival2007/index.asp

Perhaps inspired by Joseph Beuys declaration that 'Every human being is an artist,' Brazilian artist Ricardo Basbaum's 'Would you like to participate in an artistic experience?,' featured at the current Documenta 12 in Kassel, Germany, follows the famous German's radical proposition of a 'social sculpture.' A new installment of the project, initially launched in 1994 and presented online, was the first event at Kassel, this year. A few months ago, ten white and blue steel items left an apprentice's workshop and joined ten others on three continents, where households located in Kassel, Dakar, Ljubljana, and Mexico City, among other places, have received them. There, its inhabitants--their temporary owners--have appropriated them according to a personal understanding of their function or aesthetic qualities. As Roger M. Buergel, artistic director of Documenta 12, has commented, the works are 'unreasonable, fitting-in nowhere so they pose a challenge.' Indeed, their uncanny shape--resembling 'an empty pie dish or a bathtub with a hole in it,' as someone once described them--challenges any utilization or contemplation. Visitors to the exhibition at Kassel lay on colorful pillows placed on the green-carpeted floor of a prison-like cell and watch the several TV monitors placed inside the structure. Here they witness the creativity with which different individuals have dealt with the pieces. Living with them has triggered unexpected situations that the videos document (as well as photographs posted in the website), leading to a close relationship between the participants, the objects, and the artist. As Basbaum has put it, echoing Beuy's utopian proposal, 'I want to reverse the relationship between the artist and the audience, to find out something about the people involved. Now the audience is the sender and the artist is the recipient.' - Miguel Amado

http://www.nbp.pro.br/

Currently on view online and in San Diego, California, is the annual Siggraph exhibition. Siggraph is a professional organization created 'to promote the generation and dissemination of information on computer graphics and interactive techniques.' The group organizes publications and programs throughout the year but their annual conference is a major event. Siggraph has always been a strong supporter of the arts and particularly artists using interactive techniques and computer graphics in all their incarnations. In the early 1990s, the conferences were one of the few places that digital art was being exhibited and discussed, making their online archives a valuable resource for anyone interested in the wonder years of net art. This year's show, on view through August 9th, continues this tradition. Take a peek to see what constitutes innovation in art, today. - James Petrie

http://www.siggraph.org/artdesign/

Gearbox is a cross between a hacker's toolbox and a DIY cookbook. Created by Graham Harwood, artistic director of the UK artist group Mongrel, and developed at Eyebeam with fellows Jeff Crouse, Evan Harper, Geraldine Juarez, and Chris Sugrue, the project is one of several 'free media' works by Harwood that 're-purpose publicly accessible materials and equipment for creative expression.' In this case, Gearbox encourages consumers to find and use 'free' materials in activist contexts. To this end, the project's website posts free step-by-step instructions and photos detailing tools that individuals might build, such as the '$29.95 Starbucks Coffee Cup Spycam' in which the one-time CVS video camera is cracked and embedded in a Starbucks coffee cup, for 'covert video acquisition.' Also popular among users of this new service is 'Video Sniffin' a set of instructions for sniffing out CCTV networks and capturing the signals form their wireless networks directly to one's own camera. Many of these projects implicitly challenges the claims to empowerment made by the manufacturers or marketers of these technologies, while putting the real power in the hands of the web-surfing gearhead. - Angela Moreno

http://www.gearbox.mediashed.org/

The newest exhibition at The Laboral Art and Industrial Creation Center in Gijon, Spain, aspires to do a number of difficult things. On the outset, the show--which is entitled 'It's Simply Beautiful'--attempts primarily to ask what constitutes beauty. This ageless question is complicated in today's art world, where artists blend a variety of media and practices, and where beauty is at times dismissed as low-brow and at other times entirely overlooked in the discussion of seemingly more process-oriented new media art. Curators Peter Doroshenko and Jerome Sans have put together a show that not only approaches these challenges directly, but also asks broader, deeper questions about the transcultural collaboration that they see at the heart of contemporary art, as artists borrow from each others' traditions. The old expressionist model of beauty, they argue, is not germane to interpreting this work, as it implies the presence of a singular voice coming from a singular community. In bringing together artists from France, the United Kingdom, the United States, and Thailand, they insist, 'We are in the midst of globalizing forces foreclosing some forms of cultural life and opening up others, and they ask, 'What are the aims of culture in a globalized world?' Large-scale installations by Carlos Coronas, Dzine, Surasi Kusolwong, Mark Titchner, and Fabien Verschaere will flesh-out and problematize these questions, though October 22nd of this year. The curators' hope is that the answers suggested will 'determine how we conduct ourselves as artists and citizens.' - Marisa Olson

http://www.laboralcentrodearte.org

Trained as a mathematician, Barcelona-based Colombian artist Santiago Ortiz brings together his scientific background and exploration of new technologies to develop a poetic yet politically engaged internet-related practice. Interested in computer programming as an extension of literary writing, many of his projects possess a discursive dimension. This is the case in his well-know ongoing project, 'Spheres,' in which a growing community of users produces both a realistic and allegorical narrative--either in English, Spanish, or Portuguese--by pairing, often in an arbitrary way, 122 different words. Other pieces involving language are 'Edgardo’s Brain (The Inventor of Stories),' in which text is generated through a random algorithm, as well as 'Argentinean bacteria,' in which the artist has created a trophic net--a system where organisms feed on each other--by exploring the textual configuration of 'Edgardo’s Brain (The Inventor of Stories),' as the text operates as a genetic code, defining the characteristics of entities and rearranging them each time one entity is eaten by other. Recently, Ortiz has considered another of his interests, the structures of knowledge within the digital realm, by elegantly addressing the popular social bookmarking website del.icio.us in works such as 'NeuroZappingFolks.' According to the artist, 'NeuroZappingFolks' consists of a non-linear zapping through del.icio.us accounts (...) simulating a frantic navigation through the web.' Currently, he is developing an application that allows the visualization of the relations established between tags and bundles in del.icio.us accounts connected to 6pli, thus continuing his examination of the multiple identities of the internet, that evolve on a daily basis through the massive upload of information by individuals and organizations. ‐ Miguel Amado

http://moebio.com/santiago

Mary Bates Neubauer's work seems to offer proof that, as the old adage goes, one can make numbers say anything. The Arizona-based artist's images draw upon scientific data to take a variety of ambiguous shapes. Neubauer's background is in sculpture and her 3D images reveal this approach, as they are made of layer upon layer of photograms, scanned images, animations, and rapid prototypes that have been processed digitally and combined with basic sculptural molding and reproduction methods. Despite titles like Airport Decibal Levels (pictured), there seems to be no discernible relationship between the image and the information to which it corresponds. The work seeks to comment on the processes used by the scientific community to gather and analyze data. As the artist says, 'It raises questions about how scientific and technical findings are interpreted and what effect this has upon our understanding of the nature of empirical evidence.' The images reveal the creativity of the research process while seeming to suggest a dynamic secret life to statistics. If you're near Southern California between August 9-September 1, you can see for yourself that there's more to data than meets the eye, by visiting Neubauer's exhibit at the Los Angeles Center For Digital Art. - Angela Moreno

http://lacda.com/exhibits/neubauer.html

To refer to surveillance happening on the internet is, in some ways, sadly old hat. We may not be in control of it, but we know it's happening. It is much more challenging to contextualize the surveillance practices of the network era in relationship to profiling, the common telos of spies. An exhibition on view at New York's Whitney Museum of American Art presents two public art installations that chime-in on the subject of identity, privacy, and protection in surveillance culture. Developed shortly after 9/11, David Rokeby's project, Taken, monitors museum visitors in two ways: 'a continuously accumulating history of movements of visitors that is both a statistical plot of gallery activities and a record of each act of each visitor; and a catalog of visitors' head shots with classifying adjectives randomly attributed to them (i.e. unsuspecting, complicit, hungry).' These relatively traditional techniques are put on display by Rokeby, in order to address 'the increasing use of automated systems for profiling people as part of the war on terrorism and was conceived as an attempt to help ask questions about appropriate uses of technology.' In a more recent project (2006-Present), collaborators Amy Alexander, Wojciech Kosma, Vincent Rabaud, Jesse Gilbert, and Nikhil Rasiwasia connect entertainment media and surveillance with SVEN, the Surveillance Video Entertainment Network. Here they turn the same technology used to 'recognize' the facial attributes of criminals or terrorists on its head by using it to separate average people from rock stars, in the museum-going crowd. The project not only exposes the questionable methodologies behind such profiling processes, but it also parodies the absurdity of self-surveillance in a culture obsessed with 'reality' tv. These activist works require viewer activation. You can visit them through September 9th. - Marisa Olson

http://www.whitney.org/www/exhibition/index.jsp

As the use of digital technologies in contemporary art practice becomes more prevalent, the urge to consider the shared vocabulary of the new media field and the broader culture becomes stronger. This desire appears to be among the driving forces in the conception of Code Switching, an upcoming group exhibition at the Red House Gallery in Venice, California. The show is organized by Quorum--a San Francisco-based collective of artists, curators, critics, and art dealers whose mission is to contribute to the region's intellectual community. It includes work by Bay Area artists Susannah Bettag, Jordan Essoe, Rodney Ewing, Raymond Haywood, Andy Diaz Hope, Andrew Junge, Trek Kelly, Tania Ketenjian, Paul Madonna, Michele Pred, Laurel Roth, Douglas Schneider, and Harry Siter and is organized by Quorum members Raman Frey and Svea Lin Vezzone. The curatorial statement notes that 'Linguists define code-switching as an alternation between two or more languages within a single conversation between people who have one or more language in common.' The question begged here, of course, is of what constitutes a language. While some universities have actually begun looking at computer languages as equivalent, in some ways, to 'natural languages,' there is also a reference here to the social codes that determin behavioral protocols. 'Often an unconscious act, code-switching is used for many purposes, including protection, identification, recognition, approval, and control,' say the organizers. Their argument for these digital and cultural overlaps is compelling and the work appears to be, as well. Code Switching will be on view August 2-September 16. - Irene Wu

http://quorum-sf.org/projects.htm

LX 2.0 is a new on line gallery, hosted by Lisbon's Galeria Lisboa 20 and directed by Portuguese curator Luis Silva. Lx 2.0 series of commissions to artists that have been making a name within the international new media art scene is already marking the field. After being inaugurated with Santiago Ortiz's 'NeuroZappingFolks,' the LX 2.0 program now hosts rising stars Young-Hae Chang Heavy Industries, who present 'Morning of the Mongoloids.' The piece embraces the aesthetics consistently pursued by YHCHI members Young-Hae Chang and Marc Voge, as distinguished by Flash-based animations comprised solely of text written in black on a white background, sometimes accompanied by voiceovers and jazz music. In this work, the duo narrates--both in Portuguese and English--the experience of a Western white man who, after a night of partying, wakes up in an unknown place, only to realize that he's in Seoul, Korea, speaking Korean, and has become Korean. Via this narrative, the artists portray the prejudices prevailing within the West regarding Eastern people. Revealing the biased visions of both populations towards each other, they thus examine the cultural conflict existing between these regions that is escalating due to the migratory fluxes from Eastern countries to Europe and the US. As with their previous work, 'Morning of the Mongoloids' addresses this heavy topic with a humorously light, yet ironic approach. - Miguel Amado

http://www.lisboa20.pt/lx20/

The English Interactive Artist Ruairi Glynn argues that architecture should not only react to people and the environment, it should interact with these forces. He's devoted himself to the study of 'Interactive Architecture,' and maintains a popular blog by that name which documents his own work and that of others. His most recent project, entitled Performative Ecologies, 'examines the potential of responsive environments to engage in gestural and performative forms of non-verbal communication and conversation [to] enter into a dialog with its inhabitants and surrounding built environment.' In this case, the spaces are inhabited by moving kinetic light sculptures monitored by cameras and computers that can learn to adjust and respond to what they witness, just as the sculptures can respond to viewers. Drawing on the vocabulary of dance, Glynn defies the fixity of traditional architectural design by refusing to 'pre-choreograph' the actions feasible in a given domain and instead craft 'systems able to evolve to changing contexts over [their] lifetime.' The installations stand beautifully on their own, but also forward a profound (and humble) proposition in calling for work able to extend 'beyond the preconceived visions of the original designers.' Videos of Glynn's Performative Ecologies can be found online. - Elizabeth Johnston

http://www.interactivearchitecture.org/portfolio/performativeecologies.html