»Contract entre les hommes et l’ordinateur«, 2010 by Judith Hopf.


Unique Forms of Continuity in Space“, (1913-2010) by Anna Louise Mack.

“Recharging Trinitite”, 2007 from “Manhattan Engineering District” by Henrik Plenge Jakobsen.

“g”, 2008 by Jack Strange. Lead ball, laptop.

»The Laundry Room (Death of Marat)«, 2009 by Richard Jackson.

»Obelisk«, 2009 and

»Diagonal of Personal Ecstasy«, 2009 by Ben Schumacher.

now vs. then vs here vs. there vs this vs. that vs me vs. you vs. us vs. them“, 2008 by Hayley A. Silverman.
Single-channel video, mirror, Powerbook G4 (DVD loop, w/sound).

“min_mod [minimum_module]“, 2004 by Limiteazero.

“More&more”, 2007 by Hans W. Koch.


»scratch-a-bit«, scratching the output bytes of your laptop’s trackpad “resonated” through hardware and software protocols. By Rodrigo Derteano.


»Ankara«, 2007, 15 minute performance in Ankara/Turkey (smoke machine, sound system, laptop) by Wojciech Kosma.


»LEE FORREST FERGUSON«, 2007 (Snare drum, projector, keyboard, etc. With Lee Forrest Ferguson)


»EVERYTHING YOU CAN BORROW«, 2007 (LCDs (various sizes), gamepad. With Asia Bas, Katarzyna Dzierzawin, Anna Gigon, Michal Gonciarczyk, Lukasz Grochowski, Piotr Grochowski, Miho Iwata, Magda Kowalska.) by Wojciech Kosma.


»UNTITLED (NETWORK)«, 2007 performance with 4 laptops featuring Isabel Servan, Ana María Gutiérrez Domínguez, Javier Lobato López and Wojciech Kosma.


»VICTORY ␄«, 2007 performance with laptop and cable at Victory Square Metro Station in Minsk, Belarus. Both projects by Wojciech Kosma.


“Getting inside my computer” and


“Challenging my Laptop to a Chess Match” by Nathaniel Katz.


»The Illustrating Machine« by Carl Henrik Wrethman. Video.

03_TeenSpirit copy.jpg

»Smells Like Teen Spirit« and »Thriller« from the series »Greatest Music Videos of All Time«. MTV compiled a millenium list of top 10 greatest music videos, all of the videos from the list were digitized in their entirety and the individual frames were simplified to their mean average color, eliminating overt content. These solid-colored squares were then arranged in their original sequence and are read left-to-right, top-to-bottom. By Jason Salavon.


rendez-vous and computers as musical instruments I-III by Hans W. Koch.