1. Test it. PedalBox... EXPERIENCE IT NOW!

    01:22

    from DTE Systems Added 91 0 0

    PedalBox: as simple as it is ingenious! http://www.pedalbox.com/en/pedalbox/test-it.html Finally, you can bring back the joy of driving. Never be bored with your car again because with the PedalBox delayed response is a thing of the past. Your car reacts immediately and it feels better on each pedal motion. Very easy to use. One hand movement, three programs! With the PedalBox keypad you can set the throttle response individually. Brilliant! Make your own experience with the PedalBox - live! Test it for 30 days. If you are not satisfied we will give you your money back. www.pedalbox.ocm

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    • Interactive Warsaw, OSSA 2011

      08:40

      from Pioter Mat Added 463 2 0

      Project for OSSA 2011, Warsaw. Examples of interactive instalations placed in depressive locations within urban tissue of Warsaw. Project group: Tutors: Jacek Markusiewicz Ander Gortazar Balerdi Students: Marta Wacholska Piotr Matuszek Marta Zatoka Bozhena Hoida Wojciech Dominik Matusz Bartosz Kaciupski Jakub Włodarczyk Julia Kisielewska Camille Sablé Izabela Słodka Cezary Nazaruk

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      • Early Works: Correspodance 2004

        10:37

        from Alice Tatge Added 19 0 0

        Correspodance: an investigation of the interplay between movement and sound in the improvisational realm. BA dissertation performance project in collaboration with pianist and composer William Tatge and dancer Marion Cenki. Directed by Alice Tatge. May 2004, Studio 6, Laban Centre, London. © Alice Tatge 2004.

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        • digital parasite

          00:29

          from David Scheidler Added 12 0 0

          random morphing grid projection

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          • La Chute De L'Ange

            02:11

            from ncky Added 181 1 0

            Une installation de Pierre-Alain Jaffrenou COPRODUCTION : Grame, centre national de création musicale à Lyon et Abbaye du Mont Saint Michel Création le 11 juillet 2003 à l’Abbaye du Mont Saint Michel

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            • Esme

              01:24

              from Sean Mullaney Added 20 0 0

              On March 7, 2009, 13 year old Esme Louise Kenney went for a jog across the street from her home and never returned. Esme was brutally murdered within shouting distance of her home. Her murder stunned our community. The idea for this piece appeared to me while working with light, shadows and movement. I saw Esme in this piece and wanted to share it with people so that her memory and spirit would be kept alive. I wanted to capture Esme’s spirit, ethereal nature and her magical life using this beautiful video of her dancing. You can hear her mother in the background encouraging her to “Get your Rhythm” The piece breathes in and out. Breath with it. Esme shoots up above us, looking over us. This is how we should remember Esme, as a bright star, dancing in a summer cabin with her family all around her.

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              • Social Patterns II – Klaus Obermaier

                06:53

                from Klaus Obermaier Added 168 3 0

                part of the opening project of the XXVI Winter Universiade Trentino 2013, Trento / Italy SOCIAL PATTERNS was originally developed as an installation for the Schichtwechsel Festival 2001 at the Voelklinger Huette in Saarbruecken/Germany. http://www.exile.at/music – http://www.exile.at/social_patterns/project.html – http://www.exile.at/ruhrlights https://www.facebook.com/klaus.obermaier.works – http://www.exile.at

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                • Culture Pilot - Open House Video Wall (by matthew landry)

                  00:37

                  from Culture Pilot Added 112 1 0

                  To advertise our new location, we setup a projector to display a video grid of 5-10 second portraits of all the coworkers and our dog onto our front window. An algorithm picked videos from our server (with random probabilities) to display in the squares, one after another, once each video ended. Every so often there was a slight chance for one video to be showcased accross all 12 windows. Throughout the night we filmed 5-8 second portraits of everyone who wanted to participate, prompting them to interact with the edges of the frame. After shooting we dropped their videos in the queue, and the algorithm added them to the show. This presentation brought in curious people who were walking by the neighborhood, these new people explored our new space, and then became part of the installation. By the end of the night we had a beautiful dynamic portait of 60+ of our extended family, and community. All of them interacting by serendipity with each other.

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                  • Packed

                    02:50

                    from Taro Hattori Added 115 0 0

                    Taro Hattori has constructed twelve plastic machine guns (M-16s and M-249s), and hired day-laborers to pose with them for photographs. The transparency of the guns subverts the sense of power they otherwise evoke, and presents the authority of brute force in its meaninglessness. By hiring his models, Hattori mimics the growing importance of mercenaries in modern warfare, and the constitution of the American military in particular as a ‘volunteer’ army comprised largely of poor and working-class people – like these day laborers – without many viable alternatives. By constructing groups of twelve, he also draws a connection to America’s jury system that grants a more ambivalent significance to the formation of groups than his critique of violence might otherwise suggest. Uniformly armed, Hattori’s subjects appear to be united in a common purpose: to fight the “enemy,” to pass judgment, or simply to have their picture taken. But he has not instructed his models how to pose, and they do not stand in formation. The day-laborers strike poses rich with bravado that express not only the feelings of power that come with joining a group and carrying a gun, but also their individuality. The group is not internally cohesive, which both helps to explain the need for an excluded ‘other’ to hold groups together, and presents a critical vantage from which to challenge their force. by Clark Buckner 2004-current plastics, digital pigment print, metal, wood dimensions: variable (guns are in their life sizes, each photograph: 30"x41")

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