Studio Markus Kison, Berlin

shapeshifting object with motors
top view
detail: object with emotion abbreviations
total view
Exhibition view: DEAF Rotterdam - The Power Of Things (2012)

Exposé
pulse (2012) is a live-visualization of recent emotional expressions, written on private weblogs hosted at wordpress.com. Weblog entries are compared to a list of emotions, which refers to Robert Plutchik’s seminal book Psychoevolutionary Theory of Emotion published in 1980. Plutchik describes eight basic human emotions in his book: joy, trust, fear, surprise, sadness, disgust, anger, and anticipation. He developed a diagram in which these eight emotions, together with their weakened and amplified counterparts, form a three dimensional cone, consisting of 24 areas. The cone is the basic form of pulse, which can enlarge in the 24 directions of the different emotions. Each time an emotion tag, or a synonym of it, is found in a recent blog entry, the shape-shifting object transforms itself in such a way that the new volume represents a piece of the overall current emotional condition of surfers on the Internet.

Credits
This is the stable version of pulse created in may 2008 during my diploma thesis in the Digital Media Class at the University of the Arts Berlin.

Exhibitions
DEAF - The Power Of Things, Rotterdam, NL, 2012
Meta.Morf Biennale, Trondheim, N, 2012

Pictures
High images (ZIP-File). May be used for editorial purposes, if credited "© MarkusKison.de".

pulse (2012) D-2012. Rubber, acrylic glass, motors, springs, microcontroller, laptop, java applications, Internet connection, wordpress.com API. 40 x 40 x 25 cm. Commissioned by V2_ and TEKS – Trondheim Electronic Arts Centre.

Text, video, photos

Architectural miniature with live webcam projection: Accra, Ghana
Miniature with live webcam projection: marketplace Roermond
Miniature Roermond without projection
Architectural miniature with live webcam projection: laundromat
Laundromat miniature
Architectural miniature with live webcam projection: Cayman Islands
Exhibition view: Haus für elektronische Künste Basel
May 28th 2011, Laundromat (early morning) and Accra (night)
May 28th 2011, Cayman Islands (noon) and Roermond (evening)
Detail: mirror construction

Deutsch
Ein Werkstor in Ghana, ein Bootssteg auf den Kaimaninseln, ein Marktplatz in den Niederlanden und ein Waschsalon, dessen geographische Lage unbekannt ist. Webcam-Ströme dieser (Un-)Orte aus verschiedenen Erdteilen und Tageszeiten nutzt die Installation "Roermond-Ecke-Tropical Gate" von Markus Kison als Found-Footage Material, um die Orte auf poetische Art und Weise zu verbinden. Die vier Live-Videos werden dabei auf exakte Miniaturen der jeweiligen Orte projiziert. Es entstehen „Live-Modelle“ entfernter Welten, die wir dreidimensional sehen und anfassen können. Das Modell wir zur Bühne und auf fast magische Art lebendig, wir haben Teil am fremden Alltagsleben unwissender Protagonisten.

English
A factory gate in Ghana, a landing stage on the Cayman Islands, a marketplace in the Netherlands and a laundromat, whose geographical position is unknown. Webcam streams from these different continents and time zones are used in the installation "Roermond-Ecke-Tropical Gate" by Markus Kison to connect the places in a poetic way. The four live videos are projected onto exact miniatures of the very same places. Thus "live-models" of distant worlds are created, which we can perceive three-dimensional and even touch. The model becomes a stage or even alive. We take part in the foreign everyday life of unaware protagonists.

Image download
ZIP file. May be used for editorial purposes, if credited "© MarkusKison.de".

Roermond-Ecke-Tropical Gate. D-2011. Hardened 3D-prints, mirrors, magnets, projector, tripods, PC with Internet connection, webcams. 1.50 x 1 x 1.30 m. Models about 16 x 12 x 10 cm each. Commissioned by the Haus für Elektronische Künste Basel.

Text, video, photos

Exhibition view: UdK Berlin, 2010
Detail: Projectors, projection screen
Detail: Superimposed genome-base pairs

Exposé
versus continuously selects a pair of participants from the Personal Genome Project (PGP) and compares their genes by superimposing them on top of one another. Letters which can be deciphered in the two-sided projection represent identical genome base-pairs that both participants have: A – adenine, c – cytosine, G – guanine, T – thymine, n – so-called “junk DNA” or large areas that do not encode to proteins.
The PGP aims to share the DNA sequence of 100,000 volunteers with the general public over the Internet. In addition the full name of the participant, his or her medical history as well as other personal information is published.

Credits
DNA sequences determined by the Personal Genom Project. Realised with a postgraduate grant of the state Berlin. Made with openFrameworks.

Image download
flickr or highres pictures. May be used for editorial purposes, if credited "© MarkusKison.de".

versus. D-2010. Projection screen, 2 projectors, 2 laptops, DNA raw data, tripods. 4 x 2 x 2 m.

Text, photos

Icon mounted to the terrasse's railing
Bone conducter (silent speaker), integrated into the railing
Location: Brühlsche Terrasse, Dresden, Germany
Visitor participation
Visitors discovering the installation
Building up, September '07
Visitor participation
Visitor participation (still from the video documentation)
Exhibition view: National Art Center Tokyo, 2009
Exhibition view: Ars Electronica, 2008

Exposé
Using bone conduction, a technology developed for hearing devices, the touch echo installation transmits sounds of the cities which were devastated in the 1945 carpet bombing in the Second World War, through the arms of the visitors when they rest their elbows on the balustrade and hold their ears closed. Several custom-made sound conductors mounted to the railing send sounds of airplanes and bombs exploding through vibrations; it is completely silent unless you touch the railing. The installation touched echo is a minimal media intervention set within a public space. The visitors of Brühl's Terrace in Dresden are taken back in time to the night of the terrible air raid which devastated their city February 13, 1945. In their role as performer, the visitor imagines themselves in the place of the Dresden inhabitants who must have closed their ears tightly in fear to shut out the horrendous noise of the explosions 65 years ago. When one leans on the balustrade the sound of airplanes and explosions is transmitted from the swinging balustrade through one’s arm directly into the inner ear. Awards/exhibitions/presentations

Developed in the Digital Media Class at the University of the Arts Berlin. Realised with the sponsorship award of Saxon Ministry of Science and the Fine Arts, with friendly support from the Trans-Media-Akademie Hellerau and Schlösser und Gärten Dresden, Geschäftsstelle Zwinger / Brühlsche Terrasse.

Downloads
Highres images. May be used for editorial purposes, if credited "© MarkusKison.de".

touched echo. D-2007 - 2009. Side specific installation on the Brühlsche Terrrasse, Dresden. Railing, messing icons, bone conducters, iron speaker cases, cd player, amplifier, WWII airplane recordings.

Text, video, photos

Left: Exhibition view: .HBC Berlin 2010 | Right: Detail
Screenshot: Angle of view computation
Exhibition view: Invisible cube after visitor participation
Detail: Concrete cube with projection
Detail: Camera, servo motors
Left: Concrete cube with projection | Right: Detail

Exposé
A camera fixed on the concrete cube sculpture recognizes the presence of human faces within its scope. With a randomized choice it will focus on one of the bystanders and adjust its movement to his; tracking the eye movements of the viewer, a software computes the corresponding angle of view projecting onto the cube the very section of the space the sculpture is blocking from the viewers eye; thus making the cube appear transparent.
The video sculpture Durchsehen, Exp. 01 (augmented perspective) overwrites the common notion of perspective and plays with the significance of perspective in an art historical perspective; the work of art evades the gaze of the viewer or rather: the two are equated. The gaze of the observer coincides with the object of observance in a piece that also draws a line to former strategies of dealing with vision and depiction: the renaissance praxis of painting on glass.
Through the real-time projection on the cube a 3dimensional depiction of 2dimensionality occurs; the catoptric turns dioptric. The framing plane of the conventional video image becomes fragmented as work and reality intertwine in an augmented perspective.

Credits
Developed during a resideny at .HBC Berlin. Made with openFrameworks.

Downloads
Pictures on Flickr. May be used for editorial purposes, if credited "© MarkusKison.de".

Durchsehen, Exp. 01 (augmented perspective). D-2010. Concrete cube, PC, 2 projectors, webcam, servo motors, microcontrollers, C++ applications, tripods. 4 x 4 x 2 m. Collaboration with Daniel Franke.

Text, video, photos

Vanity Ring with case
Vanity RIng on hand
Exhibition view: EMAF '08, Osnabrück, Germany
Exhibition view: Visitors enter their name to update the number
Exhibition view: WRO'09, Wroclaw, Poland
Vanity Ring prototype
Production: OLE display controll test

Exposé
Rings are well known status symbols, and the included jewel's weight in carat is a comparable value for the personal ranking of its owner (the largest two diamonds are in the British crown jewels). The Vanity Ring doesn't have a jewel, instead it shows the number of hits one gets, when he searches Google for the name of the person who wears it, a more adequate value in our time. It is personalized using a custom software, and after the name is typed the ring will change its display to show the personal attention carats, while every night, when it is inserted into its docking station the ring is reloaded and updated. Vanity Ring is a closed medial circuit project, where the ring has influence on the mass media and the other way round.
Developed in the Digital Media Class at the University of the Arts Berlin.

Pictures, related articles
Pictures from flickr. May be used for editorial purposes, if credited "© MarkusKison.de". | New York Post, 2007/10/14 | The Statesman/India (part 1 & part 2) | BoingBoing | Makezine | Wired | Gizmodo

Exhibitions
Wearable Technology, Netherlands Media Art Institute - Montevideo, NL, 2009 | 13th Media Art Biennale WRO - Expanded city, WRO Center Wroclaw, PL, 2009 | Identity, Dominikanerkirche, Osnabrück, DE, 2007 | Seamless 08, Boston Museum of Science, USA | LAB30 Augsburger Kunstlabor, Augsburg, DE, 2008

Vanity Ring. D-2007. Acrylic glass, ole-display, microcontroller, glass vitrine, laptop, Internet connection, Google.com API. Ring case about 12 x 12 x 8 cm. Shows the number of hits for your name.

Text, video, photos

Visitors receive the wearer's image on their cell phone
Charming Burka performance at Boston Museum of Science, 2008 | Detail
Exhibition view: Edith-Russ-Haus für Medienkunst Oldenburg, 2008

Exposé
The CharmingBurka deals with Freud's idea that all clothes can be positioned between appeal and shame. The Burka was chosen, because it is often perceived in the west as a symbol of repression. A digital layer was added so that women can decide for themselves where they want to position themselves virtually. The Burka sends an image, chosen by the wearer, via Bluetooth technology. Every person next to her can receive her picture via mobile phone and see the women's self-determined identity. In the artists interpretation the virtual appeals can not be gathered by the laws of the Koran and so the Charming Burka fulfills the desire of living a more western life, which some Muslim women have today. Therefore the Burka is equipped with bluetooth antenna/micro-controller and uses the OBEX protocol, already working with most mobile phones. The wearer may turn the system on whenever she wants to send the image.

Pictures, related articles
Pictures from flickr | SPIEGELonline (in german) | ZEITonline (german) | BoingBoing | Financial Times (german)

Exhibitions
Ich-Maschine, Edith-Russ-Haus für Medienkunst Oldenburg, DE, 2009 | Seamless 08, Boston Museum of Science, USA

Technology sponsored by Haase & Martin - Neue Medien Dresden

Charming Burka. D-2007. Performance with Afghan burka, microcontroller, bluetooth transmitter.

Text, photos

Detail: Crucifix, LC display with Vatican's stocks and their exchange prices
Total view | Detail
Exhibition view: lab.stop 2009, Augsburg, Germany
Exhibition view: Ars Electronica 2007

Exposé
The Gospel according to John (chapter 19, vers 20) tells that the inscription Jesus of Nazareth, King of the Jews was written in Aramaic, Latin and Greek. Because of shortage of space this was abridged to INRI. Now, by using an LCD display and a ticker, the whole text can also be shown.
Additionally the actual stock exchange prices of the shares, the Vatican owns, are shown in another ticker below the INRI inscription. That way people are also informed about the actual secular influence of the Roman Catholic Church. Therefore the cross is connected to the internet via a LAN cabel.

Credits
Developed in the Digital Media Class at the University of the Arts Berlin.

Exhibitions
lab.stop, Augsburg, DE, 2009 | EMAF - European Media Art Festival, Osnabrück, DE, 2008 | Ars Electronica 2007, Linz, AT | Galerie Tristesse Deluxe, Berlin, DE, 2007

Pictures
Pictures on Flickr. May be used for editorial purposes, if credited "© MarkusKison.de".

Ticker Cross. D-2007. Crucifix, lc-display, microcontroller, java application, Internet connection. 80 x 40 cm.
Shows actual stock exchange prices of the shares, the Vatican owns.

Text, video, photos

Detail: Latex object with inscriptions
Exhibition view: UdK Berlin, 2008
Prototype #8, 2008
Detail: Burned-in inscription of Plutchik's emotion theory
Detail: Servo motors
Total view
Robert Plutchik's Psychoevolutionary Theory of Emotion (1980)

Exposé
pulse is a live-visualization of recent emotional expressions, written on private weblog communities like blogger.com. Weblog entries are compared to a list of emotions, which refers to Robert Plutchik’s seminal book Psychoevolutionary Theory of Emotion published in 1980. Plutchik describes eight basic human emotions in his book: joy, trust, fear, surprise, sadness, disgust, anger, and anticipation. He developed a diagram in which these eight emotions, together with their weakened and amplified counterparts, form a three dimensional cone, consisting of 24 areas. The cone is the basic form of pulse, which can enlarge in the 24 directions of the different emotions. Each time an emotion tag, or a synonym of it, is found in a recent blog entry, the shape-shifting object transforms itself in such a way that the new volume represents a piece of the overall current emotional condition of surfers on the Internet.

Credits
Created in may 2008 during the diploma thesis in the Digital Media Class at the University of the Arts Berlin. The project has been advised by Prof. Jussi Ängeslevä, Dr. Stephan G. Humer, Prof. Kora Kimpel, Prof. Joachim Sauter and Prof. Dr. Siegfried Zielinski.

Exhibitions
Pixelache 2009, Helsinki, FI, 2009 | amber '08, Istanbul, TR, 2008

Pictures
Download from Flickr. May be used for editorial purposes, if credited "© MarkusKison.de".

pulse. D-2008. Rubber, acrylic glass, motors, arduino microcontrollers, laptop, processing applications, Internet connection, Blogger.com API. 50 x 50 x 50 cm.

Text, video, photos

Exhibition view: Akademie der Künste Berlin, 2007
Side view: projectors, mirror construction, models
Detail: Live model Denmark, 12 x 14 x 8 cm
Detail: Live model Amsterdam (laundromat), 14 x 16 x 9 cm
Total view without projection
Detail: Live model marketplace Roermond, 14 x 14 x 8 cm
Detail: Live model Roermond without projection
Detail: Live model of artist's court yard in Berlin, 12 x 13 x 4 cm
Production: 3D printed model, raw

Exposé
Four elected webcam-streams (Denmark, crossing | Amsterdam, laundromat | Berlin, courtyard | Holland, marketplace) are projected with the help of a mirror construction on four models of the particular places. To make the projection fit on the models, the architecture of the webcam-places was rebuild in a 3D-application and printed on a 3D-plotter, matching for the optics of the projector, which are different from those of the webcams. That way, the picture information is displayed on distorted geometrical shapes, similar to which it is filmed from. Developed in the Digital Media Class.

Downloads, related articles
High-res pictures. May be used for editorial purposes, if credited "© MarkusKison.de". Jury statements: TM06 | DS06

Exhibitions, awards, presentations (selection) Taiwan International Video Art Exhibition, Hong-Gah Museum, Taipei, TW, 2008 | The world is my imagination, Cube Centre, Manchester, UK, 2007 | Geomatrix, SESI Gallery, Sao Paulo, BR, 2007 | ComputerKunstWerke, ZKM Karlsruhe, DE, 2006 | WRO 07, Wroclaw, PL | Transmediale 06: Award nomination, Akademie der Künste, Berlin, DE | Japan Media Arts Festival, Tokyo Metropolitan Museum of Photography, JP, 2006 | Pixelache Festival, Kiasma Museum of Contemporary Art Helsinki, FL, 2006 | CYNETart Festival 2006, Kunsthaus Dresden, Sponsorship Award of the Saxon Ministry of Science and the Fine Arts | Winner Digital Sparks Award 06 | Japan Media Arts Festival 06, Jury Recommended Artwork | Gran Canaria Media Festival, Gran Canaria, 2007

Roermond-Ecke-Schönhauser. D-2006. Acrylic, mirrors, antennas, projector, PC with Internet connection, webcams. 4 models about 20 x 15 x 10 cm each.

Text, video, photos

Single frame detail with genome bases
Single frame detail with junk DNA
Single frame detail (massive magnification)
Screenshot
Exhibition view: Open studio at .HBC Berlin, 2010

Exposé
human genome in hdv is generated from the complete human DNA sequence of one person. Each of the 3.271.321.261 letters in the video represents one nucleotide base in its natural progression: A – adenine , c – cytosine, G – guanine, T – thymine, n – so-called junk DNA (large areas, that do not encode to proteins).

Credits
DNA sequence determined by the Human Genom Project. Provided by the Project Gutenberg Literary Archive Foundation. Realised with a postgraduate grant of the state Berlin. Made with openFrameworks.

Pictures
Pictures on Flickr. May be used for editorial purposes, if credited "© MarkusKison.de".

human genome in hdv. D-2010. Hd video, s/w, silent, 20 min 36 sec 22 frames, 25fps.

Text, video, photos

Icon mounted to the railing
Visitor participation
Visitors, bone conducters (silent speakers)

Exposé
For the exhibition Bilderschlachten, part of European Media Art Festival Osnabruck 2009, Markus Kison was invited to create an Osnabrück specific version of his work touched echo. The icons show the date of the first air raid on Osnabrück during World War II: 20.6.1940. Located on a bridge in the city centre of Osnabrück the public space installation is heading into the direction, where English B-25 bombers attacked from. In their role as a performer visitiors put themselves into the place of the people who shut their ears away from the noise of the explosions. While leaning on the balustrade the sound of airplanes and explosions is transmitted from the swinging balustrade through their arm directly into into the inner ear (bone conduction). Further information on the website of the Dresden version.

Credits
Bilderschlachten is presented in cooperation with COLOSSAL - Kunst Fakt Fiktion, curated by Jan Hoet. Commissioned by the European Media Art Festival Osnabrück. Developed in the Digital Media Class at the University of the Arts Berlin.

Pictures
Flickr. May be used for editorial purposes, if credited "© MarkusKison.de".

touched echo Osnabrueck. D-2009/04/22 - 2009/10/04. Side specific installation in the pedestrian area of Osnabrück, Germany. Railing, messing icons, bone conducters, iron speaker cases, cd player, amplifier, WWII recordings. Commissioned by the EMAF.

Text, photos

Chapter X: Jesus' corpse is taken down by Joseph of Arimathea
Chapter II: A soldier lances Jesus into the side
Chapter VI: Eclipse of the sun
Chapter III: Soldiers divide the dress and play for it
Chapter I: The three crosses
Exhibition view: UdK Berlin, 2006
Exhibition view: Ars Electronica 2007

Exposé
Crucifixion uses the possibilities of the modern time-based media, to tell the differnet chapters of Jesus' last day in a contemporary way. The in the Gospels described events were turned into shadows and are projected on a physical cross, sitting on an altar. The cross remains a untouched, static, ritual object, while its shadow is extended medial by the content.

Credits
Developed in the Digital Media Class at the University of the Arts Berlin.

Exhibitions
Ars Electronica 2007, Linz, AT | Pixxelpoint Festival. Nova Gorica, Slovenia, SL, 2009 | Galerie Tristesse Deluxe, Berlin, 2007, DE | Optica Festival La Paz 2009, Cinemateca Boliviana, La Paz, BO

Pictures
Pictures on Flickr. May be used for editorial purposes, if credited "© MarkusKison.de".

crucifixion. D-2006. Wooden crucifix, projector, dvd player. 1 x 1 x 0,2 m.

Text, video, photos

Markus Kison
is a digital artist based in Berlin. At present Kison is researching on the role of the contemporary human being in a digital augmented world. He has exhibited in various museums worldwide, received international awards and given talks at art and design conferences.

Education
1998-2001 Educated as a graphic designer in Ulm | 2002-2003 Studies on physics at the University of Ulm | 2003-2008 Studies on visual communication at the University of the Arts Berlin (Prof. Joachim Sauter, Prof. Jussi Ängeslevä). Graduated with diploma.

Awards / grants
Artist-in-residence: .HBC Berlin, 2010 | Postgraduate scholarship of the state Berlin (NaFög), 2009 | Artist-in-residence: Tokyo Wonder Site, 2009 | Japan Media Arts Festival 2008, Excellence Price | Prix Ars Electronica 2008, Honourable Mention | Re/act Festival 2008, winner category „Interactiv Art“ | Re/act Festival 2008, winner special price: residency at ZKM Karlsruhe | Digital Sparks Award 08, Honourable Mention | CYNETart Festival 2006, „Sponsorship Award of the Saxon Ministry of Science and the Fine Arts“ | Transmediale Award 2006, nomination | Winner Digital Sparks Award 06 | Japan Media Arts Festival 06, Jury Recommended Artwork

Group exhibitions
Raumtrigger, Taiga Art Space, St. Petersburg, RU, 2012 | DEAF-The Power Of Things, Post Main, Rotterdam, NL, 2012 | Together in Electric Dreams. Abwesende Anwesenheit, Haus für Elektronische Künste Basel, CH, 2011 | Protocol, LEAP Berlin, DE, 2011 | Formbefunde – prozedurale Anamorphosen, .HBC Berlin, DE, 2010 | Bilderschlachten, in cooperation with „COLOSSAL - Kunst Fakt Fiktion“, curated by Jan Hoet, Osnabrück, DE, 2009 | Cyberarts - Prix Ars Electronica Linz, OK-Centrum, AT, 2008 | Taiwan International Video Art Exhibition, Hong-Gah Museum, Taipei, TW, 2008 | Identity, Dominikanerkirche, Osnabrück, DE, 2007 | Permanent exhibition, Ars Electronica Center, Linz, AT, 2007 | The world is my imagination, Cube Centre, Manchester, UK, 2007 | Galerie Tristesse Deluxe, Berlin, 2007, DE | Geomatrix, SESI Gallery, Sao Paulo, BR, 2007 | CYNETART_06HUMANE, Kunsthaus Dresden, DE, 2006 | ComputerKunstWerke, ZKM Karlsruhe, DE, 2006

Festival exhibitions
Enter 6, International art | sci | tech | biennale Prague, CZ, 2013 | Meta.Morf 2012 - biennial for art & technology, Trondheim, NO, 2012 | Wearable Technology, Netherlands Media Art Institute - Montevideo, NL, 2009 | Ich-Maschine, Edith-Russ-Haus für Medienkunst, Oldenburg, DE, 2009 | Japan Media Arts Festival, The National Art Center Tokyo, JP, 2009 | Pixelache Festival, Museum of Contemporary Art Kiasma, Helsinki, FL 2009 | 13th Media Art Biennale WRO - Expanded city, WRO Center Wroclaw, PL, 2009 | Optica Festival La Paz, Cinemateca Boliviana, La Paz, BO, 2009 | lab.stop, Augsburg, DE, 2009 | EMAF - European Media Art Festival, Osnabrück, DE, 2008 | Seamless 08, Boston Museum of Science, USA, 2008 | Pixxelpoint Festival, Nova Gorica, SL, 2008 | Amber‘08, Instanbul, TR, 2008 | LAB30 Augsburger Kunstlabor, Augsburg, DE, 2008 | Ars Electronica Linz, AT, 2007 | International Media Art Biennale WRO 07, Wroclaw, PL | Transmediale 06, Akademie der Künste, Berlin, DE | Japan Media Arts Festival, Tokyo Metropolitan Museum of Photography, JP, 2006 | Pixelache Festival, Kiasma Museum of Contemporary Art Helsinki, FL, 2006

Permanent installations in public space
touched echo. 2007-2009. Brühlsche Terrrasse, Dresden, DE | touched echo Osnabrueck. 2009, pedestrian area, Osnabrück, DE

Collections
Building the new AEC, 2007, Ars Electronica Center, Linz, AT

Talks (selection)
this happened, BFI Southbank London, GB, 2008 | amber '08, Istanbul, TR, 2008 | FILE 07 - Electronic Language International Festival, SESI Gallery, Sao Paulo, BR, 2007 | Innovationsforum Interaktiondesign, Hans Otto Theater, Potsdam, DE, 2007 | Digital Sparks Award, ZKM Karlsruhe, DE, 2006 | Transmediale 06, Akademie der Künste Berlin, DE, 2006

Newspaper coverage
New York Post, USA, 2007/10/14 | The Statesman, India, 2007/10/26 | The Statesman, India, 2007/10/20 | El Mundo, Spain, 2008/07/17 | Dagens Nyheter, Sweden, 2007/10/16 | Folha de S.Paulo, Brazil, 2008/07/03 | Courier Japan, Japan, 2007/12

Online coverage
SPIEGELonline (in german) | BoingBoing 1, 2, 3 | We make money not art 1, 2, 3, 4 | Japan Media Arts Festival 08 interview | heise: telepolis (german) | New York Times Blog | Makezine | Wired

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