Demo's & Video Installations

June 1993. Art Academy Minerva, Groningen. Body Convention: Interactive remote control of shoulder muscles through radar sensor.

September 1993. Fons Welters Gallery, Amsterdam. Body Convention: Interactive remote control of shoulder muscles through radar sensor.

November 1993. Doors of Perception conference, Amsterdam. Body Convention: Interactive remote control of shoulder muscles through radar sensor.

"A Night at the Show." Demonstration of Artificial Handicap. Zürich, Switzerland.

May/ June 1994, Festival aan de Werf, Utrecht. HumaTiCks of the Present: Automatic facial muscle stimulation by means of small wearable devices, demonstrated on the faces of several actors who mingled unobtrusively with the festival audience.

August 1994. ISEA94, Helsinki. Corporeal-Machine-Anxiety: Lecture/ performance with interactive facial muscle stimulation. Lecture by art critic / theoretician Eric Kluitenberg.

May 1995. Festival aan de Werf, Utrecht. ONTVANGER (RECEIVER): a tableau vivant showing a wired person listening to the radio; his face displays his reactions to what he hears. (Electrical stimulation of facial muscles controlled by radio dial; with accompanying sound by simulated radio receiver.)

August 1995. Klangpark, outdoor-performance, V2 Organisation, Rotterdam. ONTVANGER (RECEIVER): a tableau vivant showing a wired person listening to the radio; his face displays his reactions to what he hears. (Electrical stimulation of facial muscles controlled by radio dial; with music by simulated radio receiver.)

December 1995. World Series on Culture and Technology. Interactive internet performance Compose your Emoticon: remote audiences control the facial muscles of a human person. A live face in Groningen (Media-GN) was connected via a Web-interface with audiences in Amsterdam (Dutch Design Institute), Delft (Technology Museum), and Toronto (McLuhan Institute).

March 25, 1999. Media-GN (Groningen) & Brown University (Providence, RI). Interactive internet performance Compose your Emoticon: remote audiences control the facial muscles of a human person. A live face in Groningen was connected by means of a Web-interface with an audience in Providence, RI.

April 19, 1999. School for Visual Arts, New York, NY. Interactive internet performance Compose your Emoticon: a remote audience controls the facial muscles of a human person.

April 22, 1999. Art Department, Brown University, Providence, RI. Lectures on Artificial Facial Expression and Algorithmic Radio by Arthur Elsenaar.

January 16, 2000. "Algorithmic Art and Computer-Controlled Choreography." Lecture/Demo by Remko Scha and Arthur Elsenaar. Shifts '00, London.

September 10, 2001. Arthur Elsenaar and Remko Scha: "The Computational Semiotics of Human Facial Expression." Keynote address with live demo. COSIGN 2001. First International Conference on Computational Semiotics in Games and New Media. September 10 – September 12, 2001. CWI, Amsterdam.

October 30, 2001. Lecture by Arthur Elsenaar. Performance by Arthur & the Solenoids. Salon. Extra-Faculty, Royal Conservatory, The Hague, the Netherlands.

September 30, 2005, 6.30 p.m. Slought Foundation, Philadelphia. "Morphology" and "Face Shift". Two new performance pieces by Arthur Elsenaar and Remko Scha.

October 5, 2005, 2 p.m. Vrije Universiteit, Amsterdam. Uitreiking van prijs voor wetenschaps-journalistiek, toegekend door een jury onder voorzitterschap van Wim T. Schippers. Dutch premiere of Morphology/FaceShift by Arthur Elsenaar and Remko Scha.

September 11, 2006. (re)ACTOR. The First International Conference on Digital Live Art. The Octagon, London, UK. Including a paper on Digital Live Facial Expression by Arthur Elsenaar and Remko Scha.
    

Digital Identities: Technologies of Meaning. February/March 1995. Sheppard Gallery, University of Nevada, Reno, USA. Body Convention: Video-installation demonstrating interactive remote control of shoulder muscles through radar sensor.

"Uitgelicht 2", May 14-19, 1997. KunstRAI, Amsterdam. The Varieties of Human Facial Expression (12 bits version): A video installation which exhaustively enumerates all muscle configurations which can be triggered on a human face by a 12-bits digital face-interface.

"Unlimited.nl", January 23 - March 22, 1998. De Appel, Amsterdam. The Varieties of Human Facial Expression (12 bits version).

"Neuro-Artonomy", August-September 1998. Faculty of Medicine, Erasmus University, Rotterdam. The Varieties of Human Facial Expression (12 bits version).

Kiborg 1, 6th International Computer Arts Festival, Maribor / Ljubljana, Slovenia, May 23 - June 3, 2000. The Varieties of Human Facial Expression (12 bits version). (In conjunction with work by Stelarc, Ken Feingold and others.)

"Het Hoofd ten Voeten Uit". Universiteitsmuseum Utrecht, June 3 - October 8, 2001. "The Varieties of Human Facial Expression (12 bits version)" Also presented at: Museum Dr Guislain, Ghent, Belgium, November 10, 2001 - June 2, 2002. (?)

Deep Screen. Art in Digital Culture. Amsterdam: Stedelijk Museum, 2008. FaceShift.

Evolution Haute Couture. Art and Science in the Post-Biological Age. Kaliningrad, Russia: National Centre for Contemporary Arts, 2009. Morphology/FaceShift.
     

Mirjam Beerman (ed.): Uitgelicht 2. Startstipendia beeldende kunst 95/96. Exhibition catalogue. Amsterdam: Stichting Fonds voor beeldende kunsten, vormgeving en bouwkunst / Ekspress zo, May 1997.

Andreas Broeckmann: "Een Inleiding" / "An Introduction" In: Andreas Broeckmann, Esther Hemmes, Marten Jongema & Sophie Tates: Deep Screen. Art in Digital Culture. Amsterdam: Stedelijk Museum, 2008, pp.144-155.

Annelies ter Brugge (ed.): X-Pact. Netwerkorganisatie voor kunst, wetenschap, technologie en ondernemen. Exhibition catalogue. X-Pact, Enschede, 1999.

Edna van Duyn and Wineke Onstwedder (eds.): Unlimited.nl. Exhibition catalogue. Amsterdam: De Appel, January 1998.

Arthur Elsenaar, Huge Harry and Remko Scha: "On the Expressive Potential of the Computer Controlled Human Face." In: Hannes Leopoldseder & Christine Schoepf (eds.): Cyber Arts. International Compendium Prix Ars Electronica. Vienna / New York: Springer, 1997, pp. 134-135.

Arthur Elsenaar & Remko Scha: "Morphology / Face Shift". In: Dmitry Bulatov: Evolution Haute Couture. Art and Science in the Post-Biological Age. Kaliningrad, Russia: National Centre for Contemporary Arts, 2009, pp. 86-87.

Huge Harry: "Artificial Expression." Stills from a lecture/demonstration. In Karin Voogd (ed.): Neuro-Artonomy. Een tentoonstelling van kunstenaars en hersenwetenschappers. Rotterdam: Neuro-Artonomy, 1998, pp.30-31.

Mark Kremer: "Arthur Elsenaar." In: Babbage Dreams, Centrum Beeldende Kunst Groningen, May 1995.

Sophie Tates: "Remko Scha & Arthur Elsenaar"  In: Andreas Broeckmann, Esther Hemmes, Marten Jongema & Sophie Tates: Deep Screen. Art in Digital Culture. Amsterdam: Stedelijk Museum, 2008, pp.10-11, 55-60.
   

Paul Groot: "Nederland speciaal." Metropolis M, 1998, 2, pp. 51-53. [Review of "unlimited.nl", De Appel.]

Wilma Sütö: "Kijker zoekt het maar uit bij 'Unlimited.nl'." De Volkskrant, Couleur Locale, ca. January 31, 1998.

Anna Tilroe: "Soms is een lui oog voldoende. Nieuwe Nederlandse kunst in de Appel." NRC Handelsblad, Cultureel Supplement, February 6, 1998.

Mark B.N. Hansen: "Affect as medium, or the 'digital-facial-image'." Journal of Visual Culture, Vol. 2, nr. 2 (August 2003), 205-228.

Mark B.N. Hansen: "Affect as Interface: Confronting the 'Digital Facial Image'." In: Mark B.N. Hansen: New Philosophy for New Media. Cambridge, Mass.: MIT Press, 2004, pp. 127-159.

Stephen Wilson: "Body and Medicine." In: Stephen Wilson: Information Arts. Intersections of Art, Science and Technology. Cambridge, Mass.: The MIT Press, 2002, pp. 149-200.