Evelin Stermitz
Since 2005
Works in Austria

Evelin Stermitz is working on media and new media art projects by using different media like photography, video and net, including installations and conceptual works.
The focus of art work is on gender based female and socio-cultural topics. The issues of projects are about gender, role models and the gap between man and woman referring to the theory of Jacques Lacan in terms of "the Other" and the performativity of the body by Judith Butler. An important task is the female body and the outgoing connection to created symbolic meanings of gender in history and nowadays. A main emphasis is on performative works.
In media theory the main interest is on the representation and approach of the female body in everyday media and media art encouraged by Barbara Kruger's work "Your body is a battleground."
Completed the study of Media Communication at the University Klagenfurt, Austria, with a master's degree in Philosophy on the thesis "Imagoes of Dancing Women in Film" in the year 1999.
Received a scholarship for the postgraduate study of Visual Communication at the Academy of Fine Arts and Design, University of Ljubljana, Slovenia, (Prof. Milan Pajk - photography, Prof. Srečo Dragan - video and new media) in the year 2004 and graduated with a Master of Arts degree on the thesis "The Female Body in Context of Media Art" in the year 2007.

2004 - 2007 Academy of Fine Arts and Design, University of Ljubljana, Slovenia. Postgraduate study of Visual Communication (Photography, Video and New Media).
2006 International Summer Art School of the University of Arts in Belgrade, Serbia. New Media Workshop 2D Mutant Zombies (Low-Key Low-Tech Identity Mapping) by Dejan Grba.
2006 International Summer Academy of Fine Arts in Salzburg, Austria. Media works: Dream, dreams / things imagined, Sigmund Freud's 150th birthday, Media class by VALIE EXPORT.

Selected Exhibitions:
2010 FORCE: on the Culture of Rape, Current Gallery, Baltimore, USA / Mediations Biennale, Erased Walls, ConcentArt, Berlin, Germany / All My Independent Women, Casa da Esquina, Coimbra, Portugal / Indomitable Women, CCDFB Centre Cultura de Dones Francesca Bonnemaison, Barcelona, Spain / RED: The Gendered Color in Frames, Photon Gallery, Ljubljana, Slovenia / NapoliDanza, 17th International Festival of Videodance, Il Coreografo Elettronico, PAN Palazzo delle Arti Napoli, Naples, Italy / IX Festival Internacional de la Imagen, VI Muestra Monográfica de Media Art, CCC Centro Cultural y de Convenciones Teatro los Fundadores, Manizales, Colombia / Magmart | Video under Volcano, CAM Casoria Contemporary Art Museum and PAN Palazzo delle Arti Napoli, Naples, Italy / 2009 Videomedeja, Museum of Contemporary Art of Vojvodina, Novi Sad, Serbia / BAC! 10.0, Pandora’s B., Festival International de Arte Contemporáneo en Barcelona and Indomitable Women, Fundació Joan Miró and CCCB Centre de Cultura Contemporània de Barcelona, Barcelona, Spain / 2008 "Femmes, femmes, femmes", MAC/VAL Musée d'Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France / Plus 3 Ferris Wheels, Museum of Fine Arts, Florida State University / Center for the Arts, University at Buffalo, New York / Richmond Center for Visual Arts, Western Michigan University / Alfred University, New York, USA / 2007 chico.art.net v.4, The Electronic Arts Program, California State University, USA / 1.3 Festival of Video and New Media Art, Mestna Galerija, Ljubljana, Slovenia / IMAGINING OURSELVES, International Museum of Women, San Francisco, USA / Video Art in the Age of the Internet, Chelsea Art Museum, New York, USA / cyber feminism past forward, Austrian Association of Women Artists, Vienna, Austria / FILE Rio / 2006 FILE São Paulo, Brazil / 2006, 2007, 2008 and 2009 FSPACE, Paris International Lesbian and Feminist Film Festival, Trianon, Paris, France / 2006 Cyberfem. Feminisms on the electronic landscape., EACC Espai d'Art Contemporani de Castelló, Castelló, Spain / Stop Violence Against Women, C2C Gallery, Prague, Czech Republic / 2006 and 2008 Rdeče Zore - Red Dawns, International Feminist and Queer festival, Galerija Alkatraz, Metelkova mesto, Ljubljana, Slovenia

More about her works can be seen at her personal website http://evelinstermitz.net
Discussions (19) Opportunities (4) Events (13) Jobs (0)

Nina Sobell Gallery AREA 53 Vienna

Tue Jul 08, 2008 00:00 - Thu Jul 03, 2008



Gallery AREA 53
Gumpendorferstrasse 53
A-1060 Vienna
Art project AREA 53 by TWO PEOPLE ONE WORK
Karin Sulimma and Mounty R. P. Zentara

Opening reception: Tuesday, July 8 2008, at 7 pm
Exhibition on View: July 9 - August 1, 2008
Viewing Hours: Tuesday - Friday, 3.00 pm - 6.30 pm, Saturday by appointment

Artist Talk to be announced.

Curated by Evelin Stermitz

The exhibition shows video works by the artist Nina Sobell in an inter-relative performative context.
During the exhibition Nina Sobell creates a sculptural installation in an open atelier space as an in-gallery project.

Nina Sobell pioneered the use of video, computers, and interactivity in art, as well as performance on the Web. Since 1969, when she first used video to document participants' undirected interactions with her
sculptures, she investigates the extent to which video enables her to manipulate the relation between time and space, and to create a vortex for human experience, in which the mediated event coincides with
public experience, memory and relationships. Groundbreaking projects include ParkBench and VirtuAlice, and the ongoing Interactive Encephalographic Brainwave Drawings.
Sobell presented Brainwave Drawings and Videophone Voyeur (1977) at Joseph Beuys' Free International University at Documenta 6. She received awards from the NEA and NYSCA for her pioneering video
performance art in the 1970's. Her work has been shown throughout the US, Europe, and Japan. An award-winning printmaker and figurative sculptor, and avid improvisational guitarist and keyboardist, she can be seen sculpting Emily in the ParkBench Performance Archives and heard playing music there as well.
During the years 2007 - 2008 Nina Sobell is Artist in Residence at Location One in New York, supported by the Andy Warhol Foundation for the Visual Arts. Her works are included in the exhibition California Video at the Getty Museum, Los Angeles, 2008.

"Working with time, perception, exploring cognitive theories as art, led me further into the non-static world of video. At this point, I needed to retreat into an intimate personal dialogue, making sculpture for video camera space only, compressing time and private experience."
- Nina Sobell

As a New York-based artist, Nina Sobell has produced a broad body of work embracing various themes, strategies, and mediums, including video, performance, installation, sculpture and live TV. A participant
in the feminist performance movement of the 1970s, her conceptually based work ranges from taboo performances and museum installations to interactive video matrixes for public participation. Sobell began using video in the 1970s as a way to study spectators' interactions with her sculptures, which were placed anonymously in public areas. Exploring video-sculpture, Sobell was intrigued with creating psycho-social transformations via video technology, making environments and mobile structures to physically engage the viewer. Pursuing video's relation to the subconscious led Sobell to her well-known Brainwave Drawing piece, in which a screen monitor registered the brainwaves of two people and their silent attempt to communicate with each other.

Nina Sobell discovered that the very presence of technology alters peoples' behavior, due to its capacity to mediate experience, to manipulate space and time, and due also to peoples' belief in its power. She has used these phenomena to sculpt social space. In other words, she has used technology as a prop to give participants permission to overcome various types of boundaries -- physical and social -- to communicate with one another.



Interview with Deb King

Interview with Deb King

Deb King is a new media artist whose work concentrates on net work and computer installations. She is living in the industrial city Detroit, worked in fine arts, studied in various dance studios while working with different conceptual models. During the last years Deb King focuses in working on digital art projects.

An interview with Deb King on her digital art works by Evelin Stermitz, May 2008.

ES: In your art practice you are creating interactive web-based projects. How did you come to using the internet as a media for your artworks and what is your general approach to new media art?

DK: It's really hard to come up with a specific timeframe. I was involved with performance-based work in the mid to late 70s when a friend of mine, who was a mime started using this program for working out routines on the computer. It was very basic and choppy, but enthralling and opened up the performative ability of digital media. Previous to that, I had worked with Basic and a little assembly language at different jobs, primarily at a utility company. I really enjoyed the process, and it was sort of exciting, the computer took up a half the floor of this building and it was all new. But that was way before the internet.
I actually didn’t get my "own" computer for a couple of years yet and initially concentrated primarily on publishing books, playing with Photoshop and doing some basic scripting to accomplish different tasks, but my concentration was still dedicated to realtime performance. Then around the mid to late 80s, I started looking at the entire process in a different way, not as a path to a prescribed destination, but as a series of destinations in and of itself, a sort of in line with the conceptually-based Happenings of the 60s.

ES: How is your previous engagement in performance work influencing your formal concepts of your digital works, is there any connection?

DK: Undoubtedly the idea of "staging" and narrative exists in the work. I implemented notions of randomness into performance work -- influenced by Cagian/Cunninghamesque, fluxus and fuzzy logic. I think traces of all that remain in my work. I used to develop movements or spatial destinations, write them up on cards, shuffle them and perform them as they were "dealt". Every once in a while I still do that, because it offers some surprises.

ES: How would you describe the situation when creating your works, what is important for your conceptual approach and research on your projects?

DK: I have had a VERY small room that I worked in -- off the kitchen, that's sort of a cultural statement of its own. Hours are erratic, anywhere from 4 to 14 hours a day in front of the screen ... and then, of course, I'll leave it all for a week or two. Sometimes I think working in a small space really effects the density of the work. I'm currently moving into a larger space and am looking forward to getting some more equipment, seeing what effect working in a larger space has on the work - and on me. I spend a lot of time alone going over the history - or multiple histories - of a subject, before I'm comfortable working with it, that seems as allow the subject to speak for itself and disperse any personal "statement" I might bring to the table. I do most research online but also like to spend time in libraries to answer questions or find additional information that's only touched upon in online sources, and I like the physicality of the printed page.
I've been publishing mark(s) - http://markszine.com - a literary/fine arts journal since the end of 1999, it's turned out to be very important for my own work, has been a series of dialogues with different artists that I've really enjoyed. It was a quarterly, but I've recently switched it to twice a year because of time restraints. Recently I began developing a social networking project with Marcia Yerman that we hope will be very interesting and bring together artists whose work embraces different political visions.

ES: You created some main projects on feminist related topics, e.g. venusConstruct, chronaMora, function:feminism, gender[f} and have a different series of e-cards about the travels of a woman you refer to as MOAH, just to mention some, - what was the impetus for these projects?

DK: Different specific cultural factors figured in for the different projects. gender[f] is more aligned with collateral assets -- an online peace project -- in that by directing a multitude of different "voices" towards an important issue (the unrelenting murder and rape of young women factory workers in Juarez and the aftermath of 911), you gain a broader audience and stronger show of commitment towards an issue. function:feminism and chronaMora both look at opposing, different histories of "woman" in two different global venues, the constructive aspects of feminist art and the destructive effect of war on women. venusConstruct was a response to how I was invited to be in "The Feminist Figure", at the Forum Gallery in New York that Marcia Yerman curated and looks at media representation and definition representation of woman and beauty. MOAH - the Mother of Al Harlots - is a character lifted from Revelations in the old testament, I always thought she was pretty amazing... the only female figure that could really scare the old patriarchy.
On several occasions people mention a claustrophobic sensibility to the work, and I sort of shrugged it off, I mean I do work in small spaces. But I think all the work is placed in and responds to a sort of cultural structure and the expectations and/or accepted definitions created by and within that structure.

ES: In your recent work dreamSweeper you are investigating the high incidence of abuse suffered by Native American and Native Alaskan women. How do you deal with this important issue in a game-based piece?

DK: dreamSweeper was made for "The Veil: Visible and Invisible Spaces", a traveling show organized by Jennifer Heath as a visual response to cultural and political aspects of veils and veiling currently on exhibit at The Dairy Center for the Arts in Boulder, Colorado. Given this broad concept, I wanted to present the situation of Native American / Native Alaskan women, a situation that has been obfuscated by an interweave of judicial, social, historical and economic deprivations that exist within the american capitalist patriarchy.
Using the Native American "dreamcatcher" - protector of children in their sleep, as the active field of the "game board" made sense. The environment of the game is a random layering of Native American / Native Alaskan women, landscapes, and text "harvested" from Native American lore about the first women. The openings in the dreamcatcher comprise the tile-based game, akin to Minesweeper, the pc game that shipped with the early windows OS. Winning doesn't really occur. If you spend a lot of time with it, and figure out the games, you realize that you just have to start over again before losing... there's no celebratory win. But there is loss and a randomly composed loss scenario.

ES: How did other women influence your works on feminist topics?

DK: Even though I was a teenager at the height of second-wave feminism, my feminist practice has always been intertwined with issues of racism and peace. Rosa Parks was an extremely important figure to me growing up, as was Viola Liuzzo -- the courage of their actions greatly inform my world view and my attitude as a planetary citizen. The civil rights movement here was followed by the anti-war movement, which was primarily male-directed, but a lot of women were involved. So, my view of feminism was always colored with a broader view.
Looking to women artists, I immediately turn to Hannah Wilke as my greatest influence, for her honesty and the strength of her parodic statements. I think she was absolutely incredible, steeped in identity politics of course, but very succinct. The drawings I've done for MOCAD here in Detroit were undoubtedly inspired in part by the work of subRosa and The Critical Art Ensemble.

ES: What do you think about cyber-feminism in relation to art?

DK: I embrace cyberfeminist practice as an artist, believe it offers an holistic intellectualism. Cyberfeminism is such an inclusive non-theory. So whether you are talking about the identity or representation, global unity or poverty, a view informed by cyberfeminism allows a broader perspective. subRosa is amazing in that respect and has really enriched my world-view.
No matter what the genre, art informs ... the cyberfemist practice informs my work and the work of many other artists in many ways.

ES: How do you view the impact of feminist new media art on the society? Is there any impact, is it important to have an impact at all, or do you prefer to view the art work as l'art pour l'art?

DK: The intersection of media and art is very powerful, whether or not it's within any school of feminist thought. The methodologies in and of themselves project us into the day to day issues of current thought. The effect is very clear when you compare second wave artists, whose work honed in on identity and representation to the work of younger artists who take a more inclusive view. At the same time, I totally embrace the idea of art for art's sake and the value of it's existence unto itself.

ES: In your art work Rosemarie and Paul, you created an art project as an exploration into the meaning and placement of disability within social and cultural contexts. What was the background for this work and how did you transfer this topic in the digital world?

DK: Rosemarie and Paul grew out of a workshop with Carla Harryman's class on media and activism at Wayne State University here in Detroit. The project explores a virtual meeting between feminist disability scholar Rosemarie Garland-Thomson and Paul Virilio based on the first section of Virilio's "Open Sky" and Garland-Thomson's "Integrating Disability, Transforming Feminism" which I happened to be reading when Carla asked if I would be interested in subbing for her. Basically, I created the structure and characters of a play and made a deck of cards specifying a character (Rosemarie, Paul, 3rd person and narrator) and an 'act' (body, identity, representation and activism) to allow a collaborative writing project. The students then randomly selected a card and wrote a segment of the conversation based on those parameters.

ES: As the digital world is changing rapidly, do you view your former works different now? What are your future interests in creating works and how will the technical approach be?

DK: Of course tech advancements have amplified some differences, particularly speed and software advancements that enhance delivery and add efficiency to development, so there were technical challenges and work-arounds that may make the older work seem simplistic but you know, you work with what’s available. I wonder more -- because of the political content of the work, if it is still valuable today. I don't really view them any differently. I used to want to return to them and change, expand or update them... particularly a piece like collateral assets or gender[f], but now I'm content to let them be whatever they are out there.
As to future works, I have had one specifically planned for a while that I haven't been able to develop, because of time and money restrictions. I hope to be able to get through it soon, having a larger space will help. It will be video heavy and use a couple different consumer technologies, but I don't want say anymore about it yet! Conceptually I'm looking at a couple of subjects that are of great interest to me, that I also think are important - different juxtapositions of privacy, capitalism and technology (specifically genetic research) ... and how that sort of sneaks into our everyday lives.

ES: How do you view the future of digital art / new media art connected to feminism?

DK: I think work in new media art, specifically net work, has been an impetus for feminist practice to evolve within this much broader construct, creating a richer and more globally responsible system of studies.

ES: Are you also creating non-digital works, if yes, how do they turn out?

DK: I work almost completely with digital tools, although they don't end up being computer installations or web-based. I'm doing some digital drawings right now, not sure where they're going but are an offshoot of a previous series on genetics, ownership and privacy with dark humour in pretty pastels.




Thu Mar 08, 2012 00:00

Call for works: artfem.tv


artfem.tv is an online television programming which presents Art and Feminism.
The aim of artfem.tv is to foster Women in the Arts, their art works and projects, to create an international online television screen for the creativity, images and voices of Women.
artfem.tv is a non-profit artist run ITV about Art and Feminism.

For submitting your video works please contact:
Evelin Stermitz es@mur.at


Crossing Over 2007 La fine del mondo!

Sat Sep 08, 2007 00:00 - Sun Sep 09, 2007


The End of the World!
La Fine del Mondo!

4th Contemporary Art Exhibition
curated by Piera Nodari
Cultural Association Ateneo delle Idee
President Roberta Bignozzi

Via Asquini, Udine, Italy
8 - 16 September 2007

Participating Artists:
Nikolaus Suchentrunk
Mimmo Mirabile
Giulia Tosato
Virginia Di Lazzaro
Karl Kilian
Lucia Morandini
Giusi Foschia
Susanna Castelli
Riccardo Modena
Lionel Favre
Marco Juratovec
Philipp Hardikov
Marco Corain
Diego Mosca
Claudia Bortolato
Christian Falsnaes
Emanuela Messina
Marina Zuliani
Sebastian Degli Innocenti

Prize of the Jury Crossing Over 2007 Associazione Culturale Ateneo delle Idee:

End of the World Stream
Mixed Media Installation
by BROCCOLI Art Group

End of the World Stream
from the Garden of the VISIONARIO

12 lost surveillance birds are watching the world go down.
View the stream at http://es.mur.at/goingblind

GOING BLIND mixed media installation describes scenarios of the apocalypse and the empty hyper-consumption of images with its lost meanings in a multi-mediated post-post-modern society.

Mixed Media Installation including 12 surveillance cameras, 6 trees, 1 web interface.

A project by BROCCOLI Art Group
Cym, Evelin Stermitz, Maki Stolberg, Eva Ursprung.

BROCCOLI Art Group for social art happenings has been founded in the year 2003 in Graz (A): Cym (NL/A) net artist and art center host / Evelin Stermitz (A/SLO) media artist and third-wave feminist / Maki Stolberg (A) artist and art researcher / Eva Ursprung (A) media artist, performer, feminist art activist and curator.

Special credits to Matjaz Jogan (SLO).



Interview with Nina Sobell

Tue Aug 21, 2007 00:00 - Tue Aug 21, 2007

Interview with Nina Sobell

Nina Sobell pioneered the use of video, computers, and interactivity in art; she also pioneered performance on the Web (in collaboration with Emily Hartzell as ParkBench). In 1975 she installed the "Interactive Encephalographic Brainwave Drawing Installation" at the Contemporary Arts Museum in Houston. Sobell presented "Brainwave Drawings" and "Videophone Voyeur" (1977) at Joseph Beuys' "Free International University" at Documenta 6. She has continued to develop the piece over the years, and is currently working on a piece in which participants will collaborate on Brainwave Drawings internationally, over the Web.


An interview about Nina Sobell's work in media and new media art
by Evelin Stermitz, August 2007, New York, NY.

ES: What was your first approach to media art?

NS: When I was at Cornell University going to graduate school in Sculpture (1969), I created objects that deconstructed from participants' interaction with them. Jud Fine said, why don't you talk to David Shearer, he has video equipment, you could borrow and document this interaction. David Shearer was the librarian for art, architecture and urban planning, he was very helpful giving me access to video equipment. So I worked with the early Sony portapacks and editing equipment. And then after simply documenting the interactions with the objects, I began to think in terms of the video in experience: time, space and memory. I began to think in terms of my works as constructed symbolic pieces, deconstructed through interaction with them. In another words video became an interstitial vehicle, it extended and expanded time and space, which was integral to the sculpture works: both became my first video installation. So I was really interested in creating huge sculptures, that were reduced into tapes. I took six weeks of time as a sculptural space and divided it up into spacial relationships, of people with the objects I made and the documentation of these objects, the recreation of those objects, within the sequencial time period as a video installation demarcating time and experience. So people entered the gallery and found themselves in an area with four monitors (N, S, E, W) and in the center of those four monitors was a physically symbolic representation of what they where seeing: N was the 1st week; E was the 2nd week; S the 3rd week; W the 4th week of the objects they saw. The symbolic representation in the center surrounded by the monitors was a rockable couch, made of different parts of the objects, they were seeing on those monitors. The first week, on the N monitor was the interaction with the Rockable, 12 ft high by 6 ft deep. It looked like an omega, with curves, it was weighted so that it gently rolled 180 degrees if a person was inside and rolled over. It was made of overlapped aluminum arches, lead weights, band iron and padding and was placed outside. I did not want anyone to know why it was there. I wanted it to be discovered, played and experimented with. I wanted the preciousness and purpose removed from the art object, no art objective in the art object. It was positioned behind the museum's open grassy area at the White Museum, Cornell. On the following Tuesday in the foyer of the museum, I installed the Movable Ceiling: a raised convex couch that people could climb on and a concave ceiling with foam rubber appendages and a remote control. The remote control had 35 ft of cable and two unlabled buttons. Participants experimented with its variable speed and reverse functions, having the ceiling come down into the convex couch. It was based on an elevator block and tackle system. Some people lay there with no expectations and maybe somebody remotely controlled it from another room and again there was no indentification with who made the art work. I documented this interaction until the next Tuesday. Again there was discovery and play in a non-expective situation. The following Tuesday I placed five 10 ft diameter wooden cones, four of them were faced inwards, one out to the sunset on the quad. Again there was no identification of the artist and in the papers they appeared as an architectural student's work. People climbed, stacked or rolled around in them. The following fourth Tuesday I released 500 white balloons on the same quad at 6 am and then at noon I released 500 more. It was the dematerialisation of the object transposed into video experience. The following week, the fifth Tuesday I edited the tapes for the monitors for the gallery space. The sixth Tuesday was the gallery opening and the re-creation of objects within a sequential time period. In the space people experienced the installation about the past with others or individual experiences, bringing the past to the present time. A six second time lapse monitor documented visitors coming from the four monitors to present time and at the exit a closed circuit monitor represented the immediate moment.

ES: How was the situation for a female student at your university and what were your first experiences as a woman in media art?

NS: I had not been directly admitted to the sculpture department. I received a call from the chairman of Cornell and was encouraged to accept an offer by Jason Seley the chairman of the art department to accept a third floor painting studio because the sculpture department did not want to have a woman in the sculpture department. As it happened, a visiting artist David Von Schlegell from Yale was very supportive of my work, Jud Fine had graduated and left me the key to his sculpture studio, and they all said just go in and ignore the head of the sculpture department and continue working. The sculpture department did not want to give me a teaching assistantship because I was a woman. I was encouraged by David Shearer, the librarian of Art, Architecture and Urban Planning, who instructed students how to use video equipment. My thesis was idiosyncratically video, in fact the first video thesis, but the sculpture professors at Cornell did not understand my concepts. Then I moved to Los Angeles and was part of the very new video art scene, worked on my own works and shared the equipment with another graduate from Cornell.

ES: What are the main themes in your video works, what did you like to explore?

NS: I made a transition from public installations, time, space, memory, deconstruction and a conceptualized approach to being alone in my studio; getting used to my private space, intimacy with my environment, interaction with objects, and then focusing the camera on myself. I did not know that this was performance art; I just let myself do spontaneous actions. Working through the drawing process, physicalizing it, documenting it, really getting inside to that time that video is capable of capturing - that immediate moment, breaking glass with no eye protection, all that could not be rehearsed, not to be re-recorded again, that was purely video performance, but I was not aware of it at that time.

ES: Could you tell more about your brain wave drawings project?

NS: A friend visited my studio with an audio-alpha wave monitor that made a sound when one emitted alpha waves. I realized that I as a human being am an electronic medium. Since the human being is an electronic medium, and since I was working with video as an electronic medium, I saw the possibility of visualizing communication. Most especially the singular existential moment of perception between two people. How could I express the communication of that thought process with another human being? By creating a physical and mental portrait of the non-verbal communication between people involves their ego and identity. That's the place where art is, in itself art is the drawing of communication processes. I was introduced to Michael Trivich by my Cornell engineer collaborators and we are still collaborating on this work more than 35 years later. He suggested using an oscilloscope to visualize the communication between two people. By simultaneously having one person's brain waves on the X axis and the other on the Y axis a lissajous pattern is formed. A lissajous pattern is an irregular circular configuaration; when both participants emit the same brain wave (amplitude and frequency), a circle is formed. If one person is more distracted than the other or emitting another brain wave, the circle will distort horizontally or vertically. Finally after working on it for thousands of thousands hours, and now with a patent pending, we were able to make a brain wave drawing over the web between Poland and Los Angeles on July 17, 2007. Although there is a nine hour time difference, we could see each others physical image, color-keyed brainwave output, and text message, all in web-time. My idea is creating a non-verbal intimacy in cyberspace, one world one time. In the past brain wave drawings one heard the song of two, and now joyously, listening to a universal song of our mind and heartbeat.

ES: How do you view your own body connected to the media?

NS: By capturing ones physical image in video, one is able to capture the essence of ones ego and observe the unmitigated relationship to ones physical behaviour and mental responses to it.

ES: In which context do you see your performance works?

NS: Psychosociological behavioural works.