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  • Image Radio festival, Eindhoven, Holland (2-4 Nov 2007)
  • Ars Electronica, Linz, Austria (5-11 Sept 2007)
  • Gold Coast City Art Gallery, Queensland, Australia (21 April – 26 May 2007)
  • Indoor projection in the “Histoires Animees” exhibit, Le Fresnoy Center, France (Jan - April 07)
  • Art Gallery of South Australia, Adelaide (16 February – 10 March 2007)
  • Newcastle Region Art Gallery, Australia (Sept - Oct 2006)
  • Contemporary Artists Services, Tasmania, Hobart, Australia as part of the “Vanishing Point exhibit (28 Jan -26 Feb 06).
  • Sala Rekalde, Bilbao, Spain (Oct 6 06 - Jan 7 07)
  • CaixaForum, Barcelona, Spain ( Jun - Sep 06)
  • BlackBox, the Arts Centre, Melbourne, Australia (September 2005)
  • Screening at Dance on Camera West, Los Angeles (2005)
  • Outdoor installation on Park Row, near on-ramp to Brooklyn Bridge, New York (October October 2004/li>

  • Indoor projections at the train station and at the Nabi Musuem, Seoul, Korea (April 2004)
  • Indoor projection at The Exploratorium, San Francisco, CA (January 2003)
  • Indoor projection in the Future Cinema exhibit at the ICC, Tokyo, Japan (December 2003)
  • Indoor installation for “Motion Studies” show at the Lower Manhattan Cultural Council (September 2003)
  • Indoor installation in the Center for the Arts of George Mason University, Fairfax, VA (September 2003)
  • Storefront installation in Cambridge, MA as part of the Boston Cyberarts Festival (April 2003)
  • Indoor projection as part of ZKM’s “Future Cinema” show in Karlsruhe, Germany (November 2002)
  • Outdoor projection for premiere of new Concertgabauw building in Bruges, Belgium (October 2002)
  • Outdoor projection at the Piazza Duomo, Milan, and indoor projection for group show “Americas Remixed” (September 2002)
  • Indoor projection for group show in Daejeon, Korea: “Special Effects 2002 Media Art” (June 2002)
  • Manhattan premiere in four sites: outside 45 Rockefeller Plaza; the underground concourse of 30 Rockefeller Plaza; the Studio Museum in Harlem on 125th Street; and Eyebeam at 21st Street in Chelsea (February 2002

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Visuals: Shelley Eshkar and Paul Kaiser

Sound design: Terry Pender of Columbia’s Computer Music Center

Additional animation: Keith Chamberlain

Installation Architect: Marco Steinberg

Co-producers: Art Production Fund and Eyebeam

Motion capture was overseen by Lisa Naugle of UC Irvine’s Dance Department.
Unreal Pictures (Michael Girard and Susan Amkraut) provided software support.
Connecting Point Multi Media gave technical support. Additional support camefrom Dancing in the Streets, with public funds from the New York State Council on the Arts, and the University of California: Irvine, School of the Arts, Department of Dance, with funds from the UCI Chancellors Distinguished Fellow Grant.

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  • “Walk, Run, Amble, Saunter— Everyday Movement is not so Everyday” by Vanessa Manko, The Brookly Rail, October 2003
  • “Future Cinema: The Cinematic Imaginary after Film” in Metropolis Tokyo (2003)
  • “Wired for art,” by Cate McQuaid, Boston Globe, (April 25, 2003)
  • “Commissions,” Sculpture (July/August 2002)
  • Life on the Street,” by Trevor Broyer, Video Systems (April 2002)
  • “Art in Review,” by Ken Johnson, The New York Times (March 1, 2002)