{"id":14461,"date":"2021-02-20T10:39:00","date_gmt":"2021-02-20T09:39:00","guid":{"rendered":"https:\/\/dam.org\/museum\/?post_type=artists_ui&p=14461"},"modified":"2021-03-10T16:41:49","modified_gmt":"2021-03-10T15:41:49","slug":"sommerer-mignonneau","status":"publish","type":"artists_ui","link":"https:\/\/dam.org\/museum\/artists_ui\/artists\/sommerer-mignonneau\/","title":{"rendered":"Christa Sommerer and Laurent Mignonneau"},"content":{"rendered":"

[vc_row equal_height=”” shift_y=”0″ z_index=”0″ el_class=”portfolio”][vc_column][vc_tabs tabs_align=”center” css_animation=”fade-up” el_class=”tab”][vc_tab title=”Christa Sommerer and Laurent Mignonneau” tab_id=”1589893367311-4-6″ el_class=”artist_portfolio_name”][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14561″ img_size=”full” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Christa Sommerer and Laurent Mignonneau are internationally renowned media artists, researchers and pioneers of interactive art. In 2004 they set up the department for Interface Cultures at the University of Art and Design in Linz, Austria where they are both professors. They have created around 40 interactive artworks that have been exhibited in around 350 international exhibitions and received numerous awards, such as the Golden Nica at the Prix Ars Electronica in 1994.<\/p>\n

 <\/p>\n

Website of Christa Sommerer and Laurent Mignonneau:
\nwww.interface.ufg.ac.at\/christa-laurent<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab tab_id=”1589891935-1-30″ el_class=”tab2″ title=”Artworks”][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14586″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fscavengers%2F|title:Scavengers||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Scavengers (2020)<\/a><\/h6>\n

Scavengers is an animation which wants to alert us about the importance of beetles for our environment. Artificial insects struggle to clean up human produced debris. These scavengers try to digest inorganic trash and pollution, and turn it back into nature. This is of course an utopian vision; it would be up to us humans to accomplish this task.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14578″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fneuro-mirror%2F|title:Neuro%20Mirror||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Neuro Mirror (2017)<\/a><\/h6>\n

In this participative installation, visitors see themselves on three screens, arranged like a triptych. The screen in the middle displays the participant\u2019s image in real time, while the screen of the left shows his of her image from the past. The screen on the right however represents the future, where the participant\u2019 actions are approximated from ones past actions. Neuronal networks predict the future and create changes and extrapolations of the participant\u2019 self-image.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14575″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fegometer%2F|title:Egometer||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Egometer (2017)<\/a><\/h6>\n

\u201cEgometer\u201d consists of an antique ammeter that was previously used for teaching physics in schools. We modified this machine by adding sensors that measure the user\u2019s various body data. Once the measurement is completed, a mechanical counter adds one more number. Every exhibition and interaction adds to the ego increase of the artists.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14564″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fportrait-on-the-fly%2F|title:Portrait%20on%20the%20Fly||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Portrait on the Fly (2015-2018)<\/a><\/h6>\n

Inspired by the ephemerality of most media art and the difficulty in keeping its history alive, this series of artworks was started with a number short video sequences where the moving portraits of well-known media art pioneers, scholars, artists, theorists, gallerists, and organizers are turned into swarms of flies. The project later evolved into plotter drawings, objects, an interactive installation, large scale projections, and a VR simulation.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14556″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fescape%2F|title:Escape||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Escape (2012)<\/a><\/h6>\n

The installation consists of an antique film projector and an antique projection screen from the 1940s. The projector was modified to hold a small video projector and some sensor technology. When visitors turn the handle of the projector, a pack of flies appear which gradually form a text from Franz Kafka’s The Metamorphosis <\/em>(1915). The method of generating shapes with flies will be later used in the series Portrait on the Fly <\/em>(2015-2018).[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14554″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fthe-value-of-art%2F|title:The%20Value%20of%20Art||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

The Value of Art (2010)<\/a><\/h6>\n

The Value of Art is a series of interactive experiments dealing with the value of art in a conceptual and pragmatic way. Once The Value of Art interactive painting is shown, the work will start counting the number of visitors and the amount of time they spend looking at the painting. Through our integrated sensors the painting will constantly update its value, making the whole process of value creation for this artwork totally transparent.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14547″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Flife-writer%2F|title:Life%20Writer||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Life Writer (2006)<\/a><\/h6>\n

Life Writer consits of an old-style type writer with a piece of paper that is used as projection screen. When users type text into the keys of the type writer, the resulting letters appear as projected characters on the paper. When users then push the carriage return, the letters on screen transform into small black and white artificial life creatures that appear to float on the paper of the type writer itself. This artwork develops the ideas from Life Spacies I & II <\/em>(1997-1999) and introduces an obsolete device, which prefigures a series of works related to media archaeology.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14532″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Feau-de-jardin%2F|title:Eau%20de%20Jardin||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Eau de Jardin (2004)<\/a><\/h6>\n

Inspired by Interactive Plant Growing <\/em>(1992), this installation consists of a triptych, a three-sided projection screen onto a 12 x 3 meters vaulted screen that creates an immersive and reflective virtual water garden and several glass amphorae containing water plants. When visitors approach themselves towards the amphorae, the plants capture the visitors presence and use the occurring tensions to draw virtual water plants on the large projection screens.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14537″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fmobile-feelings-i-ii%2F|title:Mobile%20Feelings%20I%20%26%20II||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Mobile Feelings (2003) and Mobile Feelings II (2004)<\/a><\/h6>\n

\u201cMobile Feelings\u201d is an artistic project that explores the ambivalence of sharing personal information with an anonymous audience. Instead of communication via voice or images to people we know, \u201cMobile Feelings\u201d lets people communicate with strangers through virtual touch and body sensations including smell and sweat using specially designed mobile phones.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14526″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fnanoscape%2F|title:NanoScape||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

NanoScape (2002)<\/a><\/h6>\n

This nano-scale sculpture is invisible, just like the Nano-world it comments about. A wireless magnetic force-feedback interface allows users to touch invisible nano particles, creating an every changing invisible sculpture which modifies its shape and properties as users interact with it and with each other.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner content_placement=”default” width=”1\/4″ css_animation=”none”][vc_single_image image=”14523″ img_size=”thumbnail” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fthe-living-web%2F|title:The%20Living%20Web||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

The Living Web (2002)<\/a><\/h6>\n

In this CAVE-based interactive installation users can immerse themselves physically and in 3D into this image and sound information streamed \u201clive\u201d from the Internet. Microphones pick up the users\u2019 conversations and use them to generate and download corresponding image and sound file from the Web. This artwork presents a novel system for intuitive, immersive and entertaining information creation and retrieval.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14518″ img_size=”full” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fhaze-express%2F|title:Haze%20Express||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Haze Express (1999)<\/a><\/h6>\n

HAZE Express is an interactive computer installation that performs the recombination, development and evolution of seemingly random images in a way that is reminiscent of how we see images through the window of a train. In this work, the artists introduce recognisable physical elements that provide a context to the interaction taking place on the screen.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14510″ img_size=”full” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Flife-spacies-i-ii%2F|title:Life%20Spacies%20I%20%26%20II||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Life Spacies (1997) and Life Spacies II (1999)<\/a><\/h6>\n

Continuing the exploration of artificial life, connected to language and text as a form of DNA, the two \u201cLife Spacies\u201d installations allow remotely located visitors to interact with each other through evolutionary forms and images. The artificial life creatures also communicate with each other and so create an artificial universe, where real and artificial life are closely interrelated through interaction and exchange.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_text][\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14502″ img_size=”full” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Fa-volve%2F|title:A-Volve||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

A-Volve (1994-1995)<\/a><\/h6>\n

In this interactive real-time environment visitors interact with virtual creatures in the space of a water filled glass pool. These virtual creatures are products of evolutionary rules and influenced by human creation and decision. This artwork developed concepts of artificial life which have been among the main subjects in the artists’ trajectory.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14495″ img_size=”full” full_width=”1″ hover_effect=”opacity” onclick=”custom_link” opacity=”100″ link=”url:https%3A%2F%2Fdam.org%2Fmuseum%2Fartists_ui%2Fartists%2Fsommerer-mignonneau%2Finteractive-plant-growing%2F|title:Interactive%20Plant%20Growing||” css_animation=”fade-up”][\/vc_column_inner][vc_column_inner content_placement=”default” width=”3\/4″ css_animation=”fade-up”][vc_column_text]<\/p>\n

Interactive Plant Growing (1992)<\/a><\/h6>\n

Interactive Plant Growing connects the real time growing of virtual plants in the tridimensional space of the computer to real living plants, which can be touched or approached by human viewers. The first artistic project by Sommerer and Mignonneau, it became an influential example of interactive art and interface design. The installation is in the permanent collection of the ZKM Media Museum, Karlsruhe, Germany.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Artist’s Statement” tab_id=”1590655856642-5-3″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14522″ img_size=”full” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]On Interactive Art and Artificial Life
\n<\/strong>Christa Sommerer and Laurent Mignonneau<\/p>\n

Interview by Pau Waelder for the VIDA Art and Artificial Life Awards<\/a>, 2012 (excerpts)<\/p>\n

 <\/p>\n

You have created interactive artworks for more than 20 years. In your opinion, how has interactive art evolved over the last decades?<\/strong><\/p>\n

In the early 90ies interactive art was rather new and artists like us started to explore the potential of computer supported interactivity by developing hardware and software interfaces that allowed novel ways for the public to engage in interaction with a piece of art. Many pioneers of this time set the trend for future technical as well as artistic developments.<\/p>\n

Since access to high-end computers was restricted and difficult, only a few artists were able to work with these technologies in specific research laboratories and they sometimes even invented the technologies by themselves. The group of artists who worked with interactive systems in the 90ies was quite small, many of them had artist-researcher positions in laboratories and we all knew each other, met at the same festivals, exhibitions and symposia. It was a tightly connected scene of artists working with and developing interactive systems and art pieces.<\/p>\n

While there was a huge and very positive public feedback at exhibitions at that time, the art world hardly took notice of these new art form. It was only a handful of curators and writers who recognized the potential of this new art movement also in terms of art historical relevance and future influence.<\/p>\n

In the years 2000 onwards finally more and more artists came on board and started to work with interactive technologies and interactive systems as well. The first off-the-shelf systems appeared and it became easier to work with digital technologies even without a computer engineering or programming background and\/or access to advanced research laboratories.<\/p>\n

In addition more and more universities opened computer art departments where media art was on the curriculum as well. Many of the early pioneers of interactive art took good teaching positions at art universities, developed new curricula and also engaged into the wide-spread academic acceptance of media art and interactive art through community work, organizing symposia, publishing, curating etc.<\/p>\n

From 2010 on finally DIY (Do it yourself) and DIWO (Do it with another) movements and the cheap availability of hardware and software interfaces led to another boom of interactive art. It became increasingly easy to work with digital technologies, develop interfaces and create interactive artworks, also fueled by the output of the bachelor and master programs that supported students during their studies.<\/p>\n

While many of the early pioneers understood that media art will become a big trend in the future, many of us were still surprised how fast this trend caught up and how wide spread it became just 20 years later. The wide-spread intrusion of media technologies into our daily lives of course also helped to speed up this trend.<\/p>\n

 <\/p>\n

Seeing your work in the tradition of audience participatory art, which new elements or perspectives are introduced in your artistic practice?<\/strong><\/p>\n

We are interested in participatory art forms, where the artwork changes and develops according to how the visitors interact with the work of art. Of course many participatory art forms in the 1960ies and also cybernetic art in the 1970ies and 1980ies were also open to change and input from the audience and on a conceptual level the artwork was very open as well, e.g. in the instruction pieces of Yoko Ono or The Senster project by Ihnatowicz. However interactive art allows the direct manipulation of the user generated interaction data, they can be used for changing the visual, auditory, haptic or even olfactory reaction and interaction of the media art work. So capturing the various interaction modalities through interfaces we construct, helps to translate user interaction data into constantly changing interactive scenarios.<\/p>\n

 <\/p>\n

Erkki Huhtamo has criticised other artists for focusing too much on the interface and not on the content of the artwork. Which would be, in your experience, the main contributions of interactive art nowadays, when all sorts of interactions with machines are increasingly a part of our daily life?<\/strong><\/p>\n

For sure the main quality of an interactive artwork must be its concept. The technology should only be a means to achieve the realization of the artistic concept in the best way. Technology for its own sake is surely not enough, we agree with Erkki Huhtamo.<\/p>\n

However one also has to acknowledge that developing new types of interfaces and interactive systems can help to produce new interaction concepts for the future. Sometimes the borders between art, design and engineering in interactive art have been blurred. Besides, several artists in this field have also invented new systems and even applied for patents on their inventions. This cross-disciplinarity is especially visible if one looks at the submissions and awards in the interactive art category at the Prix Ars Electronica in Linz, Austria. Several media artists have united the role of artist\/ designer\/ engineer\/ inventor in their own productions and depending on the context they show either an artwork or an invention. We should also consider the economic situation, as almost no one in interactive art can live from purely artistic productions and exhibitions.<\/p>\n

This might change however once interactive art will be fully acknowledged as a contemporary art form. We can already see this trend happening as galleries and museums start to exhibit interactive art alongside other art forms. And finally an education at art universities that sensibilizes students on the historic connections of media art and interactive art is essential if we want interactive art to be understood not as a technical gadgetry but as an art form with its own language and aesthetic and conceptual quality.<\/p>\n

 <\/p>\n

Artificial life has been a key element of your work over the years. Is it still a fertile ground for artistic research? What is your opinion about current artistic projects related to A-Life?<\/strong><\/p>\n

For many years we explored genetic algorithms, generative art and complex adaptive systems for the production of our own interactive artworks, as we were interested in the evolutionary aspects of these works. Of course Artificial Life is still very relevant to many artists and generative art is booming. For our own artistic development it is still relevant, however we are combing it nowadays with a media archaeological approach, e.g. in the work of Escape from 2012, where an old magic lantern in transformed into an interface device. Here visitors can explore the walls in a gallery space and see small dark isopods appear projected on the walls. They perform a sort of swarming behaviour and at one point assemble to form sad looking children\u2019s faces. While Artificial Life is part of the concept to create life-like behaviour of the isopods, the conceptual part of the lamp as interface for exploring an unknown emotional space of children\u2019s faces is equally important.<\/p>\n

 <\/p>\n

You have been inspired in your work by the theories of Richard Dawkins, John Casti, Christopher Langton and many other scientists and researchers. Do you consider that art can bring a better understanding of the theories and developments of scientific research?<\/strong><\/p>\n

We never understood our artworks as illustrations of these scientific theories, they were used by us as inspiration to push concepts of open-ended interaction, artificial evolution linked to interaction and other artistically interesting concepts for machine-machine of human-machine interaction further. However we were often told that interactive art can also help to better understand scientific principles or at least create an emotional awareness of these fields.<\/p>\n

 <\/p>\n

In your recent work, you have addressed the archaeology of media, bringing new life to obsolete technologies. What drives this interest towards these media? Will future obsolete technologies have the same cultural weight?<\/strong><\/p>\n

This is a personal interest in obsolete technologies as our media consumer society is producing obsolete technologies at a mind-blowing speed. A type writer form the 1930ies is still perfectly functional, these machines were designed to last and could even be inherited from generation to generation. Their engineering and manufacturing quality is superb. Nowadays planned obsolescence is a well known trick to make computers, mobile phones, tablet, or other electronic appliances last only for a few years. These devices artificially break down and we are told that repair is too costly and does not pay off. A sophisticated marketing machinery creates new demand and curbs consumer spending. With this artificial demand our society is wasting resources at an incredible speed and irresponsible volume.<\/p>\n

Artists are starting to get concerned by this waste of resources and we are interested in re-cycling, up-cycling as well as down-cycling. This is not only an economic decision but also a statement against the ongoing collective irresponsibility. Using obsolete interfaces is a political statement as well as an aesthetic statement as it shows us the beauty of these interfaces and their by-gone cultural impact. It might also help to create awareness in how we deal with technology today.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Biography” tab_id=”1589891935-2-34″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14564″ img_size=”full” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Gmunden (Austria), 1964 \/ Angoul\u00eame (France), 1967<\/p>\n

Christa Sommerer studied Biology and Botany at the University of Vienna between 1982 and 1985, and then went to study Sculpture at the Akademie der Bildenden K\u00fcnste, also in Vienna, where she obtained a Master\u2019s Degree in Art in 1990. Laurent Mignonneau studied Applied Art at the \u00c9cole Technique in Angoul\u00eame between 1984 and 1988, then studied Fine Arts at the Academy of Pictorial Arts and Video and Computer Graphics at the Centre National de la Bande Dessin\u00e9e et de l’Image (CNBDI) in Angoul\u00eame between 1988 and 1991. They met while pursuing Postgraduate studies with Peter Weibel at the St\u00e4delschule, Institut f\u00fcr Neue Medien in Frankfurt am Main between 1991 and 1993. In 1992, they jointly created their first artistic project, Interactive Plant Growing<\/em>, which became a landmark work of interactive art and entered the permanent collection of the ZKM | Center for Art and Media in Karlsruhe in 1997. During the 1990s, they quickly became know for their pioneering interactive installations, which featured innovative interfaces and explored scientific principles such as artificial life and generative systems. They received numerous awards for their work, notably the Silicon Graphics Award from the International Symposium on Electronic Art (ISEA), Helsinki and the Golden Nica in the Interactive Art category from the Prix Ars Electronica, Linz, for A-Volve<\/em> (1994-1995), both in 1994, and the Ovation Award from the Interactive Media Festival, Los Angeles, in 1995. These distinctions came alongside invitations to solo and group exhibitions in museums, art centers, and biennials internationally, such as the NTT InterCommunication Center (Tokyo), the Yerba Buena Center for the Arts (San Francisco), Palais de Tokyo (Paris), and the Centre National d’Art et de Culture Georges Pompidou (Paris), among others.<\/p>\n

In 1994, they started a long-lasting collaboration with Japanese cultural and research institutions as artists in residence at the NTT, InterCommunicationCenter (ICC) in Tokyo. In 1995 they became Artistic Directors & Researchers at the ATR Media Integration and Communications Research Laboratories in Kyoto, and in 1997 they joined the International Academy of Media Arts and Sciences (IAMAS) in Gifu as Guest Professors and later Associate Professors, until 2004. During the late 1990s and early 2000s they continued developing novel forms of interactions and directed their attention towards immersive and intelligent environments, capable of retrieving online data in real-time. Since 2000, they have continued their research at the University of Art and Design in Linz, as Guest Professors and later on as Professors of the InterfaceCulture Lab, which they founded in 2004. In 2001, Laurent Mignonneau obtained his Doctoral Degree at the Department of Engineering, Kobe University, and in 2002, Christa Sommerer gained her Ph.D. degree from CAiiA-Star (Prof. Roy Ascott), University of Wales College of Art, Newport. Over the following decade and until the present time, the artists have continued designing innovative interfaces with obsolete devices and wall-sized displays, and also creating generative artworks with artificial intelligence. Their latest works deal with ephemerality, drawing inspiration from the behavior of insects such as flies, ants, and beetles.<\/p>\n

Sommerer and Mignonneau have shown their work in around 350 exhibitions worldwide. Their interactive installations are permanently installed in media museums and media collections around the world, including the Media Museum of the ZKM in Karlsruhe, Germany, the NTT-ICC InterCommunication Center in Tokyo, the Cartier Foundation in Paris, the Millennium Dome in London, the Tokyo Metropolitan Museum of Photography in Japan, the AEC Ars Electronica Center in Linz, Austria, the NTT Plan-Net in Nagoya, Japan, Shiroishi Multimedia Art Center in Shiroishi, Japan and the HOUSE-OF-SHISEIDO in Tokyo.<\/p>\n

The artists have published numerous research papers on Artificial Life, interactivity and interface design and they lectured extensively at universities, international conferences, and symposia. Sommerer is an International Co-editor for the LEONARDO Journal, MIT Press and in 1998, together with Laurent Mignonneau, she edited a book on the collaboration of art and science titled Art@Science<\/em>, published by Springer Verlag Vienna\/New York. In 2009, Springer published a monograph on their work, titled Christa Sommerer and Laurent Mignonneau. Interactive Art Research<\/em>, with contributions by notable scholars and curators such as Peter Weibel, Christiane Paul, Itsuo Sakane, Roy Ascott, and Oliver Grau.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][vc_tab title=”Publications” tab_id=”1589892524757-3-8″][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14510″ img_size=”full” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]<\/p>\n

Publications<\/h6>\n

Books<\/span><\/p>\n

2012<\/span>
\nR. Kluszczynski and J. Charzynska (eds.) Wonderful Life. Laurent Mignonneau and Christa Sommerer<\/em><\/a>. Laznia Center for Contemporary Art.<\/p>\n

2009<\/span>
\nC. Sommerer, L. Mignonneau and G. Stocker, Christa Sommerer and Laurent Mignonneau\u2013Interactive Art Research.<\/em> Vienna\/New York: Springer Verlag.<\/p>\n

2008<\/span>
\nC.Sommerer, L.C. Jain and L. Mignonneau, The Art and Science of Interface and Interaction Design<\/em> \u2013 vol. 1, Studies in Computational Intelligence, vol. 141. Heidelberg: Springer Verlag.<\/p>\n

2008<\/span>
\nC.Sommerer, L. Mignonneau and D. King, Interface Cultures \u2013 Artistic Aspects of Interaction<\/em>. Transcript Verlag.<\/p>\n

1998<\/span>
\nC. Sommerer and L. Mignonneau, Art @ Science<\/em>. Vienna\/New York: Springer Verlag.<\/p>\n

 <\/p>\n

Book Chapters & Articles in Journals, Proceedings, Exhibition Catalogs<\/span><\/p>\n

2020<\/span>
\nC. Sommerer and L. Mignonneau, Mobile Feelings – work description, In: Ksenia Federova (Ed.) Tactics of Interfacing, MIT Press, 2020, pp.5-6.
\nL. Mignonneau and C. Sommerer, Fly High Time Flies – Work description, In: Lisa Soyoung Park and Maurice Benayoun (Eds), A Cautionary Tale of Urban Media Art, Leonardo Journal, MIT Press, Volume 53 | Issue 2 | April 2020, pp. 135-137.
\nC. Sommerer and L. Mignonneau, The Value of Art – Sheep\u00b4s Head description, In: Wir Kapitalisten, Bundeskunsthalle Bonn, 2020, p. 121.
\nC. Sommerer and L. Mignonneau, Digitaler Kunstunterricht (Beschreibung von “Interactive Plant Growing”), In: Grundschule Kunst, Nr. 79, 2. Quartal, 2020, Friedrich Verlag, Hannover, 2020, p. 36.
\nC. Sommerer and L. Mignonneau, Die nat\u00fcrlichen Interfaces von Christa Sommerer und Laurent Mignonneau (Beschreibung der Werke), In: Sebastian Sprenger (Ed.) Hapik am User Interface – Interfacedesign in der zeitgen\u00f6ssischen Medienkunst zwischen Sinnlichkeit, Transcript Verlag, 2020, pp. 123-131.
\nC. Sommerer and M. Naveau, The Wild State, In: Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds), Ars Electronica 2020 – A global journey mapping the “new” world In Kepler\u00b4s Garden, Hanty Cantz Verlag, 2020, pp. 300-302.
\nL. Mignonneau and C. Sommerer, Antopolis, In: Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds), Ars Electronica 2020 – A global journey mapping the “new” world In Kepler\u00b4s Garden, Hanty Cantz Verlag, 2020, pp. 320-321.
\nL. Lamoncha, A. Nigten, C. Sommerer, L. Mignonneau, D. Bevilacqua and G. H\u00f6rlesberger, State of Intimacy – Interface Cultures, In: Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds), Ars Electronica 2020 – A global journey mapping the “new” world In Kepler\u00b4s Garden, Hanty Cantz Verlag, 2020, pp. 304-309.
\nC. Escudero and C. Sommerer, Data Pollution Devices: Artistic Strategies Against Behavior Capture, In: Proceedings of the ISEA International Symposium of Electronic Arts 2020, Montreal, pp. 177-184.
\nC. Sommerer and L. Mignonneau, Seeing Plants through Botanical Illustration, In: Proceedings of the ISEA International Symposium of Electronic Arts 2020, Montreal, pp. 385-392.
\nC. Sommerer and L. Mignonneau, Description of Works by Sommerer & Mignonneau, In: Elena Giulia Rossi (Ed.) Mind the Gap – La vita tra bioarte, arte ecologica e post internet, Postmedia Books, Italy, 2020, pp. 138-140.
\nL. Mignonneau and C. Sommerer, Homo Insectus, In: Jerome Neutres and UCCA Center for Contemporary Art Beijing (Eds.) Material-ReMaterial – A Brief History of Computing Art, Culture and Art Publishing House Beijing (China), 2020 pp. 58-88.
\nL. Mignonneau and C. Sommerer, I nterview with the Artists Laurent Mignonneau und Christa Sommerer, In: Jerome Neutres and UCCA Center for Contemporary Art Beijing (Eds.) Material-ReMaterial – A Brief History of Computing Art, Culture and Art Publishing House Beijing (China), 2020 pp. 315-320.
\nC. Sommerer and L. Mignonneau, Description of Interactive Plant Growing, In: Daniel Hora (Ed.) Arte e Algorithmo: Uma Genealogia, Select (Brasil), 2020, p. 27.
\nC. Sommerer and L. Mignonneau, The Value of Art, In: DD2019 Danube Dialogues Festival of Contemporary Art, Novi Sad Serbia, Galerija Bel Art, 2020, p 61.<\/p>\n

2019<\/span>
\nC. Sommerer and L. Mignonneau, Work Descriptions by Sommerer & Mignonneau, In: Ryszard W. Kluszczynski (Ed.) Art Meets Science – work description by Sommerer & Mignonneau, CCA Laznia as a Public Artwork, Centrum Sztuki, Wspolczesnej Laznia, 2019, pp. 79-80.
\nL. Mignonneau and C. Sommerer, Neuro Mirror, In: Karin Ohlenschlager and Pau Waelder (Eds) Deus Ex Machina, Laboral, Laboral Centro Arte Y Technologia, 2019, pp. 36-38.
\nL. Mignonneau and C. Sommerer, People on the Fly, In: Fl\u00fcgelschlag Insekten in der zeitgen\u00f6ssischen Kunst, Museum Sinclair House, Distanz Verlag, 2019, pp. 46-49.
\nC. Sommerer and L. Mignonneau, A-Volve, In: Historia instalacji interaktywnych\/Widok WRO Media Art Reader, Fundacja WRO, Centrum Sztuki Mediow 2019, pp. 60-67
\nL. Mignonneau and C. Sommerer, Laurent Mignonneau and Christa Sommerer Installationskunst, In: The View Contemporary Art Space, 2019, pp. 44-45.
\nM. Naveau, L. Mignonneau, C. Sommerer, M. Jazbec, F. Lamoncha and M. Ortner, TRANSCODE! A call to fiction and to new translation processes of our reality, In: Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds), Out of the Box The Midlife Crisis of the Digital Revolution, 2019, Hatje Cantz Verlag, pp. 256-264.
\nC. Sommerer and L. Mignonneau, Interactive Plant Growing, In: Intervention Intervencao, Zentrum f\u00fcr Kunst und Technologie Karlsruhe and Forum Fundacao Eugenio de Almeida, Forum Fundacao de Almeida, 2019, pp. 86-87.
\nC. Sommerer and L. Mignonneau, Portrait on the Fly and Works by Sommerer & Mignonneau, In: Barbara Kaesbohrer (Ed.) Ways of Watching Eine kurze Geschichte der zeitnasierten Kunst, Anthea Verlag, 2019, 176-177.
\nC. Sommerer and L. Mignonneau, About the works of Sommerer & Mignonneau and Interface Cultures, In: Andreas Hirsch (Ed.) Creating the Future- A Brief History of Ars Electronica 1979-2019, Hantje Cantz Verlag, 2019, pp. 207-281.<\/p>\n

2018<\/span>
\nL. Mignonneau and C. Sommerer, The Value of Art, In: Dominique Moulon (Ed) L\u00b4Art Au-Dela Du Digital, Scala Nouvelles Editions, 2018, pp. 124-124.
\nL. Mignonneau and C. Sommerer, Portrait on the Fly, In: Laurence Bertrand Dorleac and Jerome Neutres (Eds.) Artistes & Robots, Reunion des Musees Nationaux Grand Palais, 2018, 164-167.
\nC. Sommerer. L. Mignonneau, T. Thiel, M. Ortner and F. Lamoncha, Please Recharge: Interface Cultures Student Exhibition for Ars Electronica 2018, In: Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds.) Error The Art of Imperfection, Hantje Cantz Verlag, 2018, pp 233-239.
\nL. Mignonneau and C. Sommerer, Portrait on the Fly, In: Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds), Error The Art of Imperfection, Hantje Cantz Verlag, 2018, p 174.
\nC. Sommerer and L. Mignonneau, Interactive Plant Growing, Portrait on the Fly, Fly Simulator, In: Dragan Sreco, Zoran Poznic, Zoran and Masa Jazbec (Eds.) Decades – Speculum Artium 2018, DDT Slowenia, 2018
\nC. Sommerer and L. Mignonneau, Life Spacies, Portrait on the Fly, In: K\u00e4the Wenzel and Mafred Blohm (Eds.) Half Life – Machines\/Organisms – Artistic Positions in the Context of Climate Change and Extinction, Fabrico Verlag, 2018, 94-97
\nL. Mignonneau and C. Sommerer, A-Volve and Portrait on the Fly, In: Jeffrey Shaw (Ed). Animal- Art, Science Nature, Society, City University Hong Kong, Hong Kong, 2018, p. 40 and 61.
\nC. Sommerer and L. Mignonneau, Creating Interactive Art \u2013 Conceptual and Technological Considerations, In: Explorations in Art and Technology, Candy L, Edmonds E. and Poltronieri F. (Eds.), Springer Series on Cultural Computing, 2018.
\nSommerer, C. and Mignonneau, L. (2018), From the ego to the alter ego \u2013 interacting with the self image through Neuro Mirror, Technoetic Arts: A Journal of Speculative Research, 16:1, pp. 83\u201395, doi: 10.1386\/tear.16.1.83_1
\nSommerer, C. and Mignonneau, L. Neuro Mirror \u2013 interacting with the self image, In: Cybernetic Consciousness [?], Itaulab ITAU Cultural Sao Paulo, 2018, pp. 56-65.<\/p>\n

2017<\/span>
\nC. Sommerer and L. Mignonneau, Creating Interactive Art \u2013 Conceptual and Technological Considerations, In: Explorations in Art and Technology, Candy L, Edmonds E. and Poltronieri F. (Eds.), Springer Series on Cultural Computing, 2018.
\nSommerer, C. and Mignonneau, L. (2018), From the ego to the alter ego \u2013 interacting with the self image through Neuro Mirror, Technoetic Arts: A Journal of Speculative Research, 16:1, pp. 83\u201395, doi: 10.1386\/tear.16.1.83_1
\nItaulab (forthcoming), Sommerer, C. and Mignonneau, L. Neuro Mirror \u2013 interacting with the self image, In: Cybernetic Consciousness, Itaulab (forthcoming), ITAU Cultural Sao Paulo
\nC. Sommerer, L. Mignonneau, Portrait on the Fly, In: Artistes & Robots Au Grand Palais, Betrand Dorleac, L and Neutres. J. (Eds.), Paris: BeauxArts & Cie, 2018, pp. 164-167.
\nC. Sommerer and L. Mignonneau, Fly High- Time Flies, In: What Urban Media Can Do: Why, When, Where and How, Pop, S., Toft, T., Calvillo, N. and Wright, M. (Eds), Stuttgart: avedition, 2017, p. 451-452.
\nC. Sommerer and A. Chierico, Media Art and the Art Market, In: AI Artificial Intelligence, Das Andere Ich, Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds.), Hantje Cantz Verlag, 2017, pp. 134-135.
\nC. Sommerer, L. Mignonneau, M. Fujihata, et al., Campus Exhibition – Made in Linz, In: AI Artificial Intelligence, Das Andere Ich, Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds.), Hantje Cantz Verlag, 2017, pp. 203-209.
\nC. Sommerer and L. Mignonneau, Interactive Plant Growing, In: A History of Western Art, Tokyo: Chuokoron Shinsha, Inc, 2017, p. 544.
\nC. Sommerer, Foreword, In: Emergence in Interactive Art, Seevinck J., Springer Verlag International, Series on Cultural Computing, 2017.<\/p>\n

2016<\/span>
\nC. Sommerer, L. Mignonneau, et al., Speculative Materialities, In: Radical Atoms and the alchemists of our time – Ars Electronica 2016 catalogue, Gerfried Stocker, Christine Sch\u00f6pf and Hannes Leopoldseder (Eds.), Hantje Cantz Verlag, 2016, pp. 267-272.
\nC. Sommerer and L. Mignonneau, The Media Art Journey, In: OS10 A Perspective of Art and Media Technology, Documents of ICC Open Space 2006-2015, Hatanaka, Minoru, Shigeki Kimura, Shunichi Shiba and Yasuko Yubisui (Eds.), NTT Inter Communication Center Tokyo, 2016, pp. 26-27.
\nC. Sommerer and L. Mignonneau, New Challenges in Media Art Education, Journal of Institute of Advanced Media Arts and Sciences, Gifu Japan, 2016, pp. 13-14.
\nC. Sommerer and L. Mignonneau, Between Decay and Preservation: A Personal Approach to Media Art Archiving, In: Proceedings of the 22nd International Symposium on Electronic Art: ISEA2016 Cultural R>Evolution, ISEA International, School of Creative Media City University of Hong Kong, 2016, p. 204-208.
\nL. Mignonneau and C. Sommerer, The Value of Art, In: AUTOMATA – L’Art Fait Par Les Machines pour Les Machines, exhibition catalogue of the 17e Festival International d’Art Numerique Elektra and 3e Biennale international d’Art Numerique BIAN, Montreal, Alain Thibault (Ed.), 2016, pp. 25-26.
\nC. Sommerer and L. Mignonneau, Eau de Jardin, In: House of Impressions: Classic Contemporary Media Art exhibition catalogue, The Pushkin State Museum of Fine Arts, Moscow, 2016, pp. 22-23.
\nC. Sommerer and L. Mignonneau, Artists in Focus, PLUNC 2 – Digital Art and New Media Festival catalogue, Carlos Ramos, Rita Sa and Nuno Correia (Ed), PLUNC Associacao Cultural, 2016
\nL. Mignonneau and C. Sommerer, Portrait on the Fly, In: Kunstforum International Band 237 Bechtloff, Dieter (Ed), 2016, p. 127.
\nU. Brandst\u00e4tter and C. Sommerer, 2016, Productive Gaming, In: ICEC2016 15th IFIP TC 14 International Conference on Entertainment Computing Proceedings, Wallner, G\u00fcnter Kriglstein, Simone Hlavacs, Helmut Malaka, Rainer Lugmayr, Artur Yang, Hyun-Seung (Eds), 2016, 260-265.
\nC. Sommerer and L. Mignonneau, A personal media art archive based on the symbol of the fly, In: Archiving and Questioning Immateriality, Everardo Reyes-Garcia, Pierre Chatel-Innocenti, Khaldoun Zreik (Eds.), Universite Paris 8, 2016, pp. 87-90.
\nU. Brandst\u00e4tter, M. Brandtst\u00e4tter and C. Sommerer, Gears for Audio Visual Composition, In: Proceedings of the Audio Mostly 2016 Conference, ACM Digital Library, 2016.<\/p>\n

2015<\/span>
\nC. Sommerer and L. Mignonneau, Portrait on the Fly, In: Art Futura 2015 – Inteligencia Colectiva\/Collective Intelligence, Algora, Montxo (Ed.), a minima:: 2015, p. 23.
\nC. Sommerer and L. Mignonneau, Living Poetry, In: Artificial Life Journal, Special Issue on Art and Creativity, Dorin, Alain (Ed.), Vol. 21\/3, MIT Press, 2015, pp. 313-319.
\nC. Sommerer, U. Brandst\u00e4tter and L. Mignonneau, Interface-Centric Art-Games, In: Handbook of Digital Games and Entertainment Technologies, Ryohei Nakatsu, Matthias Rauterberg and Paolo Ciancarini (Eds.) Spinger Verlag, Singapore, 2015.
\nC. Sommerer, L. Mignonneau and F. Weil, Human to Plant Interaction \u2013 Connecting Real Plants to Computers in Media Art, In:: Green Thread: The Aesthetics of Plant Agency, Eds. Patricia Vieira, John Ryan and Monica Gagliano, Lanham, MD: Lexington Books, 2015, 233-254.
\nL. Mignonneau and C. Sommerer, Art as a Living System (Excerpts), In: Systems – Documents of Contemporary Art Series, Edward A. Shanken (Ed.), Whitechapel Gallery Ventures Limited, The MIT Press, 2015, 172-175.
\nL. Mignonneau and C. Sommerer, Portrait on the Fly, In: Post City – Habitats for the 21st Century Ars Electronica 2015, Hantje Cantz Verlag, Stocker, Gerfried, Sch\u00f6pf, Christine and Leopoldeseder, Hannes, (Eds.), Hantje Cantz Verlag, 2015, pp. 192.
\nC. Sommerer, L. Mignonneau et al., Post-Post, In: Post City – Habitats for the 21st Century Ars Electronica 2015, Hantje Cantz Verlag, Stocker, Gerfried, Sch\u00f6pf, Christine and Leopoldeseder, Hannes, (Eds.), Hantje Cantz Verlag, 2015, pp. 234-238.
\nC. Sommerer and L. Mignonneau, The Value of Art\u2013 Transforming User Attention into Monetary Value in a Series of Interactive Artworks, In: ISEA2015 Proceedings of the 21st international Symposium of Electronic Art, Simon Fraser University Vancouver, 2015.
\nC. Sommerer and L. Mignonneau, The Value of Art, In: ISEA2015 Disruption Artistic Program, New Forms Art Press, Vancouver, 2015, p. 46.
\nC. Sommerer and L. Mignonneau, Portrait on the Fly, In: ISMAR 2015 IEEE International Symposium on Augmented and Mixed Reality Exhibition, Stadon Julian (Ed.), 2015, pp. 51-53.
\nC. Sommerer and L. Mignonneau, Portrait on the Fly, In: What’s Next \u2013 Wiener Wunderkammer catalogue, Christoph \u00dcberhuber, (Ed.), TU Technische Universit\u00e4t Wien, 2015, pp. 82-83.
\nC. Sommerer and L. Mignonneau, Cultural Interfaces in Art and Design, In: Going Digital: Innovations in the Contemporary Life, Conference Proceeding, Ru\u017eica Bogdanovi? (Ed.), Belgrade: STRAND – Sustainable Urban Society Association, 2015, pp. 23-29.
\nL. Mignonneau and C. Sommerer, Portrait on the Fly, In: Art Futura 2015 – Inteligencia Colectiva\/Collective Intelligence, Algora, Montxo Algora (Ed.), a minima:, Spain, 2015, p. 23.<\/p>\n

2014<\/span>
\nL. Mignonneau and C. Sommerer, Shanghai Express – SHANGHAI Express \u2013 Interactive Travel through Computer Generated Cityscapes, In: ISEA 2014 – The 20th International Symposium on Electronic Art – Book of Abstracts, Zayed University (Arab Emirates), ISEA 2014, pp, 118-119
\nL. Mignonneau and C. Sommerer, Excavate, In:17th Japan Media Arts Festival – Award Winning Works, Japan Media Arts Festival (Japan), 2014, p. 51.
\nL. Mignonneau and C. Sommerer, Shanghai Express, In: Design Shanghai – 2013 Aesthetics City, Hang, Jian (Ed.), Shanghai Federation of Literary and Art Circles (China), 2014, p. 31.
\nC. Sommerer and L. Mignonneau, Life Writer, In: The Global Art Compass, Hicks, Alistair (Ed.), T, 2014, p.60.
\nL. Mignonneau and C. Sommerer, Shanghai Express, In: Design Analysis, Shangda Press (China), 2014, p. 60.
\nC. Sommerer, L. Mignonneau, M. Kaltenbrunner, M. Ortner, M. and Gupfinger R.,10 Years Interface Cultures, In: C…What It Takes to Change, Ars Electronica 2014, Stocker, Gerfried, Sch\u00f6pf, Christine and Leopoldeseder, Hannes, (Eds.), Hantje Cantz Verlag, 2014, pp. 132-137.
\nC. Sommerer and L. Mignonneau, Descriptions of Interactive Plant Growing by Sommerer & Mignonneau, In: Moderne KUNST – Zug\u00e4nge zu ihrem Verst\u00e4ndnis Sch\u00fclerbuch Gymnasiale Oberstufe ab Klasse 10, Kirschenmann, Johannes
\nSchulz, Frank (Eds.), Klett Verlag, 2014, p. 244.
\nC. Sommerer and L. Mignonneau, Descriptions of Eau de jardin by Sommerer & Mignonneau, In: Open Innovations Forum Moscow, Shishko, Olga (Ed.),
\nMEH Manege Russia, 2014, p. 64-65.<\/p>\n

2013<\/span>
\nL. Mignonneau and C. Sommerer, The Value of Art, In: Sammlung Haupt – Drei\u00dfig Silberlinge-Kunst und Geld, B\u00fcchner, Hermann and Sauerl\u00e4nder, Tina (Eds.), Braus Verlag,
\n2013
\nC. Sommerer and L. Mignonneau, Phototropy, In: Project Daejeon2912: Energy, Daejeon, Museum of Art, MinKyung, Kim (Ed.) Kyung Hang Art Co. Korea, 2013, pp. 48-51
\nC. Sommerer and L. Mignonneau, Descriptions of works by Sommerer & Mignonneau, In: Relive – Media Art Histories, Cubitt, Sean and Thomas, Paul (Eds.), MIT Press, 2013, pp. 68.
\nC. Sommerer and L. Mignonneau, Descriptions of works by Sommerer & Mignonneau, In: Aesthetics if Interaction in Digital Art, Kwastek, Katja, MIT Press, 2013, p. 31.
\nL. Mignonneau and C. Sommerer, The Value of Art, In: The Global Contemporary and the Rise of New Art Worlds, Belting, Hans, Buddensieg, Andrea and Weibel, Peter (Eds.) MIT Press, p. 427
\nC. Sommerer, Mobile Art: Communication Technologies Applied to Interactive Art, In: InfoTech 2013 BIT’s 2nd Annual World Congress of Emerging InfoTech-2013 proceedings, Ministry of Commerce of People’s Republic of China, Minstry of Industry and Information Technology of the People’s Republic of China, 2013, p. 56.
\nL. Mignonneau and C. Sommerer, Description of Nano Scape, In: Nano Art – The Materiality of Art, Thomas, Paul (Ed.), Intellect Ltd, 2013, p. 47-49.
\nC. Sommerer, Foreword, In: Artcare – Interactive Art and Health Care, Brandst\u00e4tter, Ulrich (Ed.), Akademiker Verlag, 2013.
\nC. Sommerer, Interface Culture – University of Art and Design Linz, In: Speculum Artium 2013, Jazbec, Masa, Poznic, Zoran and Sreco, Dragan (Eds.), Delavski Dom Trbovlje, 2013.
\nL. Mignonneau and C. Sommerer, Life Writer, In: SHOW OFF No. 8 Paris, de Bonnecaze, Victor, Quang, Vanessa and Moulon, Dominique (Eds.), 2013, pp. 94-95
\nC. Sommerer, L. Mignonneau, M. Kaltenbrunner, M. Ortner, M. Brandtst\u00e4tter, G. Russegger,
\nUse at your own risk – Interface Cultures at Ars Electronica 2013, In: Ars Electronica 2013 Total Recall – The Evolution of Memory, Leopoldeseder, Hannes, Stocker, Gerfried and Sch\u00f6pf, Christine (Eds.), Hantje Cantz Verlag, 2013, pp. 214-221
\nL. Mignonneau and C. Sommerer, Interactive Plant Growing, In: Annual Bulletin of Class 2012, Institute of Liberal Arts and Sciences, Nagoya University, 2013
\nL. Mignonneau and C. Sommerer, Descriptions of Works by Sommerer&Mignonneau, In: Arte, Ciencia e Tecnologia, Domingues, Diana (Ed). Ita\u00fa Cultural, 2013, pp.132-133.
\nL. Mignonneau and C. Sommerer, Descriptions of Works by Sommerer&Mignonneau, In: L’Art G\u00e9n\u00e9ratif – Jouer a Dieu…un droit ? un devoir ?, Berger, Pierre and Lioret, Alain (Ed.),
\nL’Harmattan, 2013, pp. 63-243.<\/p>\n

2012<\/span>
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing\u201d In: NATURE, Ed. Kastner, Jeffrey, MIT Press, 2012, 67.
\nA. Takahashi, C. Sommerer, K. Tanaka, \u201cKcanvas: An Application for Creative Personal Knowledge Management,\u201d In: VSMM2012, 18th International Conference on Virtual Systems and Multimedia, IEEE Advanced Technology for Humanity, 2012, 629-832.
\nL. Mignonneau and C. Sommerer, \u201cEscape,\u201d In: Art and Science – A Works Collection of the 3rd Art and Science Works International Exhibition, Ed. Tsinghua University and Science and Technology Museum Bejing China, 2012, 44-45.
\nC. Sommerer, \u201cKunst und Natur,\u201d In: Mein erstes Kunsterlebnis, Ed. Wachter, Cornel, Seemann Verlag, 2012, 138.
\nC. Sommerer, L. Mignonneau, M. Kaltenbrunner, M. Ortner, M. Hochrieser, G. Russegger et al, \u201cInterface Cuisine – Interface Cultures at Ars Electronica 2012,\u201d In: Ars Electronica 2012 The Big Picture Weltbilder fuer die Zukunft, Ed. Leopoldseder, Johannes, Stocker, Gerfried and Sch\u00f6pf Christine, Hantje Cantz Verlag, 2012, 316-325.
\nK. Federova, F. Raby, C. Sommerer, J. Watanabe, M. Yeregui, \u201cParallel Fictional Spaces\/Fiktive Paralleluniversen,\u201d In: CyberArts 2012 International Compendium Prix Ars Electronica 2012, Eds. Leopoldseder, Hannes Sch\u00f6pf, Christine and Stocker, Gerfried, Hatje Cantz, 2012,148-155.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II\u201d In: VIDA: Arte y Vida Artificial 1999-2012, Ed. Ohlenschl\u00e4ger, Karin, Fundacion Telefonica (Spanien), 2012, 38-39.
\nC. Sommerer and L. Mignonneau, \u201cSchall und Rauch\u201d In: Staub \u2013 Dust, Ed. Parkhomenko, Daria, Mraz, Simon, Laboratoria Art & Science Space Moscow, 2012, 80-81.
\nC. Sommerer, \u201cInterface Cultures Lab und der Oesterreichische Skulpturenpark,\u201d In: Oesterreichischer Skulpturenpark, Ed. Fiedler, Elisabeth, 2012, 4-11.<\/p>\n

2011<\/span>
\nChrista Sommerer & Laurent Mignonneau, Solo Show, In: THE VIEW Contemporary Art Space, 2012
\nC. Sommerer and L. Mignonneau\u2019s Nanoscape in “Mutable Matter: Using Sensory Methods in Public Engagement with Nanotechnology by Last, Angela, LEONARDO Journal MIT Press, 2012, 134.
\nL. Mignonneau and C. Sommerer, \u201cLife Writer\u201d In: J\u00e4ger und Gejagte, Ed. Dathe, Stefanie, Biberacher Verlagsdruckerei, 2012, 88-89.
\nL. Mignonneau and C. Sommerer, \u201cLife Writer\u201d In: Kunstforum International, Ed. Weibel, Peter, Kunstforum International, 2011, 214-216.
\nC. Sommerer, L. Mignonneau, \u201cA-Volve, Life Spacies and Interactive Plant Growing\u201d, In: Digital Art, Ed. Paul, Christiane, Deutscher Kunstverlag, 2011, 141-143.
\nC. Sommerer, L. Mignonneau, M. Kaltenbrunner, M. Ortner, M. Hochrieser, G. Russegger et al., \u201cUnuselessness – the useful useless,\u201d In: Ars Electronica 2011 Origin: wie alles beginnt, Ed. Leopoldseder, Johannes, Stocker, Gerfried and Sch\u00f6pf Christine, Hantje Cantz Verlag, 2011, 240-245.
\nC. Sommerer and L. Mignonneau, \u201cCultural Inerfaces: Interaction Revisited,\u201d In: Imagery in the 21st Century, Eds. Grau, Oliver and Veigl, Thomas, MIT Press, 2011, 201-218.
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d In: Art Focus for Technologies: Charm and Challenge, NCCA, National Center for Contemporary Art Russia, 2011, 24-27.
\nRoss, Christine, C. Sommerer and L. Mignonneau\u2019s Work in \u201cSpatial Politics: The (non) destinations of augmented reality art (part II), In: Afterimage – The Journal of Media Arts and Cultural Criticism, Afterimage Visual Studies Workshop New York, 2011,16-20.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d In: Biomorph! Hans Arp in a dialogue with current positions in art, Ed. Kornhoff, Oliver, Strelow, Heike, vonAsten, Astrid, Arp Museum Bahnhof Rolandseck, 2011, 108-109.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d In: Dynamic [in] Position, Ed. Ars, Electronica fmx, Festival de Mexico, Arte Alameda (Mexico), 2011, 142-147.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d In: Art contemporain nouveaux medias, Ed. Moulon, Dominique, Nouvelles Editions Scala France, 2011, 6-7.
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d In: Screen\/Space-The projected image in contemporary art, Ed. Trodd, Tamara, Manchester University Press, 2011, 200-201.
\nC. Sommerer and L. Mignonneau, \u201cPhototropy and Interactive Plant Growing,\u201d In: Living Art, Ed. Aziosmanoff, Florent, 2011, CNRS Editions France, 2011, 63-64.
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d In: Extimitat, Ed. Pau, Waelder,
\nEsBaluard, Museu d’Art Moderne i Contemporani de Palma, EsBaluard Museu d’art moderne i contemporani de palma Spain, 2011, 80-85.
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings: Wireless Cummunication of Heartbeat and Breath for Mobile Art,\u201d In: The Mobile Audience: Media Art and Mobile Technologies, Ed. Rieser, Martin, Rodopi B.V. Editions Amsterdam, 2011, 269-276.
\nL. Mignonneau and C. Sommerer, \u201cLife Writer,\u201d In: 4th Moscow Biennale of Contemporary Art, Ed. Backstein, Joseph and Weibel, Peter, Institute of Contemporary Art Moscow, 2011, 166-167.
\nC. Sommerer, \u201cForeword, In: Japanese Spell in Electronic Art, Ed. Arrighi, Mauro, Charleston, 2011, 6-7.<\/p>\n

2010<\/span>
\nC. Sommerer and L. Mignonneau, \u201cNano Scape,\u201d In: Art in the Age of Nanotechnolog, Ed. Dawkins, Ursula, Art Monthly, Australia, 2010, 20.
\nC. Sommerer and L. Mignonneau, \u201cMagic Eye – Dissolving Borders,\u201d In: Centenario Exposicion Internacional, Ed. Ivelic, Milan, Museo de Bellas Arte, Santiago de Chile, 2010,18-21.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing and Transplant,\u201d In:The Technological Herbarium, Ed. Gatti, Gianni Maria, Avinus Verlag, Germany, 2010, 182-194.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d In: Art + Science, Ed. Wilson, StephenThames & Hudson, London, 2010, 158-162.
\nC. Sommerer and L. Mignonneau \u201cK\u00fcnstlerische Interface f\u00fcr den \u00f6ffentlichen Raum,\u201d In: Digital Art – Neue Wege in der Kunst, Ed. Lieser, Wolf, h.f.fullmann, Tandem Verlag, 2010, 244-245.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d In: Art, Museums and Touch, Ed. Candlin, Fiona, Manchester University Press, 2010, 182-194.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II,\u201d In: Aesthetics of Digital Fine Arts,Ed. Erohin, S.V., Aletheia (Russia), 2010, 217.
\nL. Mignonneau and C. Sommerer, \u201cLife Writer,\u201d In: Robotertr\u00e4ume, Museum Tinguely Basel, Kunsthaus Graz, Kehrer Verlag, 2010, 132-133.
\nL. Mignonneau and C. Sommerer, \u201cLife Writer,\u201d In: Experimenta: Utopia Now – Intern. Biennial of Media Art, Experimenta Media Arts, Melbourne Australia, 2010, 33.
\nC. Sommerer and L. Mignonneau, \u201cNano Territory,\u201d In: Nano-Transformant el Mon Amb la Nanotecnociencia, Universitat de Valencia, Methode No. 65, 2010, 58.
\nEllen K. Levy, C. Sommerer and L. Mignonneau\u2019s work in \u201cClassifying Kubler: Between the Complexity of Science and Art, In: Art Journal, College Art Association New York, 2010, 88-98.
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d In: The Origins of Media Art, Itsuo Sakane,Kousakusha Publisher Tokyo, 2010, 270-272
\nC. Sommerer and L. Mignonneau, \u201cNano Scape,\u201d In: Art in the Age of Nanotechnology, Ed. Chris Malcom, John Curtin Gallery, 2010, 34-37.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d In: Play Admont, Eds.Michael Braunsteiner, Christine Peters, (Benediktinerstift Admont,) 2010, 50-51.
\nC. Sommerer and L. Mignonneau, \u201cThe Value of Art, \u201c In: Beyond Mediations Poznan Biennial of Art, Eds. Kluszcynski, Ryszard, Mizusawa, Tsutomu, 2010, 108-109\/<\/p>\n

2009<\/span>
\nC. Sommerer and L. Mignonneau, \u201cDesigning Interfaces for Interactive Artworks,\u201d in Art and Electronic Media, ed. E. A. Shanken (Phaidon Press, 2009), 254-255.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d in Enter Action \u2013 Digital Art Now, Aarhus Kunstmuseum catalog, ed. P.T. Dinesen et al. (AROS Kunstmuseum, 2009), 72-75.
\nC. Sommerer and L. Mignonneau, \u201cCreating Artistic Interaction Experiences,\u201d in Coded Cultures \u2013 Exploring Creative Emergencies, ed. G. Russegger et al. (Vienna: 2009), 50-53.
\nC. Sommerer and L. Mignonneau, \u201cPhototropy\u201d, in Science as Suspense, ed. I. Aktuganova and D. Bulatov, (Moscow:Dynasty Foundation, 2009), 54-55.
\nC. Sommerer and L. Mignonneau, \u201cThe Secret Life Of \u2026,\u201d in Net.Culture.Space \u2013 Raum f\u00fcr Digitale Kultur (Vienna: Telecom Austria with Ars Electronica, 2009) 28-29.
\nC. Sommerer, L. Mignonneau and M. Shamiyeh, \u201cSolar Display: a self-powered media fa\u00e7ade,\u201d in New Realities: Being Syncretic, Consciousness Reframed: The Planetary Collegium\u2019s IXth International Research Conference, ed. R. Ascott, G. Bast and W. Fiel (Vienna\/New York: Springer Verlag, 2009), 271-275.<\/p>\n

2008<\/span>
\nC. Sommerer and L. Mignonneau, \u201cMedia Facades as Architectural Interfaces,\u201d in The Art and Science of Interaction and Interface Design, vol. 1, ed. C. Sommerer, L.C. Jain and L. Mignonneau (Vienna\/New York: Springer Verlag, 2008), 91-102.
\nC. Sommerer, L.C. Jain, and L. Mignonneau, \u201cIntroduction to the Art and Science of Interaction and Interface Design,\u201d in The Art and Science of Interaction and Interface Design, vol. 1, ed. C. Sommerer, L.C. Jain and L. Mignonneau (Vienna\/New York: Springer Verlag, 2008), 1-14.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d in Genesis \u2013 Die Kunst der Sch\u00f6pfung \u2013 The Art of Creation,exhibition catalog, ed. F. Eggelh\u00f6fer (Bern: Zentrum Paul Klee, 2008), 41-42.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d in YOUniverse Biennial of Contemporary Art of Sevilla (BIACS), ed. P. Weibel, W. Rhee and M.A. Brayer (Seville: Fundacion BIACS, 2008), 268-269.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d in Turn and Widen \u2013 The 5th Seoul International Media Art Biennale (Seoul: Seoul Museum of Art, 2008), 140-141.
\nC. Sommerer, L. Mignonneau, D. Offenhuber and M. Ortner, \u201cArt on the Move,\u201d in Ars Electronica 2008 \u2013 A New Cultural Economy, ed. G. Stocker and C. Schoepf (Ostfildern-Ruit: Hantje Cantz Verlag, 2008), 182-191.
\nC. Sommerer and L. Mignonneau, \u201cInterface Cultures \u2013 Artistic Aspects of Interaction,\u201d in Interface Cultures \u2013 Artistic Aspects of Interaction, ed. C.Sommerer, L. Mignonneau and D. King (Transcript Verlag, 2008), 9-17.
\nC. Sommerer and L. Mignonneau, \u201cInterface Cultures,\u201d in CU\/CM La Citta dell Uomo, 11. Mostra Internazionale di Architettura (Venice: 2008), 16-17.
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d in Genesis \u2013 Life at the End of the Information Age, exhibition catalog, ed. Emilie Gomart (Utrecht: Centraal Museum, April 2007).
\nC. Sommerer and L. Mignonneau, \u201cLiving Algorithms,\u201d D\u2019ARS \u2013 Periodico Trimestrale di Cultura e Comuni Cazione Visiva, vol. 48, no. 193, (Milan: March 2008): 46-49.
\nC. Sommerer and L. Mignonneau, \u201cVERBARIUM,\u201d in Art et Internet, Immaginaire Mode d\u2019Emploi, ed. F. Forest (Paris: Editions Cercle d\u2019Art, 2008), 90-91.
\nC. Sommerer and L. Mignonneau, \u201cHAZE Express,\u201d in Art et Energies, Immaginaire Mode d\u2019Emploi, ed. L. Richard (Paris: Editions Cercle d\u2019Art, 2008), 66-69.
\nC. Sommerer and L. Mignonneau, \u201cA-Volve and Interactive Plant Growing,\u201d in Arts Numeriques: Tendances, Artistes, Lieux & Festivals (Paris: M21 Editions, 2008), 67.
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d in No Such Thing (Berlin: Media Arts Lab\/K\u00fcnstlerhaus Bethanien, 2008), 71-75.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Silent Dialogue, ed. M. Hatanaka et al. (Tokyo: NTT Publishing Co., 2008), 85-87.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Architektur des Wissens \u2013 Bildungsr\u00e4ume im Informationszeitalter, ed. M. Scheibel (Munich: Kopaed, 2008), 39-41.
\nC. Sommerer, \u201cInterfaces para destruir fronteras,\u201d Elniuton, vol. 241, no. 1 (Spain: 2008): 28-30.
\nC. Sommerer and L. Mignonneau, \u201cPairing Arts and Technology,\u201d in Artists in Residence 1996-2007, ed. T. Yokoyama \u2013 IAMAS Institute of Advanced Media Arts and Sciences (Ogaki, Japan: CMC Center for Media Culture, 2008), 34-35.
\nT. Martins, N. Correia, C. Sommerer and L. Mignonneau, \u201cUbiquitous Gaming Interaction: Engaging Play Anywhere,\u201d in The Art and Science of Interface and Interaction Design, ed. C. Sommerer, L. Jain, and L. Mignonneau (Vienna\/New York: Springer Verlag, 2008), 115-130.
\nT. Martins, T. Rom\u00e3o, C. Sommerer, L. Mignonneau and N. Correia, \u201cTowards an Interface for Untethered Ubiquitous Gaming,\u201d in Proceedings of the ACM-SIGCHI International Conference on Advance in Computer Entertainment (ACE \u201908), full paper (Yokohama, Japan: December 2008), 26-33.
\nT. Martins, C. Sommerer, L. Mignonneau and N. Correia, \u201cNoon \u2013 A Secret Told by Objects,\u201d in Proceedings of the 4th International Conference on Digital Arts, Artech \u201908, poster (Porto, November 2008).
\nT. Martins, N. Correia, T. Rom\u00e3o, C. Sommerer and L. Mignonneau, \u201cUsability Study of the Gauntlet Wearable Interface,\u201d in Proceedings of the 3rd Confer\u00eancia Nacional em Interac\u00e7\u00e3o Pessoa-M\u00e1quina \/Interac\u00e7\u00e3o \u201908, short paper (\u00c9vora, Portugal: October 2008).
\nT. Martins, C. Sommerer, L. Mignonneau and N. Correia, \u201cGauntlet: A Wearable Interface for Ubiquitous Gaming,\u201d in Proceedings of the 10th International Conference on Human-Computer Interaction with Mobile Devices and Services\/Mobile HCI \u201908, short paper (Amsterdam: September 2008).
\nT. Kirton, H. Ogawa, C. Sommerer and L. Mignonneau, \u201cPINS: A Prototype Model towards the Definition of Surface Games,\u201d in ACM Multimedia Conference Proceedings (Vancouver: 2008).<\/p>\n

2007<\/span>
\nC. Sommerer and L. Mignonneau, \u201cCultural Aspects of Interface Design,\u201d in Tensions and Convergences \u2013 Technological and Aesthetic Transformations of Society, ed. R. Heil et al. (Transcript Verlag, 2007), 105-116.
\nC. Sommerer, L. Mignonneau and D. Gestrich, \u201cHybrid Interfaces and Physical Computing,\u201d in Ars Electronica 2007, ed. G. Stocker and C. Schoepf (Ostfildern-Ruit: Hantje Cantz Verlag, 2007), 234-243.
\nC. Sommerer, L. Mignonneau and D. Gestrich, \u201cInterface Culture,\u201d in In acar2: from artefact to actefact (Basel: Verlag HyperWerk, 2007).
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201d in Feedback: Art Responsive to Instruction, Input, or its Environment, ed. A.B.D de Corral et al. (LABoral Centro de Arte y Creacion Industrial, 2007), 116-119.
\nT. Martins, C. Heidecker, C. Sommerer and N. Correia, \u201cDesigning a Wearable Interface for Pervasive Games,\u201d in Proceedings of the 4th International Symposium on Pervasive Gaming Applications (Salzburg: June 2007).
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II,\u201d in Speculative Data and the Creative Imaginary \u2013 shared visions between art and Technology, ed. P. Jennings (Washington: National Academy of Science, 2007), 36-37.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Genesis \u2013 Life at the End of the Information Age, ed. P. Tereehorst and E. Gomart (Utrecht: Centraal Museum, 2007), 91-97.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Just Use It!, ed. A. K. Hofbauer (Aalborg, Denmark: Nordjyllands Kunstmuseum, June 2007), 24-27.
\nC. Sommerer and L. Mignonneau, \u201cFrom the Poesy of Programming to Research as Art Form\u201d in Aesthetic Computing, ed. P. Fishwick (Cambridge, MA: MIT Press, 2007), 170-183.<\/p>\n

2006<\/span>
\nJ. P. Boon, J. Casti , C. Djerassi, J. Johnson, A. Lovett, T. Norretranders, V. Patera, C. Sommerer, R. Taylor and S. Thurner, \u201cA concrete example \u2013When the cracks begin to show.\u201d NATURE, vol. 444 (2 November 2006).
\nC. Sommerer and L. Mignonneau, \u201cTangible, Audible, Playable, Wearable \u2013 Interface Culture Student Works at Ars Electronica 2006,\u201d in Simplicity \u2013 the Art of Complexity Ars Electronica 2006, ed. G. Stocker and C. Schoepf (Ostfildern-Ruit: Hantje Cantz Verlag, 2006), 234-243.
\nC. Sommerer, \u201cMedia Art from the Guest Country,\u201din ARCO 2006 25th Anniversary of Madrid\u2019s International Contemporary Art Fair (Madrid: Asociacion Amigos de ARCO, 2006), 62-65.
\nC. Sommerer, \u201cInteractive Systems in Media Art and Entertainment,\u201din DIME 1st International Conference on Digital Media Entertainment & Arts, Key Note (Bangkok: Rangsit University, 17 November 2006).
\nC. Sommerer and L. Mignonneau, \u201cLife Writer \u2013 Creating life through the act of writing,\u201d in The Gen[H]ome Project, exhibition catalog, ed. K. Meyer and P. Noever (Los Angeles: MAK Museum of Contemporary Art, November 2006).
\nC. Sommerer and L. Mignonneau, \u201cLife Writer,\u201din Bytes & Bodies \u2013 Von Realen K\u00f6rpern in Digitalen R\u00e4umen, exhibition catalog, ed. R. Helwig-Schmid (Regensburg: Donumenta, 2006), 39.
\nC. Sommerer and L. Mignonneau, \u201cTangible, Audible, Playable, Wearable,\u201d a-minima Actual Art Publication, no. 19 (Spain: a minima, 2006): 24-29.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II,\u201d in Zerst\u00f6rte Welten und die Utopie der Rekonstruktion at Kunstraum Dornbirn, ed. D. Buchhart and A. K. Hofbauer (N\u00fcrnberg: Verlag f\u00fcr Moderne Kunst, 2006), 86-89.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II,\u201d a-minima Actual Art Publication, no. 15 (Spain: a minima, 2006): 34-39.
\nC. Sommerer, \u201cPhyllologia,\u201d in Art Garden \u2013 Sculpture Park Austria, exhibition catalog, ed. N. Breisach (Ostfildern-Ruit: Hantje Cantz Verlag, 2006), 116-117.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II,\u201d in All Digital, exhibition catalog, ed. M. Crutchfield (Cleveland: MOCA Museum of Contemporary Art, 2006).
\nC. Sommerer and L. Mignonneau, \u201cArtistic Mobility in the 21st Century,\u201d CIANT (Prague: 2006).<\/p>\n

2005<\/span>
\nC. Sommerer and L. Mignonneau, \u201cChrista Sommerer & Laurent Mignonneau,\u201d in Digital Design of Nature, ed. O. Deussen and B. Lintermann (Heidelberg: Springer Verlag, 2005), 239-243.
\nC. Sommerer and L. Mignonneau, \u201cDesigning Emotional, Metaphoric, Natural and Intuitive Interfaces for Interactive Art, Edutainment and Mobile Communications,\u201d COMPUTERS & GRAPHICS: An International Journal of Systems & Applications in Computer Graphics (Elsevier, 2005): 837-851.
\nC. Sommerer and L. Mignonneau, \u201cNano-Scape: Experiencing Aspects of Nanotechnology through a Magnetic Force-Feedback Interface,\u201d in ACE 2005, ACM SIGCHI International Conference on Advances in Computer Entertainment Technology 15th – 17th June 2005 Polytechnic University of Valencia (Spain: 2005), 200-203.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Electroscope \u2013 International New Media Art Exhibition, exhibition catalog, ed. S. Quibin, (Zendai, Japan: Zendai Museum of Modern Art, 2005).
\nC. Sommerer and L. Mignonneau, \u201cInterface Culture: Interface Gestaltungen zwischen Kunst, Forschung und Anwendung,\u201d in Mensch und Computer 05 Workshop Proceedings (Austrian Computer Society, 2005), 37-39.
\nC. Sommerer and L. Mignonneau, \u201cHuman Computer Interfaces for Interactive Art, Edutainment and Mobile Communications,\u201d a-minima Actual Art Publication, no. 10 (Spain: a minima, 2005): 74-87.
\nC. Sommerer and L. Mignonneau, \u201cA-Volve: Designing complex systems for interactive art,\u201d in Art Research and Development (Rotterdam: V2_Publishing, 2005), 208-223.
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d in Artefact Festival 2005: Kunst en nieuwe media in Vlaams-Brabant, exhibition catalog, ed. Pieter-Paul Mortier (Leuven: Kunstencentrum STUK, February 2005).
\nC. Sommerer and L. Mignonneau, \u201cInterface Cultures,\u201d in Hybrid Living in Paradox (Ostfildern-Ruit: Hatje Cantz Verlag, 2005), 304-305.
\nC. Sommerer and L. Mignonneau, \u201cDesigning emotional, metaphoric, natural and intuitive interfaces for interactive art, edutainment and mobile communications\u201d in ARTECH 2005 Workshop Proceedings (Cerveira, Portugal: ARTECH, 2005).
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d in Cultura Digital, exhibition catalog, ed. K. Ohlenschl\u00e4ger and L. Rico (Madrid: MediaLabMadrid, February 2005).<\/p>\n

2004<\/span>
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings \u2013 wireless communication of heartbeat and breath for mobile art,\u201d in 14th International Conference on Artificial Reality and Telexistance (ICAT2004) Conference Proceedings (Seoul: 2004), 346-349.
\nC. Sommerer and L. Mignonneau, \u201cFrom the Poesy of Programming to Research as Art Form,\u201d in Aesthetic Computing, ed. P. Fishwick (Cambridge, MA: MIT Press, 2004), 169-183.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Digital Architecture and the Poetics of Computation, Metamorph, 9th International Architecture Exhibition Focus, ed. A. Picon (Venice: La Biennale di Venezia, 2004), 59-67.
\nC. Sommerer and L. Mignonneau, \u201cVERBARIUM,\u201d in Emocao artificial 2.0. divergencia ste unologicas (Sao Paulo: Itau Cultura, 2004), 44-45.
\nC. Sommerer and L. Mignonneau, \u201cVERBARIUM,\u201d in Natur ganz Kunst \u2013 Postitionen zeitgen\u00f6ssischer Gestaltung, ed. M. Faass, D. Buchhart and R. Joppien (Hamburg: Museum f\u00fcr Kunst und Gewerbe, 2004), 54.
\nC. Sommerer and L. Mignonneau, \u201cThe application of artificial life to interactive computer installations,\u201d in BIOMEDIALE \u2013 Contemporary society and genomic culture, ed. D. Bulatov, The National Centre for Contemporary Art Kaliningrad Branch, Russia (Kaliningrad: The National Publishing House \u201cYantarny Skaz,\u201d 2004), 255-268.
\nR. Lopez-Gulliver, N. Hagita, C. Sommerer, and L. Mignonneau, \u201cInterfacing the Web: Multi-user, Multi-modal and Immersive Interaction with the Internet,\u201d IEICE TRANS. INF. & SYST., vol. E85{D, no. 1 (January 2004).
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d in Feelings Are Always Local – DEAF Dutch Electronic Arts Festival, catalog (Rotterdam: V2_Publishing, 2004).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in NAVIGATOR International Media Art Exhibition, catalog (Taiwan: National Taiwan Museum of Fine Arts, 2004).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Digital Avant-Garde 25 Years of Ars Electronica, catalog (Linz: Ars Electronica 2004).
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d in EMAF European Media Art Festival, catalog (Osnabrueck, 2004).
\nC. Sommerer, \u201cLieber Peter,\u201d in 05-03-44: Liebesgr\u00fcsse aus Odessa f\u00fcr Peter Weibel, ed. E. Bonk, P. Gente and M. Rosen, (Berlin: Merve Verlag, 2004), 54-55.<\/p>\n

2003<\/span>
\nC. Sommerer and L. Mignonneau, \u201cModeling Complexity for Interactive Art Works on the Internet,\u201d in Art and Complexity: At the Interface, ed. J. Casti and A. Karlqvist (Amsterdam: Elsevier, 2003), 85-107.
\nC. Sommerer and L. Mignonneau, \u201cMobile Feelings,\u201d in CODE \u2013 The Language of our Times, Ars Electronica 2003, ed. G. Stocker and C. Sch\u00f6pf (Ostfildern-Ruit:Hantje Cantz Verlag, 2003).
\nC. Sommerer and L. Mignonneau, \u201cFrom the Poesy of Programming to Research as Art Form,\u201d in CODE \u2013 The Language of our Times, Ars Electronica 2003, ed. G. Stocker and C. Sch\u00f6pf (Ostfildern-Ruit:Hantje Cantz Verlag, 2003).<\/p>\n

2002<\/span>
\nC. Sommerer and L. Mignonneau, \u201cIf we knew what it was we were doing it would not be called research, would it? Interview with Stefan Iglhaut,\u201d in Science + Fiction: Between Nanoworlds and Global Culture, Artists and Scientists on Cultural Identities, Brain Research, Nanotechnology, Science and the Public, exhibition catalog, ed. S. Iglhaut and T. Spring (Berlin: Jovis Verlag, December 2002).
\nC. Sommerer and L. Mignonneau, \u201cNano_Scape,\u201d in Science + Fiction: Between Nanoworlds and Global Culture, Artists and Scientists on Cultural Identities, Brain Research, Nanotechnology, Science and the Public, exhibition catalog, ed. S. Iglhaut and T. Spring (Berlin: Jovis Verlag, December 2002).
\nC. Sommerer and L. Mignonneau, \u201cModeling the Emergence of Complexity: Complex Systems, the Origin of Life and Interactive On-line Art,\u201d LEONARDO Journal, vol. 35, no. 2 (Cambridge, MA: MIT Press, April 2002): 567-575.
\nC. Sommerer, \u201cInteractive Art: Where are we now?\u201d in CyberArts2002 (Ostfildern-Ruit: Hatje Cantz Verlag, 2002), 70-75.
\nR. Lopez-Gulliver, C. Sommerer and L. Mignonneau, \u201cInterfacing the Web: Multi-modal and Immersive Interaction with the Internet,\u201d in VSMM2002 Proceedings of the 8th International Conference on Virtual Systems and MultiMedia (Gyeongju, South Korea: 2002), 753-764.<\/p>\n

2001<\/span>
\nC. Sommerer and L. Mignonneau, \u201cALife in Art, Design, Edutainment, Game and Research,\u201d LEONARDO Journal, vol. 4, no. 34 (Cambridge, MA: MIT Press, August 2001): 297-298.
\nC. Sommerer and L. Mignonneau, \u201cCreating artificial life for interactive art and entertainment,\u201d LEONARDO Journal, (Cambridge, MA: MIT Press, 2001): 303-307.
\nC. Sommerer, L. Mignonneau, R. Lopez-Gulliver and M. Satomi, \u201cIKI-IKI Phone \u2013 A Multi-user Alife Art game for Mobile Phones,\u201d in Cast01 \u2013 Living in Mixed Realities Conference Proceedings (Bonn: Frauenhofer Institute, 2001), 113-117.
\nC. Sommerer, L. Mignonneau and R. Lopez-Gulliver, \u201cIKI-IKI Phone: A Multi-user Alife Art game for Mobile Phones,\u201d in IEEE International Conference on Multimedia and Expo (ICME2001) Conference Proceedings (Tokyo: Waseda University, 2001).
\nL. Mignonneau, C. Sommerer, R. Lopez-Gulliver and S. Jones, \u201cRiding the Net: a Novel, Intuitive and Entertaining Tool to Browse the Internet,\u201d in SCI 2001 \u2013 5th World Multiconference on Systemics, Cybernetics and Informatics Conference Proceedings, (Orlando: International Institute of Informatics and Systemics, 2001), 57-63.
\nC. Sommerer and L. Mignonneau, \u201cCreating and Communicating with Virtual Life on Mobile Phones,\u201d in SCI 2001 \u2013 5th World Multiconference on Systemics, Cybernetics and Informatics Conference Proceedings, (Orlando: International Institute of Informatics and Systemics, 2001), 64-70.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Bits & Pieces: Shifting Boundaries and Different Realities, exhibition catalog, ed. T. Druckrey and Z. Davis (Hartford, CT: Joseloff Gallery, University of Hartford, November 2001).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in L\u2019Homme Transforme, Cite des Sciences et de l\u2019Industrie (La Villette), exhibition brochure, ed. Jo\u00ebl de Rosnay (Paris: La Villette, 2001).
\nC. Sommerer and L. Mignonneau, \u201cRiding the Net,\u201d in Viper21 \u2013 International Festival for Film, Video and New Media, exhibition catalog, ed. C. E. Voester (Basel: VIPER, October 2001), 171.
\nC. Sommerer and L. Mignonneau, \u201cThe Living Room,\u201d in Bo01 \u2013 City of Tomorrow, exhibition catalog, ed. C. \u00c5hlvik (Malmoe, Sweden, May 2001).<\/p>\n

2000<\/span>
\nC. Sommerer and L. Mignonneau, \u201cModeling Emergence of Complexity: the Application of Complex System and Origin of Life Theory to Interactive Art on the Internet,\u201d in Artificial Life VII Proceedings of the Seventh International Conference, ed. M. A. Bedau et al. (Boston: MIT Press, 2000), 547-554.
\nC. Sommerer and L. Mignonneau, \u201cModeling Complex Systems for Interactive Art,\u201d in Applied Complexity \u2013 From Neural Nets to Managed Landscapes, ed. S. Halloy and T. Williams (Christchurch, NZ: Institute for Crop & Food Research, 2000), 25-38.
\nC. Sommerer and L. Mignonneau, \u201cCreating artificial life for interactive art and entertainment,\u201d in Artificial Life VII Workshop Proceedings (Portland: University of Portland, 2000), 149-153.
\nC. Sommerer and L. Mignonneau, \u201cModeling Complex Systems for Interactive Art on the Internet,\u201d in MMM2000 MultiMediaModeling Conference Proceedings (Nagano, Japan: World Scientific, 2000), 237-254.
\nC. Sommerer and L. Mignonneau, \u201cDesigning Interfaces for Interactive Artworks,\u201d in KES 2000 Knowledge Based Engineering Systems Conference Proceedings (Brighton, UK: University of Brighton, 2000), 80-84.
\nC. Sommerer and L. Mignonneau, \u201cGiving Up Control \u2013 Interaction and Evolution in the Interactive Artworks of Sommerer and Mignonneau,\u201d in Emergent Futures \u2013 Art, Interactivity and New Media, ed. A. Molina and K. Landa (Valencia: Institucio Alfons el Magnanim, 2000), 25-34.
\nC. Sommerer and L. Mignonneau, \u201cPICO_SCAN: using body data to create artificial life forms,\u201d in AROB 5th International Symposium on Artificial Life and Robotics Conference Proceedings (Oita, Japan: Oita University, 2000), 124-127.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II,\u201d in Ars Electronica 2000 Next Sex (Vienna\/New York: Springer Verlag, 2000), 392-392.
\nC. Sommerer and L. Mignonneau, \u201cPICO_SCAN \u2013 interactive computer installation,\u201d in 7 Hills: Images and Signs of the 21st Century (Berlin: Henschel Verlag & Berliner Festspiele, 2000), 52-53.
\nC. Sommerer and L. Mignonneau, \u201cArtea sistema bizitzat hartua,\u201d ZEHAR magazine, (Donostia, Spain: Arteleku, 2000): 38-44.
\nC. Sommerer and L. Mignonneau, \u201cLifeSpacies II,\u201d in Microwave \u2013 International Media Art Festival 2001, exhibition catalog, ed. E. Pau and T. Kong (Hong Kong: Microwave, 2001), 8-9.
\nC. Sommerer and L. Mignonneau, \u201cLifeSpacies II,\u201d in Media_City Seoul 2000 \u2013 Media Art 2000, exhibition catalog (Seoul: 2000), 128-129.
\nC. Sommerer and L. Mignonneau, \u201cLifeSpacies II,\u201d in Living and Working in Vienna \u2013 26 Positions in Contemporary Art, exhibition catalog, ed. G. Matt (Vienna: Kunsthalle Wien, October 2000), 206-209.
\nC. Sommerer and L. Mignonneau, \u201cLifeSpacies II,\u201d in A Sparkling City\u20132000 Taipei County Art and Technology Exhibition, exhibition catalog, ed. W. Man-Ping and Rainn (Taipei: Cultural Affairs Bureau of Taipei County, September 2000), 73-79.
\nC. Sommerer and L. Mignonneau, \u201cIndustrial Evolution,\u201d in Vision Ruhr \u2013 Art, Media, Interaction, Interaktion auf der Zeche Zollern II\/IV, exhibition catalog, ed. A. Wirths and J. Shaw (Ostfildern-Ruit: Hantje Cantz Verlag, May 200), 166-171.
\nC. Sommerer and L. Mignonneau, \u201cHaze Express,\u201d in Outo\u00e4ly\u2013Alien Intelligence at KIASMA Museum of Contemporary Art, exhibition catalog, ed. E. Huhtamo and P. Rastas (Helsinki: KIASMA Museum of Contemporary Art, February 2000), 104-105.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II\u201d in IMAGINA 2000 guide officiel: Le Rendez-Vous des Professionnels de l\u00b4Audiovisuel Num\u00e9rique, exhibition catalog (Monte Carlo, Monaco: Institut National de l\u2019Audiovisuel, January 2000), 41.
\nC. Sommerer, \u201cVirtual Museums,\u201d SPECTRA \u2013 A publication of the Museum Computer Network, vol. 27, no. 1 (2000): 80.<\/p>\n

1999<\/span>
\nC. Sommerer and L. Mignonneau, \u201cVERBARIUM,\u201d in Net_Condition \u2013 Art and Global Media, ed. P. Weibel and T. Druckrey (Cambridge, MA: MIT Press, 1999), 226-227.
\nC. Sommerer and L. Mignonneau, \u201cArt as a Living System,\u201d LEONARDO Journal, vol. 32, no. 3 (Cambridge, MA: MIT Press, 1999): 165-173.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Ars Electronica \u2013 Facing the Future (Cambridge, MA: MIT Press, 1999), 393-394.
\nC. Sommerer and L. Mignonneau, \u201cHAZE Express,\u201d in Ars Electronica\u201999 \u2013 Cyberarts99 (Vienna\/New York: Springer Verlag, 1999), 92-93.
\nC. Sommerer and L. Mignonneau, \u201cVERBARIUM,\u201d in Ars Electronica\u201999 \u2013 Cyberarts99 (Vienna\/New York: Springer Verlag, 1999), 52-53.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Ars Electronica \u2013 Facing the Future (Cambridge, MA: MIT Press, 1999), 393-394.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies,\u201d in Siggraph\u201999 Conference Abstracts and Applications (New York: ACM Siggraph, 1999), 170.
\nC. Sommerer and L. Mignonneau, \u201cArt as a Living System,\u201d in Siggraph\u201999 Conference Abstracts and Applications (New York: ACM Siggraph, 1999), 143.
\nC. Sommerer, L. Mignonneau and R. Lopez-Gulliver, \u201cLIFE SPACIES II: from text to form on the Internet using language as genetic code,\u201d in ICAT\u201999 9th International Conference on Artificial Reality and Tele-Existence Conference Proceedings (Tokyo: Virtual Reality Society, 1999), 215-220.
\nC. Sommerer and L. Mignonneau, \u201cVERBARIUM and Life Spacies: Creating a Visual Language by Transcoding Text into Form on the Internet,\u201d in IEEE Symposium on Visual Languages Conference (VL\u201999) Conference Proceedings (Tokyo: 1999), 90-95.
\nC. Sommerer, L. Mignonneau and R. Lopez-Gulliver, \u201cTime_lapse: an immersive interactive environment based on historic stereo images,\u201d in IEEE SMC\u201999 System, Man and Cybernetics Conference Proceedings (Tokyo: 1999).
\nC. Sommerer, L. Mignonneau and R. Lopez-Gulliver, \u201cTime_lapse: immersive interaction with historic 3D stereo images,\u201d in 5th International Conference on Virtual Systems and MultiMedia (VSMM\u201999) Conference Proceedings (Dundee, Scotland: 1999), 295-307.
\nC. Sommerer and L. Mignonneau, \u201cText as Genetic Code: Creating Visual Language on the Internet,\u201d in CADE\u201999 Computers in Art and Design Conference Proceedings (Teeside, UK: University of Teeside, 1999), Appendix.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies: a genetic text-to-form editor on the Internet,\u201d in AROB\u201999 International Symposium on Artificial Life and Robotics Conference Proceedings (Oita, Japan: Oita University, 1999), 73-77.
\nC. Sommerer and L. Mignonneau, \u201cArte Y Ciencia \u2013 La Creacion en Todo su Potencial,\u201d in Cyber@rt IV Muestra Internacional des Nuevas Tecnologias Tecnolog\u00edas, Arte y Comunicaci\u00f3n, ed. \u00c1. F. Molina (Valencia: November 1999), 76-83.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Bienal Mercosul: Julio Le Parc, Arte e Tecnologia, ed. F. Magalh\u00e3es and D. Domingues (Porto Alegre: Funda\u00e7\u00e3o Bienal de Artes Visuais do Mercosul, November 1999), 43.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies II \u2013 instalacion interactiva de realidad virtual,\u201d in Cibervisi\u00f3n 99: Arte Ciencia Nuevas Tecnologias: I Muestra Internacional, exhibition catalog, ed. K. Ohlenschl\u00e4ger (Madrid: Universidad Rey Juan Carlos, November 1999), 42-43.
\nC. Sommerer and L. Mignonneau, \u201cLa importancia de los institutos mediaticos de caracter interdisciplinario,\u201d in Cibervisi\u00f3n 99: Arte Ciencia Nuevas Tecnologias: I Muestra Internacional, exhibition catalog, ed. K. Ohlenschl\u00e4ger (Madrid: Universidad Rey Juan Carlos, November 1999), 34-41.
\nS. Garassini, \u201cFrom Life to Computers and back: The Evolutions of Artificial Life,\u201d DOMUS \u2013 Architecture, Design, Art, Communication (Milan: Domus Magazine, September 1999): 80-84.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Media Time: WOOD & BYTE: Festival delle nuove tecnologie mulitmediali, exhibition catalog, ed. M. G. Mattei (Bolzano: Centro Audiovisivi, September 1999), 56-61.
\nC. Sommerer and L. Mignonneau, \u201cPhototropy II,\u201d inZeichenbau \u2013 Real Virtualities, ed. M. Wolff-Plottegg (Vienna: Kuenstlerhaus Wien, Gesellschaft bildender K\u00fcnstler \u00d6sterreich, August 1999).
\nC. Sommerer and L. Mignonneau, \u201cHAZE Express,\u201d in Cyber: cria\u00e7\u00e3o na era digital, exhibition catalog, ed. R. Trindade (Lisbon: Centro Cultural de Bel\u00e9m, April 1999), 7.
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies,\u201d in SMAU\u201999, exhibition brochure (Milan: 1999).
\nC. Sommerer and L. Mignonneau, \u201cHAZE Express,\u201d in The Interaction\u201999, exhibition catalog, ed. I. Sakane (Gifu, Japan: IAMAS Academy and Softopia Japan, March 1999).
\nC. Sommerer and L. Mignonneau, \u201cPhototropy,\u201d in KAGE \u2013 Shadows, Projected Images HIKARI \u2013 Lights, Virtual Images, ed. T. Moriyama (Tokyo: Tokyo Metropolitan Museum of Photography, January 1999), 45-52.<\/p>\n

1998<\/span>
\nCynthia Goodman, \u201cAbenteuer im Virtuellen Wunderland \u2013 Das interaktive Universum von Christa Sommerer und Laurent Mignonneau,\u201d in Der Elektronische Raum: 15 Positionen zur Medienkunst, ed. A. Wirths \u2013 Kunst und Ausstellungshalle der Bundesrepublik Deutschland GmbH Bonn (Ostfildern-Ruit: Hantje Cantz Verlag, 1998), 162-173.
\nC. Sommerer and L. Mignonneau, \u201cThe application of artificial life to interactive computer installations,\u201d Artificial Life and Robotics Journal, vol. 2, no. 4 (Tokyo: Springer Verlag, 1998): 2:151-156.
\nC. Sommerer and L. Mignonneau, \u201cArt as a Living System,\u201d in Art @ Science, ed. C. Sommerer and L. Mignonneau (Vienna\/New York: Springer Verlag, 1998), 148-161.
\nC. Sommerer and L. Mignonneau, \u201cArt and Science \u2013 A Model of a New Dynamic Interrelation,\u201d in Art @ Science, ed. C. Sommerer and L. Mignonneau (Vienna\/New York: Springer Verlag, 1998), 7-23.
\nC. Sommerer and L. Mignonneau, \u201cGulliver\u2019s Travels: Interacting with a 3D Panoramic Photographic Scene,\u201d in ICAT\u201998 8th International Conference on Artificial Reality and Tele-Existence Conference Proceedings (Tokyo: Virtual Reality Society, 1998), 47-53.
\nC. Sommerer and L. Mignonneau, \u201cArt as a Living System,\u201d in Progetto Technoarte 1998: Interattivita-Interactivity, ed. M. G. Mattei (Perugia, Italy: Fondazione Umbria Spettacolo, 1998), 47-51.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in VID\u00c9OFORMES 98: Culture Contemporaine, Arts Vid\u00e9o, Nouvelles Technologies, exhibition catalog, ed. G. Soucheyre (Clermont Ferrand, France: Turbulences Vid\u00e9o, March 1998), 10-13.<\/p>\n

1997<\/span>
\nC. Sommerer and L. Mignonneau, \u201cInteracting with Artificial Life: A-Volve,\u201d Complexity Journal, vol. 2, no. 6 (New York: Wiley, 1997): 13-21.
\nC. Sommerer and L. Mignonneau, \u201cA-Volve \u2013 an evolutionary artificial life environment,\u201d in Artificial Life, ed. V. C. Langton and K. Shimohara (Boston: MIT Press, 1997), 167-175.
\nC. Sommerer and L. Mignonneau, \u201cThe application of artificial life to interactive computer installations,\u201d in AROB\u201997 International Symposium on Artificial Life and Robotics Conference Proceedings (Oita, Japan: Oita University, 1997), 11-15.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Arte Virtual: Realidad Plural at Museo de Monterrey, exhibition catalog, ed. K. Ohlenschl\u00e4ger (Monterrey, Mexico: Museo de Monterrey, November 1997).
\nC. Sommerer and L. Mignonneau, \u201cLife Spacies,\u201d in ICC Concept Book: Exploring the Future of Imagination, ed. K. Yahagi (Tokyo: InterCommunication Center (ICC), NTT, October 1997), 96 -101.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Media Art History \u2013 Media Museum of the ZKM Karlsruhe, ed. H-P. Schwarz (Munich\/New York: Prestel Verlag, October 1997), 154-155.
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in InterAct! Schl\u00fcsselwerke Interaktiver Kunst, Wilhelm Lehmbruck Museum Duisburg, ed. S. Dinkla and C. Br\u00fcninghaus-Knubel (Ostfildern-Ruit: Hantje Cantz Verlag, April 1997), 96-101.
\nC. Sommerer and L. Mignonneau, \u201cPhototropy II,\u201d in The Interaction\u201997, exhibition catalog, ed. I. Sakane (Gifu, Japan: IAMAS Academy and Softopia, March 1997), 48-51.
\nC. Sommerer and L. Mignonneau, \u201cKunst als Lebendiges System,\u201d in Jenseits von Kunst, ed. P. Weibel, (Linz: Passagenverlag, January 1997), 468-469.<\/p>\n

1996<\/span>
\nC. Sommerer and L. Mignonneau, \u201cMIC Exploration Space,\u201d in Siggraph\u201996 Visual Proceedings (New York: ACM Siggraph, 1996), 17.
\nC. Sommerer, L. Mignonneau and U. Yoshiyuki, \u201cThe world of art and artificial life by Christa Sommerer and Laurent Mignonneau,\u201d Computer Today Journal, vol. 1, no. 71 (Tokyo: Science, 1996): 41-46.
\nC. Sommerer and L. Mignonneau, \u201cGENMA-Genetic Manipulator,\u201d in Ars Electronica\u201996: Memesis The Future of Evolution (Vienna\/New York: Springer Verlag, 1996), 294-295.
\nC. Sommerer, \u201cCollaboration between the Arts and the Sciences,\u201d in Ars Electronica Center \u2013 Museum of the Future (Linz: Landesverlag, September 1996), 120-125.
\nM. Kusahara, C. Sommerer and L. Mignonneau, \u201cArt as Living System,\u201d Systems, Control and Information Journal, vol. 40, no. 8 (Tokyo: Institute for Systems, Control and Information, 1996): 16-23.
\nP. L. Capucci, \u201cInteractive Plant Growing,\u201d DOMUS magazine, ed. F. Burkhardt (Milan: Editorial Domus, March 1996): 70-71.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Electra\u201996, exhibition catalog, ed. A. Esper\u00f8 (Oslo: Henie Onstad Kunstsenter, March 1996).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in InfoArt, CD-ROM, ed. C. Goodman (Los Angeles: Rutt Video Interactive, November 1996), http:\/\/www.rvi.com
\nC. Sommerer and L. Mignonneau, \u201cKunst als Lebendiges System,\u201d in Softlife-Heise Online (Munich: Heise Verlag, September 1996).
\nC. Sommerer and L. Mignonneau, \u201cTrans Plant II,\u201d in 3D Beyond the Stereography: Images and Technology Gallery Exhibition Theme, exhibition catalog, ed. T. Moriyama (Tokyo: Tokyo Metropolitan Museum of Photography, April 1996), 76-77.
\nC. Sommerer and L. Mignonneau, \u201cInteraktive Echtzeit \u2013 Computerinstallation auf der Light Emotions in Hannover,\u201d in Licht International: Planung \u2013 Design \u2013 Technik \u2013 Handel (Munich: Pflaum Verlag, April 1996), 206-207.
\nL. Falk, \u201cThe Brave New Worlds of Sommerer and Mignonneau,\u201d IRIS Universe \u2013 The Magazine of Visual Computing (Mountain View, USA: Silicon Graphics, Inc., March 1996).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Ciberfestival 96: imagens do futuro, exhibition catalog, ed. L. da Costa and M. do Ros\u00e1rio (Lisbon: Forum Telecom, February 1996).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve \u2013 Evolucion Artificial,\u201d in En entorno interactivo en tiempo real, catalog for ARCO 1996, ed. L. Ishi-Kawa, L. Falk and M. Kusahara (Madrid: Fundacion Arte Y Technologia, Telefonica Spain, February 1996).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in ARCO\u201996: Feria International de Arte Contempor\u00e1neo (Madrid: ARCO \/ IFEMA – Feria de Madrid, International Contemporary Art Fair, February 1996).<\/p>\n

1995<\/span>
\nC. Sommerer and L. Mignonneau, \u201cPhototropy,\u201d in Art as Signal: Inside the Loop, catalogue, K. Chmelewski, N. Goggin and J. Squier (Urbana-Champaign, USA: University of Illinois at Urbana-Champaign, Nov 1995).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve: an artificial life environment,\u201d in CNIASE\u201995 Conference Proceedings (Venezuela: Ciudad Guayana, October 1995).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in InfoART \u2013 1995 Kwangju Biennale, catalog, ed. K. Hong-hee and C. Goodman (Kwangju, South Korea: Kwangju Biennale Foundation, September 1995).
\nC. Sommerer and L. Mignonneau, \u201cPhototropy,\u201d in Digital Mediations: an exhibition of interactive art installations, ed. S. Nowlin, (Pasadena, USA: Alyce de Roulet Williamson Gallery, May 1995).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in WRO 95: Media Art Festival, catalog, ed. P. Krajewski (Wroclaw, Poland: Open Studio\/WRO, March 1995).
\nC. Sommerer and L. Mignonneau, \u201cTrans Plant,\u201d in Imagination \u2013 Images and Technology Gallery Exhibition Theme I, ed. T. Moriyama (Tokyo: Tokyo Metropolitan Museum of Photography, 1995), Chapter 2.
\nC. Sommerer and L. Mignonneau, \u201cAnthroposcope and Phototropy,\u201d in ARTEC\u201995: The 4th International Biennale in Nagoya, ed. J-H. Martin and J. Reichardt (Nagoya: Nagoya City Art Museum, April 1995).
\nC. Sommerer and L. Mignonneau, \u201cIntro Act,\u201d in 3rd Biennale d\u2019Art Contemporain de Lyon, ed. H. Destezet et al. (Paris: Reunion des Musees Nationaux\/Biennale d\u2019Art Contemporain, December 1995), 378-381.
\nC. Sommerer and L. Mignonneau, \u201cPhototropy,\u201d in Art as Signal, exhibition catalog & CD-ROM (Urbana-Champaign, USA: University of Illinois at Urbana-Champaign, Krannert Art Museum, November 1995).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in ArsLab-I Sensi del Virtuale, exhibition catalog (Turin: ExtraMuseum, October 1995).
\nC. Sommerer and L. Mignonneau, \u201cAnthroposcope,\u201d in Scultura e Oltre \u2013 16th International Biennale del Bronzetto e della Piccola Scultura, exhibition catalog, ed. G. Franco, M. Francalanci and E. L. Francalanci (Padova, Italy: Palazzo della Ragione Giardini dell\u2019Arena, Il Poligrafo, October 1995).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in The Interactive Media Festival \u201995, exhibition catalog (Los Angeles: June 1995).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in Water, exhibition catalog, ed. K. Amano (Tokyo: O-Art Museum Japan, June 1995).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in Interactive Media Festival, exhibition catalog, ed. T. Druckrey and L. Goldman (Los Angeles: Variety Arts Center, June 1995).
\nC. Sommerer and L. Mignonneau, \u201cPhototropy,\u201d in Oltre Il Villaggio Globale: Beyond the Global Village, ed. P. Bert\u00e9 and M. G. Mattei (Milan: Ente Autonomo La Triennale di Milano, Electra Edition, May 1995), 134-135.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Images du Futur \u2013 L\u2019art interactif, exhibition catalog, ed. M. Ginette and Herv\u00e9 Fischer (Montreal: Cit\u00e9 des arts et des nouvelles technologies de Montr\u00e9al, May 1995), 30-31.
\nC. Sommerer and L. Mignonneau, \u201cPhototropy,\u201d in Kulturpraemie, exhibition catalog, D. B\u00f6ckmann and J. Penndorf (Ludwigshafen: BASF, May 1995), 81-87.
\nC. Sommerer and L. Mignonneau, \u201cAnthroposcope & Phototropy,\u201d in ARTEC\u201995 \u2013 The 4th International Biennale in Nagoya, exhibition catalog (Nagoya: Nagoya City Art Museum, April 1995).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing and A-Volve,\u201d in The Interaction \u201995, exhibition catalog, ed. I. Sakane (Gifu, Japan: IAMAS Academy and Softopia, March 1995), 28-31.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Lab 5: International Film, Video and Computer Art Exhibition 1995, exhibition catalog, ed. R. W. Kluszczynski (Warsaw: Centrum Sztuki Wsp\u00f3tczesnej, April 1995).<\/p>\n

1994<\/span>
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in Multimedia Grand Prix\u201994 (Tokyo: Multimedia Association of Japan, 1994).
\nC. Sommerer and L. Mignonneau, \u201cPhototropy,\u201d in Artifices 3: Mise en m\u00e9moire\/Acc\u00e9s \u00e1 la m\u00e9moire, exhibition catalog, ed. A. Duguet, J.Boissier and A. Perrot (Saint-Denis, France: Centre culturel communal de Saint-Denis, April 1994).
\nC. Sommerer and L. Mignonneau, \u201cA-Volve: a real-time interactive environment,\u201d in Siggraph\u201994 Visual Proceedings (New York: ACM Siggraph, 1994), 172-173.
\nM. Kusahara, C. Sommerer and L. Mignonneau, \u201cA-Volve: How much do you love the creature you create?\u201d ICC InterCommunication Journal, no. 10 (Tokyo: ICC-NTT Japan, October 1994).
\nC. Sommerer and L. Mignonneau, \u201cAnthroposcope,\u201d in ISEA\u201994 Catalog: The Fifth International Symposium on Electronic Art, ed. M. Tarka (Helsinki: University of Art and Design Helsinki UIAH, August 1994), 92-93.
\nC. Sommerer and L. Mignonneau, \u201cA-Volve,\u201d in Prix \u201994 Ars Electronica Golden Nica Award, ed. H. Leopoldseder (Linz: Veritas Verlag, July 1994).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Arte Virtual \u2013 Doce propuestas de Arte Reactivo, exhibition catalog, ed. Rafael Lozano-Hemmer (Madrid: Electa Edition, May 1994).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d ICC InterCommunication Journal, no. 7 (Tokyo: ICC-NTT Japan, January 1994).
\nC. Sommerer and L. Mignonneau, \u201cWhat is Life?\u201d in \u2026.. , catalog (Urbana-Champaign: NCSA National Center for Supercomputing Applications, 1994).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Ohne Autor, ed. A. Wagner (Salzburg: Galerie 5020, 1994).
\nM. Kusahara, \u201cInteractive Plant Growing and A-Volve,\u201d in Christa Sommerer & Laurent Mignonneau, exhibition catalog (Tokyo: ICC InterCommunication Center, NTT, 1994).<\/p>\n

1993<\/span>
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Siggraph\u201993 Visual Proceedings (New York: ACM Siggraph, 1993), 164-165.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d ICC InterCommunication Journal, no. 6 (Tokyo: ICC-NTT Japan, October 1993).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in FISEA Fourth International Symposium on Electronic Art, exhibition catalog (Minneapolis, USA: ISEA publications, 1993).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in interActiva \u2013Internationales Festival f\u00fcr Interaktive Medien, ed. A. Zapp (Cologne: 1993).
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Ars Electronica \u201993 \u2013 Genetic Art Artificial Life, ed. K. Gerbel and P. Weibel (Vienna: PVS Verleger, 1993) 408-414.
\nS. L. Serfoezoe, \u201cGenetische Kunst, K\u00fcnstliches Leben und Super-Mario als Virtuelle Performer,\u201d Das Kunst-Bulletin,Offizielles Organ des Schweizerischen Kunstvereins, no. 10 (1993): 16-19.
\nF. Bond, \u201cArs Electronica Award Winners,\u201d access, vol. 8, no. 2 (Urbana-Champaign:NCSA National Center for Supercomputing Applications, University of Illinois at Urbana-Champaign, 1994): 28.
\nP. Sancken, \u201cREL Visitors from Abroad,\u201d access, vol. 8, no. 1 (Urbana-Champaign:NCSA National Center for Supercomputing Applications, University of Illinois at Urbana-Champaign, 1994): 34-35.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Interaktiivinen puutarha: Ill Vuorovaikutteisen taiteen n\u00e4yttely \u2013 Interactive Garden, exhibition catalog, ed. E. Huktamo (Espoo, Finland: Otso Gallery, April 1993), 23-24.
\nJ. Fagier, \u201cLaurent Mignonneau \u2013 Regard d\u2019\u00e9coles,\u201d in Nouveaux Cr\u00e9ateurs, Regards d\u2019\u00e9coles (Atlante: CNAP, 1993), 56-59.<\/p>\n

1992<\/span>
\nP. Weibel, \u201cEigenwelt der Apparatewelt,\u201d Rouge, no. 17, ed. W.E. Baumann and S. Grunenberg (4th ed., Frankfurt: Rouge magazine, 1992\/1993): 12-15.
\nC. Sommerer and L. Mignonneau, \u201cInteractive Plant Growing,\u201d in Differenzen, Affinitaeten und Brueche, Zeitschnitt 92 \u2013 Aktuelle Kunst aus Oesterreich, exhibition catalog, ed. A. Spiegl, B. Steiner and I. Wurzer (Vienna: Bundesministerium f\u00fcr Unterricht und Kunst, 1992), 192-195.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row equal_height=”” shift_y=”0″ z_index=”0″ el_class=”portfolio”][vc_column][vc_tabs tabs_align=”center” css_animation=”fade-up” el_class=”tab”][vc_tab title=”Christa Sommerer and Laurent Mignonneau” tab_id=”1589893367311-4-6″ el_class=”artist_portfolio_name”][vc_row_inner][vc_column_inner width=”1\/4″][vc_single_image image=”14561″ img_size=”full” full_width=”1″ opacity=”100″][\/vc_column_inner][vc_column_inner width=”3\/4″][vc_column_text]Christa Sommerer and Laurent Mignonneau are internationally renowned media artists, researchers and pioneers of interactive art. In 2004 they set up the department for Interface Cultures at the University of Art and Design in Linz,…<\/p>\n

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