Mr Kirk Woolford

Research Interests

At its core, my research attempts to understand human movement and focuses not only on how, but why people move. Since 2005, much of this work has focused on the relationship between environments and human movement. More recent work focuses on how to keep people moving later in their lives. In order to conduct this research, I have built and/or adapted existing systems for tracking and analysing movement: starting with magnetic capture systems in 1996, and continuing through arrays of ultrasonic, optical, and inertial systems. In 2010, I began a fruitful collaboration with Brighton-based motion capture pioneers, Animazoo, on methods of taking their systems out of the studio and “into the wild” and have been working with colleagues in Digital Humanities at Kings College London, University of Reading, University of Southampton, and elsewhere to develop methods of analysing this “wild” data. I am currently working on methods of combining low-cost motion capture and natural interface technologies with video game development tools to create a prototype of a simple, inexpensive home-based stroke- and physio-therapy system called Motion Base with support from the Sussex Innovation Centre.

A second thread through my research focuses on the role of the creative practitioner within the larger context of the creative industries, as how practitioners can act as equal partners in the development and application of digital technologies. This work focuses not only on the ability of creative practitioners to develop prototypes with limited resources. It also focuses on the manners in which the continual innovation and dissemination of work required to function within arts contexts can provide unexpected insights and unconventional working methods for other disciplines. It also explores how these “creative approaches” are often viewed as disruptive within disciplines heavily reliant on peer review. I have conducted this research through projects such as the EPSRC Digital Economies funded network CREATOR: New Research Processes and Business Models for the Creative Industries (£210,363), acting as a founding board member of Lancaster’s Storey Creative Industries Centre, for which we raised over £4.5M, as well as my own creative practice where I continue to exhibit and perform work, having most recently been commissioned to create live imagery for performance at the European Capital of Culture in Guimarães , Portugal in October, 2012.

Research Collaborations

Kirk has most recently worked with Imogen Heap, Windfall Films, BBC2, and BBC cross-platform. He has worked with the Sussex Innovation Centre to further develop research into video games and motion analysis for stroke rehabilitation, physiotherapy and sports training.

Prior to working in UK academia, Kirk set up and directed production companies in New York, London, and Amsterdam -- with partners including the Economist Group, BBC, Channel 4, FilmFour, Illuminations, Babel Media, and THQ. From 1990-91, he worked with Eastman Kodak, Adobe, and Quark to incorporate their new technologies, including the first version of Photoshop, into early desktop publishing studios. Between 1992 and 2005, Kirk held several research positions in Germany and the Netherlands as he moved between academy and industry. He has produced online entertainment, education, publishing, and streaming systems, as well as video games for set-top-boxes, PCs and consoles. He has served as a board member for several foundations and continues to work with industry partners.

Kirk is a member of the AHRC Peer Review College and has served in various capacities on international conferences including ACM SIGGRAPH, SIGCHI, SIGMM, ISEA, and smaller conferences in the US, Germany, Holland, Portugal, and the UK.

Departmental Duties

Subject Leader for Digital Media Arts

Affiliations

ACM SIGGRAPH, ACM SIGCHI

Contact Me

E-mail:
Phone: 01483 68 6413

Find me on campus
Room: 13 NC 01


My office hours

Open (drop in):
Tuesday, 12:00-13:00,
Wednesday 12:00 - 13:00,
or by appointment

Publications

Highlights

  • Woolford K, Dunn S. (2014) Micro Mobilities and affordances of Past Places. in Leary J (ed.) Past Mobilities: Archaeological Approaches to Movement and Mobility Ashgate , pp. 113-128.

    Abstract

    The careful excavation of physical evidence and examination of contexts and provenance allow us to make informed hypotheses about the physical construction and location of past structures, but is it possible to inform our understandings of how people moved around and through these structures? Is there any manner in which we can use the same physical evidence to infer how these structures were used? Can we apply understandings of how human perception informed past people about the meanings of environmental objects? Can we apply elements of Experimental Archaeology in an attempt to replicate past processes? Can we borrow from J. J. Gibson’s theories of affordance or direct-perception, where objects and events have inherent meaning detected and exploited by human beings without mental calculation to aid our understanding of Past Places? Do ecological approaches to embodiment and cognition help us to understand relationships between past peoples, their tools, their environments, and how all of these elements function together as a system? If human movements, or moving humans, are added to heritage reconstructions without consideration of how environment, artifact, perception, and action are linked, they become aesthetic adornments. However, if movement is captured and applied with rigour similar to that applied to the materials used for the reconstructions, the virtual models become more than sculptures and can more usefully reflect the activities and behaviours conjectured to have taken place in the location.

  • Woolford KA, Dunn S. (2013) 'Experimental Archeology and Serious Games: Challenges of Inhabiting Virtual Heritage'. Association for Computing Machinery ACM Journal of Computing and Cultural Heritage, 6 (4) Article number 16 , pp. 16:1-16:15.
  • Atzori P, Woolford K. (1997) Extended-Body: Interview with Stelarc. in Kroker A, Kroker M (eds.) Digital Delirium Palgrave Macmillan , pp. 194-199.

Journal articles

  • Woolford KA, Dunn S. (2013) 'Experimental Archeology and Serious Games: Challenges of Inhabiting Virtual Heritage'. Association for Computing Machinery ACM Journal of Computing and Cultural Heritage, 6 (4) Article number 16 , pp. 16:1-16:15.
  • Woolford KA. (2013) 'NEW PHOTOGRAPHY A Perverse Confusion Between the Live and the Real'. Leonardo/ISAST Leonardo Electronic Almanac, 19 (3), pp. 88-107.
  • Woolford KA, Norman SJ, Blackwell A, Warren L. (2010) 'Gesture and Embodied Interaction: Capturing Motion/Data/Value'. MIT Press Leonardo: Art Science and Technology, 43 (2), pp. 198-199.
  • Woolford K, Blackwell AF, Norman SJ, Chevalier C. (2010) 'Crafting a Critical Technical Practice'. MIT Press Leonardo, 43 (2), pp. 202-203.
  • Guedes C, Woolford K. (2007) 'Controlling aural and visual particle systems through human movement'. Proceedings of the 4th Sound and Music Computing Conference, SMC 2007, , pp. 200-203.
  • Woolford K. (2006) 'Will.0.wısp (‘willow-wisp’)'. Performance Research, 11 Article number 4 , pp. 30-38-30-38.
  • Woolford KA, Kozel S. (1999) 'Utterance 5: Mesh Performance Partnerships'. Performance Research: a journal of the performing arts, 4 (2), pp. 61-63.
  • Woolford KA. (1995) '"VRB?", Die Zukunft des Körpers (The future of the Body)'. Die Zukunft des Körpers (The future of the Body) Edition. Kunstforum International, Germany: 132, pp. 188-193.

Conference papers

  • England D, Spence JC, Latulipe CE, Edmonds EA, Candy L, Schiphorst T, Bryan-Kinns N, Woolford K. (2014) 'Art and Interaction SIG: Cataloging the Digital Arts'. New York, NY, USA : ACM Extended Abstracts of the 32nd Annual ACM Conference on Human Factors in Computing Systems, Toronto, CA: CHI 2014, pp. 1115-1118.
  • England D, Spence J, Latulipe C, Edmonds E, Candy L, Schiphorst T, Bryan-Kinns N, Woolford K. (2014) 'Curating the Digital: Spaces for Art and Interaction'. New York, NY, USA : ACM CHI ’14 Extended Abstracts on Human Factors in Computing Systems, , pp. 21-24.

    Abstract

    This workshop intends to use the key strength of the CHI Community; research linked to practice, to design an Art Catalog for CHI. The workshop will start with an examination of current research in curating interactive art. The outcomes of the first phase of the workshop will then feed into Design Charrette exercises that will involve prototyping an Art Catalog and developing ideas for presenting a future Art Gallery event as part of the CHI conference. The results from the workshop will then form the basis of an agenda of a Spotlight SIG meeting where we will discuss the nature of the CHI Art Catalog. Workshop outcomes will also be disseminated to a wider audience.

  • Woolford K. (2014) 'Capturing Human Movement in the Wild'. New York, NY, USA : ACM Proceedings of the 2014 International Workshop on Movement and Computing, , pp. 19:19-19:24.
  • Woolford KA, Dunn S. (2014) 'Motion in Place: a Case Study of Archaeological Reconstruction Using Motion Capture'. Amsterdam University Press Revive the Past: Proceedings of the 39th Conference in Computer Applications and Quantitative Methods in Archaeology, Beijing: Computer Applications and Quantitative Methods in Archaeology (39), pp. 98-106.
  • Woolford KA, Dunn S. (2012) 'Reconfiguring experimental archaeology using 3D reconstruction'. British Computer Society EVA London 2012 Electronic Visualisation and the Arts, Computer Arts Society, (2012), pp. 172-178.
  • Woolford KA, Dunn S. (2011) 'Motion in Place Platform: Virtual (Re)Presentations of Iron Age Movement'. Proceedings of the The 17th International Symposium on Electronic Art, Istanbul: International Symposium on Electronic Art
  • Woolford K, Guedes C. (2008) 'Echo Locations'. New York, NY, USA : ACM ACM SIGGRAPH 2008 Talks, , pp. 17:1-17:1.
  • Woolford K, Guedes C. (2008) 'Echo Locations'. New York, NY, USA : ACM ACM SIGGRAPH 2008 Art Gallery, , pp. 76-76.
  • Woolford KA, Guedes C. (2007) 'Particulate Matters: Generating Particle Flows from Human Movement'. New York, NY, USA : ACM Proceedings of the 15th International Conference on Multimedia, 15th International Conference on Multimedia., pp. 691-696.
  • Woolford KA. (2007) 'Will.0.W1Sp'. New York, NY, USA : ACM Proceedings of the 15th International Conference on Multimedia, , pp. 379-380.

Book chapters

  • Woolford K, Dunn S. (2014) 'Micro Mobilities and affordances of Past Places'. in Leary J (ed.) Past Mobilities: Archaeological Approaches to Movement and Mobility Ashgate , pp. 113-128.

    Abstract

    The careful excavation of physical evidence and examination of contexts and provenance allow us to make informed hypotheses about the physical construction and location of past structures, but is it possible to inform our understandings of how people moved around and through these structures? Is there any manner in which we can use the same physical evidence to infer how these structures were used? Can we apply understandings of how human perception informed past people about the meanings of environmental objects? Can we apply elements of Experimental Archaeology in an attempt to replicate past processes? Can we borrow from J. J. Gibson’s theories of affordance or direct-perception, where objects and events have inherent meaning detected and exploited by human beings without mental calculation to aid our understanding of Past Places? Do ecological approaches to embodiment and cognition help us to understand relationships between past peoples, their tools, their environments, and how all of these elements function together as a system? If human movements, or moving humans, are added to heritage reconstructions without consideration of how environment, artifact, perception, and action are linked, they become aesthetic adornments. However, if movement is captured and applied with rigour similar to that applied to the materials used for the reconstructions, the virtual models become more than sculptures and can more usefully reflect the activities and behaviours conjectured to have taken place in the location.

  • Woolford KA, Dunn S. (2013) 'Reconfiguring Experimental Archaeology Using 3D Movement Reconstruction'. in Bowen J, Keene S, Ng K (eds.) Electronic Visualisation in Arts and Culture Springer 5, pp. 277-291.
  • Atzori P, Woolford K. (1997) 'Extended-Body: Interview with Stelarc'. in Kroker A, Kroker M (eds.) Digital Delirium Palgrave Macmillan , pp. 194-199.

Performances

  • Woolford KA, Guedes C, Burfin JM, Lopes F, Costa G, Gomes J, Rebelo P, Penha R, Dias R. (2012) CONCERTO X. Centro Cultural Vila Flor, Guimarães, PT:

Exhibitions

  • Woolford KA. (2013) Kusho: written in the air. Brighton Japan Festival:
  • Woolford KA. (2013) Moments in Place. Brighton Digital Festival:

    Abstract

    Moments in Place is a series of site-specific virtual performances, created for the Brighton Digital Festival, inviting visitors to consider movement qualities of different locations in the city of Brighton as well as the range of artworks in Brighton's streets. Each of the performances were recorded on site using portable motion capture systems. When phones or tablets are pointed at select urban artworks, a performance is rendered live in 3D allowing the audience to walk around and explore the relationship between the performance and location.

Performances, Installations, and other Practice-based Output

Woolford, K (2013) “Moments in Place”, Brighton Digital Festival, Brighton UK, September 1-30, 2013

Woolford, K (2013) “Kusho: written in the air”, co-commission from Brighton Digital Festival and Brighton Japan Festival, Brighton UK, September 13-17, 2013

Woolford, K, Guedes, C., Burfen, J.M., et al. (2012) “Concerto X: Guimarães” (Created real-time graphic and photographic visuals for Live performance with 17 piece orchestra before an audience of 800), Guimarães European Capital of Culture, PT, 1 October, 2012

Woolford, K, (2011) “Motions in Place” (Augmented Reality/Motion Capture dance installation, 3 locations), White Nights Nuit Blanche, Brighton and Hove City Council, UK, 29 October, 2011

Woolford, K, (2011) “But Still, it Moves” (Photography exhibition, 12 images and conference participation), Kinesthetic Empathy: Concepts and Contexts, University of Manchester, UK, March 8-10, 2010

Woolford, K, Guedes, (2009) “Echo Locations” (Interactive Installation, 2,500 viewers), Commissioned by Frog Design and University of Texas Austin for South by Southwest Interactive (SxSWi) Austin, TX, USA, 14 March, 2009

Woolford, K, Guedes, (2008) “Echo Locations” (Interactive Installation, Juried show, 35,000+ viewers), Slow Art - Evolve, ACM SIGGRAPH 08, Los Angeles, US, August 11-15, 2008

Woolford, K, Guedes, (2008) “Grass Traces” (interactive CGI installation) ton de video 08, Festival Internacional de Video Acert, Tondela, PT, 30 Apr- 3 May 2008

Woolford, K., (2008) “Will.0.video” (CGI animation, 5 mins), Black&White Festival,” Porto, PT, 2-5 April 2008

Woolford, K., (2008) “Will.0.video” (CGI animation, 5 mins), “Dance for Camera Shorts”, included in touring exhibition to 9 venues in the UK, South-East Dance, Brighton, Feb-Dec 2008

Woolford, K, (2008) “Storey Inside/Out” (photographic installation documenting month-by-month renovation of Victorian building 1200+ images projected on scaffolding and in tourist information centre) Storey Creative Industries Centre, Lancaster, December 2007 - October 2008

Woolford, K., (2007) “Will.0.video” (CGI animation, 5 mins), Dance for Camera Festival 2007, South-East Dance, Brighton, UK, 30 November – 2 December 2007

Woolford, K., (2007) “Will.0.video” (CGI animation, 5 mins), The Bigger Picture, Manchester, UK, 1-14 December 2007

Woolford, K., Guedes, C., (2007) “Will.0w1sp” (Interactive CGI installation + public artist presentation, 80,000+ viewers) “Digital Arts and Magical Moments Ars Electronica Exhibition”, Shanghai eArts, Shanghai, CH, October 19 - November 10, 2007

Woolford, K., Guedes, C., (2007) “Will.0w1sp” (Interactive CGI installation + conference paper and participation) ACM Multimedia Interactive Arts Program, ACM Multimedia 2007, Augsburg, DE, 24-29 September 2007

Woolford, K., (2007) “Will.0.video” (CGI animation, 5 mins), Dança em foco, Rio de Janeiro, BR, 8-14 August 2007

Woolford, K., (2007) “Will.0.video” (CGI animation, 5 mins), Moves07, Manchester, UK, 12-17 June, 2007

Woolford, K., Guedes, C., (2007) “Will.0w1sp” (Interactive CGI installation + conference participation) Futurevisual, Futuresonic Festival, Manchester, UK, 10-12 May, 2007

Woolford, K., Guedes, C., (2007) “Will.0w1sp” (Interactive CGI installation) Inspiration to Order, the gallery at Wimbledon College of Art, London, UK, 26 April – 25 May, 2007

Woolford, K., (2007) “Will.0.video” (CGI animation, 5 mins), 700IS Experimental Film Festival, Egilsstadir, Reindeerland, IS, 24-31 March 2007

Woolford, K., Bardget, R., Lavery, C. (2007) “Observing Nature: Performing Ecology” (Photographic exhibition of Sights of Specific Scientific Interest, 20 prints, 120 digital images), Lancaster Environment Center, Lancaster University, Feb-Mar 2007:

Woolford, K., “Will.0.video” (2007) (CGI animation, 5 mins), Langsett Independent Film Festival, Langsett, UK, Jan 2007

Woolford, K., Guedes, C., (2006) “Will.0w1sp” (Interactive CGI installation) Inspiration to Order, California State University, Stanislas, 26 September – 25 October, 2006

Woolford, K., Guedes, C., (2006) “Will.0w1sp” (Interactive CGI installation + conference participation) Digital Resources for the Humanities & Arts, Dartington, UK, 3-6 September, 2006:

Woolford, K., Guedes, C., (2006) “Will.0w1sp” (Interactive CGI installation, juried show) Vida 8.0 Art and Artificial Life, ARCO’06 Madrid, ES, 9-13 February, 2006

Stewart, N., Woolford, K., (2005) Chaining” (reactive CGI stage set), Ludas Dance, Dance Cuts, Nuffield Theatre, Lancaster, 13 September 2005

Woolford, K. (2005) “Listening Between the Lines” (live performance with Brückner House Orchestra, 900 live viewers), commissioned by Ars Electronica, Broadcast live on ORF (12 mins), Linz, AU, 5 September, 2005

Woolford, K., Guedes, C., (2005) “Will.0w1sp” (Interactive CGI installation) Dance Shorts, Overtom301, Amsterdam, NL, 14 July, 2005

Woolford, K., Guedes, C., (2005) “Will.0w1sp” (Interactive CGI installation) Waag Society for Old and New Media, Amsterdam, NL, 16-18 March, 2005

Woolford, K., (2004) “Will.0w1sp” (Interactive CGI installation + conference participation) Mediamatic Salon, Mediamatic, Amsterdam, NL, 4 July 2004:

Guedes, C., Woolford, K (2004) “CoR”, (reactive CGI installation 10,000 viewers), Festival Obra Aberta, Casa da Musica, Porto, PT, 20-24 June 2004

Woolford, K., (2003) “Reckless Eyes” (telematic performance and artist in residence), Playing Field, Montevideo Netherlands Institute for Media Arts, Waag Soceity, Amsterdam, April 2003:

Nas, S, Woolford, K., et al, (2002) “Spotthecam/I See” (Amsterdam-based version of Institute of Applied Autonomy iSee project identifying urban cameras and plotting path of least surveillance between locations) World Information.org, Oude Kerk, Amsterdam, NL, 15 November -15 December 15, 2002

Martelli, B., Gibson, R., Woolford, K., et al, (2002) “Winterspace” (interactive CGI installation, juried show), Monaco Dance Forum, Monte Carlo, Monaco, 16-20 December, 2002

Woolford, K., (2002) “Will.0w1sp” (Interactive CGI installation + conference participation, juried show) Monaco Danse Forum, Monte Carlo, Monaco, 16-20 December, 2002

Martelli, B, Gibson, R., Woolford, K., et al, (2001) “Viking Shoppers” (live performance with reactive CGI) “Encontros ACARTE” Centre de Arte Moderne, Gulbenkian Foundation, Lisbon, PT, 20-22 September 2001

Martelli, B., Gibson, R., Woolford, K., et al, (2001) “Winterspace” (interactive CGI installation), commissioned by Hoxton Hall, London, UK, Feb 2001

Woolford, K., Kozel, S, (2000) “contours” (installation, juried show), Monaco Dance Forum, Monte Carlo, Monaco, 2000

Woolford, K., Kozel, S, (2000) “contours” (live performance/installation), The Place, London, UK, 2000

Martelli, B, Gibson, R., Woolford, K., et al, (2000) “Viking Shoppers” (video installation) NOW festival, Broadway Media Centre, Nottingham, UK, 7-14 December 2000

Martelli, B, Gibson, R., Woolford, K., et al, (2000) “Viking Shoppers” (live performance with reactive CGI), Hoxton Hall, London, UK, November 2000

Woolford, K., (2000) “Rome & Jewels” (commissioned reactive CGI for live performance, 60 mins) Rene Harris Puremovement, and Soundlab, Philadelphia, PA, 2 October 2000

Martelli, B, Gibson, R., Woolford, K., et al, (2000) “Viking Shoppers” (live performance with reactive CGI) Digital Summer, Green Room, Manchester, UK, October 2000

Martelli, B, Gibson, R., Woolford, K., et al, (2000) “Viking Shoppers” (live performance with reactive CGI) live performance, Jackson’s Lane, London, UK, June 8-10, 2000

Woolford, K., Kozel, S, (2000) “contours” (live performance/installation, education workshop), Gallery, Nottingham, UK, 2000

Woolford, K., Stenslie, S., (2000) “Wie man sieht...”, cyberSM part of KHM show, Museum Ludwig, Cologne, DE, 2000

Woolford, K., Kozel, S, (2000) “contours” (live performance/installation), St Mary’s, Hastings, UK, 2000

Diller, L., Scofidio, R., Woolford, K., et al, (2000) “blur building” (commissioned by Diller + Scofidio architects for interactive installation project team for Swiss Expo 2002) New York, NY 1999-2000

Woolford, K., Kozel S, (1999) “figments”, performance/installation, Event Coast, Otter Gallery, Chichester, UK, 1999:

Norman, S.J., Woolford, K, Kozel, S., et al, (2000) “Im Fliegenden Raum” (dance performance with reactive computer graphics, 60 mins) Zentrum for Künst und Medien Technologie, (ZKM), Karlsruhe, DE, 1999:  

Woolford, K., Kozel, S, (1999) “contours” (live performance/installation, education workshop), University of Surrey, Guildford, UK, 1999

Woolford, K., Kozel, S, (1999) “contours” (live performance/installation, education workshop), Dance Screen 99, Cologne, DE, 1999

Woolford, K., Kozel, S, (1999) “contours” (live performance/installation), Fabrica, Brighton, UK, 1999

Kozel, S., Woolford, K., (1999) “Hotel New York Residency”, (performances of work in progress) PS-1 (MoMA), NY, 1999

Rubidge, S., Woolford K., et al, (1998) “King Kanut”, (dance/video installation), Migratory Bodies, Chichester College, Chichester, August, 1998:

Kozel, S, Woolford, K, (1998) “Liftlink”, (live telematic dance performance), Brighton Festival, Brighton Media Centre, Brighton, UK, May, 1998

Kozel, S, Woolford, K, Schiphost, T., (1996) “Multi-Medea” (live motion capture dance performance), Future Moves, Lantaren Venster, Rotterdam, NL, July 1996

Paci Dalò, R., Atzori, P., Woolford, K., et al, (1996) “SHIPL”, (Live streaming broadcast, 60 mins) La Nuit du Centenaire de la Radio, Cologne, Germany & Arles, Fance, 27 July 1996

Moreau, J.F., Woolford, K. (1996) “folie” (Multi-sequence hologram) Art in Holography2, University of Nottingham, Nottingham, UK, September, 1996

Flamand, F., Diller, L., Scofidio, R., Atzori P., Woolford, K, et al, (1996) “Moving Target”, (virtual set for live performance) Charleroi Danses, Charleroi, Belgium, toured by company 1996-1998

Woolford, K. (1995) “AOL, Tessla Calling” (Audio Sculpture and dancer performance), Art Cologne, Kölnische Kunstverein, Cologne, DE, 11-19 November, 1995

Stelarc, (1994) ”Amplified Body”, (assisted Stelarc and conducted interview), Kunsthochschule für Medien, Cologne, DE, October 1994:

Woolford, K., Stenslie, S., (1994) “cyberSM III”, (telematic CGI installation/performance), ISEA ‘94, Museum of Contemporary Art, Helsinki, FI, 1994

Woolford, K., (1994) “Telehaptic Research Lab”, (2 site performance/installation), Sommerakademie, Akademie der Kunste, Berlin, DE, 21 June – 7 July, 1994

Flamand, F., Plessi, F., Atzori P., Woolford, K, et al, (1994) “Ex Machina”, (video animations for stage set) Charleroi Danses, Charleroi, Belgium, toured by company 1994-1996

Woolford, K., Stenslie, S., (1994) “cyberSM”, (telematic CGI installation/performance Live Broadcast, 20 mins), Boulevard Bio, WDR, Bonn & Cologne, DE, 1994

Woolford, K., Stenslie, S., (1994) “cyberSM”, (telematic CGI installation/performance), Planet Sex Ball, London, UK, 1994

Woolford, K., Stenslie, S., (1994) “cyberSM”, (telematic CGI installation/performance), Voyages Virtuel, Paris, FR, 1993

Woolford, K., Waite C., (1993) “New Digital Media: Two American Artists in Köln” (CGI Photographs, 12 images), Art Cologne, Amerika Haus, Cologne, DE, November-December 1993

Galloway, K., Rabinowitz S., Woolford., K., et al, (1993) “Message in a Bottle” (telematic painting performance) Electronic Café Aarhus, Aarhus Festival, 6-9 September, 1993

Woolford, K., (1993) “Not One of Us” (remotely viewable 3D Sculpture) Electronic Café International and Casino Container, Cologne & Venice Biennale, 11-16 July, 1993

Galloway, K., Rabinowitz S., Woolford., K., et al, (1992) “Electronic Café International” (technical director, international networking) SIGGRAPH 92, Chicago, IL, 26-31 July, 1992

Buckley T., et al, (1991) “Dis-organized”, (un-credited dancer, 8 mins) commissioned by KTCA-TV, Minneapolis for broadcast on “Alive from Off Center, Dances in Exile”, Chicago IL, 3-17 July 1991

Buckley T., et al, (1990) “High Atmosphere”, (un-credited dancer, 20 mins), Dance Expo ’90, Moming Center, Chicago, IL, 3 August, 1990

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