A person sits down, picks up the digital pen and makes a scribble on screen. The computer analyses what has been drawn and its interpretative system produces a psychological report in the form of music, colours, video fragments and enactments. Lastly the scribbler's personality profile is then printed out. The scribble has the dual function of a test and a means to enhance inner awareness by basing it on what is made evident.

The installation displays in interactive mode several dozen short video extracts taken from television programmes. The characters in the sequences are cartoon characters, seen as they tackle the challenges of intuitively discovering that the body cannot alter its shape, or simply of surviving the most terrible falls. The viewer must participate directly with his/her body in order to re-animate the action of the characters.

Consisting of a cylindrical space marked off by black curtains, a console and two armchairs, the installation involves a pair of spectator/performers and, using an interface and a finger-pressure pad, enters into contact with their emotional zones.

When touched, three large membranes react like drums, emitting sounds and modifying the images projected onto their surfaces. Like tom-toms, the echo of these drums is protracted to the immaterial space of the Web through the sending of a series of e-mail addresses of the small, symbolic objects held by the hands projected.

The installation results from a blend of nature and interaction. The creation of a suspended environment brings into play the confines between a dimension conceived as being both external and given - the natural dimension - and a strictly human dimension, that of technological invention. The space within the container - in which a water hyacinth is cultivated - defines a nature sui generis which, since its own living conditions are secured by the functioning of a complex technical apparatus, exists solely as a result of the denaturalisation of nature itself.

Loaded on a server, the Carnivore software allows surveillance in real time of data flows on the Spazio Oberdan network, visualising and giving physical form to the IP numbers connected. These IP numbers are then related to a system of physical interaction enabling the public to interfere with their flow. Two incompatible planes are superimposed: the physical and the digital dimension.

This video installation enables the viewer to determine the definition and focus of the images on two screens placed at the end of the pre-defined route, by moving towards or away from them. Looking closer does not always make things more visible: what seems, is not, what proves to be, seemed not to be.