Click here for pdf version

Kathleen Ruíz, Ph.D. abd

80 Bluestone Path
Olivebridge, N.Y. 12461


Biographical Overview


Kathleen Ruiz is an internationally exhibiting media artist who creates interactive simulations, games, installations, sculpture and photography. Her work explores issues about perception, behavior, interaction and the confluence of the imaginary and the real, inviting inquiry into how conceptual constructs are built and how they serve to shape ethics and power.

Portraying the promise of technology as well as its frightening, fascinating and humorous contradictions, Ruiz poses questions about the oxymoron of virtual violence, catharsis, and desensitization in simulated space. She builds simulated and physical places where multiple viewpoints can be explored and expanded, while challenging us to simultaneously perceive perspectives of the observer, the observed and the process of observation.


Kathleen’s recent scholarly and artistic work explores the innate, but oftentimes overlooked, ability to use simulation to study intentionality, multiple perspectives and potential non-colonizing approaches towards understanding and acceptance of the “other”. Her work considers games and simulations as cultural artifacts reflecting how a society expresses gender, race, and behavior.


Kathleen’s work is supported by grants from the Mid-Atlantic Arts Foundation Visual Arts Residency Award, Connecticut Council on the Arts Award, the New York City Department of Cultural Affairs Percent for Art Commission for permanent public art, the New York State Council on the Arts Exhibition Grant, the Experimental Television Center Grant, the National Science Foundation, the National Endowment for the Humanities, and the New York State Council on the Arts Individual Artist award. Recent work was also funded by Sony Computer Entertainment, Europe.


She has exhibited at numerous galleries, museums and alternative spaces in the United States, Mexico, Europe, South America, and Asia and her work was reviewed/published in the New York Times, Aperture, Art News, ARTI, Jornal do Brasil, The College Art Journal, The MIT Press, Reuters Video News International, Computer Graphics, Yale University Art Gallery, Wired, USA Today, arteTV, Kultur:Deutsche Welle, TeknoKultura, and others.


Current Artistic Research

* Water and especially plankton and the environment have been preeminent interests, and the use of simulation media, vr, ar and 360 degree paintings to create an approach of immersion, both blurring and highlighting difference and other in an exploration of one as embedded in, by and of nature.  

* The Other: an interactive 3D simulation that explores the theme of multiple perspectives through different characters, each with their own viewpoint, in a dynamic environment showing how one’s actions and decisions affect others environmentally, socially, and culturally.

* Telomere: a multimedia ballet exploring conceptions of age and agelessness in a triumph of the human spirit while the inevitable collapse of body occurs through time. “Telomere” uses the biological process of cell division as a metaphor for the life process of a prima ballerina.  In an alchemic interweaving of art and science, the many aspects of aging are experienced physically, socially, psychologically, spiritually and emotionally.

* ErGoGenic Research Group: (co-founder), a trans-disciplinary team of artists, composers, cognitive scientists, medical doctors, psychologists, and game designers who are developing physical interfaces and bio-feedback to directly affect gameplay and interaction in games/simulations to encourage reaching and maintaining healthy levels of cardiovascular activity. This group is also working on games which aim to approach satiation through psycho/physio interaction.

* Capability Games and Simulation: (co-founder) an interdisciplinary group of programmers, artists, engineers, and composers who are developing interactive multimedia game simulation modules for differently abled people to help in learning basic life skills for independence through fun, repetition and engagement. Visual/auditory stimulation and memory systems are being developed in conjunction with innovative interface modalities tailored for individuals who have sustained brain injuries or who are physically and/or mentally handicapped.

* Multi-Sensory Media Art expanding beyond the eye/ear metaphor using olfaction, proprioception, EEG/EKG, and other emerging interfaces/delivery systems.

* Nanosculptures: and the interplay of macro and nano structures: The area of nanotechnology holds potential creative territory for new kinds of artistic/scientific/philosophical/environmental/medical/ethical discourse and collaboration. Evolving preliminary ideas for nano dimension projects which consider physical phenomena and new perceptive environments emerging from nanoscale research could include fascinating super-mini objects, larger frameworks for virtual and physical three dimensional “sculptures and terrains” which would act as catalysts for opening much needed thoughtful and critical dialogues.

* Playable Art: physically and environmentally stimulating fine art sculpture and environments for touching, hearing, seeing, climbing, jumping, exploring, imagining, and cooperating for fun, enjoyment and education.


Teaching Interests

* Experimental Game Design: a multidisciplinary studio arts course focusing on the creation of innovative workable game prototypes using a variety of multimedia approaches, methodologies and materials. Games are analyzed as cultural artifacts reflecting behavior, social formation, and the representation of gender, ethnicity and identity. Alternate works that go beyond existing shooter-type paradigms and emerging forms are encouraged.

* Advanced Integrated Arts: Open to Institute-wide Ph.D. and graduate students, this course uses integrated multidisciplinary inquiry and creative studio practice to expand inventiveness and to explore the potentials and the impacts of our own contemporary technological, scientific, social, and artistic research as it unfolds in the context of the larger world and across Arts, Cognitive Science, Science, Computer Science, Architecture, and Engineering.
 * Advanced Digital Imaging:
An upper level studio exploring individual visual arts projects contributing to culminating experience, thesis or dissertation development. Topics and projects in creative personal expression in imaging, installation, and mixed media practices are explored drawing from issues raised in class projects. Projects in high resolution digital photography, painting, illustration, processing, printing, as well as physical assemblage, and projection are conducted.

* Perception and Art (in formation)

* Nano Perspectives: Multidisciplinary Explorations in Art and Nanotechnology (in formation)

* Advanced Topics in Simulation (in formation)

* Multi-Sensory Media Art expanding beyond the eye/ear metaphor (using olfaction, proprioception, EEG/EKG interfaces, etc.) (in formation)



Rensselaer Polytechnic Institute
Department of the Arts
Troy, N.Y.

Associate Professor of Integrated Arts (2003-present)
(Assistant Professor 1997-2003)
Creating and developing undergraduate and graduate programs and curriculum in the visual and integrated arts including studio and studio/seminar courses in Advanced Integrated Arts, Experimental Game Design, Advanced Digital Imaging, Intermediate Digital Imaging, Virtual Environments, Advanced 3D Projects, Media Arts Studio, Cyberarts, Photography, Animation, Creative Design in Information Technology, and emerging genres.

Undergraduate advising and research project supervision. Graduate and doctoral thesis chairing and advisement, and co-ordination of graduate teaching assistants. Artistic research in interactive simulation, multisensory multimedia, motion capture, advanced digital imaging/photography, motion tracking and critical trans-disciplinary projects. Academic committee assignments within the department and in university-wide interdisciplinary curriculum endeavors, faculty and administrative searches, advisory panels and grant writing. Helped to formulate the Visual Arts and Animation Working Group to help colleagues, clinical faculty, graduate teaching assistants, and staff discuss issues and ways to improve our programs using strengths in traditional fine arts practice, digital arts practice, and emerging experimental genres.

Research and recommend hardware, software, cameras, printers and studio design. Member, Gen/Net: A Gender, Science and Technology Group. Co-authored the Minor in Game Studies at Rensselaer, and co-authored the trans-disciplinary Major in Game Simulation Arts & Science (GSAS). Recommend and co-ordinate symposia and visiting lecture series in interdisciplinary studies in the arts. Founding member of the multidisciplinary ErGoGenic Game Research Group and the CapAbility Games Research Project.

1988 - 1997

New York University
Department of Art and Arts Professions
New York, N.Y.

Associate Professor, part time

Helped to establish and develop the Art in Digital Media Program. Created curriculum at the graduate and undergraduate level to explore the use of computers in art making. The program is specifically designed to demystify the technology and empower the artist with the necessary skills for: two dimensional work including digital photography, painting, & printmaking, three dimensional virtual sculptural works, animated interactive installations, digital video, and innovative exploration of the computer as a tool for augmenting creative thought. Courses created and taught included: "Advanced Projects in Art and Media: Computer Art I & II," "Projects in Art and Media: Computer Art I & II," "Introduction to Computer Art", and "Digital Photography I & II". Advising students on independent study projects in digital media, Contributed on-going technical consultation for software and hardware purchases, creating interdisciplinary bridges both within the Department of Art and with other departments and schools within the University, coordinated and conducted research and development for computers in the arts, consulted in the recommendation of studio lab facilities, coordinated the guest artist/critics program, designed materials, events and web site art exhibitions to promote the work of the students of the Art in Digital Media program throughout the department, the university, and the local, regional and international community.

1991 - 1997

School of Visual Arts
Master of Fine Arts, Computer Art Program
New York, N.Y.

Member of MFA Faculty

Responsibilities included the creation of new curriculum, the teaching of advanced studio/seminar courses at the graduate level for students exploring digital media for artistic expression and visualization utilizing computer technology to augment and expand artistic conceptualization. Advisement and chairing of student MFA thesis projects.

1990 - 1992

Scholastic Software Inc.
New York, N.Y.

Artist, animator and interface designer Projects included Operation Frog (Mac based interactive virtual dissection program), Timeline (an innovative interactive program of American history from 1492 to the present), and others.

1988 - 1991

The Hippocrates Project
New York University School of Medicine
New York, N.Y.

Design director of interactive medical courseware for first and second year medical school curriculum and for physician scholars including subjects ranging from EEG, psychology, neurobiology, cell biology, molecular biology (the polymerase chain reaction) and others. Research and development of animation and scientific visualization systems. Created and conducted seminars in the design and implementation of computer based courseware.

1986 - 1989

N.Y.C. Department of Health
Bureau of Public Health Education
Media Services Unit
New York, N.Y.

Designer/Consultant for communications promoting public health. Researched and purchased hardware and software for computer imaging and trained art staff in the use of computer systems for desktop publishing.

1981 - 1997

Multi-media designer and consultant
for major corporate accounts and institutions

·         Citibank

·         Ford

·         AT&T

·         Wendy's

·         Exxon

·         Pantene

·         The Library of Congress

·         New York Telephone Company

·         Deloitte & Touche

·         NYNEX

·         IBM

·         Sony

·         BMW

·         Waterjel

·         Mattel Toys, Inc.

·         The Howard/Marlboro Group

·         “Cooking with Jacques Pepin”

·         Broadway Theater set design for Neil Simon's "They're Playing My Song"

Selected Exhibitions/Performances

2016 – present


The Aquatic Messenger


Kathleen Ruiz, abd Ph.D. Associate Professor, Integrated Arts & GSAS
originator, project lead designer, director, producer
Large Scale VR Art Installation:

Continuing my long-term artistic exploration of water and the microscopic life that lives in it, The Aquatic Messenger is my newest work-in-progress. This is a major immersive virtual world that enables the traversal of time and the scale at which you experience underwater lifeforms. The work also has archival interactive ar murals and 3d print sculptures of various plankton with table paintings that are both aesthetic and informative.


The Aquatic Messenger is deeply connected to my background in traditional and digital arts and is inspired by field and lab research. One of the goals of the work is to inspire and acquaint people about the abundant, but relatively unknown microscopic life indicators of freshwater ecology. I am inspired, in part, by the micropaleontology and freshwater plankton research being done on the Jefferson Project and at the DFWI (Darrin Freshwater Institute) by Dr. Mimi Katz, Dr. Sandra Neirswecki-Bauer, and graduate student, Krysia Kornecki who are studying the deep past to learn about potential future environmental changes


Additionally, I draw inspiration from my scholarly and artistic research centered on simulation, perspective and empathy. Here I am exploring the possibilities for simulation media to approach a non-colonizing understanding of “the other”, whether that other is another person, or the environment. I was inspired by the spirit of Galileo’s great treatise, The Starry Messenger, (Sidereus Nuncius) where he revealed through his observation and drawings of the heavenly bodies, that the earth was not
the center of the universe. Similarly, the phenomenological stance that The Aquatic Messenger experientially conveys in the virtual, is that we are part of this underwater world, but not its center.

Using advanced game and simulation technology, I am working with trans-disciplinary teams of scientists, students, programmers, artists and music composers in the creation of an artwork that is both tactile and virtual.  Experientially it aims to build a critical awareness of the importance and complexity of freshwater ecosystems and their serious potentials for environmental impact.

In my customary style, going back to my early VR works in 1995, The Aquatic Messenger is experienced both digitally and in conjunction with physical interfaces and sculptural objects, and it involves artistic and scientific “real world” fieldwork experiences.


Recent lake coring samples from the micro-paleontology research being done by my colleagues, geologist Krysia Kornecki and micro paleontologist Dr. Mimi Katz are revealing significant changes in three lifeforms: ostracodes, diatoms, and testate amoeba, in addition to pollens, isotopes, phosphorus, nitrogen, salinity and other indicators of human impact on the delicate balance of phytoplankton and zooplankton.


This imbalance greatly influences freshwater ecology and is responsible for algae blooms, significantly effecting the quality of drinking water world-wide.

Especially in the current world of “Fake News” and the annihilation of environmental protections and funding, through The Aquatic Messenger become “keepers” of the emerging environmental knowledge, giving tiny plankton, who are vital to freshwater ecology, a voice and a presence through virtual embodiment. The “Aquatic Messengers” are sending us important messages from deep time. Using the virtual is a radical act of preservation and transmission of this vital knowledge.


collaborators include:
Miriam (Mimi) Katz, Ph.D. Associate Professor, Paleoceanography and Micropaleontology, Earth & Environmental Sciences, Rensselaer Polytechnic Institute

Rick Relyea, Ph.D., Professor of Biology, Executive Director DFWI, Director of the Jefferson Project

Nina C. Young, Ph.D. Assistant Professor of Music, music composition
Krysia Kornecki, graduate student, Geology

Connor Fahy, GSAS/CS 2017: Lead Programmer

Eric Lujan, GSAS/CS 2019: Assistant Programmer, music composition

Jerry Huang, Architecture 2018: 3D Print Design and Production

Hongyang Lin, (Lion) GSAS/Earts 2020: Art/Modeling/Animation

Ian Stead, EMAC 2007: Environmental Art/Interface

Christina Chiusano, eARTS 2015: 3D modeling and animation
Harrison Essig, CS 2021: Assistant Programmer

Matthew Carlson, GSAS/CS 2020: Associate Programmer

Autumn Walters, eARTS?EE, 2021: Installation

Brendon Curson, Associate Programmer/UI/Web/Video

Hantian Jiang (Simon) GSAS/CS 2018: Associate Programmer


Exhibited and or presented at:


Echo Leahy Center for Lake Champlain visited Rensselaer to experience installations of The World of Plankton tablet, The Aquatic Messenger vr, Invert AR mural, plankton table art and 3d print sculptures, Feb. 21, 2018 (Resulting in a planned exhibit Sept 2018-Jan 2019.)


Radical Preservation and Aquatic Survival: experiential transmission through art by becoming water, snorkeling with plankton, and traveling through deep time, by Kathleen Ruiz, invited guest speaker for New Perspectives: Innovations by women intersecting science, media and sonic arts, at the University of California, Santa Barbara, AWMAT 2018 Alliance of Women in Media Arts and Technology, February 8-10, 2018


AWMAT Art Exhibition: The World of Plankton touchscreen, curated by Lena Mathew & Kathy Rae Huffman at University of California, Santa Barbara February, 2018



The Center for Holographic Arts solo art exhibition of The Aquatic Messenger, at in NYC, on Governors Island, with over 500 attendees, July 14, 15, 16, 2017


Art Exhibition of The Aquatic Messenger, at Curating Immersive Realties, a roundtable screening of international VR and AR artists at Jump into the Light Virtual Reality Lab, in conjunction with Martina Mrongovius, NYC, June 23, 2017


The Aquatic Messenger visited the Echo Museum for the Environment, Spring 2017
Burlington Vt. (Currently in dialog for a possible exhibit in 2018.


World of Plankton presented at the Wild Center, Tupper Lake, N.Y., 2017


 The Aquatic Messenger presented by Kathleen Ruiz & Krysia Kornecki at the IBM T. J. Watson Research Center, Yorktown Heights, at the International Jefferson Project meeting, Feb 1, 2017


Solo exhibition of, “Invert”, interactive augmented reality mural at the Martin Luther King Center in conjunction with the Fundación Antonio Núñez Jiménez for Culture and the Environment, Havana, Cuba January 4-11, 2017

Recent grants related to this project include:


NYSCA (New York State Council on the Arts) in Partnership with Wave Farm: Media Arts Assistance Fund Grant, 2017 Funded


IBM and the Fund for Lake George, The Aquatic Messenger (vr) and The World of Plankton (tablet) 2017, Funded


MRI: A Smart Sensor Web for understanding freshwater ecosystems
(Relyea, R., PI; Deborah McGuinness, Sandra A Nierzwicki-Bauer, Kathleen Ruiz, Morgan F Schaller Co-PIs)      The major goals of this project are to acquire a single integrated platform of sensors that will monitor regional weather, physical and chemical parameters of the water, the circulation of water throughout Lake George, and inputs from the major tributaries. These sensors will be positioned throughout the lake and integrated using Smart Technology. National Science Foundation MRI, National Science Foundation, 8011           
runs 9/1/16 to 8/31/19,  Funded



2015 - 2018

World of Plankton

Funded by part of a Rensselaer KIP (Knowledge and Innovation Program Grant) for “Building a Three-Dimensional Model of the Plankton Distribution in Lake George,” 2015, the Jefferson Project, and an additional extension KIP in 2016, with outside funding grants from an NVIDIA Academic Research Hardware Grant

Kathleen Ruiz, Originator and Lead Artist, Designer, Director, Producer

The World of Plankton is an immersive, interactive, virtual 3D art and science environment designed to viscerally engage the participant at the micro-scale of unseen phytoplankton and zooplankton in order to gain first-hand experience about the drama of underwater life and its potentials for environmental impact.

The project is designed to highlight the importance and complexity of freshwater ecosystems as one is given choices to navigate, learn and envision what this aquatic world might look like if conditions were to change - coming face to face with a huge rendition of the invasive spiny water flea as it eats other phytoplankton, or viscerally experiencing the unfolding events of a large algae bloom. The project defines what plankton are, and sets the scene to embark the user on an immersive under water journey akin to snorkeling with large, mostly transparent, creatures that few have ever seen at such large scale. The scenarios which take place include behaviors, predations, invasives, and impacts on lake water which can be seen as one experiences the various levels of the project. This work includes originally composed music and spatialized sound shaped by sonification of lake and research data. Additionally, there are large-scale physical 3D print sculptures of key plankton models such as Dinobryon divergens, Fragilaria, Daphnia Pulicaria, and Bythotrephes Longimanus (Spiny Waterflea). These sculptures can be picked up, pulled apart, and studied. We are also experimenting with ecological casting materials such as chitin, the organic glucose polymer that makes up the exoskeletons of crustaceans and insects, and the radulae of mollusks. We have plans for constructing overhead hanging sculptural models of plankton blown hugely out of proportion that will be juxtaposed with floor graphics of swimming fish below and interactive augmented reality marker prints creating the total ambience of work. The project can be experienced as a projected virtual artwork installation in a gallery, a science or arts museum, or online.



Exhibited and or presented at:

World of Plankton • Echo Leahy Center for Lake Champlain—ECHO Innovation Playground

1 College Street, Burlington, Vermont 05401

Opening Friday, Oct. 5th, 5:30–7:30pm;

on exhibit through January 6, 2019


World of Plankton touch pool installation

At the confluence of game design, art, and science the World of Plankton touch pool installation includes a virtual touch-pool aquarium that explains the role of plankton in freshwater ecology. The installation consists of a giant digital touch table where one can capture and explore zooplankton, phytoplankton and fish species, surrounded by an original 32-foot digitally painted mural and an animated Plankton Zoo featuring three-dimensional print sculptures in resin. Visitors can bring the plankton sculptures to life on their mobile devices by scanning QR codes found in the installation to activate original animation and music.



Radical Preservation and Aquatic Survival, experiential transmission through art by becoming water, snorkeling with plankton, and traveling through deep time, by Kathleen Ruiz, invited guest speaker for New Perspectives: Innovations by women intersecting science, media and sonic arts, at the University of California, Santa Barbara, AWMAT 2018 Alliance of Women in Media Arts and Technology, February 8-10, 2018


AWMAT Art Exhibition: The World of Plankton prototype touchscreen, curated by Lena Mathew & Kathy Rae Huffman at University of California, Santa Barbara February, 2018


World of Plankton is featured in The ACM SIGGRAPH on-line exhibition, Science of the Unseen: Digital Art Perspectives 2016- currently on exhibit

Artworks in Science of the Unseen: Digital Art Perspectives think creatively about questions of scale and how unseen processes animate larger effects. By using digital tools and computational programs, we see with new eyes as we view visual material from the microscopic cell to the cosmic universe. Technology increasingly alters the senses and our experience of the biological, astrological, and geological landscape. From our new ways of seeing, questions emerge such as: how does nano-technology mirror and magnify the art of nature? How does visualizing insect burrows in trees allow us to interpret a larger ecosystem? Or we can ask what still remains unseen: how do organisms form new imperceptible habits in response to technology?

Art can be both inspired by and resistant to accepted scientific practices for visualizing the world. Artworks in Science of the Unseen: Digital Art Perspectives experiment with innovative research methods that also critically examine what drives the disciplines of art and science. In this exhibition, artistic interpretation of the unseen emphasizes the political dynamic of both the human public and nonhuman ecologies. How does art represent and empower the relationships between micro and macro, unseen and seen, situated and global that would otherwise be invisible? What can art see that science cannot see alone?


World of Plankton presented at the HASS Humanities Roundtable: Developing a Digital Infrastructure for Humanities Research and Collaboration at Rensselaer, Sage 3205, 12-2PM, November 11, 2016

World of Plankton presented to Kirk Schell, an RPI alumn and senior VP of Commercial Client Solutions for Dell, Alumni House, 9:30- 11:30AM, November 11, 2016

World of Plankton presented by Kathleen Ruiz at meeting with Kirk Johnson, Ph.D., Sant Director of the Smithsonian National Museum of National History, Washington D.C., with Deepak Vashishth, PhD., Director, Center for Biotechnology & Interdisciplinary Studies, Professor of Biomedical Engineering, Rensselaer Polytechnic Institute; Prabhat Hajela Ph.D., Provost, Rensselaer Polytechnic Institute; and Mimi Katz, Ph.D., Associate Professor, Earth and Environmental Sciences, Rensselaer Polytechnic Institute, CIBIS September 1, 2016

World of Plankton presented by Kathleen Ruiz, Ian Stead and Christina Chiusano at the Margaret A. and David M. Darrin ’40 Fresh Water Institute Open House, Saturday, August 20, 2016

World of Plankton presented at the Revolutionary Learning 2016 Conference, by Kathleen Ruiz, Evan Gonzalez, and Jerry Huang, Grand Ballroom, Roosevelt Hotel, 45 East 45th Street, N.Y.C., August 18, 2016

World of Plankton presented at the international ACM SIGGRAPH conference, Anaheim, California, July 24 - July 28, 2016.

World of Plankton presented by Kathleen Ruiz at the NYSCA Electronic Media/Film & Visual Art (New York State Council on the Arts) and G4C (Games for Change) Match Up, at Parson School of Design, Sheila C. Johnson Design Center, Parsons School of Design, 2 West 13th Street, NYC. June 22, 2016

World of Plankton prototype presented at Gamefest, at Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute April 29 – 30, 2016

World of Plankton was presented by Ben Chang at the international Game Developers Conference (GDC), Moscone Center, San Francisco, California March 14-18, 2016

World of Plankton research was presented by Kathleen Ruiz, Justin Cirigliano, Leo Antelyes, Christiana Chiusano, and Domenic Cristaldi at the Jefferson Project meeting at Lake George Feb. 3, 2016

World of Plankton, presented by Kathleen Ruiz in Professor Jefferson Kielwagan’s sculpture class to inspire the creation of 4 to 5’ physical hanging sculptural zooplankton paper prototype models for the World of Plankton installation, Feb., 2016

World of Plankton prototype presented by Kathleen Ruiz at TVGScog (Tech Valley Game Space Center of Gravity), Troy, N.Y.  Feb., 2016




Project: The Other

Funded with hardware support from 1St Playable Productions

Kathleen Ruiz, Originator and Head Creative Artist, Director, Producer

Project: The Other is a research project investigating virtual space with an entirely new approach to what can occur in interactive experiences. Light Up My World (in conjunction with students Andrew Morris: programmer and Evan Gonzalez: music and sound) is a pilot world of this research. Here the project team (consisting of marginalized and underrepresented individuals in the world of games and simulation) is exploring networked Unity 3D worlds that use two Oculus Rift VR headsets with spatialized sound and music with programmed atmospheric effects to illuminate revelations of co-existence.

Exhibited at EMPAC, Nov., 2014



2014- present


pending funding and residencies

Kathleen Ruiz, Originator and Lead Designer, Director, Producer

A multimedia ballet which uses the process of biological cell division as a metaphor for the life process of a prima ballerina.  In an alchemy of art and science the diverse aspects of the body and its journey through time are revealed.




Flo: The Watershed Project

Funded by grants from the Catskill Watershed Corporation in cooperation with the New York City Department of Environmental Protection, the Watershed Agricultural Council and the U.S. Forestry Service.

Kathleen Ruiz, Originator and Head Creative Artist, Director, Producer

A physically interactive 3D virtual environment artwork installation 8' x 10' x 10', and an online art game and an educational web portal. In addition, there is an upload calculator for a dynamic “Your Stream,” segment that calculates a personalized flow path based on user input parameters.

"Flo" continues my artistic research in using simulation technology to explore first person experience, intentionality, and empathy. Here one experiences what it may be like to "be" water.  An artwork that has educational components in the form of mini-games that address issues about climate change and flooding by reducing sediment and turbidity, altering conditions of development impacts, implementing storm water control systems, reducing farm pollutants, preventing pharmaceutical and personal care products (PPCPs) pollution, and reducing heat pollution. Sustainable and ecofriendly practices which are incorporated throughout the game simulation project include:

* Alternate forms of energy such as wind, solar, hydro, and geothermal heating/cooling

* Transportation alternatives such as electric, hybrid cars, bikes, walking, public transportation, and emerging new ideas such as nitrogen cars

* New forms of clustered housing and villages

* Better agricultural practices and food production

“Flo” creates a unique bridge between the digital and natural worlds. Digital natives “play” the simulation, but to complete the highest quest, one must go out into the field, conduct scientific water testing (both observational and chemical), in addition to artistic observations and impressions, and upload their results to our server.

This project has a dedicated team of educators and environmental consultants including Kate Van Baren; Amber Bennett; Katie Palm; research scientists including Elliot Schneiderman, Ph.D., Senior Research Scientist, NYC Environmental Protection, Watershed Science Modeling; and Kerissa Fuccillo, Ph.D. abd Green Infrastructure Science Consultant and Director of Education & Research, The Ashokan Center, and an outstanding production team of Rensselaer students including Evan Minto: CS/EMAC;  Beth Werbaneth: CS/ GSAS; Beth Towns: CS/GSAS; Colin Neville: CS/GSAS; Rosa Tung: EArts/GSAS; Randy Sabella: HCI/GSAS; Anthony Szymczyk: EArts/GSAS; Gabriella Ciavardoni: EMAC/CS; Dan Hawkins: Cog-Sci/GSAS; and music composition by Evan Gonzales: EArts/GSAS.

For more information please see:


Exhibited and presented at:

* EMPAC ArtGames Arcade, Arts@40 October 4-7, 2012 at Rensselaer Polytechnic Institute to over 400 alumni, students, faculty, administrators, parents, children and the media

* Onteora Middle School, Watershed Area, Boiceville, N.Y. October 19, 2012

* PS 551, New York City, N.Y., October 15, 2012

* The Ashokan Center, a nature, history, and arts center, Olivebridge, N.Y., April 5 & 6, 2013

* The Brooklyn Arts Council, Sandylore Symposium: Cultural Knowledge as a Resource for Disaster Response, sponsored by a grant from the New York Council for the Humanities held at The Actors Fund Arts Center, Brooklyn, N.Y., curated by Kate Turner, June 13, 2013


2008 - 2009

·         “Simulation One”  by the CapAbility Games Research Group, exhibited in the State Capitol Building at the New York State Senate Disabilities Awareness Day Tech Fair, Albany, N.Y., May 6, 2009

·        Opus Igor, Albany, NY. invited artist, December 2008 to March 2009

2006 - 2007

  • "Seminci Valladolid Film Festival”, curated by Juan Carlos Frugone, Museo de la Ciencia, Valladolid, Spain,  October 20 to 27
  • “Creative Demolition: Reconstructing Culture through Innovation in Film and Video” curated by Ariella Ben-Dov and Steve Seid, with Eddo Stern and Greg Niemeyer, Vassar College Art Gallery, New York, June 17 to 24
  • "Camargo Cibernético", Camargo, Cantabria, Bilbao, Spain, May 29 to June 2
  • "Codes of Culture: Video Art from 7 Continents", ArteBA, Contemporary Art Fair, Buenos Aires, Argentina, curated by Nina Colosi, (Founder of The Project Room, New York), May 19 to 24
  • “FILE-RIO”, Telemar Cultural Center, Rio de Janeiro, Brazil, March 20 to April 20


  • "FILE 2005", The International Electronic Language Festival Sao Paulo, Brazil, at the SESI Art Gallery, October 31st to November 20th
  • "Cinematic or Videomatic?", The Rhode Island School of Design Museum, 224 Benefit Street, Providence, RI., Oct. 4 to Nov. 6
  • "Stunt Dummies", Interactive Multimedia Culture Expo, curated by James Tunick & Nina Colosi, The Chelsea Art Museum, 556 West 22nd St. and 11th Ave, New York City, April 14 to 23
  • "This Is Not An Archive", curated by Monserrat Albores Gleason, Anna Gray, Mariangela Mendez, Center for curatorial Studies, Bard College, Feb. 6 to 20
  • "Sputnik: Silent Sound", part of The Uglybeautycage project (Dialogue with John Cage) by German composer, Ralph Lichtensteiger Silence/Stories Project Feb. Uglybeautycage project (Dialogue with John Cage) performed as a concert/reading event with visual projections in Frankfurt, Germany.

2003 - 2004

  • "GameArt", curated by the Institut für Kulturaustausch and sponsored by Sony Computer Entertainment, Völklinger Hütte, European Zentrum für Kunst und Industriekultur, Völklingen, Germany, November 21, 2003 to April 18, 2004
  • InteractivA'03, Biennale of New Media and Electronic Arts, curated by Raul Ferrera-Balanquet, The Museum of Contemporary Art of Yucatan, Mexico, July 10 to September 28, 2003
  • "Maniquí Marioneta", Digital Sur: Muestra y Encuentro de Art Digital Latinoamericano curated by Adolfo Schneidewind, Rosario, Argentina, August 22 to September 5, 2003


  • "File 2002: The International Festival of Electronic Art", Sao Paulo, Brazil, August 2002
  • "The AVA Project: Terra Incognita", Designer, Producer, Director, The Arts Center of the Capital Region, Troy, N.Y., May 25
  • "The Open Museum Net.Art @ The Irish Museum of Modern Art" curated by Arthur X. Doyle


  • "Virtual Shooter", USM Art Galleries, (solo exhibition) curated by Carolyn Eyler, Director, University of Southern Maine Art Galleries, Gorham, Me.
  • "Bang, Bang (you're not dead?)", online exhibition, The Samuel Dorsky Museum of Art, State University of New York, New Paltz, N.Y.
  • "Seizure", The Permanent Collection, The Phoebe & Belmont Towbin Wing, The Woodstock Artists Association, Woodstock, N.Y.


  • "Bang, Bang (you're not dead?)", The Phoebe & Belmont Towbin Wing, The Woodstock Artists Association, Woodstock , N.Y. Solo exhibition of multiple installations, large scale photogaphy, video, sculpture and interactive website, July 29-October 16


  • Cut & Paste," The International Festival for Film, Video and New Media - 99, Lucerne, Switzerland
  • "Toys'n'Noise," The Center for Contemporary Art, Linz , Austria curated by Margarete Jahrmann & Georg Weckwerth
  • "Metamorphoses: Photography in the Electronic Age," Aperture, Dubuque Museum of Art, Dubuque, IA.
  • The Rondout Biennial, curated by Christopher Gonyea, Kingston N.Y.


  • "Sequence," permanent art commission for the NYC Department of Cultural Affairs, Percent for Art Program, The Queens Borough Public Library, Flushing, N.Y.
  • "Millennium Capsule," Trans Hudson Gallery, (solo show) 416 West 13th Street, N.Y.C.
  • "TechnoPassion", iEAR Exhibition & Performance, The Kitchen, New York, N.Y.
  • "Balance" Interactive Virtual Environment & Sound Performance, iEAR at The Chapel/Cultural Center, Troy, N.Y.


  • "Beyond Shelter: The Architecture of the Future" School of the Art Institute, Department of Interior Architecture, ISEA, Chicago, IL., curated by Anders Nereim and Sally Levine.
  • "Digital Works", Contemporary Arts Collective, Las Vegas, NV.
  • "Metamorphoses: Photography in the Electronic Age," Aperture, The Ackland Art Museum, Chapel Hill, N.C.
  • “Technoseduction," School of Art, The Cooper Union, curated by Robert Rindler & Deborah Willis, (Holly Block, Deborah Bright & David Deitcher), New York, N.Y.
  • Faculty/Student Exhibition, iEar Gallery, Rensselaer, Troy, N.Y.
  • Studio Art Faculty, New York University, 80 Washington Sq. East Galleries, New York, N.Y.


  • "Mental Picture," The Sandra Gering Gallery, (solo show) New York, N.Y., June 13- July31
  • "VIDEO: Sans Titre," Galerie Froment & Putnam, (Marina Ulay, Tom Burr, Willie Cole, Ann Hamilton, Matthew McCaslin, Inigo Ovalle, Linda Post) Paris, France , Sept. 17 - Oct. 26
  • "Faculty Art Show," College Art Gallery, SUNY New Paltz, New Paltz, N.Y.
  • "Metamorphoses: Photography in the Electronic Age," Aperture, The Philadelphia Museum of Art, Philadelphia, Pa., The Tampa Museum of Art, Tampa, Florida, The San Jose Museum of Art, San Jose, Ca. Kemper Museum of Contemporary Art & Design, Kansas City, Ms.
  • "The Machine Stops," curated by Brian Wallace, The Brush Art Gallery, Lowell, Mass.


  • "The Lost Dimension," The Art Gallery of Ramapo College, (solo show), Mahwah, N.J.
  • "Summer Outdoor Sculpture Show," Elena Zang Gallery, Shady (Woodstock), N.Y.
  • "Diverse Group/One Direction," Apex Gallery, New York, N.Y.
  • "Metamorphoses: Photography in the Electronic Age," Aperture, Blaffer Gallery, University of Texas, Houston, Texas
  • "Art as Signal: Inside the Loop," @art/ Leonardo web gallery, and the University of Illinois, Urbana-Champaign, Ill.
  • "Re-inventing the Emblem," Yale University Art Gallery, New Haven, Ct.
  • "Group Selections," Satellite deCompression Gallery, The Arizona Center, Phoenix, Arizona
  • "Breaking Ground: Images for the New Millennium," Ramapo College of N.J.
  • "Nature and Technology," Shirley Fiterman Gallery, City University of New York, N.Y.
  • "Enumerated Repositories", Parco Gallery, Kichijoji, Tokyo, Japan


  • "InsideOut," deCompression Gallery, (solo show) Phoenix, Arizona
  • "Metamorphoses: Photography in the Electronic Age," Aperture, The Museum at Fashion Institute of Technology, New York, N.Y.
  • "The Great Linear Space Mystery," Mills Pond Estate Gallery, Smithtown Arts Council, St. James, N.Y.
  • "From Drawing to Montage," The Computer Museum, Boston, Mass.
  • "Page 4", 450 Broadway Gallery, New York, N.Y.
  • "The Nielsens Don't Live Here Anymore," Central Arts Collective, Tuscon, Arizona
  • "From Drawing to Montage," The Museum at Parson's School of Design, New York, N.Y.


  • "1,000 Drawings," Artists Space, New York, N.Y.
  • "New Directions '93," Barrett House Gallery, Poughkeepsie, N.Y., curated by Adam Weinberg of the Whitney Museum of American Art
  • "SculptureFest 1993," Woodstock, Vermont
  • "Summer Salon Show," Robert Morrison Gallery, New York, N. Y.
  • Socrates Sculpture Park, NY92/50 Long Island City, N.Y.
  • "No TV/Movies," Visual Studies Workshop, Rochester, N.Y.
  • "Axelgrease," Squeaky Wheel, Buffalo Media Resources, Buffalo, N.Y.


  • "Selected Group Works," Robert Morrison Gallery, New York, N. Y.
  • "Day Without Art," photoprojections, Lehman College Art Gallery, New York, N. Y.
  • "Interplay: Dissolving the Boundaries," Rosenberg Gallery, New York University, N.Y.
  • "Multi Media Grunderzeit," University Wuppertal, Germany (traveling to Offenbach, Braunschwieg, Kassel, Karlsruhe, Stuttgart, Munchen, Leipzig, Berlin, & Hamburg)
  • "16th Annual Small Works," juried by Arnold Glimcher director of Pace Gallery, 80 Washington Square East Galleries, New York, N.Y.

Presentations/Interviews/Reviews/Journal Articles/Curatorial

“Cyberfeminism: ethics of our technologies: HIS-tory, HIS-toy”, by Kathleen Ruiz
College Art Association, New Media Caucus, in “Feminism and New Media Art: Hot or Not?”, Moderators: Katherine Behar & Silvia Ruzanka, Featured Speakers: Terry Berkowitz, Jillian Hernandez, Diane Ludin, Jillian McDonald, Prema Murthy, Stephanie Rothenberg, Kathleen Ruiz, and Miriam Tola. Hunter College, MFA Studio Building 450 West 41 Street, N.Y.C., February 12, 2011

 “Conceptual Constructs:  Creative Collaborators as Philosopher Scholars ” by Kathleen Ruiz, at CASE (Center for Architecture Science and Ecology) in conjunction with Associate Professor Anna Dyson, Skidmore, Owings and Merrill, 14 Wall Street, New York, NY., November 19, 2010

Invited member of the Advisory Board for the Center for Children and Technology, Education Development Center in New York City. 2010

“Intermingling of Creative Cross Disciplinary Endeavors in Arts and Cognitive Science” by Kathleen Ruiz, with Assistant Professor of  Cognitive Science Mei Si, Ph.D., in Advanced Integrated Arts, West Hall 210,  Nov 11, 2010 and Dec 2, 2010

“The Task of the Artist/Philosopher/Scholar: Contributing to the Cultural Imagination” presentation to Microsoft Research Team” by Associate Professor of Integrated Arts, Kathleen Ruiz, abd Ph.D. in conjunction with John Kolb and Rensselaer Science researchers 8:00am CIBS, Oxbridge Room in BioTech November 2, 2010.

“Kathleen Ruiz: Artistic Research and Applied Socially Oriented Research and Relevant Selected Student Research”, by Kathleen Ruiz, presentation to Craig Mundie, CEO of Microsoft Research 1:30pm EMPAC November 2, 2010.

“Intermingling of Creative Cross Disciplinary Endeavors in Arts and Computer Visualization” by Kathleen Ruiz, presentation and workshop in Professor Barb Cutler’s Visualization class, Amos Eaton Hall, Rensselaer, Oct. 6, 2010. 

“Students of Advanced Integrated Arts Trans-disciplinary Endeavors” by Associate Professor of Integrated Arts, Kathleen Ruiz. Presentation at CASE / Center for Architecture Science and Ecology, NYC, Oct. 15, 2010.

Ruiz, Kathleen. Consuming and Archiving in Conservación del Arte Electrónico ¿Qué Preservar y Cómo Preservarlo? Hofman, V. and Rozo, C. eds., Apuntes Taxonomedia, Buenos Aires, Argentina, pgs. 71-73, 2009. (An essay re-contextualizing Digital Art from within a culture of consumption, including the consumption of culture itself.)

Ruiz, Kathleen. Philosopher Artists, a blog for doctoral students and Ph.D.s in the arts to discuss issues, ideas and processes in artistic research leading to innovative contributions to knowledge. The dialogs will explore the ability of advanced artist-scholars to uniquely and simultaneously explore poiesis (making), techne (craft), and episteme (knowledge).  2009- present

Wands, Bruce. "Art in the Digital Age". Thames and Hudson Ltd., UK., 2007

"Physically Interactive Gaming: What Appeals to Adolescent and Undergraduate Women?” by Julie G. McIntyre , Sybillyn Jennings (The Sage Colleges) and Kathleen Ruiz (Rensselaer Polytechnic Institute) at the Interacting with Immersive Worlds Conference in Brock University, St. Catharines, Ontario, June 4-5, 2007

"Simulation and Empathy” invited guest artist/ lecturer at the Games-Simulation-Conflict, Tech/Action Conference Bard College, Annandale-on-Hudson, May 19, 2007

"Flash Stories", co-curated an international on-line exhibition of short study flash projects from my Rensselaer Intermediate Digital Imaging students and students at the University of Zhaoqing, Guangdong Province, China.
From China:

From the US: May 2007

"Video Juegos y El Cine”", invited artist and panelist, Seminci Valladolid Film Festival, Valladolid, Spain with Roman Gubern, Professor of Cinema History at the UCLA and University of Madrid;  Margarita de la Vego-Hurtado, Director of the Robert Flaherty Film Festival; Hipolito Vivar Zuirita, Professor of New Technologies at the Complultense University of Madrid; Eusebio Sanchez Blanco, Professor of Fine Arts at the University of Salamanca, and Luis Marin Arias, Chair of Cinema at the University of Valladolid, October 24, 2006  

"Camargo Cibernético", invited artist/panelist, Camargo, Cantabria, Bilbao, Spain, May 29 to June 2, 2006

"Impressions of China", co-curated an international on-line exhibition of Rensselaer and University of Zhaoqing students, May 2006

Heartney, Eleanor and Gopnik, Adam. Heiferman, Marvin, ed. "City Art: New York's Percent for Art Program". Merrell Publishers, 2005, pgs. 78-79.

Langston, Bonnie. "Thinking Inside the Box", (review of "This is Not an Archive," exhibition at Center for Curatorial Studies at Bard College) The Kingston Freeman, Feb.11, 2005, Living, pg. 1.

Work featured in the ACM SIGGRAPH, panel "Audio for Animators: A Sound Production and Editing Panel", by music composer, Sarah Plant, Oct 18, 2005.

"Future Applications of Immersive Displays, 3D Visualizations, & Live Image Processing" Keynote panelist with Michael Naimark, Luke DuBois, & Jaanis Garancs at the Interactive Multimedia Culture Expo at The Chelsea Art Museum, April, 16, 2005

"Interactive 3D works for the Arts & Scientific Visualization", featured artist in the panel discussion at the Interactive Multimedia Culture Expo at The Chelsea Art Museum with fellow artist, Jean-Marc Gauthier. April 15, 2005

Freudenberger. Sylvia. ArteTV, "GameArt" (in the arts-series Metropolis), European culture television. Jan.10, 2004

"Blended Realities: Creativity, Simulation, & Art", guest artist/lecturer, the University of Richmond. sponsored by the Mathematics and Computer Science Department, and the University of Richmond Museums, Marsh Gallery, Richmond, Va., September 14, 2004

Kolb, Bettina. Deutche Welle Kultur DW-TV, television interview, "Stunt Dummies", Volklinger, Germany, Nov. 21, 2003

Brienschenk, Astrid, SWR Sudwesterundfunk, television interview, "Stunt Dummies", Volklinger, Germany, Nov. 21, 2003

“Conditions of Engagement in Game Simulation: Contexts of Gender, Culture and Age” by Ralph Noble, Kathleen Ruiz, Marc Destefano, Jonathan Mintz. Published in print and on the web and presented at Level Up, the 1st International Conference of the Digital Games Research Association (DiGRA), the University of Utrecht, The Netherlands November 4 – 6, 2003.

Verwirrung zum Mitmachen, Kultur, Deutsche Welle, November 25, 2003

Figueroa, Heidi Sarriena, Ph.D. "Lo politico en Interactiva '03", TeknoKultura, Ciencias Sociales de la Universidad de Puerto Rico, Recinto de Rio Piedras, Puerto Rico. August 1, 20003,

Navas, Eduardo, "InteractivA", NetArtReview, August 7, 2003, InteractivA'03, July, 2003

Whitney ArtPort, The Whitney Museum Portal to Net Art, InteractivA

Ruiz, Kathleen. "Imaginary Homelands: Reconstituted Narratives in the Digital Landscape", The Photography Quarterly, #85, Vol. 20, No.4. 2003.

"The Significance of Game Art in Contemporary Culture", guest artist/ lecturer, European Zentrum für Kunst und Industriekultur, Völklingen, Germany, November 20, 2003

"Stunt Dummies and Hieronymus Bosch's, The Seven Deadly Sins", Guest Artist/ Lecturer, the Museum of Contemporary Arts Yucatan, Merida, Mexico, July 14, 2003

New York Foundation for the Arts, Selection panelist 2003

Nanda, Samira. "The Ava Project" Reuters Video News interview June 28, 2002, Reuters, 3 Times Square, New York City.

Gitahy, Ana Carolina. "Dancando com um avatar", Jornal do Brasil, June 24, 2002, pg. 1-3

"Interacão entre real e virtual", Jornal do Brasil, June 24, 2002, pg. 3.

"Uma bailarina feita de bits ENTREVISTA / Kathleen Ruiz", Jornal do Brasil, June 24, 2002.

Dean, Katie. "May I Have This Avatar?" Wired, June 14, 2002.,1284,52986,00.html

Curated "Imaginary Homelands: Reconstituted Narratives in the Digital Landscape", The Center for Photography, Woodstock, N.Y., November 2 to Dec.22, 2002. Presented associated lecture series.

"The AVA Project: the Camaraderie of Invention", Guest Artist/Scholar, Bridges II: Collaboration, Communication, Convergence, The Banff Centre, Banff New Media Institute, and The University of Calgary in collaboration with the Annenberg Center for Communication at the University of Southern California, October 4, 2002

File 2002: The International Festival of Electronic Language, Guest Artist/Scholar, Sao Paulo, Brazil, "Terra Incognita: Human Nature/Technology, The AVA Project", August 10, 2002

The Kaatsbaan International Dance Center, Tivoli, N.Y. Residency April, 2002

"Virtual Shooter", All Things Considered, Maine Public Radio interview with Charlotte Renner, Portland, Maine, March 15-16, 2001

"Digital Art/changing Paradigms" Guest Artist/Scholar, University of Southern Maine Art Gallery, Gorham Me., March 15, 2001

"Virtual Violence: Does our recreation re-create us?", Panelist, University of Southern Maine, Luther Bonney Auditorium, Portland, Me., March 14, 2001

"Alternative Gaming Paradigms: Redefining Design, Theory, and Gaming for OnlineGames", Panelist, The International Web3D Conference, Heinz-Nixdorf Museumforum, Paderborn, Germany, Feb 22, 2001

"Blown Away: Seduced by Video Games", Allen Dammann, Casco Bay Weekly, March 8, 2001, Portland, Me.

"Multimedia Installation Blurs Line Between Virtual and Real", Rensselaer Campus News, October 2, 2000.

Kornblum, Janet. "'Bang' offers not too violent alternative", eBriefing, USA Today, Sept. 19, 2000, pg. 3D.

"Bang, Bang (You're Not Dead?)", Electronic Arts at Rensselaer, Rensselaer Magazine, Sept. 2000, pg. 5.

Brown, Steven, PC Gamer, Eyewitness News, "But is it Art?", Aug 31, 2000

World OnLine, "Een pacifictische 3D-shooter?", Aug 8, 2000

Pisani, Francis, "Disparar para resucitar", ElPais Digital, August, 2000

Dean, Katie. "Bang Bang you're not dead", Wired, Aug. 30, 2000,1284,38314,00.html

Wilson, Beth Elaine, "The Mind's Eye", Chronogram, 8/2000, pgs. 28-29.

Gray, Andrew. "New Fashioned Shoot 'em Up", Chronogram, 8/2000, pg. 63.

Stoeva, Petia. "Media artist targets violence", The Poughkeepsie Journal, July 28, 2000, pgs. 4F-5.

Piperato, Susan. "Artist Takes on Culture of Violence", The Woodstock Times, July 27, 2000, Vol. 27, no. 30.

The Saugerties Post Star, "Bang, Bang, (you're not dead?) Art Display at WAA", July 7, 2000.

The Ulster County Townsman, "Bang, Bang, (you're not dead?)", July 6, 2000, Vol.XLVII, no.27, pg 9.

Ruiz, Kathleen. "Virtual Environments/3DWeb", Computer Graphics Focus: Web3D, ACM SIGGRAPH, May, 2000, vol. 34, no.2, pgs 60-61.

Bang, Bang (you're not dead?), Gallery lecture, The Phoebe & Belmont Towbin Wing, The Woodstock Artists Association, Woodstock, N.Y., August, 2000

VRML Art/Web3D 2000, ACM SIGGRAPH, Guest Artist/Scholar, Monterey, California, 2000

NYC Department of Cultural Affairs, New York Hall of Science Art Commission, Panelist, 1999

SIGGRAPH 99, Juror, Sketches Panel of emerging artistic research in VR, 1999

VRML Art 99, Heinz-Nixdorf Museumforum, Guest Artist/Scholar, Paderborn, Germany, 1999

Spalter, Anne M. The Computer in the Visual Arts, Addison Wesley, 1998, pgs. 106,108, 212, 467, color plate 18.

NYFYI, New York Foundation for the Arts, "Sequence", Recent New York City Percent for Art Projects", Jan., 1998.

PANYC, Percent for Art of New York City Public Arts Projects, October 1998.

Art Journal, College Art Association, Spring 1997 vol. 56, no.1, pg. 26.

Cotter, Holland "Techno Seduction," Art in Review, The New York Times, Feb. 7, 1997, pg. C26.

Mirapaul, Matthew, "Techno Seduction: Artists Encounter the Computer", The New York Times, CyberTimes, Arts@Large, Jan. 16, 1997.

Technoseduction, curated by Robert Rindler & Deborah Willis, catalog published by The Cooper Union, New York, N.Y. 1997, pg. 45.

"Technoseduction", The Cooper Union, Panelist, New York, N.Y., Jan. 23, 1997

Sozanski, Edward J., Art Museum Exhibit Examines Photographs in the Computer, The Philadelphia Inquirer, July 7, 1996.

Hirsch, Robert. Exploring Color Photography. 3rd Edition, Dubuque, Ia.: Brown & Benchmark, 1997, pg. 151.

"Imaging the Self: Art & Medicine", Panelist, Womens' Caucus for Art, Philadelphia, Pa. Feb., 1997

The New Museum of Contemporary Art, N.Y. studio lecture at VOID, Nov. 2, 1996

Photography Department, Bard College, Visiting Professor/Artist, Annandale-on-Hudson, N.Y., 1996

"Postmodernism & Technology", The Cooper Union, Guest Artist/Lecturer, New York, N.Y., 1996

The School of Visual Arts, N.Y.C. Guest Artist/Lecturer, MFA Photography, 1996

Shine, James G. "Enticing Faculty Show at College Gallery," Kingston Daily Freeman, Kingston, N.Y., September 6, 1996, pg. 5-7.

Lehrer, Leonard. "Pluralism and the Tower of Babel," Jornadas Internacional de la Crítica - Diálogo Europa - América, Museo de las Bellas Artes, Buenos Aires, Argentina, Oct., 1996.

Norman, Julyan. "The Computer as Artist's Tool: An Example from the Visual Arts Residency Program," ArtsInk, Mid Atlantic Arts Foundation, Winter 1996, Volume 7, Number 1, pg. 4.

Hall, Ann. "At Brush Gallery, Step into Virtual Reality," The Boston Globe, Feb. 1, 1996.

Weintraub, Annette. "Artifice, Artifact, The Landscape of the Constructed Digital Environment," Leonardo, The MIT Press, 1995, Volume 28, Number 5, pgs. 365 & 366.

Watkins, Eileen. "Clinically Inspired Creativity", The Star-Ledger of N.J., Art, Dec. 1, 1995, pg. 24.

Chmelewski, Kathleen, & Goggin, Nan, & Squier, Joseph. "Art as Signal: Inside the Loop," Leonardo, The MIT Press, The Leonardo Gallery, 1995, Volume 28, Number 2, pgs. 85-86.

Field, Richard S. Director of Drawings, "Contemporary Emblems," Reinventing the Emblem, Yale University Art Gallery, 1995.

Lipkin, Jonathan. "Breaking Ground: Images for the New Millennium," Ramapo College of N.J., 1995.

Dashkin, Michael. "From Drawing to Montage," Leonardo, The MIT Press, The Leonardo Gallery, 1995, Volume 28, Number 1, pgs. 6, & color plate A.

Spalter, Ann, & Weintraub, Annette. "The Computer & the Visual Arts - a Revolution in Process," College Art Association, 1995.

"The Possibilities for Art & the WWW: Past, Present & Future," National Endowment for the Humanities, NSF Capstone Seminar Guest Speaker, The Cooper Union, 1995

Ramapo College, Visiting Artist Lecture, Fall 1995

Hagen, Charles."Metamorphoses," Art in Review, The New York Times, Oct. 21, 1994.

Charbeneau, Travis. "Living in Apocutopia," The Soho Journal, Special Edition, Autumn, 1994.

Sand, Michael. "Metamorphoses: Photography in the Electronic Age", Aperture, August, 1994, pgs. 1, 52, 53.

"Not Painting by Numbers," Newsweek, ART, July 25, 1994.

Panorama, Boston, Mass., July 4, 1994.

"From Drawing to Montage," Panelist, Parson's School of Design, New York City, 1994

Roberts, Paul. "The Digital Aesthetic: Where is Photography headed in the Age of the Computer?," Aldus Magazine, Volume 5, Number 3, Jan. / February, 1994, pg. 28-29.

Hagen, Charles. "Photography, The Dawn of a New Age?", Art News, March, 1993, pg. 75.

Montage 93, Panelist/Juror, Eastman House, Kodak, Rochester, N.Y.1993

"Material Obsessions: Artists Using Unusual Materials," Panelist, Artists Speak on Art, N.Y.C., 1992

Randolph Macon Womens' College, Visiting Professor/Artist, Lynchberg, Virginia, 1992

Denton, Monroe. "Socrates Park: 93NY50," ARTI, Volume 16, 1993, pgs. 160-62, 164-65.

Kerlow, Isaac Victor. Computers in Art and Design, ACM SIGGRAPH, 1991, pgs 27 & 111.

Kerlow, Isaac Victor. "The Year of the Photo," Computer Graphics, July, 1991, pg. 89.


European Graduate School of Interdisciplinary Studies, EGS, Media and Communication, Switzerland, abd Ph.D., (est. 2012)

New York University, Studio Art/Digital Media, Master of Arts, 1988

State University of New York at New Paltz, Bachelor of Science cum laude, 1974


• “CapAbility Games Grant from The Center for Disability Services, Albany, N.Y., 2008

• National Endowment for the Arts, The Arts on Radio and Television Grant Co PI, Arts section with Linda Lewit and Film Arts Foundation 2007

• National Science Foundation, “Acquisition of System for Multi-Site Networked Motion Capture and Visually Immersive Laboratory for Social and Behavioral Research.” Senior Project Personnel, award number 0521297, 2005

• Sony Computer Entertainment, Europe, 2004

• New York State Council on the Arts, Individual Artist Grant, 2002

• Experimental Television Center Finishing Funds Grant, 2002

• New York State Council on the Arts, Electronic Media and Film Exhibition Grant, 2001

• University of Southern Maine, Visiting Artist Grant,2001

• Robert & Barbara L. Bachner Grant, 2000

• Percent for Art, New York City Department of Cultural Affairs,
Department of Design and Construction, 1998

• The State of Connecticut, Commission on the Arts, 1998

• Mid Atlantic Arts Foundation Visual Arts Residency Program Grants Award, 1995

• Vermont Council on the Arts, 1993

• Experimental Television Center Residency, 1992

• Artist Space, Artists Grant, 1991