{"id":18449,"date":"2017-03-10T17:59:49","date_gmt":"2017-03-10T09:59:49","guid":{"rendered":"http:\/\/benayoun.com\/moben\/publications\/"},"modified":"2023-04-03T19:23:28","modified_gmt":"2023-04-03T11:23:28","slug":"publications","status":"publish","type":"page","link":"https:\/\/benayoun.com\/fr\/publications\/","title":{"rendered":"Publications"},"content":{"rendered":"

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PUBLICATIONS<\/strong> (update 2016)<\/em><\/h3>\n

Books<\/h4>\n

Benayoun, M., Shaw, J., authors\/editors, Fleeting Light – The 4th<\/sup> Large-scale Interative Media Arts Exhibition<\/em>, 61 pages, color, CityU, Hong Kong, 2014-5<\/p>\n

Benayoun, M., The Dump<\/em>, 207 Hypotheses for Committing Art<\/em>, Fyp Editions, August 2011, 380p color bilingual Fr\/Eng, ISBN 978-2916571645<\/p>\n

Benayoun, M., + 20 autors, Maurice Benayoun OPEN ART<\/em>, monograph, Nouvelles \u00e9ditions Scala, mai 2011, 196p color + DVD, ISBN 978-2359880465<\/p>\n

 <\/p>\n

Articles and book chapters<\/h4>\n

Ray, LC, Benayoun, M., Lindborg, P., et al, <\/span>\u201cPower Chess: robot-to-robot nonverbal emotional expression applied to competitive play\u201d, <\/span><\/i>ARTECH 2021, accepted paper, 2021.<\/span><\/p>\n

Ha Thuc, C., Benayoun, M., <\/span>Studio: Maurice Benayoun<\/span><\/i>, Artomity, pp. 24-33,\u00a0 2021<\/span><\/p>\n

Benayoun, M., Anadol, R.,<\/span>“<\/span>D\u00efaloG<\/span>“, Proceeding, <\/span>Art Machines 2: International Symposium on Machine Learning and Art 2021 Proceedings, Edited by Allen, R.-W., <\/span>School of Creative Media, Creative Media Centre, City University of Hong Kong, <\/span>p.230 -232,<\/span> Hong Kong, English, <\/span>10 Jun. 2021, ISBN: 978-962-442-448-5.\u00a0 <\/span>https:\/\/www.academia.edu\/49346057\/Art_Machines_2_2021_<\/span><\/a><\/p>\n

Benayoun, M., Ag, Ravn T., \u201cAfter the Tunnel, Ontology, and Ethology of the emerging Art-Subject\u201d, ISEA2020 Proceedings (under press), 2020.<\/p>\n

Benayoun, M., Sustainability, Value of Values, Edition of CENTERPOINT NOW 2020, World Council of Peoples for the United Nations, 2020.<\/p>\n

Benayoun, M., \u2018On Digital Mutations in the Landscape of Chinese Contemporary Art\u2019, On the Road \u2013 Young Media Artists in China, City University of Hong Kong, pp 12-18, Hong Kong, English and Chinese, March 2018 http:\/\/www.academia.edu\/36473999\/On_Digital_Mutations_in_the_Landscape_of_Chinese_Contemporary_Art_-_Chief_curator_statement<\/a><\/p>\n

Park, S. L., Benayoun M., \u201cA Cautionary Tale of Urban Media Art: Media-Bait, Planned Censorship and its Repercussions<\/a>\u201d, Leonardo Journal, MIT Press, online January 24 2018 (paper publication 2020)<\/p>\n

Benayoun, M., Preface: \u201cL\u2019artiste, la fusion critique et le neuro-mim\u00e9tisme urbain\u201d, in\u00a0Chronotopies, Lecture et e\u0301criture des mondes en mouvement<\/em> , Drevon Guillaume, Gwiazdzinski, Luc, Klein Olivier, l\u2019innovation autrement<\/em>, Sept. 2017, ISBN: 979-10-91336-093<\/p>\n

Benayoun, M., Bares, J., \u201cUrban Media Art Paradox: Critical Fusion vs. Urban Cosmetics\u201d, What Urban Media Art Can Do, Susa Pop; Tanya Toft; Nerea Calvillo; Mark Wright editors, av edition, pp 75-82, 30\/5\/2016.<\/p>\n

Benayoun, M., \u201cOpen Sky Gallery\u201d, in What Urban Media Art Can Do<\/em>, Susa Pop; Tanya Toft; Nerea Calvillo; Mark Wright editors, av edition, pp 450-454, 30\/5\/2016.<\/p>\n

Benayoun, M., \u201cMemory Dump, the Disregarded Power of Undone Art\u201d, in \u201ce-discourse in online networked communities – structure, timing, tone, and affect\u201d, ISEA2016 Hong Kong Cultural R>Evolution, Proceedings of the 22nd International Symposium on Electronic Art, Editor: Olli Tapio Leino, Published by School of Creative Media, City University of Hong Kong, pp 424-425, Hong Kong, English, May 2016, ISBN: 978-962-442-397-6<\/p>\n

Benayoun, M., \u201cOverscale Art in Public Space: from Play to Dysplay\u201d, in \u201cGigantic- Meditation Beyond Surface\u201d, ISEA2016 Hong Kong Cultural R>Evolution, Proceedings of the 22nd International Symposium on Electronic Art, Editor: Olli Tapio Leino, Published by School of Creative Media, City University of Hong Kong, Hong Kong, English, pp 381, May 2016, ISBN: 978-962-442-397-6<\/p>\n

Benayoun, M., \u201cWho and What are the Quarxs?\u201d, in POST PIXEL.Animamix Biennale 2015-6, presented by Leisure and Cultural Services Department, pp18-23, printed in Hong Kong, Chinese and English, March 2016<\/p>\n

Benayoun, M., \u201cQuarxs, 90s\u201d, artist statement, Animamix Biennale 2015-6, Feb 2016<\/p>\n

Benayoun, M., \u201cConnecting and Disrupting Public Spaces: from the \u201cTunnel under the Atlantic\u201d to the Open Sky Campus”, ISEA2015 proceedings, 2015, Vancouver,
\nhttps:\/\/isea2015.sched.org\/event\/3aZp\/at4-artist-talk-session-4<\/a><\/p>\n

Benayoun, M., MoBen, Emotion Winds, Video Installation 2014<\/em>, in FLUX, Metamorphosis of the Virtual 5+5, Digital Art Today Paris-Shanghai, Shanghai, China, pp.15-20<\/p>\n

Benayoun, M., Art After Technology<\/em>, in Substainability? Centerpoint now, 25th issue, 2013,World Council of Peoples for the United Nations, New York, USA, pp.70-71<\/p>\n

Benayoun, M., Benayoun, M., IMI, James Edward, An Example of Extended Relativity Applied to Urban Navigation<\/em>, in Architecture, City and Information Design, EuropIA.14, Edited by Prof. Khaldoun Zreik, publish. Europia Productions, Paris, Sept. 2014, pp. 1-14, ISBN 13: 979-10-90094-18-5<\/p>\n

Benayoun, M.,\u00a0So.So.So. Somebody, Somewhere, Some Time<\/em>,\u00a0in Theories and Documents of Contemporary Art<\/em>,\u00a0A Sourcebook of Artists\u2019 Writings<\/em>, (expanded edition), Kristine Stiles and Peter Selz, University of California Press,\u00a02012. Pp. 554-556. ISBN-13:\u00a0978-0520202535<\/p>\n

Benayoun Maurice, 911 Bad, Mad, Glad, Sad<\/em>, in Art et Culture(s) Numeriques, Panorama international<\/em>, ed. CDA Enghien- MCD Musiques Cultures Digitales, France, 2012, pp. 178-183, ISBN 978-2-916639-23-9.<\/p>\n

Benayoun, M., Art Collider: Towards Transactional Aesthetics, in AAO Project Conference Proceedings,<\/em> Papasotiriou Publishing, Athens, 2011, 978-960-491-026-7<\/p>\n

Benayoun, M., The Nervous Breakdown of the Global Body, an Organic Model of the Connected World<\/em>, in Proceedings of Futur en Seine 2009<\/em>, ed. Cap Digital, 2010, ISBN 978-1-4466-7929-6<\/p>\n

Benayoun, M., La crise de nerf du corps global<\/em>, in Nouvelles cartographies, nouvelles villes<\/em>, actes du colloque Hyperurbain2<\/em>, editor: Pr. Khaldoun Zreik, ed. Europia, 2010, ISBN13\u00a0978-2-909285-65-8<\/p>\n

Benayoun, M., Le devenir de l\u2019A.M.E., la r\u00e9alit\u00e9 virtuelle comme \u00e9cosyst\u00e8me pour la cr\u00e9ation artistique, <\/em>in Design assist\u00e9 par concepteur, <\/em>colloquium proceedins 01 Design, <\/em>ed. Europia, 2010, ISBN:978-2-909285-70-2<\/p>\n

Benayoun, M.,- Maria Roussou (co-editors),\u00a0Immersive Virtual, Mixed, or Augmented Reality Art<\/em>,\u00a0The International Journal of Arts and Technology,\u00a0Inderscience Publishers,\u00a02010 ISSN 1754-8853<\/strong><\/p>\n

Benayoun, M.,with Gilroy, St., Cavazza, M.,\u2026, Using affective trajectories to describe states of flow in interactive art<\/em>, ACE 09 Proceedings, International Conference on Advances in Computer Entertainment Technologies, ACM Int., vol 422, 2009 ISBN:978-1-60558-864-3<\/p>\n

enayoun, M.,with Gilroy, St., Cavazza, M., PAD<\/em>–<\/em>based<\/em> Multimodal affective fusion<\/em>, ICACII, Affective Computing and Intelligent Interaction, 2009, ISBN: 9781424448005<\/a><\/p>\n

Benayoun, M., Les Paradoxes du corps num\u00e9rique<\/em>, in<\/em> Virtual \/ Physical Bodies<\/em>, \u00e9d. CDA, Enghien les Bains, 2008, ISBN 978-2-916639-09-3<\/p>\n

Benayoun, M., with Gilroy W. Stephen, Cavazza, Marc\u2026 An affective model of user experience for interactive art<\/em>, ACE \u201908, International Conference on Advances in Computer Entertainment Technologies, ACM Int. Dec. 2008, <\/strong>ISBN: 978-1-60558-393-8<\/p>\n

Benayoun, M., Mettre en sc\u00e8ne le sujet. Pour une sc\u00e9nographie d\u2019auteur<\/em>, in <\/em>Le Salon, Revue du centre de recherche de l\u2019ESAMM, Sally Bonn, ENSAMM, 2008.<\/p>\n

Benayoun, M., in Cr\u00e9ation Num\u00e9rique<\/em>, Musiques et cultures Digitales, Pearson, September 2008.<\/p>\n

Benayoun, M., Art after Technology<\/em>, in<\/em> Technology Review #7, MIT (Massashussets Institute of Technology, French Edition), 2008.<\/p>\n

Benayoun, M., World Skin, a photo safari in the Land of War<\/em>, in<\/em> sk-Interfaces, FACT and Liverpool University Press, United Kingdom, 2008.<\/p>\n

Benayoun, M., en collaboration avec Stephen W. Gilroy, Marc Cavazza, E-Tree, Emotionally Driven Virtual Reality<\/em>, Interactive Art Program, ACM Siggraph, Los Angeles, October 2008, ISBN: 978-1-60558-303-7<\/p>\n

Benayoun, M., en collaboration avec l\u2019universit\u00e9 de Teesside, Stephen W. Gilroy, Marc Cavazza, Remi Chaignon\u2026, An Emotionally Responsive AR Art Installation<\/em>, ISMAR\u201907, Nara, Japan, November 2007.<\/p>\n

Benayoun, M., T\u00e9moignage d\u2019artiste<\/em>, in<\/em> Rencontres d\u2019Arles, Images, savoirs, num\u00e9rique<\/em>, les Dossiers de l\u2019ing\u00e9nierie \u00e9ducative, pp. 157-167, Sc\u00e9r\u00e9n-CNDP, France, 2007.<\/p>\n

Benayoun, M., Emotion Vending Machine<\/em>, in<\/em> Anne-Marie Duguet, Smile Machines<\/em>, Transm\u00e9diale \u201906, pp. 100-101, Berlin, Germany, 2006.<\/p>\n

Benayoun, M., \u201cQu\u2019est-ce que le contemporain?\u201d in<\/em> Les cahiers de l\u2019ENSAN, \u00e9dition de l\u2019Esperou, Rouen, France, 2006.<\/p>\n

Benayoun, M., Barri\u00e8re, Jean-Baptiste, Emotional Traffic, Mechanics of Emotions<\/em>, in<\/em> Hybrid, Living in Paradox, Ars Electronica 2005, pp. 346-349, Cantz, Ostfildern-Ruit, Germany, 2005<\/p>\n

Benayoun, M., On Line, Life Line, slitamenti dell\u2019Arte<\/em>, in<\/em> Derrick de Kerckhove, la Conquista del tempo, p. 117-128, editori Riuniti, Rome, Italy, 2003.<\/p>\n

Benayoun, M., So What?<\/em> in<\/em> Future Cinema, the Cinematic Imaginary after Film, <\/em>pp. 572-581, editeurs Jeffrey Shaw and Peter Weibel, ZKM\/MIT Press, 2003.<\/p>\n

Benayoun, M., Watch Out!<\/em>, in<\/em> Extension \u2013 Wireless Art and Culture, pp.91-92, Art Center Nabi, Seoul, South Korea, 2002<\/p>\n

Benayoun, M., Comolli, Jean-Louis, Rotmann, Roger, Seligmann, Guy, Duvillier, Laurent\u2026 L\u2019Auteur en questions, \u00e9l\u00e9ments de r\u00e9ponse<\/em>, pp. 10,29, Scam, Centre Pompidou, France Culture, June 2002<\/p>\n

Benayoun, M.,\u00a0Art Impact: la m\u00e9moire partag\u00e9e \u00e0 perte de vue<\/em>,\u00a0Ec\/arts, October 2000.<\/p>\n

Benayoun, M., L\u2019art soumis \u00e0 la question par la technologie<\/em>, in Cultures en mouvement, n\u00b0 15, March 1999.<\/p>\n

Benayoun, M.,\u00a0Un monde trop humain, Nouveaux, Meilleurs et autrse Mondes, in\u00a0<\/em>La Mazarine,\u00a0 Autumn 1999, pp. 1, 100-105, 138, Paris, 13th<\/sup> March 1999.<\/p>\n

Benayoun, M., en collaboration avec l\u2019Universit\u00e9 de Teesside, Stephen W. Gilroy, Marc Cavazza, Remi Chaignon\u2026,\u00a0Further Architects in Cyberspace II<\/em>,\u00a0Academy Press,\u00a01999.<\/p>\n

Benayoun, M., Crossing Talks, Communication Rafting<\/em>, ICC Biennale Interaction, pp. 12-15, NTT Publishing, 1999.<\/p>\n

Benayoun, M., Diabolo ex Machina, D\u00e9rives malignes de la sainte \u00e9criture (d\u00e9voy\u00e9e par la technologie)<\/em>, in <\/em>Sarrazine n\u00b04, A.I.C.L.A., 1999.<\/p>\n

Benayoun, M., Trouble des sens<\/em>, in<\/em> le Cahier des dix mots, pp. 8-9, Minist. de la culture, 99<\/p>\n

Benayoun, M., The Virtual Reality World as a Metaphor<\/em>, Conference abstracts and applications, ACM Siggraph, 1998.<\/p>\n

Benayoun, M., La Peau du Virtuel<\/em>, in<\/em> Les sens du num\u00e9rique\u00a0: nouvelles perceptions<\/em>, actes d\u2019Imagina, INA, March 1998.<\/p>\n

Benayoun, M., Barri\u00e8re, Jean-Baptiste, Un safari fotografico nel paese della guerra, pp. 10-15, Opera Totale #3, Teatro Toniolo, Venise, 7\/8th<\/sup> November 1997.<\/p>\n

Benayoun, M., Paradigmes artificiels<\/em>, article Siggraph Los Angeles, in<\/em> Technikart, September 1997.<\/p>\n

Benayoun, M., World Skin, a Photographic Safari in the Land of War<\/em>, in<\/em> Flesh Factor, pp. 312-315, Ars Electronica Festival, Springer, Vienne\/New York, 1997.<\/p>\n

Benayoun, M., Cyber R\u00e9cr\u00e9ation \u00e0 Linz<\/em>, Ars Electronica 1996, Technckart, October 1996.<\/p>\n

Benayoun, M., La Gen\u00e8se du r\u00e9alisme interactif, fausse nouvelle de MB<\/em>, actes d\u2019Imagina, pp. 60-66, INA, March 1995<\/p>\n

Benayoun, M., Les Quarxs<\/em>, in<\/em> Le Croquant, p. 104-112, printemps-\u00e9t\u00e9, Lyon, France, 1992.<\/p>\n

 <\/p>\n

<\/a><\/a><\/a><\/a><\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a>Online Publications<\/h2>\n

Benayoun, M., and Benayoun, M., Extended Relativity. A model from physics for navigation through urban and data information, conference proceedings<\/em>, DRHA, University of Nottingham, September 2011.<\/p>\n

\u00a0<\/em><\/p>\n

Benayoun, M., Tentative de d\u00e9finition de l\u2019art num\u00e9rique<\/em>, in<\/em> www.benayoun.com, April 2004.<\/p>\n

Benayoun, M., On Line, Life Line, Art Shifts<\/em>, in<\/em> www.benayoun.com, French version for e-What magazine, Italian version in<\/em> Derrick de Kerckhove, la Conquista del tempo<\/em>, p. 117-128, editori Riuniti, Rome, Italy, 2003.<\/p>\n

Benayoun, M., from Virtual to public space: toward an impure art<\/em>, in<\/em> www.benayoun.com, conference CAST 01, Bonn, Germany, September 2001.<\/p>\n

Benayoun, M., L\u2019\u00c9thique Otaku: tous seuls ensemble<\/em>, in<\/em> www.benayoun.com, conference Maison du Japon, Paris, September 1999.<\/p>\n

Benayoun, M., Architectures r\u00e9actives de la communication<\/em>, in<\/em> www.benayoun.com, July 1998.<\/p>\n

Benayoun, M., Adam et \u00c8ve chass\u00e9s du virtuel<\/em>, in<\/em> www.benayoun.com, conference \u201cle Vivant et le Virtuel\u201d, Th\u00e9atre 95, Cergy-Pontoise, December 1994.<\/p>\n

Benayoun, M., Apr\u00e8s-Mus\u00e9e explorable (Art after Museum)<\/em>, in<\/em> www.benayoun.com, project for the Villa M\u00e9dicis hors les murs <\/em>award\/grant, 1993.<\/p>\n

Benayoun, M., La 3D dans les syst\u00e8mes interactifs, habillage ou langage?<\/em> in<\/em> www.benayoun.com<\/a>, conference TiConUno, La Cultura dell’Interattivit\u00e0, Milan, Italy, June 1994.<\/p>\n

PUBLICATIONS (references in publications…)<\/strong><\/h5>\n

Geiger, Jordan, Interactivity – the man outside the machine, Brandon Stone, ARC597 \u2013 Blow Up, pp.4-6, 2016 www.bstonearchitecture.com\/photos\/blow%20up\/Essay.pdf<\/p>\n

Kerckhove, D. de, \u201cAugmented Photography\u201d, in The Post-photography condition, edited by Joan Fontcuberta, Le Mois de la Photo \u00e0 Montr\u00e9al-International Biennial of the Contemporary Image, published by Kerber Verlag, pp.138-143, Bielefeld – Germany, English, 11 October 2015, ISBN: 978-29808020-7-2, ISBN: 978-3-7356-0127-8 (Kerber)<\/p>\n

Stiles, K., \u201cThe traumatic visual vocabulary of Maurice Benayoun\u2019s So. So. So., Somebody, Somewhere, Some Time\u201d, in Concerning Consequences: Studies in Art, Destruction, and Trauma, The University of Chicago Press, 2016, pp. 339-342<\/a>, ISBN 022630440X, 9780226304403<\/p>\n

Gay, J.-J., \u201cUtopies Percetives :Tentative D\u2019ub\u00e9risation[Creative] Programmee, a propos de Brain Factory prototype de Maurice Benayoun avec Tobias Klein\u201d, Mondes Sensibles, G\u00e9ographies de la Perception, Dominique Roland editor, Published by Centre des Arts, pp 51-57, Enghien-les-Bains, France, French, June 2016, ISBN:978-2-35988-169 1<\/p>\n

Garfield, B<\/a>., The Cyborg Subject: Reality, Consciousness, Parallax, Springer, 2016, pp. 55-69, ISBN 1137584491, 9781137584496<\/a><\/p>\n

Johnston, D. J., Aesthetic Animism: Digital Poetry’s Ontological Implications, MIT Press, 2016, p. 86, ISBN 0262334402, 9780262334402<\/a><\/p>\n

Sheila Whiteley<\/a>, \u200eShara Rambarran<\/a>, The Oxford Handbook of Music and Virtuality, Oxford University Press, Jan 14, 2016, p. 352, ISBN 0199321299, 9780199321292<\/a><\/p>\n

Woolf, A., \u201cPionner: Maurice Benayoun\u201d, The Impact of Technology in Art, Heinemann-Raintree Library, 2015 p. 34<\/a>, ISBN 1484626354, 9781484626351<\/p>\n

Simanowski, R., Sch\u00e4fer, J., Gendolla, P., Reading Moving Letters: Digital Literature in Research and Teaching. A Handbook, transcript Verlag, 2015, p. 332, ISBN 3839411300, 9783839411308<\/p>\n

Wang, S., \u201cOsage Gallery Hong Kong presents \u201cMaurice Benayoun: JUST DIG\/IT!\u201d \u201d, in CAFA ART INFO, Apr 13, 2016<\/p>\n

Gugg\u00e9mos, Alexia, En 1995, Maurice Benayoun inaugurait le Tunnel sous l’Atlantique<\/em>, Huffington Post, 5 November 2015<\/p>\n

The New York Times, Ten Worldwide Cultural events to have your eye on this week<\/em>, The New York Times, 10 July 2015<\/p>\n

Gay Jean-Jacques, Globalized Pythia, Tunnels Around the World<\/em>, n\u00b0282 Art World, pp.158-159, January 2014 (Chinese art magazine)<\/p>\n

Soret, Jean-Luc, Virtualit\u00e9s Polyphoniques de la Cr\u00e9ation Contermporaine<\/em>, Trimestriel n\u00b029, pp.120-124, May\/Jun\/Jul 2013<\/p>\n

Gonzaga, Shamina de, Sustainability, Art After Technology<\/em>, Centerpoint Now, World Council of Peoples for the United Nations, pp.70-71, 2013<\/p>\n

Soret, Jean-Luc, Virtualit\u00e9s Polyphoniques de la Cr\u00e9ation Contemporaine<\/em>, in L’art dans le tout num\u00e9rique, Art in\u00a0the\u00a0Digital Age, English version, pp. 120-124, Artpress 2, Paris, France, 2013<\/p>\n

Michael Gibb, Tunnels around the World, Open art for the digital age<\/em>, pp.8-11,CityU today\u00a0\u00a0\u00a0\u00a0 No.41, 2013<\/p>\n

Spankie, Ro, Drawing out the Interior<\/em>, Ava Publishing, 2009, ISBN 978-2940373888<\/p>\n

Alain Le Diberder, Prix Cr\u00e9ation Interactive Maurice Benayoun,<\/em> F\u00eate de prix 2009, SACD, 2009.<\/p>\n

Andy Miah (E.D), Human Futures, Art in an age of uncertainty<\/em>, pp. 241, Liverpool University Press & Fact, 2008<\/p>\n

Abruzzese, Alberto, Giordano, Valeria, Lessico della comunicazione<\/em>, p.438, Meltemi editore, 2003<\/p>\n

Ascott, Roy, Shanken, Edward A., Telematic Embrace, Visionary Theories of Art, Technology and Conciousness<\/em>, pp. 305, 414, \u00e9d. University of California Press, 2003<\/p>\n

Asti, entrevue, Transcender l\u2019outil, de l\u2019information \u00e0 la communication-dialogue<\/em>, in<\/em> actes Asti\u20192001, Premi\u00e8res rencontre des sciences et technologies de l\u2019information, pp. 6,19, ASTI, Cit\u00e9 des sciences et de l\u2019industrie de la Villette, Paris, France, 2001<\/p>\n

Baboni-Schilingi, Anne-Ga\u00eblle, Installations et interactivit\u00e9 num\u00e9rique, in<\/em> Balpe, Jean-Pierre (sous la direction de) L\u2019art et le num\u00e9rique, Les cahiers du num\u00e9rique, volume 1, n\u00b04, pp. 173, 176-177, Ed. Herm\u00e8s Science, 2000<\/p>\n

Balpe, Jean-Pierre, Reflections on the Perception of Generative and Interactive Hypermedia Works<\/em>, in Media Poetry: An International Anthology, edit. Eduardo Kac, Intellect Books, the University of Chicago Press, pp. 246-249 ,Oct. 2007<\/p>\n

Balpe, Jean-Pierre, Contextes de l\u2019art num\u00e9rique<\/em>, Ed. Herm\u00e8s Science, 2000<\/p>\n

Balpe, Jean-Pierre, Les concepts du num\u00e9rique, in<\/em> L\u2019art et le num\u00e9rique, Les cahiers du num\u00e9rique, volume 1, n\u00b04, pp. 23-24,34, Ed. Herm\u00e8s Science, 2000<\/p>\n

Barboza, Pierre, Les nouvelles images<\/em>, p. 105, Somogy \/ Editions d\u2019Art, 1997<\/p>\n

Barros, Manuela de, Membranes et tunnels, entretiens avec Maurice Benayoun, in<\/em> Buci-Glucksmann, Christine, L\u2019art \u00e0 l\u2019\u00e9poque du virtuel, pp 127-133, Ed. L\u2019Harmattan, 2003<\/p>\n

Beaudoin, Th\u00e9r\u00e8se, Millet, Martine, de Koninck, Marie-Charlotte, France-Qu\u00e9bec \u2013 Images et Mirages<\/em>, Ed. Fides, 1999<\/p>\n

Bertasio, Danila, Immagini Sociali Dell\u2019Arte<\/em>, pp. 163,167-168, \u00e9d. Dedalo, Bari, 1998<\/p>\n

Bousteau, Fabrice, Michaud, Yves, Benayoun, Maurice\u2026D\u00e9bat : Les enjeux des pratiques artistiques, in<\/em> L\u2019artiste dans la cit\u00e9, Les cahiers du Haut Pav\u00e9, pp. 33-63, Galerie du Haut Pav\u00e9, Paris, 1999<\/p>\n

Bouquillion, Philippe, et Comb\u00e8s, Yolande, L\u2019art num\u00e9rique comme analyseur, in<\/em> Les industries de la culture et de la communication en mutation, pp. 121-123, \u00e9d. L\u2019Harmattan, 2007<\/p>\n

Br\u00e9aud, Ondine, Le R\u00e9alisme dans l\u2019image informatique \u2013 Etude des ann\u00e9es 1980- 1990<\/em>, p. 42, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Bron, Alain, \u00c9mouvoir l\u2019art soumis \u00e0 la question par la technologie (entretiens) in <\/em>Internet et D\u00e9mons !, Cultures en mouvement, pp. 46-48, mars 1999<\/p>\n

Buci-Glucksmann, Christine, L\u2019oeil cartographique de l\u2019art<\/em>, p.153, Galil\u00e9e, 1996<\/p>\n

Bureaud, Annick, Pour une Typologie des interfaces artistiques in<\/em> Esth\u00e9tique des arts m\u00e9diatiques : interfaces et sensorialit\u00e9 par Louise Poissant, pp. 28-29, \u00e9d. PUQ, 2003<\/p>\n

Bureaud, Annick, Passeport pour le cybermonde in<\/em> Art Press n\u00b0 232, p. 12, 1998<\/p>\n

Catanese, Paul, Director\u2019s Third Dimension : Fundamentals of 3D Programming in<\/em> Director 8.5, p. 314, \u00e9d. Sams Publishing, 2001<\/p>\n

Cavazza, Marc, Smart Graphics International Symposium : 4th International Symposium, SG 2004 proceedings<\/em>, Banff, 2004 in Smart Graphics, Banff, Canada, May 23-25, 2004: Proceedings by Andreas Butz, Antonio Kr\u00fcger, Patrick Olivier, p. 22-23, \u00e9d. Springer, 2004<\/p>\n

Cauquelin, Anne, Revault d\u2019Allonnes, Olivier (dirig\u00e9 par), World skin, Safari-photo au pays de la guerre in<\/em> Autres sites, nouveaux paysages, Revue d\u2019esth\u00e9tique, p. 57, \u00e9d. Jean-Michel Place, 2001<\/p>\n

Ch\u00e2teau, Dominique, Pens\u00e9e Lacunaire et nouvelles technologies, in<\/em> Cin\u00e9ma et derni\u00e8res technologies, p. 79, \u00e9d. Boeck universit\u00e9, 1998<\/p>\n

Codognet, Philippe, Maurice Benayoun, Somebody, Somewhere, Some Time, in<\/em> Future Cinema, The Cinematic Imagery after Film, p. 575, ZKM \/ MIT Press, Cambridge, Massachusetts, Etats Unis, 2002<\/p>\n

Couturier, Elisabeth, Pi\u00e8ces \u00e0 convictions, in<\/em> Art Press, p.51, Paris, 1986<\/p>\n

Daniels, Dieter, Media-Art Net 1<\/em>, Springer, 2004<\/p>\n

Digimedia \u201994, entrevue<\/em>, p.34, Gen\u00e8ve, Suisse, 25-27 mai 1994<\/p>\n

Domingues, Diana, Cibermundos, o corpo et o ciberespa\u00e7o, Corpo e midia<\/em>, Arte et ci\u00eancia, 2002<\/p>\n

Domingues, Diana, Cria\u00e7ao e interatividade na ciberarte<\/em>, pp. 133, 209, 212, Experimento, S\u00e3o Paulo, 2002<\/p>\n

Duguet, Anne-Marie, D\u00e9jouer l\u2019image : Cr\u00e9ations \u00e9lectroniques et num\u00e9riques,<\/em> \u00e9d. Jacqueline Chambon, 2002<\/p>\n

Duguet, Anne-Marie, La r\u00e9alit\u00e9 virtuelle et le relief in Paris en 3D: de la st\u00e9r\u00e9oscopie \u00e0 la r\u00e9alit\u00e9 virtuelle, 1850-2000<\/em>, pp. 226-227, \u00e9d. Mus\u00e9e Carnavalet- Histoire de Paris, 2000<\/p>\n

Fisher, Scott, O. Merritt, John, IS & the Society for Imaging Science and Technology in <\/em>Stereoscopic Displays and Virtual Reality Systems VII, 1994-2003<\/p>\n

Forest, Fred, Pour un art actuel : l\u2019Art \u00e0 l\u2019heure de l\u2019Internet<\/em>, p. 138, \u00e9d. L\u2019Harmattan, 1998<\/p>\n

Fourmentraux, Jean-Paul, Les pirates du cyberart : inconfort technique et contamination in<\/em> Les oeuvres noires de l\u2019art et de la litt\u00e9rature,<\/em> actes du colloque international d\u2019Amiens, p. 38, \u00e9d. L\u2019Harmattan, 2002<\/p>\n

Gaucher, Jacques, Nouvelles techniques, cr\u00e9ation et th\u00e9orie, in<\/em> La cr\u00e9ation, Le Croquant n\u00b011, pp. 104-112, Printemps \/ \u00e9t\u00e9, 1992<\/p>\n

Giannachi, Gabriella, Virtual Theatres \u2013 An Introduction<\/em>, p. 137, \u00e9d.Routledge, 2004<\/p>\n

Goldberg, Ken, The Robot in the Garden: Telerobotics and Telepistemology in <\/em>the Age of the Internet, p.22, \u00e9d. MIT Press, 2001<\/p>\n

Grau, Oliver, Virtual Art from Illusion to Immersion<\/em>, pp. 237-240, \u00e9d. Massachusetts Institute of Technology Press, 2002<\/p>\n

Grumbach, Alain, Cognition Virtuelle, r\u00e9flexion sur le virtuel, ses implications cognitives et ses realisations artistiques,<\/em> pp. 8,29,84,100-104,159-162,164, ENST, Paris, novembre 2001<\/p>\n

Hansen, Mark B.N., Bodies in Code: Interface with Digital Media<\/em>, p. 88, \u00e9d. Routledge, 2006<\/p>\n

Hayat, Micha\u00ebl, Arts assist\u00e9s par machine et art contemporain : vers une nouvelle philosophie de l\u2019art ?<\/em> L\u2019Harmattan, 2002<\/p>\n

Hayat, Micha\u00ebl, Dynamique des formes et repr\u00e9sentation: vers une biosymbolique de l\u2019humain<\/em>, p. 41, \u00e9d. L\u2019Harmattan, 2002<\/p>\n

Hernandez Garcia, Iliana, Est\u00e9tica, ciencia y technologia : Creaciones electronicas y num\u00e9ricas,<\/em> p. 30, \u00e9d. Pontifi cia Universidad Javeriana, 2005<\/p>\n

Heudin, Jean-Claude, Virtual Worlds: Synthetic Universes, Digital Life and Complexity<\/em>, p. 252, \u00e9d. Perseus Books, 1998<\/p>\n

Huhtamo, Erkki, Media Art in the Third Dimension: Stereoscopic Imaging and Contemporary Art, <\/em>p. 472, in Future Cinema, The Cinematic Imagery after Film, ZKM \/ MIT Press, Cambridge, Massachussets, Etats Unis, 2002<\/p>\n

Jones, Amelia, a Companion to Contemporary Art since 1945<\/em>, Blackwell Publishing Ltd, 2006<\/p>\n

Kac, Eduardo, Media Poetry, An International Anthology,<\/em> p. 246, \u00e9d. Intellect, 2007<\/p>\n

Kampmann Walther, Bo, Complexity in Interactive Art: In<\/em> Search of a Digital Aesthetic, the Signifi cance of Complexity, p. 95, Ashgate Publishing Ltd., 2004<\/p>\n

Kerckhove, Derrick de, The Architecture of Intelligence<\/em>, pp. 4,40,48,51,69,73, \u00e9d. Birkh\u00e4user, B\u00e2le, 2001<\/p>\n

Kerckhove, Derrick de, Kathryn Bigelow, Bill Gates, Marshall McLuhan, in<\/em> Domus, Architecttura, Arredamento, Arte, De Gio Ponte, 1998<\/p>\n

Kisseleva, Olga, La logique du num\u00e9rique in Cyberart : un essai sur l\u2019art du dialogue,<\/em> pp. 230- 231, \u00e9d. L\u2019Harmattan, 1998<\/p>\n

Klucinskas, Jean, Moser, Walter Esth\u00e9tique et recyclages culturels: explorations de la culture contemporaine, <\/em>Actes du colloque, p. 148, \u00e9d. University of Ottawa Press, 2004<\/p>\n

Kusahara, Machiko, Media Theory during the Info War Era (japonaise), in Intercommunication<\/em> n\u00b027, pp. 17-20, \u00e9d. ICC, hiver 1999<\/p>\n

Leclercq, Christophe, World Skin revisited, in<\/em> Arcadi la revue, Paris, juillet 2008<\/p>\n

Le Meur, Anne Sarah de L\u2019exp\u00e9rimentation en image de synth\u00e8se, in<\/em> Balpe, Jean-Pierre (sous la direction de) L\u2019art et le num\u00e9rique, Les cahiers du num\u00e9rique, volume 1, n\u00b04, p. 149, Ed. Herm\u00e8s Science, 2000<\/p>\n

Leopoldseder, Hannes, Sch\u00f6pf, Christine, Stocker, Gerfried, Ars Electronica, 1979-2004: The Network for Art, Technology and Society<\/em>: The First 25 years= 25 Jahre<\/em><\/p>\n

Netzwerk f\u00fcr Kunst, Technologie und Gesellschaft<\/em>, p. 352, Published by Hatje Cantz, 2004<\/p>\n

Lovejoy, Margo, Digital Currents \u2013 Art in the Electronic Age<\/em>, p. 266, \u00e9d. Routledge, 2004<\/p>\n

Lyra, Bernadette, Corpo & M\u00eddia<\/em>, Arte & Ci\u00eancia<\/p>\n

Majastre Jean-Olivier, Pessin, Alain, Les coulisses du cybertart in <\/em>Vers une sociologie des oeuvres: cinqui\u00e8me Rencontres internationales de sociologie de l\u2019art de Grenoble, p. 125, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Marguerin, Mathieu, Arvers, Isabelle, Sc\u00e9nographies de la communication. Entretien avec Maurice Benayoun, in<\/em> Dossiers de l\u2019audiovisuel, pp. 36-38, 71, INA \u2013 La Documentation fran\u00e7aise, mars-avril 2001<\/p>\n

Masson, Terence, CG101, a computer graphics industry reference<\/em>, p. 344, \u00e9d. New Riders, 1999<\/p>\n

Mattei, Maria-Grazia, Computer Animation Stories<\/em>, 1999<\/p>\n

Meadows, Mark Stephen, Pause and Effect, The art of interactive narrative<\/em>, New Riders Publishing, 2002<\/p>\n

M\u00e8redieu, Florence de, Arts et nouvelles technologies<\/em>, \u00e9d. Larousse, 2003-2005<\/p>\n

Moretti-Maqua C\u00e9line, L\u2019apog\u00e9e du masque au XIIIe si\u00e8cle ou la S\u00e9r\u00e9nissime masqu\u00e9e<\/em>, Ed. L\u2019Harmattan, 2007<\/p>\n

Moulon, Dominique, Du texte \u00e0 l’image<\/em>, pp.43, WebLettres in Folio, 2009<\/p>\n

Murray, Tim, Esth\u00e9tique et recyclage culturel<\/em>, University of Ottawa Press, 2004<\/p>\n

Musso, Pierre, & Zeitoun, Jean, Le M\u00e9tafort d\u2019Aubervilliers, techniques contemporaines, cr\u00e9ation artistique et innovation sociale<\/em>, pp.124-127,185, \u00e9d. Charles Le Bouil, Paris, 1995<\/p>\n

Ndiaye Diadji, Iba, Stocker, Gerfried, Diallo, Birama \u2026 Unplugged: Art as the Scene of Global Conflicts = Kunst Als Schauplatz Globaler Konflikte in<\/em> Ars Electronica Center Linz, p. 291, \u00e9d. Hatje Cantz, 2002<\/p>\n

Nell, No\u00ebl, Les enjeux du virtuel,<\/em> p. 266, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Poissant, Louise, Tremblay, Pierre, La prolif\u00e9ration des \u00e9crans = proliferation of screens,<\/em> p. 99, Presses de l\u2019universit\u00e9 de Qu\u00e9bec, Qu\u00e9bec, 2008<\/p>\n

Poissant, Louise, Esth\u00e9tique des Arts M\u00e9diatiques : Interfaces et Sensorialit\u00e9<\/em>, Universit\u00e9 de Saint Etienne, pp. 28-29, Presses Universitaire du Qu\u00e9bec, 2003<\/p>\n

Popper, Franck, From Technological to Virtual Art<\/em>, MIT Press, 2007<\/p>\n

Popper, Franck, Contemporary Artists de Sara et Tom Pendergast<\/em>, pp. 155-157, \u00e9d. St. James Press, 2002<\/p>\n

Qvortrup, Lars, Halskov Madsen, Kim, Production Methods \u2013 Behind the scenes of virtual inhabited 3D worlds<\/em>, Springer, 2003<\/p>\n

Qvortrup, Lars, Jensen, Jens F, Virtual Space \u2013 Spatiality in <\/em>Virtual Inhabited 3D Worlds, pp. 213, 215, \u00e9d. Springer, 2002<\/p>\n

Renaud, Alain, L\u2019imaginaire Num\u00e9rique<\/em>, in Dialogue sur l\u2019art et la technologie : autour d\u2019Edmond Couchot, p. 82, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Renner, Ursula, Schneider, Manfred, H\u00e4utung: Lesarten des Marsyas-mythos<\/em>, Wilhelm Fink, 2006<\/p>\n

Sauvageot, Anne, Fourmentraux, Jean-Paul, Les coulisses du Cyberart, Vers une sociologie des oeuvres\u2026<\/em>, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Schoenmakers, Henri, Bl\u00e4ske, Stefan, Kirchmann, Kay, Ruchatz, Jens, Theater und Medien<\/em>, pp. 459-461, Transcript Verlag, Kultur und Medientheorie, Bielefeld, Allemagne, 2008<\/p>\n

Seghers, Pierre, Po\u00e9sie<\/em>, n\u00b0 84, p. 64, \u00e9d. Maison de la po\u00e9sie, 2000<\/p>\n

Shaw, Jeffrey, Introduction<\/em>, p. 20, in<\/em> Future Cinema, The Cinematic Imagery after Film, ZKM \/ MIT Press, Cambridge, Massachussets, Etats Unis, 2002<\/p>\n

Soulage Fran\u00e7ois, Dialogues sur l\u2019art et la technologie : autour d\u2019Edmond Couchot,<\/em> p.82, Universit\u00e9 de Paris VIII Arts et technologies de l\u2019image, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Spiller, Neil, Further Architects in<\/em> Cyberspace II, Academy Press, 1999<\/p>\n

Ta\u00efuti, Lorenzo, Multimedia l\u2019incrocio dei linguaggi comunicativi<\/em>, Maltemi editore, 2005<\/p>\n

Thibault, Isabelle, Nouvelles technologies et art contemporain, in<\/em> Anthropologie et communication, sous la direction.de Pascal Lardellier, p. 2000, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Wang, Orrin N.C., Falco, Raphael, Lamb, Kevin, Renate, Ferro, Diacritics, A review of contemporary criticism, <\/em>volume 35, n\u00b02, pp. couv,2,12,25,36,47,57,69,80,97, summer 2005<\/p>\n

Warneke, Jan, Planet of Visions (making of),<\/em> Expo 2000 Hanovre, 2000<\/p>\n

Weissberg Jean-Louis, Pr\u00e9sences \u00e0 distance : d\u00e9placement virtuel et r\u00e9seaux num\u00e9riques : pourquoi nous ne croyons plus la t\u00e9l\u00e9vision,<\/em> p. 182, \u00e9d. L\u2019Harmattan, 1999<\/p>\n

Welger-Barboza, Corinne, De la communication \u00e0 la communion, in<\/em> Du mus\u00e9e virtuel au mus\u00e9e m\u00e9diath\u00e8que : le patrimoine \u00e0 l\u2019\u00e8re du document num\u00e9rique\u00a0: pp. 259, 268, \u00e9d. L\u2019Harmattan, 2001<\/p>\n

Wilson, Stephen, Information Arts, Intersections of Art, Science and Technology<\/em>, pp.705-706, \u00e9d. MIT Press, 2002 <\/a><\/a>Collectif, L\u2019Architecture d\u2019aujourd\u2019hui<\/em>, p. 38, 2002<\/p>\n

 <\/p>\n

CATALOGUES <\/strong>(ongoing updating)<\/h3>\n

\u201cISEA Hong Kong – Open Sky Project\u201d, ISEA2016 Catalogue, pp.298-301, English, May 2016<\/p>\n

\u201cJust Dig It – Solo Exhibition by Maurice Benayoun\u201d, ISEA2016 Parallel\u00a0Catalogue, pp.13-14, English, May 2016<\/p>\n

ISEA Hong Kong, ISEA2016 Programme, pp.4, 6, 7, 8, 9, 40, 53, 55, 56, English, May 2016,<\/p>\n

Just Dig It! <\/em>– Maurice Benayoun, Osage Art Gallery, pamphlet, English, May 2016<\/p>\n

Urbanized Landscape, NeORIZON, Shanghai eArts Festival<\/em>, pp. 60-61, Shanghai, China, October 2008<\/p>\n

Nemo Festival, Arcadi, World Skin, catalogue de la manifestation<\/em>, p. 47, 10th<\/sup>-20th<\/sup> April 2008<\/p>\n

sk-interfaces<\/em>, Jens Hauser, FACT and Liverpool University Press, 2008<\/p>\n

Sistemi Emotivi, Artisi Contemporanei tra emozione in ragione,<\/em> (Emotional Systems, Art between Emotion and Reason, Palazzo Strozzi, Silvana Editoriale, Florence, Italy, 2007<\/p>\n

Imagina 2007, <\/em>catalogue, p. 35, Monte Carlo, 31st<\/sup> January – 2nd<\/sup> February 2007<\/p>\n

Les Ann\u00e9es France\/Chine<\/em>, 2003-2005, pp. 194-195, AFAA, France, 2005<\/p>\n

Future Cinema<\/em> (Japanese), pp. 12, 13, 64, 65, ICC Tokyo, NTT Publishing Co, December 2003 \u2013 29th<\/sup> February 2004<\/p>\n

International Digital Art Exhibition<\/em>, Uijongbu IT&Culture Festival 2003, exhibition catalogue, pp.14-15, Uijeongbu, Korea, 2003<\/p>\n

Fantoche \u201903,<\/em> Architectures Parall\u00e8les<\/em>, 4. <\/sup>Internationales Festival f\u00fcr Animationsfilm, catalogue, p. 83, Baden, Switzerland, 9th<\/sup> \u2013 10th<\/sup> September 2003<\/p>\n

Armedia VIII,<\/em> de l\u2019Esth\u00e9tique de la communication au Net art<\/em>, p. 14\u00e9dition sp\u00e9ciale Art Press, Paris, France, 2002<\/p>\n

Media-Space, Programm<\/em>, p. 15, Wand5, Stuttgart, Germany, 15th<\/sup> November 2001<\/p>\n

Colleu-Dumond, Chantal,<\/em> Le Virtuel et la pierre, Patrimoine et multim\u00e9dia<\/em>, Colloque international, pp. 5,18,24,183, Royal Abbey of Fontevraud, October 2001<\/p>\n

22e<\/sup> Banff Televsion Festival, Banff Bulletin<\/em>, p. 14, Banff Television Foundation, 9th<\/sup> \u2013 10th<\/sup> June 2001<\/p>\n

Asti\u20192001,<\/em> Premi\u00e8res rencontre des sciences et technologies de l\u2019information<\/em>, pp. 6,19, ASTI, Cit\u00e9 des sciences et de l\u2019industrie de la Villette, Paris, France, 2001<\/p>\n

ISEA 2000 R\u00e9v\u00e9lation<\/em>, 10e<\/sup> symposium international des arts \u00e9lectroniques, pp. 38,46,140-141,166, \u00e9dition Art 3000, Paris, France, 7th<\/sup> \u2013 10th<\/sup> December 2000.<\/p>\n

Siggraph 2000,<\/em> Electronic Art and Animation Catalogue<\/em>: p. 30, ACM Siggraph, 1998<\/p>\n

Imagina 2000,<\/em> p. 19, INA, Monte Carlo, Monaco, 2000<\/p>\n

Ars Electronica, 20 Jahre Festival f\u00fcr Kunst, Technologie und Gesellschaft<\/em>, 79-99, pp. 68,98,156,168,170,174,185,198, Ars Electronica Center, Linz, Austria, 1999<\/p>\n

Fetival de Creation Audiovisual de Navarra<\/em> pp. 90, Gobernio de Navarra, Spain, 1999<\/p>\n

Siggraph \u201999, visual proceedings<\/em>, 1999<\/p>\n

Cyberarts \u201898<\/em>, \u00e9d. Springer Vienne\/NewYork, 1998.<\/p>\n

Siggraph \u201998, visual proceedings,<\/em> Art Show, 1998<\/p>\n

Siggraph \u201998,<\/em> World Skin<\/em>, in<\/em> Art Gallery, Touchware, Program, p. 68, Art Show, 1998<\/p>\n

A Virtual Gallery<\/em>, French Image Technology<\/em>, p. 13, AFAA minist\u00e8re des affaires \u00e9trang\u00e8res, Paris, France, New Delhi, India, 27th<\/sup> January \u2013 8th<\/sup> February 1998.<\/p>\n

Festival International de Programmes Audiovisuels,<\/em> January 1996.<\/p>\n

Faust\u201996, Cosmogonie<\/em>, catalogue officiel, p.69, \u00e9d. Bucerep, Toulouse, 18th<\/sup> \u2013 22nd<\/sup> October 1996<\/p>\n

Prix Ars Electronica,<\/em> Is God Flat? Is the devil Curved? <\/em>Catalogue pp. 112-113, \u00e9d. ORF, Linz, Austria, 1995.<\/p>\n

Image Forum Festival <\/em>1995.<\/p>\n

L\u2019art du virtuel<\/em>, Imagina, Monte Carlo, edition 1995.<\/p>\n

Diffusion, <\/em>edition EBU UER, Winter 94\/95<\/p>\n

Artifice 3,<\/em> Dieu est-il plat?<\/em> catalogue pp. 16-17, \u00e9d. dir. affaire culturelles, Saint-Denis, France, 1994<\/p>\n

Siggraph \u201994, visual proceedings<\/em>, p. 36, ed. ACM Siggraph, 1994<\/p>\n

Digim\u00e9dia, <\/em>Proceedings Forum 3D, May 1994.<\/p>\n

Visual Proceedings, <\/em>edition ACM Siggraph, edition 1994.<\/p>\n

Video France 93,<\/em> pp. 13 Catalogo a cura Giovanni Cerrone, 1993<\/p>\n

Vid\u00e9oth\u00e8que de Paris<\/em>, catalogue 93, Pi\u00e8ces \u00e0 conviction, p. 415, Centre audiovisuel de Paris, January 1993<\/p>\n

Der prix Ars Electronica<\/em>, Quarxs, Hannes Leopoldseder, pp. 94-95, 172, \u00e9dition Veritas-Verlag, Linz, Austria, 1991<\/p>\n

5\u00e8mes Rencontres Vid\u00e9o Art Plastique, <\/em>Vid\u00e9o Art Plastique, 28th<\/sup> Novembre \u2013 1st<\/sup> December, 1991<\/p>\n

Vid\u00e9o Cr\u00e9ation, Pi\u00e8ces \u00e0 conviction, <\/em>pp. 50, Interm\u00e9dia, 1987<\/p>\n

2e<\/sup> manifestation internationale de vid\u00e9o<\/em>, 935m de bande, catalogue, pp. 156, i41, Montb\u00e9liard, France, 13th<\/sup> \u2013 18th<\/sup> March 1984<\/p>\n

<\/h3>\n

PORTRAITS<\/h3>\n

Annik H\u00e9mery,\u00a0L’Audiovisuel au mus\u00e9e<\/em>,\u00a0Sonovision Broadcast,\u00a02008<\/p>\n

Annik H\u00e9mery, Maurice Benayoun et son Dump<\/em>, Intramuros n\u00b0134, Paris, janvier 2008<\/p>\n

Dominique Moulon,\u00a0Peau, m\u00e9dias et interfaces<\/em>,\u00a0Image magazine n\u00b029,\u00a02008<\/p>\n

Dominique Moulon,\u00a0Maurice Benayoun<\/em>,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 artiste trans-m\u00e9dias<\/em>,\u00a0Image magazine n\u00b012,\u00a02005<\/p>\n

Catherine Seron-Pierre,\u00a0D\u00e9tails sc\u00e9nographies actives<\/em>,\u00a0AMC n\u00b0151,\u00a02005<\/p>\n

Dominique Moulon,\u00a0Hybride, vivre dans le paradoxe<\/em>,\u00a0Image magazine n\u00b013, pp.100-101, nov.\u00a02005<\/p>\n

Lionel Blaisse,\u00a0Des vertus p\u00e9dagogiques des expositions et de leurs sc\u00e9nographies \/ L’homme transform\u00e9<\/em>,\u00a0Architecture Int\u00e9rieure Cr\u00e9e,\u00a02002<\/p>\n

Lionel Blaisse,\u00a0Le grand d\u00e9poussi\u00e9rage des sons et lumi\u00e8res<\/em>,\u00a0Architecture Int\u00e9rieure Cr\u00e9e,\u00a02002<\/p>\n

Charlotte Valade,\u00a0L’homme qui d\u00e9fie les Dieux<\/em>, Transfert,\u00a0f\u00e9vrier 2002<\/p>\n

De nouvelles r\u00e8gles d’\u00e9criture<\/em>, hors s\u00e9rie Transfert \/ Lib\u00e9ration, d\u00e9cembre 2001<\/p>\n

Sylvie Lasserre,\u00a0L’artiste qui met au pas les nouvelles technologies<\/em>,\u00a0Les \u00c9chos,\u00a05 novembre 2001<\/p>\n

Barbara Robertson,\u00a0Immersed in art<\/em>,\u00a0Computer Graphic World, \u00c9tats Unins,\u00a0novembre 2001<\/p>\n

Chiara Sottocorona, Maurice Benayoun<\/em>,<\/em> l\u2019arte nella rete<\/em> (italien), Specchio n\u00b0289, p. 42, La Stampa, 25 ao\u00fbt 2001<\/p>\n

Sylvie Lasserre,\u00a0A la d\u00e9couverte des contr\u00e9es virtuelles<\/em>, Le Monde Informatique,\u00a028 sept. 2001<\/p>\n

St\u00e9phane Malagnac,\u00a0Toute r\u00e9alit\u00e9 est virtuelle<\/em>,\u00a0Pixel n\u00b0155,\u00a0mai \/ juin 2001<\/p>\n

Les 100 du web les cr\u00e9ateurs : portrait Maurice Benayoun<\/em>, Lib\u00e9ration,\u00a0mars 2001<\/p>\n

Rafa\u00ebl Magrou,\u00a0Architecture et vid\u00e9o Entre fonction et fiction<\/em>,\u00a0Techniques et Architecture n\u00b0452,\u00a0f\u00e9vrier-mars 2001<\/p>\n

Rafa\u00ebl Magrou,\u00a0Luxe et lux \u00e0 la station Franklin D.Roosevelt<\/em>,\u00a0Techniques et Architecture n\u00b0455,\u00a02001<\/p>\n

Lionel Blaisse,\u00a0Z-A Production La r\u00e9alit\u00e9 augment\u00e9e de A-Z<\/em>,\u00a0Architecture Int\u00e9rieure Cr\u00e9e,\u00a02000<\/p>\n

Jean S\u00e9gura,\u00a0Imagina 3D et tr\u00e8s net<\/em>, Lib\u00e9ration – Multim\u00e9dia,\u00a08 f\u00e9vrier 2000<\/p>\n

J\u00e9r\u00f4me Tournier,\u00a0Maurice Benayoun<\/em>, artiste et pionnier<\/em>,\u00a0les Echos,\u00a026 janvier 2000<\/p>\n

MCL,\u00a0Visuel \/ Virtuel Images et espaces num\u00e9riques<\/em>,\u00a0Techniques et Architecture n\u00b0445,\u00a01999<\/p>\n

Maurice Benayoun<\/em>,<\/em>\u00a0Espi\u00e8gle architecte du virtuel, portrait d\u2019un artiste inspir\u00e9 par les nouvelles technologies,<\/em>\u00a0M\u00e9t\u00e9o n\u00b07,\u00a0pp. 26-27, Andersen Consulting, juin 1998<\/p>\n

Pier Luigi Capucci,\u00a0Maurice Benayoun<\/em>,\u00a0Domus,\u00a0juillet \/ ao\u00fbt 1996<\/p>\n

Cristine Courty,\u00a0Maurice Benayoun<\/em>, Pixel sp\u00e9cial 10 ans PIXEL,\u00a0septembre 1996<\/p>\n

Val\u00e9rie Robert,\u00a0L’\u00e9tat de l’art multim\u00e9dia<\/em>, PC team,\u00a0septembre 1996<\/p>\n

Myriam Boutoulle,\u00a0le Diable au bout du tunne<\/em>l, T\u00e9l\u00e9rama Hors S\u00e9rie Multim\u00e9dia,\u00a0avril 1996<\/p>\n

Jean-Yves Barbichon,\u00a0Maurice Benayoun<\/em> artiste producteur de vies<\/em>,\u00a0Nov’Art,\u00a0juin \/ septembre 1995<\/p>\n

<\/a><\/a><\/a><\/a><\/a><\/p>\n

In magazines:<\/h3>\n

Just Dig It!, Artomity, pp.92, English, No.1 Summer 2016, Hong Kong<\/p>\n

Mak, A., Open Sky Gallery, Paroles No.249, pp.21-23, Alliance Fran\u00e7ais Hong Kong, French and Chinese, April-June 2016<\/p>\n

Point Zero: Re Start \u2013 Exposition Multim\u00e9dia, Agenda Culturel, Institut Fran\u00e7ais Gr\u00e8ce, French,<\/p>\n

Jan-April 2016<\/p>\n

Kekou, E., \u201cPoint Zero: Re Start- \u0397 \u03b3\u03bb\u03ce\u03c3\u03c3\u03b1 \u03b8\u03b5\u03c9\u03c1\u03ce \u03cc\u03c4\u03b9 \u03b5\u03af\u03bd\u03b1\u03b9 \u03c4\u03bf \u03c0\u03bb\u03ad\u03bf\u03bd \u03c0\u03b1\u03c1\u03b1\u03c0\u03bb\u03b1\u03bd\u03b7\u03c4\u03b9\u03ba\u03cc \u03bc\u03ad\u03c3\u03bf\u201d, Hit and Run, Greence, 13.04.2016<\/p>\n

Mak, A., \u201cMaurice Benayoun, vagabond des tunnels virtuels\u201d, Paroles No.248, pp.25-28, Alliance Fran\u00e7aise Hong Kong, French and Chinese, Jan-Mar 2016<\/p>\n

Ha Thuc, C., \u201cMaurice Benayoun\u201d, Studio Conversation, a.m.Post: No.118, Hong Kong, pp.08-09, 78, and back cover, English, Jan\/Feb 2016<\/p>\n

 <\/p>\n

Online publications:<\/h3>\n

Dalb\u00e9ra J.-P., \u201cBrain Factory Prototype (Bains Nume\u0301riques, Enghien-les-Bains)\u201d, flickr,<\/p>\n

05.06.2016
\nhttps:\/\/www.flickr.com\/photos\/dalbera\/27496555375\/<\/a><\/p>\n

Darell, A., \u201cArt et Realite virtuelle, place a la creation\u201d in IQ.INTEL.FR, 7 June, 2016,
\nhttp:\/\/iq.intel.fr\/art-et-realite-virtuelle-place-a-la-creation\/<\/a><\/p>\n

Guggemos, A., \u201cEn 1995, Maurice Benayoun inaugurait le Tunnel sous l’Atlantique\u201d, HUFFINGTON POST, 11.05.2016
\nhttp:\/\/www.huffingtonpost.fr\/alexia-guggemos\/1995-maurice-benayoun-installation-tunnel-atlantique_b_8455274.html<\/p>\n

Trancart, F.-X., FIAC 2015 : \u201cLes dix musts dans et en dehors de la foire de l\u2019art contemporain ce weekend \u00e0 Paris\u201d (listing Dildomatic Opera<\/em>) in Atlantico.fr, Oct 2015, http:\/\/www.atlantico.fr\/decryptage\/fiac-2015-dix-musts-dans-et-en-dehors-foire-art-contemporain-week-end-paris-francois-xavier-trancart-avec-artsper-2404826.html<\/p>\n

\u00e0 Paris<\/p>\n

\u201cMaurice Benayoun, Just Dig It!\u201d, Digicult-digital art, design and culture, April 2016
\nhttp:\/\/www.digicult.it\/art\/maurice-benayoun-just-digit\/<\/a><\/p>\n

Pearlman, E., \u201cResurrecting the First VR Installation to Cross the Atlantic\u201d, HYPERALLERGIC, 18.05.2016<\/p>\n

Resurrecting the First VR Installation to Cross the Atlantic<\/a><\/p><\/blockquote>\n