Works and Exhibitions                  Paul De Marinis



A Light Rain (2004) in collaboration with Rebecca Cummins. Viewers take an umbrella, walk into the rainbow, and hear music played by water streams.

Kiasma, Museum of Contemporary Art, Helsinki, Finland, August - September, 2004






Firebirds (2004)


Oracular flames kept captive within birdcages recite speeches of some political leaders of the twentieth century. Gas flames, suitably modulated by electrical fields can be made to act as omnidirectional loudspeakers of surprising clarity and amplitude.



Singuhr Horgalerie, Berlin, June 24 - Aug 1, 2004 | Braunstein Quay Gallery, San Francisco, Apr 21 - May 21, 2004 | Garage Media Festival, Stralsund, Germany, August 4 - 14, 2004




Tongues of Fire (2004)

Film recordings of vibrating flames represent the articulations of speech, based on 19th century manometric flame devices.

Braunstein Quay Gallery, San Francisco, Apr 21 - May 21, 2004 | Singuhr Horgalerie, Berlin, June 24 - Aug 1, 2004



(Tommy Franks) Dérive Quebec (2003)

Kinetic object and video projection. A 48" diameter wooden disk moves and tilts unpredictably. Inside a small robotic tank roams algorithmically over a fancifully rearranged map of Quebec City, transmitting video of its location via a wireless video link to the projector.

Avatar, Quebec, QC, May - June 2003






Rebus (2003)

Public interactive sound and art project in collaboration with Enrique Chagoya for entrance to underground parking garage at Stanford Medical Center, opened April 2003.

Wavescape (2003)

A permanent interactive sound installation for the Ft. Lauderdale International Airport, opened January 2003.


According to Scripture (2002)

Sounds from before the age of the recording. An installation of large digital prints of sound traces made before the invention of the phonograph, accompanied by sound samples derived from these graphic traces by computer processing of line images into sound files.

Stadtgalerie Saarbrucken, Germany, June - July 2002





Moondust Memories (2001)

Little autonomous rovers explore the dark side of the moon, leaving behind luminous traces; accompanied by outer space sounds, occasionally punctuated by alien giggles. Installation 15 ft. x 15 ft.

T.W.Stanford Art Gallery, Stanford University, Sept - Oct. 2002 | Gallery 2211, Los Angeles, March 2002 | New Langton Arts , San Francisco, CA., June 2001






Walls in the Air (2001)

A postwar Polish radio set receives messages from the programs of Radio Free Europe mingled with contemporaneous AM broadcasts. Created to accompany a historical show on Radio Free Europe.

The Hoover Institution, Stanford, CA., April - Dec 2001



The Products of Our Industry (2000)

Site specific three story high text piece commissioned for exterior museum wall.

Yerba Buena Gardens, San Francisco, July-Aug 2000

Four Foxhole Radios (2000)

A series of working radios constructed from unlikely materials such as chewing gum wrappers, broken light bulbs and rusty nails offers proof of technology in its absence.

Foster Art Gallery, U. Wisconsin Eau Claire, Jan-Feb 2000     

The Lecture of Comrade Stalin... (1999-2002)

The voices of Joseph Stalin, Elvis Presley, Lady Macbeth of Mtsensk and Spike Jones mingle and converse in the ether and are received and made audible by four ancient shortwave radios.

S.F. Arts Commission Gallery, San Francisco,  May -June 2001 | Galerie Otso, Helsinki,  Feb - March 2000 | Ecole d'Art de Aix en Provence, France, April - May 1999


RainDance / Musica Acuatica (1998)

Twenty falling streams of water, modulated with audio signals, create music and sound when intercepted by visitors' umbrellas.


Festival Archipel, Geneva, Switzerland, March, 2004 | Maerz Musik, Berliner Festspiele, Berlin, Germany, March, 2003 | MicroWave Festival, Hong Kong, Nov. 2002 | Ars Electronica, Linz, Austria, September 2001 | Art Center College of Design, Pasadena, Oct. 2000 - Jan. 2001 | Swatch Pavilion, Expo 1998 Lisbon, Portugal, May - Sept 1998






The Messenger (1998)

Email messages received over the internet are displayed letter by letter on three alphabetic telegraph receivers:   a large array of 26 talking washbasins, each intoning a letter of the alphabet in Spanish; a chorus line of 26 dancing skeletons and a series of 26 electrolytic jars with metal electrodes in the form of the letters A to Z that oscillate and bubble when electricity is passed through them.

Cantor Arts Center, Stanford University, August 2001 - Jan. 2002 | Art Center College of Design, Pasadena,  Oct. 2000 - Jan. 2001 | Nelson Art Gallery, U.C. Davis, Spring 2000 | Galerie Otso, Helsinki, Feb - March 2000 | Braunstein-Quay Gallery, San Francisco, Dec - Jan 2000 | Galerie Metronom, Barcelona,  February 1998



Grind Snaxe Blind Apes ( A Study for Pomeroy's Tomb) (1997)

A room constructed of cardboard storage boxes. Inside, a wire cage encloses a mechanized monkey's paw that draws the face of the deceased in light on a slowly rotating phosphorescent drum, accompanied by the sound of his snoring.

Art Center College of Design, Pasadena, Oct. 2000 - Jan. 2001 | Nelson Art Gallery, U.C. Davis,  Spring 2000 | San Francisco Camerawork, Sept - Oct 1998 | San Jose Museum of Art, February - May 1997




Living with Electricity (1997)

Three domestic settings, each containing a throw rug, a lamp, a transduced rocking chair and a sound making device fitted with actuators. The three areas are interconnected via local area network so that rocking in one chair produces movement and sound in a different one.

Mills College Gallery, Oakland, CA, February - March 1997


Sound Waves and Scan-O-Vision (1996)

Two large scale public interactive installations commissioned by Swatch for their Pavilion at the 1996 Olympic Games in Atlanta. Timing devices and sensors developed for Olympic competitions are used as input and display devices allowing members of the public to trigger sounds, rhythms and create time motion images of themselves in playful and engaging ways.

Swatch Olympic Pavilion, Atlanta Georgia,  July - August 1996


Gray Matter (1995)


Interactive electrified objects that produce sound and sensation when stroked with the hand.


Cal State University, Chico, CA, Feb 2002 | Art Center College of Design, Pasadena, Oct. 2000 - Jan. 2001 | Galerie Otso, Helsinki, Feb - March 2000 | ICC Gallery, Tokyo, August - September 1997 | Braunstein Quay Gallery, San Francisco,  December 1996 | Sonambiente, Akademie der Kunste, Berlin,  August - September 1996 | Bravin Post Lee Gallery, New York,  January February 1996 | Obscure, Quebec, September-October 1995 | Xerox PARC, Palo Alto, CA,  September 1995 | Center for the Arts, San Francisco,  August - September 1995





Chaotic Jumpropes (1994)

Bright vibrating cords and motors comprise a dynamic system that moves between order and chaos. Tracked by computers, these motions are translated into musical sounds, allowing interactive exploration of chaos as sight, sound   and touch. Internet access provides online control of the chaotic systems.


ICC Gallery, Tokyo, August - September 1997 | Arizona State University Computing Commons, April, 1997 | Obscure, Quebec, QC., September-October 1995 | Park Tower Hall, Tokyo Japan,  March-April 1995 | Narodni Technicke Muzeum, Prague, November 1994



The Edison Effect (1989-1993)

Ancient phonograph records, wax cylinders and holograms are scanned with lasers to produce music at once familiar and distant, like some faintly remembered melody running through the head.

Nam June Paik Award Show, NRW Forum, Dusseldorf, Germany,  Sept 2002 | Tryon Center for Visual Arts, Charlotte, N.C.,  June - Sept, 2001 | Galerie Otso, Helsinki,  Feb - March 2000 | Ecole d'art de Aix-en-Provence,  April - May 1999 | Musee d'Art Contemporain Lyon, France, Feb - April 1999 | De Ijsbreker, Amsterdam, August, 1998 | Site Gallery, Sheffield, U.K.,  June - July 1998 \ ICC Gallery, Tokyo, August - September 1997 | Oberösterreichisches Landesmuseum, Linz, Austria, April - May 1997 | SFMOMA, San Francisco,  Sept-Dec 1996 | Bravin Post Lee Gallery, New York,  January February 1996 | Carl Solway Gallery, Cincinnati, Ohio,  Jan-Mar, 1995 | I.S.E.A. Museum of Contemporary Art, Helsinki, August, 1994 | Klingende Dinge, Schloss Ottenstein, Austria, June - Sept 1994 | Teatro Juarez, Guanajuato, Mexico,  March 1994 | Oliver Art Center, Oakland, CA, Feb - Mar 1994 | Obscure Gallery, Quebec City,  April 1993 | San Francisco Art Institute Gallery, Feb - Mar 1993 | Palm Beach C.C. Art Museum, Florida, Nov. 1992 - Jan 1993 | Threadwaxing Space, New York City, Sept - Oct 1992 | Sound Culture, Sydney, Australia,  Oct - Nov 1991 | Technorama, Winterthur, Switzerland,  Sept 1990 - May 1991 \ C.O.C.A. Seattle, Washington, Mar - May 1990 | Fuller Gross Gallery, San Francisco, July - August 1989 | Het Apollohuis, Eindhoven, The Netherlands, May 1989



Fireflies Alight on the Abacus of Al-Farabi (1989)

A 60 foot long music wire with little dancing loops of monofilament is stretched in a dark room and illumined by an emerald laser beam. The loops dance on the harmonic nodes of the wire, producing flickering points of light and aeolian harp-like sounds.

De Puddingfabriek, Groningen, Holland April 2003 | Resonanzen, Stadtgalerie Saarbrucken, Germany June - Aug 2002 | Bits and Pieces, University of Hartford, CT Nov-Dec 2001 | Festival Arte Sonoro, Mexico City June 2000 | Galerie Otso, Helsinki Feb - March 2000 | Ujazdowski Castle, Warsaw, Poland Nov 1998 | Groninger Museum, Groningen, The Netherlands March, 1998 | ICC Gallery, Tokyo August - September 1997 | Obscure, Quebec September-October 1995 | Museum City Tenjin, Fukuoka, Japan Sep - Oct 1994 | San Francisco Art Institute Gallery Feb - Mar, 1993 | Kunstverein Gianozzo, Berlin Mar - Apr 1990 | San Jose Museum of Art, California Oct - Dec 1989 | Headlands Center for the Arts, Sausalito, Ca. June, 1989



An Unsettling Matter (1991)

An autobiographical work incorporating family photos, projected panoramic desert landscapes, a small leaden hut, a geiger counter and a radio from which emanate voices telling stories about radioactive contamination spread across the Nevada desert . On the floor is a harmless but noticeable powder which spreads by clinging to visitors as it contaminates the environs.

Yellow Springs Institute, Pennsylvania,  July 1992 | Ars Electronica   Linz, Austria,  September 1991



Alien Voices (1988)

Visitors enter two antique wood and glass telephone booths engage in conversation, hearing the melody of their voices translated into music or changed into whispers, robotic monotones or alien melodies.

Electronic Carnival, Lollapalooza Tour,  July - Sept 1994 | Multimediale II, Karlsruhe, Germany,  June 1991 | Technorama, Winterthur, Switzerland,  Sept 1990 - May 1991 | World Financial Center, New York City,  March - May 1990 | The Exploratorium, San Francisco,  Permanent collection, 1989 | Kanagawa Science Park, Kawasakishi, Japan, Permanent collection, 1989


Voice Creatures (1986)

A series of synthetic personalities, including two radio-genies and a sewer-saint who respond to visitors' voices with phrases, moans, and secret codes.

Works Gallery, San Jose, Ca.,  June 1989 | Soundwaves Show, N.Y. City Gallery, May-June 1986 | Thorpe Intermedia Gallery, Sparkhill, N.Y.,  July-August 1986


Music Room / Faultless Jamming (1982)

A multi-player interactive music system consisting of five touch-sensitive guitars connected to a computer which allows people with no previous musical training to engage in a lively musical dialog.

Museo El Paplote, Mexico City,  Permanent since 1992 |Technorama, Winterthur, Switzerland, Sept 1990 - May 1991 | The Boston Childrens Museum, Permanent collection 1986 \ Touch the Universe, Winnipeg, Manitoba,  Permanent collection 1985 | The Pittsburg Childrens Museum,  Permanent collection 1985 | The Ontario Science Centre,  Permanent collection 1984 | The Wadsworth Atheneum, Hartford, CT,  January- March 1984 | The Exploratorium, San Francisco, Permanent collection, 1982


Sound Fountain   (1982)

In collaboration with David Behrman. Touch sensitive sticks make music and move computer generated creatures around a video screen.

The Hudson River Museum, Yonkers, NY,  March-April 1982 | Museum of Contemporary Art, Chicago, June, 1982

Sounds and the Shadows of Sounds (1979)

A computer quietly listens to the sounds in the environment for a while, analyses what it hears, then plays the spectral "shadows" of its memories as slowly shifting patterns of filtered white noise from the interchannel hash of a police scanner.

80 Langton St., San Francsico, January - March 1980 | Media Studies, Buffalo, NY, December- January 1979


The Pygmy Gamelan (1973)

Five to ten little electronic circuits respond to electrical fluctuations in the galaxy by improvising around five-note phrases.


Whitney Museum 20th Century II, New York, Spring 2000 | P.S. 1, New York, April 1980 | Walker Art Center, Minneapolis, MN,  June 1980 | L.A.I.C.A., Los Angeles,  July-August 1979 | Musee Galliera, Paris, October 1976 | Galerie Shandar, Paris, December 1976 | WBAI Free Music Store, New York City, January 1974