Born in 1957 at Mascara
Lives and works at Paris

After video art, the artist Maurice Benayoun has been exploring the potential of 3D computer graphics' animation and Virtual Reality for the last 12 years.
Since 1984, Maurice Benayoun has been teaching «Video Art and New Images » at the Université de Paris 1 (Panthéon-Sorbonne) and has been an invited artist at the Ecole Nationale Supérieure des Beaux Arts of Paris.

In 1987 Maurice Benayoun co-founded Z-A Production where he currently works as art director in charge of a variety of projects and special effects.

Mr. Benayoun then created and directed, in a collaboration with François Schuiten, the first 3D CG high definition 35mm series based on an original script - the QUARXS . This series was broadcast in 1993 by CANAL +, France 3 and many other countries all over the world. The QUARXS has been widely aclaimed, winning numerous prizes at several exhibitions and international festivals.

His current activities focus on developing the artistic potential of virtual reality and interactive projects.

The A.M.E. project proposes a contemporary art collection in virtual reality and it was with these first visible manifestations from the A.M.E. project that Maurice Benayoun was awarded with the Villa Médicis Hors Les Murs from the French Foreign Ministry in 1993

As a result of working on the A.M.E. project in 1992, Maurice Benayoun produced interactive works both in virtual reality and on the internet : The Big Questions.

Is God flat?, Is the Devil curved? were the two first Big Questions, and, finaly: And What About Me ? 1 and 2, the new Big Questions on line...

During ISEA 1995, Maurice Benayoun created his first tele-interactivity project :
the Tunnel under the Atlantic. The virtual tunnel connected the Centre Georges Pompidou Paris and the Musée d'art contemporain de Montreal, was the first multimedia commission from the French Ministry of Culture.

In January 1998 a new virtual tunnel was 'dug'- the Paris-New Delhi Tunnel, creating a cultural link between France and India.

The 3D interface "Hypercube" was first presented in December 1997 in the Navigation Room, conceived by Maurice Benayoun for the exhibition New Images and New Networks at the Cité des Sciences et de l'Industrie de la Villette- Paris. It was one of the first network exhibition using ATM. The installation was comprised of eleven two meter wide screens, showing fully working examples of the new 3D multiplatform user interface: Hypercube, to be explored by the public. More than eight hundred thousand visitors came to experience the interface and the exhibition between December 1997 and June 1999 with great success. Hypercube has since evolved into HyperTV, an EPG (Electronic Program Guide) developped by Z-A at the request of France Telecom.

In 1998 Maurice Benayoun created World Skin, a CAVE virtual reality installation conceived for a full virtual immersion projecting a photo-safari in the land of war, presented for the first time in Ars Electronica CAVE then at Imagina, Siggraph98 Orlando and KTH Stockholm. In the same year, Maurice Benayoun won with Jean-Baptiste Barriere (for the musical work) the Golden Nica award for interactive art at Ars Electronica.

At the ICC Biennale 1999, Tokyo, Maurice Benayoun was given the opportunity to create a new CAVE/Internet installation: Crossing Talks (communication rafting), visible live online during the exhibition.

At this present moment, Maurice Benayoun is dedicating himself to numerous Internet and VR projects, including interactive scenography and architecture and interface design using intelligent agents such as the Z-A Profiler.

In February 2000, M.B. won, together with Jean Nouvel, the competition for the new metro station Franklin D. Roosevelt in the Champs Elysées- Paris. It will be the first fully interactive metro station; it's themes will be Creation and Luxury. The project combines Virtual Reality, Intelligent Agents, interactive lighting and sound in a living station breathing at the trains' rhythm. The official announcement was made by Catherine Trautman, the French minister of Culture, during the official ceremony of the 'medaille de Chevalier des Arts et Lettres', for which Maurice Benayoun received a medal for his contribution to the French culture in the field of interactive digital art.

WORLD SKIN
World Skin is an interactive artwork presented for the first time at Ars Electronica (Linz, Austria). It won the Golden Nica Award in the Interactive Art category in 1998.
Armed with cameras, we are making our way through a three-dimensional space. The landscape before our eyes is scarred by war-demolished buildings, armed men, tanks and artillery, piles of rubble, the wounded and the maimed. This arrangement of photographs and news pictures from different zones and theaters of war depicts a universe filled with mute violence. The audio reproduces the sound of a world in which to breathe is to suffer. Special effects? Hardly. We, the visitors, feel as though our presence could disturb this chaotic equilibrium, but it is precisely our intervention that stirs up the pain. We are taking pictures; and here, photography is a weapon of erasure.
The land of war has no borders. Like so many tourists, we are visiting it with camera in hand. Each of us can take pictures, capture a moment of this world that is wrestling with death. The image thus recorded exists no longer. Each photographed fragment disappears from the screen and is replaced by a black silhouette. With each click of the shutter, a part of the world is extinguished. Each exposure is then printed out. As soon as an image is printed to paper, it is no longer visible on the projection screen. All that remains is its eerie shadow, cast according to the viewer's perspective and concealing fragments of future photographs. The farther we penetrate into this universe, the more strongly aware we become of its infinite nature. And the chaotic elements renew themselves, so that as soon as we recognize them, they recompose themselves once again in a tragedy without end.
We take pictures. First by our aggression, then feeling the pleasure of sharing, we rip the skin off the body of the world. This skin becomes a trophy, and our fame grows with the disappearance of the world.
Here, being engulfed by war is an immersion in a picture, but it is a theatrical performance as well. In the sequence of events which characterize the story of a single person, war is an exceptional incident which reveals humanity's deepest abyss. It promotes the process of reification of another human being. Taking pictures expropriates the intimacy of the pain while, at the same time, bearing witness to it.
This has to do with the status of the image in our process of getting a grasp on this world. The rawest and most brutal realities are reduced to an emotional superficiality in our perception. Acquisition, evaluation and understanding of the world constitute a process of capturing it. Capturing means making something one's own; and once it is in one's possession, that thing can no longer be taken by another.
In French, "prise de vues." Shooting, taking. In the case of a material storage medium, "taking" something is the equivalent of taking it with you. Photography captures the light reflected by the world. It constitutes an individual process of capturing and arranging. The image is adapted to the viewfinder.
The picture neutralizes the content. Media bring everything onto one and the same level. Physical memory-paper, for example, is the door that remains open to a certain kind of forgetting. We interpose the lens ("objectif" in french) between ourselves and the world. We protect ourselves from the responsibility of acting. One "takes" the picture, and the world "proffers" itself as a theatrical event. The world and the destruction constitute the preferred stage for this drama-tragedy as a play of nature in action.
The living are the tourists of death. If art is a serious game, then so is war. War is a game in which the body is placed at risk as an incessantly, unremittingly posed question of the reduction of existence to its bare remains.
The printed trace is the counterpart of forgetting. A "good conscience" is a contradiction of a "good memory." One knows what one has retained, but one does not know what one has stricken from one's memory.
Here, the viewer/tourist contributes to an amplification of the tragic dimension of the drama. Without him, this world is forsaken, left to its pain. He jostles this pain awake, exposes it. Through the media, war becomes a public stage, in the sense in which a whore might be referred to as a "public woman." Pain reveals its true identity on this obscene stage, and all are completely devoured. The sight of the wounded calls to mind the image of a human being as a construct which can be dismantled. Material, more or less. The logic of the material holds the upper hand over the logic of the spirit, the endangered connective tissue of the social fabric.
War is a dangerous, interactive community undertaking. Interactive creation plays with this chaos, in which placing the body at stake suggests a relative vulnerability. The world falls victim to the viewer's glance, and everyone is involved in its disappearance. The collective unveiling becomes a personal pleasure, the object of fetishistic satisfaction. We keep to ourselves what we have seen (or rather, the traces of what we have seen). To possess a printed vestige, to possess the image inherent in this is the paradox of the virtual, which is better suited to the glorification of the ephemeral. The soundtrack is there to enable us to go beyond the play of images and to experience this immersion as real participation in the drama. In sharp contrast to the video games that transform us into passionate warriors, here the audio unmasks the true nature of apparently harmless gestures and seeks to provide not so much a form of comprehension as a form of experience. Some things cannot be shared. Among them are the pain and the image of our remembrance. The worlds to be explored here can bring these things closer to us -- but always simply as metaphors, never as a simulacrum.
The system
The CAVE*
The projection space is a square room whose three walls, and floor, are screens. (For a permanent installation the roof can be used as well). Visitors can shift direction by facing in different directions. Everything happens as in life. In each group of tourists visiting World Skin, the driver can individually decide about the internal traffic. Collective decisions can also be taken according to group consensus. According to the CAVE size, an expandable number of spectators can participate. Through the open wall of the CAVE, the audience can witness, although not interactively. The visitors and the audience can use shutter glasses in order to get a stereo view. This is the best way to avoid the painted-wall effect.

Pyramid or TAN (CUBE)

The navigation
Only the driver using a "wand" can decide about the group trip. In this way, he has the role of a "bus driver". Everyone can ask about the path alterations.

The photographers
The lucky ones who reach the CAVE become active. They must immediately decide about the group's movements. Otherwise they cannot take pictures of what they are seeing. Several cameras hanging from the ceiling will allow them to take shots. Instead of opening its shutter to capture the image, the camera sends coordinates to the computer at the time of release. The corresponding framing will be rerendered in higher definition.

The taken shots
With the camera, the visitor can frame the virtual show at leisure. He chooses angles, frames and release time. Each camera is equipped with Polhemus or Flock of Birds (magnetic) sensor type which allows transmission of its exact position in space and its orientation according to 3 axis. Thus, the machine can compute the corresponding frame, in relation to the scene and time of the shot.

The World Skin
For each shot, the corresponding surface (divided into silhouette fragments) is removed from the virtual databases. It looks like a white projection made the set pixels disappear, covered by the camera field. The white fragments constitute a rectangle (the frame), only from the exact point of view of the shot. In other words, the perspective takes over again and we can discover the white surface fragments vanishing into the set depth.

The photography
After two or three shots, the visitor exits the CAVE and finds a printer and a screen presenting the website, where the last shots are sent in real time. He can then recognize the one he took and request a printed copy.

The machinery
This installation requires an elaborate system that is able to manage a huge number of textures, in order to have a complex set and to enjoy these textures in real time. The Reality Engine or Infinite Reality are perfectly suitable, placed into an ONYX machine from Silicon Graphics with a minimum of 2 processors, 2- or 4-raster managers with at least 2 pipes. The photographic system requires 1 to 5 cameras (a compact, economical type, but sturdy), modified at the release level and 2 to 6 Polhemus sensors. This machine will be connected to an ordinary color printer.

Credits
Creation : Maurice Benayoun
Music : Jean-Baptiste Barrière
Software : (SGI, Z.A) Patrick Bouchaud, Kimi Bishop, David Nahon
Graphics (cut outs) : Raphaël Melki
Production : Ars Electronica Center, Z.A Production,
Silicon Graphics Europe
Thanks to : Daniela Basic, Zorha Balesic, Laurent Simonini, Pierre Beloin, Guergana Novkirichka

FILMS ABOUT ART:
935 mètres de bande, Daniel BUREN (Prod. Savoir au Présent 1984)

Pièces à convictions, (Prod. S.A.P., Vidéothèque de Paris 1985):
Pit Stop, Jean TINGUELY
Brandt/Hafner, Bertrand LAVIER
Espace musical, TAKIS
Armoire paysage, Jean Luc VILMOUTH
Par la juste mesure dans le double monde , Martial RAYSSE
Suzanne et les vieillards, Jean Michel ALBEROLA
Le délassement d'un peintre parisien, Jean Le GAC
L'usine l'usine, Bill WOODROW

Lévèque au musée, Claude LEVEQUE (Savoir au Présent, CRDP Creteil 1986)

Wall Drummings, SOL LEWITT (Musée d'art Moderne de Paris, 1988)


FICTION:
Les QUARXS (Pilote) - with François SCHUITEN - ( Z-A Production 1991)
DANGER QUARXS (Z-A 1992)
The QUARXS (12 X 3MN) (Z-A 1993)
HERE THEY ARE! (The QUARXS, the movie) (35MM, 21'30", Z-A 1994)
(see awards below)


OPENS/ CREDIT TITLES
Un jour en France, open title for the France 3 news magazine, jan. 1995.
Mirage Illimité ( co-dir. Alain ESCALLE), Grand-Canal, Z-A Production, Mikros 1993
(1st prize, Imagina 93, International Monitor Awards...)
Cosmogony (with Alain Escalle), Canal+, Teva, Z-A Production
(2nd prize Imagina 96, 2nd prize Images du Futur Montreal)


ART and SPECIAL EFFECTS ON FEATURE FILMS
A REAL SCHLEMIL, animated feature film.
(dir. H. KAMINSKY), Les Films de l'Arlequin, Project Image
MECANIQUES CELESTES (dir. Fina TORRES, dir special effects ), Mistral films.


DOCUMENTARIES
COSMOGONY, documentary on Virtual Reality, for the "Nuit Cyber", Canal +.
Z-A/Canal+/Teva 1996.


Selections and Awards, International Competitions
Official selection, BIENNALE DO MERCOSUL, Brazil, Nov. 1999
Official selection, ICC BIENNALE, Tokyo, Japan, Oct.-Nov. 1999
Official selection, ART SHOW, SIGGRAPH '98, Orlando, USA, August1998
GOLDEN NICA (first prize), interactive art category, ARS ELECTRONICA, Linz, Austria, 1998
Second prize, IMAGES DU FUTUR '96, catégory open titles, Montreal 1996
Second prize PIXEL INA, CREDITS category IMAGINA 96-MONTE CARLO, February 1996
Finalist BEST ACHIEVEMENT, INTERNATIONAL MONITOR AWARDS, Opens/closes category, Los Angeles, oct. 1995.
Official selection, ANIMA MUNDI, Rio de Janeiro, BRASIL, August 1995.
Official selection, FILM WEST, Sydney, AUSTRALY, july 1995.
Honorary mention, ARS ELECTRONICA-LINZ, AUSTRIA April 1995
Official selection, VIDEO FEST, Berlin, GERMANY, february 1995.
JOSE ABEL Prize, Best european animation film, CINANIMA, Animation Film Festival of ESPINHO, PORTUGAL, October 1994
Silver Trophy, Espace Création, F.A.U.S.T., Toulouse, November 1994
Official selection, Electronic Theater, International Symposium on Electronic Art 94, HELSINSKI, 94
Official selections SIGGRAPH 94 - ELECTRONIC THEATER, ORLANDO
SIGGRAPH 94 - Screenings (2 selections), ORLANDO, USA
SIGGRAPH 94 - ART & DESIGN SHOW, ORLANDO, USA
DISTINCTION (2nd prize), ARS ELECTRONICA-LINZ, AUSTRIA, June 1994
Official selection, SHORT FILM FESTIVAL, TAMPERE, FINLAND, March 1994
3rd PRIZE, fiction category, IMAGINA 94-MONTE CARLO, February 1994
Best Electronic Special Effects- INTERNATIONAL MONITOR AWARDS -Los Angeles, 93
Best Video Paint Design, INTERNATIONAL MONITOR AWARDS, Los Angeles 93
Nomination, Best Computer Animation, INTERNATIONAL MONITOR AWARDS, Los Angeles 93
1st prize, PRIX PIXEL INA, Credits category, IMAGINA 93-MONTE CARLO, February 1993
3rd Prize, FICTION category IMAGINA 93-MONTE CARLO, February 1993
Official selection, SIGGRAPH-CHICAGO, July 1992
Official selection, 5th FESTIVAL OF COMPUTER FILM-GENEVA,July 1992
Official selection, IMAGINA 92-MONTE CARLO, January 1992
1st prize Third Dimension, SCAM - PARIS, November 1991
Best Script prize, PARIS CITE 91- PARIS, October 1991
Official selection, EUROGRAPHICS 91-VIENNA, AUSTRIA, September 1991
Honorary mention, ARS ELECTRONICA-LINZ, AUSTRIA September 1991
Official selection, IMAGES DU FUTUR-MONTREAL, September 1991
1st prize, ARTISTIC MENTION CATEGORY, TRUEVISION COMPETITION-SIGGRAPH, Las Vegas, 91
Still image prize, PARIS CITE-PARIS, 1990
1st prize communication image, TECH IMAGE CONTEST-PARIS,1990
Official selection, INTERNATIONAL ART FILM BIENNALE PARIS, BEAUBOURG, 1987
Official selection, ART FILM FESTIVAL-ROTTERDAM, 1987

Forum des Images, États Généraux de l'écriture interactive, Crossing Talks, Paris, Nov. 1999
Biennale do Mercosul, World Skin Web site, Brazil, Nov.-Dec. 1999
ICC Biennale '99, Crossing Talks, NTT ICC, Tokyo, Japan, Oct.-Nov. 1999
KTH, World Skin, Stockholm, Sweden, Dec. 1998
Transarchitectures 03, Missing Matter, DEAF, Rotterdam, Nederlands, Nov. 1998
Ars Electronica, World Skin, Linz, Austria, Sept. 1998
Transarchitectures 03, Missing Matter, UQAM, Montréal, Canada, août 1998
Transarchitectures 03, Missing Matter, Galerie AEDES, Berlin, Allemagne, août 1998
Imagina 98, World Skin, Monte Carlo, Monaco, March 98
Virtual Galery, Pragati Magdan, Paris-New Delhi Tunnel, New Delhi, India, Janv.-Feb.98
Cité des sciences et de l'industrie de la Villette, Paris-New Delhi Tunnel, Paris Jan.-Feb.98
Cité des sciences et de l'industrie de la Villette, Navigation Room, Paris Dec.97-Dec.98.
Ars Electronica, World Skin, Linz, Austria, Sept. 1997
Musée d'Art contemporain de Lyon, Version Originale, July-Sept.1997.
Kahanamoku and Beyond, And What About Me ? 1, Sidney, Australy, July 1996.
Vidéothèque de Paris, Is the Devil curved ? PC version, octobre 1996.
Musée d'art contemporain de Lyon, vidéos, Lyon, november 1995.
Musée d'art contemporain de Montréal, The Tunnel under the Atlantique, Montréal, september1995.
Centre Georges Pompidou, The Tunnel under the Atlantique, Paris, september 1995.
MIM, Is God flat ? / Is the Devil curved ?, Montréal, Canada march 1995.
Salon International d'art contemporain de Strasbourg, Is God flat ? VR installation, parc des expositions, march 1995
Machida Museum of Graphic Arts, Unlimited Mirage, Tokyo, Japan, march 1995.
Imagina, Is the Devil curved ? VR installation, Monte Carlo, feb 1995.
MILIA, Is God flat ? VR installation, Cannes, janury 1995.
Artificaes 3 : Is God flat ? Salle de la Légion d?Honneur, Saint Denis, nov-déc 1994.
Siggraph 94, Art & Design Show, Orlando, USA, Jully 1994.
3D image & Animation films, le Grand huit/ T.N.B. - Rennes, march 1994
Animation in the Pixel Land, Musée château- Annecy, june-august 1993
Galerie Sabrina Grassi, 9, rue Saint Germain l'Auxerrois, 75001 Paris, jan-febulary 1992
Les Cités Obscures, Schuiten/Peeters - Bruxelles 1992
Galerie 172 , 172, rue du Fbg Saint Honoré, 75008 Paris, 1991
Paris Cité, Parc floral, Vincennes, 1991
Tech Image, Paris, 1990
ARC ( Sol Lewitt's exhibition), Musée d'art moderne de la ville de PARIS, 1986

2000
Utopia and interactive creations, Utopi@, le Grand Hornu, Belgium, march 17th 2000
Créations interactives, the second worldwide symposium on information technology (FWS), Futuroscope, Poitiers, France, March 2000.
New 3D interfaces, the second worldwide symposium on information technology (FWS), Futuroscope, Poitiers, France, February 2000.
Situations en question. Pratiques interrogatives, de la vidéo au virtuel, CRECA, University Paris 1, France, February 24th 2000.
Emotion et interactivité. Dicussion panel, IMAGINA, Paris, France, February 2000.
Crossing Talks, Communication Rafting, conf.: Interactivité+Immersion=la nouvelle dimension, IMAGINA, Monte Carlo, France, February 2000.
L'attente des artistes face aux technologies. Discussion panel, PRIAMM, IMAGINA, Monte Carlo, France, February 2000.

1999
Virtual Reality and Art, Virtual Reality Software and Technology (VRST), University College London, UK, December 22nd 1999.
Un art coupable mais toujours libre, Pendulum Symposium, Mediaterra, Athens, Greece, December 1999.
Le ZA Profiler en action dans le Tunnel, ReViCo (Réalité Virtuelle et Cognition), ENST, Paris, France, December 15th 1999.
Crossing Talks, French InstituteTokyo, Tokyo, Japan, October 1999.
L'éthique otaku : Tous seuls ensemble, la crise de contact et autres troubles des sens, discussion OTAKU, Maison de la Culture du Japon, Paris, France, September 17th 1999.
Experiential Computer Art, Siggraph 99, Los Angeles, USA, August 12th 1999.
Workshop intelligence connective, FWS Symposium, Futuroscope, Poitiers, France, March 1999.
Workshop Connective Intelligence, Mediartech '99, San Miniato, Italy, January 1999.
Metaphorical architecture of virtual worlds. Back to the CAVE, Stuttgarter Filmwinter Festival, Germany, January 99.

1998
Art and VR, conference, Keio University, Tokyo, Japan, December 1998.
Art and Science symposium, Hakone, Japan, November-December 1998.
World Skin, Ars Electronica, Linz, Austria, September 1998.
Communicating Culture, Getty Center, Los Angeles, USA, October 1998.
Artists' talk, Siggraph '98, Orlando, USA, August 1998.
Crossing Talks, Pour une écologie des médias, the third international meeting of- art cinema-vidéo-ordinateur, Paris, France, April 1998.
Nouvelles technologies, image et réseaux, journées AMCSTI, Cité des Sciences of la Villette, Paris, France, April 1998.
M.B. Works, conference, Fête de l'Internet, Canadian Cultural Institute, Paris, France, March 1998.
Virtual Communities, Madeira Technopolo, Madeira, Spain, February 21st 1998.
Rencontres : ville, architecture et nouvelles technologies, Arc en Rêve, Bordeaux, France, January 1998.

1997
A Photo Safary in the Land of War, Opera Totale, Venice, Italy, November 1997.
1st forum de l'an 2000, Lyon, France, October 1997.
L'oeuvre est au fond de l'image à gauche, ICHIM 97, Louvre, Paris, France, September 1997.
Computer Construction of World Laws, Art as World Construction, Aalborg University, Denmark, May 1997.
Art as World Construction, Odense University, Denmark, May 1997.
L'oeuvre d'art et sa reproduction à l'ère des médias interactifs, Musée virtuel, CRI/Louvre/Sorbonne, Paris, France, April 1997.
Corps et pratique artistique, Cergy, France, April 1997.
Décor et nouvelles technologies de l'image, FEMIS, Paris, France, March 1997.

1996
Espaces Virtuels métaphoriques, CAD Forum, Zagreb, Croatia, November 1996.
Quand l'homme de l'ère numérique finira-t-il de descendre de l'arbre ? Cyber@rt, Valencia, Spain, November 1996.
Le Diable est-il Courbe ? etl'Ecriture Interactive. Dicussion panel:Univers virtuels et comportements autonomes, Etats Généraux de l'Ecriture Interactive, the Videothèque of Paris, France, October 1996.
Discussion panel: Les Métamorphoses de l'oeuvre, F.A.U.S.T., Parc des Expositions, Toulouse, France, October 1996.
Mediartec '96, Florence, Italy, May 1996.
Révélations virtuelles : les avatars de la vérité, La Musique et l'Image : vers de nouvelles interactions ? .IRCAM, Paris, France, June 1996.
Un printemps d'artistes, Ars Multimédia, Maison de la Culture de Metz, France, March 1996.
2005 l'Odyssée du Multimédia, conférence cybermédia, Paris,France, January 1996.
Les mutations de l'écriture interactive, Conservatoire européen d'écriture audiovisuelle, Paris, France, January 1996.

1995 - 94
The Quarxs, Advanced animation techniques, French/American Animation Conference, New York, USA, May 1995.
Nouvelles techniques, création et théorie, Les états de la création, Colloque international, University Lyon 2, France, January 1994.
Les Quarxs, Digimedia, La télévision rencontre le multimédia, Geneva, Switzerland, May 1994.
Les Quarxs, Ars Electronica, Linz, Austria, June 1994.
Les Quarxs, Médiascape 2- Symposium for the Media, Art and Culture, Zagreb, Croatia, June1994.
Représentation tridimensionnelle et création multimédia, TiConUno, La Cultura dell'Interattività, Milan, Italy, June 1994.
Cinéma et images de synthèse, Université d'été, Enseigner le cinéma, pratique et enjeux, University of Lyon, France, July 1994.
L'A.M.E. et la réalité virtuelle, Assises du Métafort, Aubervilliers, France, October 1994 .
Adam et Eve chassés du virtuel, réalités de la dimension interactive, le Vivant et le Virtuel, Théâtre 95, Cergy-Pontoise, France, December, 1994.
La genèse du réalisme interactif. Dicussion panal- L'art du virtuel, Imagina, Monaco, France, February 1995.

Maurice Benayoun