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Osmose

"By changing space, by leaving the space of one's usual sensibilities, one enters into communication with a space that is psychically innovating. … For we do not change place, we change our nature."
Gaston Bachelard
The Poetics of Space, 1964

Osmose (1995) is an immersive interactive virtual-reality environment installation with 3D computer graphics and interactive 3D sound, a head-mounted display and real-time motion tracking based on breathing and balance. Osmose is a space for exploring the perceptual interplay between self and world, i.e., a place for facilitating awareness of one's own self as consciousness embodied in enveloping space.

Immersion in Osmose begins with the donning of the head-mounted display and motion-tracking vest. The first virtual space encountered is a three-dimensional Cartesian Grid which functions as an orientation space. With the immersant's first breaths, the grid gives way to a clearing in a forest. There are a dozen world-spaces in Osmose, most based on metaphorical aspects of nature. These include Clearing, Forest, Tree, Leaf, Cloud, Pond, Subterranean Earth, and Abyss. There is also a substratum, Code, which contains much of the actual software used to create the work, and a superstratum, Text, a space consisting of quotes from the artist and excerpts of relevant texts on technology, the body and nature. Code and Text function as conceptual parentheses around the worlds within.

Through use of their own breath and balance, immersants are able to journey anywhere within these worlds as well as hover in the ambiguous transition areas in between. After fifteen minutes of immersion, the LifeWorld appears and slowly but irretrievably recedes, bringing the session to an end.

In Osmose, Char Davies challenges conventional approaches to virtual reality. In contrast to the hard-edged realism of most 3D-computer graphics, the visual aesthetic of Osmose is semi- representational/semi-abstract and translucent, consisting of semi-transparent textures and flowing particles. Figure/ground relationships are spatially ambiguous, and transitions between worlds are subtle and slow. This mode of representation serves to 'evoke' rather than illustrate and is derived from Davies' previous work as a painter. The sounds within Osmose are spatially multi- dimensional and have been designed to respond to changes in the immersant's location, direction and speed: the source of their complexity is a sampling of a male and female voice.

Based on responses from approximately 25,000 individuals who have been immersed in Osmose since the summer of 1995, the after-effect of immersion in Osmose can be quite profound. Immersants often feel as if they have rediscovered an aspect of themselves, of being alive in the world, which they had forgotten, an experience which many find surprising, and some very emotional. Such response has confirmed the artist's belief that traditional interface boundaries between machine and human can be transcended even while re-affirming our corporeality, and that Cartesian notions of space as well as illustrative realism can effectively be replaced by more evocative alternatives. Immersive virtual space, when stripped of its conventions, can provide an intriguing spatio-temporal context in which to explore the self's subjective experience of "being-in-the-world"—as embodied consciousness in an enveloping space where boundaries between inner/outer, and mind/body dissolve.

The user-interface is based on full-body immersion in 360 degree spherical, enveloping space, through use of a head mounted display. In contrast to manually based interface techniques such as joysticks and trackballs, Osmose incorporates the intuitive processes of breathing and balance as the primary means of navigating within the virtual world. By breathing in, the immersant is able to float upward, by breathing out, to fall, and by subtlety altering the body's centre of balance, to change direction, a method inspired by the scuba diving practice of buoyancy control.

Whereas in conventional VR, the body is often reduced to little more than a probing hand and roving eye, immersion in Osmose depends on the body's most essential living act, that of breath—not only to navigate, but more importantly—to attain a particular state-of-being within the virtual world. In this state, usually achieved within ten minutes of immersion, most immersants experience a shift of awareness in which the urge for action is replaced by contemplative free-fall. The experience of being spatially enveloped, of floating rather than flying or driving is key to the work. Being supercedes doing. Solitude is a key aspect of the experience, as the artist's goal is to connect the immersant not to others but to the depths of his or her own self.

The public installation of Osmose includes large-scale stereoscopic video and audio projection of imagery and sound transmitted in real-time from the point-of-view of the individual in immersion (the "immersant"): this projection enables an audience, wearing polarizing glasses, to witness each immersive journey as it unfolds. Although immersion takes place in a private area, a translucent screen equal in size to the video screen enables the audience to observe the body gestures of the immersant as a poetic shadow-silhouette.

Videos

Team credits

  • Concept, direction, art direction by Char Davies
  • Custom VR software by John Harrison
  • Computer graphics by Georges Mauro
  • Sonic architecture/programming by Dorota Blaszczak
  • Sound composition/programming by Rick Bidlack
  • Restoration and remastering by Glen Fraser

Awards

  • Best of '96 - Virtual Reality, 3D Design Journal, USA. 1996.
  • Best Virtual Reality Art Event of the Year, CyberEdge Journal, San Francisco, USA. 1996.

Technical specifications

Since 2002 Osmose has been ported onto PC.

(Initial development 1995: SOFTIMAGE®|3D modeling, animation and development environment; Silicon Graphics Onyx2 Infinite Reality visualization supercomputer).

Mac computer, sound synthesizers and processors, stereoscopic head-mounted display with 3D localized sound, breathing/balance interface vest, motion capture devices, video projectors, and silhouette screen.

Inquiries

For inquiries, and high-resolution images for publication, please contact Tanya Das Neves, Assistant to the Artist and Director of Immersence Inc., at [email protected]

Publications

For further information, see the following articles and publications:

2023

Gibson, Steve
Immersive Environments and Live Visuals
Live Visuals – History, Theory, Practice.
Steve Gibson, Stefan Arizona, Donna Leishman and Atau Tanaka, eds. New York, NY, USA: Routledge (2023), pp. 322-323, illus.

2021

Himmelsbach, Sabine
Unbounded Spaces – Immersive Virtualities
Resonant Realities, Exhibition Catalog.
Berlin, Germany: Haus am Lützowplatz (2021), pp. 20-25, illus.

2019

Crowther, Paul
Digital Art, Aesthetic Creation. The Birth of a Medium
New York, NY, US: Routledge (2019), pp. 158-161, illus.

2017

Boisclair, Louise
Variations connectives de l'installation interactive
Inter, art actuel n°125 - Connectivités.
No. 125 (2017), pp. 20-23, illus.
Boucher, Marc
A Study on Proprioception and Peripheral Vision in Synesthesia and Immersion
Leonardo.
Vol. 50 (2) (2017), pp. 144 151 , illus.
Fieldgate, Katherine
Osmose by Char Davies
Silent Frame - Virtual.
John Wadsworth, ed. (2017), illus.
Rafferty, Penny
Virtual Reality // Healing Practice: An Interview with Char Davies.
BERLINARTLINK: The Insider's Guide to Contemporary Art and Culture
Jan. 04, 2017

2016

Fraser, Glen
Immersed in Restoration: The Legacy Project
La Fressa d'en Glen: Glen Fraser's Blog
Glen Fraser, ed. (Nov. 11, 2016). illus.
Kwastek, Katja
Immersed in Reflection? The Aesthetic Experience of Interactive Media Art
Immersion in the Visual Arts and Media
Liptay, Fabienne and Burcu Dogramaci, eds. Leiden, NL: Koninklijke Brill (2016), pp. 66-71, illus.
Molly Gottschalk
Virtual Reality Is the Most Powerful Medium of Our Time
Artsy
Molly Gottschalk, ed. (March 16th, 2016), illus.

2013

Stern, Nathaniel
Interactive Art and Embodiment
Canterbury, UK: Gylphi Limited (2013), pp. 33-36, illus.
Svatonová, Katerina
Apendix: vnitrní obrazy ve virtualite
Odpoutané obrazy: archeologie ceského virtuálního prostoru
Praha: Academia (2013), pp. 294-299, illus.

2012

Nick Bailey interview with Char Davies
Technology at the Service of Art
Creatie
Suzanne van Nierop, ed. Netherlands Vol. 9 (3) (June, 2012), pp. 44-47, illus.
Ramírez González, Margarita
Génesis de una estética de la realidad virtual
Cuidad de México, México: Institutio Nacional de Bellas Artes y Litteratura (2012), pp. 85-88, illus.

2011

Poissant, Louise
Ombres et effets de présence
Lumières des Lumière
Alain Fleischer, ed. France: Édition Le Fresnoy (2011), pp. 23-40, illus.

2010

Pageot, Edith-Anne
Art et nouvelles technologies: Pour un recadrage de la subjectivité humaine par rapport à l'idée de paysage
RACAR, Revue d'art Canadienne | Canadian Art Review
Vol. 35 (1), ON, Canada: University of Victoria Printing Services (2010), pp. 42-53, illus.
Wysocki, Anne Frances
Unfitting Beauties of Transducing Bodies
Rhetorics and Technologies
Stuart A. Selber, ed. Columbia, SC, US: The University of South Carolina Press (2010), pp. 96-99, 101-102, 110

2009

Crowther, Paul
Phenomenology of the Visual Arts (even the frame)
Stanford, CA, US: Stanford University Press (2009), pp. 153-154, 162-165, illus.
Robert Russett
Hyperanimation: Digital Images and Virtual Worlds
Herts, UK: John Libbey Publishing (2009), pp.172-195, illus.
Shanken, Edward A. ed
Art and Electronic Media
London, UK: Phaidon Press Ltd. (2009), pp. 175, 279, illus.

2007

Angerer, Marie-Luise
Von Begehren nach dem Affekt
Zürich-Berlin, Germany: Diaphanes Verlag (2007), pp. 32-34, illus.
McRobert, Laurie
Char Davies’ Immersive Virtual Art and the Essence of Spatiality
Toronto, ON, Canada: University of Toronto Press (2007), pp. 3-10, illus.
Paterson, Mark
The Senses of Touch
Oxford, UK: Berg (2007), pp. 117-125
Popper, Frank
From Technological to Virtual Art
Cambridge, MA, US: The MIT press (2007), pp. 191-197, illus.

2006

Spanou, Ionna and Dimitri Charitos
Towards defining the “atmosphere” and spatial meaning of virtual environments
Engineering Nature: Art Consciousness in the Post-Biological Era
Roy Ascott, ed. Intellect Books, Bristol, UK: (2006) pp. 145-152, illus
Thwaites, Hal
The Immersive Experience of Osmose and Ephémère: An Audience Study
Engineering Nature: Art and Consiousness in the Post-Biological Era
Roy Ascott, ed. Bristol, UK: Intellect Books (2006), pp. 291 - 297
Wands, Bruce
Art of the Digital Age
New York, NY, US: Thames & Hudson Inc. (2006), pp. 28-30, 104-105, illus.

2005

Bowman, Doug A., et al
3D User Interfaces: Theory and Practice
Boston, MA, US: Addison-Wesley, Pearson Education (2005), pp. 342-344, illus.
Krinke, Rebecca
Landscape of Contemplation
Contemporary Landscapes of Contemplation
New York, NY, US: Routledge, Taylor & Francis Group (2005), pp. 4-9, 11-12 illus.

2004

Davies, Char
Virtual Space
Space: In Science, Art and Society
François Penz, Gregory Radick and Robert Howell, eds. Cambridge, UK: Cambridge University Press (2004), pp. 69-104, illus.
Crawford, Ashley
A Natural Dimension
The Age
(January 5, 2004)

2003

Davies, Char
Landscape, Earth, Body, Being, Space, and Time in the Immersive Virtual Environments Osmose and Ephémère
Women, Art, and Technology
Judy Malloy, ed. Cambridge, MA, US: The MIT press (2003), pp. 322-337, illus.
Davies, Char
Rethinking VR: Key Concepts and Concerns
Hybrid Reality: Art, Technology and the Human Factor. Hal Thwaites, ed. Montreal, QC, Canada: International Society on Virtual Systems and Multimedia (2003), pp. 253 - 262, illus.
Brew, Kathy
Through the Looking Glass
Women, Art, and Technology
Judy Malloy, ed. Cambridge, MA, US: The MIT press (2003), pp. 86-101
Daubner, Ernestine
From Virtual Reality & Artificial Life to Real Life: The Emergence of Bio-Tech Art
Hybrid Reality: Art, Technology and the Human Factor
Hal Thwaites, ed. (Ninth International Conference on Virtual Systems and Multimedia). International Society on Virtual Systems and Multimedia. Montreal, QC, Canada (2003), pp. 186-193
Grau, Oliver
Charlotte Davies: Osmose
Virtual Art: From Illusion to Immersion
Cambridge, MA, US: The MIT Press (2003), pp. 193-204, 207-211, illus.
Morse, Margaret
The Poetics of Interactivity
Women, Art, and Technology
Judy Malloy, ed. Cambridge, MA, US: The MIT press (2003), pp. 16-33
Sherman, William R. and Alan B. Craig
Understanding Virtual Reality: Interface, Application, and Design
San Francisco, CA, US: Morgan Kaufmann Publishers (2003), pp. 413, 429-431, illus.
Shields, Rob
The Virtual
New York, NY, US: Routledge, Taylor & Francis Group (2003), pp. 54-63, 69-73

2002

Davies, Char
Espaces Entrelacés: VR as Poiesis
Prefiguring Cyberculture: An Intellectual History
Darren Tofts, Annemarie Jonson and Alessio Cavallaro, eds. Cambridge, MA, US: The MIT press (2002), pp. 192-193, illus.
Davies, Char
Osmose: Notes on Being in Immersive Virtual Space
Digital Creativity: A Reader
Colin Beardon and Lone Malmborg, eds. Lisse, The Netherlands: Swets & Zeitlinger Publishers (2002), pp. 101-110, illus.
Dietz, Steve
Ten Dreams of Technology
Leonardo, Journal of the International Society for the Arts, Sciences and Technology
[Tenth Anniversary New York Digital Salon - Vectors: Digital Art of Our Time]. Vol. 35 (5). Cambridge, MA, US: The MIT press (2002), pp. 509-573
Gigliotti, Carol
Reverie, Osmose and Ephémère: Dr. Carol Gigliotti interviews Char Davies
Deepwell, Katy, ed. n.paradoxa, international feminist art journal
Vol. 9 (Eco)Logical (2002), pp. 64-73, illus.
O'Donoghue, Karl
Char Davies and Osmose
YLEM Journal
vol. 21, no. 12 (December 2002), pp. 8-11, illus.
Palmer Sarah
Immerse Yourself
The West Australian - Today
Friday, August 9, 2002, illus.
Pesce, Mark
Head Games
Game On
London, UK: Barbican Gallery (May, 2002)
Treadwell, Andrew
Virtual Transcendence
Oxford, UK: Oxford Brookes University (January, 2002)

2001

Ackers, Susanne
Consciousness, Art and Media
Dimensions of Conscious Experience
Paavo Pylkänen and Tere Vadén, eds. Amsterdam/Philadelphia: John Benjamins Publishing Company (2001), pp. 179-189
Forde, K.
Electronically motivated - an 010101 online chat
OPEN, The Magazine of SFMOMA
San Francisco, CA, US: San Francisco Museum of Modern Art (2001), pp. 28-38, illus.
Tikka, Heidi
Affective environments: configuring the affective user?
Cultural Usability project, UIAH Media Lab
Helsinki, Finland: UIAH Media Lab (2001)

2000

Davies, Char
Landscape, Earth, Body, Being, Space, and Time in the Immersive Virtual Environments Osmose and Ephémère
Emergent Futures: Art, Interactivity and New Media
Angela Molina and Kepa Landa, eds. Valencia, Spain: Institució Alfonse el Magnànim, Diputació de València (2000), pp. 47-58, illus.
Banville, Annie-Claude
La polysensorialité dans Osmose de Char Davies
[colloque] Jeunes chercheurs du CELAT Université du Québec à Montréal (May 3-5, 2000)
Grau, Oliver
"Verlust des Zeugen: Das lebendige Werk." METAMORPHOSEN: Gedächtnismedien im Computerzeltalter (Sonderdruck)
Stuttgart, Germany: frommann-holzboog (2000), pp. 101-121, illus.
Lyall, Marta
Traversing the Wilderness of Body
Shifting Ground: Transformed Views of the American Landscape
Rhonda Lane Howard, ed. Seattle, WA, US: Henry Art Gallery, University of Washington (2000), pp. 54-55, illus.

1999

Laurel, Brenda
When Computers Become Human
Talking back to the Machine: Computers and Human Aspiration
Peter J. Denning, ed. New York, NY, US: Copernicus/Springer-Verlag (1999), pp. 106-107
McRobert, Laurie
Immersive Computer Art and the Making of Consciousness
Reframing Consciousness
Roy Ascott, ed. Exeter, UK and Portland, OR, US: Intellect Books (1999), pp. 32-37
Ray, Stephanie
The Collectibility of Nature
Limn - Magazine of International Design
Vol. 1 (4) (1999), pp. 12-13, illus.

1998

Davies, Char
Changing Space: Virtual Reality as an Arena of Embodied Being
The Virtual Dimension: Architecture, Representation, and Crash Culture
John Beckman, ed. New York, NY, US: Princeton Architectural Press (1998), pp. 144-155, illus.
Davies, Char
Osmose
InterCommunication
SHINODA Takatoshi (chief editor), HONDA Hideo, SEKIGUCHI Masaki and WATANABE Hironori eds. Tokyo, Japan: NTT Publishing Co., Ltd. No. 23 (1998), pp. 10-12, illus.
Davies, Char
Osmose: Notes on Being in Immersive Virtual Space (1995)
Digital Creativity
Colin Beardon, Lone Malmborg and Masoud Yazdani, eds. Lisse, The Netherlands: Swets & Zeitlinger Vol. 9 (2) (1998), pp. 65-74, illus.
Brew, Kathy
Digital Portfolio - Char Davies
Civilization: The Magazine of the Library of Congress
Vol. 5 (5) (October/November 1998), p. 79, illus.
Cobb, Jennifer
Cybergrace: The Search for God in the Digital World
New York, NY, US: Crown Publishers (1998), pp. 186-199
Goldberg, Ken
Virtual Reality in the Age of Telepresence
Convergence
Vol. 4 (1) (1998), pp. 33-37
Heim, Michael
Virtual Realism
Oxford, UK: Oxford University Press (1998), pp. 162-167, 171
Morse, Margaret
Virtualities: Television, Media Art and Cyberculture
Bloomington, IN, US: Indiana University Press (1998), pp. 208-211, illus.

1997

Davies, Char
Conference Osmose
Nov'Art: The General Assembly on Inter@active Writing
(February, 1997), pp. 34-37, illus.
Carlisle, Isabel
Games with a Magic Edge
The London Times, Arts section
(June, 1997), p. 39
Charlotte Davies
Osmose
Momiento Actual - Año X
(novembre - décembre, 1997), pp. 42-43, illus.
Charlotte Davies
Osmose (1994-1995)
Exhibition catalog Museo de Monterey
Monterrey, Mexico (1997), pp. 62-65, illus.
Faber, Liz
Games that People Play
Creative Review: London
(August, 1997)
Godwin, Nicola
Tripping on the light fantastic
The London Daily Telegraph
(June, 1997), pp. 12-13, illus.
Grau, Oliver
In das lebendige Bild: Die Virtuelle Realität setzt der Kunst neue Spielregeln
Neue Bildende Kunst
(6) (1997), pp. 28-35, illus.
Grau, Oliver
Kunstler für fünf Minuten
c't – Magazin für Computertechnik
Vol. 6 (June, 1997), pp. 104-106, 108, illus.
Grau, Oliver
Vom Zen des Tauchens
Die Zeit
(26) (June 20, 1997), p. 62, illus.
Langlois, Monique
La nature dans l'art
ETC Montreal
(38) (Summer 1997), pp. 17-21, illus.
Lévy, Pierre
Cyberculture - Rapport au Conseil de l'Europe
Paris, France: Éditions Odile Jacob (1997)
Machuca, Marcela García
...Y es sólo el principio
El Norte
(Sàbado 8 de Novembre 1997), Sección D, illus.
McClellan, Jim
The Amazing Technicolor Dream Float
Esquire (UK)
(June, 1997), p. 60, illus.
Morley, Andrew
Serious Games
Contemporary Visual Arts
(15) (1997), p. 66, illus.
Morse, Margaret
Virtually Female: Body and Code
Processed Lives: Gender and Technology in Everyday Life
Jennifer Terry and Melodie Calvert, eds. New York, NY, US: Routledge, Taylor & Francis Group (1997)
O'Brien, Paul
Sensing the Future - Conference
Circa
(80) (Summer 1997), p. 44
Paterson, Nancy
Technology ? Art
Fuse
Vol. 20 (5) (1997), pp. 43-45, illus.
Pearce, Celia
The Interactive Book: A Guide To The Interactive Revolution
Indianapolis, IN, US: MacMillan Technical Publishing (1997), pp. 501-503, illus.
Reid, Robert H
Architects of the Web
New York, NY, US: John Wiley & Sons (1997), pp. 201-204.

1996

Davies, Char
Osmose: Towards Broadening the Aesthetics of Virtual Real
Computer Graphics (ACM SIGGRAPH).
Vol. 30 (4) (1996), pp. 25-28, illus.
(with John Harrison, co-author)
Bardini, Thierry
Quand l'imaginaire deviens réalite virtuelle
Interface: La Revue de la Recherche
Vol 12 (6) (Winter 1996), pp. 50-55, illus.
Borsook, Paulina
The Art of Virtual Reality
IRIS Universe
Vol. 36 (4) (Summer, 1996), pp. 36-40, illus.
Craver, Carole Lee
Char Davies' Osmose
SGI Animator
Vol. 1 (2) (1996), pp. 15-18, illus.
D'Amato, Brian
Virtual Kitsch
Artforum International
Vol. 34 (5) (January 1996), pp. 35-36, illus.
Davis, Erik
Osmose
Wired
Vol. 4 (8) (August, 1996), pp. 138-140, 190-192, illus.
Deléage, Jean-Rémi
Premiers pas dans la transparence
Sciences et Avenir
(591) (May, 1996), p. 82, illus.
Dove, Kelly
Year in Review, Wired for 3D: Best of 96
3D Design
Vol. 2 (12) (December, 1996), pp. 31-32, illus.
Klaus, François
Osmose-toi si tu l'oses!
Interactif
(9) (May, 1996), pp. 94-95, illus.
Lunenfeld, Peter
Char Davies
Art + Text
(53) (1996), pp. 82-83, illus.
McRobert, Laurie
Virtual Reality and the Dynamics of Transcendence
Explorations: Journal for Adventurous Thought
Vol. 15 (1) (Fall 1996)
Pesce, Mark
Osmose en Ik
Wave
(17) (March-April, 1996), pp. 44-47, illus.
Porter, Stephen M.
Expanding the VR Aesthetic
Computer Graphics World
Vol. 19 (7) (July, 1996), p. 4
Quinty, Marie
Char Davies, la bohème high tech
Magazine Affaires Plus
Vol. 19 (2) (mars 1996), pp. 25-27, illus.
Rutledge, Virginia
Reality by Other Means
Art in America
Vol. 84 (6) (June, 1996), pp. 38-39, illus.
Schutze, Bernard
La Tentation de la techno-mystique
Inter Art Actuel
(Winter 1996), p. 25, illus.
Sims, David
Osmose: Is VR Supposed to be This Relaxing?
Computer Graphics and Applications
(IEEE Computer Society). Vol. 16 (6) (November, 1996), pp. 4-5, illus.
Street, Rita
The Creative Future
Daily Variety: Spotlight
(August 2, 1996), pp. 30-35, illus.
Wertheim, Margaret
Lux Interior
C21: Scanning the Future
(4) (1996), pp. 26-31, illus.
Wertheim, Margaret
Virtual Nature: Osmose - Char Davies' Organo-Virtual Odyssey
Metropolis
(September, 1996), pp. 58-61, illus.

1995

Allen, Carl
Trois œuvres Montréalaises font l'évènement
Qui fait quoi
(140) (novembre - décembre 1995), pp. 12-13, illus.
Aziosmanoff, Florent
Osmose l'univers de Char Davies
NOV’ART
(18) (octobre, 1995), p. 12 illus.
Bernier, Robert
Char Davies: L'Espace Immersif Espace Perceptif
L'informateur des Arts
Vol. 2 (1) (Fall 1995), pp. 58-60, illus.
Bureaud, Annick
Leonardo Digital Reviews
Leonardo Electronic Almanac
Vol. 3 (11) (1995)
Cron, Marie-Michèle
Au-delà du réel
VOIR Montréal
(31 août au 6 septembre 1995), illus.
Faure-Walker, James
The Outside Inside of Techno Art: Siggraph 95 and ISEA Montreal
MUTE - digital artcritique: Code Issue
Vol. 1 (3) (Autumn 1995)
Grant Marchand, Sandra
Char Davies: Osmose
Project Series
exhibition catalog Musée d'art contemporain de Montréal. (18) (1995)
Gravel, Pauline
La synthèse d'images
Résonance
(9) (Octobre 1995) pp. 8 - 13, illus.
Jones, Mark J.
Char Davies: VR Through Osmosis
Cyberstage
Vol. 2 (1) (Fall 1995), pp. 24-28, illus.
Lang, Curtis
"code"DEPENDENTS
Time Out New York
(October 25 - November 1, 1995), p unknown
Le Grand, Jean-Pierre
Char Davies: Osmose du virtuel au naturel
Vie des Arts
Vol. 39 (160) (Fall 1995), pp. 27-29, illus.
Le Grand, Jéan-Pierre
Char Davies plonge dans la réalité virtuelle
La Presse
(Août 19, 1995), p. D-12
McGorry, Ken
Virtual nature walk
POST
Vol. 10 (12) (December 15, 1995), pp. 8, 32, illus.
Neesham, Claire
Take The Plunge into Virtual Art
New Scientist
(2006) (December 2, 1995), p. 26
Thibaudeau, Carole
Réalité virtuelle et cyber-malaises : les vertiges et nausées sont réels
La Presse
(samedi 2 septembre 1995), p. A15