ELIOT VAN BUSKIRK, WIRED NEWS, JULY 26, 2011

“You can think of the app as, finally, that chance to unwrap the box and have a personal, intimate experience again with music.”

JASON LIPSHUTZ, BILLBOARD MAGAZINE, JULY 22, 2011

“This is like the birth of cinema. It’s an extremely exciting moment for musicians, for artists, and I think this project is a nice step towards fully leveraging the medium with one of the world’s great artists to see what you can pull off when you get one of the world’s greatest musicians and some of the world’s top developers in interactivity to work together.”

JON PARELES, NEW YORK TIMES, JULY 1, 2011

“We’re entering the age of interactivity. Passive, one-way media will become a blip in human history. Bjork had a complete, unified concept where everything was interconnected. The music wasn’t dominant, the image wasn’t dominant, the interactivity wasn’t dominant. Everything worked together the way a movie or an opera does.”

MICHAEL CRAGG, THE GUARDIAN, MAY 28, 2011

“Björk’s whole career has been a quest for the ultimate fusion of the organic and the electronic. With her new project Biophilia – part live show, part album, part iPad app – she might just have got there.”

It was 1989 and I was roundly ignoring a verdant spring day in the HVAC hermitage of Brown University’s Computer Science Lab, when Henry Kaufman yanked me up from my workstation to say I must see Merce Cunningham’s dance company perform. Who’s that? I blurted to my friend as he pulled me out the lab’s card-keyed door.

GARY SINGH, SAN JOSE METRO, MARCH 23, 2011

“Snibbe once asked high school students to define sculpture. One of them answered: ‘Something you could touch if the guards would let you.’”

ELIOT VAN BUSKIRK, HUFFINGTON POST, FEBRUARY 9, 2011

“Some ideas you need to bring to the public directly yourself to prove their viability…I often tell people my apps are useless programs — as useless as a song, a short story, or a painting.”

WALL STREET JOURNAL, OCTOBER 16, 2010

“After decades of clumsy museum installations, interactive art has found an unlikely home on the iPhone, and it’s oddly fun.”

REYHAN HARMANCI, NEW YORK TIMES, AUGUST 20, 2010

“Beginning last January, Mr. Snibbe dusted off some of his old code and got to work. He has since released three mobile applications—Bubble Harp, Antograph and Gravilux—and has become one of the first artists to make it big in the iTunes app store.”

VIRGINIA HEFFERNAN, NEW YORK TIMES MAGAZINE, JULY 4, 2010

“Apps like Gravilux awaken an ‘Avatar’-like sensitivity to electricity in the body, power in the palms and general connectedness.”

JENNIFER VALENTINO-DEVRIES, WALL STREET JOURNAL DIGITS BLOG, JUNE 14, 2010

“For years, artist Scott Snibbe had been dreaming of something like the iPad — not for sending email or browsing the Web, but for interacting with abstract art.”

JONAH BRUCKER-COHEN, RHIZOME.ORG, MAY 26, 2010

“I’ve been dreaming of this opportunity since the mid-nineties: a distribution platform for screen-based digital work.”

Over the past few days my first three apps became available on the iTunes store: Gravilux, Bubble Harp, and Antograph. I’ve been dreaming of this day for twenty years: a day when, for the first time, we can enjoy interactive art as a media commodity no different from books, music, and movies. But is there a market for this new medium?

MONTEREY COUNTRY HERALD, APRIL 20, 2009

“His art gives us a reason to pause and notice our reality, and when we do that, there’s a lot that we can do to make our reality a better place.”

JULIA KLEIN, NEW YORK TIMES, MARCH 17, 2009

“Museums seek out artists precisely because they want mystery, elegance, meaning,” Mr. Snibbe said. “Ultimately, we all want communication and magic.”

BROWN ALUMNI MONTHLY, JANUARY/FEBRUARY 2009

“Snibbe’s goal is ‘to make a medium as emotionally engaging as a movie, but one in which you remain aware of your body and your relationship to others’—in other words, he says, ‘to communicate a vision of the world where people understand that we are all interdependent.’ “

Scott Snibbe Selected Interactive Works DVD 1995-2005 — Scott Snibbe - Interactive Art

CATE MCQUAID, BOSTON GLOBE, JUNE 24, 2005

“The entire body of work takes you through a journey of fracturing and mending, but it feels electrically charged and iconic.”

SARAH BOXER, NEW YORK TIMES, APRIL 27, 2005

“Hooray! Here’s a machine that is not your enemy or your superior.”

DOCUMENTARY. PREMIERED JANUARY 19, 2005 KQED, SAN FRANCISCO

“What sets Scott Snibbe apart from his generation is that his work is very humorous, clever and sweet.”