In 1997, she moved to Paris where she undertook doctoral studies at Paris 8 University under the supervision of Edmond Couchot, and obtained her doctorate in aesthetics and science and technology in the arts with her thesis L'installation en mouvement: une esthétique de la violence (The installation in motion: an aesthetics of violence) in 2002.
Edmond Halley | Edmond Rostand | Edmond James de Rothschild | Edmond Adolphe de Rothschild | Edmond S. Meany | Edmond Malone | William Edmond Logan | Edmond Warre | Edmond T. Gréville | Edmond, Oklahoma | Edmond Jabès | Edmond Fortier | Edmond Couchot | Robert Edmond Grant | Pierre Edmond Teisserenc de Bort | Neil Edmond | Henri-Edmond Cross | Edmond Stanley | Edmond Safra | Edmond Picard | Edmond Gustave Camus | Edmond | Pierre Edmond Boissier | Matthew Edmond McCoy | Martin Edmond | Lauris Edmond | François-Edmond Fortier | François Christophe Edmond de Kellermann | Edmond Townsend | Edmond Thieffry |
Leading art theorists and historians in this field include Oliver Grau, Christiane Paul, Frank Popper, Mario Costa, Christine Buci-Glucksmann, Dominique Moulon, Robert C. Morgan, Roy Ascott, Catherine Perret, Margot Lovejoy, Edmond Couchot, Fred Forest and Edward A. Shanken.
Interactive installations appeared mostly at end of the 1980s (Legible City by Jeffrey Shaw, La plume by Edmond Couchot, Michel Bret...) and became a genre during the 1990s, when artists became particularly interested in using the participation of the audiences to activate and reveal the meaning of the installation.