Jessica Field, Semiotic Investigation into Cybernetic Behaviour, 2003.
Alan the Motion Detector; detail of the installation.
Courtesy of the artist.
Jessica Field, Semiotic Investigation into Cybernetic Behaviour, 2003.
Brad the Switch Board Operator; detail of the installation.
Courtesy of the artist.
Jessica Field, Semiotic Investigation into Cybernetic Behaviour (2003).
Courtesy of the artist.
Jessica Field, Autonomous Robot, 1999.
It is 6 inches high and 12 inches squared. It navigates through space using bumpers with switches, these switches tell the robot's microcontroller to change direction in a pre-programmed pattern so that it can continue moving.
Courtesy of the artist.
Jessica Field, If it was broken, it would be simple, but it is not, 1999.
It is an electronic machine that takes advantage of the viewers expectation that pushing the buttons will turn the hourglass. The machine dashes this prospect by simply nodding its head rather then moving the hourglass. The piece is 5ft high, constructed in steel and uses a simple relay system to control the nodding head.
Courtesy of the artist.
Jessica Field, Stumbling Robot, 1999.
It is 5 ft high, constructed in metal. It uses electronics to create a pseudorandom sequence that causes the robot to stumble unpredictably which creates an illusion that it could fall over at any given time.
Courtesy of the artist.
Catherine Richards, Method and Apparatus for Finding Love, 2000.
Work in progress in collaboration with Martin Snelgrove. Reception desk, receptionist, non-disclosure agreement forms, four wall-mounted stainless-steel shelves, four copies of the patent application. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of patent application on shelf.
Photo: Tim Wickens. Courtesy of the artist.
Radical Software, Volume I, Number 1, 1970
Jim Campbell, Portrait of a Portrait of Harry Nyquist (2000).
Courtesy of the artist.
Radical Software, Volume I, Number 3, 1971
Radical Software, Volume I, Number 2, 1970
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. General view of installation with wrapped shroud/chrysalis.
Photo: Tim Wickens. Courtesy of the artist.
Poster for the International Festival for New Media Culture, Riga 2001.
Courtesy of RIXC.
Atau Tanaka, Sensorband Long Distance Concert With ISDN Connection, 1997
Peter Blasser, the egongs, 2001.
Hand drawn circuits installed on eastern red cedar.
Courtesy of the artist.
Peter Blasser, the portland chucky, 2001.
Redwood driftwood.
Courtesy of the artist.
Peter Blasser, the blowing bear, 1999.
Hand drawn circuits installed on oak driftwood from Lake Erie.
Courtesy of the artist.
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. Partial view of wrapped shroud/chrysalis.
Photo: Lawrence Cook. Courtesy of the artist.
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. Detail view of spectator being unwrapped by attendants.
Photo: Tim Wickens. Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain in tube (pulsating).
Photo: Tim Wickens.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain and spinal cord in tube.
Photo: Tim Wickens.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain and spinal cord in tube.
Photo: Mitch Lenet.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy (2000). Courtesy of the artist.
Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. View of attendants wrapping spectator.
Photo: Lawrence Cook. Courtesy of the artist.
Radical Software, Volume I, Number 4, 1971
Radical Software, Volume II, Number 1, 1972
Radical Software, Volume II, Number 4, 1973
Radical Software, Volume II, Number 5, 1973
Radical Software, Volume I, Number 5, 1972
Radical Software, Volume II, Number 2, 1973
Radical Software, Volume II, Number 3, 1973
Radical Software, Volume II, Number 6, 1974
Michael Shamberg, Guerrilla Television, 1971 (also designated as Radical Software, Volume I, Number 6)
Jessica Field, Personal Scale, 1999.
Courtesy of the artist.
Jim Campbell, I Have Never Read the Bible, 1995.
Installation.
Courtesy of the artist.
Jim Campbell, Shadow (for Heisenberg), 1993-1994.
Custom electronics, video camera, glass cube with LCD material, statue.
Courtesy of the artist.