John Klima, Go Fish, 2001.
Multi-media installation.
Video arcade game console, holding tanks and interactive components.
Courtesy of John Klima.
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.
Natalie Jeremijenko, Robotic Geese (2003). Courtesy of the artist.
Natalie Jeremijenko, Robotic Geese, 2003.
Plastic, electronic components, video camera.
Photo: Adat. Courtesy of Natalie Jeremijenko.
Lynn Hershman, Roberta Being Trapped, 1975.
Gelatin silver print with glitter, ink, and watercolor.
Courtesy of the artist.
Elizabeth Vander Zaag, Whispering Pines, 1993.
Image taken from the Whispering Pines CD-ROM.
Actress: Sidney Shadbolt. In the collection of the Morris and Helen Belkin Art Gallery (University of British Columbia, Vancouver, British Columbia, Canada) and the Kamloops Art Gallery (Kamloops, British Columbia, Canada).
Courtesy of the artist.
John Klima, The Great Game, 2001.
Game playable on the Internet.
Topographical map of Afghanistan. Though initially clear, the region gradually fills with icons evoking the West's military strategies aimed at toppling the Taliban regime.
Courtesy of John Klima.
John Klima, Earth, 2001.
Multi-media installation.
A software places data from geological surveys, satellites and and global weather stations onto a 3-D model of the Earth.
Courtesy of the Postmasters Gallery.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Surface effect produced by the array of actuators that modulate the Earth's terrain on a small scale in keeping with the desired topographic coordinates.
Courtesy of John Klima.
John Klima, Context Breeder, 2002.
Search engine interface.
Research results in the Artbase database operated by Rhizome.org.
Courtesy of Rhizome.org.
Luc Courchesne, Panoscopic Image (2005).
Courtesy of the artist.
Luc Courchesne, Portrait One (1990).
Luc Courchesne in conversation with Marie (Paule Ducharme).
Courtesy of the artist. Collection of the National Gallery of Canada.
Usman Haque (with J. Pletts and L. Turin), Scents of Space (2002).
Courtesy of the artists.
Jim Campbell, Portrait of a Portrait of Harry Nyquist (2000).
Courtesy of the artist.
David Rokeby, Very Nervous System, 1986-present. Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Brass, copper, glass, electronics, electron guns, computer, Terrella, luminescent gases, lights, variable dimension. Commissioned by the National Gallery of Canada.
Courtesy of the artist.
Lynn Hershman, Roberta's Construction (1975). Courtesy of the artist.
Lynn Hershman, Agent Ruby Mood Swing Diagram, 2002.
Courtesy of the artist.
Thecla Schiphorst, Bodymaps: artifacts of touch, 1995-1996.
Interactive Computer Video/Audio Installation.
Courtesy of Thecla Schiphorst.
John Klima, Glasbead, 1999.
Interactive game playable on Internet.
By accessing audio files, participants create myriad soundscapes that grow increasingly complex as more viewers enter the on-line environment.
Courtesy of the Postmasters Gallery.
John Klima, Go, 2001.
Multi-media installation.
Robotic components of the installation.
Courtesy of the Postmasters Gallery.
Paul Sermon, Telematic Dreaming, 1992.
ISDN telematic installation. Susan Kozel performed in this installation for two months.
Images du futur 1995.
Philip Bessley, Orgone Reef, 2003.
Orgone Reef is a hovering mass that explores a new kind of near-living architectural skin that expands and responds to viewers using a myriad of miniature interlinked elements.
Courtesy of the artist.
John Klima, Earth, 2001.
Multi-media installation.
A software that places data from geological surveys, satellites and global weather stations onto a 3-D model of the Earth.
Courtesy of the Postmasters Gallery.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Surface effect produced by the array of actuators that modulate the Earth's terrain on a small scale in keeping with the desired topographic coordinates.
Courtesy of John Klima.
Sponge/FoAM, TGarden, 2000.
Modeling clothing/textiles for TGarden prototype in Brussels, Belgium, Phase 1. Costume Design: Cynthia Bohner Vloet. Photo: Maja Kuzmanovic/FoAM.
Courtesy of Sponge and FoAM.
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.
Elizabeth Vander Zaag, Talk Nice, 1999-2000.
Still image taken from Talk Nice (video).
Courtesy of the artist.
George Legrady, Pockets Full of Memories (2001).
Courtesy of George Legrady and the Cornerhouse Gallery(Manchester).
Martin Kusch and Marie-Claude Poulin, schème, Fixed body with a "gone" head, physically present but mentally elsewhere, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
Chico MacMurtrie, Skeletal Reflections, 2003.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
Bill Seaman, Gideon May, The World Generator (1996-1997). Courtesy of the artists.
Chico MacMurtrie, Skeletal Reflections (2003). Courtesy of Amorphic Robot Works.
Natalie Jeremijenko, Robotic Geese, 2003.
Plastic, electronic components, video camera.
Photo: Adat. Courtesy of Natalie Jeremijenko.
Natalie Jeremijenko, Robotic Geese, 2003.
Plastic, electronic components, video camera.
Photo: Adat. Courtesy of Natalie Jeremijenko.
Atau Tanaka, Sensorband Long Distance Concert With ISDN Connection, 1997
Golan Levin, Dialtones (A Telesymphony), 2001.
Concert presented in Switzerland in 2002.
Courtesy of the artist.
Golan Levin, Dialtones (A Telesymphony), 2001.
Concert presented in Austria in 2001,
Courtesy of the artist.
Golan Levin and Paul Debevec, Rouen Revisited, 1996.
Daytime facade of the Rouen Cathedral, in an image synthesized from street-level photographs re-rendered from a new point of view.
Courtesy of Golan Levin and Paul Debevec.
Philip Beesley, Orgone Reef, 2003.
Orgone Reef was produced using laser cutting direct from digital models and is currently installed at the University of Manitoba.
Courtesy of the artist.
Philip Beesley, Orgone Reef, 2003.
Courtesy of the artist.
Philip Beesley and Diane Willow, Orgone Reef, 2003.
Arrays of proximity sensors linked to vibrating actuators were fitted to a version of Orgone Reef mounted at Haystack Mountain School for the Crafts at The Digital and the Hand symposium in 2002 in collaboration with Diane Willow. These elements employ the 'cricket' microprocessor technology developed by MIT's Media Lab, allowing dense accretion of miniature networks.
Courtesy of the artists.
Sandro Canavezzi de Abreu, M(n)EMO, a topological endoscopies into someone else's dream, 2002.
Prosthesis with camera and microphone.
Courtesy of the artist.
Sandro Canavezzi de Abreu, M(n)EMO, a topological endoscopies into someone else's dream, 2002.
Interactive installation, sphere and prosthesis.
Courtesy of the artist.
Toni Dove, Spectropia, 2001.
Interactive movie/installation shot on digital video. Image of Spectropia, 2001. Director of photography: Sam Levy. Compositing: Toni Dove.
Courtesy of the artist.
Usman Haque, Sky Ear, 2004.
The artist testing part of the structure, March 2004.
This non-rigid "cloud" is embedded with mobile phones. The balloons contain miniature sensor circuits that detect levels of electromagnetic radiation at a variety of frequencies. When activated, the sensor circuits cause ultra-bright coloured LEDs to illuminate. The cloud glows and flickers brightly as it passes through varying radio and microwave spaces. As visitors to the event call into the cloud to listen to the distant electromagnetic sounds of the sky, their mobile phone calls change the local hertzian topography; these disturbances in the electromagnetic fields inside the cloud alter the glow intensity of that part of the balloon cloud.
Courtesy of Usman Haque.
Usman Haque, Sky Ear, 2004.
On September 15, 2004 at the National Maritime Museum, Greenwich Park, London, England.
Courtesy of Usman Haque.