Chris Csikszentmihályi, Afghan Explorer, 2001.
Model.
Courtesy of the artist.
Chris Csikszentmihályi, DJ I Robot, 2001.
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.
Usman Haque (with J. Pletts and L. Turin), Scents of Space (2002).
Courtesy of the artists.
Stealth Group, The Wild City: Urban genetics, 2000-2001.
"Urban Genetics" is a system of codes extracted through monitoring and denoting the rules of urban design and chaotic transformation in Belgrade.
Courtesy of Stealth Group.
Jim Campbell, Portrait of a Portrait of Harry Nyquist (2000).
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.
Mike MacDonald, Touched by the Tears of a Butterfly, 1995.
Video installation.
Video still.
Courtesy of the artist.
Igor Vamos and The X Group, Malcolm X St. Project, 1991.
Intervention in Portland.
When the city was considering stripping Martin Luther King Jr.'s name off a local street, a covert organization calling itself Group X changed the name of another downtown street to Malcolm X Street in a clandestine overnight action.
Courtesy of Igor Vamos.
Igor Vamos, Melinda Stone, Suggested Photo Spots, 1997.
New York City sludge depository (situated in Texas).
Courtesy of Igor Vamos.
Igor Vamos, Le Pétomane : Fin de Siècle Fartiste, 1998.
Betacam SP, coul., 56 min. Still image from the videotape Le Pétomane : Fin de Siècle Fartiste.
Courtesy of Igor Vamos.
View of the landscape around the Center for Land Use Interpretation, Wendover, Utah, United States.
Courtesy of C.L.U.I.
Igor Vamos, Rose Festival Performance, 1991.
Intervention in Portland.
During a festival in Portland commemorating the return of troupes
from the Persian Gulf, Vamos responded to the Bush government's Operation Desert Storm by hanging an enormous U.S. flag, composed of human silhouette targets, off a bridge directly in front of U.S. Navy ships.
Courtesy of Igor Vamos.
Igor Vamos, Melinda Stone, Suggested Photo Spots, 1997.
Waste water treatment facility of the Eastman Kodak Company in Rochester, New York.
Courtesy of Igor Vamos.
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.
[The User], Symphony for Dot Matrix Printers, 1997-1999.
Thomas McIntosh and Emmanuel Madan performing at the FCMM, Montreal, 1998.
Courtesy of [The User].
Greylands, LeBreton Flats, Ottawa, 1999.
Photo: Adrian Göllner/Greylands.
Courtesy of Greylands.
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.
Greylands, Chalk Line Drawing Robot, 1999.
Photo: Adrian Göllner/Greylands.
Courtesy of Greylands.
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.
Sensorium, Beware02, 1997-1998.
Installation view.
Courtesy of the Centre International d'Art Contemporain de Montréal/La Biennale de Montréal 1998 (CIAC).
Greylands, Faux Housing Development, 1999.
Photo: Adrian Göllner/Greylands.
Courtesy of Greylands.
Sponge/FoAM, TGarden, 2000.
Ars Electronica performance (2001).
Courtesy of Sponge and FoAM.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Rod matrix. The up and down movements of the rods create surface features as in a pin screen.
Courtesy of John Klima.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Mechanical components (triggers, actuators) moving the rod according to specific topographical data.
Courtesy of John Klima.
Martin Kusch, As Far as In-between, 1994.
Interactive video installation. Photo: Martin Kusch.
Courtesy of the artist.
Martin Kusch, As Far as In-between, 1994.
Interactive video installation. Photo: Martin Kusch.
Courtesy of the artist.
Chris Csikszentmihályi, Afghan Explorer, 2001.
Diagram.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Virtual Body, 1993.
Courtesy of the artist
Usman Haque, Sky Ear, 2004.
On September 15, 2004 at the National Maritime Museum, Greenwich Park, London, England.
Courtesy of Usman Haque.
La Maison Radieuse
Le Corbusier's Unité d'Habitation in Rezé, Nantes, France.
Photo: Courtesy of Siraj Izhar.
La Maison Radieuse
Le Corbusier's Unité d'Habitation in Rezé, Nantes, France.
Photo: Courtesy of Siraj Izhar.
FoAM and associates, TransDimensional BioSphere, December 2000.
Documentation of the installation in Brussels, Belgium.
Photo: Maja Kuzmanovic. Courtesy of FoAM.
Rafael Lozano-Hemmer, Vectorial Elevation (1999-2002). Courtesy of the artist.
Rafael Lozano-Hemmer, Vectorial Elevation, Relational Architecture 4, 1999-2002.
Artium Square, Vitoria, Basque Country, Spain, 2002.
Photo: David Quintas. 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.