Chris Csikszentmihályi, Afghan Explorer, 2001.
Model.
Courtesy of the artist.
Chris Csikszentmihályi, DJ I Robot, 2001.
Courtesy of the artist.
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.
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.
Lynn Hershman, Roberta Being Trapped, 1975.
Gelatin silver print with glitter, ink, and watercolor.
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.
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.
Chico MacMurtrie, Skeletal Reflections, 2003.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
Chico MacMurtrie, Skeletal Reflections, 2003.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
Chico MacMurtrie, Skeletal Reflections (2003). Courtesy of Amorphic Robot Works.
Greylands, Chalk Line Drawing Robot, 1999.
Photo: Adrian Göllner/Greylands.
Courtesy of Greylands.
Geoffrey Smedley, Water Tablet, 2001.
Detail of the main mechanism.
Courtesy of Geoffrey Smedley.
Bill Vorn and Louis-Philippe Demers, La Cour des Miracles, 1997.
Interactive robotic installation.
Photo: Bill Vorn.
Courtesy of Bill Vorn and Louis-Philippe Demers.
Geoffrey Smedley, Escapement (detail), 2001.
Front elevation.
Courtesy of Geoffrey Smedley.
Eduardo Kac, Ornitorrinco, the Webot, travels around the world in eighty nanoseconds going from Turkey to Peru and back, 1996.
View from the robot.
Courtesy of the artist.
Eduardo Kac, GFP Bunny (2000).
Courtesy of the artist.
Bill Vorn and Louis-Philippe Demers, Le Procès, 1999.
Robotic performance.
Photo: Bill Vorn.
Courtesy of Bill Vorn and Louis-Philippe Demers.
Bill Vorn, Evil/Live, 1997.
Interactive audio-visual installation.
Photo: Miguel Trillo.
Courtesy of Bill Vorn and the SONAR Festival (Barcelona, Spain).
Bill Vorn, Evil/Live 2, 2002.
Interactive audio-visual installation.
Courtesy of Bill Vorn.
Chris Csikszentmihályi, Afghan Explorer, 2001.
Diagram.
Courtesy of the artist.
John Klima, Ecosystm, 1999.
3D-animated visualization device.
This 3-D animated work simultaneously showcases changes in global currency, stock markets and weather conditions at John F. Kennedy Airport.
Courtesy of Zurich Capital Markets.
Chico MacMurtrie, Skeletal Reflections, 2003.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
Chico MacMurtrie, Skeletal Reflections, 2003.
Detail.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
Jessica Field, Personal Scale, 1999.
Courtesy of the artist.
Geoffrey Smedley, The Roulette – The Organ of Chance (2012).
Artist's collection.
© Geoffrey Smedley. Courtesy of the artist and the Canadian Centre for Architecture (CCA).
Geoffrey Smedley, The Name of the Piece, 1979-1982.
As exhibited at the Vancouver Art Gallery in 1982.
Courtesy of Geoffrey Smedley.
Bill Vorn and Simon Penny, Bedlam, 2001-2003.
Interactive robotic installation.
Photo: Simon Penny. Courtesy of the artists.