Marc Fournel, SKIN-PÔ, 2006.
Diagram of the installation's components. SKIN-PÔ evolved directly from the Tontauben installation, the first phase of the Transduction project.
Courtesy of the artist.
[The User], Symphony for Dot Matrix Printers, 1997-1999.
6th Barcelona International Festival of Advanced Music and Multimedia Art, Centre de Cultura Contemporània de Barcelona, Barcelona, Spain, 17-19 juin 1999.
Photo: Agence stock photo.
Courtesy of [The User].
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.
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.
Paul Sermon, Telematic Dreaming, 1992.
ISDN telematic installation. Susan Kozel performed in this installation for two months.
Images du futur 1995.
Grahame Weinbren and Roberta Friedman, The Erl King, 1982-1985.
SMC-70 computer, C/PM system, PASCAL programming, laser discs, Carroll touch screen.
View of the installation as presented in 1988 at the Kitchen, New York.
Grahame Weinbren and Roberta Friedman, The Erl King, 1982-1985.
View of the Sony SMC-70 computer.
View of the installation as presented in 2004 in the exhibition Seeing Double: Emulation in Theory and Practice at the Guggenheim Museum in New York.
[The User], Symphony for Dot Matrix Printers, 1997-1999.
Thomas McIntosh and Emmanuel Madan performing at the FCMM, Montreal, 1998.
Courtesy of [The User].
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.
Thomas McIntosh with Mikko Hynninnen, Brian Clark, Emmanuel Madan, Ondulation (research and development phase), 2002.
Photo: Diana Shearwood. Courtesy of Thomas McIntosh.
Bill Seaman, Gideon May, The World Generator (1996-1997). Courtesy of the artists.
Sensorband, Sensorband performance, 1999.
Zbigniew Karkowski performing at Experimental Intermedia, New York, United States, March 31, 1999.
Courtesy of Atau Tanaka
Sensorband, Sensorband Long Distance Concert With ISDN Connection, 1997.
Edwin van der Heide performing at the Sonar Festival, Barcelona, Spain, June 1997.
Courtesy of Atau Tanaka
Toni Dove, Artificial Changelings, 1998
Toni Dove, Artificial Changelings, 1998.
Interactive laser disk and sound installation using video motion sensing. Video still of the installation Artificial Changelings, 1998. Photo: DP Einar Westerlund, (copositing) J.J. Gifford.
Courtesy of the artist.
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.
Marie Chouinard, Cantique n° 3 (2004).
Courtesy of the Compagnie Marie Chouinard.
Marie Chouinard, L'Après-midi d'un faune, 1987.
Choreography: Marie Chouinard. Dancer: Marie Chouinard. Suit: Luc Courchesne. Photo: Louise Oligny.
Courtesy of Compagnie Marie Chouinard.
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.
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.
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.
Eduardo Kac, Time Capsule, 1997.
Event in which a microchip (identification transponder tag) was implanted in the artist's left ankle. Tuesday, November 11, 1997, at 10:00 PM, São Paulo, Brazil. Live television broadcast of the performance produced by Canal 21 (Brazil).
Courtesy of the artist.
Eduardo Kac, GFP Bunny (2000).
Courtesy of the artist.
Adam Zaretsky, Working sketch for MMMM (or Macro Micro Music Massage), 2001.
Ballpoint pen on water colour paper.
Courtesy of the artist.
Adam Zaretsky, Working sketch for WorkHorse Zoo, 2001.
Ballpoint pen on water colour paper.
Courtesy of the artist.
Adam Zaretsky, Jammin' w/E. coli, 2000.
Collage by Adam Zaretsky, video stills by Yoshie Suzuki and Wayne Sullins.
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.
Lynn Hershman, Tillie, the Telerobotic Doll, 1995-1998.
Courtesy of the artist.
Sponge/FoAM, TGarden, 2000.
Ars Electronica performance (2001).
Courtesy of Sponge and FoAM.
Andrew Schloss playing the Radio Drum at the Banff Centre for the Arts, 1992
Lynn Hershman, The Dante Hotel, 1973.
Site-specific installation in a room of the Dante Hotel in San Francisco.
Courtesy of the artist.
Martin Kusch and Marie-Claude Poulin, schème, Siamese Twins Connected to a Projected Space Illusion, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin and Line Nault during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
Martin Kusch and Marie-Claude Poulin, schème, Siamese Twins Connected to a Projected Space Illusion, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin and Line Nault during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
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.
[The User], Symphony for dot matrix printers, 1997-1999.
Performance at the FCMM, 1998.
Courtesy of [The User].
[The User], Symphony for dot matrix printers, 1997-1999.
Photo: Frédéric Ste-Marie.
Courtesy of [The User].
Lynn Hershman, Reach (Phantom Limb Series), 1988.
Gelatin silver print.
Courtesy of the artist.