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.
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.
Steve Heimbecker, Wind Array Cascade Machine & Pod, 2003.
Diagram.
Courtesy of the artist.
Char Davies, Forest and Grid, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Geoffrey Smedley, Water Tablet, 2001.
Detail of the main mechanism.
Courtesy of Geoffrey Smedley.
Sensorium, Beware02, 1997-1998.
Installation view.
Courtesy of the Centre International d'Art Contemporain de Montréal/La Biennale de Montréal 1998 (CIAC).
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.
Rober Racine, Le terrain du dictionnaire A/Z, 1980.
Styrofoam, wooden sticks, cardboard, paper; 16 x 853.4 x 731.5 cm; Installation view at the Musée d`art contemporain de Montréal, 1995.
Photo: Richard-Max Tremblay.
Rober Racine, Page-Miroir : Opticien - 1316 - Or, 1995, (detail).
Ink, gilt, graphite on paper mounted on mirror.
Rober Racine, 1600 Pages-Miroirs, 1995.
20 elements measuring 245 x 120.7 cm; each element includes 80 Pages-Miroirs. Each Page-Miroir: paper, ink, graphite, gilt, polyester mirror.
Installation view, December 1995, CIAC, Montreal.
Photo: Guy l'Heureux.
Geoffrey Smedley, Escapement (detail), 2001.
Front elevation.
Courtesy of Geoffrey Smedley.
Geoffrey Smedley, The Numbers (back elevation), 1992-2000.
Courtesy of Geoffrey Smedley.
Geoffrey Smedley, The Name of the Piece, 1979-1982.
As exhibited at the Vancouver Art Gallery in 1982.
Courtesy of Geoffrey Smedley.
Geoffrey Smedley, Recalled Head (detail) and The Numbers (partial view), 1992-2000.
Courtesy of Geoffrey Smedley.
Eduardo Kac, Genesis, 1999.
Transgenic artwork linked to the Internet. Installation view.
Courtesy of the artist.
Photo: Otto Saxinger.
Eduardo Kac, Genesis, 1999.
Transgenic artwork linked to the Internet. Installation view.
Courtesy of the artist.
Photo: Otto Saxinger.
Eduardo Kac, Genesis, 1999.
Transgenic artwork linked to the Internet. Installation view.
Courtesy of the artist.
Photo: Otto Saxinger.
Eduardo Kac, Genesis, 1999.
Genesis by Eduardo Kac uses the conversion method illustrated here: the sentence of the Bible is converted to morse code, which then is converted into DNA code. The four basic proteins of DNA: T (thymine), C (cytosine), A (adenine), G (guanine).
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).
Simon Penny, Big Father, 1991-1992.
Interactive robotic installation.
Photo: Simon Penny. Courtesy of the artist.
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.
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.
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.
Sharon Daniel, Strange Attraction: Non-logical Phase-lock Over Space-like Intervals, 1993-1994.
Interactive installation.
Courtesy of Sharon Daniel.
Lynn Hershman, Reach (Phantom Limb Series), 1988.
Gelatin silver print.
Courtesy of the artist.
Lynn Hershman, Shutter (Phantom Limb Series), 1988.
Gelatin silver print.
Courtesy of the artist.
Lynn Hershman, Seduction (Phantom Limb Series), 1988.
Gelatin silver print.
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.
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.
Atau Tanaka and Kasper Toeplitz, Global String, 1998-present.
Installation diagram.
Courtesy of Atau Tanaka.
David Rokeby, n-Cha(n)t, 2001.
Multi-media installation.
Network of computers operating in unison sharing a stream of semantic associations.
Courtesy of David Rokeby.
Usman Haque, Sky Ear, 2004.
On September 15, 2004 at the National Maritime Museum, Greenwich Park, London, England.
Courtesy of Usman Haque.
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.
Geoffrey Smedley, The Numbers (side elevation), 1992-2000.
Courtesy of Geoffrey Smedley.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Fall, The Flesh, The Furnace, 1995-2001.
Video and sound installation with interactive components. Anatomically accurate model of the human head and tactile sensors.
Courtesy of Alan Dunning.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Madhouse, 1995-2001.
Multi-media installation with virtual environment. The participant alters an electromagnetic field emanating from an anatomical model of the human body and thereby triggers different media events (sound, video projections) in real time.
Courtesy of Alan Dunning.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Fall, The Flesh, The Furnace, 1995-2001.
Video and sound installation with interactive components. Anatomically accurate model of the human head and tactile sensors.
Courtesy of Alan Dunning.