John Klima, Go Fish, 2001.
Multi-media installation.
Video arcade game console, holding tanks and interactive components.
Courtesy of John Klima.
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.
Jim Campbell, Reconstruction #1, 2002.
Custom electronics, 192 LEDs, cast resin screen. 27.9 cm x 38.1 cm x 7.6 cm.
Courtesy of the artist and the Hosfelt Gallery, San Francisco (CA) and New York (NY).
Jim Campbell, Library, 2004.
Custom electronics, LED panel, photoengraving. 78.7 cm x 60.9 cm x 7.6 cm.
Courtesy of the artist and Graphicstudio, Tampa (FL).
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.
Char Davies, Osmose, 1995.
Osmose immersant wearing interface vest.
Photo: Jacques Dufresne. Courtesy of the artist.
Char Davies, Rose Tree, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Char Davies, Tree Pond Red, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Char Davies, Rocks and Roots, 1995.
Real-time frame capture from Osmose.
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.
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.
Char Davies, Seed Bloom, 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
Char Davies, Forest and Grid, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Char Davies, Winter Swamp, 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
Char Davies, Bones (Ending III), 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
Catherine Ikam, Fragments d'un archétype, 1980.
Video sculpture.
Images du futur 1988.
Christa Sommerer, Laurent Mignoneau, Interactive Plant Growing, 1993.
Interactive installation.
Images du futur 1995.
Tsai, Upward Falling Fountain, 1979.
Audio feedback controlled sculpture, vibrating water, strobe light.
Images du futur 1990.
Philippe Bergeron, Pierre Robidoux, Pierre Lachapelle, Daniel Langlois, Tony de Peltrie, 1985.
3D computer animation, color, 8 min. Video still.
Courtesy of Daniel Langlois.
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.
Samuel Bianchini, If I Were U / Si j'étais toi, 2000.
IIWU graphic interface screen capture.
Courtesy of Samuel Bianchini.
Nicolas Reeves, the Laboratory NXI GESTATIO and the ateliers Untitled, Coireault: The First Mutation of the White Doe, circa 1999.
Courtesy of the artist.
Nicolas Reeves, the Laboratory NXI GESTATIO and the ateliers Untitled, Doncieux: The Second Mutation of the White Doe, circa 1999.
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.
Jim Campbell, Home Movies 300-1 (2006).
Courtesy of the artist and the Hosfelt Gallery (San Francisco).
Jim Campbell, Home Movies 300-1, 2006 (detail).
Custom electronics, 300 LEDs. 152.4 cm x 139.7 cm x 7.6 cm.
Courtesy of the artist and the Hosfelt Gallery, San Francisco (CA) and New York (NY)
Nicolas Reeves, the Laboratory NXI GESTATIO and the ateliers Untitled, Coireault: The First Mutation of the White Doe, circa 1999.
Courtesy of the artist.
Char Davies, Winter Stream, 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
Golan Levin, Hidden Worlds of Noise and Voice, 2002.
Interactive audiovisual installation.
Courtesy of the artist.
Golan Levin, Hidden Worlds of Noise and Voice, 2002.
Interactive audiovisual installation.
Courtesy of the artist.
Golan Levin, Messa di Voce, 2003.
Performance with Joan La Barbara and Jaap Blonk, London (ICA), November 2003.
Courtesy of the artist.
Golan Levin, Messa di Voce, 2003.
Performance with Joan La Barbara and Jaap Blonk, London (ICA), November 2003.
Courtesy of the artist.
Golan Levin, RE:MARK, 2002.
Interactive audiovisual installation.
Courtesy of the artist.
Golan Levin, RE:MARK, 2002.
Interactive audiovisual installation.
Courtesy of the artist.
Sonia Sheridan, 2005. Photo: Eric Legendre.
Sonia Landy Sheridan, The Magic Finger (Self Portrait with Pointing Finger), 1970, 3M Color-In-Color I on paper. Hood Museum of Art, Dartmouth College: Gift of the Artist; MIS.2004.84.565. Courtesy of Sonia Sheridan and the Hood Museum of Art.
Golan Levin, Messa di Voce (2003). Courtesy of the artist.