Luc Courchesne, Landscape One, 1997.
General view. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.
Luc Courchesne, Landscape One, 1997.
Detail. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.
Luc Courchesne (2003).
Photo: Jean Gagnon.
© 2003 FDL
Radical Software, Volume I, Number 4, 1971
Radical Software, Volume II, Number 1, 1972
Radical Software, Volume II, Number 4, 1973
Radical Software, Volume II, Number 5, 1973
Isabelle Choinière et Le Corps Indice, La Mue de l'Ange, 1999.
Image taken from performance.
Courtesy of Le Corps Indice.
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.
Luc Courchesne, Landscape One, 1997.
General view. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.
Nicolas Reeves and the Laboratory NXI GESTATIO, La Harpe à Nuages, 1997-2000.
Courtesy of the artist.
La Maison Radieuse
Le Corbusier's Unité d'Habitation in Rezé, Nantes, France.
Photo: Courtesy of Siraj Izhar.
Chico MacMurtrie, Skeletal Reflections, 2003.
Detail.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
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.
Radical Software, Volume I, Number 5, 1972
David Rokeby, Echoing Narcissus, 1987.
Interactive sound sculpture. Installation view.
Courtesy of David Rokeby.
David Rokeby, The Giver of Names, 1991-present.
Interactive computer installation. A screen shot from the first full version of The Giver of Names, Macdonald Stewart Art Centre, Guelph (Ontario, Canada), January 1998.
Courtesy of David Rokeby.
David Rokeby, Watch, 1995.
Real-time computer installation.
Courtesy of David Rokeby.
Radical Software, Volume II, Number 2, 1973
Radical Software, Volume II, Number 3, 1973
Radical Software, Volume II, Number 6, 1974
Michael Shamberg, Guerrilla Television, 1971 (also designated as Radical Software, Volume I, Number 6)
Sponge/FoAM, TGarden (2000).
Courtesy of Sponge and FoAM.
Isabelle Choinière and Le Corps Indice, Communion (Le Partage des peaux II), 1995-1996.
Concept: Isabelle Choinière and Pierre Mona.
Courtesy of Le Corps Indice.
FoAM and associates, TransDimensional BioSphere, December 2000.
Documentation of the installation in Brussels, Belgium.
Photo: Maja Kuzmanovic. Courtesy of FoAM.
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)
motiroti et The Builders Association, Alladeen (1999-2007). Courtesy of the artists.
Char Davies, Winter Stream, 1996-1998.
Real-time frame capture from Éphémère.
Courtesy of the artist.
[The User], Symphony for dot matrix printers, 1997-1999.
Photo: Frédéric Ste-Marie.
Courtesy of [The User].
Foto/Graphik Galerie Käthe Kollwitz, 2000.
Courtesy of Pat Binder.
Marie Chouinard, S.T.A.B., 1986. Courtesy of the Compagnie Marie Chouinard.
Marie Chouinard, Cantique n° 3, 2004.
Interactive installation, projector, two touchscreen panels, computer, sound system.
Courtesy of the Compagnie Marie Chouinard.
Marie Chouinard, Le Sacre du Printemps (1993). Courtesy of Compagnie Marie Chouinard.
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.
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.