Jessica Loseby, Hello, 2001.
Screen capture.
Courtesy of the artist.
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.
Lynn Hershman, Roberta Being Trapped, 1975.
Gelatin silver print with glitter, ink, and watercolor.
Courtesy of the artist.
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.
Elizabeth Vander Zaag, Whispering Pines, 1993.
Image taken from the Whispering Pines CD-ROM.
Actress: Sidney Shadbolt. In the collection of the Morris and Helen Belkin Art Gallery (University of British Columbia, Vancouver, British Columbia, Canada) and the Kamloops Art Gallery (Kamloops, British Columbia, Canada).
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.
Alan Dunning, Billy Budd's Stammer, 1988.
Installation.
Courtesy of Alan Dunning.
Luc Courchesne, Panoscopic Image (2005).
Courtesy of the artist.
Luc Courchesne, Portrait One (1990).
Luc Courchesne in conversation with Marie (Paule Ducharme).
Courtesy of the artist. Collection of the National Gallery of Canada.
Usman Haque (with J. Pletts and L. Turin), Scents of Space (2002).
Courtesy of the artists.
[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].
®TMark, ®TMark Board.
Courtesy of ®TMark.
®TMark, Biotech 2000, 1999.
Still from Power Point Presentation.
Courtesy of ®TMark.
®TMark, Deconstructing Beck, 1998.
View of CD cover.
Courtesy of ®TMark
®TMark, The Y2K Fund, 1999.
Promotional material.
Courtesy of ®TMark.
Stealth Group, The Wild City: Urban genetics, 2000-2001.
"Urban Genetics" is a system of codes extracted through monitoring and denoting the rules of urban design and chaotic transformation in Belgrade.
Courtesy of Stealth Group.
Radical Software, Volume I, Number 1, 1970
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Jim Campbell, Portrait of a Portrait of Harry Nyquist (2000).
Courtesy of the artist.
David Rokeby, Very Nervous System, 1986-present. Courtesy of the artist.
Radical Software, Volume I, Number 3, 1971
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.
URSA observatory, Helsinki, Finland.
Radio Astronomy was installed during ISEA 2004 at the Observatory of U.R.S.A. Astronomical Association, Kaivopuisto Park, Helsinki, Finland.
Photo: Alain Depocas.
Catherine Richards, Charged Hearts, 1997.
Brass, copper, glass, electronics, electron guns, computer, Terrella, luminescent gases, lights, variable dimension. Commissioned by the National Gallery of Canada.
Courtesy of the artist.
Lynn Hershman, Roberta's Construction (1975). Courtesy of the artist.
Lynn Hershman, Agent Ruby Mood Swing Diagram, 2002.
Courtesy of the artist.
Mike MacDonald, Touched by the Tears of a Butterfly, 1995.
Video installation.
Video still.
Courtesy of the artist.
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.
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).
Thecla Schiphorst, Bodymaps: artifacts of touch, 1995-1996.
Interactive Computer Video/Audio Installation.
Courtesy of Thecla Schiphorst.
Alan Dunning, Mother, 1988.
Installation version. Also presented as a bookwork. On the gallery walls, words are linked by lines as in a constellation or rhizome. In book form, however, the same text is set up linearly in a highly ornamental Gothic typeface.
Courtesy of Alan Dunning.
Alan Dunning, Ville de lumière/city of light, 1988.
Installation.
Wall text.
Courtesy of Alan Dunning.
Alan Dunning, Rapture, 1988.
Multi-media installation.
Video projection.
Courtesy of Alan Dunning.
Alan Dunning, Rapture, 1988.
Multi-media installation.
Images of scent molecules covering the gallery walls.
Courtesy of Alan Dunning.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Errant Eye, 1997-2001.
Virtual reality environment. Diagram showing the way biological data gathered in real time on the participant's body is altering the display parameters of a three-dimensional virtual universe.
Courtesy of Alan Dunning.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Errant Eye, 1997-2001.
Virtual reality installation. The participant navigates around a recognizable visual environment, a forest whose outline faded into an abstract visual universe reflecting the variations in biological signals processed in real time by a computer module.
Courtesy of Alan Dunning.
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.
View of the landscape around the Center for Land Use Interpretation, Wendover, Utah, United States.
Courtesy of C.L.U.I.
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.
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.