Theme: Art and Technology

Catherine Richards, Virtual Body, 1993.

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.

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.

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.

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.

Marie Chouinard, S.T.A.B., 1986. Courtesy of the Compagnie Marie Chouinard.

Marie Chouinard, Le Sacre du Printemps (1993). Courtesy of Compagnie Marie Chouinard.

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.

Isabelle Choinière and Le Corps Indice, Communion (Le Partage des peaux II), 1995-1996.

Video image capture: Jimmy Lakatos.

Courtesy of Le Corps Indice