
David Rokeby, Machine for Taking Time, 2001-2004.
"West" camera image selection: Playground on Clark street, October 2006.
Courtesy of David Rokeby.
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Woody Vasulka, The Matter, 1974 (excerpt).
Colour, stereo sound, 4 min.
Steina and Woody Vasulka fonds.

Rehearsal for the video-performance, String Games: Improvisations for Inter-City Video (Montreal–Toronto, 1974).
From the exhibition catalogue Lies & Truths – An Exhibition of Mixed Format Installations by Vera Frenkel, Vancouver Art Gallery, May 4 – 28, 1978. Vera Frenkel fonds, Queen's University Archives, Kingston (Ontario).
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Steina, Violin Power, 1978 (excerpt).
Black and white, stereo sound, 1 min. 5 sec.
Steina and Woody Vasulka fonds.
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Xavier Duval, Jérôme Estienne, Xanadu City, 1992 (excerpt).
Images du Futur collection.

Vera Frenkel, Body Missing (1994–2008).
Partial installation view in the basement of a building once used as a prison by the Third Reich during World War II. Exhibition Streams of Forgetfulness (2008), Offenes Kulturhaus, Linz (Austria).
Courtesy of the artist.

Emmanuel Carlier, Temps Morts, 1996.
Courtesy of the artist.
Images du Futur collection.

Catherine Richards, Shroud/Chrysalis 1, 2000.
Performance, interactive new media installation. Glass table, copper taffeta, two female attendants. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000. Detail view of spectator being unwrapped by attendants.
Photo: Tim Wickens. Courtesy of the artist.
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Audio excerpt of: David Tudor, Anima Pepsi, 1970.
Recording made at the Pepsi Pavilion, Osaka, Japan, March 1970. David Tudor Papers, 1884-1998 (bulk 1940-1996), Getty Research Institute, Research Library, Los Angeles. Accession no. 980039. Courtesy of the David Tudor Trust, Performing Artservices, Inc.
Control panel of the sound system inside the Pepsi Pavilion. Photo: Shunk-Kender, 1970. Courtesy of ©PepsiCo, Inc.

Process: EASEL / Sonia Sheridan, [Electra Young Visitor], 1984 ("Electra" exhibition, Musée d’art moderne de la Ville de Paris, 1983-84); Hardware: Cromemco Z-2D, video b/w surveillance camera; Software: EASEL by John Dunn (Time Arts); 1 slide. The Daniel Langlois Foundation for Art, Science, and Technology, Sonia Landy Sheridan fonds.

Isabelle Choinière and Le Corps Indice, La Mue de l'Ange, 1999.
Image taken from performance.
Courtesy of Le Corps Indice.

Laura Kikauka, Trailer Trash, 2006.
Funny Farm (Meaford, Ontario).
Photo: Lary Seven. Courtesy of Laura Kikauka.

Marie Chouinard, Cantique n° 3, 2004.
Interactive installation, projector, two touchscreen panels, computer, sound system.
Courtesy of the Compagnie Marie Chouinard.

José Carlos Martinat, Stereo Reality Environment 3: Brutalismo (2007).
Interactive installation.
Tate Modern Collection. Courtesy of the artist and Galeria Leme.

Michael Snow, Mixed Feelings, 1965 (from the Walking Woman Series).
Photo : Teresa Healy.
Courtesy of the artist.

Otto Castro, Encuentros Televisivos, 2001.
Photo: Adela Marin.
Courtesy of the artist.

Nancy Paterson, Stock Market Skirt, 1998.
Courtesy of Nancy Paterson.

Paul Sermon, Telematic Vision (1993-).
Frame of line-out recording during Lyon Biennial (Lyon, France), 1995.
Courtesy of the artist.
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Interview with Alan Dunning: When and why you began to incorporate technology into your art practice?
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Interview with Michael Snow; Question 1: I know you are known for your multi-disciplinary practice, and very revered for your work in film, but I was wondering if you can track your interest in technology? Was it something that you have any kind of long-standing relationship with or has it been more a question of circumstance?
![[The User], Symphony for Dot Matrix Printers, 1997-1999 [The User], Symphony for Dot Matrix Printers, 1997-1999](../../media/projets/1061-5-2002/user.jpg)
[The User], Symphony for Dot Matrix Printers, 1997-1999.
Thomas McIntosh and Emmanuel Madan performing at the FCMM, Montreal, 1998.
Courtesy of [The User].

Steina and Woody Vasulka in the Santa Fe studio (NM, United States) circa 1980.
B&W photographic print, 20 x 26 cm.
Steina and Woody Vasulka fonds.
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David Rokeby, Very Nervous System (1983-).
"Close-up Exploration" (1990). Video documentation made for Ars Electronica 1991.
Courtesy of the artist.

Mowry Baden, Seat Belt with Block, 1969.
From the exhibition Mowry Baden: Fickle Periptery, Otis Gallery, Los Angeles, 1998.
Courtesy of Mowry Baden.

Compagnie Marie Chouinard, Le Sacre du Printemps, 1993.
Choreography: Marie Chouinard. Dancers: Mathilde Monnard (left) and Dominique Porte (right). Photo: Marie Chouinard.
Courtesy of the Compagnie Marie Chouinard.

Process: EASEL / Sonia Sheridan, Drawing in Time (Infinite Series), 1982-83; Hardware: Cromemco Z-2D, video b/w surveillance camera; Software: EASEL by John Dunn (Time Arts); 1 slide. The Daniel Langlois Foundation for Art, Science, and Technology, Sonia Landy Sheridan fonds.

Sergei Mikhailovich Eisenstein in 1922

Frank Malina working on one of his kinetic paintings.
Still from the film "Frank-Joseph Malina, Peinture cinétique" (1966).
Daniel Langlois Foundation. Collection of films on Frank J. Malina.

Irit Batsry, Giacometti's Scale, 1996.
Installation view: The Hague, the Netherlands, 1996.
Photo: Dvorak Heizook-Shani. Courtesy of the artist.
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Jim Campbell, I Have Never Read the Bible Again, 2001

Lynn Hershman, Reach (Phantom Limb Series), 1988.
Gelatin silver print.
Courtesy of the artist.

Natalie Jeremijenko (2003).
Photo: Adat. Courtesy of Natalie Jeremijenko.

Pat Binder in front of the Foto/Graphik Galerie Käthe Kollwitz, 2000

Toni Dove, Artificial Changelings, 1998

Trevor Gould, Pictural Living, 2001.
Partial view of the work « Garden Sculpture » a temporary exterior installation at the PalmenGarten Frankfurt.
Photo: Michael Wagener. Courtesy: The Box Gallery, Turin.
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Vera Frenkel : Cartographie d'une pratique / Mapping a Practice.
Conversation with Vera Frenkel and Sylvie Lacerte.
Document produced October 2, 2010, at the SBC Gallery of Contemporary Art (Montreal).
Cameras: Marie Larocque, Ludovic Carpentier (39 min. 35 sec.).