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Projects Funded by the Foundation: 187 Projects
Recombinant Media Labs, CineChamber (2012) The CineChamber is a 10-screen installation lab site for trailblazing panoramic performance built by Recombinant Media Labs (RML).
Digital Snow DVD-Rom, Now on the Web (2011) This project, Digital Snow, is what Snow calls an encyclopaedia of his work of the past six decades.
Cinéma Parallèle, The purchase of the Ex-Centris movie theaters (2011) In April 2011, the Daniel Langlois Foundation has contributed to the purchase of the Ex-Centris movie theaters complex by Cinéma Parallèle through a one million dollar exceptional grant.
La La La Human Steps, New Work (2011) In his New Work, Edouard Lock offers a contemporary analysis of two tragic love stories, inspired by two baroque operas by Purcell and by Gluck.
Leonardo, Leonardo On-Line (2007) The Leonardo Journal was founded in Paris in 1968 by kinetic artist and astronautics pioneer Frank Malina.
Caitlin Jones and Paul Kuranko, Researchers in Residence (2007) State of the Art (of Documentation): Three Case Studies for the Daniel Langlois Foundation's Ten Year Anniversary Exhibition
Vishal Rawlley, Legend of the Sea Lord (2007) The installation attempts to sensitise Mumbai (India) citizens about water pollution and initiate a public dialogue on the issue.
Artengine and the PureData Convention Collective, L’Œuvre ouverte | PureData Convention 07 (2007) PureData is an open source project that uses a real-time graphical programming environment for the creation of interactive computer music and multimedia works.
Siraj Izhar and ECOS, ecosXchange (2007) ecosXchange is an immaterial work of art in the form of a social participation currency - a type of 'money' – that acts as a new economic and cultural dimension within a community.
La La La Human Steps, Amjad (2007) True to his reputation for being an audacious and eclectic choreographer, Édouard Lock has taken inspiration from some of the most notable ballets of the Romantic period, in particular Swan Lake and Sleeping Beauty.
OLATS, Observatoire Leonardo des Arts et des Techno-Sciences (2006) Leonardo/OLATS (Observatoire Leonardo des Arts et des Techno-Sciences) is a cultural association devoted to research and online publications on the arts and techno-sciences.
Caroline Langill, Researcher in Residence (2006) Shifting Polarities: Proposing a Canon of Canadian Electronic Media Art, 1970-1990
Marc Fournel, SKIN-PÔ (2006) The SKIN-PÔ project seeks to bring the creative process into the public forum and allow citizens to reclaim their community spaces through technological works of art.
Judith Barry, Not reconciled: Cairo Stories (2006) Not reconciled is an ongoing series of “as told to” stories that Judith Barry has collected over a period of 15 years in a variety of countries.
Ichiro Fujinaga, Image-to-audio conversion of phonograph records (2006) In this research project, a novel and radical means to digitize and preserve long-playing stereo phonograph records will be attempted.
Lynn Hershman, Life to the Second Power: Animating the Archive (2006) Life to the Second Power aims to turn the archive of Lynn Hershman Leeson into a new mixed reality and dynamic experience.
Natalie Jeremijenko, OOZ (2006) Unlike a traditional zoo, OOZ is a place where animals remain by choice, a zoo without cages.
Ashok Sukumaran, Recurrencies: across electricity and the urban (2006) This project seeks to build some fifty “embedded” electronic arrangements in physical urban spaces in India, primarily in the Indian cities of Mumbai and Bangalore.
Groupe Molior Inc., Partenariat stratégique Molior & FDL (2006) Groupe Molior has been mandated by the Daniel Langlois Foundation to prepare an inventory of the institutions, organisations and artists who work in art, science, technology and the environment.
UNESCO - Digi-Arts, Dak'Art Lab @ la Biennale de l'art africain contemporain de Dakar (2006) A special program on the creation of digital art in Africa was implemented by UNESCO and its DigiArts program team through the DigiArts Africa network.
Équiterre, Integrated design and conception of a green building (2006) The building will promote the use of a number of innovative techniques to optimize the architectural design process and act as an environmental education and development tool.
Surajit Sarkar, Ring of Blue (2006) Over the years, the Catapult Arts Caravan has gathered a vast collection of video and audio recordings from its village-to-village performances.
Hexagram, Hexagram Fund for University Research and Creation in Media Arts and Technologies (2006) The productive association between Hexagram and the Daniel Langlois Foundation is what led to the creation of the Hexagram Fund for University Research and Creation in Media Arts and Technologies.
Susanne Jaschko, Researcher in Residence (2005) A research project on the temporal and spatial design of new media-based installation art, its perception and influence on the visitor's behavior
Nature Conservancy of Canada, The Green Mountains Nature Reserve (2004-2006) The Green Mountains Nature Reserve, which includes the Sutton Mountain Range, is internationally important.
Jennifer Gabrys, Researcher in Residence (2004) From Outside Art to E-waste: Translating the Research Environnement of E.A.T.
Solomon R. Guggenheim Museum, Seeing Double: Emulation in Theory and Practice (2004) This exhibition tests the promise of an experimental treatment (emulation) for rescuing new media art from the ravages of time.
Centro Bartolomé de Las Casas (Cusco, Peru), Amauta Project (2003) The Amauta project has its roots in the Andean culture. It seeks to develop and support educational, artistic and cultural art-based media projects.
Yvonne Spielmann (Ph.D.), Researcher in Residence (2003) The Vasulkas: From Image to Object in Electronic Media
Attakkalari Centre for Movement Arts, Nagarika - An integrated information system on Indian physical expressions through technology (2003) The key objective of the Attakkalari Centre for Movement Arts is to create a context for contemporary performing arts in India.
Canadian Centre for Architecture, An international colloquium/workshop on digital architectural archives entitled "Devices of Design: Architecture and Variable Media" (2003) The CCA has an urgent responsibility to examine the widespread use of digital media in the architectural design process and its consequences for contemporary architectural theory and practice.
The Experimental Television Center, Video History Web>Resources>Tools (2003) The Experimental Television Center (ETC) was founded in 1971, an outgrowth of a media access program developed by Ralph Hocking at Binghamton University (New York) in 1969.
National Gallery of Canada Foundation, Film, video and new media conservation program (2003) The National Gallery of Canada holds one of the most important media art collections in the world.
greenmuseum.org, Toolbox: Online introductions to environmental art (2003) greenmuseum.org is an online museum of environmental art that advances creative efforts to improve our relationship with the natural world.
Oboro, Audio Art and Sound Creation Axis (2003) Oboro plays a central role in Montreal's media art ecology.
Paraloeil, Media Arts Access Centre (2003) Founded in 1999, PARALOEIL is a Bas-Saint-Laurent (region of the Quebec province) organization that specializes in video production and distribution.
Jessica Loseby, views from the ground floor (2003) views from the ground floor is a refined combination of the different elements brought into play in the elaboration of the work — visual, audio, and textual.
Jessica Field, Semiotic Investigation into Cybernetic Behaviour (SICB) (2003) Field is currently extending her interest in robotics by focusing on the psychology of human behaviour.
Proboscis, Urban Tapestries (2003) Urban Tapestries is a transdisciplinary research project. The project team comprises a range of skills and backgrounds.
Rafael Lozano-Hemmer, Standards and Double Standards (2003) Abandoning his public, large-scale images and light projections for the intimacy of a gallery, the artist seeks to embody in a novel way the omnipresent scrutiny of the surveillance camera.
Ælab, DATA (2003) DATA is the new project by the Ælab collective. It is a research, production and exhibition project that focuses on the representation of the micro and nanometric image.
Golan Levin, Messa di Voce (2003) For some time now, Golan Levin has taken an interest in producing different types of images and sounds in an unconventional way.
Chris Csikszentmihályi, Edgy Products (2003) Chris Csikszentmihályi has been drawing on both art and technology to develop new technologies that can be used as tools for political activism.
Vishal Rawlley and Kurnal Rawat, TyPoCiTy (2003) TyPoCiTy offers a rare opportunity to view the social fabric and cultural history of a city from a typographic point of view.
Steve Heimbecker, Wind Array Cascade Machine - Si(g)n(e) (2003) Wind Array Cascade Machine (WACM) is a device that captures the wind’s direction and movement and then streams the resulting data on the Web and uses them for installation projects.
Peter Blasser, shinths (2003) The artist's approach is part of a current trend called circuit bending, or the community of circuit benders.
Usman Haque, Sky Ear (2003) The artist has set out to make explicit our interactions with the sky by offering an event that allows a wide public to not only see and hear electromagnetic waves, but to actually interact with them.
Sandro Canavezzi de Abreu, VOID (2003) The interactive installation VOID has evolved from a prototype of a physical interface called M(n)EMO, which Canavezzi devised within a residency at the Podewil contemporary art centre in Berlin.
Philip Beesley et Diane Willow, Reflexive Membranes (2003) Reflexive Membranes will spawn an enormous hybrid fabric made up of elements structured according to recursive geometry.
Marc Fournel, Tontauben (2003) Tontauben is an interactive instrument for creating sound and will be used in installations and performances.
Sha Xin Wei, Topological Softwear (2003) As part of his project Topological Softwear, Sha Xin Wei is continuing his research conducted at the Topological Media Lab on sensate fabrics and their potential for expression.
radioqualia, Radio Astronomy (2003) radioqualia present Radio Astronomy as a conceptual art project aiming to make the supposed silence of outer space audible.
Steina, Seven Spheres (2002) In this video installation, Steina continues to explore the linking of video signals with software that processes electronic images.
David Rokeby, Common sense gathering and discursive structure for The Giver of Names project (2002) The Giver of Names explores complex phenomena in the linguistic systems of both man and machine.
Stealth Group, 3/4 process + 1/4 matter (2002) The Stealth Group is passionate about restoring the vital links between innovations in architectural design and those in digital-media technology.
Trevor Gould, Three Dimensional Blur with Digital Wind and Accessories (2002) In his work, Trevor Gould regards sculpture as a form of social material and exhibition as a form of cultural research.
Ray Thomas, C.O.R.P.S.E. (Corporate Organism Replication and Patterning in a Simulated Ecosystem) (2002) ®™ark draws analogies between the living organism that freely proliferates and large corporations whose raison d'être is to exponentially increase the capital of its shareholders.
John Klima, Terrain Machine (2002) The project pursues the research begun by John Klima to converge environmental parameters for 3-D visualization with components of the physical world.
nungu and Beatrice Gibson, Human Capital (2002) Based in Bombay, nungu is a collective of artists from India and around the world who specialize in new media and create networked art.
Thomas McIntosh, Ondulation (2002) Presented as a "temporal sculpture," Ondulation a composition for water, sound and light, was created by Thomas McIntosh in collaboration with Emmanuel Madan and Mikko Hynnimen.
Chico MacMurtrie, Skeletal Reflections (2002) Since 1992, Chico MacMurtrie and Amorphic Robot Works have conceived and created more than 250 abstract or anthropomorphic mechanical sculptures.
Igor Vamos, Grounded (2002) Grounded is allied with The Center for Land Use Interpretation which is dedicated to exploring the human-land dialectic.
Alan Dunning, Representations of the Body in Liquid Media Spaces (2002) A collaborative effort with leading scientists, the Einstein Brain Project comprises a series of immersive environments.
Thecla Schiphorst and Susan Kozel, whisper: wearable body architectures (2002) whisper: wearable body architecture is a new media participatory installation.
Bill Seaman and Ingrid Verbauwhede, Poly-sensing Environment (2002) The Poly-Sensing Environment is a virtual imaging environmental project.
Geoffrey Smedley, Descartes' Clown: the Roulette (2002) Descartes' Clown is based on the belief that the human species is an intermediate form leading to a world inhabited by robotic souls.
Jim Campbell, Representing Simultaneous Images (2002) Keying is a technique for overlaying several video sources onto the same image.
Universidad Ricardo Palma, Instituto de Investigaciones Museológicas y Artísticas, 7 Festival Internacional de Video / Arte / Electrónica (2002) ATA (Alta Tecnología Andina) and the Instituto de Investigaciones Museológicas y Artísticas of the Universidad Ricardo Palma have held the Festival International de Video / Arte / Electrónica in Lima, Peru, since 1998.
RIXC (The Centre for New Media Culture), Media Architecture (research and festival) (2002) This project explores media architecture and the merging of postmodern urban geography with information networks.
Creative Room for Art and Computing, CRAC in Context: The RAM Room (2002) Begun in 1998 in Stockholm, CRAC in Context encompasses an on-line publication, text archives, and Web art projects.
Acadia University, Ideas in Residence/Creative Dislocations: Sense of Place and Digital Connections in the Rural Landscape (2002) The aim of this project was to investigate how digital technologies can encourage people to engage with the natural environment in the Bay of Fundy ecosystem.
CAPACETE, Mobile Culture (2002) Founded in 1998 in Rio de Janeiro, Brazil, CAPACETE presents and produces projects by artists from Brazil and elsewhere.
Espacio La Rebeca, 2002-2003 Exhibition and Screening Program (2002) The Foundation has supported Espacio La Rebeca's 2002-2003 exhibition and screening program.
Universidad Nacional de Colombia, Fine Arts and Visual Arts Master Program, Quiasma (2002) Quiasma is a research group in the master's program in fine arts and visual arts at the Universidad Nacional de Colombia.
National Institute for Medical Research, NanoScopic Culture (2002) The Foundation supported NanoScopic Culture, a series of artist interventions organized in 2002 and 2003 as part of the art program of London's National Institute for Medical Research (NIMR).
MobileGaze, <PAUSE> (2002) MobileGaze uses an electronic magazine format to present digital and Net art, interviews, critical writing about the Web, and live Webcast events.
Mutek, MUTEK.CL festival in Valparaiso, Chile (2002) MUTEK.CL in Valparaiso, Chile, is an initiative of MUTEK, a Montreal group devoted to distributing and developing emerging forms of electronic music and sound creations.
Soil Digital Media Suite, Neutral Ground, Untitled Series (2002) Soil Digital Media Suite is a collective of established and mid-career artists and researchers that has emerged through the interdisciplinary mandate of Neutral Ground, an artist-run centre in Regina, Saskatchewan.
New Media Scotland, Drift: A Festival of Sound Art and Experimental Music Across Glasgow and Liverpool (2002) Drift is a festival of sound art and experimental music organized by New Media Scotland.
Tate, Net Art at Tate: A Program of Net Art Commissions (2002) The Foundation supported the first year of Net Art at Tate: A Program of Net Art Commissions, an extension of Tate's existing program for the commission of on-line art.
RAQS Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai (2002) Commissioned by the Walker Art Center and funded by the Foundation, Temporary Autonomous Sarai is an installation and interdisciplinary collaboration between RAQS Media Collective (New Delhi) and the architectural firm Atelier Bow Wow (Tokyo).
Walter Phillips Gallery, Pretty Good Access (2002) An original idea by Anthony Kiendl, the director of the Walter Phillips Gallery at the Banff Centre, (1) Pretty Good Access is a project that will exhibit the work of a group of contemporary artists from around the world.
The Gramophone Records Museum of Ghana, Ghana's Highlife Music: A Digital Repertoire of Recordings and Pop Art (2002) The Gramophone Records Museum and Research Centre of Ghana (GRMRC) was officially launched in 1994.
The Guggenheim Museum and the Daniel Langlois Foundation, The Variable Media Network (2002) The variable media concept was developed in 1998 by Jon Ippolito, an associate curator at the Guggenheim Museum in New York.
Dissemination of Radical Software on the Web (2002) The Foundation has digitized and processed the entire contents of the legendary independent magazine Radical Software.
Gerald O'Grady, Researcher in Residence (2002) Early History of Electronic and Digital Art in New York State
Jeff Rothenberg, Researcher in Residence (2002) Emulation test case as part of the Variable Media Network
McGill University Faculty of Music, Daniel Langlois Visiting Professorship Fund (2002) The Daniel Langlois Foundation helped the McGill Faculty of Music to create a visiting professor position in music media and technology.
Association éQuinoxe, Scriptwriting Workshops (2001-2003) The mission of Association Equinoxe is to support authors, directors and producers of independent European and North American film.
Sarai New Media Initiative, Sarai Interface Zone (2001) Acting as a physical meeting place in Delhi, the Sarai Interface Zone is closely linked to the activities of Sarai’s outreach projects and acts as a dynamic hub for the exhibition, online dissemination and pedagogy of new media culture.
Kër Thiossane, Kër Thiossane (2001) In 2001, the Daniel Langlois Foundation awarded a grant in the The Program for Organizations from Emerging Regions to the Kër Thiossane project.
CRI, The uses of new information and communication technologies in intermedia studies (2001) The research project was initiated by the CECRI (Centre for Research into Intermediality Student Collective) at the University of Montreal.
Alta Tecnología Andina, ATA/Lab (2001) Alta Tecnología Andina (ATA) is putting together the ATA/Lab, a long-term project to improve the accessibility and quality of Peruvian media works.
Art and Science Laboratory, Electronic Art Archive and Server and Aesthetic Research Program (2001) The Foundation has supported further research and development of the Art and Science Laboratory's Electronic Art Archive and Server as well as its Aesthetic Research Program.
Asian Council for People's Culture, Audio-Video Digital Documentation of Nature Prayer Rituals of Seven Tribal Communities (2001) The Asian Council for People's Culture (ACPC) is launching this project to help preserve ancestral Philippine rituals and revive them in a contemporary social context.
motiroti and The Builders Association, Alladeen (2001) This project re-examines the legend of Aladdin in light of its original Hindu and Muslim versions, as well as its film adaptations produced by British, American and Indian studios.
Marie Chouinard, Cantique n° 1 (2001) In Cantique n° 1, Marie Chouinard explores the relationship between movement and sound, with the help of a uniquely designed computer program and real-time interaction between musicians.
Toni Dove, Spectropia: A Ghost Story on the Infinite Deferral of Desire (2001) Spectropia is a feature film including interactive components and created as a theatrical performance.
interSpace Media Art Center, New Media Art Program (2001) The program focused specifically on creating new media projects on an open-competition principle and showcasing the projects generated by the media lab.
Golan Levin, Dialtones (A Telesymphony) (2001) Dialtones (A Telesymphony) is a concert performance in which all the sounds are wholly produced through the choreographed ringing of the audience's own cellphones.
Observatoire Leonardo des Arts et les Techno-Sciences (OLATS), Pioneers and Pathbreakers (2001) Pioneers and Pathbreakers is an on-line documentation project developed by OLATS and dedicated to presenting information on seminal figures in the history of technological arts.
Marie-Claude Poulin and Martin Kusch, schème (2001) To investigate potential interactions between the body in motion and the digital image, artists Martin Kusch and Marie-Claude Poulin are developing a project that combines dance, performance and new digital media.
Proboscis, Private Reveries, Public Spaces (2001) Private Reveries, Public Spaces is a unique series of artist commissions within Proboscis's new research program, SoMa - Social Matrices, which is based on a think-tank model.
RIXC (The Centre for New Media Culture), Acoustic Space Research Lab and Program (2001) The project consists of establishing two media labs in Latvia, and developing an Acoustic Space Research Program.
Andrew Schloss, Can You Hear the Shape of a Drum? (2001) Can You Here the Shape of a Drum? is a project that proposes to link two parallel lines of research: the three-dimensional controller called the Radio Drum and the class of synthesis techniques known as physical models.
Sponge and FoAM, TGarden (2001) TGarden is a performance space that aims to dissolve the traditional lines between performer and spectator.
St. Norbert Arts Centre, Ten Little Indians (2001) Ten Little Indians was a collaborative five-month residency program begun in May 2001.
Elizabeth Vander Zaag, Talk Nice/SAY (2001) Expressing emotion through other senses than the visual or proprioceptive in a digital context is paramount in challenging the constraints of the computer screen.
Vidéographe, Residency Program in Cybernetics (2001) The Daniel Langlois Foundation partly funded a new phase of development, research and experimentation for Vidéographe.
VIRMA, Virtual Institute for Research into Media Culture Amsterdam, World-Information.Org (2001) The Virtual Institute for Research into Media Culture Amsterdam (VIRMA) is a group of Amsterdam new media institutions that come together to work on collaborative projects.
Bill Vorn and Simon Penny, Bedlam (2001) Bedlam is a robotic installation project that intends to question, reformulate and subvert notions of autonomy, mobility and personality.
Adam Zaretsky, MMMM (or Macro Micro Music Massage) and WorkHorse Zoo (2001) My personal favorite artistic offering to public experience is the reinsertion of fun for fun's sake into the social.
ZKM, Zentrum fur Kunst und Medientechnologie Karlsruhe, Future Cinema (2001) Future Cinema is a major international exhibition of current art practice in video, film and computer-based installations.
Alain-Martin Richard, L'atopie textuelle est une cause qui se perd (2001) This poetic game involves circulating pieces of a sculptural object and tracking them on the Web.
Presentation House Gallery, Exhibition of Works by David Rokeby (2000) In 2000, the Foundation partially funded an exhibition of works by Canadian artist David Rokeby at Presentation House Gallery, a public visual art facility in North Vancouver.
Jim Campbell, Explorations of Meaning in Quantized Information (2000) Jim Campbell explores visual and poetic meaning in the small amounts of digital information that make up conventional digital representation.
Luc Courchesne, The Visitor: Living by Numbers (2000) The Visitor draws on the research conducted by Courchesne in image projection, which led to the creation of his Panoscope 360º.
Samuel Bianchini, If I Were U / Si j'étais toi (2000) IIWU is a game environment that explores an economy of the gaze for collective use on the Web.
Franklin Furnace Archive Inc., The Future of the Present 2000 (2000) Franklin Furnace is a 23-year-old organization devoted to promoting ephemeral art forms neglected by mainstream art institutions.
Electronic Arts Intermix (EAI), Conservation and Restoration of the EAI Collection (2000) Electronic Arts Intermix is a non-profit media arts centre and a major resource for artists' video and new media.
Lynn Hershman, Agent Ruby (2000) Lynn Hershman has examined the complex conditions at the core of emerging subjectivity since the 1970s.
University of Surrey, Institute for New Media Performance Research, Code Zebra (2000) The Institute for New Media Performance Research (INMPR) provides a base from which scholars and practitioners in the university's School of Performing Arts can find support for their new media research.
Quartier Éphémère, Silophone (2000) [The User] initiated the Silophone project in co-operation with Quartier Éphémère.
Sarai New Media Initiative, Sarai Media Lab (2000) In 2000, Sarai, the New Media Initiative of the Centre for the Study of Developing Societies (CSDS), set up a public access space for the research and practice of digital media in Delhi, one of the first of its kind in the developing world.
WRO Center for Media Art Foundation, WRO Media Art Biennale - 2000@kultura (2000) The WRO Foundation for Media Art and Communication is one of the major centres in Poland working with art and technology on a large scale.
Western Front, Western Front Society Media Archives Project (2000) The artists' collective Western Front was formed in Vancouver in 1973 by eight artists who wanted to create a space for the exploration and creation of new art forms.
Video Pool Inc., send + receive festival (2000) The Daniel Langlois Foundation is supporting the third year of send + receive, a new festival devoted to sound art.
V2_Organisation, Institute for the Unstable Media, Dutch Electronic Art Festival 2000 : Machine Times (2000) V2_Organisation, the Institute for the Unstable Media, is an interdisciplinary centre for art and media technology located in Rotterdam, the Netherlands.
Universes in Universe, Universes in Universe (2000) Started in 1997 by German art historian Gerhard Haupt and Argentinean artist Pat Binder, the Web site Universes in Universe provides access to extensive documentation on art from Africa, the Asia/Pacific region and Latin America.
Art and Science Laboratory, Techne and Eros (2000) A decade ago, artists Steina and Woody Vasulka, composer David Dunn and physicist James Crutchfield began a dialogue on larger conceptual questions regarding the future of electronic and digital art.
Electronic Music Foundation (EMF), The EMF Institute (2000) EMF is a non-profit organization dedicated to increasing public understanding of the role that electronic music, in its myriad forms and technologies, plays in our world.
Lorella Abenavoli, Le Souffle de la terre (2000) At the heart of her work is a reflection on time's relationship with the visual arts.
Arts Council of England, Collaboration and Ownership in the Digital Economy (CODE) (2000) The Arts Council of England is the national arts funding agency for England.
Sharon Daniel, Subtract the Sky (2000) Subtract the Sky is a public artwork conceived as a Web-based environment for producing maps.
Foundation & Center for Contemporary Art (F&CCA), CCA LABoratory (2000) F&CCA-Prague was founded in 1992 as part of a larger network of non-profit organizations established by the New York philanthropist George Soros.
Greylands, Greylands / Zones Grises (2000) Greylands / Zones Grises is both a project title and the name of a group of artists, architects and engineers.
Institute of International Visual Arts (inIVA), X-Space Programme of Artists' Commissions (2000) Established in 1994, inIVA is Britain's only nationally funded visual arts organization with a specific mission to promote international artists from diverse cultural backgrounds.
International Urban Design Studio at the St. Petersburg Academy of Fine Arts, Palaces and Prisons (2000) This educational studio focuses on architecture and urban planning projects.
Foundation for Art and Creative Technologies (FACT), Crossing Over Communities: 6th Mini-International Festival of Videoshots (2000) FACT is Britain's leading development agency for artists and exhibitors working with creative technologies.
Nina Czegledy, Digitized Bodies - Virtual Spectacles (2000) Digitized Bodies - Virtual Spectacles presents a series of closely connected events aimed at investigating the perceptual effects of digital technologies.
Eduardo Kac, Genesis 2 (2000) Genesis 2 is the second phase of an earlier project by Eduardo Kac entitled Genesis 1, a transgenic installation.
Oboro, Quick Time VR Residency (2000) The residency program proposed by Oboro was dedicated to the creation, production, and dissemination of artistic projects using QuickTime VR.
Studio XX, Science Fair: Feminist Configurations in Cyberspace (2000) The project involves the production of a Web site which explores and presents an illustrated critical history of women scientists and inventors, from the 18th century onward.
Atau Tanaka, Global String (2000) This installation project is a multi-site network-music installation, connected via the Internet.
Rhizome, Rhizome ArtBase (2000) Rhizome was started in 1996 as a platform for discussion among the growing artistic and critical community for media art.
Creative Time Inc., DNAid (2000) Almost immediately after its founding in 1973, Creative Time became an international leader in presenting new works by visual artists and performers.
Thread Waxing Space, Scry Agency by Constance DeJong (2000) Founded in 1991, Thread Waxing Space (TWS) is a non-profit arts and education space that promotes and presents works of art not ordinarily accessible to the public.
Art Today Foundation, Communication Front 2000 (2000) Comunication Front 2000 was a conference and exhibition that featured artists working in the Balkans.
George Legrady, Pockets Full of Memories (2000) Pockets Full of Memories is a two room interactive installation. The exhibition's goal is to present a real time construction of an archive/collection of objects to represent the audience visiting the exhibition.
Galerie Séquence, Residency of Rober Racine (2000) Galerie Séquence has striven to keep pace with new artistic practices that combine several mediums, including new technologies.
Arizona State University Art Museum, Jim Campbell: Transforming Time: Electronic Works: 1990-1999 (1999) In operation since 1995, the Arizona State Art Museum is a large university gallery with a strong reputation for representing innovative contemporary and historical works by local and international artists.
La Fondation du neuvième art, Zone Internationale du Neuvième Art (ZINA) (1999) The fondation du neuvième art (F9) is a Montreal-based, non-profit organization dedicated to disseminating and exhibiting Quebec and French comic strips and animation using new technologies.
Catherine Richards, Three New Artworks (1999) Catherine Richards continues exploring the pressures, changes and contradictions that drive our understanding of ourselves.
Association des réalisateurs et réalisatrices du Québec, Report on Copyright (1999) Quebec's association of directors, the Association des réalisateurs et réalisatrices du Québec (ARRQ) is dedicated to supporting and developing the professional, economic, cultural, social and moral interests of its members.
Université Concordia, The Daniel Langlois Foundation Chair in Digital Technologies and the Fine Arts (1999) This Chair, housed in Concordia's Faculty of Fine Arts, will foster the development of research in areas where the fine arts and computer science come together.
![Thomas McIntosh and Emmanuel Madan [The User], Symphony #2 for Dot Matrix Printers](../inc/corners/cropCorners.php?src=../../../media/CRD/thumbnails/d00005048.jpg&radius=10&width=100&height=61 "Thomas McIntosh and Emmanuel Madan [The User], Symphony #2 for Dot Matrix Printers")
Thomas McIntosh and Emmanuel Madan [The User], Symphony #2 for Dot Matrix Printers (1999) A computer program synchronized dot-matrix printers via a server and read complex ASCII text files in order to create musical compositions.
Groupe de recherche en arts médiatiques (GRAM), Dictionnaire des arts médiatiques (1999) Established in 1989 at the l'Université du Québec à Montréal (GRAM) brings together artists, theorists and researchers from various universities with the aim of facilitating creation and promotion of media art.
Juan Geuer, New Video Works (1999) In the late nineties, Juan Geuer began to experiment with video and is now exploring what he terms "aesthetic bonding."
Le Centre d'exposition de l'Université de Montréal, Curieux univers (1999) Open to the public since August 1998, the Centre d'exposition de l'Université de Montréal is a place where different types of university learning converge.
Pat Binder, Voices from Ravensbrück (1999) Voices from Ravensbrück makes use of the Internet's expressive possibilities to offer audiences, especially young people, a new way to deal with the Holocaust.
Irit Batsry, Fuller's Flow (1999) Irit Batsry has worked on a project inspired by Montreal's Biosphere and the vision of its architect, R. Buckminster Fuller.
Banff Centre for the Arts, Aboriginal Streaming Project (1999) Since 1933, the Banff Centre for the Arts has proven itself to be among the most important centres dedicated to the professional development of Canadian and international artists.
Australian Network for Art and Technology (ANAT), Alchemy : International Masterclass for New Media Artists and Curators (1999) For six weeks in May and June 2000, ANAT held an international master class for new-media art curation and theory titled Alchemy.
Théâtre Les 400 Coups, Projet Ladislas Starewitch (1999) The discovery of Ladislas Starewitch (1) was the beginning of a new passion for Rémi Boucher, the director of Les 400 Coups, an international festival of film aimed at young people and held in Montreal, Canada.
Société des arts technologiques (SAT), Satellite n° 1 (1998) Led by its executive director Monique Savoie, the Société des arts technologiques (SAT) is a centre for multidisciplinary research and production dedicated to digital culture.
Université du Québec à Montréal (UQAM), Nicolas Reeves and the NXI GESTATIO Laboratory (1998) Through the NXI GESTATIO laboratory at UQAM, Reeves has been creating architectural and meteorological sound sculptures.
National Gallery of Canada, Éphémère by Char Davies (1998) Éphémère by Char Davies premiered at the National Gallery of Canada in 1998 in a solo exhibition partly funded by the Daniel Langlois Foundation.
La La La Human Steps, Exaucé/Salt (1998) Exaucé / Salt is a multimedia performance employing live music, film, video and dramatic lighting and decor to convey the emotional and dramatic dimensions of the choreography.
Souillac II, Laboratoire de Langage Électronique à l'École d'art de Cergy (1998) Souillac II's beginnings can be traced to 1997, when a group of artists and academics involved in new media art met in Souillac, France, for the first time to discuss the relationships between art, industry and innovation.
ISEA, The Inter-Society for the Electronic Arts (1998) The Inter-Society was founded as a result of the First International Symposium on Electronic Arts (FISEA) held in Utrecht, the Netherlands, in 1988.
FCMM, Montreal International Festival of New Cinema and New Media (1998) Montreal is surely one of the top North American cities for anyone interested in world cinema.
Isabelle Choinière et Le Corps Indice, La Mue de l'Ange (1998) A collaboration between Choinière, composer Thierry Fournier and François Roupinian, La Mue de l'Ange delves deeply into the relationship between software and choreography.
CRI, La nouvelle sphère intermédiatique (1998) A unique research centre dedicated to intermedia practices, CRI (Centre for Research into Intermediality) is committed to exploring the rapidly changing relationships between old and new media.
