John Klima, Go, 2001.
Multi-media installation.
Robotic components of the installation.
Courtesy of the Postmasters Gallery.
Paul Sermon, Telematic Dreaming, 1992.
ISDN telematic installation. Susan Kozel performed in this installation for two months.
Images du futur 1995.
Radical Software, Volume I, Number 2, 1970
Grahame Weinbren and Roberta Friedman, The Erl King, 1982-1985.
SMC-70 computer, C/PM system, PASCAL programming, laser discs, Carroll touch screen.
View of the installation as presented in 1988 at the Kitchen, New York.
Philip Bessley, Orgone Reef, 2003.
Orgone Reef is a hovering mass that explores a new kind of near-living architectural skin that expands and responds to viewers using a myriad of miniature interlinked elements.
Courtesy of the artist.
John Klima, Earth, 2001.
Multi-media installation.
A software that places data from geological surveys, satellites 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.
Grahame Weinbren and Roberta Friedman, The Erl King, 1982-1985.
View of the Sony SMC-70 computer.
View of the installation as presented in 2004 in the exhibition Seeing Double: Emulation in Theory and Practice at the Guggenheim Museum in New York.
Sponge/FoAM, TGarden, 2000.
Modeling clothing/textiles for TGarden prototype in Brussels, Belgium, Phase 1. Costume Design: Cynthia Bohner Vloet. Photo: Maja Kuzmanovic/FoAM.
Courtesy of Sponge and FoAM.
[The User], Symphony for Dot Matrix Printers, 1997-1999.
Thomas McIntosh and Emmanuel Madan performing at the FCMM, Montreal, 1998.
Courtesy of [The User].
Foto/Graphik Galerie Käthe Kollwitz, 2000.
Courtesy of Pat Binder.
Elizabeth Vander Zaag, Talk Nice, 1999-2000.
Still image taken from Talk Nice (video).
Courtesy of the artist.
Catalogue published for the exhibition Software, Information Technology: Its New Meaning for Art, New York: Jewish Museum, 1970.
Catalog cover of Jim Campbell: Transforming Time: Electronic Works: 1990-1999, Arizona State University Art Museum, Tempe (Arizona), September 25, 1999 - January 2, 2000.
Nicolas Reeves and the Laboratory NXI GESTATIO, La Harpe à Nuages, 1997-2000.
Courtesy of the artist.
George Legrady, Pockets Full of Memories (2001).
Courtesy of George Legrady and the Cornerhouse Gallery(Manchester).
Martin Kusch and Marie-Claude Poulin, schème, Fixed body with a "gone" head, physically present but mentally elsewhere, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
Thomas McIntosh with Mikko Hynninnen, Brian Clark, Emmanuel Madan, Ondulation (research and development phase), 2002.
Photo: Diana Shearwood. Courtesy of Thomas McIntosh.
Chico MacMurtrie, Skeletal Reflections, 2003.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
Bill Seaman, Gideon May, The World Generator (1996-1997). Courtesy of the artists.
Chico MacMurtrie, Skeletal Reflections (2003). Courtesy of Amorphic Robot Works.
Partial view of the exhibition Money, presented by CRAC, June 16 to August 5, 2001.
Courtesy of CRAC.
Partial view of the exhibition Money, presented by CRAC, June 16 to August 5, 2001.
Courtesy of CRAC.
Partial view of the exhibition Money, presented by CRAC, June 16 to August 5, 2001.
Courtesy of CRAC.
Partial view of the exhibition Money, presented by CRAC, June 16 to August 5, 2001.
Courtesy of CRAC.
Atau Tanaka, Sensorband Long Distance Concert With ISDN Connection, 1997
Ventspils International Radio Astronomy Centre (VIRAC), Irbene, Latvia.
Courtesy of radioqualia.
Ventspils International Radio Astronomy Centre (VIRAC), Irbene, Latvia.
Honor Harger inside the VIRAC.
Courtesy of radioqualia.
Toni Dove, Artificial Changelings, 1998
Toni Dove, Artificial Changelings, 1998.
Interactive laser disk and sound installation using video motion sensing. Video still of the installation Artificial Changelings, 1998. Photo: DP Einar Westerlund, (copositing) J.J. Gifford.
Courtesy of the artist.
Golan Levin, Dialtones (A Telesymphony), 2001.
Concert presented in Switzerland in 2002.
Courtesy of the artist.
Golan Levin, Dialtones (A Telesymphony), 2001.
Concert presented in Austria in 2001,
Courtesy of the artist.
Golan Levin and Paul Debevec, Rouen Revisited, 1996.
Daytime facade of the Rouen Cathedral, in an image synthesized from street-level photographs re-rendered from a new point of view.
Courtesy of Golan Levin and Paul Debevec.
Philip Beesley, Orgone Reef, 2003.
Orgone Reef was produced using laser cutting direct from digital models and is currently installed at the University of Manitoba.
Courtesy of the artist.
Philip Beesley, Orgone Reef, 2003.
Courtesy of the artist.
Philip Beesley and Diane Willow, Orgone Reef, 2003.
Arrays of proximity sensors linked to vibrating actuators were fitted to a version of Orgone Reef mounted at Haystack Mountain School for the Crafts at The Digital and the Hand symposium in 2002 in collaboration with Diane Willow. These elements employ the 'cricket' microprocessor technology developed by MIT's Media Lab, allowing dense accretion of miniature networks.
Courtesy of the artists.
Sandro Canavezzi de Abreu, M(n)EMO, a topological endoscopies into someone else's dream, 2002.
Prosthesis with camera and microphone.
Courtesy of the artist.
Sandro Canavezzi de Abreu, M(n)EMO, a topological endoscopies into someone else's dream, 2002.
Interactive installation, sphere and prosthesis.
Courtesy of the artist.
Marie Chouinard, Cantique n° 3 (2004).
Courtesy of the Compagnie Marie Chouinard.
Marie Chouinard, L'Après-midi d'un faune, 1987.
Choreography: Marie Chouinard. Dancer: Marie Chouinard. Suit: Luc Courchesne. Photo: Louise Oligny.
Courtesy of Compagnie Marie Chouinard.
Toni Dove, Spectropia, 2001.
Interactive movie/installation shot on digital video. Image of Spectropia, 2001. Director of photography: Sam Levy. Compositing: Toni Dove.
Courtesy of the artist.