Jessica Field, Semiotic Investigation into Cybernetic Behaviour, 2003.
Alan the Motion Detector; detail of the installation.
Courtesy of the artist.
Jessica Field, Semiotic Investigation into Cybernetic Behaviour, 2003.
Brad the Switch Board Operator; detail of the installation.
Courtesy of the artist.
Jessica Field, Semiotic Investigation into Cybernetic Behaviour (2003).
Courtesy of the artist.
Jessica Field, Autonomous Robot, 1999.
It is 6 inches high and 12 inches squared. It navigates through space using bumpers with switches, these switches tell the robot's microcontroller to change direction in a pre-programmed pattern so that it can continue moving.
Courtesy of the artist.
Jessica Field, If it was broken, it would be simple, but it is not, 1999.
It is an electronic machine that takes advantage of the viewers expectation that pushing the buttons will turn the hourglass. The machine dashes this prospect by simply nodding its head rather then moving the hourglass. The piece is 5ft high, constructed in steel and uses a simple relay system to control the nodding head.
Courtesy of the artist.
Jessica Field, Stumbling Robot, 1999.
It is 5 ft high, constructed in metal. It uses electronics to create a pseudorandom sequence that causes the robot to stumble unpredictably which creates an illusion that it could fall over at any given time.
Courtesy of the artist.
Natalie Jeremijenko, Robotic Geese (2003). Courtesy of the artist.
Natalie Jeremijenko, Robotic Geese, 2003.
Plastic, electronic components, video camera.
Photo: Adat. Courtesy of Natalie Jeremijenko.
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.
Tod Machover, Brain Opera, 1994-2000.
Visual Design Director: Sharon Daniel.
Collection of the Haus der Musik Wien (Vienna, Austria).
Courtesy of Sharon Daniel.
Usman Haque (with J. Pletts and L. Turin), Scents of Space (2002).
Courtesy of the artists.
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.
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.
Lynn Hershman, Roberta's Construction (1975). Courtesy of the artist.
Lynn Hershman, Agent Ruby Mood Swing Diagram, 2002.
Courtesy of the artist.
Thecla Schiphorst, Bodymaps: artifacts of touch, 1995-1996.
Interactive Computer Video/Audio Installation.
Courtesy of Thecla Schiphorst.
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.
Elizabeth Vander Zaag, Talk Nice, 1999-2000.
Still image taken from Talk Nice (video).
Courtesy of the artist.
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.
Chico MacMurtrie, Skeletal Reflections, 2003.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
Natalie Jeremijenko, Robotic Geese, 2003.
Plastic, electronic components, video camera.
Photo: Adat. Courtesy of Natalie Jeremijenko.
Natalie Jeremijenko, Robotic Geese, 2003.
Plastic, electronic components, video camera.
Photo: Adat. Courtesy of Natalie Jeremijenko.
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 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.
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.
Char Davies, Forest and Grid, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Jessica Loseby, views from the ground floor, 2003.
Screen capture.
Courtesy of the artist.
Jessica Loseby, views from the ground floor, 2003.
Screen capture.
Courtesy of the artist.
Bill Vorn and Louis-Philippe Demers, La Cour des Miracles, 1997.
Interactive robotic installation.
Photo: Bill Vorn.
Courtesy of Bill Vorn and Louis-Philippe Demers.
Bill Vorn and Louis-Philippe Demers, Le Procès, 1999.
Robotic performance.
Photo: Bill Vorn.
Courtesy of Bill Vorn and Louis-Philippe Demers.
Bill Vorn, Evil/Live, 1997.
Interactive audio-visual installation.
Photo: Miguel Trillo.
Courtesy of Bill Vorn and the SONAR Festival (Barcelona, Spain).
Bill Vorn, Evil/Live 2, 2002.
Interactive audio-visual installation.
Courtesy of Bill Vorn.
Martin Kusch and Marie-Claude Poulin, schème, Siamese Twins Connected to a Projected Space Illusion, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin and Line Nault during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
Martin Kusch and Marie-Claude Poulin, schème, Siamese Twins Connected to a Projected Space Illusion, 2001.
Choreography with interactive devices.
Interpreted by Marie-Claude Poulin and Line Nault during a residency at L'Agora de la Danse, Montreal, 2001.
Photo: Martin Kusch and Johan Versteegh.
Courtesy of kondition pluriel.
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.
Tod Machover, Brain Opera, 1994-2000.
Visual Design Director: Sharon Daniel.
Collection of the Haus der Musik Wien (Vienna, Austria).
Courtesy of Sharon Daniel.
Sharon Daniel, Strange Attraction: Non-logical Phase-lock Over Space-like Intervals, 1993-1994.
Interactive installation.
Courtesy of Sharon Daniel.
Tod Machover, Brain Opera, 1994-2000.
Visual Design Director: Sharon Daniel.
Collection of the Haus der Musik Wien (Vienna, Austria).
Courtesy of Sharon Daniel.
Tod Machover, Brain Opera, 1994-2000.
Visual Design Director: Sharon Daniel.
Collection of the Haus der Musik Wien (Vienna, Austria).
Courtesy of Sharon Daniel.
Luc Courchesne, The Visitor: Living by Numbers, 2001.
Courtesy of the artist.
Luc Courchesne, Horizons (2007).
Video still. Projected video in a loop, 9 min., colour, sound, variable dimensions.
Courtesy of the artist and Pierre-François Ouellette art contemporain gallery.
Luc Courchesne, Landscape One, 1997.
General view. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.
Luc Courchesne, Landscape One, 1997.
General view. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.
Luc Courchesne, Landscape One, 1997.
Detail. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.
Luc Courchesne, Landscape One, 1997.
General view. Multi-user interactive panoramic video installation.
Photo: Richard-Max Tremblay. Courtesy of the artist.