Rober Racine, Le terrain du dictionnaire A/Z, 1980. (detail).
Installation view at the Musée d`art contemporain de Montréal, 1995.
Photo : Richard-Max Tremblay.
John Klima, Go Fish, 2001.
Multi-media installation.
Video arcade game console, holding tanks and interactive components.
Courtesy of John Klima.
Grain Silo No. 5.
View from the exterior of Grain Silo No. 5.
Courtesy of Quartier Éphémère.
Photo: Diana Shearwood.
Grain Silo No. 5.
View of the grain belt inside Grain Silo No. 5.
Courtesy of Quartier Éphémère.
Photo: Diana Shearwood.
Grain Silo No. 5.
View from the exterior of Grain Silo No. 5.
Courtesy of Quartier Éphémère.
Photo: Diana Shearwood.
Grain Silo No. 5.
View from the exterior of Grain Silo No. 5.
Courtesy of Quartier Éphémère.
Photo: Diana Shearwood.
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.
Elizabeth Vander Zaag, Whispering Pines, 1993.
Image taken from the Whispering Pines CD-ROM.
Actress: Sidney Shadbolt. In the collection of the Morris and Helen Belkin Art Gallery (University of British Columbia, Vancouver, British Columbia, Canada) and the Kamloops Art Gallery (Kamloops, British Columbia, Canada).
Courtesy of the artist.
John Klima, The Great Game, 2001.
Game playable on the Internet.
Topographical map of Afghanistan. Though initially clear, the region gradually fills with icons evoking the West's military strategies aimed at toppling the Taliban regime.
Courtesy of John Klima.
John Klima, Earth, 2001.
Multi-media installation.
A software places data from geological surveys, satellites and 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.
John Klima, Context Breeder, 2002.
Search engine interface.
Research results in the Artbase database operated by Rhizome.org.
Courtesy of Rhizome.org.
Atau Tanaka and Kasper Toeplitz, Global String, 1998-present.
Installation of prototype, June 1999, The Hague, the Netherlands.
Courtesy of Atau Tanaka.
Alan Dunning, Billy Budd's Stammer, 1988.
Installation.
Courtesy of Alan Dunning.
Usman Haque (with J. Pletts and L. Turin), Scents of Space (2002).
Courtesy of the artists.
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Raqs Media Collective & Atelier Bow Wow, Temporary Autonomous Sarai, 2003.
Courtesy of the Walker Art Center.
Jim Campbell, Shadow (for Heisenberg), 1993-1994.
Custom electronics, video camera, glass cube with LCD material, statue.
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.
Mike MacDonald, Touched by the Tears of a Butterfly, 1995.
Video installation.
Video still.
Courtesy of the artist.
Thecla Schiphorst, Bodymaps: artifacts of touch, 1995-1996.
Interactive Computer Video/Audio Installation.
Courtesy of Thecla Schiphorst.
Alan Dunning, Mother, 1988.
Installation version. Also presented as a bookwork. On the gallery walls, words are linked by lines as in a constellation or rhizome. In book form, however, the same text is set up linearly in a highly ornamental Gothic typeface.
Courtesy of Alan Dunning.
Alan Dunning, Ville de lumière/city of light, 1988.
Installation.
Wall text.
Courtesy of Alan Dunning.
Alan Dunning, Rapture, 1988.
Multi-media installation.
Video projection.
Courtesy of Alan Dunning.
Alan Dunning, Rapture, 1988.
Multi-media installation.
Images of scent molecules covering the gallery walls.
Courtesy of Alan Dunning.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Errant Eye, 1997-2001.
Virtual reality environment. Diagram showing the way biological data gathered in real time on the participant's body is altering the display parameters of a three-dimensional virtual universe.
Courtesy of Alan Dunning.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Errant Eye, 1997-2001.
Virtual reality installation. The participant navigates around a recognizable visual environment, a forest whose outline faded into an abstract visual universe reflecting the variations in biological signals processed in real time by a computer module.
Courtesy of Alan Dunning.
John Klima, Glasbead, 1999.
Interactive game playable on Internet.
By accessing audio files, participants create myriad soundscapes that grow increasingly complex as more viewers enter the on-line environment.
Courtesy of the Postmasters Gallery.
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.
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.
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.
Atau Tanaka and Kasper Toeplitz, Global String, 1998-present.
Installation diagram.
Courtesy of Atau Tanaka.
[The User], Symphony for Dot Matrix Printers, 1997-1999.
Thomas McIntosh and Emmanuel Madan performing at the FCMM, Montreal, 1998.
Courtesy of [The User].
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.
CAPACETE, A Banca no 2, 2002.
Installation during the São Paulo Bienale with the collaboration of Marie-Ange Guilleminot (France), 2002.
Courtesy of CAPACETE.
Thomas McIntosh with Mikko Hynninnen, Brian Clark, Emmanuel Madan, Ondulation (research and development phase), 2002.
Photo: Diana Shearwood. Courtesy of Thomas McIntosh.
Bill Seaman, Gideon May, The World Generator (1996-1997). Courtesy of the artists.
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
Atau Tanaka, Constellations, 1999.
Installation view.
Courtesy of the artist.
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.
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.