Lynn Hershman, Roberta Being Trapped, 1975.
Gelatin silver print with glitter, ink, and watercolor.
Courtesy of the artist.
Alan Dunning, Billy Budd's Stammer, 1988.
Installation.
Courtesy of Alan Dunning.
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.
Catherine Richards, Charged Hearts, 1997.
Brass, copper, glass, electronics, electron guns, computer, Terrella, luminescent gases, lights, variable dimension. Commissioned by the National Gallery of Canada.
Courtesy of the artist.
Lynn Hershman, Roberta's Construction (1975). Courtesy of the artist.
Lynn Hershman, Agent Ruby Mood Swing Diagram, 2002.
Courtesy of the artist.
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.
Char Davies, Osmose, 1995.
Osmose immersant wearing interface vest.
Photo: Jacques Dufresne. Courtesy of the artist.
Char Davies, Rose Tree, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Char Davies, Tree Pond Red, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Char Davies, Rocks and Roots, 1995.
Real-time frame capture from Osmose.
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.
Char Davies, Forest and Grid, 1995.
Real-time frame capture from Osmose.
Courtesy of the artist.
Simon Penny, Big Father, 1991-1992.
Interactive robotic installation.
Photo: Simon Penny. Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Charged Hearts, 1997.
Partial view of one of the hearts.
Courtesy of the artist.
Catherine Richards, Virtual Body, 1993.
Courtesy of the artist
Catherine Richards, Spectral Bodies (1991). Courtesy of the artist.
Isabelle Choinière et Le Corps Indice, La Mue de l'Ange, 1999.
Image taken from performance.
Courtesy of Le Corps Indice.
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.
Alan Dunning, Paul Woodrow, The Einstein's Brain Project: The Madhouse, 1995-2001.
Multi-media installation with virtual environment. The participant alters an electromagnetic field emanating from an anatomical model of the human body and thereby triggers different media events (sound, video projections) in real time.
Courtesy of Alan Dunning.
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.
Isabelle Choinière and Le Corps Indice, Communion (Le Partage des peaux II), 1995-1996.
Concept: Isabelle Choinière and Pierre Mona.
Courtesy of Le Corps Indice.
Bill Vorn and Simon Penny, Bedlam, 2001-2003.
Interactive robotic installation.
Photo: Simon Penny. Courtesy of the artists.
Isabelle Choinière and Le Corps Indice, Communion (Le Partage des peaux II), 1995-1996.
Video image capture: Jimmy Lakatos.
Courtesy of Le Corps Indice