Chris Csikszentmihályi, Afghan Explorer, 2001.
Model.
Courtesy of the artist.
Chris Csikszentmihályi, DJ I Robot, 2001.
Courtesy of the artist.
John Klima, Go Fish, 2001.
Multi-media installation.
Video arcade game console, holding tanks and interactive components.
Courtesy of John Klima.
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.
Alan Dunning, Billy Budd's Stammer, 1988.
Installation.
Courtesy of Alan Dunning.
Stealth Group, The Wild City: Urban genetics, 2000-2001.
"Urban Genetics" is a system of codes extracted through monitoring and denoting the rules of urban design and chaotic transformation in Belgrade.
Courtesy of Stealth Group.
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, 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.
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.
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.
Usman Haque, Sky Ear, 2004.
The artist testing part of the structure, March 2004.
This non-rigid "cloud" is embedded with mobile phones. The balloons contain miniature sensor circuits that detect levels of electromagnetic radiation at a variety of frequencies. When activated, the sensor circuits cause ultra-bright coloured LEDs to illuminate. The cloud glows and flickers brightly as it passes through varying radio and microwave spaces. As visitors to the event call into the cloud to listen to the distant electromagnetic sounds of the sky, their mobile phone calls change the local hertzian topography; these disturbances in the electromagnetic fields inside the cloud alter the glow intensity of that part of the balloon cloud.
Courtesy of Usman Haque.
Usman Haque, Sky Ear, 2004.
On September 15, 2004 at the National Maritime Museum, Greenwich Park, London, England.
Courtesy of Usman Haque.
Sensorium, Beware02, 1997-1998.
Installation view.
Courtesy of the Centre International d'Art Contemporain de Montréal/La Biennale de Montréal 1998 (CIAC).
Science Fair: Feminist Configurations in Cyberspace
Web Site screen capture.
Courtesy of Studio XX.
Eduardo Kac, GFP Bunny (2000).
Courtesy of the artist.
Adam Zaretsky, Working sketch for MMMM (or Macro Micro Music Massage), 2001.
Ballpoint pen on water colour paper.
Courtesy of the artist.
Adam Zaretsky, Working sketch for WorkHorse Zoo, 2001.
Ballpoint pen on water colour paper.
Courtesy of the artist.
Adam Zaretsky, Humper-Discoverer, 2000.
Collage by Adam Zaretsky, video stills by Yoshie Suzuki and Wayne Sullins.
Courtesy of the artist.
Adam Zaretsky, Jammin' w/E. coli, 2000.
Collage by Adam Zaretsky, video stills by Yoshie Suzuki and Wayne Sullins.
Courtesy of the artist.
Dr. Mark Lythgoe, Magnetic resonance image (MRI) used for the project Mapping Perception, 2000.
3 Dimensional functional MRI of Mark Lythgoe's head. The red area indicates the region of the brain active when smell is tested in a subject during an fMRI scan.
Courtesy of Dr. Mark Lythgoe, Institute of Child Health and Proboscis.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Rod matrix. The up and down movements of the rods create surface features as in a pin screen.
Courtesy of John Klima.
John Klima, Terrain Machine, 2002.
Multi-media installation.
Mechanical components (triggers, actuators) moving the rod according to specific topographical data.
Courtesy of John Klima.
Chris Csikszentmihályi, Afghan Explorer, 2001.
Diagram.
Courtesy of the artist.
Catherine Richards, Method and Apparatus for Finding Love, 2000.
Work in progress in collaboration with Martin Snelgrove. Reception desk, receptionist, non-disclosure agreement forms, four wall-mounted stainless-steel shelves, four copies of the patent application. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of patent application on shelf.
Photo: Tim Wickens. Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain in tube (pulsating).
Photo: Tim Wickens.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain and spinal cord in tube.
Photo: Tim Wickens.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy, 2000.
Interactive new technology installation. Stainless steel, glass, electronics, electrodes, electron guns, luminescent gases, fibre-optic lights. Dimensions variable. Installation as part of the exhibition Excitable Tissues, Ottawa Art Gallery, 2000.
Detail view of glass brain and spinal cord in tube.
Photo: Mitch Lenet.
Courtesy of the artist.
Catherine Richards, I Was Scared to Death; I Could Have Died of Joy (2000). Courtesy of the artist.
Usman Haque, Sky Ear, 2004.
On September 15, 2004 at the National Maritime Museum, Greenwich Park, London, England.
Courtesy of Usman Haque.
John Klima, Ecosystm, 1999.
3D-animated visualization device.
This 3-D animated work simultaneously showcases changes in global currency, stock markets and weather conditions at John F. Kennedy Airport.
Courtesy of Zurich Capital Markets.
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.
Nina Czegledy, Digitized Bodies - Virtual Spectacles, 2000.
Screen capture from www.digibodies.org.
Courtesy of Nina Czegledy.