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.
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.
Thecla Schiphorst, Bodymaps: artifacts of touch, 1995-1996.
Interactive Computer Video/Audio Installation.
Courtesy of Thecla Schiphorst.
Chico MacMurtrie, Skeletal Reflections, 2003.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
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.
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, Jammin' w/E. coli, 2000.
Collage by Adam Zaretsky, video stills by Yoshie Suzuki and Wayne Sullins.
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, 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.
Isabelle Choinière et Le Corps Indice, La Mue de l'Ange, 1999.
Image taken from performance.
Courtesy of Le Corps Indice.
Chico MacMurtrie, Skeletal Reflections, 2003.
Detail.
Courtesy of Chico MacMurtrie and Amorphic Robot Works.
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.
David Rokeby, Echoing Narcissus, 1987.
Interactive sound sculpture. Installation view.
Courtesy of David Rokeby.
David Rokeby, The Giver of Names, 1991-present.
Interactive computer installation. A screen shot from the first full version of The Giver of Names, Macdonald Stewart Art Centre, Guelph (Ontario, Canada), January 1998.
Courtesy of David Rokeby.
David Rokeby, Watch, 1995.
Real-time computer installation.
Courtesy of David Rokeby.
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.
Marie Chouinard, S.T.A.B., 1986. Courtesy of the Compagnie Marie Chouinard.
Marie Chouinard, Le Sacre du Printemps (1993). Courtesy of Compagnie Marie Chouinard.
Isabelle Choinière and Le Corps Indice, Communion (Le Partage des peaux II), 1995-1996.
Video image capture: Jimmy Lakatos.
Courtesy of Le Corps Indice