Artist Tao Sambolec's expanded conception of art emphasizes tactility, embodied experience, affect and perception in space, often involving displacements that heighten our sensory awareness. In this respect, his work finds good company with pioneering contemporary artists from Duchamp to Eliasson. A case in point is Virtual Mirror – Rain, which received Honorable Mention at Prix Ars Electronica. The artist has somehow managed to achieve what might at first seem impossible: rain falling from the skies outside the gallery triggers an equivalent amount of rain "falling up" inside the gallery!
In 2009, Brian Eno projected 77 Million Paintings onto the distinctive white sails of the the Sydney Opera House (1973), the architectural landmark designed by architect Jorn Utzon and designated by UNESCO as a world heritage site in 2007. Through the use of self-generating software, 300 images hand-drawn by renowned artist/composer Brian Eno were randomly cut-up, the pieces rearranged and realigned in an endless variety of ways, hence the title of the trancelike projection. Interwoven with the projected images was a soundtrack, creating “mesmerizing soundscape." As Eno says, “by allowing ourselves to let go of the world that we have to be part of every day, and to surrender to another kind of world, we’re allowing imaginative processes to take place.”
Aaron Koblin's The Sheep Market is a web-based artwork that uses the ‘Amazon Mechanical Turk’ system to get thousands of workers involved in the creation of a massive database of drawings. The artist's inspiration for ‘The Sheep Market’ was to try to exploit human creativity, while at the same time shedding light on the insignificant role each worker plays as part of a whole. But Koblin was mostly curious how workers would respond to his absurd task: “When I saw the first sheep come through the system I knew I had made the right decision. As I had hoped each sheep truly reflected the individual and humanity behind it.”
In Epizoo (1995), Marcel.Lí Antúnez Roca explores complex layers of control and authority with respect to the cyborgian body and electronic systems. The audience controls the artist's body by means of a mechatronic exoskeleton worn by the performer. The viewers could manipulate Roca’s nose, mouth, ears, glutea and pectoral muscles, causing bizarre contortions. Like the unwitting subjects of the 1974 Milgram experiment, the audience of Epizoo was confronting with taking responsibility for its actions and for the effects they caused on the performer, who was at their mercy.
I am witnessing a sensation of dislocation from my immediate environment by its alternative representation in the data of position, the figures of longitude and latitude updated every second as I move. What place is there for my sensations, my phenomenology, my conscious and unconscious awareness of space if this knowledge is so efficiently and functionally made redundant by the technologies of satellite navigations? - Yolande Harris
The Tunnel under the Atlantic, by Maurice Benayoun is an interesting stimulatory system that connects visitors of the Pompidou Centre in Paris to the visitors of the Museum of Contemporary Art in Montreal through a simulated “digging” through skewed virtual medium. By using televirtuality, people in each museum can dig to meet each other, and then interact with each other in this virtual channel. They are brought together through communication as they survey their virtual surroundings that reveal geological strata as iconographic strata, bringing both shape and recognizable textures.