[video src=https://www.youtube.com/watch?v=gCB9BE5H6B4] Surveillance by governments, corporations, and even other institutions is becoming an epidemic around the world. Prague-based artist Jakub Geltner flips the viewpoint of standard surveillance equipment. Nest positions surveillance equipment such as video cameras and satellite dishes in congested flocks. Located at beaches, elementary schools, buildings, and bridges, amalgamations of up to twenty or so devices are placed within extremely close proximity to each other, pointing every direction. The installations suggest the spreading of an infection or rash, reminding us that in a sense, we are never out of the line of sight; we continually are being watched even when we do not notice.
[video src=https://www.youtube.com/watch?v=Nnq4rvPT4Qc&feature=youtu.be]“What is it to be free? Are you free at all? These are just some of the questions asked to the participants in the interactive installation created by Nota Bene, an Istanbul-based creative studio. The artwork In Order to Control features a continuous loop of digital text sprawled across the floor, littered with moral and ethical questions such as, “Everything that’s legal is not always fair,” and “Everything that’s fair is not always legal.” As spectators step over the sea of Nota Bene’s ethos, their silhouette on the wall takes to life and is transposed with the scrolling typography.
Aporia is a collection of installations by South Korean artist Lee Jung. Each of the installations consist of a sentence or phrase spelled out in neon against an empty, natural background. The word "aporia" comes from a Greek word meaning "dead end street" and the Oxford English Dictionary defines it as: "An irresolvable internal contradiction or logical disjunction in a text, argument, or theory." The name of the piece combined with the specific matter phrases suggests the artist's complex, if not conflicted, thoughts about the concept of love.
[video src=https://www.youtube.com/watch?v=ATWljMbvVTg]In Modell 5 by Granular Synthesis (Kurt Hentschläger and Ulf Langheinrich) performer Akemi Takeya tells the story of her life. The four-channel video premiered at the ICA in London in 1994, where four projections revealed Takeya's expressions moving rapidly in different directions, with her voice also synchopated algorithmically, using a technique known as "granular synthesis" by the artists. The work has been described as "one of the most beautiful experiments in bringing digital video to a theatrical setting." Audiences are amazed by how the installation animates the subject's story is simultaneously jarring and visually arresting.
Artist Shih Chieh Huang really takes on the saying of one person’s trash is another person’s treasure, producing some incredible cybernetic structures and sculptures. These sculptures utilize various pieces of plastics, fans, electronics, and circuit building that mimic organic life of deep sea organism. The plastic deep sea animals glow with brilliant lighting, pneumatics, and […]
Little red skiffs float on undulating waters along with armchairs, fully made beds, and spiraling severed horses' heads in the throbbing air. Three toy horses are posed on synthetic turf in a theatrically raked trapezoidal corral bordered by tiny rope footlights. No bridles or saddles are ever in view; these are wild horses temporarily and ever-so-lightly penned in by a white picket fence. Enclosed inside the skewed geometry and oblique angles the equine visitors—a palomino named Pal, a buckskin called Bonnie, and her sometimes partner, the black-coated Clyde—are here to entice playmates. Inside a bricolage gilt frame a ten-minute video containing all of these disparate constituents (and new characters too) offers a dream narrative of these fantastical beings, delighting in an idyll of grasslands and wildflowers.
Two women: one is young, angelic, billowing and dream like; the other alternates between the fetal position and the floating corpse pose. Side by side, the wood framed vessels into which the the images are projected and submerged in water, read as both boat and coffin. Like flowers dropped from the installation’s peeling wallpaper or the Chinese screens described by the narrator as she recounts a dream that turns into a nightmare, the water is the source of life of death. In Two Women, the gasping for air is visceral as the older woman contorts her body and I, the witness, listen to her story in Korean, read it in English and hear the stylus punctuate it into fabric as Morse code, the universal language associated with distress.
There is something in the wind that is mystical: how it sounds, how it moves things. The ethereal, this effect that leads you to memories because deep inside you want things to last, we cling to what we call the root of our existence and we want to pass this on.
But just as the wind, we do our reinterpretations of phenomena, and disappear. We are forever stuck in the cycle of our perception weaving our past and colliding with our present.
Exploring the medium since the late 1960’s, Steina and Woody Vasulka’s inventive exploration of the new technology coined them as the pioneers of the video arts. The artistic married pair found their inspiration with experimentation of the technology of the moment and social issues of their time. In 1976 Steina (who only goes by her first name) brought her work Allvision to life, born from her research of perception. The installment bears two cameras facing each other on a horizontally rotating axis, in the middle stands a mirrored sphere. The two cameras, on a turntable, slowly orbit the mirrored sphere. Each camera visualizes one half of the reflected space, making the whole space observable as both cameras’ visual were transmitted to four monitors. 
Erwin Redl’s large-scale light installation Nocturnal Flow presents itself as a sea of LEDs stretching from floor to ceiling of the University of Washington’s Allen Center. Composed of over 10,000 individual light units whose intensity varies through time, the grid-like work serves both to emphasize the verticality of the space in which it is housed, but also to accommodate a natural motion birthed from sterility. The use of environmentally-reponsive sensors also imbues the work with a streak of subjectivity, as it can be perceived in contrasting ways depending not only on angle of view, but also time of day or year.
This interactive art installation or “reactive environment,” to use the artist’s term, was first shown at the William Nelson Rockhill Gallery of Art in Kansas City as part of the Magic Theater exhibition in 1968. Developed with the assistance of Robert Moog, the pioneering inventor of electronic musical instruments, Electronic Peristyle employs digital circuits to control a sound synthesizer, fans, and lights. Twelve electronic columns surround a transparent globe set on a cylindrical base. Light beams emitted from the base, like spokes on a wheel, strike sensors on the columns. By breaking the beams, the participator alters the sound, light patterns, and wind effects.
Random Screen is a mechanical thermodynamic screen that the user can’t control and that functions without any electricity. Conventional tea candles illuminate and generate the changes on the 5×5 pixel screen. (early version 4×4) This work is one of a series of low-tech screen projects that was originally inspired by the Blinkenlights media façade of […]
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!
From the artist’s website:
[video src=http://www.youtube.com/watch?v=biKfLio3rWU height:210 align:left] 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.”
The Tunnel under the Atlantic is an interactive art installation by Maurice Benayoun that first was exhibited in September 1995.
In September 2008 Tate launched Noplace Online as a part of Tate’s Intermedia series.
Threatbox.us is an interactive installation with web surveillance interface in which a movie frame from a montage of violent excerpts from films, news media, and computer games “attacks” visitors v
The Zero@wavefunction installation and interactivity is based on the way a nanoscientist manipulates an individual molecule (billions
‘Islamic project started on 1996 as an installation and performance with interactive communication with public: purchasing souvenirs, filling questionnaire concerning their opinions about Futur