Reva Stone
Social Media Link: Social Media Link
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
Country of Birth: Canada
Year of Birth: 1944
City: Winnipeg
Country: Canada
Type of Creator: Artist
Gender: Female
Mediums: digital, installation, sculpture, video
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Work by Reva Stone
Shift
Work ID: 78856
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Collection:
Date Made: 1965
Materials: mixed media
Virtual Collection: Original CCCA
Reality Control, installation view
Work ID: 78785
Collection:
Date Made: 1984
Materials: mixed media
Virtual Collection: Original CCCA
Reality Control 3
Work ID: 78788
Collection:
Date Made: 1984
Materials: mixed media
Virtual Collection: Original CCCA
Reality Control 4
Work ID: 78789
Collection:
Date Made: 1984
Materials: mixed media
Virtual Collection: Original CCCA
Reality Control 2
Work ID: 78787
Collection:
Date Made: 1984
Materials: mixed media
Virtual Collection: Original CCCA
Reality Control 1
Work ID: 78786
Collection:
Date Made: 1984
Materials: mixed media
Virtual Collection: Original CCCA
Birthday
Work ID: 78797
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Visit
Work ID: 78809
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Recital
Work ID: 78807
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Family
Work ID: 78803
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Towels
Work ID: 78808
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Dinner
Work ID: 78800
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Cottage
Work ID: 78799
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Gathering
Work ID: 78804
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Children
Work ID: 78798
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Walk
Work ID: 78810
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Mother
Work ID: 78806
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
Innocence
Work ID: 78805
Collection:
Date Made: 1985
Materials: mixed media
Virtual Collection: Original CCCA
a lot like you [Window Display]
Work ID: 78812
Collection:
Date Made: 1986
Materials: mixed media
Virtual Collection: Original CCCA
a lot like you [Window Display, detail]
Work ID: 78813
Collection:
Date Made: 1986
Materials: mixed media
Virtual Collection: Original CCCA
a lot like you [Window Display, detail]
Work ID: 78814
Collection:
Date Made: 1986
Materials: mixed media
Virtual Collection: Original CCCA
Window Blind, [a lot like you Series]
Work ID: 78815
Description: Calgary Mentoring.
Collection:
Date Made: 1986
Materials: mixed media
Virtual Collection: Original CCCA
Chair, [a lot like you Series]
Work ID: 78811
Collection:
Date Made: 1986
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Document
Work ID: 78820
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Represent
Work ID: 78826
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Reproduce
Work ID: 78828
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Model
Work ID: 78824
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Document, detail
Work ID: 78822
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: installation view
Work ID: 78816
Collection:
Date Made: 1987
Materials: mixed media sculpture installation
Virtual Collection: Original CCCA
Constructed Images: Model, detail
Work ID: 78825
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Copy
Work ID: 78818
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Document, detail
Work ID: 78821
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Copy, detail
Work ID: 78819
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Duplicate
Work ID: 78823
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: Stage
Work ID: 78829
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Constructed Images: installation view
Work ID: 78817
Collection:
Date Made: 1987
Materials: mixed media sculpture installation
Virtual Collection: Original CCCA
Constructed Images: Represent, detail
Work ID: 78827
Collection:
Date Made: 1987
Materials: mixed media
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78841
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78832
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78838
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78831
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78843
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78836
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78840
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78830
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78835
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78833
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78839
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78842
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Generation, video still
Work ID: 78837
Collection:
Date Made: 1988
Materials: stand-alone video
Virtual Collection: Original CCCA
Realm of Illusion Trailer
Work ID: 78791
Collection:
Date Made: 1990
Materials: commissioned model
Virtual Collection: Original CCCA
Realm of Illusion Trailer
Work ID: 78790
Collection:
Date Made: 1990
Materials: commissioned model
Virtual Collection: Original CCCA
Legacy, installation view
Work ID: 78779
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, Wall 3 (War Map)
Work ID: 78783
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, video still
Work ID: 78780
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, Wall 4 (TV)
Work ID: 78784
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, Wall 1 (Head)
Work ID: 78781
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, floor detail
Work ID: 78777
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, Bed
Work ID: 78776
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, installation view
Work ID: 78778
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Legacy, Wall 2 (Family Portrait)
Work ID: 78782
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Collection:
Date Made: 1990-1992
Materials: digital media installation
Virtual Collection: Original CCCA
Threshold
Work ID: 78844
Collection:
Date Made: 1992
Materials: mixed media
Virtual Collection: Original CCCA
Threshold, detail
Work ID: 78845
Collection:
Date Made: 1992
Materials: mixed media
Virtual Collection: Original CCCA
no one…in conversation
Work ID: 78938
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Collection:
Date Made: 1994
Materials: digital media installation
Virtual Collection: Original CCCA
no one…in conversation
Work ID: 78932
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Collection:
Date Made: 1994
Materials: digital media installation
Virtual Collection: Original CCCA
no one…in conversation
Work ID: 78935
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Collection:
Date Made: 1994
Materials: digital media installation
Virtual Collection: Original CCCA
no one…in conversation
Work ID: 78936
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Collection:
Date Made: 1994
Materials: digital media installation
Virtual Collection: Original CCCA
no one…in conversation
Work ID: 78937
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Collection:
Date Made: 1994
Materials: digital media installation
Virtual Collection: Original CCCA
no one…in conversation
Work ID: 78933
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Collection:
Date Made: 1994
Materials: digital media installation
Virtual Collection: Original CCCA
Shift
Work ID: 78860
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Collection:
Date Made: 1995
Materials: mixed media
Virtual Collection: Original CCCA
Shift
Work ID: 78859
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Collection:
Date Made: 1995
Materials: mixed media
Virtual Collection: Original CCCA
Shift
Work ID: 78861
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Collection:
Date Made: 1995
Materials: mixed media
Virtual Collection: Original CCCA
Shift
Work ID: 78858
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Collection:
Date Made: 1995
Materials: mixed media
Virtual Collection: Original CCCA
Shift
Work ID: 78857
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Collection:
Date Made: 1995
Materials: mixed media
Virtual Collection: Original CCCA
Shift
Work ID: 78855
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Collection:
Date Made: 1995
Materials: mixed media
Virtual Collection: Original CCCA
Interstitial Spaces
Work ID: 78846
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Collection:
Date Made: 1995-96
Materials: digital media installation
Virtual Collection: Original CCCA
Interstitial Spaces
Work ID: 78854
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Collection:
Date Made: 1995-96
Materials: digital media installation
Virtual Collection: Original CCCA
Interstitial Spaces
Work ID: 78850
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Collection:
Date Made: 1995-96
Materials: digital media installation
Virtual Collection: Original CCCA
Interstitial Spaces
Work ID: 78848
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Collection:
Date Made: 1995-96
Materials: digital media installation
Virtual Collection: Original CCCA
Interstitial Spaces
Work ID: 78852
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Collection:
Date Made: 1995-96
Materials: digital media installation
Virtual Collection: Original CCCA
Interstitial Spaces
Work ID: 78853
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Collection:
Date Made: 1995-96
Materials: digital media installation
Virtual Collection: Original CCCA
Interstitial Spaces
Work ID: 78849
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Collection:
Date Made: 1995-96
Materials: digital media installation
Virtual Collection: Original CCCA
skin notwithstanding, camera
Work ID: 78931
Description: In collaboration with Richard Dyck
Collection:
Date Made: 1997
Materials: digital media installation
Virtual Collection: Original CCCA
skin notwithstanding, computers
Work ID: 78927
Description: In collaboration with Richard Dyck
Collection:
Date Made: 1997
Materials: digital media installation
Virtual Collection: Original CCCA
skin notwithstanding, light on
Work ID: 78928
Description: In collaboration with Richard Dyck
Collection:
Date Made: 1997
Materials: digital media installation
Virtual Collection: Original CCCA
skin notwithstanding, basin
Work ID: 78930
Description: In collaboration with Richard Dyck
Collection:
Date Made: 1997
Materials: digital media installation
Virtual Collection: Original CCCA
skin notwithstanding, computers
Work ID: 78926
Description: In collaboration with Richard Dyck
Collection:
Date Made: 1997
Materials: digital media installation
Virtual Collection: Original CCCA
verdicalBody
Work ID: 78921
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
verdicalBody
Work ID: 78922
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
verdicalBody
Work ID: 78925
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
The Multiple and Mutable Subject
Work ID: 78867
Description: The Multiple and Mutable Subject
Symposium 1999, curated by Vera Lemecha and Reva Stone
Anthology published by St. Norbert Arts Centre, co-edited by Reva Stone and Vera Lemecha, 2001.
ISBN 1-896699-15-4
http://www.snacc.mb.ca
Collection:
Date Made: 1998
Materials: conference anthology
Virtual Collection: Original CCCA
sentientBody
Work ID: 78862
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
sentientBody
Work ID: 78863
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
sentientBody
Work ID: 78864
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
sentientBody
Work ID: 78865
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
The Multiple and Mutable Subject
Work ID: 78866
Description: The Multiple and Mutable Subject
Symposium 1999, curated by Vera Lemecha and Reva Stone
Anthology published by St. Norbert Arts Centre, co-edited by Reva Stone and Vera Lemecha, 2001.
ISBN 1-896699-15-4
http://www.snacc.mb.ca
Collection:
Date Made: 1998
Materials: conference anthology
Virtual Collection: Original CCCA
verdicalBody
Work ID: 78924
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
verdicalBody
Work ID: 78923
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Collection:
Date Made: 1998
Materials: digital media installation
Virtual Collection: Original CCCA
Carnevale 3.0
Work ID: 78868
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Richard-Max Tremblay (Musée d'art contemporain de Montréal) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Carnevale 3.0
Work ID: 78873
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Carnevale 3.0, camera
Work ID: 78876
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Carnevale 3.0
Work ID: 78872
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Carnevale 3.0
Work ID: 78870
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Carnevale 3.0, platform
Work ID: 78875
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Carnevale 3.0
Work ID: 78869
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Kristine Thoreson (The Walter Phillips Gallery, Banff) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Carnevale 3.0
Work ID: 78874
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Collection:
Date Made: 2000-2002
Materials: robotic digital media work
Virtual Collection: Original CCCA
Imaginal Expression 5
Work ID: 78903
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78884
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression 1
Work ID: 78899
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78877
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78885
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression 3
Work ID: 78901
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Imaginal Expression 6
Work ID: 78904
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78882
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78880
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78883
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression 10
Work ID: 78906
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Imaginal Expression 7
Work ID: 78905
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Imaginal Expression 4
Work ID: 78902
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78881
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression
Work ID: 78879
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Collection:
Date Made: 2004-2006
Materials: digital media 3D installation
Virtual Collection: Original CCCA
Imaginal Expression 2
Work ID: 78900
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Collection:
Date Made: 2004-2006
Materials: giclée print
Virtual Collection: Original CCCA
Engram 12, Print Series
Work ID: 78918
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Engram 6, Print Series
Work ID: 78912
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Engram 3, Print Series
Work ID: 78909
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Engram 5, Print Series
Work ID: 78911
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Engram 2, Print Series
Work ID: 78908
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Engram 13, Print Series
Work ID: 78919
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Portal
Work ID: 78890
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Collection:
Date Made: 2010-2013
Materials: robotic digital media installation
Virtual Collection: Original CCCA
Engram 11, Print Series
Work ID: 78917
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Portal
Work ID: 78889
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Collection:
Date Made: 2010-2013
Materials: robotic digital media installation
Virtual Collection: Original CCCA
Engram 10, Print Series
Work ID: 78916
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Engram 1, Print Series
Work ID: 78907
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Portal
Work ID: 78886
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Collection:
Date Made: 2010-2013
Materials: robotic digital media installation
Virtual Collection: Original CCCA
Engram 9, Print Series
Work ID: 78915
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Engram 7, Print Series
Work ID: 78913
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Portal
Work ID: 78888
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Collection:
Date Made: 2010-2013
Materials: robotic digital media installation
Virtual Collection: Original CCCA
Engram 8, Print Series
Work ID: 78914
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Portal
Work ID: 78887
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Collection:
Date Made: 2010-2013
Materials: robotic digital media installation
Virtual Collection: Original CCCA
Engram 4, Print Series
Work ID: 78910
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
The Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Measurements: 73.66 x 91.44 cm
Collection:
Date Made: 2010-2013
Materials: inkjet/giclée
Virtual Collection: Original CCCA
Carrier Signal
Work ID: 78895
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Collection:
Date Made: 2012
Materials: digital media
Virtual Collection: Original CCCA
Instructograph
Work ID: 78897
Description: Instructograph
Instructograph was commissioned by Grant Guy for his Adhere and Deny Theatre, in 2011. I was asked to make a small circus object no bigger than a bread box. It has become the first in a series of ambiguous, obsolete objects that I plan to re-purpose.
An HDMI monitor is built into the top of the lid. A glass shelf adds a second layer inside the box. These shelves hold a small Beagleboard computer, an external hard drive, an infrared sensor, the original cranking mechanism, etc. In the video documentation provided, you can see the Linux operating system on the screen. The operating system is installed on an SD card.
When the Instructograph is first plugged in the computer starts up, a light comes on inside the box to reveal the inner workings through a plexi glass window that was cut into the front of the box, and a random display of videos starts to show on the screen. These introductory videos consist of diverse images and the musical work the Entry of the Gladiators that is commonly associated with the circus. These videos continue to play until the crank at the side of the box is turned. At that point, the videos switch to another group of videos that refer to the history of the circus.
Credits
Felix Jodoin - Programmer
Richard Sipinski - Development
Collection:
Date Made: 2012
Materials: digital media, re-purposed object
Virtual Collection: Original CCCA
Carrier Signal
Work ID: 78894
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Collection:
Date Made: 2012
Materials: digital media
Virtual Collection: Original CCCA
Carrier Signal
Work ID: 78891
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Collection:
Date Made: 2012
Materials: digital media
Virtual Collection: Original CCCA
Carrier Signal
Work ID: 78893
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Collection:
Date Made: 2012
Materials: digital media
Virtual Collection: Original CCCA
Instructograph
Work ID: 78896
Description: Instructograph
Instructograph was commissioned by Grant Guy for his Adhere and Deny Theatre, in 2011. I was asked to make a small circus object no bigger than a bread box. It has become the first in a series of ambiguous, obsolete objects that I plan to re-purpose.
An HDMI monitor is built into the top of the lid. A glass shelf adds a second layer inside the box. These shelves hold a small Beagleboard computer, an external hard drive, an infrared sensor, the original cranking mechanism, etc. In the video documentation provided, you can see the Linux operating system on the screen. The operating system is installed on an SD card.
When the Instructograph is first plugged in the computer starts up, a light comes on inside the box to reveal the inner workings through a plexi glass window that was cut into the front of the box, and a random display of videos starts to show on the screen. These introductory videos consist of diverse images and the musical work the Entry of the Gladiators that is commonly associated with the circus. These videos continue to play until the crank at the side of the box is turned. At that point, the videos switch to another group of videos that refer to the history of the circus.
Credits
Felix Jodoin - Programmer
Richard Sipinski - Development
Collection:
Date Made: 2012
Materials: digital media, re-purposed object
Virtual Collection: Original CCCA
Carrier Signal
Work ID: 78892
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Collection:
Date Made: 2012
Materials: digital media
Virtual Collection: Original CCCA
Instructograph
Work ID: 78898
Description: Instructograph
Instructograph was commissioned by Grant Guy for his Adhere and Deny Theatre, in 2011. I was asked to make a small circus object no bigger than a bread box. It has become the first in a series of ambiguous, obsolete objects that I plan to re-purpose.
An HDMI monitor is built into the top of the lid. A glass shelf adds a second layer inside the box. These shelves hold a small Beagleboard computer, an external hard drive, an infrared sensor, the original cranking mechanism, etc. In the video documentation provided, you can see the Linux operating system on the screen. The operating system is installed on an SD card.
When the Instructograph is first plugged in the computer starts up, a light comes on inside the box to reveal the inner workings through a plexi glass window that was cut into the front of the box, and a random display of videos starts to show on the screen. These introductory videos consist of diverse images and the musical work the Entry of the Gladiators that is commonly associated with the circus. These videos continue to play until the crank at the side of the box is turned. At that point, the videos switch to another group of videos that refer to the history of the circus.
Credits
Felix Jodoin - Programmer
Richard Sipinski - Development
Collection:
Date Made: 2012
Materials: digital media, re-purposed object
Virtual Collection: Original CCCA
