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"60" is a version of "Very Nervous System" designed especially for the "I am Listening" show of sound sculptures at the Glendon Gallery at York University, Toronto, Canada. "60" uses the softVNS.htmlI motion processor, and a additive synthesis

The Giver of Names is quite simply, a computer system that gives objects names. The installation includes an empty pedestal, a video camera, a computer system and a small video projection. The camera observes the top of the pedestal. The

A-positive, a dialogical event created by Ed Bennett and myself, probes the delicate relationship between the human body and emerging new breeds of hybrid machines that incorporate biological elements and from these elements extract sensorial or

What is the condition of the art object in the age of networking and telematics? The piece entitled Dialogical Drawing, 1994, by Eduardo Kac, addresses this question by presenting two identical objects simultaneously at two distinct exhibition

Universal Translator is an interactive sound and video work focussed on the sound hardware of the human body. The interface for this work is a microphone with a micro video camera embedded in its head so that the camera looks directly at the

"Watched and Measured" is a system that observes, tracks and catalogues people walking through the new Wellcome Wing at the Science Museum in London, UK. It explores the some of the ethical questions surrounding surveillance systems: do they invade

In "Shock Absorber" a live feed is taken from broadcast television and separated it into two parts in real time. One part contains all the movements, edits and high frequency visual stimulation. The other part contains everything that is left over

Internet, video projections on gaze and helium bal Playing instruments is the common lot of music. Playing with emotions is the common lot of politics and entertainment Considering the Net as the World nervous system. Scanning the

This installation is asite-specific work in progress. A colour surveillance camera has been mounted outside the gallery on a computer controlled pan/tilt mechanism, allowing it to see most of the surrounding gardens. Every day since March 28, 2001,

In "inter / face" Rokeby continues his exploration of the relationship between the abstract world of language and the physical world of body. The work uses the expressions on the viewer's face as an interface to a responsive virtual world built