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The next period in Seaman's oeuvre employed video as a poetic technological vehicle, exploring sound, image and text relations within a slow pulsing hypnotic video space. Both linear tapes and video installations were produced. The tapes S.He

This collection of experimental interactive movies, made by the artist over several years, shows live-action works in which the visual metaphors for interaction are inherent in the filmic material. Because the movies are conceived from a visual

LORNA 1979-1983 A.D. A.D. "A precondition to video is that it does not talk back. It absorbs, rather than reflects." Preliminary Notes, 1981 While video was like a reflection that did not talk back, interactive works were like a trick, two

The next interactive piece, DEEP CONTACT (1989), directly involves the body of the viewer/participant who were required to touch the computerscreen. Viewers choreograph their own encounters in the vista of voyeurism by actually putting their hand on

ROOM OF ONE'S OWN (1993) forces the viewers eyes to become immersed into the actual space of a tiny articulated interactive electronic peep show. A stainless steel box placed at eye level with movable periscopic viewing device bridges the

In 1830, both the camera and the colt revolver were invented. more than a half century later, in 1888 Etienne Jules Maray perfected a gun that substituted film for bullets. There has long been a historical relationship between the camera and the

This piece was inspired by the paintings of Van Eyk and in particular the "Marriage of Arnofini". This piece uses reflection as a means of portraiture and reflected self portraiture. Though obscured and distanced, the artists reflection watches from

THE DOLLY CLONES Tilllie, The Telerobotic Doll 1995-1998 http://www. lynnhershman.com/tillie and CybeRoberta 1970-1998 http://www.lynnhershman.com/doll2/ These two telerobotic dolls share information and vie for images to

The Difference Engine #3 uses the architecture of the ZKM Media Museum as a 3D template and the visitors to the museum as the interface. It is an interactive, multi-user, sculpture about surveillance, voyeurism, digital absorption and spiritual

Dangerous Places - Ponar. A 7 Channel Video InstallationArtist: Pam SkeltonComment: