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Magnet
1997
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1997
Interactive digital video projection environment 14 x 8 x 7 metres 2 large scale video projections, black and white, multi-channel interactive sound In collaboration with Stuart Jones (sound) Produced whilst Artist In Residence at the
The Dark Pool
1995
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1996
Internetproject, have a look at http://www.banffcentre.ca/WPG/nmsc/DarkPool/index.html
Suspension
1997
Contemporary spaces are dynamic combinations of the real and the virtual. They are accessed, ordered, and navigated under the conditions of various online and offline protocols. These protocols include computer formats and settings, social codes and
je suis (un readymade)
1990
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1990
"je suis (un readymade)" is a touchscreen television installation. Each participant directs his or her own experience through this unfolding discourse surrounding the issue of "free speech" in a mass media environment. Individuals find themselves
Drive
1998
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2000
Drive is a video installation that combines traditional cinematic technology with new digital and military-based imaging systems. These include new tracking, identifying, and targeting technologies. Combining old and new, analog and network,
The Spectrascope
2004
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2004
The gallery installation of The Spectrascope consists of a large scale projection of the image updating in real-time accompanied by the 'fear frequency'*. This is an audio frequency of 19hz, which is just below the range of normal
Glenlandia
2005
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2006
From September 2005, a webcam will be transmitting images of Loch Faskally, Perthshire, Scotland from the FRS Research laboratory, Faskally. This webcam will be harvesting images pixel by pixel, second by second and day by day over the course of
SoundSlam
2002
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2002
A DJ's life is hard and spoiling. Deejaying all night in overcrowded clubs and producing trax in the studio causes not only fame but also bad temper. DJs most frequently suffer from muscular atrophy and heart disease. SoundSlam is a high end
Under Fire
2004
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2005
UNDER FIRE is an ongoing art and research project that explores militarization and political violence. It delves into the structural, symbolic, and affective dimensions of armed conflicts: the organization, representation, and materialization of
MK
2004
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2004
Interactive computer with custom software, 3d input devices, stereo sunglasses, rear-projected screen, human actor. (source: www.schkolne.com)
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