Atomic Forces

Shawn Brixey. Eon

2003. Voice is translated into ultrasound, which modulates ultrapure water to create areas of light via the process of sonoluminescence (emergence of light from imploding bubbles).

Evelina Domnitch and Dmitry Gelfand. Camera Lucida

Musical composition converted to ultrasound to activate sonolumiinescence in liquid. Camera Lucida installation view at Nijo Castle, Kyoto, 2005. Light patterns generated by the process - xenon-infused sulfuric acid irradiated by ultrasound,2006

Chris Henshke. Hyper Collider

2004. Interactive pinball-like simulation allows viewers to send particles into a theoretical universe with black holes and other astronomical phenomena such as spatial contraction and temporal dilation effects.

Carter Hodgkin. Right Shift

2007. Computer modeling of imaginary subatomic particle collisions used as basis for prints, drawings and paintings. Pigment inkjet print.

Tim Otto Roth. I see what I see not

Munich 2005. Computer controlled light panels on building façade displaying low pixel versions of near live research displays from world research centers in astrophysics and high energy particle research. Image shows a real time transmission via Internet of a particle collision, the CDF event from the Fermilab in Illinois.

Invisible Forces

Luke Jerram. Tide

2002. Installation in which the levels of water in resonating vessels is changed in accord with changing gravitational pulls of the sun and moon.

Seiko Mikami (Artist) and Sota Ichikawa (Architect) Gravicells, Gravity and Resistance Project

2004-2007. Interactive installation in which sensors read visitor weights and movements to create a shifting multimedia gravity map.

Anna Hill. Auroral Synapse

2003. Interactive installation based on research about the cultural and scientific aspects of Aurora. Auroral arch over Kopello, taken with Hassleblad fish eye lens in Lapland March 2003. 1M /1M Lamada print mounted on aluminium dybond.

Ando Takahiro. Photon Counting: Biophoton

2004. Photomultiplier senses photons released as part of seed germination process and determines sounds and numbers of lights projected.

Dr Megavolt

2006. Performance using the body and various props to conduct high voltage sparks from tesla coil.

Fiona Raby and Anthony Dunne. Placebo Project: Compass Table.

2001. Table with sensitive compasses embedded in the top indicates electromagnetic fields located nearby.

Catherine Richards. Shroud/Chrysalis I

2000. Two women have ritually wrapped a participant in copper fabric, as protection from electro-magnetic fields.

Usman Haque. Sky-Ear

2004. A cloud of helium balloons flies over the city changing its colors in response to the EMF activity in its vicinity.

Informationlab (Ursula Lavrencic and Auke Touwslager). Cell Phone Disco

2006. Installation with flashing LEDs that respond to cell phone activity in its vicinity.

Chemistry

Dove Bradshaw. Contingency Pour

Activated 2006. Photographed 2007. Silver surfaced painting is subjected to ongoing processes of chemical transformation. silver, liver of sulfur, varnish, gesso on linen, 76 x 66".

Jochem Hendricks. Left Defender Right Leg

2002-2005. Conversion of a soccer player's right leg to graphite carbon form and ultimately to a synthetic diamond. Black velvet pillow is filled with tobacco inside, yellowish object is diamond, and white object is toenail of the leg.

Yoshimasa Kato and Yuichi Ito. White Lives on Speaker

2006. Brain wave controlled sound transforms potato starch mixture between liquid and solid state as it vibrates on large suspended speaker.

Sachiko Kodama and Minako Takeno. Protrude, flow

2001. Magnetic Fluid (microscopic magnetic particles suspended in solvent) is controlled by the movement and voices of visitors. Sound signals are converted to voltages that shape the electromagnetic fields controlling the 3-D shapes.

Rachel Wingfield. Digital Dawn

2000. Window shades created out of printed electroluminescent displays, which change imagery based on ambient conditions.

Paul Thomas. Midas

2006. Use of Atomic Force Microscope (AFM) to investigate the nano scale area of contact between fingers and gold where skin and gold molecules mix. Shape in the box is representation of the tactility of (AFM’s) cantilever in contact mode as it explores the topographies of the skin cell.

Victoria Vesna and James Gimzewski. Inner Cell

2004. Visitors enter into an immersive environment, which gives them experience with the molecular structure of the cell. Visitors experiment with a large-scale projection of buckyballs programmed to respond to the touch of the visitor's shadow.

Geology

C5. Landscape Initiative: Analogous Landscape: Rim of Fire.

2005. Project comparing the actual experience climbing volcanic mountains with data suggested by technologies such as GPS.

John Roloff. Stratigraphic Column I

2002 inkjet print on paper on existing column, 24 ft. (7.3 m) high. Images composed of alternating images taken of largely Cambrian and Ordovician era carbonate marine sediments from Death Valley, California and from dismantled contemporary local buildings. The images have been digitally stretched to form strata-like structures that recompose the column into a sequence of non-conformities and displacement in geologic time and distance.

Agnes Meyer-Brandis. Earth-Core-Laboratory and Elf-Scan

2003. Participants use advanced geological research techniques to investigate what is under the earth both culturally and scientifically. Researcher is using a non-contact, self-constructed CSS (Core Sample Scanner) on her fingertip, which is specially designed not to frighten life forms in the core.

D.V Rogers. Parkfield

2002. Kinetic, floor-shaking earthquake simulator taken from geology museum is linked to seismic data from remote locations. Installation located in Parkfield, California on San Andreas Fault

water

Federico Muelas. Dripping Sounds

2001-2. The projection of dispersion of ink in water serves as the visual focus of an installation and continuously is decoded to shape the sound coming from the twenty speakers surrounding the screen.

Electronic Shadow (Naziha MESTAOUI and Yacine AIT KACI) Ex-isles

2004. Visitors’ presence causes light shadows in a pool of water to be activated to swim.

wind

Steve Heimbecker. Wind Array Cascade Machine

2003. An array of rods with motion sensors capture details of wind velocity and direction and visual wave patterns of the wind which are streamed to a shape sonic and visual patterns in a distant installation.

Olafur Eliasson. The Weather Project

Large scale installation uses synthetic fog and sunlight to create a weather experience in the museum Turbine Hall, Tate Modern, London (the Unilever series).

Douglas Bagnall. Cloud Shape Classifier

2006. Software classifies cloud shapes from a database of photos and learns viewer preferences. Installation projects clouds from various categories.

Andrea Polli. Atmospherics/Weather Works

2004. A multi-channel sound installation that used sound to map the behavior of historically major storms that passed through New York.

Marko Peljhan/Projekt Atol. Makrolab markIIex, Isola di Campalto operations, Venice

2003. A self-contained research sustainable architecture laboratory that brings together artists, scientists, tactical media workers and researchers to work collaboratively in the fields of telecommunications, weather and climate and migrations.

space

Adam Nieman (in collaboration with Futurelab). Space Signpost: Welcome to the Neighbourhood

2006. Interactive signpost points at the current location of celestial bodies chosen by the viewer and displays their (constantly changing) distance.

Takuro Osaka. Revelation by Cosmic Rays: Perpendicular

2002. LED light displays are temporarily extinguished when an incoming cosmic ray is detected. Installation Chiba City Museum

Yuri Leiderman. Kefir grains are setting off for flight

2003. Event performed in weightless flight to focus on the effects of zero-gravity on kefir bacteria.