In 2001, Wodiczko projected the faces of women on the surface of an Omnimax Theater in Tijuana. In his work, he confronts the viewer with his large scale projection, as well as gives a voice to the female workers of the city of Tijuana.
Recently in Digital Art Category
In the 1997 piece Desktop Theater, Jenik and Brenneis use the internet to stage a performance with avatars inside a chat room.
In H00D2 (1995), Latham digitally manipulates the image by using a set of algorithms to produce artificial organisms.
Charlotte Davies 1995 piece Osmose was an interactive virtual reality in which the user wears a "head-mounted display" and a tracking vest to monitor their breathing. Once "inside" the piece, the user is able to navigate different levels through their own breath and body movement.
In Shaw's The Legible City from 1989, the user rides a stationary bicycle and navigates one of three cities, Manhattan, Karlsruhe, or Amsterdam. The bicycle is able to navigate through text of words and phrases that are directly proportional to the architecture of these cities. The user is handed over agency over which text he or she will choose, but the text is predetermined.
There have been several institutions put into place to showcase digital art such as the ZKM in Karlsruhe, Germany, the ICC in Tokyo or the Ars Electronica Festival in Linz, Austria which are produced with support from organizations such as the Banff New Media Center in Canada, Canon Artlab in Japan, or V2 in the Netherlands (Paul 71).
In Teleporting an Unknown State (1994-6), Kac has placed a single seed in the gallery on a pedestal. Via the web, users are able to log on and turn a light on or off, thus affecting the growth of the seed by the push of a button.
In Two Consciousness Projection (1973), Dan Graham has begun to explore the active viewer vs. the passive viewer. Two people are asked to speak about the other while being videotaped in front of an audience. Their faces are projected on live video screens. While one speaks of the other, the other's reaction is shown, and vice-versa. They create the performance, while simultaneously view the performance (Goldberg 162).
