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STEVE GIBSON

Bio

Steve Gibson is an interactive media artist, interface designer, electronic musician, and media curator with a diverse academic background, and an on-going practice that spans many disciplines. He is primarily interested in transdisciplinary collaborations between art, design and computing, and has concentrated his research work on tactile and physical interfaces and applications that enable a more healthy relationship with technology. His current research also explores the formal, theoretical and practical implications of Live and Real-time Visuals. He was formerly Senior Lecturer and Director of the Multimedia Program at Karlstad University in Sweden, and Associate Professor of Digital Media at University of Victoria, Canada. Steve has also had immediately publically facing roles as Curator and Director for the Media Art event Interactive Futures from 2002-07, and as Co-owner and Creative Director of a 10-person media company in Victoria, Canada, Limbic Media Corporation (2007-14).

Simultaneously deeply involved with technology and deeply suspicious of its effects, Gibson’s work celebrates both the liberation and paranoia of techno-fetishism. Influenced by a diverse body of art and popular movements he has an active practice that fuses immersive art, audio-visual performance and DIY design. Over the past fifteen years he has created twelve prominent works, either as the primary artist or as a collaborator in a team. These have resulted in fifty-five performances or exhibitions over the past fifteen years. Over the course of his twenty-five year career he has presented at many world-leading venues including Ars Electronica, the Whitney Museum of American Art, Banff Centre for the Arts, Digital Art Weeks, the European Media Arts Festival, ISEA, and Cabaret Voltaire, Zurich. Over the past fifteen years he has worked as PI and CI on numerous research grants. His publishing career is also very active, with papers appearing in high profile books, journals and volumes including Leonardo Electronic Almanac, Springer, St. Martin’s Press, MIT Press, New World Perspectives, Urra Apogeo, and Passagen Verlag.

SOUNDCLOUD

VIMEO

Download Steve Gibson's CV

Selected Criticism

GTB [Grand Theft Bicycle] inverts established paradigms of wreaking havoc from the vantage point of a powerful motorized vehicle and enables the humble cyclist to appear impervious to both vehicular and firefight assault. Further, this project spans the world of media arts and digital technology –sometimes considered the realm of gizmo art — with installation art and theoretical constructs such as relational aesthetics. Whilst I’m not a digital-gaming expert... I found both the controls and interface to be remarkably responsive. Think highly professional not nerdy gizmo: whether you’re with them or against them, you can unload your handlebar-mounted gun with ease. This enabled a relatively seamless entry into the game/art space while allowing one’s mind to probe the tensions of real-world conquests that still control our non-avatar realms.

Dick Averns, Akimblog.

“Exploding, Plastic & Inevitable Redux utilizes multiple projectors, a barrage of laptop computers, custom software, live vocals, keyboards and live video processing to create an immersive audio-visual experience which mimics the psychedelic atmosphere of the original EPI event, while at the same time updating the audio-visual language to the 21st Century.”

Luc Meier, Swissnex San Francisco.

[Steve Gibson] is revolutionizing the accepted idea of performance, art and musicianship – a sort of improvisational conductor of our times.

Darren Stewart, Victoria Times-Colonist.

[Virtual DJ] could forever change the dance floor.

Vivian Moreau, The National Post.

Steve Gibson is at the forefront of experimentation in deconstructing, reconfiguring and ultimately composing the future. His ability to demonstrate the power of audio manipulation is both fascinating and potentially disturbing.

Dee, Futures lab on-line

In purely compositional terms there are some really wonderful juxtapositions, liquid mergers, and dimensional effects.

Jacki Apple, High Performance.

....Gibson’s pieces... are quite beautiful.

Mark Thompson, The Toronto Globe and Mail.

Forget the crap about Armageddon, this is the real cyberpunk.

David Robinson, Future Music.

Steve Gibson’s SPASM is magnificent.

Louis Andriessen, composer.

Media

These are links to my older mixed media pieces that I have created - either alone or collaboratively - between 1994 and 1997.

For my newer work see www.telebody.ws

The role of the user in digital art, the relationship between image and sound, questions of feeling and expression in technologically-based art, and the role of the human body in interacting with computer systems are the overriding conerns that I have passionately explored in these pieces.

Objects of Ritual

objects

Objects of Ritual (1994), created in collaboration with Will Bauer, is a multi-interface installation piece originally created for the Banff Centre's Art and Virtual Environments project. The piece is conceived as a theatrical work on the nature of virtual reality. It argues that virtual reality is not a new idea, but one whose roots are centuries old. Using the "Story of the Cave" from Plato's Republic as a basis for this argument, Objects of Ritual seeks to create a complex and ambiguous reflection on the nature of technology, power, reality, and personal discipline.

 

Idle Hands

idle

Idle Hands (1995) is an installation by conceptual artist and programmer Rafael Lozano-Hemmer and composer and media artist Steve Gibson. Idle Hands allows two participants to control an audiovisual environment by his or her movements in a large interactive area. Idle Hands positions participants in different power roles which illustrate both the invasive surveillance of contemporary computer culture and the possibility of a shared networked reality.

 

Cut to the Chase

cttc

CUT TO THE CHASE (1997) is a performance integrating live music and live video. In CUT TO THE CHASE the video sequencing is controlled in REAL-TIME by the VIDEO performer: to control the flow of the visual materials, the video performer transmits MIDI data via a guitar controller. Special programming allows for random access of video images in response to MIDI events. The video is longer be a slave to an external timecode, but is free to express itself in relation to the playing of the other artists.

 

Audio

Here are links to various mp3s of my audio pieces. All are 192 kbps, 44.1 kHz stereo files.

For newer work see my SOUNDCLOUD page.

SPASM mp3s

Johnny Mnemonic Steve Gibson & Arthur Kroker 5:36 - 7.7 MB
Seduction-Miserere Steve Gibson 5:27 - 7.5 MB
Madonna Mutant Steve Gibson & Mark Bell 4:58 - 6.9 MB
Elvis' Lisp Steve Gibson & Mark Bell 1:04 - 1.5 MB
Will to Power Steve Gibson & Mark Bell 7:44 - 10.7 MB
Windows/Strata
Steve Gibson 9:39 - 13.3 MB
Welcome to the Drug War Steve Gibson & Mark Bell 4:50 - 6.7 MB
 

Hacking the Future mp3s

Dead Dogs and Daddy Kroker, Kroker, Gibson, Kristian 2:01 - 2.8 MB
Happy Holidays Kroker, Kroker, Gibson, Kristian 1:28 - 2.1 MB
Shopping for Jesus Kroker, Kroker, Gibson, Kristian 1:25 - 2.0 MB
Shopping the Gap Kroker, Kroker, Gibson, Kristian 2:07 - 3.0 MB
Shopping the Sky Kroker, Kroker, Gibson, Kristian 2:02 - 2.8 MB
Slash & Burn
Kroker, Kroker, Gibson, Kristian 2:37 - 3.7 MB
WWW Self Kroker, Kroker, Gibson, Kristian 2:56 - 4.1 MB
Xenotropic Steve Gibson & David Kristian 10:47 - 14.9 MB
 

Kroker/Gibson mp3s

Cyberboy Steve Gibson & Marilouise Kroker 3:38 - 5.1 MB
Slow Suicide Steve Gibson, Arthur & Marilouise Kroker 6:27 - 8.9 MB
The Biotech Eye Steve Gibson, Arthur & Marilouise Kroker 8:33 - 11.8 MB
 

Telebody mp3s (Full site)

TELEBODY is conceived as a large-scale piece for two music and video "performers." Using digital music instruments, the players have real-time control over an audio environment and images of two entire bodies.

The central theme of TELEBODY revolves around man-machine relations, and more specifically the man-machine interface and the human body.

 

CONTACT mp3s (Full site)

CONTACT: YOU AND I HAVE AN APPOINTMENT AT THE END OF THE WORLD is a collaborative event with live electronic music by Steve Gibson, images by Randy Adams, and real-time interactive programming by Gibson and Jim Andrews. Crossing the boundaries between performance, technological innovation and cultural politics, CONTACT simultaneously inhabits the space of critical resistance and artistic endeavour.

 

Acoustic mp3s

Fissures By Steve Gibson.
Clarinet - François Houle.
Tenor Sax - Bill Runge.
Viola - Nancy Di Novo.
10:12 - 14.1 MB
Nostalgia By Steve Gibson.
Strings - The Lexington Trio.
12:50 - 17.7 MB
Nostalgie/Coda By Steve Gibson 4:41 - 6.5 MB
 

Electronic mp3s

Stereoscopic Trance By Steve Gibson
12:25 - 17.1 MB
Idle Hands By Steve Gibson
3:51 - 5.3 MB
Intranced
By Steve Gibson
10:09 - 14 MB
Black Kristian (for David) By Steve Gibson 10:31 - 14.5 MB
Fade to Black By Steve Gibson 6:11 - 8.6 MB
Twilight (for Andrew) By Steve Gibson 18:57 - 26.1 MB