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Steve Gibson is a Canadian media artist, electronic musician, DJ, and media curator. He completed his Ph.D. at SUNY Buffalo, where he studied music composition with Louis Andriessen. He also completed postdoctoral research in media and technology with Arthur Kroker at Concordia University in Montréal. He currently serves as Reader in Interactive Media Design at Northumbria University, Newcastle, UK. He was curator for the Media Art event Interactive Futures from 2002-07.

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 his work fuses electronica, immersive art, game art, montage and post-minimalism. He works in a range of media, from live electronic music to virtual reality installation.

Steve Gibson’s installations and compositions have been performed in such venues as: Ars Electronica; the Whitney Museum of American Art; Banff Centre for the Arts; Digital Art Weeks; the European Media Arts Festival; ISEA; Interface3, Hamburg; the San Francisco Art Institute; 4 & 6CyberConf.

His work has been published internationally by St. Martin’s Press (US), The MIT Press, New World Perspectives (Canada), Turnaround Productions (UK), Future Publications (UK), Urra Apogeo (Italy), and Passagen Verlag (Austria). He co-edited a volume entitled Transdisciplinary Digital Art which was published by Springer (Germany) in Spring 2008.


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.


These are links to my major mixed media pieces that I have created - either alone or collaboratively - since 1994. 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.

Virtual DJ


VIRTUAL DJ (2001-04) uses the tracking capabilities of the Gesture and Media System, invented by APR to allow one or more users to use space as a performance tool. Users literally wave their arms, and as if by magic new audio loops are accessed, samples are played, and drum loops are started. Virtual DJ is a prototype for a new type of club- and network-based performance, and can be used by anyone from absolute musical neophyte to the expert performer.




TELEBODY (1998-2003) is 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 bodies. The central theme of TELEBODY revolves around the man-machine interface and the human body. TELEBODY IS the altered human figure in the digital world.




Portal (2003) is a collaborative event featuring Arthur & Marilouise Kroker, Steve Gibson, Randy Adams, Jim Andrews, Jackson 2 Bears, Tanya Doody, and Tom Kuo. Portal is built around the idea of the re-mix, in which the artists engage in some way with the work of the other artists.




CONTACT (2004-05) is a collaborative event by Steve Gibson and Randy Adams, with Jim Andrews. In CONTACT Gibson operates simultaneously as a one-man band and a live video editor by triggering both the music and images in real-time. CONTACT explores the sense of impending technological apocalypse that is quickly becoming the dominant cultural méme of the new millenium.


When Ghosts Will Die


When Ghosts Will Die (2005), a performance-installation that utilizes multi-sensory elements such as sound, video, light, and text controlled by motion-tracking technology, tells the story about the dangers of nuclear proliferation. Inspired by the play, "Copenhagen", by Michael Frayn, it explores the use of non-linguistic elements in the service of making poetry and telling stories.


Objects of Ritual


Objects of Ritual (1994) 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 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


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.



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

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
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
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