Fig. 4-6. Janine Antoni, Touch (2002), video installation, edition of 5 plus 2 APs, 132′ × 178′, 9:37-minute loop. © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York.

Fig. 4-7. Super Monkey Ball (2001) was one of the fi rst games to utilize a balancing gyroscope as the game controller. © phil mcCollam.

Fig. 4-8. Arjan Miranda and Matthew Morgan, Hedron (2014), 12 opposing planes 8′ apart, made of wood, bolts, speakers, and amps. © Arjan Miranda and Matthew Morgan.

Fig. 4-10-1. Pipilotti Rist, Ever Is Over All (1997), audio/video installation, installation view at Kunsthalle Zürich, Zurich/CH. Photo by Alexander Troehler. © Pipilotti Rist; Courtesy of the artist, Luhring Augustine, New York, and Hauser & Wirth.

Fig. 4-10-2. Pipilotti Rist, Ever Is Over All (1997), audio/video installation, installation view at Kunsthalle Zürich, Zurich/CH. Photo by Alexander Troehler. © Pipilotti Rist; Courtesy of the artist, Luhring Augustine, New York, and Hauser & Wirth.

Fig. 4-11. Illustration of a boss battle with the Duke’s Dear Freja in Dark Souls II. © Phil McCollam.

Fig. 4-12. Steve Roden, Bird Forms (2001), audio installation, dimensions variable. Courtesy of the artist.

Fig. 4-16-1. Heidi Kumao, Swallowed Whole (2014), digital video, single channel, color, stereo, 4:07 minutes. Courtesy of the artist.

Fig. 4-16-2. Heidi Kumao, Swallowed Whole (2014), digital video, single channel, color, stereo, 4:07 minutes. Courtesy of the artist.

Fig. 4-17-1. Hunter Jonakin, Jeff Koons Must Die!!! (2011), video game and installation, dimensions variable. Courtesy of the artist

Fig. 4-17-2. Hunter Jonakin, Jeff Koons Must Die!!! (2011), video game and installation, dimensions variable. Courtesy of the artist

Plate 14-1. Glitter Chariot, Should Have Been Blonde (2012), music video, 4:15 minutes. Photographer: Robert Howard.

Plate 14-2. Glitter Chariot, Should Have Been Blonde (2012), music video, 4:15 minutes. Photographer: Robert Howard.