.WAFL (lLL@=mR# ,"ntry(t]`*7SŠ bmR# ,"K|url 6http://www.whitney.org/artport/idealine/textonly.htmlmime text/htmlhntt"19806e-24adf-3ba22cff"hvrsdataIdea Line Database

Idea Line: Text-Only Summary

These are the artworks in the Artport Idea Line.
This summary is designed for those who have older browsers, or who want a simple text-only list.

Artist(s) Title URL Year Keywords Technologies Description
Amy Alexander The Multicultural Recycler http://recycler.plagiarist.org/ 1996 Video, Chance, Telepresence Video camera, Perl, HTML Live remix of webcam images.
Mark Amerika Grammatron http://www.grammatron.com/ 1997 Hypertext, Narrative, Chance HTML, The project consists of over over 1100 text spaces, 2000 links, 40+ minutes of original soundtrack delivered via Real Audio 3.0, unique hyperlink structures by way of specially-coded Javascripts, a virtual gallery featuring scores of animated and still life images, and more storyworld development than any other narrative created exclusively for the Web. A story about cyberspace, Cabala mysticism, digicash paracurrencies and the evolution of virtual sex in a society afraid to go outside and get in touch with its own nature, GRAMMATRON depicts a near-future world where stories are no longer conceived for book production but are instead created for a more immersive networked-narrative environment that, taking place on the Net, calls into question how a narrative is composed, published and distributed in the age of digital dissemination.
Mark Amerika phon:e:me http://phoneme.walkerart.org/ 1999 Hypertext, Audio, HTML, This piece combines text and sound in new ways.From the Walker site: "Writing as text, writing as sound, writing as interface design, writing as experience."
Miekal And After Emmett http://net22.com/qazingulaza/joglars/afteremmett/bonvoyage.html 1998 Minimalism, Narrative, HTML, A story told in an unusual, spare style: the entire tale is written in 3x3 grids of letters.
Cory Arcangel Urbandale http://www.turbulence.org/Works/urbandale/index.html 2001 Animation, Audio, Minimalism Java, HTML, An ASCII animation that is a "study of America's suburban sprawl."
Anjali Arora b. 1960 Metropolitan Museum of Modern Paintings http://www.artbrush.net/prix/ 2001 Narrative, Humor, Animation A spoof on the world of high art and high society
Anjali Arora b. 1960 Nothing's Impossible here http://www.artbrush.net/wvf/ 2001 Humor, Politics,
Anjali Arora b. 1960 When the earth trembled http://www.artbrush.net/cynetart/ 2001 Animation, Narrative,
Lew Baldwin Redsmoke http://www.redsmoke.com 1995 Collage, Narrative, Audio Flash, HTML, Lew Baldwin launched Redsmoke in 1995 as a vehicle for a fictitious rock band, but says it "quickly evolved into a depository for the subconscious." The content includes "Platters," an episodic story begun in 1997, about a man who finds evidence of an escaped "programmed" human worker. The narrative unfolds through textless animation, using Flash, a software program that requires no interaction from the viewer. A soundtrack of electronic music, composed by Baldwin, accompanies the animation.
Marketa Bankova New York City Map http://www.nycmap.com/ 2000 Animation, Audio, Hypertext HTML, A site designed to recreate the feeling of being in New York City, using images, sounds, and interactivity.
Thomas Beller Mr. Beller's Neighborhood http://www.mrbellersneighborhood.com/ 2000 Collage, Narrative, Animation HTML, An ever-changing web collage, with satellite photographs of New York City as the central motif.
Ben Benjamin Superbad http://www.superbad.com 1997 Collage, Narrative, Humor HTML, Interactive collage.
Tracey Benson Big Banana Time Inc. http://www.bigbananatime.com 1996 Narrative, Humor, Performance HTML, Video camera, Java Big Banana Time Inc is an ongoing project which explores tourism and national identity though addressing notions of the museum and examining the role of the 'big' in highway culture.
Simon Biggs b. 1957 Babel http://www.babel.uk.net 2001 Algorithmic, 3D, Browser Artificial Intelligence, Database, a 3D interactive multiuser net portal
Simon Biggs b. 1957 Book of Shadows http://www.littlepig.org.uk 1995 Humor, Animation, Minimalism HTML, a small hypertext graphic "book"
Simon Biggs b. 1957 Great Wall of China http://www.greatwall.org.uk 1996 Algorithmic, Software, Hypertext Artificial Intelligence, Speech recognition, Database work using generative grammars
Simon Biggs b. 1957 Mozaic http://www.littlepig.org.uk 1999 Algorithmic, Audio, Robotics Artificial Intelligence, Database, Speech recognition an opera for byzantine mozaics, Monteverdi and a language machine.
Simon Biggs b. 1957 Postcard http://www.littlepig.org.uk 1998 Algorithmic, Humor, Hypertext Artificial Intelligence, Database, Speech recognition a little automatic postcard writing machine
Nicky Bird Red Herrings http://www.pinkink.net/newart/rh/index.htm 1998 Narrative, Performance, Chance HTML, In conjunction with installation at Leeds City Art Gallery and publication; programmed for the artist by Titus Bicknell.
Natalie Bookchin The Intruder http://www.calarts.edu/~bookchin/intruder/ 1998 Hypertext, Narrative, Humor Shockwave, HTML, A story by Borges rendered, among other ways, in the form of video games.
Jay Boucher b. 1970 Retaining Wall Collisions http://jayboucher.com/exhibit/collisions/ 1999 Animation, Explores abstraction, pulse and rhythm by replaying a series of virtual accidents from NASCAR '96.
Jay Boucher b. 1970 Untitled VR http://jayboucher.com/exhibit/unvr/ 2000 Video, Abstraction, A collection of juxtaposed QuickTime VRs; Pixel colorfields, NJ no-places and the inside of a cargo truck.
monika bravo b. 1964 FOR THE TIME BEING... http://www.sololab.com 1998 Video, Video camera, FOR THE TIME BEING... was filmed over the course of one year, focusing on the same view of the Brooklyn Bridge as seen from my window. Time alters between stillness and movement as the same image is constantly shifting and flowing from winter to spring, back to snow, or rain stretching the limits of the now and then. A recording of my voice recites verses related to time from the Ecclesiastes.
monika bravo b. 1964 INFINITE HORIZON http://www.sololab.com 2001 Video, Audio, Video camera, Custom hardware, Parting with the idea of the horizon as an illusory junction created from the observer's mind. INFINITE HORIZON, will offer a representational space where moving images of the earth and sky reverse and oppose as the viewer activates a sensor in front of the screen. By placing the spectator betwixt, it will examine his established perception of what is real as the living picture of the world occurs within his mind. Our physical limits are an imaginary conditioning that could require only a virtual representation to present new significant possibilities.http://www.sololab.com/monika_bravo.html
monika bravo b. 1964 LABYRINTHS http://www.sololab.com 2001 Video, Animation, Software Video camera, Custom hardware, The aim is to create a territory where the viewer, along with images and technology plays in a simulated "video game". Pre recorded sequences of personal travels will load everytime the participant activates a sensor, he is encouraged to experience and alter his destination and duration. The sensors activated by movement modify the result of the projected images consequently the artist and player interact between the "recorded" and the "real time". The player becomes a vessel challenging the linearity and position of place and timehttp://www.sololab.com/monika_bravo.html
monika bravo b. 1964 symphasis* simultaneous appearances http://www.sololab.com/monika_bravo.html 2000 Video, Audio, Video camera, symphasis* , questions the viewer's recognition of space by transgressing the physical boundaries of a contained place, that is the gallery, and into one that is purely imaginary yet still contained an aquarium. It melds space and time (both real and recorded) by projecting images of aquatic life into mirrored screens. It appears as if we are circulating in a defined and controlled "life aquarium" unaware that our independent actions are bounded and circumscribed. Experiencing the work invites comparisons between the conditions of the represented subjects, the installation's material production and the spectator/gallery context. Examining whether an electronic, visual sensorium can provide for a discursive site where distance and proximity, the public and the intimate, are co-mingled and revelatory.http://www.sololab.com/symphasis.htmlthe sound for this project was composed by raul rothblatt
monika bravo b. 1964 SYNCHRONICITY http://www.sololab.com/monika_bravo.html 1999 Video, Video camera, Parting from the notion of chance, the observer encounters a set of triple projections of images of circulating boats. Constructed under the scheme of a slot machine, these images frequently correspond and transform at different intervals. It introduces elements of sequencing and repetition, providing a deja vu by playfully jumping from past to future to pausing in the now.
monika bravo b. 1964 TAXIDIA * "the cloudmakers" * "the search" http://www.sololab.com 1997 Video, Video camera, TAXIDIA sets the viewer in a midpoint where physical journeys and the memory of dreams examine if we are really being what we want to be; or just reacting to what institutions (i.e., family, religion, society) want us to be. This is achieved manipulating the speed of both projections. The sense of time is lost in the dream world adverse to the speed that is felt while there is something to be yearned for. http://www.sololab.com/monika_bravo.html
Mez Breeze >di][e][lation ][wo][manifesto http://netwurkerz.de/mez/dielation/dilation1.htm 2001 Abstraction, Animation, Hypertext Mary Anne Breeze, or Mez, as she is known on e-mail discussion lists and sites of fine electronic literature all over the web, has composed a piece which invites interaction and which plays with the traditional structures of language. It intervenes in words, in syllables, morphing and changing words by spatial arrangement, challenging the way we read and at all times engaging us with the thematic concerns of her alphabetic acrobatics."-Komninos Zervos
Mez Breeze ][select][Text http://netwurkerz.de/mez/selectext/ 2001 Hypertext, Animation, Community HTML, ][well][ ][at least it promotes growth][
Mez Breeze _Ah.genda_ http://www.experimenta.org/gallery/mezsite/agenda1.htm 1999 Animation, Humor, Narrative HTML, Agender promotes, dissects and convolutes armies ofgenderfic[a]tions and socialisations known to those ofus of the fair-err or mean-err sex [& those who dwell inbetween]. A-gender bcums a-gendah! becomes a-genda- mix n matching stops n stoops here. Select a playa ora vict.him or her, add a touch[e] of variables & arelevant situations and see wot transpires..
Mez Breeze _Cutting Spaces_ http://www.hotkey.net.au/~netwurker/cutspace.htm 1995 Hypertext, Telepresence, Browser HTML, .the story is long it reaches far back into bloodbloated pasts and snags it way into a viscous future and mixes cutting blood-let space and fleshtensenarrative (jigsawing). .it has aborted storylines (which?when?where?what to follow?). .jilted meanings and a touch of modem static. .(word processor blurrs into an e-mailed life).
Mez Breeze _datahbabee Vs NarrowBranding_ http://trace.ntu.ac.uk/frame5/mez/tubic1.htm 2000 Minimalism, Browser, Abstraction HTML, _datahbabee Vs Narrow][B][randing_ "...the entry scroll looks like a primal tattoo embedded in the hard wiring of a brain. Intraface with those silky pink lantern lights so sensual, chromosomal, digital--like a neo-primal tapestry. Would make a great weaving. The intraface vs the narrow brande is like being in a cave and you're reading the writing on the walls. Eeerie but somehow reassuring, after all, if it's this beautiful can't be too treacherous." - Christy Sheffield Sandford
Mez Breeze iN-ternal damage report vers 1.1. http://ctheory.concordia.ca/multimedia/dirt/fleshistics/page_1.htm 1997 Hypertext, Narrative, Abstraction HTML, iN-ternal damage report vers 1.1 is devoted to the rhizomatic altering of the psychomedia form/ula - via text/m.mage/form.art/mezangelling.
Reginald Brooks b. 1948 RealSurReal...aClone, 2001 http://www.brooksdesign-cg/Code/Html/netart2.htm 2001 Browser, Humor, Animation HTML, Artificial Intelligence, Get over the horror and come clone with me.Statement: Options, choices, dilemmas. Coincidental with the digital revolution... in which anything and everything that you can see, hear, smell, touch and taste will be digitally commodified and easily reproduced and/or altered...is the genetic revolution. Which in time will reveal the human genome (substitute chimpanzee genome...substitute sheep genome...substitute fruit fly genome...substitute plant genomes) to be the ultimate commodified digital template. Nature clones by definition. We clone for fun. We clone by imitation. Get over the horror and come clone with me.Art Description: Utilizing simple tools found on the computer I have mildly exploited the rollover image effect. The results vary from simple and colorful exchanges to complete and often surreal transformations and their associated meaning(s)...all with a simple hoover, click (or two) and zoom. The future is choice and everyone will need to be an artist/editor.Note: the jig...
Sawad Brooks, Beth Stryker DissemiNET http://disseminet.walkerart.org/ 1998 Community, Politics, Algorithmic Java, HTML, From the artists' statement: Designed as a Java-based client-server system, DissemiNET is a curated and public participatory system conceived to elaborate a diaspora on the web.
Sawad Brooks Lapses and Erasures http://www.thing.net/~sawad/erase/ 1998 Community, Algorithmic, Hypertext Java, Database, Playful, interactive hypertext melding words, images, and conversations between viewers.
Danny Brown Noodlebox http://www.noodlebox.com 1997 Algorithmic, Animation, Prototype Shockwave, HTML, Collection of experiments in interactive design, art, and games.
Sheldon Brown b. 1962 Mi Casa es Tu Casa http://www-crca.ucsd.edu/~sheldon/micasa/index.htm 1997 3D, Telepresence, Game 3D graphics, Computer vision, C/C++ Mi Casa Es Tu Casa/My House Is Your House located within the Children's Museum/Museo de los Ninos in San Diego and at the Centro Nacional de las Artes (National Center for the Arts) in Mexico City, is a networked, virtual reality artwork.Users at each site construct characters and build a shared virtual environment. This environment is simultaneously projected at the Children's Museum and at the National Center for the Arts on giant screens, creating a constantly changing and evolving world.
Heath Bunting Own, Be Owned, or Remain Invisible http://www.irational.org/heath/_readme.html 1998 Hypertext, Chance, Humor HTML, HTML linking taken to its illogical extreme: an article in which every word links to the corresponding domain name.
Ed Burton Soda Constructor http://www.sodaplay.com 2000 Algorithmic, Animation, Software Java, Database, Online construction set for elegant animated creatures.
John Cabral GroundZero http://www.turbulence.org/Works/groundzero/index.html 2001 Animation, Narrative, Performance HTML, Flash, Set in a world filled with contradiction and parody, Ground Zero stars Ratzo (the king of all rats) and features a colorful cast of characters who reflect and inform texts, sights and sounds all sequenced to the current time and conditions of the day. In this real world setting, you're invited to explore Ground Zero and collect clues that allow you to enter hidden levels, find secret opportunities and ultimately transcend time and place to learn the meaning of this parallel universe!
Steve Cannon Text.ure http://text.ure.org 1999 Algorithmic, Hypertext, Narrative Java, Database, TEXT.URE synthesizes literary fiction, visual abstraction, and user interaction. It uses a transcendent interface to a non-linear narrative and by encouraging users to explore the visual space it mystifies and subverts the reading process.
Young-Hae Chang YOUNG-HAE CHANG HEAVY INDUSTRIES http://www.yhchang.com 2000 Narrative, Animation, Minimalism Flash, Textual animated poetry.
Andrew Childs megatight http://www.megatight.com 2001 Minimalism, Abstraction, Prototype Flash, HTML, manual and/or automatic
Peter Cho Type Me, Type Me Not http://acg.media.mit.edu/people/golan/ 1997 Algorithmic, Animation, Prototype Java, Interactive experiments in typography.
Janet Cohen b. 1960, Keith Frank b. 1965, Jon Ippolito b. 1962 The Unreliable Archivist http://www.walkerart.org/gallery9/three 1999 Browser, Humor, HTML, An "authorized hack" that atomizes the influential Web site ada'web, commissioned on the occasion of the archiving of ada'web at the Walker Art Center
Vuk Cosic ASCII History Of Moving Images http://www.ljudmila.org/~vuk/ascii/film/ 1998 Abstraction, Video, Minimalism Java, HTML, Classic films rendered using green-on-black text characters.
David Crawford Here And Now http://www.lightofspeed.com/now/ 1999 Animation, Browser, Flash, HTML, Animations and explorations of interactive art.
Mark Daggett b. 1975 http://www.flavoredthunder.com/index3.html 2001 Abstraction, Software, Java, HTML, The ability to archive every aspect of digital art on the computer has de-emphasized the importance of the ephemeral event. This piece allows the user to develop a composition based on the images that are present on the page housing the link to . The piece is split into four quadrants and each quadrant controls one of four different feedback loops. The feedback loops create a non-archivable performance with the collection of loaded images.
Mark Daggett b. 1975 analysis_engine http://www.flavoredthunder.com/analysis_engine/ 1999 Community, Hypertext, Artificial Intelligence, HTML, Java The nature of psychotherapy is not to categorize people by labeling them with deterministic classifications of illness, but this branding is often the very thing patients desire. These individuals have a very nebulous sense of self and look to the psychologist's "diagnosis" as a concrete incarnation of their identity. Although patients desperately seek definition of identity through a DSM-IV classification, they shun the social stigma sometimes associated with illness. They evade treatment and suffer in silence. The fear of segregation has presumably kept many people from embracing the healing power of therapy. "Analysis_Engine" mimics the format and basic content of a standard therapy session between patient and licensed psychologist.
Mark Daggett b. 1975 Browser Gestures http://www.flavoredthunder.com/dev/browser-gestures/ 2001 Browser, Software, Browser Gestures is an ongoing series of applications that reinterpret what a browser is. Much in the same way that Web Stalker represents the network outside of the well-accepted page metaphor, my browsers reinterpret how browsers normally display and navigate information for the user. In some cases, the browser abstracts the information that is to be displayed by sending the requested page through a feedback loop. In other cases, the browser takes the form of browser's "history": the user must sift through layers of previous pages that have accrued since the browser was opened.
Mark Daggett b. 1975 Trace-Root http://www.flavoredthunder.com/invert/trace-root/ 2000 Telepresence, Hypertext, Community HTML, Perl, Trace-Root is a network-based collaborative mapping project. Trace-Root records the visits of users and presents them as maps. In addition, users can upload images to represent themselves and compose it with other users images. The maps change based on user activity and the frequency with which they visit the work. Once a new map is created, the old map is added to the trace-root movie. The movie is a sequential animation that plays back the individual maps one at a time in the order that they were created. Each map is represented as a single frame in the movie. The movie is available as a separate option linked to the home page of Trace-Root. In the interface, the active user is represented as blue node that animates between an X and a circle. The users are instructed to double click on the node to upload their GIF or JPEG images to the server. They can "shift+click" on a node to load that node's image onto the map. Then they can drag the nodes using the mouse to create a new map....
Joshua Davis Praystation http://www.praystation.com/ 2000 Animation, Algorithmic, Prototype Flash, HTML, Experiments in algorithmic animation and interface.
Andy Deck CultureMap http://www.artcontext.org/cultmap/index.php 1999 Algorithmic, Abstraction, Software Java, HTML, Part visualization and part abstraction, CultureMap is an imaging system that depicts the evolving content of the Web. Using data collected from search engines, it produces an interactive image that reflects the prevalence of various words in the pages of the Web. Keywords: meta-cartographic information art.
Andy Deck Open Studio http://draw.artcontext.net/ 1990 Community, Telepresence, Software Java, Database, An online collaborative drawing environment.OPEN signifies that this artwork encourages the participation of visitors, and it aligns the software underlying the work with the open source movement. STUDIO signifies Andy Deck's studio, in New York City, where the software is written and the server sits.
Roberto Echen b. 1957 chaos about Vesta's coat http://www.rechen.f2s.com/vestachaos_all.html 2001 Animation, Humor, Minimalism Java, HTML, Java applet with an endless loop
Roberto Echen b. 1957 circus http://www.rechen.f2s.com/circus.html 2000 Animation, Humor HTML, Java Animation about a toy
Roberto Echen b. 1957 city lights http://www.rechen.f2s.com/citylights.html 2000 Animation, Software, Humor HTML, Java, C/C++ Animation with gif images
Roberto Echen b. 1957 claim http://www.rechen.f2s.com/claim.html 2000 Humor, Politics, HTML, About almodovar's film
Roberto Echen b. 1957 dialog 0 http://www.rechen.f2s.com/ascLang.html 2000 Software, Animation, Humor Java, HTML, A kind of primary dialog
Roberto Echen b. 1957 Drowning by numbers http://www.rechen.f2s.com/Numbers2.html 2001 Software, Animation, Java, HTML, Java applet about numbers
etoy etoy.CORPORATION http://www.etoy.com 1995 Activism, Humor, Community HTML, Subversive, clever, funny political and social commentary and performance art.
etoy toywar http://toywar.com/ 1999 Activism, Humor, Performance HTML, Perl, Online distributed performance/protest defending the etoy.com domain name from the (now defunct) eToys online toy merchant.
everything Editorial The London Borough of Cramley http://bak.spc.org/everything/cramley/cramleycentre.html 1996 Hypertext, Narrative, HTML, Cramley is a 'virtual institution'. A parody of the techno-euphoric institutional sites appearing in the UK at the time.
Ken Feingold b. 1952 JCJ-Junkman http://www.kenfeingold.com/jcj1.html 1995 Game, Chance, Humor Shockwave, Database, The website contains a Shockwave mini-version of the full work. All of the "buttons" and sounds in the work were made from files found by robot software on the Internet - debris, more or less - and converted algorithmically in "buttons" or "icons". The choices presented are made significant only by one's ability, or inability, to catch them. The emotion produced is thatany choice will do, and so the work becomes a very peculiar game. Through this coming together of clicking mania and network debris, one finds his speech patterns evoking something like a personality, but since there is no fixed voice, it is something of a meta-personality, a cutup. Its program is driven by approximations of randomness and data cast adrift by others. The original form of the work was a cd-rom which grabbed new buttons from the Internet as the game was played. The published version (in "artintact3", ZKM Karlsruhe, 1996) has been "fossilized" as the game was played up to that point.
Ken Feingold b. 1952 Porncounter http://www.kenfeingold.com/cgi-bin/pcounter.cgi 1996 Algorithmic, Humor, Prototype Database, Perl,
Ken Feingold b. 1952 REKD http://www.kenfeingold.com/cgi-bin/rekd.cgi 1996 Browser, Chance, Game Perl, HTML, Artificial Intelligence A medium-specific text-machine.
Ken Feingold b. 1952 Seance Box No. 1 http://www.kenfeingold.com/index.html#seance 1998 Robotics, Telepresence, Performance 3D graphics, C/C++, Speech recognition This networked telepuppet performs on its stage at the whim of the one who moves it from a distance, and only this puppet master may speak with the ones from somewhere else. The visitors are seen by this puppet-medium, who learns to be the lens for the desires of the audience as they try to communicate with the ever-listening artificial actor. This agent provocateur floats in the image landscape before them, a speaking fountain given to rhyme, alliteration, and seemingly prophetic speech.
Ken Feingold b. 1952 Self Portrait as the Center of the Universe http://www.kenfeingold.com/feingold/index.html 2001 Telepresence, Robotics, 3D Speech recognition, Artificial Intelligence, Video camera Not only possessed of the ability to understand speech, this animatronic head and his puppet companions transmit sightings of the agent provocateur adrift before them, and their endless conversations. These conversations, bridging real and virtual spaces, are within scenes which recompose themselves, populated by figures - autonomous "software agents" - which appear in the projected image-world that fills his vision. Other characters, who temporarily "get into his head"", are able to gain entry to his subjective experience via a website.
Ken Feingold b. 1952 where i can see my house from here so we are http://www.kenfeingold.com/index.html#where_i 1993 Robotics, Telepresence, Prototype Custom hardware, C/C++, Video camera Three small robot-puppets, each with a video camera-eye, and microphone ears, are together in a mirrored space. Each robot-puppet is connected, via the Internet, to another space, elsewhere, in which their sight and hearing is seen and heard by a distant viewer-ventriloquist as projected video and amplified sound. In each remote space, there is a control device, consisting visibly of an opened attach -case like object, revealing a joystick and a microphone. Utilizing the resources and tools of the Internet's Mbone and remote-control software I have put together, the viewer-ventriloquist may drive around the robot-puppet to which they are connected in the mirrored space, and when the remote viewer-ventriloquist speaks, their voice is "projected" through the robot-puppet, amplified within it, and moves the robot-puppet's mouth.
Carol Flax b. 1952 Crossing a Divide http://www.arts.arizona.edu/boundaries 2001 Politics, Community, Activism HTML, Created for Net-Z-Lab, Chemnitz, Germany in collaboration with Trebor Scholz. First prize winner. This is a project about borders and their power to divide and define who we are.
Carol Flax b. 1952 Ex/Changing Families http://www.cmp.ucr.edu/ex/changing/ 1998 Activism, Narrative, Community HTML, At the California Museum of Photography, a web site and traveling collaborative installation which looks at issues of adoption and the social and political implications surrounding it.
Carol Flax b. 1952 Gravity http://www.arts.arizona.edu/flax/gravity/ 2000 Chance, Narrative, Hypertext HTML, Gravity is a piece about traveling parallel paths. Finalist in the First International 'Lite Show: Flash and Other Low Bandwidth Media' festival, BostonCyberArts
Carol Flax b. 1952 Journeys:1900/2000 http://www.arts.arizona.edu/flax/journeys 2001 Video, Audio, Narrative HTML, C/C++, Custom hardware Website for the interactive installation, Journeys:1900/2000. This is a piece which looks at the nature of travel, of memory, of recalling and retelling, which was originally commissioned as part of the traveling exhibition, Voyages (per)Formed. The project was done in residence at the Institute for Studies in the Arts at ASU.
Carol Flax b. 1952 M/Other Stories http://www.arts.arizona.edu/flax/ 1998 Activism, Community, Narrative HTML, A poetic piece on adoption and it's surrounding issues. This site offers viewers an opportunity to add their own stories
Carol Flax b. 1952 Sometimes http://www.mintmuseum.org/cflax/ 1999 Abstraction, Narrative, Chance HTML, A piece of visual poetry commissioned by the Mint Museum of Art in Charlotte, NC.
Ben Fry Anemone http://acg.media.mit.edu/people/fry/anemone/applet/ 2001 Algorithmic, Animation, Software Java, Database, Animated, algorithmic display of website traffic.
Joy Garnett Bomb Project (The) http://www.thebombproject.org 2000 Activism, Politics, Community HTML, Database, The Bomb Project collects and displays declassified images and specs of atomic tests made during the Cold War, re-contextualizing a vast amount of material hidden from the public eye for decades. This project is under development...
Ken Goldberg b. 1961 Dislocation of Intimacy http://www.dislocation.net 1998 Telepresence, A study of desire
Ken Goldberg b. 1961 Mori http://memento.ieor.berkeley.edu 1999 Telepresence, an internet-based earthworkKen Goldberg, Randall Packer, Wojciech Matusik and Gregory KuhnBerkeley, California, USA
Ken Goldberg b. 1961 Ouija 2000 http://ouija.berkeley.edu 2000 Telepresence, a study of belief and disbelief
Ken Goldberg b. 1961 Telegarden http://telegarden.aec.at 1995 Telepresence, Politics, nature abhors a garden" - michael pollan
Auriea Harvey, Michael Samyn eden.garden 1.0 http://eden.garden1.0.projects.sfmoma.org/ 2001 3D, Browser, Chance 3D graphics, Flash, From the artists' statement: The Garden of Eden works like a browser. You feed it a URL and it interprets the data. The text becomes the engine that drives the dance of the main characters. And the code defines the world.
Auriea Harvey, Michael Samyn Skinonskinonskin http://entropy8zuper.org/skinonskinonskin/ 1999 Animation, Audio, Performance HTML, Shockwave, Two lovers and one long distance relationship, rendered in words, pictures, and animations.
Jenny Holzer Please Change Beliefs http://adaweb.walkerart.org/project/holzer/cgi/pcb.cgi 1996 Hypertext, Minimalism, Chance HTML, The artist's signature "truisms" as applied to hypertext.
G.H. Hovagimyan b. 1950 A soaPOPera For Laptops http://www.thing.net/~soapop 1998 Robotics, Audio, Performance Speech recognition, Database, Custom hardware Documentary site of Performances & Installation.
G.H. Hovagimyan b. 1950 Art Direct/ Sex, Violence & Politics http://www.thing.net/~gh/artdirect 1996 Activism, Humor, Hypertext HTML, Key early net art. Includes BKPC (Barbie & Ken Politically Correct) Uses Pornography. Is a protest/challenge against the sanitizing of digital art. Meditation on American media.
G.H. Hovagimyan b. 1950, Adrianne Wortzel Art Dirt http://www.walkerart.org/gallery9/dasc/artdirt 1996 Community, Audio, Video Video camera, artists talk show. Well actually its a a round table discussion and also a social sculpture. All the early net artists are in this archive.
G.H. Hovagimyan b. 1950 Collider http://bbs.thing.net 1998 Community, Video, Performance Video camera, Database, log on as guest. Click on video. Click on Archives. 2 person stripped down dialog. Uses RealMedia. The *shows* are stored in The Thing's video archive section. The idea behind this work is an extension of the Joseph Beuys notion of social sculpture ported to the web environment
G.H. Hovagimyan b. 1950, Yael Kanarek b. 1967, MTAA - m.river & t.whid EntertainMe (from the Warhol Hijack) http://artnetweb.com/gh/hijack.html 2001 Video, Performance, Community Video camera, Custom hardware, webcam voyeur site performance. The work extends video performance onto the web. It refers to my earlier performance works done in the 1970's & 80's. Most tof that work wasn't documented. One tape survives as part of a group video called Chant Acapella produced by Davidson Gigliotti. The tape can be rented or purchased from Electronic Arts Intermix. In the case of entertainMe I was playing with the live performance aspect of the webcam site and the *recorded* piece.
G.H. Hovagimyan b. 1950 Faux Conceptual Art http://rhizhome.org/artbase/2204/fauxcon/home.html 1995 Humor, Narrative HTML, The piece has 3 physical states. A boxed set of presentation boards, the online website and a large scale museum or special projects room. The work is actually a conundrum. It's an art work whose subject is the process of proposing an art work to a museum or gallery. It also speaks to the art world mechanisms of magazine & catalog publication. When Rauschenberg erased a Dekooning drawing he signaled a shift away from Expressionism. When I executed Faux Conceptual Art I signaled an end to both Conceptual Art and Appropriation Art.
I/O/D Web Stalker http://www.backspace.org/iod/ 1997 Browser, Algorithmic, Activism Shockwave, An alternative browser that displays the structure of a web site using a variety of methods, some graphical and some textual. One method, for instance, draws the link structure of a site using a geometric node-and-link diagram.
Jon Ippolito b. 1962, Keith Frank b. 1965, Janet Cohen b. 1960 Agree to Disagree http://www.three.org/agreetodisagree 1996 Politics, Community, Humor Shockwave, A navigable argument that begins, "In the future, books will be replaced by maps."
Jon Ippolito b. 1962, Keith Frank b. 1965, Joline Blais b. 1960 Fair e-Tales http://www.three.org/fairetales/ 2000 Narrative, Hypertext, Humor HTML, Three interfaces that allow viewers to alter the underlying premises of traditional fables
Jon Ippolito b. 1962, Keith Frank b. 1965, Janet Cohen b. 1960 Sentences on Adversarial Collaboration http://www.three.org/sentencesonadversarialcollaboration 1994 Humor, Community, HTML, A collective artists' statement for artists who can't agree
Jon Ippolito b. 1962, Keith Frank b. 1965, Janet Cohen b. 1960 Variorum of Past Projects http://www.three.org/variorumofpastprojects 1997 Narrative, Humor, Hypertext HTML, An unconventional approach to conventional documentation, in which interpretations vary depending upon the viewer's agenda.
Jessica Irish b. 1969 : inflat : o : scape : http://www.inflatoscape.com 2001 Abstraction, Audio, Community Flash, 3D graphics, Inflat-o-scape is an experimental, multi-faceted 'view' of an urban information zone: a merging of architectural structures, information technologies and inflatable forms.
Lisa Jevbratt 1:1 http://www.c5corp.com/1to1/ 1999 Browser, Software, Algorithmic HTML, Perl, Database The 1:1 project includes the creation, maintenance, and visualization of the C5 IP database, containing the IP addresses to all hosts on the World Wide Web. The project uses the database to create five interfaces for navigating the web, and to generate a new topography of the web. The interfaces/visualizations explore the formal qualities of the web in relation to the larger network of which it is part: the Internet.
cygin66 jimpunk b. 1966 jimpunk http://www.jimpunk.com 2000 Minimalism, Abstraction, Performance HTML,
jodi jodi.org http://jodi.org 1996 Abstraction, Browser, Humor HTML, Perl, The first truly abstract web site.
Brian Judy b. 1960 Maracatu http://www.boogaholler.com/webart/rtventures/maracatu.htm 2000 Abstraction, Animation, Audio Shockwave, Music interaction colloboration with composer Guillermo Silveira.
Brian Judy b. 1960 The Grid http://www.boogaholler.com/webart/index.html 2000 Abstraction, 3D, Game HTML, Shockwave, 3D graphics High energy games and toys for the practicing art consumer.
Eduardo Kac b. 1962 Ornitorrinco http://www.ekac.org/ornitorrincoM.html 1989 Telepresence, Custom hardware, Video camera, Ornitorrinco pioneered the field of telerobotics and telepresence in art since 1989 -- before the Web.-- as the first system which allowed users in public and private spaces to remotely access a fully mobile and wireless robot and alter the remote location (teleoperation) via the telephone network. Already in 1994, the same year of the Web explosion, Ornitorrinco was also experienced on the Internet.
Eduardo Kac b. 1962 Rara Avis http://www.ekac.org/raraavis.html 1996 Telepresence, Robotics, Video Custom hardware, Video camera, HTML Rara Avis is an interactive telepresence work in which local and remote participants experienced a large aviary with 30 birds from the point of view of a telerobotic macaw.
Eduardo Kac b. 1962 RC Robot http://www.ekac.org/robot.big.html 1986 Telepresence, Custom hardware, This was Eduardo Kac's first telepresence work. In 1986 Kac worked with radio-controlled telerobotics in the context of the exhibition "Brasil High Tech", realized at the Centro Empresarial Rio, in Rio de Janeiro. Kac used a 7-feet tall anthropomorphic robot as a host who conversed with exhibition visitors in real time. The robot's voice was that of a human being transmitted via radio. Exhibition visitors did not see the telerobot operator, who was telepresent on the RC Robot's body.
Eduardo Kac b. 1962 Time Capsule http://www.ekac.org/timec.html 1997 Telepresence, Robotics, Video Custom hardware, Video camera, Database Time Capsule approached the problem of wet interfaces and human hosting of digital memory through the implantation of a microchip. The work consisted of a microchip implant, seven sepia-toned photographs, a live televison broadcast, a webscast, interative telerobotic webscanning of the implant, a remote database intervention, and additional display elements, including an X-ray of the implant.
Yael Kanarek b. 1967 World of Awe http://www.worldofawe.net 1995 Narrative, Hypertext, Software 3D graphics, C/C++, HTML A ongoing cross-media project based in an original narrative of a traveler in search of a lost treasure.
John Klima ecosystm http://www.cityarts.com/lmno/ecosystm.html 2000 3D, Software, Algorithmic 3D graphics, C/C++, ecosystm is a real-time representation of global currency volatility fluctuations, leading global market indexes, and up-to-the-minute weather reports from JFK airport.
John Klima glasbead http://www.glasbead.com 1999 3D, Audio, Community 3D graphics, C/C++, Glasbead is a multi-user persistant collaborative musical interface allowing players to manipulate and exchange sound sample files and create a myriad of soundscapes and rhythmic musical sequences. Current bandwidth allows as many as 20 people to play glasbead at the same time
Marc Lafia b. 1955 AmbientMachines http://www.ambientmachines.com 2000 Abstraction, Video, Animation Shockwave, Ambient machine | an ambient machine' is an open source work, that is both a series of distinct works and the possibility of infinitely varied works. The distinct films, like an alphabet, await computation and inflection: they can be juxtaposed as the viewer sees fit; and they can be manipulated their size increased or decreased, their shape altered, they can be sped up or down. The user becomes the speaker, if you will, of this visual dialect. It can be considered a kind of kind visual music or visual painting open to be transmuted, overlayed and over written in the network space of open dialogue.
Marc Lafia b. 1955 ArtandCulture http://www.ArtandCulture.com 1999 Algorithmic, Community, Hypertext Java, HTML, Shockwave An exploration of associativeness: artists sprawl through time and place, through concept and quality, running into each other at surprising junctures. The work is open at two registers simultaneously: a didactic taxonomic register on the left and an associative cloud to the right. The continual play allows for an active reading and curation in the space of the network and computation.
Marc Lafia b. 1955 HyperHyper http://www.artandculture.com 1997 Hypertext, Minimalism, Abstraction Java, HTML, HyperHyper is a visual essay about the spatialness of a writing reading experience in a computational hypertextual platform. It plays in and out of the spaces of meaning and sense. One could say that meaning relies on depth while sense is a surface phenomenon. In the new space of computation, language is ever more clearly virus, a contamination, but also as a typography, a visual force, a playground, a plaything, a place of discovery, of creation: a metabolic function doing its thing. This visual and graphic essay explores this new space of reading-writing while curating practices and reflections of the word at the same time.
Marc Lafia b. 1955 The Memex Engine or Laura Croft stripped bare by her Bachelors, Even http://www.memexengine.com 1998 Narrative, Game, Telepresence Shockwave, Artificial Intelligence, Simultaneously engaging the computalional insights of Vannevar Bush, the high conceptual play of Marcel Duchamp, the psycho-tropic erotics of Lara Croft the aesthetics of Wong Kar-Wai and the narrative indulgences of William S. Burroughs the MemexEngine puts on the now with wit, relentless glee, and a deft humor The Memex is an investigation of narrative, fabrics of meaning, embodiedness and agency. It is also a lush and sumptuous visualization of a forward-looking experiential engine, suggesting an indispensable prosthetic of negotiating one's place in the social economy of the network.
Marc Lafia b. 1955 World Clock http://www.artandculture.com 1996 Chance, Algorithmic, Telepresence Java, HTML, Database The World Picture Clock', it is an engine that gives forth a portrait of the world as a place of multiplicity, simultaneity and emergence. It does not privilege a single point of view, but rather a proliferation of views. It is an interface that allows the participant to arrange the world in associative ways emphasizing duration and presence. Simultaneity, juxtaposition, the world in its all-at-onceness, the world clock is a polyoptic viewfinder amplifying the many properties of the time-world network and the web. At once active and passive, the World Clock pushes the world while acting as a surfboard, a navigational interface: the metabolic function of the world.
Tina LaPorta b. 1967 Distance http://www.turbulence.org/Works/Distance/index.html 1999 Telepresence, Narrative, Video HTML, Video camera, A linked sequence of images of net-based video conversations, which show how technology can simultaneously create and destroy distance.
Golan Levin Golan's Wee Homepage http://acg.media.mit.edu/people/golan/ 1998 Algorithmic, Abstraction, Prototype Java, C/C++, Many influential experiments in computational art and design.
Olia Lialina My Boyfriend Came Back From The War http://www.teleportacia.org/war/ 1996 Collage, Narrative, HTML, Fragmentary hypertext, expressing a complicated emotional relationship.
Olia Lialina Will-N-Testament http://will.teleportacia.org/ 1999 Animation, Hypertext, Humor HTML, The artist's "will", in which she designates who will inherit various internet properties (her artwork, icq number, etc.) upon her death.
Rafael Lozano-Hemmer Vectorial Elevation, Relational Architecture 4 http://www.alzado.net 1999 Community, Telepresence, Performance Custom hardware, Perl, 3D graphics Installation in Mexico City, where participants could control searchlights via the internet.
Garrett Lynch b. 1977 asquare.org http://www.asquare.org/ 2000 Algorithmic, 3D, Minimalism HTML, Perl, Artists personal webspace where all projects are grouped together and the space is used as an experimentation with interface, space, movement etc.
Garrett Lynch b. 1977 For those who fear intimacy / for those who fear loneliness" http://www.intimacyandloneliness.f2s.com 2001 Performance, Prototype, Browser Custom hardware, Database, Speech recognition A performance project critically analysing the state of relationships and emotions in virtual environments.
John Maeda b. 1966 Concentrics http://www.maedastudio.com/concentrics/index.html 1995 Algorithmic, Abstraction, Animation Java, A sequence of interactive works that play off the possibilities of the mouse as a motion capture device.
John Maeda b. 1966 One Line Project http://www.dnp.co.jp/gallery/ggg/one-line/index_e.html 1998 Community, Abstraction, Minimalism Java, Database, One-line.com is an attempt to link the world with a line. The line you draw will be joined with those from other users to create a single line that spans the globe.
John Maeda b. 1966 Shiseido Java calendars http://www.maedastudio.com/javacals/index.html 1997 Algorithmic, Abstraction, Minimalism Java, HTML, Small, whimsical, delightful Java applets displaying interactive views of time.
Judy Malloy b. 1942 The Roar of Destiny Emanated from the Refrigerator. I Got up to Get a Beer. http://www.well.com/user/jmalloy/control.html 1999 Narrative, Hypertext, Prototype HTML, Database, Computer vision Simulating a state of mind induced either by ten to twelve hours on the net a day and/or by a vulnerability to "flesh time", TheRoar of Destiny combines "flooding" of memory flashbacks with a heightened awareness of background noises and aninappropriate intertwining of significant and insignificant life details.This work reflects the experience of the Internet as a whole and thus is influenced by the Internet as a whole (rather than specific artworks) -- viewed through the lens of my own work and Internet interfaces as they developed online since 1986.
mashica mosca http://mosca.mashica.com/ 1999 Algorithmic, Animation, HTML, Flies of zaj!
mashica nocamping http://nocamping.mashica.com/ 2000 Game, Algorithmic, Humor HTML, Database, Online game
mashica nowash http://nowash.mashica.com/ 1999 Humor, Game, HTML, Database, Image washer
mashica nowork http://nowork.mashica.com/ 1998 Humor, Browser, HTML, Database, Forgetting machine.
mashica The Cassandra Fax Project http://www.mashica.com/CFP/ 2000 Telepresence, Community, Humor The Cassandra Fax Project was created as a recognition and response to the use of, or simple identification of, electronic interchange as an oracle.
mashica VERBUM DEI http://www.mashica.com/VeRBUMDEI/ 2001 Humor, Software, HTML, Database, Holy email word liberator
Kevin McCoy, Jennifer McCoy Airworld http://www.airworld.net/ 2000 Politics, Video, Audio HTML, Explores the "creepy utopianism" of modern capitalist jargon.
Steve Miller b. 1951 Dreaming Brain http://www.dreamingbrain.com 1999 Browser, Chance, Animation HTML, interactive work created for a traveling museum exhibition "Dreams 1900-2000" about Freud's Interpretation of Dreams. A series of Quicktime VRML movie panoramas linked by gif animations, morphs, streaming video and sound.
Roman Minaev b. 1970 Trashconnection http://www.trashconnection.com 2000 Hypertext, Community, Animation HTML, Perl, The original idea of the trashconnection is the definition of trash online. Everybody, who is just surfing around the net, has to confront with always appearing advertising banners, icons or trademarks. By mirroring them with the permanent addresses in the HTML-code on the web, the direct connection is created. The current appearance of such banners depends alone on the initiator. This process lends an incontestable actuality to the entire work, until all the segments resolve in the internet. Furthermore the Trashconnection shows digital creations of net-art.
Judd Morrissey The Jew's Daughter http://www.thejewsdaughter.com/ 2000 Hypertext, Chance, Minimalism Flash, Hypertext fiction in which blocks of text change in response to the reader's mouse.
MTAA - m.river & t.whid MT Enterprises WorldWide http://www.mteww.com 1998 Humor, Performance, Narrative HTML, The online contextualization of MTAA art practice. It functions as a gateway to our online work and online documentations of other work.
Robbin Murphy Project Tumbleweed http://www.artnetweb.com/iola/tumbleweed/index.html 1997 Hypertext, Politics, Narrative HTML, From the artist's statement: "Project Tumbleweed" is an evolving investigation of the possibilities of a personal multi-dimensional on-line ecology based on potentiality rather than simulation and is a para-site of the collaborative domain artnetweb.com as well as the Internet. It will be one model for what many think of as a "virtual museum."
Prema Murthy Bindi Girl http://www.thing.net/~bindigrl/ 1999 Telepresence, Performance, Politics HTML, Shockwave, questions our growing relationship with distance andtele-erotics as a new form of tourism."
Mark Napier b. 1961 cBots http://www.potatoland.org/cbots/ 2000 Politics, Chance, Community HTML, Perl, Do-it-yourself collage commentary on "corporate memes."
Mark Napier b. 1961 Digital Landfill http://potatoland.org/landfill 1998 Browser, HTML, Perl, An evolving archive of digital debris containing more than 4000 scraps of text, HTML, email, spam, data, images and sounds.
Mark Napier b. 1961 Feed http://feed.projects.sfmoma.org 2001 Abstraction, Algorithmic, Software Java, Perl, This Java applet reads entire web sites, converting the HTML, text and images into a stream of characters and pixels. Feed then generates charts, graphs and drawings from this data, as if seeking some hidden meaning in the content it devours.
Mark Napier b. 1961 p-Soup http://potatoland.org/p-soup 2000 Algorithmic, Software, Java, C/C++, Through a simple visual language of animated geometric shapes, visitors to p-Soup can communicate with other online visitors in real time, collectively generating an endless variety of sounds, patterns, textures and colors.
Mark Napier b. 1961 Shredder http://potatoland.org/shredder 1998 Browser, Abstraction, Perl, HTML, An alternative browser that de-materializes the web.
Cary Peppermint b. 1970 A Contemporary American Work of Art In Progress http://www.restlessculture.net/americanart 2000 Performance, HTML, Database, Perl I consider net.art to be "network art" that is involved within the dialogue of the internet, i.e. the accelerated dissemination of information. It is important that my work imagine this information-flow through disparate junctions, nodes and systems online and offline. For me the success of a net.art requires that the work acts as a carrier of information and does in fact "take other forms," attain movement and then dwell beyond its initializing sequence. "A Contemporary American Work of Art In Progress" is an internet portal of sorts that encourages the "consuming" of art-engendered thus recombinant commercial products. When I released this work, I felt optimistic that the information was restless enough to attain a certain continuity or life of its own but I was not sure the ways that information might be re-configured. One encouraging instance was in the form of revenue. "A Contemporary American Work of Art In Progress" incorporates an online "storefront" (amongst other co...
Plumbdesign Visual Thesaurus http://www.plumbdesign.com/thesaurus/ 1998 Algorithmic, Animation, Hypertext Java, Database, To create an online experience that is both an exploration of the English language and a demonstration of Thinkmap software, Plumb Design created the Plumb Design Visual Thesaurus. An engaging experience in language and interface, the Visual Thesaurus is an artistic exploration that is also a learning tool.
Melinda Rackham b. 1959 a.land http://www.subtle.net/aland 1998 Hypertext, Animation, HTML, Java, a.land is a journey of gentle views through differing portholes of perception - a poetic narrative exploring our internal and external landsapes, fragments of literature and memory, and the geographical and virtual stratas which connects us all. the site was concieved on ferry journeys across the Baltic Sea while on a trip to E Polar Circuit in 1998.
Melinda Rackham b. 1959 carrier http://www.subtle.net/carrier 1999 Animation, Community, Hypertext HTML, Java, carrier investigates viral symbiosis in the biological and virtual domains, specifically the hepatitis C (HCV) epidemic. the project repositions viral infection as positive biological merging with the flesh - weaving a love story with another intelligent being, rather than taking a defensive medical response to illness which sites the body as a detached battleground. carrier is a becoming symborg model for the emerging millennium, as we seek a way reposition ourselves as the boundaries between human / machine /species dissolve.
Melinda Rackham b. 1959 empyrean http://www.subtle.net/empyrean 2000 3D, Telepresence, Hypertext 3D graphics, HTML, empyrean is the zone of electronically constructed space, a virtual geography to be populated by textual entities, where reality is a trace, a flicker on the screen. empyrean is a parrallel universe, an etheric arena beyond space and time - the void where all things are possible, the realm of the spirit, embracing the folds of the soul. empyrean is a world of gaps and intervals, fluidly traced by interactions with others, rather than rigidly mapped by terrritorialising agents. this soft nothingness, this zero space is transversed by in-tensions, relations, attractions, and transitions between energetic avatars.
Melinda Rackham b. 1959 line http://www.subtle.net/line is a www site investigating the physical, emotional and virtual architectures that both connect and contain us. line maps the relationship of two people in different 1997 Animation, Hypertext, Narrative HTML, Java, line is a www site investigating the physical, emotional and virtual architectures that both connect and contain us. line maps the relationship of two people in different physical locations via email exchanges, and the metaphores of the physically and virtually constructed environments. line is also a gallery installation with lazer light intersecting a wall mounted book of intimate interwoven photographic architectural and landscape imagery from Australia and Japan.
Melinda Rackham b. 1959 tunnel http://www.subtle.net/tunnel 1996 Narrative, Telepresence, HTML, Java, tunnel is a cyburban melodrama surveying the slimey arenas of cybersex, where fantasies can be enacted online.but what of the identity clash when meeting ones virtual lover "in the flesh" ? * tunnel contains explicit sexual narrative and imagery do not view if this offends
Sonya Rapoport ARBOR ERECTA: A Botanical Concept of Maculinity, 1998 http://users.lmi.net/~sonyarap/arborerecta/arbor.html 1998 Activism, Community, Prototype The transsexual change of James from female to male is fancifully interwoven with New Guinea initiation rites of tree bonding that purge the female pollutants acquired from the motherIn 159 A.D., the Greek physician Galen declared "God created plants as a provision for the health of human beings, and left a sign on them some feature of their shape, color, habitat or behavior for human beings to deciphor. "as an example, he pointed to a plant shaped like an ear that is a cure for ear-aches. ARBOR ERECTA: A Botanical Concept For Masculinity illustrates this ethos..
Sonya Rapoport BRUTAL MYTHS http://www.lanminds.com/local/sr/brutal/index.html 1996 Hypertext, Activism, Humor HTML, The project follows an outline inspired by the sadistic fantasies about women found in the Malleus Maleficarum, a manual for witch-hunting written in the XVth century.Because women were traditionally the lay healers in ancient herbal medicinal practice, herbs are used as a metaphoric interface. The first half of "Brutal Myths" describes which 'evil' herbs contaminate the minds of men into believing the Malleus Malificarum dictums. In the second half of the work a "blissful" herbal garden is created by planting 'blessed' herbs. Interactive rituals with the herbs acted out by the viewer destroys the prejudicial myths and allay the fears of men.
Sonya Rapoport MAKE ME A JEWISH MAN: An Alternative Masculinity, 1999 http://users.lmi.net/sonyarap/mmajewishman 1999 Activism, Humor, Narrative HTML, Java, The paradox of rabbinic masculinity usurps the feminine while coupling it with male domination and exclusion of women.Although appropriations of "femaleness" are necessary in the production of the Jewish male ideal, the blood of circumcision, that of power, and the blood of birthing, that of impurity, reflect strong gender bias.
Sonya Rapoport MAKE ME A MAN, 1997MAKE ME A MAN http://users.lanminds.com/~sonyarap/ 1997 Activism, Community, Narrative HTML, A reflection on the stereotype of modern manhood and how it has been sustained in diverse cultures with similar gender dogma.Western European Civilization and the New Guinea Highlands both acknowledge the superiority of the physiological woman, born with all the vital organs and fluids necessary for giving birth and nurturing her infant. It is men who must be molded and configured into ideal masculinity. Comparative examples of how the tribal and sophisticated western societies achieve their objective of "growing a man" are provided.
Sonya Rapoport Shoe-Field http://www.artswire.org/~jmalloy/richmond/objects9.html 1982 Community, Performance, Game Database, Shoe-Field is a 16 year long series of interactive installations about shoes people wear.Rapoport fed the data gathered from seventy-two participants at "A Shoe-In" into a field theory program that calculated and organized it into diagrammic form. The idea, Rapoport says was to see if "qualitative data would reveal quantitave information about people.
Sonya Rapoport SMELL YOUR DESTINY http://www.lanminds.com/local/sr/srsmell.html 1995 Community, Humor, Hypertext HTML, A parody on medicinal applications in vogue for personality changes which in this case are pills prescribed for the success trait.. A fishy tale about fish that float in community gene pools and absorb from pills value-changing personality traits. The traits are actualized by people in the community inhaling the fumes from the fish, long considered brain food. This tale expands upon the pseudo-science of aromatherapy, providing ichthyological smells of personality traits for brain absorption.
red asphalt nomad Surrogate Signal http://www.clustersite.org/ss.html 1996 Audio, Performance, HTML, Custom hardware, Speeding and speeding and inversion. Wireless Earth Antenna. Name Witheld is silent. Voices are silent. The action is over. 'Finally, let's not forget the retro-ritual presence of CB RADIO that has helped to produce this internet action. Media fetishism allows the Message Objects to stand in for something else - a basic element of the dynamic law of drift and correspondence - which becomes the hallmark of the Surrogate Signal in the hypertext.' said Name Witheld." UPLOAD
Laszlo Revesz See per you http://www.cperu.hu 2000 Animation, Humor, Narrative Java, Computer vision, HTML animation and interface as mental exercise
Wayne Riggs Abstractions on the internet http://web.tiscali.it/wayneriggs 2001 Abstraction, Experimenting with different process and how they translate onto the Internet.
Nino Rodriguez b. 1968 Face Value http://www.pobox.com/~nino/ 1996 Politics, Hypertext, Telepresence HTML, Notes on social media and self-exchange. An experimental hypertext essay. Winner of the Achievement Award for Internet Art from DNP Award '96 (http://park.org/Japan/DNP/Exhibition/).
RTMark RTMark http://www.rtmark.com 1997 Activism, Humor, Politics HTML, RTMark pairs "donors" (investors) with "workers" who carry out projects. These range from serious campaigns to prevent corporate juggernauts from usurping intellectual property to sillier ventures promoting Llama delivery services instead of expensive and environmentally damaging overnight airfreight.
mike salmond b. 1967 Hoplessness of Infinity http://gummo.admin.usf.edu/grad/infinite 2000 3D, Abstraction, Minimalism 3D graphics, HTML, WORK IN PROGRESS of an infinite VRML environment that lures the user into a dystopic world of infinite play that offers no sensory feedback beyond the expectations of the user.
mike salmond b. 1967 Voxels http://gummo.admin.usf.edu/grad/soundscape/ 2000 3D, Audio, Game 3D graphics, HTML, Exploration of immersive interactive 3D aural environment utilising VRML and sound files. Something to have play with.
Julia Scher Securityland http://adaweb.walkerart.org/context/artists/scher/scher0.html 1995 Video, Activism, Audio Video camera, HTML, Exploration of technological surveillance and their psycho-political implications.
Vivian Selbo killer @pp ~ it's all t@lk http://cavil.com/partsofspeech/killerapp/ 1998 Politics, Narrative, HTML,
Vivian Selbo open_source http://opensource.walkerart.org 2000 Community, Performance, HTML, Java,
Vivian Selbo Vertical Blanking Interval http://adaweb.walkerart.org/project/selbo 1996 Hypertext, Narrative, HTML,
Alexei Shulgin Form Art http://www.c3.hu/collection/form 1997 Minimalism, Humor, Browser HTML, Playful experimentation in which standard HTML interface elements are given an unexpected graphical role.
John F. Simon Color Balance http://www.numeral.com/cb.html 1997 Abstraction, Algorithmic, Software Java, Interactive piece that considers the question, "How much does color weigh?"
John F. Simon Every Icon http://www.numeral.com/eicon.html 1997 Abstraction, Animation, Algorithmic Java, An animation that, given enough time, displays every possible 32x32 pixel black and white icon.
Scott Snibbe Gravilux http://www.snibbe.com/scott/dynamic/gravilux/gravilux.html 1998 Algorithmic, Minimalism, Abstraction Java, Quiet, elegant interactive applet. As the viewer clicks, a mechanical grid becomes complex and organic.
Alan Sondheim b. 1993 Internet Text http://www.anu.edu.au/english/internet_txt 1994 Hypertext, Narrative, Politics HTML, Database, continuous meditation on virtual subjectivity - text of over 4000 pages written, programmed, catalyst-produced
Darcey Steinke Blindspot http://adaweb.walkerart.org/project/blindspot/ 1998 Narrative, Audio, Animation HTML, A website with a strong narrative, supplemented with images and sound.
Stelarc Ping body http://www.stelarc.va.com.au/ 1996 Robotics, Performance, Software Custom hardware, HTML, artists body physically controlled via users on the internet
Igor Stromajer b. 1967 intima | virtual base http://www.intima.org 1996 Minimalism, Performance, Video HTML, Video camera, Java net.gsm.wap.gps.org [low-tech solution to high-tech art] free your mind and the rest will follow
Piotr Szyhalski Ding An Sich http://www.walkerart.org/gallery9/artists/dingansich/ 1997 Hypertext, Animation, Audio HTML, An interactive sequence of images and sounds in which the viewr must actively explore to see the work in full.
Piotr Szyhalski The Spleen http://www.mcad.edu/home/faculty/szyhalski/Piotr 1995 Narrative, Collage, HTML, A collection of writings and images organized around the the theme of the spleen--"the most mysterious organ."
curt walter tannhaeuser b. 1949 Horssol http://www.artsite.ch 2000 3D, Community, Humor HTML, Video camera, Artificial Intelligence Horssol"Exhibition "Horssol" in the village spa of Bad Ragaz, Switzerland. For the '1. Triennale of Sculptures' the artist Curt Walter Tannh user created seven complex sound-light sculpture installations consisting of altogether 3168 plaster casts which in this constellation are shown for the very first time under the title 'Horssol' in the village spa of Bad Ragaz, Switzerland. These 3168 plaster casts of individual faces from all over the world were modeled by the artist himself during a five year operation between 1982 and 1986. Each of the individual sound-light sculpture installations are assembled from several hundred casts, which the artist puts to interact with the architecture of the old, unused spa.
Andrej Tisma Natural Resorts http://www.crosswinds.net/~tisma/art/resorts.htm 2001 Politics, Activism, Humor HTML, Use this web site to see some examples of still clean and inspiring places for your real rest and pleasure. Choose between several really attractive locations in different parts of the world which soon could became yours and only yours.
Andrej Tisma SIO (Spiritual Internet Object) http://members.tripod.com/~aaart/SIO.htm 1998 Telepresence, HTML, The floating blue object You are seeing in the upperpart of this page is for You to contemplate. Watch it forsome time, as long as you feel comfortable, and you willfeel improvement in your psychical and physical state.
Myron Turner Sea-Changes http://www.room535.org/sea-changes/ 1997 Community, 3D, Hypertext HTML, 3D graphics, Perl A co-production of the Banff Centre for the Arts developed under their Deep Web program.
Stephen Vitiello Tetrasomia http://www.diacenter.org/vitiello/ 2001 Audio, Browser, Flash, Web project that assembles sounds from across the Internet.
Marek Walczak, Helen Thorington, Jesse Gilbert Adrift http://www.turbulence.org/adrift 1997 3D, Performance, Audio 3D graphics, Java, HTML ADRIFT is an evolving Internet performance event that is streamed live from multiple locations to audiences on the Internet and in separate geographical locations.The work of the three artists: composer Jesse Gilbert; writer, composer Helen Thorington; and architect Marek Walczak, ADRIFT involves the interplay of three environments -- text, sound and vrml or 3-D graphics.The content focus of the work is a harbor, a city and the human body. As the three artists and their computers pass information back and forth in real time, an interaction between the senses, and between the geographies, scales, and narratives represented in the work is created. The fluid perceptions and the multiple intersecting journeys they suggest lie at the heart of this networked performance.
Marek Walczak, Martin Wattenberg b. 1970 Apartment http://turbulence.org/Works/apartment 2000 Abstraction, 3D, Software Java, 3D graphics, Based on the idea of memory palace, Apartment creates an equivalence between language and space.
Marek Walczak, Martin Wattenberg b. 1970 WonderWalker http://wonderwalker.walkerart.org 2000 Community, Hypertext, Software Java, HTML, An online wunderkammer, in which viewers may record favorite web pages in the form of icons.
Martin Wattenberg b. 1970 Bewitched http://www.bewitched.com 1997 Abstraction, Algorithmic, Prototype Java, HTML, The artist's personal collection of experiments in interactive art.
Martin Wattenberg b. 1970 Map of the Market http://www.smartmoney.com/marketmap 1998 Algorithmic, Software, Java, Database, An interactive and constantly changing map of the U.S. stock market.
Martin Wattenberg b. 1970 The Shape of Song http://www.turbulence.org/Works/song 2001 Algorithmic, Audio, Abstraction Java, What does music look like? The Shape of Song is an attempt to answer this seemingly paradoxical question. The custom software in this work draws musical patterns in the form of translucent arches, allowing viewers to see--literally--the shape of any composition available on the Web. The resulting images reflect the full range of musical forms, from the deep structure of Bach to the crystalline beauty of Philip Glass.
Annette Weintraub Crossroads http://www.turbulence.org/Works/crossroads/ 2000 Animation, Collage, Video Shockwave, HTML, An animated impression of Times Square.
Annette Weintraub Sampling Broadway http://www.turbulence .org/Works/broadway/index.html 1999 Audio, Collage, Narrative HTML, Shockwave, An interactive re-creation of a busy and complex urban space.
Maciej Wisniewski Netomat http://netomat.net/ 1999 Browser, Software, Abstraction Java, netomat(TM) is a meta-browser that engages a different Internet - an Internet that is an intelligent application and not simply a large database of static files. netomat(TM) dialogues with the net to retrieve information as unmediated and independent in form.
Maciej Wisniewski Turnstile http://www.stadiumweb.com/turnstile/ 1998 Chance, Algorithmic, Performance Java, Database, View an endless stream of data. In Part I, the data comes from a turnstile in Times Square. In Part II, the stream is culled from the internet.
Daniel Young NewZoid ARTificial News Headlines http://www.newzoid.com 2001 Software, Activism, Chance Java, Database, Artificial Intelligence Continuous generator of up-to-the-minute false news headlines.
Eric Zimmerman b. 1969 Sissyfight 2000 http://www.sissyfight.com 2000 Game, Humor, Shockwave, SiSSYFiGHT 2000 is, like, an intense war between a bunch of girls who are all out to ruin each other's popularity and self-esteem. The object is to physically attack and majorly dis your enemies until they are totally mortified beyond belief. You'll never come out on top without making the right friends, so be careful who you're nice to. Because in the end, only the shrewdest will survive with their social status intact!

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