Philip Pocock

Biography: collaborating networker beginning with faxmodem work \'black sea diary\' 1993; onto the www with \'arctic circle\' http://www.dom.de/acircle 1995; \'tropic of cancer\' 1996: \'a description of the equator and some ¯therlands\' documenta x 1997; \'h|u|m|b|o|t 1999 - 2004\'.
Living and working in Germany and Ireland.

e-mail: philip.pocock@t-online.de
Country: Canada

h|u|m|b|o|t
http://www.humbot.org

Synopsis: h|u|m|b|o|t is a 5-year collaborative net-based cybercinema \'remapping\' south america and ¯therwhere taking alexander von humboldt\'s landmark travel to the new continent exactly 200 years ago.
h|u|m|b|o|t kohonen-maps (neural net self-organizing mapping algorithm) humboldt\'s chronology of his travel titled \'personal narrative of a journey to the equinoctial regions of the new continent 1799-1804\' laying it out on the screen as a FLATBOOK, clustering its passages according to readers\' and the systems inserted parameters of (1) emotion/modifier, (2) location/situation, (3)date/time, (4)keyword/commentary. to this short digital video clips are integrated and all users of the site become co-travelers in this journey-as-art-as-information screenworld, leaving traces which \'edit\' the site when set in \'autoplay\' mode. h|u|m|b|o|t is one future for cinema.

Restate

Biography:

elegant.
wellformed.
attracting.
(I am radically chic)

e-mail: restate@restate.org
Country: Helvetsia

Restate/callaps
http://callaps.restate.org/
Synnopsis: http://www.restate.org

Restate/skincare
http://skincare.restate.org
Synnopsis: http://www.restate.org

Roman Minaev

Biography: 27th October 1970 born in St. Petersburg/Russia.
1994-2000 Muthesius Academy of Architecture, Design and Fine Arts, department of printmaking, Kiel/Germany.

1996-1998 Christian-Albrechts University, department of sinology, Kiel/Germany.

1998-1999 The National Academy of Fine Arts, department of chinese calligraphy, Hangzhou/China.

Since 2000 Net-art lectureship at the Muthesius Academy of Architecture, Design and Fine Arts, Kiel/Germany.

e-mail: www@trashconnection.com
Country: Russia

Synopsis: 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.

Sachiko Hayashi

Biography:
(Sweden/Japan)
Born in Tokyo í62, now lives and works in Sweden.

EDUCATION
1999 - 2000 Special Student (prof. Max Book), Royal University College of Fine Arts, Stockholm

1998 - 1999 Postgraduate Studies (Computer Arts), Royal University College of Fine Arts, Stockholm

1996 - 1997 Postgraduate Studies (MA with Merit in Design and Digital Media),
Coventry School of Art and Design, Coventry University, UK

1981 - 1987 BA in International and Cultural Studies, Tsuda College, Tokyo

(1984-1985 Attendence at International Graduate School, the University of Stockholm)

SOLO EXHIBITIONS
1994 Kalmar Konstmuseum (installation), Kalmar, Sweden

1992 Rixgalleriet (installation), Linkˆping, Sweden

JURIED EXHIBITIONS/SHOWS
2000 Foto Esordio í 99 (computer graphics), Rome
2000Electrohype (CD-Rom), Malmˆ, Sweden

1997 Nordisk Konstfilm Triennal (video), Kalmar Konstmuseum, Kalmar, Sweden

OTHER EXHIBITIONS/SHOWS
2001 îTrappedî (net art) archived in Rhizome, NY
2000 -2001 îGenbild< >Genklangî (video), Rikskonserter tour for 8 different places in Sweden
2000 îA Million Voicesî (net art), Gothenburg, Sweden
2000Galleri Curman (computer graphics + installation), Linkˆping, Sweden
2000Galleri Mejan (computer graphics + installation), Stockholm

1999 îInteractive Weekendî(CD-Rom projection), Fylkingen, Stockholm
1999îStockholm Electronic Artî (net art), Stockholm
1999îSurvivalî (net art), Stockholm
1997 Fylkingen (video + installation), Stockholm
1997 ÷stergˆtlands L‰nsmuseum (video), Linkˆping, Sweden
1993 Fylkingen (lobby exhibition), Stockholm
1992 Avanti (multimedia performance - concept and installation), Kalmar, Sweden
1992G‰vle Folkteatern (multimedia performance - concept and installation), G‰vle, Sweden
1992Media Artes (multimedia performance - concept and installation), V‰xjˆ, Sweden
1991 Alka 7 dagars Art Festival (multimedia performance - concept and installation), Linkˆping, Sweden
1991Folkens Museum (multimedia performance - concept and installation), Stockholm

GRANTS
1998 Landstingets Kulturstipendium
1992 Projektbidrag, Rikskonserter
1991 Projektbidrag, Statens KulturrÂdet

MEMBERSHIPS
1999 - Fylkingen
1998 - KRO
1998 - CRAC
1992 - 1999 Konstn‰rs Centrum, ÷stergˆtland

e-mail: mash@epsilon.telenordia.se
Country: Japan

Synopsis: The whole site of Trapped is largely based on direct quotations by serial killers. Serial killers are, whether we like it or not, part of our daily life. If the phenomenon of serial killing itself is not new, then certainly our awareness of its existence is. In fact serial killers have become one of the determining factors of the 20th century and it appears to continue to be so into the 21st century.

It is my hope that Trapped should serve as a mirror that reflects our own responses to the enigma of the human psyche and to cast a light over the complexity of such issues as death penalty, etc. that our society faces.

The site is composed of my own image materials and sampled materials from other sites on the Internet. Texts and citations are taken from Internet Crime Archives. The pictures of serial killers and victims are sampled from various associated sites on the Internet. The blending of my own images with images of others is a method specifically chosen for this site to recreate the reality that we are all entwined in human society - the very subject of Trapped.

Scott Sona Snibbe

Biography: Scott Sona Snibbe explores direct physical perception and expression in electronic media. His experiments probe the boundary between the body and its effects on the world and question the nature of the self as distinct from ones environment. His interactive works include screen-based software, handmade physical devices and full-scale installations. He works as a media artist in San Francisco and has held professional research and engineering positions at Interval Research, Adobe Systems and Brown University. His artwork has been widely shown internationally at such venues including The Tokyo InterCommunications Center, SIGGRAPH, Ars Electronica; the Stuttgart, Hiroshima and Ottawa Animation Festivals, and the San Francisco and Seattle film festivals.

e-mail: scott@snibbe.com
Country: USA

Sergei Teterin

Biography: Sergei Teterin - Russian new media artist and writer. Lives in Moscow

e-mail: teterin@pisem.net
Country: Russia

Synopsis: Russian \"media art manifesto\", 2001.
Collaborated with best russian net-artists.

Simon Biggs

Biography: artist since 1976. Working with computers since 1978. Current practice involves interactive installations, net based projects and other media.

e-mail: simon@littlepig.org.uk
Country: Australia

Synopsis: A 3D multiuser space using the Dewey Decimal Numbering system as a metaphor and navigational aid for the net. All the users see what the other users see as the system calculates all the users varying 3D views of the navigable 3D data-space and then broadcasts them out to all those logged into the system. The work is a metaphor for the density and chaos that is our contemporary data-space.

Slampoetrypictures

Biography: slampoetrypictures is a collaborative project by jimpunk ro27 and sim

e-mail: slampoetrypictures@jimpunk.com
Country: France and Germany

Synopsis: SlamPoetryPictures
realise the idea
of a conversation in terms of pictures
wich are created at \"runtime\".
To catch the evolutionary impact
this will have for communication in general
remember the saying
\"an image says more than a thousand words\".
In fact it means a whole new quality of communication.
which will emerge from the overwhelming developement
of visual creativtiy on the web
which until now has just
one way function: picture -> recipient.
In Future there will be picture to picture communication
and the painters are just waiting to start the movement.
To be clear:
If we say \"pictures\", we include animation,
and if we include animation, we include sound etc.
So wellcome to a real new world of visual impressions.
Watch out... The wave will break soon.

Sonya Rapoport

Biography:
a multi-media electronic artist since 1976, produces cross-cultural artworks and interactive installations. Her current art focus references scientific, biblical, and gender subject matter for web viewing. Schooled in the Hans Hoffman push-pull tradition at the University of California at Berkeley, the California Palace of the Legion of Honor is among the venues of one-person exhibitions in traditional media. Electronic works have been presented nationally and internationally and in traveling exhibitions sponsored by the U.S. Information Service and the National Endowment for the Arts. Rapoport is a member of LEONARDO/ISAST Governing Board and a reviewer of art media for their journals published by MIT Press.

e-mail: rapop@socrates.berkeley.edu
Country: USA

Redeeming the Gene, Molding the Golem, Folding the Protein
http://users.lmi.net/sonyarap/redeeming/index.html

Synopsis: a mythic parody in which creating life by current genetic engineering techniques is challenged by creating, according to the ancient Hebraic ritual of Kabbalah, an artificial anthropoid, the golem.

\"Redeeming the Gene, Molding the Golem, Folding the Protein\" is an artwork in three folds:

First, the Genetic Fold, in which an alternative gene is created to replace the artist\'s gene that transgenic artist Eduardo Kac invented in his transgenic artwork, \"Genesis.\" The synthetic gene was created by transposing into Morse\'s binary code, a biblical sentence from the King James translation of the Bible.

A second fold is the Gender Fold in which the maligned amalgam, Lilith, Adam\'s first wife, and Eve, are redeemed by using DNA sequences derived from an ancient cloning vector strategy to create the moral kabbalah gene, an alternative to Eduardo Kac\'s tainted artist\'s gene.

Tainted both by imperialist King James, colonizer of Jamestown, and the bigotted Samuel F.B. Morse, Lilith fears that the artist\'s gene would inherit traits that would mutate into evil cyber-golems and become aggressors and exploiters.

The third fold, is the Biblical Fold, from which the biblical sentence. \"Let man have dominion over the fish of the sea and over the fowl of the air and over every living thing that moves upon the earth.\" is transposed into DNA base pairs.

Stanza

Biography: Stanza works in internet art,multimedia, electronic music and painting. Most of his work can be viewed from www.stanza.co.uk. Stanza studied at Goldsmiths and Central Saint Martins in London. Projects include subvergence, which subverts and fragments the notion of our old browser. Instead we have full screen desktop takeover. Transportron which includes generative audio and image environments built into three d spaces. \'The Central City\', is an audio visual, interactive, internet art experience, all made for the internet. The city becomes an organic network of grids and diagrams, juxtaposing urban sounds and sights. \'Amorphoscapes\', is a whole site dedicated to new digital interactive paintings by stanza. A number of these interactive online net artworks have been exhibited internationally and have won net art specific awards, including cynet art 2000 in Germany. The interac!
tive net based works have also been shown in Urban Myths, Isreal 2001. Independent Newspaper best site of the week 2001. + DLUX 2001 Austrailia + Moscow International Festival 2001 + Sonar 2001 + Net-z-lab.2001 + Vdor21/Break21 2001 + Thaw 2001 + ARCO 2001 + Transmediale 2001 + Architettura in Video 2000.

e-mail: stanza@sublime.net
Country: United Kingdom

Amorphoscapes
http://www.amorphoscapes.com

Synopsis:
Introduction.

Amorphoscapes by Stanza are interactive,
generative, audio visual, digital paintings
and drawings created specifically for the internet.
This is interactive art on the internet,
incorporating generative sounds and 3D imaging.

Amorphoscapes, provide a seductive,
multisensory non linear and
interactive experience for the audience
to immerse into. Cellular forms replicate,
intricate webs evolve, moods and colours chang
e and fuse, sounds and rhythms pulse and change.
Amorphoscapes allow the "user" to experience each
artwork differently, depending on how they choose to navigate.

As well as providing this non linearity,
some of the pieces change over time,
ie they generate. The "user" controls
these evolving pieces through movement.
The character of the resulting piece
is unique to the user. This change in
the relationship between the "user"
and the artist changes
the perception of the artwork.
The user can choose what they experience.
At any time the user can make subtle
or total change to their amorphoscape
whenever they want to explore further.
Or simply watch the piece change itself,
in a generative way.

Amorphoscapes are audio visual paintings,
and can be installed into \'real\' environments,
where the movement of people in the room
or gallery triggers the interactivity within the work.
They could be thought of as drawing
and paintings machines, in the future to be projected,
onto buildings, on clothes and on cars,
and on large plasma screens in your living room.

Most of these works have extensive mouse control.
As the user moves, the light and the image / lighting changes.
To view them go to the website www.amorphoscapes.com.
Make sure you let each work download.
They all work online within a browser
and as such can be defined as net artworks.

These pieces are all quite small in file size
because they are intended to be accessible
to everyone on the net. While the original intention
of the amorphoscape series has been for internet
- specific exhibition, more complex pieces may be built
and adapted for offline use and exhibition purposes.

Amorphoscapes have been reviewed on ITV
in the web review, and featured on sonic artsnet
for the gallery channel, soundtoys, rhizome and sonify.
"Generator" was featured on the designers network.
They were shown at transmediale in germany, at cynet art in dresden.

All the works are online and as such
are internet specific artworks.
All online at www.amorphoscapes.com
They are not downloadables or software
but exist within the online environment that is the internet.

Works in the series include
generator............matrixcity.....landscapes...
univercity......hybrid....traces.....biomorphs......
soundscraper ......painter........cancer....
numbers......genomixer..........cultura

The Central City
http://www.thecentralcity.co.uk

Synopsis: "The Central City".
BY STANZA
......This can be seen online at
..........www.thecentralcity.co.uk

THE CENTRAL CITY.... by STANZA.. (Version 2001).

NEW version 3....
includes generative audio and image environments
built into 3d spaces and user controlled 3D spaces.
NEW section include.
Transortron, map router, evolver.
Six new section thirty new movies.
Each have multi soundtracks
and multiple choices of picture,
3D environments and generative sounds.

INTRODUCTION
The "central" idea is to develop analogies
for the organic identity of the city.

The Central City is an audio visual, interactive,
Internet art, experience made by Stanza.
The central city consists of text pieces,
embedded sounds, all made for the internet.
The city becomes an organic networks of grids
and diagrams, juxtaposing urban sounds and sights.
Towers, maps, and the sounds of the city.
Images from computer based drawings
and sounds of London. Networks of information technology
are contrasted with organic networks and city networks.
There are now over 20 areas of the Central City,
and each area has lots of things
within each section so chances are you won´t
find everything. In total some 200 movies can
only be found by clicking through all the separate areas.

These areas are:
universa. constructor. videotron. megalopotron.
univercity. smallworlds. textourama. elevator.
maputor. proser. city central. citoxity. fostexity.
textus. sounder. randomizer. cubix. matrixity. advercity. fibrinet.

In some areas city cells mutate and grow move
around the screen and birth new spaces.
The music "sounder" features a streaming audio cd player
which plays 30 mins of industrial ambient music,
streaming into your home.
A video area called "videotron" plays video "artitextures"
built into a video wall. Motifs of urban design de-constructed
and repeated in a grid. A series of videos shot in London
and continually edited and re processed
to form isolated fragments of our city experience.
Newer areas include auto generative pieces
and audio pieces which can be played like soundtoys.
Each have multi - soundtracks and multiple choices of pictures.

The "city" began as series of open ended experiments
between the artist and the machine
to find the soul of the city. These ideas were formulated
in my paintings and music pieces from 1987 onwards.
Notably the video piece "Conundrum" with lp release
and a series of paintings "Control" from 1989 -1994.

The central city moves away from these "linear" pieces
into a more non linear and interactive experience
giving the audience some control over the artwork.
The city allows you to experience different artworks
depending on how you choose to navigate.
There are also random ways to experience this.
As well as this non linearity, some of the pieces change
over time. Evolving pieces exist, that the "user"
has to control to make them work, the user also
can input changes of sound and picture.
This change in the relationship between the audience
and the artist changes our perception of the artwork.
It is this concept of the individual functioning simultaneously
as producer and consumer that underpins the nature
of THE CENTRAL CITY. The user can choose what
they experience, synthesizing media and phenomena in the process.

My idea was to develop analogies for the organic identity
of the city as an urban community and make links
with electronic networks and virtual communities.
The work is a visual collage reflecting
on certain themes within our urban consciousness.
This is contrasted with man made structures,
as well as patterns and forms of urban design.
The spaces are for dreaming, thinking, meditating and transience.
The form and content of my work is the visual world
of the city and its structure.
A visual labyrinth, a maze of circumstance.
The city itself is always changing; it is always in flux.
Each aspect of city life seems to demonstrate
specific characteristics, which can be developed
into individual parts of the labyrinth,
making up the images that will be used.
The city acts as a focus for community
and as a territorial boundary to explore
the world outside through virtual means.

Subvergence
http://www.stanza.co.uk/subvergence

Synopsis: Subvergence. by stanza

The internet has become the the leading economic
and artistic tool for our age. Words like emergence
are used to explain the propulsion of these medias
into our daily lives. Convergence is used to fuse
the meeting of medias onto the the paradigm
of new technology. Now subvergence is the abstracted
noise based visual destruction of the browser,
the desktop, and the interface.

INTRODUCTION
Subvergence is a new 3d interface. It subverts
and fragments the notion of our old browser.
Instead we have full screen desktop takover.
Subvergence scrambles the icons of the internet.
The icons of the new age are our gifs and jpegs,
the codes that allow us to work, the symbols
of the internet. Numbers, financial information,
source code , softwares are all re-employed.
We worship the computer.

NAVIGATE
Two split screens with multiple sounds 3D
with a multi-layered labyrinth use
and abuse data from our computers.
You can move about the top half and click through
and rotate around this space . In the bottom have immersive 3d
videos pull this information into a video labyrinth
and allow you to move left and right with the control of the images.

CONFUSE
Hidden areas and sounds as well as spoken texts
open up more pages scrambling technologies and ideas.
Some areas also use the speech recognition download plug in.

HISTORY
The first version allows multiple environment.
Later versions will be working in real-time
pulling information from across the web randomly
re-assessing and reinterpreting the information superhighway.
This is also an art web portal that can be used
as an alternative interface for the enjoyment of the web.
What you experience is what you are. A work by Stanza.

PROJECT PLANS... to move it to a new url,
to incorporate a database. To be able to link images
off the web by entering urls and to be able to subvert
and move these images in the 3 d browser. ( funding needed)

Tania Copechi

Biography:

May 29, 1998
0100101110101101.ORG invents the life and works of an imaginary Serbian artist named Darko Maver. The project lasts two years and involves dozens of people from several cities, culminating with the disclosure of the prank the day after Maver is presented at the 48 Biennial of Contemporary Art in Venice.

Dec 15, 1998
The activists buy the domain name vaticano.org, which they use to create and maintain, for an entire year, an \"official\" organ of information for the Holy See, a huge site aesthetically identical to the real one but with slightly modified contents.

May 11, 1999
Creation of the \"hybrids\": files obtained by mixing together stolen works from other Internet artists.

May 11, 1999
A copy is made of Hell.com, the most popular Net art museum. The mirror site is published in an anti-copyright version without password protection. After only two hours 0100101110101101.ORG receives the first threat of legal proceedings for copyright violations from the creators of Hell.com. However, the mirror site remains.

Jun 9, 1999
The activists download and modify Art.Teleportacia, the first art gallery to appear on the Web. The gallery\'s exhibition, \"Miniatures of the Heroic Period,\" is renamed \"Hybrids of the Heroic Period\" and the works on display are radically altered. A long debate on the Web follows between Olia Lialina, creator of Art.Teleportacia, and the supporters of 0100101110101101.ORG\'s tactics.

Sep 12, 1999
A clone of the website belonging to Net artists Jodi is published on the website of 0100101110101101.ORG, this time without any modifications, to demonstrate that certain ideas and practices - such as the authenticity and uniqueness of an artwork - must be considered obstacles to the development of Web art.

Jan 1, 2001
life_sharing: 0100101110101101.ORG continues to challenge notions of artistic ownership giving every Internet user free 24-7 access to 0100101110101101.ORG\'s computer. In applying open source\'s general public license model to the artists\' own computer server, life_sharing radically challenges the concept of privacy and explores the contradictions of intellectual property.

6 Jun 2001
In response to the invitation to participate in the 49th Venice Biennale, 0100101110101101.ORG conceived and compiled \"biennale.py\" as a work of art and a computer virus. The source code of the virus was published and spread from the Slovene Pavilion on the opening day of the Biennale.

e-mail: life_sharing@0100101110101101.ORG
Country: Poland

Life_Sharing
http://WWW.0100101110101101.ORG

Synopsis:

life_sharing is an anagram of \"file sharing\". life_sharing is a transparent computer sharing its hard-disk with the whole world, making all its contents accessible via Internet. From the moment life_sharing started, every Internet user has free 24-7 access to 0100101110101101.ORGís computer: all the archives, current projects, software, and even private e-mail are available to the public.

The idea is both simple and full of implications that go beyond the concept of a work of art being an object of contemplation, and raises political, sociological, philosophical and informational issues. life_sharing determines and underlines problems and contradictions that are no loner aesthetic, they are ethical.

The first of these problems is evidently privacy. life_sharing represents a radical subversion of the concept of privacy, a clear inversion of the perspective from which it has always been considered and discussed. life_sharing is the \"empirical\" demonstration that on the Internet is possible to experiment new forms of interaction and networking, on the condition that we are willing to leave evidently obsolete practices behind us.

In applying open source\'s general public license model to the artists\' own computer server, life_sharing radically challenges the concept of copyright and explores the contradictions of intellectual property.

Teo Spiller

Biography: Not Submitted

e-mail: teo@teo-spiller.org
Country: Slovenia

Synopsis: In this project, visitor writes his own poem; by pressing one of buttons, it results, the poem is converted in one of three forms, typical for the structure of Internet:

1) every word is written as a link to the meaning of it (Websters dictionary)
2) words are written as domain names (www.word.com for example)
3) It links to Yahoo search engine, where it finds all pages on the internet, including this word.

Tom Betts

Biography: Tom is a software artist from London. Since the mid nineties he has been

working with computers to create new forms of audiovisual art. Over the past

few years he has advised and worked with UK art institutions such as the

Tate to develop new approaches to considering software art and has developed

many peices of his own. He has had work shown in Sonar (Barcelona), D.I.N.A.

(Bologna) and the Lux (London). He is a member of the Rhizome Radical

Software Group, HELL/NO-SUCH and has had reviews of his work published in El

Pais, The NYTimes and assorted art journals/magazines

e-mail: tomoo@tomoo.net
Country: Japan

Webtracer
http://www.nullpointer.co.uk/-/tracer.htm

Synopsis: WebTracer is an project based on the intention to visualise the structure of the web.

There are many applications that analyse websites for structural integrity and diagnostic purposes, but few reveal the visual structure that web hypertext creates. Webtracer represents this structure as a three dimensional molecular diagram, with pages as nodes(atoms) and links as the strings(atomic forces) that connect those nodes together.

Within the Webtracer environment the molecular structure of sites can be examined from any angle and any distance. Nodes can be selected to gain further information on their content and a browser launched to visit the corresponding page directly. The molecular structure of the site reflects both the sequence of hyperlinks within actual pages and also the internal structure of the host site's file system.

As such Webtracer generates an interactive molecular diagram that is unique to each site it visits. Tendencies of information design and the intentions of the site designer to promote or demote certain types of information become visually obvious. The resulting structures range from deeply interwoven tapestries to delicate and simple tree designs.

Webtracer is intended as an interactive tool to both visualise the web and allow users to gather information about a site through its structure, analysing the intentions and principles of a site's construction and design.

Tomoo SHIMOMURA

Biography: Born in 1969 Osaka, JAPAN

1993.04 - 1997.10 NIPPON STEEL Information & Communication Systems Inc.

1998.04 - 1999.03 Inter Medium Institute Graduate School: SOUND DESIGN course

2001.04 - Inter Medium Institute Graduate School: Lecturer of NETWORK DESIGN course

[Exhibition]

\"VRML-ART Expo \'99\" at Paderborn, Germany

\"The European Media Art Festival \'99\" at Osnabrueck, Germany

\"Digital Bauhaus: A Vision of Education and Creation for the New Century\" at NTT Inter Communication Center

\"VRML-ART Expo 2000\" at Monterey, California

\"the 14th Stuttgart Filmwinter\" at Stuttgart, Germany

e-mail: tomoo@tomoo.net
Country: Japan

Network Planet Ensemble 2001
http://tomoo.net/

Synopsis: Network Planet Ensemble, is an interactive multi-user virtual 3D world on the Internet which bases on Music of Planets (Harmonice Mundi; by Johannes Kepler).

Viewers can transform themselves into asteroid avatars, move in the space freely and play an ensemble together, listening to his music. A viewer might meet other asteroid avatars (other viewers). Then, all the viewers who do not even know their names become planets of the solar system and play the unexpected ensemble.

This work bases on Kepler\'s idea that he adapted the construction of the universe into the musical scale in order to demonstrate the harmony of the world (Harmonice Mundi). It likens Internet to the vast universal space and disposes client computers connected to the server computer as an asteroid at the virtual universe.

Wolf Kahlen

Biography: Born 1940 Aix-la-Chapelle, Germany
Lives in Berlin, Germany

Video Pioneer, Media Sculptor
1960-65 studies of art, art history and philosophy at the Werkkunstschule Braunschweig,Ateneum Helsinki, Hochschule der K¸nste Berlin, Freie Universit‰t Berlin, Columbia University New York. Since 1969 films and video work, video sculptures, photography and performance. 1970/71 co-initiator of the foundation of Video-Forum des Neuen Berliner Kunstvereins (NBK) inaugurated in 1971 with the 16-mm-film of Kahlen Reversible Processes (production NBK). 1973/74 cofounder and participator in ADA I and ADA II (actions of the avantgarde) in Berlin. 1982 founder, designer and builder of the art center Ruine der K¸nste Berlin,opened in 1985. 1988 founder of the 24 hours artists radio Sender Ruine der K¸nste Berlin (1988-1994). Since 1969 numerous video- and photo-performance-activities and one-man exhibitions in Western and Eastern Europe, in the USA, in Middle- and South-America and in Asia. Among others: 1975 25 Video Tapes Cycle Assimilations; 1982 Arbeiten mit dem Zufall, den es !
nicht gibt, NBK and Neue Galerie Aachen. 1986 Video Sculptures 1969-1986 Galerie am Kˆrnerpark Berlin; 1988 Lichtjahr 19 , (artists, scientists and psychic media on the subject time) Ruine der K¸nste Berlin, contribution to: Berlin - Kulturstadt Europa; 1992 Ephemere St¸cke, Riga/Latvia Museum of Foriegn Art; Museum Manes, Prague; NeuerAachener Kunstverein; 1996 Nothing But Dust, video-, photo-, sound- and dust-installations, Peking Art Museum, 1998 Shanghai Art Museum; Turn Table Hong Kong, Goethe-Institute Hong Kong;
365 answers in/on time, Radio Sender Freies Berlin, 11 hours production; 1999 Inhaling Time &#8211; Exhaling Space, video-, photo-, sound- and dust-installations at IT Park Gallery Taipei; Huang Rui Studio Osaka. Since 1985 continuous video documentations in Tibetan influenced Himalayan countries like Bhutan, Sikkim, Spiti, Nepal, India, Mongolia, Tibet and China, so far 11 productions (90-120 min. each) so called Thang-stong rGyal-po Series. 2000-2003 Three years retrospective in ten parts at Ruine der K¸nste Berlin.
Participation in all major international video group shows like: 1974 Projekt 74, Kunsthalle Kˆln. 1976 video satelite show University of Iowa; 1977 documenta 6, Kassel; 1989 Video-Skulptur retrospectiv und aktuell, 1963-1989, in Cologne, Berlin, Z¸rich etc., with early video sculptures from 1969; 1996-today ifa-travelling exhibition Video in Germany, Hong Kong, Groningen, Rostock, Taipei etc. Internet-shows include: CynetArt Dresden, File 2000 Sao Paulo, Rhizome NYC, ISEA 2000 France, In the centre of the eye of art Warsaw, The Electrical and digital art show Johannesburg South Africa.
Numerous teaching positions home and abroad, among others in Poland since 1975, in Spain 1976, at the University of Iowa 1974 and 1977, at Rutgers-University, New Jersey, and the Massachussetts Institute of technology in 1980/81. Since 1982 professor of Intermedia Art and Sculpture at the Technical University of Berlin. 1985 Consultant in Art and Architecture for the Royal Government of Bhutan.1990 visiting professor at Zheijang University Hangzhou, China, 1992 at the Bauhaus Dessau. Received various prizes, selection: 1965/66 DAAD scholarship to New York. 1969 Villa Romana, Florence. 1977 Villa Massimo, Rom. 1979 Ars Viva-Prize for pioneering work in conceptual photography given by Verband der Deutschen Industrie. 1980/81 PS 1 scholarship to New York.
Video works in public collections include: Nationalgalerie Berlin, Museum of Modern Art New York,
Museum f¸r Neue Kunst ZKM Karlsruhe, Berlinische Galerie Berlin, Muzeum Potocka Krakow, Poland, Museum Ludwig-Neue Galerie Aachen

e-mail: wolf.kahlenqtu-berlin.de
Country: Germany

Sorry, Mister Joyce/Verzeihung, Herr von Goethe/Perdone, Don Cervantes/Excuse me Kukai, I beg your pardon, Milarepa, Sorry Li Bo

http://www.tu-berlin.de/~arch_net_art
http://www.wolf-kahlen.de

Synopsis:
In this sound triptych in Spanish, English or German language, classical literatures, which you know for sure, fall apart, like so many things today, if you are not sensitive or patient enough to receive them rather than act on them. But here you have the chance to re-de-compose them, acoustically. Or make your own versions by use of the words of the poets. As we anyhow may do in our mind, mindful or absent minded, when reading the original texts in a book, the Gutenberg way.

Selbst-Los/Self-Less

http://www.werkleitz.de/projekte/kahlen/open.html

Synopsis: Net artist WOLF KAHLEN is dissolving pixel by pixel, user by user in the net. On a first page. On the second you see and hear your personal pixel, the one, you activated to disappear, solely on the empty page. And on the third page you see all the \'lost\' pixels arriving back and shaping a new WOLF KAHLEN. Look, hear and have the triptych printed out, signed and numbered, the way you, only you see the process taking shape, nobody else has seen this moment of the RITUAL DEATH.

An exiting piece and a very conceptual one, media concerned and at the same time sensual.

The RUINE DER KUENSTE BERLIN presents it to collectors as a present, which WOLF KAHLEN gave them at his 60th birthday.

Zé dos Bois (cultural organization)

Biography:
A Zé dos Bois: é uma estrutura de criação, produção e difusão de arte emergente que propõe uma série de actividades alternativas ‡s propostas institucionalizadas. … uma estrutura nómada, gerida colectivamente desde 1994, que tem ocupado e recuperado diversos espaços abandonados da cidade de Lisboa. … um espaço de experimentação tanto para os artistas como para os projectos que têm o primeiro contacto com o público e o meio artístico. Enquanto colectivo artístico a ZDB apresenta pelas de autoria colectiva que se centram no desenvolvimento de um trabalho crítico acerca da especificidade dos meios culturais, seus valores, usos e abusos. intervenções especificas, normalmente situadas entre a performance e a instalação.
Autores do projecto: Manuel Henriques, Cláudia Castelo, António Gomes & Nuno Horta Santos (barbara says), Francisca Bagulho, Susana Pomba, Natxo Checa e Julie Hopkins. Som de João Kyron

e-mail: zedosbois@ip.pt
Country: Portugal

Synopsis: Transfer assume-se como uma agencia de importação legal de cidadãos interessados em formas de vida alternativas. Através de um questionário um cidadão"o interessado em imigrar para Portugal, pode ter o seu primeiro contacto com a realidade portuguesa. A acção central passa-se no Martim Moniz, o centro multicultural de Lisboa, onde se simula e especula de forma lúdica sobre situações trágicas, ilegais e processuais do processo da imigração. Está também disponível informação útil sobre todos os passos legais do processo de legalização de imigrantes, em Portugal.
O site faz parte de um projecto que integra a exposição \"Situation Zero\" no ‚mbito do Festival \"After the Carnations\", do Yerba Buena Center for the Arts (http://www.yerbabuenaarts.org), centro de arte em S"o Francisco, que decorre de Agosto a Novembro de 2001.
O projecto tem também uma existência física na exposição - uma instalação que consta de um formulário onde se projectam uma sÈrie de mitos e estereótipos sobre a imigração. Depois de preenchido, esse formulário È enviado para a sede do Transfer e a informação depois de tratada estará disponível no site.