| 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. |
| Kurt Baumann b. 1946 | ARTificial ART: lines | http://www.artware-software.com/artificial-art/lines.html | 2001 | Chance, Animation, Software | Java, Artificial Intelligence, | ARTificial ART: lines" is a program using random numbers and a "wiggly" line algorithm to generate a practicallyunlimited stream of organic looking artwork. |
| 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 | bananarama 2000 | http://www.experimenta.org/gallery/signsoflife/2000.htm | 1999 | Animation, Browser, Collage | HTML, | Bananarama 2000 is part of an ongoing project tiled Big Banana Time Inc. Big Banana Time Inc. is an ongoing site-specific body of work dedicated to exploring the vital role of cultural tourism to the Australian economy. This is achieved by utilising the vast number of 'Big Things' such as the Big Pineapple, the Big Banana and the Big Cow as the primary subject for this playful look at Australia's cultural condition. |
| 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. |
| Tracey Benson | dotty's tour of oz | http://home.iprimus.com.au/tbenson/current/dotty.htm | 2000 | Browser, Narrative, Performance | HTML, | Dotty's tour of Oz is an ongoing web novel about a lost tourist named Dotty |
| 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. |
| Scott Carter b. 1979 | !hobgoblin | http://www.madpickle.com/scott/sdd/hobgoblin/ | 2001 | Minimalism, Community, Browser | Database, HTML, Artificial Intelligence | !hobgoblin is, in short, a museum, containing various high quality modern and contemporary artworks, mostly from Scandinavia, that adjusts itself to reflect the decisions, and therefore character, of the user. The works themselves range from simple photos of modern designs to contemporary web-based pieces to more mundane service sites that nonetheless reflect quintessential Scandinavian design practices. The museum also includes contemporary web-based artworks that may or may not have been produced in Scandinavia but that transcend national boundaries. Feel free to add new works to the database. |
| 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 |
| Shoshana Cohen | HomeSweetHome | http://web.macam98.ac.il/%7Eshow/HomeSweetHome/ | 1998 | HTML, | Exploring art on the net, exploring the possibilities of creating and exhibiting art on the net, led me to recognise the homepage as the fundamental and basic form of web publishing. I created a homepage as an attempt to understand the potential of creating art on the net by exploring the basic form of web presence. | |
| Shoshana Cohen | Questions - An Artists Kit for Survival | http://www.wizocollege.macam98.ac.il/s_art/questions/default.html | 1997 | HTML, | 'Questions' was a result of my frustrations and bewilderment over viewing art on the net, and was an attempt to create some order in what I was experiencing.The site was exhibited in ISEA 1997 | |
| 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, | ||
| 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. |
| Joss Deutsch b. 1962 | PDA art | http://www.geocities.com/immjoss/PDAart | 2001 | Abstraction, Prototype, 3D | Custom hardware, | My original artwork (from my youth), as well as the recent artwork is all done on paper, and I haven't really had the time to scan it in to the computer yet. Also, some of the different types of artwork I have done, will probably not come out very well in a computer image scan. But, as every artist, I use a small sketchbook, which I used to carry with me everywhere, and whenever I had an idea for a new drawing I used to sketch it and then when I returned home I used to complete the final drawing based on my original sketch idea. Lately, I have purchased an iPAQ PDA (Personal Digital Assistant). It has a color screen, with a graphic resolution of 240X320 pixels, and data is entered by using a stylus. I downloaded a sketch paint program and started playign with it. I suddenly discovered that this is the best replacement for my original paper sketchbook - it has become my PDS (Personal Digital Sketchbook). I now use it all the time (I carry it with me wherever I go in any case) as a sk... |
| 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. |
| fbwn | fbwn.net | http://www.fbwn.net | 2001 | Performance, Animation, Humor | HTML, | Www.fbwn.net is a placing of devices which, in the same time and space, utilise different modes of diffusion corresponding to the multi-channel nature of our perception of the environment. Introducing a real or virtual environment in which the individual is solicited by different information sources, different injunctions often heterogeneous at the same time. This implies a condition creating new experiences and calling upon new modes of reception, fragmented, juxtaposed, articulating different speeds and intensities. www.fbwn.net is an attempt at the utilisation of shapes in phase with development in contemporary society. |
| 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... |
| GashGirl b. 1984 | dollspace | http://www.thing.net/~dollyoko | 1997 | Hypertext, Narrative, Politics | HTML, | dollyoko floats up from the pond of dead girls |
| GashGirl b. 1984 | liquid_nation | http://www.thing.net/~dollyoko/ID/LN/TEXT/LN01.HTM | 1999 | Hypertext, Narrative, Politics | HTML, | resembling the body called flesh--two entwined serpents will rise out of the invisible--segments set adrift in the network |
| GashGirl b. 1984 | los dias u las noches de los muertos | http://www.thing.net/~dollyoko/LOSDIAS/INDEX.HTML | 1998 | Narrative, Politics, Collage | HTML, | Ghost work of counter-memories, tracing thresholds of impossibilities beyond the blank gaze of pan-capitalism. A drifting carnival of five micro-stages recombines the newest blue-eyed sons of star wars, top-sight trajectories of power and capital, and the living dead who name themselves Zapatistas |
| Glorious Ninth | Who_Owns_Them_Controls | http://www.gloriousninth.com/who_owns_them_controls.html | 2001 | Politics, Abstraction, Activism | Shockwave, HTML, | This piece explores the relationship between ownership and control within the context of interactive digital art. It questions the extent to which artists own or control their works, and equally the extent to which users/participants own or control their interaction. We have constructed this piece by controlling the elements it contains; their forms and the parameters within which they interact with each other. But as the piece is programmed in such a way that it continuously changes, we have only limited control over its evolution. The users are required to choose between having control over the word 'themselves'or listening to uninterrupted sound. |
| 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. |
| diana jeon | being invisible | http://www.flex.com/~dianaj | 2000 | Narrative, | Flash, | experimental narrative flash web installation about a pregnancy gone wrong. |
| 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. |
| Raivo Kelomees b. 1960 | Cybertower | http://old.artun.ee/cybertower/ | 1997 | Community, Minimalism, | HTML, Custom hardware, | In collaboration with Tiia Johannson, Nelli Rohtvee and Virve Sarapik.This is Tower of Babel in cyberspace. |
| Raivo Kelomees b. 1960 | SelfSearch | http://www.online.ee/~offline/selfsearch/ | 2000 | Performance, Video, | HTML, Video camera, | Selfsearch during the midnight sun close to the Polar Circuit. |
| 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. |
| chiu kwong man b. 1966 | sex lies and fairy tales | http://www.sexliesandfairytales.net | 2001 | Narrative, | Flash, | If Little Red Riding-Hood was an attempt at mixing randomly associated images of a biographical nature, then Little snow White is an all out political attack on two of thegreediest corporations who have had a direct influence on modern popular culture."A survey of American schoolchildren found that ninety-six percent could identify Ronald McDonald.The only fictional character with a higher degree of recognition was Santa Claus." (Pearson) |
| 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. |
| OllO b. 1959 | OllO | http://www.ollografik.net | 2000 | Collage, Abstraction, | HTML, Flash, | lomo picture et collages for wallpaper.Free art for your computer |
| Scott Paterson b. 1969 | *-scope | http://www.sgp-7.net/proj/scope/index2.html | 1999 | 3D, Narrative, Community | 3D graphics, Perl, HTML | *-scope is an experiment employing time-based narratives and vrml. this project attempts to uncover new spatial characterizations through linear and non-linear spatial descriptions by allowing users to become producers in the iterative dialog itself. an initial narrative is provided as a catalyst for response. a kaleidoscopic scene, sensitive to user's movements, oscillates between various states of transparency, alignment and connectedness. the resulting experience being unique to each viewer. traces of user's thoughts and activities imbue *-scope with a character that over time can develop a palimpsest such that this instrument can be known. |
| Scott Paterson b. 1969 | Prototype for Static Vehicle | http://www.sgp-7.net/proj/is01/ | 2001 | 3D, Community, Telepresence | 3D graphics, Perl, Custom hardware | statvhcl explores the possibility for protocols between the virtual and the real, that are interfaces between the activity of our daily lives and the space of the internet. an architecture as explanatory construct between our bodies and our world, through which we can inhabit and demarcate place within an ever-evolving indeterminate network that is the internet. |
| 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/). |
| Carlos Rosas | coded works | http://www.overtheedge.net/~rosas | 2001 | Performance, Video, Narrative | Flash, Shockwave, Custom hardware | recent web work |
| Carlos Rosas | transitional | http://www.overtheedge.net | 2000 | Video, Audio, Narrative | Shockwave, | |
| 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 |
| Nita Sturiale b. 1965 | 5Ideas | http://5ideas.artscience.org | 2001 | Performance, Hypertext, Community | HTML, Video camera, | Five Ideas: Online, In the Mail, and In Person was part of the Boston Cyberarts Festival 2001. This three-part project explored the intersections of art and science, medium and audience, image and information.The "Online" portion of the Five Ideas consists of an interactive web site that unfolded over the course of 8 weeks (from March 10, 2001 to April 27, 2001) and included images, writing, sounds, discussion boards and guided interactivity that invited visitors to engage with the ideas being presented by all five artists. The "In the Mail" Portion of Five Ideas was an illustrated postcard series created by the participating artists, exploring topics ranging from memory, magnetism, biotechnology, sound and emotion. As the cards were sent out additional content was launched on the web site. Each of the five idea cards was sent to 1600 recipients every 10 days.The "In Person" portion was a live event of five short presentations and a dessert reception. It occurred on Friday April 27... |
| 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 | Animal Locomotion | http://www.mbvan.org/mbvan/proj/muybr/ | 1998 | Algorithmic, Hypertext, | C/C++, Perl, Java | Animal Locomotion" is a multi-layered reprocessing of images from Muybridge's and Thomas Eakins' photographs of humans and animals in motion. It starts with drawings made from the photos which are then reprocessed by image manipulation software triggered by viewer interaction. The pages which come up when the viewer comes to the site are in the state at which the last viewer left off--so emphasizing that we always enter into the midst of a process over which we have only limited control. The choice of these images by Muybridge and Eakins is placed in a context which raises questions about the way art objectifies its subjects: so, too, do the life processes in which we find ourselves immersed seem to objectify us. |
| Myron Turner | Animal Locomotion | http://www.mbvan.org/mbvan/proj/muybr/ | 1998 | Algorithmic, Hypertext, | C/C++, Perl, Java | Animal Locomotion" is a multi-layered reprocessing of images from Muybridge's and Thomas Eakins' photographs of humans and animals in motion. It starts with drawings made from the photos which are then reprocessed by image manipulation software triggered by viewer interaction. The pages which come up when the viewer comes to the site are in the state at which the last viewer left off--so emphasizing that we always enter into the midst of a process over which we have only limited control. The choice of these images by Muybridge and Eakins is placed in a context which raises questions about the way art objectifies its subjects: so, too, do the life processes in which we find ourselves immersed do to us. |
| Myron Turner | Autobiography | http://www.umanitoba.ca/mbvan/hpgs/auto | 1996 | Narrative, Hypertext, | HTML, C/C++, | Autobiography" was one of the earliest web sites to use Tom Boutell's GD1.2 C library for manipuplating GIFs. It is part of a installation using lightboxes and a second computer running my own DOS-based graphics software to display the same content as shown on the web site. The point was the fluidity of digital media and digital fluidity as a metaphor for memory. |
| 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. |
| Jody Zellen b. 1961 | ghost city | http://www.ghostcity.com | 2000 | Animation, Hypertext, Narrative | HTML, Flash, | |
| 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! |
| boaz zippor b. 1972 | something | http://www.anything.it/something | 2001 | Abstraction, Animation, Collage | Flash, HTML, | something.... |
| boaz zippor b. 1972 | something 2 | http://www.geocities.com/b_zippor | 2001 | Animation, Abstraction, Collage | Flash, HTML, | something more... |