1|Vol. 8 No. 1, '08|
2|Vol8_No1.html|mag_sat.gif|Vol. 8 No. 1 table of contents|||
1| |
4|editorial|
2|ia8_1_TOC_acks_editorial_lichty.pdf|mag_sat.gif|thank you for your patience|Patrick Lichty| Patrick Lichty introduces the Social Fabrics exhibition on fashion, technology and wearable New Media -- hosted by the LEONARDO Educational Forum at the 2008 College Art Association in Dallas Texas -- which he co-curated by Susan Ryan of Louisiana State University. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_Foreword_Shanken.pdf|mag_sat.gif|foreword from leonardo educational forum|Edward Shanken|  Edward Shanken introduces the Leonardo Education Forum (LEF) as sponsor of Social Fabrics. (Vol. 8 No. 1, '06)|
1| |
4|essays
2|ia8_1_SocialFabrics_WearableTechnologyArt_Ryan.pdf|mag_sat.gif|what is wearable technology art?|Susan Elizabeth Ryan| Susan Ryan proposes that wearable technology projects contribute to a history of projects that might not seem to be linked together or thought of as part of a cohesive practice. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_BuildingaCultureofUbiquity_Lichty.pdf|mag_sat.gif|building a culture of ubiquity|Patrick Lichty| Patrick Lichty's presentation, originally given at the Emotional Architectures summit at the Banff New Media Institutein 2000, illustrates changes in the culture of ubiquity that is based on the proliferation of (mobile information devices) and discusses the impact of wearable computing on the relationships between body and space. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_DressForStress_Ryan.pdf|mag_sat.gif|dress for stress: wearable technology and the social body|Susan Elizabeth Ryan| Susan Ryan considers the work of artists, designers, and activists who, since the 1990s, have worked with clothing as survival mechanism and social tool -- a "body of records" of technological, biological, and performable wearables that are vehicles for ideas and collective experience. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_LovinkInterview_Ryan.pdf|mag_sat.gif|a virtual interview with geert lovink|Susan Elizabeth Ryan| Susan Ryan discusses communication-oriented wearable technology with media theorist, critic, and activist Geert Lovink who teaches at the Institute for Networked Cultures, University of Amsterdam. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_CuriousApparel_Beloff.pdf|mag_sat.gif|the curious apparel: wearables and the hybronaut|Laura Beloff| Laura Beloff investigates wearable artistic experiments that explore concepts related to ubiquitous computing and to the merger of virtual and physical space in a hybrid space. In her research, she introduces the figure of the Hybronaut, a person coupled with a wearable device, who exists in hybrid space. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_Negotiations_KostovaRobinson.pdf|mag_sat.gif|negotiations|Daniela Kostova and Olivia Robinson| Negotiations by Daniela Kostova and Olivia Robinson, an interactive performance system consisting of two connected costumes,  explores issues of cross-cultural communication using readily available digital effects and surveillance technologies. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_Body-as-Interface_SkriverHansen.pdf|mag_sat.gif|the body-as-interface|Anne-Marie Skriver Hansen| The essay proposes a set of ideas behind physical interfaces that provide us with the ability to express abstract concepts in the hybrid of virtual and physical worlds. It considers the types of communication that may arise as a result from the linking of body and mind, and it debates the use of stimulus in the communication with other people and our surroundings. (Vol. 8 No. 1, '06)|
2|ia8_1_SocialFabrics_CraftingtheWearableComputer_Kettley.pdf|mag_sat.gif|crafting the wearable computer|Sarah Kettley| Sarah Kettley outlines a novel methodology for the development of computational wearable artefacts as everyday sites for authentic engagement. This methodology comprises a set ofpreliminary protocols for craft in design, a novel approach to the identification of distributed usergroups, and a new method for the evaluation of wearable artefacts. (Vol. 8 No. 1, '06)|
1| |
4|free radical|
2|ia8_1_FreeRadical_HighPop_Cowlishaw.pdf|mag_sat.gif|What and Why Is High-Pop?|Brian Cowlishaw| Brian Cowlishaw discusses the phenomenon of "high-pop" -- a term coined by Jim Collins' in his 2002 book High-Pop: Making Culture into Popular Entertainment --  and the influence and marketability of transforming "high" into "pop" culture. (Vol. 8 No. 1, '06)|
1| |
4|social fabrics exhibition|
2|ia8_1_SocialFabrics_Catalogue.pdf|mag_sat.gif|catalogue|Leonardo Educational Forum Exhibition| Descriptions of works. (Vol. 8 No. 1, '06)|
1| |
1|Vol. 6 No. 2, '06|
2|Vol6_No2.html|mag_sat.gif|Vol. 6 No. 2 table of contents|||
1| |
4|editorial|
2|Vol6_No2_editorial_lichtypaul.htm|mag_sat.gif|introduction|Patrick Lichty, Christiane Paul| In collaboration with the ISEA 2006 Festival, intelligent agent is launching a special issue featuring the papers of the ISEA 2006 Symposium both online and as a print-on-demand magazine. (Vol. 6 No. 2, '06)|
1| |
4|transvergence|
2|Vol6_No2_transvergence_anderson.htm|mag_sat.gif|aporias of the digital avant-garde|Steve Anderson|The article maps two divergent trajectories within music videos, design-oriented short films, and motion graphics created between 1995 - 2005: a mode of remix-based montage inspired by open source programming communities and peer-to-peer networks; and the "digital analogue" as a mode of imaging that foregrounds the material basis of digital production. (Vol. 6 No. 2, '06)|
2|Vol6_No2_transvergence_ippolitoblais.htm|mag_sat.gif|art as antibody|Jon Ippolito and Joline Blais|This essay focuses on two of the most potent features of new media art's toolkit: perversion as technique for producing cultural forms and execution as technique for distributing them. Some have described the new powers art wields, such as perversion and execution, as viral. The best metaphor for art's contemporary role may be a microbe, but one internal rather than external: the antibody. (Vol. 6 No. 2, '06)|
2|Vol6_No2_transvergence_rossiter.htm|mag_sat.gif|organized networks, transdisciplinarity and new institutional forms|Ned Rossiter|Rossiter investigates emergent social-technical dynamics of communication, production, and organization in the network cultures of the education system. The paper describes and analyzes the emergence of "organized networks" as new institutional forms. (Vol. 6 No. 2, '06)|
2|Vol6_No2_transvergence_bosma.htm|mag_sat.gif|voice and code|Josephine Bosma|Bosma examines connections between oral expressions of language (speech and song) and programming languages. Voice is used as an entry point for reflecting on the human aspect in the languages that control our machines, networks, and systems.  (Vol. 6 No. 2, '06)|
2|Vol6_No2_transvergence_cattszurr.htm|mag_sat.gif|towards a new class of being - the extended body|Oron Catts and Ionat Zurr|The Extended Body, developed by the TC&A (Tissue Culture & Art) Project, can be seen as a way to define a new category of life: the biomass of living cells and tissues that have been separated from a unified "body." The Extended Body draws attention to the need for re-examining current taxonomies and hierarchical perceptions of life. (Vol. 6 No. 2, '06)|
1| |
4|community domain|
2|Vol6_No2_community_domain_hamilton.htm|mag_sat.gif|absence in common: an operator for the inoperative community|Kevin Hamilton|Hamilton argues that a phenomenology of presence is crucial to a discussion of where and how a "community domain" is possible. Communication itself, and the technological means by which it is achieved, have emerged as an important and material way in which ideals of community are inscribed into culture. (Vol. 6 No. 2, '06)|
2|Vol6_No2_community_domain_blais.htm|mag_sat.gif|indigenous domain: pilgrims, permaculture and perl|Joline Blais|The variety of forms of authorship, collaboration, and resource sharing across cultures provides a formidable challenge for definitions of creativity and value. Parallel movements in indigenous culture, permaculture, and digital culture could suggest an alternative to the intellectual property regime at the base of colonial cultures. (Vol. 6 No. 2, '06)|
2|Vol6_No2_community_domain_traumane.htm|mag_sat.gif|media references - knowledge networks in experimental arts|Mara Traumane|Traumane outlines parallels between analogue collaborative, creative experiments and structures and approaches in today's new media art field. She explores the self-definition of experimental arts practices; the references that provide context for these initiatives; their methods of discussion and documentation, and the role of media in this process. (Vol. 6 No. 2, '06)|
2|Vol6_No2_community_domain_daniel.htm|mag_sat.gif|public secrets: information and social knowledge|Sharon Daniel|Daniel discusses the "public secrets" of the Prison Industrial Complex and its pervasive network of monopolies and human rights abuses in the context of an online project that documents conversations with women prisoners at the Central California Women's Facility (CCWF) in Chowchilla, California. (Vol. 6 No. 2, '06)|
2|Vol6_No2_community_domain_nisi_etal.htm|mag_sat.gif|inner city locative media: design and experience of a location-aware mobile narrative|Valentina Nisi, Dr. Ian Oackley, Dr. Mads Haahr|The authors discuss the Media Portrait of the Liberties (MPL), a project using location-aware PDAs to present historically inspired video stories about an inner city area of Dublin, Ireland, known as "the Liberties." (Vol. 6 No. 2, '06)|
2|Vol6_No2_community_domain_scholz.htm|mag_sat.gif|the participatory challenge: incentives for online collaboration|Trebor Scholz| (Vol. 6 No. 2, '06)|
1| |
4|interactive city|
2|Vol6_No2_interactive_city_sant.htm|mag_sat.gif|redefining the basemap|Alison Sant|The paper questions the methodology of the traditional "base map" as it is used in current collaborative mapping projects employing locative media technologies and proposes alternative approaches for mapping the city as a space of events. (Vol. 6 No. 2, '06)|
2|Vol6_No2_interactive_city_struppek.htm|mag_sat.gif|urban screens - the urbane potential of public screens for interaction|Mirjam Struppek|Urban Screens investigates how the growing infrastructure of dynamic digital displays in urban space, currently dominated by commercial forces, can be utilized in the context of artworks exploring the interconnectedness of public space, interaction, and new media. (Vol. 6 No. 2, '06)|
2|Vol6_No2_interactive_city_ancel.htm|mag_sat.gif|from scenography to planetary network: shanghai world expo 2010 at isea san jose 2006|Franck Ancel|In the context of the upcoming World Expo in Shanghai, Ancel takes a look back at intersections between art and technology at previous World Fairs and suggests a movement "from scenography to planetary network" to develop a vision for the interactive city of the future. (Vol. 6 No. 2, '06)|
2|Vol6_No2_interactivecity_makela.htm|mag_sat.gif|ars memorativa in the interactive city: private layers in public|Tapio Makela| (Vol. 6 No. 2, '06)|
1| |
4|pacific rim|
2|Vol6_No2_pacific_rim_murray.htm|mag_sat.gif|the archival event: thinking electronic art via cornell's goldsen archive of new media art|Timothy Murray|Murray presents Cornell University's Rose Goldsen Archive of New Media Art, which, among other holdings, houses extensive documentation from the Pacific Rim and features two specialized collections of immense value for the understanding of contemporary Chinese art. (Vol. 6 No. 2, '06)|
2|Vol6_No2_pacific_rim_kusahara.htm|mag_sat.gif|device art: a new form of media art from a japanese perspective|Machiko Kusahara|Drawing from examples of Japanese new media art, Kusahara discusses "device art" as a form of media art that integrates art and technology, as well as design, entertainment, and popular culture and makes technology the focus of the artwork. (Vol. 6 No. 2, '06)|
1| |
1|Vol. 6 No. 1, '06|
2|Vol6_No1.html|mag_sat.gif|Vol. 6 No. 1 table of contents|||
1| |
4|editorial|
2|Vol6_No1_editorial_lichty.htm|mag_sat.gif|hello, katrina! so much for new media art|Patrick Lichty|In the context of the techno infrastructure breakdown during hurricane Katrina, Patrick Lichty discusses the (im)possibilities of independence from information grids and the long-term viability of platforms for creating new media art. (Vol. 6 No. 1, '06)|
1| |
4|interfacing|
2|Vol6_No1_interface_kerne.htm|mag_sat.gif|doing interface ecology: the practice of metadisciplinarity|Andruid Kerne|The interface can be modeled as an ecosystem -- connected, dynamic, and characterized by relationships -- and can be understood as a border zone between heterogeneous systems of representation. Andruid Kerne uses notions of sensation, embodiment, and semiotics to initiate a process of metadisciplinarity that addresses the range of systems of representation involved in the writing and production of his paper. (Vol. 6 No. 1, '06)|
2|Vol6_No1_interface_ziv.htm|mag_sat.gif|parallels between suprematism and the abstract, vector-based motion graphics of flash |Yuli Ziv|Yuli Ziv explores parallels between aesthetic concepts surfacing in both the suprematist art movement in the beginning of the 20th century and the abstract, vector-based motion graphics associated with the Macromedia Flash software / authoring environment. The subject of analysis is not the influence of Suprematism on Flash as a tool in general but on the -- to a certain degree standardized -- abstract forms that the software produces. (Vol. 6 No. 1, '06)|
2|Vol6_No1_interface_tosa.htm|mag_sat.gif|cultural computing: ZENetic computer|Naoko Tosa|Through her project ZENetic Computer -- which projects the style of communication developed by Zen schools over hundreds of years into a virtual world -- Naoko Tosa explores "Cultural Computing" as a form of cultural translation that uses scientific methods to represent aspects of culture. (Vol. 6 No. 1, '06)|
2|Vol6_No1_interface_hertz.htm|mag_sat.gif|drunk on technology, waiting for the hangover: a test plot|Paul Hertz|Paul Hertz's structures 16 short texts on topics ranging from "activism" and "network" to "collaboration" and "bandwidth" by means of a Graeco-Latin Square of order 4 -- a combinatorial structure frequently used in agricultural test plots, typically for combining plant strains with different fertilizers in such a way that no plants or fertilizers are repeated in any row or column of the square. (Plants: Network, Collaboration, Art, Emergence; Fertilizers: Activism, Bandwidth, Naming, Wildcard) (Vol. 6 No. 1, '06)|
2|Vol6_No1_pescador.htm|mag_sat.gif|thirteen ignodicta about this art|Juan Teodosio Pescador|Pescador's thirteen short statements reflect on possible effects of art and suggest appropriate viewer responses. "This art is loaded with cultural values. Fight, run, or surrender." (Vol. 6 No. 1, '06)|
1| |
4|free radical|
2|Vol6_No1_freerad_fear_polli.htm|mag_sat.gif|the sound of fear|Andrea Polli|Using a frightening experience on a flight from Chicago to Sao Paulo as a starting point, Andrea Polli discusses the effects of ultrasound and infrasound on the body; the connection between sound and memory points; and whether the emotional, narrative content of sound might enhance the understanding of abstract information. (Vol. 6 No. 1, '06)|
1| |
4|book review|
2|Vol6_No1_reviews_book_orlan_myers.htm|mag_sat.gif|"Carnal Art: Orlan's Refacing" by C.Jill O'Bryan|Ceri Myers|Ceri Myers reviews C. Jill O'Bryan's book on the works of the French artist Orlan and their conceptual foundations. (Vol. 6 No. 1, '06)|
2|Vol6_No1_reviews_whale_clemons.htm|mag_sat.gif|"Whale!" by K.L. Evans|Leigh Clemons|Leigh Clemons reviews "Whale!," a poetic, intense, and complex reading of Herman Melville's famous tale of obsession and fate through the lens of Wittgenstein's theories. In several ways, "Whale!" relates to concerns of new media pracitioners, such as metastructures of subjects, objects, practice, and theory. (Vol. 6 No. 1, '06)|
1| |
1|Vol. 5 No. 2, '05|
2|Vol5_No2.html|mag_sat.gif|Vol. 5 No. 2 table of contents|||
1| |
4|new media / photoblogging|
2|Vol5_No2_new media_ryan.htm|mag_sat.gif|what's so new about new media art?|Susan Elizabeth Ryan|Susan Ryan traces the art-historical lineage of the slippery term "new media" -- from various forms of non-traditional, "oppositional media" to video. Materialism vs. dematerialization, art vs. commerce, and hybrid practices emerge as issues that have characterized "new media" throughout the decades. (Vol. 5 No. 2, '05)|
2|Vol5_No2_sxsw_cloninger.htm|mag_sat.gif|geeks inadvertently making net art: sxsw 2005|Curt Cloninger|Cloninger reports on his attendance of the South by Southwest (SXSW) Interactive conference where the participants were active flickr.com users: "What resulted was a form of online, indexed photoblogging of a common event that comes closer to achieving the holy grail of compelling non-linear narrative than anything I've come across in a long time." (Vol. 5 No. 2, '05)|
1| |
4|interviews|
2|Vol5_No2_massumi_markussen+birch.htm|mag_sat.gif|brian massumi: transforming digital architecture from virtual to neuro|Thomas Markussen & Thomas Birch|At the Neuroaesthetics conference in London, Markussen & Birch talked to Brian Massumi about the increasing impact of neuroscience on contemporary architectural theory, which marks a clear change of interests, if not a paradigm shift. Is "virtual" becoming "neuro"? (Vol. 5 No. 2, '05)|
2|Vol5_No2_novak_markussen+birch.htm|mag_sat.gif|minding houses - a conversation with marcos novak|Thomas Markussen & Thomas Birch|Markussen & Birch talk to architect Marcos Novak, who utilizes nanotechnology in constructing houses of the future out of neurons and atomic particles. Beetle-like buildings with built-in central nervous systems and the ability to think independently are gradually coming to life. (Vol. 5 No. 2, '05)|
1| |
4|free radical|
2|Vol5_No2_freerad_sociolotron_rider.htm|mag_sat.gif|redefine the grind: sociolotron and the atypical gamer|Shawn Rider|Shawn Rider explores social dynamics, sexuality, and violence in "Sociolotron," an online game that distinguishes itself from all of the better-known massively-multiplayer online role-playing games (MMORPGs) through the dogged pursuit of *removing* any obstacle to character actions. Actions like rape, theft, and general assault or mayhem are possible, and character's "social" interactions range from basic sit / stand positions to sexual activities. (Vol. 5 No. 2, '05)|
1| |
4|game review|
2|Vol5_No2_reviews_gits_lichty.htm|mag_sat.gif|ghost in the shell: stand alone complex|Patrick Lichty|Patrick Lichty reviews the "Ghost in the Shell: Stand Alone Complex" video game based on the Masamune Shirow cyberepic that has become a staple of anime culture. (Vol. 5 No. 2, '05)|
1| |
4|book review|
2|Vol5_No2_reviews_encapsulations_sondheim.htm|mag_sat.gif|book encapsulations|Alan Sondheim|Alan Sondheim reviews a selection of books, including "PDF Hacks, 100 Industrial-Strength Tips & Tools," "Game Console Hacking," and "Smart Home Hacks." (Vol. 5 No. 2, '05)|
1| |
1|Vol. 5 No. 1, '05|
2|Vol5_No1.html|mag_sat.gif|Vol. 5 No. 1 table of contents|||
1| |
4|editorial|
2|Vol5_No1_editorialeber.htm|mag_sat.gif|artistic virtual environments, aesthetics and experiences|Guest Editor: Dena Elisabeth Eber|This special issue of Intelligent Agent presents six essays that explore the aesthetics connected with virtual environments created and presented as works of art, works about art, or related genres. The essays primarily focus on the aesthetic experience for participants, aesthetic analysis, content, emotional content, emotional experiences, and the qualities of the medium. (Vol. 5 No. 1, '05)| 
1| |
4|artistic virtual environments|
2|Vol5_No1_ave_eberlittlebetz.htm|mag_sat.gif|the aesthetic experience, emotion and an artistic virtual environment|Dena Eber, Gregory Little, Brian Betz|Eber, Little, and Betz explore the aesthetic experience for participants interacting with artistic virtual environments (AVEs). Their essay presents a formal study that measures the experience through the emotional response of participants, which gauges the perceived emotional content of the AVE. The authors examine if this kind of content coupled with the immersive qualities of the AVE facilitates a rich aesthetic experience and thus a high feeling of presence for the participant. (Vol. 5 No. 1, '05)| 
2|Vol5_No1_ave_anstey.htm|mag_sat.gif|agents in love - on the construction and use of emotional characters in vr|Josephine Anstey|Anstey discusses her approach to interactive drama that provides an "emotional terrain" for the participants to discover. According to Anstey, emotional response is best elicited by applying dramatic tools for narrative media to immersive virtual environments and using artificial intelligent agent-actors that guide participants. Anstey applies ideas similar to Alfred Hitchcock's psychological approach to a scripting process in which the theme centers on anxiety and emotional tension. (Vol. 5 No. 1, '05)|
2|Vol5_No1_ave_mcmahanbuckland.htm|mag_sat.gif|cognitive schemas and virtual reality|Alison McMahan and Warren Buckland|McMahan and Buckland explore how cognitive-semiotic theories from film can be applied to virtual environments. The authors present a number of cognitive schema theories that explain corporeal understanding in virtual environments such as kinesthetic image schemas, which propose that perceptions are based on experience from bodily sensory-motor inputs. (Vol. 5 No. 1, '05)|
2|Vol5_No1_ave_elnasr.htm|mag_sat.gif|applying principles from performance arts for an interactive aesthetic experience|Magy Seif El-Nasr|El-Nasr argues that heightening tension and drama intensify involvement and engagement for participants in a virtual environment (VE). The author uses acting and screenwriting theories to put forth new methods for creating VEs, including a multi-agent interactive drama approach. (Vol. 5 No. 1, '05)|
2|Vol5_No1_ave_crockett.htm|mag_sat.gif|building a bridge to the aesthetic experience|Tobey Crockett|Tobey Crockett proposes an "aesthetics of play and empathy," a new criterion for understanding artistic virtual environments. The empathy component is grounded in the fact that the participant is not totally certain which avatar represents her, thus melding her into a group identity and forging an opportunity for empathy. (Vol. 5 No. 1, '05)|
2|Vol5_No1_ave_davis.htm|mag_sat.gif|considerations of the corporeal: moving from the sensorial to the social body|Juliet Davis|Juliet Davis highlights the often overlooked qualitative differences between physical sensations in real life and those in a virtual space. She discusses Diane Gromala's artwork The MeatBook, as well as a number of other artists and theorists who ultimately move the discussion of aesthetic experience into the broader social and cultural realm. (Vol. 5 No. 1, '05)|
1| |
4|exhibition review|
2|Vol5_No1_reviews_siggraphartgallery_eber.htm|mag_sat.gif|Spacetime in "Threading Time": The SIGGRAPH 2005 Art Gallery|Dena Elisabeth Eber|On the background of Einstein's notion of an absolute "spacetime," Eber discusses  how the works exhibited in the 2005 SIGGRAPH art gallery  trace possible relationships between time and space. (Vol. 5 No. 1, '05)|
4|game review|
2|Vol5_No1_reviews_sudeki_lichty.htm|mag_sat.gif|"sudeki" by microsoft / xbox|Patrick Lichty|Patrick Lichty reviews  "Sudeki," a fantasy RPG, in which the sorcerer princess Ailish and her team determine the fate of the worlds of light and dark. (Vol. 5 No. 1, '05)|
1| |
4|software / tool review|
2|Vol5_No1_reviews_derivativetouch_lichty.htm|mag_sat.gif|"derivative touch designer" by derivative, inc.|Patrick Lichty|Patrick Lichty tests "Derivative Touch Designer," a VJ software and "media development artware" that incorporates a visual development environment, a 3d / 2d animation application, and the ability to web-embed visual synths. (Vol. 5 No. 1, '05)|
1| |
1|Vol. 4 No. 4, '04|
2|Vol4_No4.html|mag_sat.gif|Vol. 4 No. 4 table of contents|||
1| |
4|thread: gaming|
2|Vol4_No4_gaming_cowlishaw.htm|mag_sat.gif|the narrowing experience of "experience" in video role-playing games|Brian Cowlishaw|Cowlishaw examines a key concept of Role-Playing Games, "leveling up," and its effects on the experience of games and reality. "Leveling up" refers to the gaining of a higher a level -- with statistical improvements, new abilities, and improved equipment -- through the gathering of experience points during the playing of a game. This concept is spreading to all gaming genres, affecting the notion of narrative and leading to an increasingly narrow definition of "experience." (Vol. 4 No. 4, '04)| 
2|Vol4_No4_gaming_leonard.htm|mag_sat.gif|high tech blackface -- race, sports video games and becoming the other|David J. Leonard|Leonard discusses race in sports video games and argues that these virtual competitions replicate the ideologies and nature of 19th century minstrelsy. The resemblance to minstrelsy transcends the fact that the players competing are mostly white "cyber athletes" and unfolds in ideologies, images and power relations that create a high-tech form of blackface. (Vol. 4 No. 4, '04)|
1| |
4|thread: video in context|
2|Vol4_No4_video_adams.htm|mag_sat.gif|video cellphones, war, and vidblinks: exploring the rhetorical constraints of time and place|John C. Adams, Joshua Huling, Janet Simons|The authors discuss Web-enabled cellphone video recording devices as a site for creating and broadcasting rhetorical discourses. Their project explores the rhetorical constraints of time and place in the production of persuasive  messages for video cellphones, particularly the operative positions advanced in arguments for and against war. (Vol. 4 No. 4, '04)| 
2|Vol4_No4_video_szpakowski.htm|mag_sat.gif|a concordance to 'some quick time movies'|Michael Szpakowski|Michael Szpakowski annotates his ongoing online project "Some Quick Time Movies" with brief notes -- technical as well as biographical -- that cover topics ranging from nature and childhood to compression and the frame. (Vol. 4 No. 4, '04)| 
1| |
4|free radical|
2|Vol4_No4_freerad_afterlandart_stalbaum.htm|mag_sat.gif|After land art: database and the locative turn|Brett Stalbaum|Stalbaum poses the question what art after modernism and conceptualism might learn from the history of land art. Emerging from conceptualist strategies and at the same time connecting to modernism, land art is based in abstraction bound to material existence. Stalbaum proposes that the binding of abstraction to material actuality that occurs in database -- which mediates data relations between the cultural / social and the material world -- allows for an artistic practice that focuses on located actions instead of visualization. (Vol. 4 No. 4, '04)| 
1| |
4|performance reviews|
2|Vol4_No4_reviews_spooky_lichty.htm|mag_sat.gif|rebirth of a nation by dj spooky|Patrick Lichty|A review of "Rebirth of a Nation," the first installment of a trilogy by Paul Miller a.k.a. DJ Spooky, consisting of remixes of polemic silent films. Miller's remapping and remixing of the Civil War tropes from D.W. Griffith's "Birth of a Nation" create a critical matrix encompassing the Civil War, Griffith's interpretation, and their resonances with the social ills of the post-millennial society. (Vol. 4 No. 4, '04)|
2|Vol4_No4_reviews_monk_lichty.htm|mag_sat.gif|meredith monk at oberlin college|Patrick Lichty|Lichty reviews a performance at Oberlin College by legendary vocalist Meredith Monk who has had an incredible influence on all aspects of sonic art and, as Lichty argues, on electro-acoustic and new media sound art. (Vol. 4 No. 4, '04)|
2|Vol4_No4_reviews_palladio_nechvatal.htm|mag_sat.gif|Palladio: a multi-media spectacle by Ben Neill and Bill Jones|Joseph Nechvatal|Joseph Nechvatal reviews "Palladio," an interactive movie / opera / rock concert / theatre spectacle by pioneer hybrid electro-acoustic composer Ben Neill and digital media artist Bill Jones that was performed at Symphony Space in New York City. The project is a multi-layered DJ / VJ culture jamming adaptation of Jonathan Dee's book "Palladio" that immerses us in the indistinct question: "In a world where the line between culture and commerce is increasingly blurred, can you really sell out anymore?" (Vol. 4 No. 4, '04)|
1| |
4|book reviews|
2|Vol4_No4_reviews_content_lichty.htm|mag_sat.gif|"content" by rem koolhaas, amo / oma|Patrick Lichty|Patrick Lichty reviews "Content" by architect Rem Koolhaas (with the groups AMO / OMA) -- an amorphous mass of nuggets from mass culture, sociology, urban architecture, design, architecture, and advertising. The volume captures the millennial, global aesthetic of excess and builds a map of its own navigation through the First World media sprawl.  (Vol. 4 No. 4, '04)|
2|Vol4_No4_reviews_writingmachines_mancini.htm|mag_sat.gif|"writing machines" by n. katherine hayles|Donato Mancini|Mancini reviews Katherine Hayles' "Writing Machines," which examines the specificities of electronic text and the ways in which the electronic medium constructs it. The emergence of electronic literatures in the 20th century and the ever-increasing use of new media in literature make it impossible to ignore the role that media and materiality play in the creation of literary meaning.  (Vol. 4 No. 4, '04)|
1| |
1|Vol. 4 No. 3, '04|
2|Vol4_No3.html|mag_sat.gif|Vol. 4 No. 3 table of contents|||
1| |
4|editorial|
2|Vol4_No3_editoriallichty.htm|mag_sat.gif|new media 2.0 -- why the next revolution might not be webcast|Patrick Lichty|Patrick Lichty discusses new media's next phase of permutation -- the channels opening through the continuing development of mobile technologies, networked performance, peer-to-peer interventions and data aggregation. (Vol. 4 No. 3,'04)|
1| |
4|thread: architecture|
2|Vol4_No3_architecture_silva.htm|mag_sat.gif|cyberspace: the architecture of instability|Camille Silva|Silva discusses virtual environments as a new social space for communication that leads to a new notion of interactivity, where technical and aesthetic transformations happen in the realm of one's participation. Using Artur Matuck's notion of "Interpresence," she explores how interactivity and inter-communication configure a set of interrelations between the interaction of one / another as well as the larger audience. If the state of mind / place, virtual / real is unstable, are we still engaged in the search for the "right" place? (Vol. 4 No. 3, '04)| 
2|Vol4_No3_architecture_magermans.htm|mag_sat.gif|architecture and cyberspace|Audra Magermans|Magermans addresses the various ways in which new media force us to re-examine aspects of the practice of architecture, and our notion of three-dimensional spaces designed for the human experience. Using examples such as the Virtual House -- an elaborate, photorealistic computer model that allows  limited modifications -- Magermans attempts to find the "incomplete" aspects in the relationship between architecture and cyberspace. (Vol. 4 No. 3, '04)| 
2|Vol4_No3_architecture_gagethorne.html|mag_sat.gif|architecture as ecosystem|Stephen Gage and Will Thorne|Gage and Thorne approach buildings as natural ecosystems, an argument running counter to many centralized approaches to "intelligent buildings" because it places building occupants in a larger situated system, with possibilities of emergent behavior. Their essay looks at edge conditions -- the boundaries of a building -- and their possibilities as a place for hypothetical robots or "edge monkeys." (Vol. 4 No. 3, '04)| 
2|Vol4_No3_architecture_paterson.htm|mag_sat.gif|a day in the life of P509: data packet handler|Scott Paterson|Paterson explores the role of today's bike messenger as a "data packet handler" who embodies both the telecom-leashed existence of a 'body terminal, and the territorial, mobile body. Despite the on-demand connection to a dispatcher, the protocols of the traffic network tend to override the protocols of the dispatcher network where the sidewalk ends and the lobby begins. Breakdown occurs where skin meets security in the form of public furniture of control or PFoCs (pee-fox). (Vol. 4 No. 3, '04)|
1| |
4|thread: sound|
2|Vol4_No.3_sound_scanner.htm|mag_sat.gif|sound and image -- a brief consideration in a non place|Robin Rimbaud|Sitting on a train to London, Robin Rimbaud aka Scanner ponders the relationship between image and sound: "In the modern recording studio, digital technology has allowed us to search beneath the surface of sound and its image through the application of software that visualizes a vibration, a note. We now have the technology to peel open virtually any zone of information and consume the contents -- personal video documents, sound recordings, phone scans, modem and net intercepts -- highly personalized and voyeuristic forms of grazing for info foods." (Vol. 4 No. 3, '04)| 
2|Vol4_No.3_sound_redlinger.htm|mag_sat.gif|sound night at share|Eric Redlinger|Eric Redlinger discusses the weekly SHARE party at New York's OpenAir bar -- the east-coast Mecca for real-time performance -- in the context of the evolution of self-styled VJing. (Vol. 4 No. 3, '04)| 
2|Vol4_No3_sound_singer.htm|mag_sat.gif|bits, fire, and sound: an interview with eric singer|Patrick Lichty|Patrick Lichty talk to Eric Singer of LEMUR (The League of Electronic Musical Urban Robots) about the relationship between sound and visuals and hisMIDI-driven Pyrophone developed in collaboration with the Madagascar Institute. (Vol. 4 No. 3, '04)|
1| |
4|free radical|
2|Vol4_No3_freerad_polli.htm|mag_sat.gif|the dragonfly and the peering locust|Andrea Polli|Using the dragonfly and the locust as a case study, Andrea Polli examines how the vision of insects relates to that  of humans. Polli discusses the origins of the theory that the visual scene unfolds over time -- from portrayal of motion using photography to  the description of apparent motion in Gestalt Psychology -- and connects this theory to current machine vision research. The essay suggests that interactive moving image technology presents a unique opportunity to not only portray objects and subjects in motion, but to portray the experience of the observer in motion. (Vol. 4 No. 3, '04)| 
1| |
4|probe|
2|Vol4_No3_probe_manik.htm|mag_sat.gif|a new page in art history|Manik| (Vol. 4 No. 3, '04)| 
1| |
4|conference review|
2|Vol4_No3_reviews_exhibition_silva.htm|mag_sat.gif|talking about art.ficial emotions: a report from s�o paulo, brazil|Camille Silva|Camille Silva reports on "Emo��o Art.ficial - Technological Divergences 2.0," the second edition of an international exhibition and symposium held by Ita� Cultural in S�o Paulo, Brazil. Curated by Arlindo Machado and Gilbertto Prado, the exhibition displayed thirty works by artists from several countries. The symposium held in conjunction with the exhibition raised questions surrounding the inclusiveness of digital media, collaboration, intervention, immersion, and emerging realities. (Vol. 4 No. 3, '04)|
1| |
4|tool / stock media review|
2|Vol4_No3_reviews_tool_lichty.htm|mag_sat.gif|jumpbacks, video traxx, director's toolkit|Patrick Lichty|Patrick Lichty reviews JumpBacks, Video Traxx and the Director's Toolkit, a series of royalty-free stock video and stock imagery for media producers, and discusses their shortcomings and merits for artists who appropriate industrial imagery.  (Vol. 4 No. 3, '04)|
1| |
4|architecture review|
2|Vol4_No3_reviews_archos_little.htm|mag_sat.gif|arch-os, software for buildings|Gregory Little|Gregory Little reviews Arch-OS::Software for Buildings, an operating system for architecture that employs a wide range of embedded hardware and software technologies to gather audio, visual, and raw data from numerous sources to bring a slice of the imperceptible into a physical building. Developed by i-DAT (The Institute for Digital Art and Technology) at the University of Plymouth in the UK, Arch-OS is incorporated into the fabric of the University of Plymouth's Portland Square building. (Vol. 4 No. 3, '04)|
1| |
1|Vol. 4 No. 2, '04|
2|Vol4_No2.html|mag_sat.gif|Vol. 4 No. 2 table of contents|||
1| |
4|editorial|
2|Vol4_No2_editoriallichty.htm|mag_sat.gif|ruminations on freedom|Patrick Lichty|Lichty considers the ideal of 'freedom' in the light of the challenges to artistic expression that have arisen from intellectual property rights; and the dismantling of civil liberties for the sake of national security that occurred in the case of the Critical Art Ensemble's investigation by the FBI. (Vol. 4 No. 2,'04)|
1| |
4|thread: copyright|intellectual property|
2|Vol4_No2_copyright_eyebeam.htm|mag_sat.gif|share/share alike|Eyebeam -- a panel discussion featuring Lawrence Lessig|An edited transcript of the panel discussion "Share/Share Alike," which took place on November 21, 2003, at Eyebeam in New York City (http://eyebeam.org). Lawrence Lessig -- Chairman of the Board of Directors of Creative Commons and Professor of Law at Stanford Law School -- and respondents Joline Blais, Carrie McLaren and Jon Ippolito discuss issues surrounding copyright and its impact on artistic and cultural production. (Vol. 4 No. 2, '04)| 
2|Vol4_No2_ip_garnett.htm|mag_sat.gif|steal this look|Joy Garnett|Taking its title from Abbie Hoffman's incendiary Yippy classic "Steal This Book," Joy Garnett's article recounts the story of how her oil painting "Molotov," derived from the detail of a photograph, led to charges of copyright infringement and the ensuing "Joywar." Garnett reflects on the function of images in the media -- as rogue entities that resist the controls that people and cultures impose upon them -- and the principle of fair use. (Vol. 4 No. 2, '04)| 
2|Vol4_No2_ip_lichty.htm|mag_sat.gif|grasping at bits|Patrick Lichty|Originally written in 2000, "Grasping at Bits" addressed issues in net.culture and globalism that are worth revisiting in 2004. In its original form, G@B was written in an 'associative' fashion, using The Brain technology to draw associations between more or less associated, yet semi-independent lexia. This version is the first one to present the essay in a linear fashion. The original version was the recipient of an Honorable Mention at Ars Electronica 2000. (Vol. 4 No. 2, '04)| 
1| |
4|thread: free cooperation|
2|Vol4_No2_freecooperation_spehr.htm|mag_sat.gif|grab the rules, play it hard. basic rules for free cooperation|Christoph Spehr & Joerg Windszus|A transcript of the dialogue in Spehr's and Windszus' video "On Rules and Monsters. An introduction into free cooperation," which was screened at the "Networks, Art & Collaboration" conference held at the State University of New York at Buffalo in April 2004. The video takes the form of a 1950s monster movie pastiche, combining classic genre films, such as "Queen of Outer Space" and "The Time Machine."(Vol. 4 No. 2, '04)| 
2|Vol4_No2_freecooperation_scholzlovink.htm|mag_sat.gif|free cooperation: a conversation|Trebor Scholz and Geert Lovink|Scholz and Lovink discuss issues surrounding the rise of the cultural economy and necessity of collaboration; approaches to crediting in the context of collaboration in the arts; accountability in amorphous social structures; and face-to-face meetings as the glue and accelerator of online projects.(Vol. 4 No. 2, '04)| 
2|Vol4_No2_freecooperation_sholette.htm|mag_sat.gif|introducing insouciant art collectives|Gregory Scholette|Scholette discusses the art world's current interest in art collectives, a new wave of group art making that has been described as "fast, cheap, and exuberant" or "insouciant" -- to underscore their untroubled and ultimately apolitical disposition. Considering these groups within the rich history of collective art practice, Scholette raises the question whether they are a product of enterprise culture.(Vol. 4 No. 2, '04)| 
1| |
4|thread: embodiment|
2|Vol4_No2_embodiment_seaman.htm|mag_sat.gif|toward the production of nano-computers and nano-related emotive environments|Bill Seaman|In the context of a potentially "embodied" experience of dynamic media elements and processes, Bill Seaman develops a series of research questions surrounding the production of virtual / physical environments generated by Nano-computers. Using the theories of Eric Drexler (Engines of Creation) and Ed Regis (Nano!) as starting point, Seaman discusses the potential of nano-machines. (Vol. 4 No. 2, '04)| 
2|Vol4_No2_embodiment_garvey.htm|mag_sat.gif|solitude of the self and virtual beings|Gregory P. Garvey|"Today, computer screens are colonized by virtual beings. Endowed with "artificial intelligence," they converse with us by synthesized speech, woo us with their affective emotions, seduce us with their verisimilitude, captivate us with their impossible perfection, dazzle us with superhuman feats and thrill us with the promise of immortality." Gregory Garvey discusses philosophical approaches to Virtual Beings and how, with The Matrix Reloaded, a religious m�lange of Christian, Gnostic and Buddhist thought has secured a new place in pop culture and the popular imagination. (Vol. 4 No. 2, '04)| 
1| |
4|book review|
2|IA4_2_reviews_book_clemons.htm|mag_sat.gif|what video games have to teach us|Leigh Clemons|Clemons reviews James Paul Gee's book What Video Games Have to Teach Us About Learning and Literacy, which examines how games shape the ways in which young people learn. Gee's thesis (and assumption) is that "if the principles of learning in good video games are good, then better theories of learning are embedded in the video games many children in elementary and particularly in high school play than in the schools they attend." (Vol. 4 No. 2, '04)|
1| |
4|exhibition review|
2|IA4_2_reviews_exhibition_bangthemachine_chapman.htm|mag_sat.gif|bang the machine|Adam Chapman|Adam Chapman reviews "Bang the Machine: Computer Gaming Art and Artifacts," an exhibition at the Yerba Buena Center for the Arts, San Francisco, featuring game mods, work inspired by the game aesthetics, and original games. Works presented include "Waco Resurrection" by the art collective C-Level, "Pain Station" by Volker Morawe and Tilman Reiff, Paul Kaiser's and Shelley Eskar's "Arrival," as well as "America's Army," part of the US Army's "communications strategy." (Vol. 4 No. 2, '04)|
1| |
4|conference review|
2|IA4_2_reviews_conference_gdc_chapman.htm|mag_sat.gif|game developers conference 2004|Adam Chapman|Adam Chapman reports from the Game Developers' Conference -- a regular, week-long event where people are actively thinking about and discussing the combination of interactivity, aesthetics, sound, user experience, artificial intelligence, and non-linear narrative in a gaming context. (Vol. 4 No. 2, '04)|
1| |
4|game review|
2|IA4_2_reviews_game_doaxbv.htm|mag_sat.gif|dead or alive extreme beach volleyball|Patrick Lichty|Patrick Lichty reviews Team Ninja's game "Dead or Alive Extreme Beach Volleyball," which takes on the popular Dead or Alive fighter games but transports the female fighters to a tropical island for a special tournament: "To put it bluntly, sometimes there are cultural event-sites where the participant is simultaneously appalled, yet so fascinated by the concept or addicted to the play that it's hard to disengage." (Vol. 4 No. 2, '04)|
1| |
1|Vol. 4 No. 1, '04|
2|Vol4_No1.html|mag_sat.gif|Vol. 4 No. 1 table of contents|||
1| |
4|editorial|
2|Vol4_No1_editoriallichty.htm|mag_sat.gif|on the essential nature of conciseness|Patrick Lichty|Patrick Lichty discusses the challenges that the genre of new media and its practitioners have to face in communicating to an audience outside of the cultural niche of technological art. (Vol. 4 No. 1, '04)|
1| |
4|thread: the DEMO scene|
2|Vol4_No1_demo_shoreyal.htm|mag_sat.gif|DEMOing: an emerging art form or just another digital craft|Shirley Shor & Aviv Eyal|Shirley Shor & Aviv Eyal give a historical survey of 20 years of DEMO scene -- from the Old School 'hacker art form' to today's 'New Scene'... (Vol. 4 No. 1, '04)| 
2|Vol4_No1_demo_hilton.htm|mag_sat.gif|globetrotter: a dialogue on DEMOing|Patrick Lichty talks to Weston Hilton|Weston Hilton's Globetrotter is a demo cartridge for an Atari 2600. Hilton's vision of the project is to see it make full circuits around the world by sending it to Atari 2600 aficionados all over the globe. Part DEMO, part conceptual art project, Globetrotter accesses part of the memory of the digital culture and mixes it with contemporary retro gaming sensibilities. (Vol. 4 No. 1, '04)|
2|Vol4_No1_demo_kuittinen.htm|mag_sat.gif|computer DEMOs -- the story do far|Petri Kuittinen|Kuittinen surveys the Old School DEMO scene (1987-1996), from its origins to the major parties, forms of competitions, and the different design schools and tastes. (Vol. 4 No. 1, '04)|
1| |
4|thread: generativity|
2|Vol4_No1_generativity_faurewalker.htm|mag_sat.gif|algorithmic art|James Faure Walker|In 1997, James Faure Walker pondered algorithmic / generative art and its historical connections and place in the art word at large. Seven years later, his essay begs the question how much has changed when it comes to the acceptance of this art form. (Vol. 4 No. 1, '04)| 
2|Vol4_No1_generativity_verostko.htm|mag_sat.gif|algorithmic art -- composing the score for visual art|Roman Verostko|Verostko gives a survey of algorithmic art, including its origins, definitions, and applications; as well as comments on the role that algorithms play in art and historical notes on the 'early algorists.' (Vol. 4 No. 1, '04)| 
2|Vol4_No1_generativity_draves.htm|mag_sat.gif|the interpretation of dreams|Scott Draves|Draves provides background information on his work Electric Sheep, a distributed screen-saver that harnesses idle computers into a render farm for the purpose of animating and evolving artisficial life-forms. (Also see Jeremy Turner's review of Draves' DVD in this issue). (Vol. 4 No. 1, '04)| 
1| |
4|thread: vj /dj|
2|Vol4_No1_djvj_cascone.htm|mag_sat.gif|grain, sequence, system [three levels of reception in the performance of laptop music]|Kim Cascone|Kim Cascone discusses the reception of laptop music performance and the challenges it needs to overcome. Not surprisingly, many of his observations also apply to the reception of 'new media art' in general. (Vol. 4 No. 1, '04)| 
2|Vol4_No1_djvj_redlinger.htm|mag_sat.gif|new media counterpoint|Eric Redlinger|Redlinger applies the concept of 'counterpoint' -- a dominant compositional principle in the 15th century chorus  -- to VJ/Djing where collaboration feels a lot like what it looked like at the dawn of polyphonic music: a semi-ordered, semi-transparent, exquisite chaos whose effect is often judged more by the sum of its parts than by some manner of traditional criteria. (Vol. 4 No. 1, '04)| 
1| |
4|free radical|
2|Vol4_No1_freerad_gh.htm|mag_sat.gif|g.h.'s automated home reading list|G.H. Hovagimyan|G.H. shares the research for a project he is currently working on -- focused on the Smart House -- in the form of an annotated reading list. His selections connect the concept of the digitally enhanced, smart home to early Utopian ideals and the ideological construction of the 'home' throughout history. (Vol. 4 No. 1, '04)|
2|Vol4_No1_freerad_little.htm|mag_sat.gif|the work of art in the age of techno-somaticism|Gregory Little|As a prelude to the thread on embodiment (forthcoming in IA 4.2), Gregory Little revisits Paul Val�ry's prediction that western culture will enter an age of somaticism. In our current condition, the somatic -- that is, everything relating to the body -- is positioned in counterpoint to rapid developments in networked, ubiquitous, and viractual technologies. (Vol. 4 No. 1, '04)|
1| |
4|dvd review|
2|Vol4_No1_reviews_dvd_draves.htm|mag_sat.gif|spotworks: the evolution of visuals|Jeremy Turner|Turner reviews Scott Draves' DVD Spotworks: TheEvolution of Visuals, featuring Draves' Dub Visuals, as well as his works Electric Sheep and Bomb, each with documentary explanation. Draves DVD archive presents a history of aesthetic VJ processes and tastes, and points to the genealogy of distributed computing. (Also see Draves' explanation of the Electric Sheep screen-saver in this issue). (Vol. 4 No. 1, '04)|
1| |
4|web review|
2|Vol4_No1_reviews_web_mancini.htm|mag_sat.gif|ubuweb|Donato Mancini|Mancini reviews Ubuweb, a site devoted to concrete / visual poetry, sound poetry, and genre-defying conceptual textualities. Ubuweb represents these by showcasing the work itself, featuring critical papers and notes, radio interviews with the artists, as well as "Editions" -- PDF re-publications of significant recent books. (Vol. 4 No. 1, '04)|
1| |
4|game review|
2|IA4_1_reviews_game_tron.htm|mag_sat.gif|tron 2.0 (buena vista interactive / monolith studios, 2003)|Patrick Lichty|On the 20th anniversary of the cult movie Tron, Buena Vista Interactive has released Tron 2.0. -- a first-person 'shooter' that almost doubles as interactive machinima. (Vol. 4 No. 1, '04)|
1| |
4|software review|
2|IA4_1_reviews_software_koan.htm|mag_sat.gif|sseyo koan generative music tool|Patrick Lichty|The Koan Pro Generative Music System in many ways is like a Swiss Army knife for those who wish to do a number of things affordably; for example, create web-based generative music that can interface with Flash, Java and Javascript; produce algorithmically-based music and sound for live and installation settings; or even ringtones. (Vol. 4 No. 1, '04)|
1| |
4|festival review|
2|IA4_1_reviews_festival_nome.htm|mag_sat.gif|new orleans media experience|Patrick Lichty|The New Orleans Media Experience -- a 7-day festival devoted to the convergence of film, video, advertising, music and video games -- can be seen as emblematic of many cities and states' attempt to tap into the burgeoning markets of new media. (Vol. 4 No. 1, '04)|
1| |
1|Vol. 3 No. 2, Summer / Fall '03|
2|Vol3_No2.html|mag_sat.gif|Vol. 3 No. 2 table of contents|||
1| |
4|editorial|
2|Vol3_No2_editorial_lichty.html|mag_sat.gif|life imitates RTMark (per se) or commodifying the antagonistic|Patrick Lichty|Lichty takes a look at two seemingly unrelated 'news items' -- John Poindexter's terror betting pool PAM and the attempts to export the Burning Man 'experience' into the mainstream culture -- as indications of a certain trend: to establish market structures for anything ranging from the unearthing of anti-democratic threats to the spreading of the anti-consumerist message. (Vol. 3 No. 2, Summer / Fall '03)|
1| |
4|thread: mobility / wireless|
2|Vol3_No2_mobility_slayton.html|mag_sat.gif|entailment mesh|Joel Slayton|Joel Slayton discusses Entailment Mesh, a mediated social network enabling workgroup brainstorming. The objective of this project is to explore methods of conversation and learning within a ubiquitous information network. This objective includes development of languaging techniques for the emergence of domain specific knowledge. (Vol. 3 No. 2, Summer / Fall '03)| 
2|Vol3_No2_mobility_paterson.html|mag_sat.gif|towards an emotional gps: writing your own city|Scott Paterson et al.|The authors use their project PDPal as a case study of "emotional GPS" and explore psychogeography and cognitive mapping as two suggestions for recording wireless experiences. (Vol. 3 No. 2, Summer / Fall '03)|
2|Vol3_No2_mobility_plumley.html|mag_sat.gif|the wireless confusion, a call to arms|Fee Plumley|Plumley -- production manager of the-phone-book Limited, a Manchester-based company that educates people in being creative with new technology and circulates content for wireless devices -- discusses mobile phone data space as an under-used and under-valued distribution outlet. (Vol. 3 No. 2, Summer / Fall '03)|
2|Vol3_No2_mobility_beiguelmann.html|mag_sat.gif|wireless conditions|Giselle Beiguelmann|Giselle Beiguelmann argues that wireless and mobile communication networks make interfaces multiply and fragment the reception on electronic surfaces connected to telecommunication networks. In Beiguelmann's 'post-urban city,' the virtual and real dimensions operating it are products emulated by nomadic inhabitants and communication devices, constructing a reading context where media are dissolved. (Vol. 3 No. 2, Summer / Fall '03)| 
1| |
4|thread: gaming|
2|Vol3_No2_gaming_fajardo.html|mag_sat.gif|pixels, politics and play: digital video games as social commentary|Rafael Fajardo|Fajardo presents his video games Crosser(TM) & La Migra(TM) as art projects, political commentary, and multi-level homage. The games simulate opposing points of view on the Rio Grande. One places the player in the shoes of one who is attempting to cross the river/border illegally. The other places the player in the seat of a border patrol agent of the US Immigration and Naturalization Service who attempts to prevent illegal entry. The essay includes a survey of didactic games as well as a section on "Games vs. Game Theory At the US Mexico Border." (Vol. 3 No. 2, Summer / Fall '03)| 
2|Vol3_No2_gaming_kurtz.html|mag_sat.gif|rerouting history: on delta force -- black hawk down|Andrew Kurtz|Kurtz ponders the ways in which dominant media and government navigate the tension between chaos and order to create an acceptable version of modern warfare. Landscape and language in Novalogic's game Delta Force: Black Hawk Down provide an overall context that situates game play within a straightforward ideological dynamic of "us versus them" and creates a representational space articulating racist ideologies. (Vol. 3 No. 2, Summer / Fall '03)|
2|Vol3_No2_gaming_innocent.html|mag_sat.gif|reality play: threads on digital games|Troy Innocent|Virtual worlds have the innate ability to shift and change, mutate and transmutate, and layer multiple modes of representation. Troy Innocent discusses 'world making' and 'semiotic morphism' as a model for translating the same data between these different modes of representation. (Vol. 3 No. 2, Summer / Fall '03)|
2|Vol3_No2_gaming_bookchin.html|mag_sat.gif|metapet -- genetic code in the service of the brave new world: an interview with Natalie Bookchin|Mia Makela|Mia Makela talks to Natalie Bookchin about the process of making Metapet and the audience's reception of the game. (Vol. 3 No. 2, Summer / Fall '03)| 
1| |
4|thread: vr / 3d|
2|Vol3_No2_vr_dolinsky.html|mag_sat.gif|audio sequencers and sound-activated graphics in networking|Margaret Dolinsky|Dolinsky discusses her sound art environment 'Beat Box,' which presents networked CAVE participants with a playful arena of interactive virtual sound machines. (Vol. 3 No. 2, Summer / Fall '03)| 
2|Vol3_No2_VR_paul.html|mag_sat.gif|about avatara: an interview with Jeremy Turner|Christiane Paul|A conversation with Jeremy Turner, one of the creators of AVATARA -- a Machinima-style 'docudrama' set in the voice-chat environment OnLive! Traveler -- about the inspiration behind and the making of the DVD. (Vol. 3 No. 2, Summer / Fall '03)|
2|Vol3_No2_VR_ox.html|mag_sat.gif|gridjam|Jack Ox and David Britton|Jack Ox and David Britton discuss the creation process of the GridJam, a continuation of their immersive music visualization system Virtual Color Organ. The GridJam was conceived as a performance of 4 geographically separated musicians 'jamming' together over the AccessGrid. (Vol. 3 No. 2, Summer / Fall '03)|
2|Vol3_No2_vr_rackham.html|mag_sat.gif|the dimensional internet: web3d -empyre- lab3d|Melinds Rackham|Melinda Rackham gives an overview of the discussions that took place on the -empyre- online forum in conjunction with the shows lab3d (Cornerhouse, Manchester UK; ICA London; Folly, Lancaster; Experimental Art Foundation, Australia) and Web3DArt2003. (Vol. 3 No. 2, Summer / Fall '03)| 
1| |
4|the political sphere (cont. from Vol. 3 No. 2)|
2|Vol3_No2_polisci_mosher2.html|mag_sat.gif|unionizing silicon valley part two: promising victories and cultural strategies|Mike Mosher|Mosher continues his exploration of the history of unions as a model for unionizing the tech industry. (Vol. 3 No. 2, Summer / Fall '03)| 
1| |
4|free radical|
2|Vol3_No2_radical_cloninger.html|mag_sat.gif|on archiving, ephemera, and analog distortion |Curt Cloninger|Cloninger considers concerns about archiving digital media -- from the integrity of the actual media to preserving the technology used to read them -- in the context of commercial support, standardization, and art distribution. (Vol. 3 No. 2, Summer / Fall '03)|
1| |
4|book reviews|
2|Vol3_No2_reviews_book_jpg.html|mag_sat.gif|JPG (Japan Graphics)|Patrick Lichty|Patrick Lichty reviews 'JPG,' a thick catalogue chronicling a number of Japan's hottest young graphic designers, many of which exhibit a do-it-yourself approach to design and are inspired by the electro-media culture that surrounds them. (Vol. 3 No. 1, Summer / Fall '03)|
2|Vol3_No2_reviews_book_grau.html|mag_sat.gif|Virtual Art by Oliver Grau|Patrick Lichty|Patrick Lichty reviews Oliver Grau's 'Virtual Art: From Illusion to Immersion,' which constructs a narrative of the context of the culture, politics, and representative function of various immersive spaces -- from the ecstatic to the devotional to the propagandistic -- and reveals how the various techniques of construction reflected the agendas of the constructors. (Vol. 3 No. 1, Summer / Fall '03)|
1| |
4|game review|
2|Vol3_No2_reviews_game_binladen.html|mag_sat.gif|blood of bin laden|Ricardo Dominguez|Ricardo Dominguez ponders the implications of 'Blood of Bin Laden,' a video game available for free over the internet. The game is a detailed recreation of Operation Enduring Freedom -- from rescuing American missionary Heather Mercer to storming the caves of Tora Bora, the player wages all out war against al-Qaeda and the Taliban regime it empowers. (Vol. 3 No. 1, Summer / Fall '03)|
1| |
4|mobility review|
2|Vol3_No2_reviews_works_choreography.html|mag_sat.gif|the choreography of everyday movement|Patrick Lichty|Patrick Lichty reviews Teri Rueb's 'The Choreography of Everyday Movement,' a project in which participants, equipped with a GPS transponder, reveal the sociopolitical and poetic patterns resulting from the intersection of the human and urban (i.e. city) bodies. (Vol. 3 No. 1, Summer / Fall '03)|
1| |
4|vr review|
2|Vol3_No2_reviews_works_exitny.html|mag_sat.gif|newyorkexitnewyork|Patrick Lichty|Patrick Lichty reviews 'NEWYORKEXITNEWYORK' by Givord, Lenclos et al., a VR project encompassing the virtual interpretation of nearly two square miles of Manhattan, surrounding Times Square in New York. The 'model' of Manhattan was created over repeated trips from the artists' on-site photography, using thousands of photographs for representing various temporal and spatial components of the city. (Vol. 3 No. 1, Summer / Fall '03)|
1| |
4|net review|
2|Vol3_No2_reviews_web_24.html|mag_sat.gif|why the 24 website scares me|Leigh Clemons|Leigh Clemons reviews the website for the FOX series '24,' suggesting that it masterfully plays on the technological buzzwords of safety and security by taking the latent fears of a techno-savvy, 24-hour news-inundated generation, pouring the gasoline of terrorist activity on them, and setting them ablaze in "real time." (Vol. 3 No. 1, Summer / Fall '03)|
1| |
4|dvd reviews|
2|Vol3_No2_reviews_dvd_animatrix.html|mag_sat.gif|the animatrix|Patrick Lichty|Patrick Lichty reviews 'Animatrix,' a series of nine anime-based shorts unfolding in the Matrix universe and created by noted Japanese Anime (animation) artists, such as X and Square. (Vol. 3 No. 1, Summer / Fall '03)|
2|Vol3_No2_reviews_dvd_avatara.html|mag_sat.gif|avatara by 536|Christiane Paul|Christiane Paul reviews 'AVATARA,' a feature-length, machinima-style documentary by the Vancouver-based media artists� group 536, which consists of interviews with the (mostly American) inhabitants of the voice-chat environment OnLive! Traveler. (Vol. 3 No. 1, Summer / Fall '03)|
1| |
4|festival review|
2|Vol3_No2_reviews_festival_siggraph.html|mag_sat.gif|siggraph art show|Dena Eber|Dena Eber reviews the SIGGRAPH 2003 art exhibition in the context of the 'technological ethos' as a balance between technologically-based production and artistic ethics of meaning and expressive ideas. (Vol. 3 No. 1, Summer / Fall '03)|
1| |
1|Vol. 3 No. 1, Winter / Spring '03|
2|Vol3_No1.html|mag_sat.gif|Vol. 3 No. 1 table of contents|||
1| |
4|editorial|
2|Vol3_No1_editorial_lichty.html|mag_sat.gif|dark times for new media?|Patrick Lichty|Patrick Lichty ponders the state and future of new media art in the context of the Walker Art Center's recent termination of its new media initiative. (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|thread: the political sphere|
2|USDATIntro.html|mag_sat.gif|joint resolution to authorize the use of artistic acts of mediation|US Department of Art & Technology|The US Department of Art & Technology, along with the Global Virtualization Council, unanimously adopted a Joint Resolution "To Authorize Acts of Artistic Mediation." (Vol. 3 No. 1, Winter / Spring '03)| 
2|Vol3_No1_polisci_smith.html|mag_sat.gif|postmodernism is dead -- now what? distributed culture and the rise of the network age|Samuel R. Smith|Sam Smith discusses the end of postmodernism and rise of the network age -- asserting itself through the literal reorganization of the social, political, and economic infrastructure around electronic networks and the metaphorical restructuration of human activity around social practices that mimick the distributed character of the network. (Vol. 3 No. 1, Winter / Spring '03)|
2|Vol3_No1_polisci_RSG.html|mag_sat.gif|how we made our own "carnivore"|RSG|Ethernet, sniffers, and hacking are at the heart of a public domain surveillance suite called Carnivore developed by RSG and now used in a civilian context by many artists and scientists around the world. (Vol. 3 No. 1, Winter / Spring '03)|
2|Vol3_No1_polisci_martin.html|mag_sat.gif|parasitic media: creating invisible slicing parasites and other forms of tactical augmentation|Nathan M. Martin|Martin outlines possibilities of 'parasitic tactical response,' applying mechanisms of biological parasites to invisible subversion of existing communication systems. Distinguishing genres of parasitic media, he explores the potential of a practice and tactical response that hops the meta-train of media. (Vol. 3 No. 1, Winter / Spring '03)| 
2|Vol3_No1_polisci_hovagimyan.html|mag_sat.gif|shooter: an interactive immersive sound installation|G.H. Hovagimyan|Hovagimyan discusses his interactive sound installation Shooter, a collaboration with Peter Sinclair, which is based on the psychological thresholds one crosses when engaging in a video/computer game. Shooter explores the issue of violence from the microcosmic level of gaming to the macrocosmic one of war, especially information war.  (Vol. 3 No. 1, Winter / Spring '03)| 
2|Vol3_No1_polisci_mosher.html|mag_sat.gif|unionizing silicon valley part one: problem, history and opportunity|Mike Mosher|Mosher takes a look at the models and history of unions and ponders their usefulness for unionizing the tech industry at a time where the lines between hardware, software and engineering disciplines have blurred. (Vol. 3 No. 1, Winter / Spring '03)| 
1| |
4|thread: biotech / transgenics|
2|Vol3_No1_bio_Kac.html|mag_sat.gif|the eighth day|Eduardo Kac|"The Eighth Day" is a transgenic artwork that investigates a new ecology of fluorescent creatures. Eduardo Kac developed this work at the Institute for Studies in the Arts, Arizona State University, Tempe, where it was exhibited in 2001. The piece brings together living transgenic life forms and a biological robot (biobot) in an environment housed under a clear 4 foot diameter Plexiglas dome, thus making visible what it would be like if these creatures would in fact coexist in the world at large. (Vol. 3 No. 1, Winter / Spring '03)|
2|Vol3_No1_bio_little.html|mag_sat.gif|toward an aesthetics of synnoetic interactivity|Gregory Little|Gregory Little analyzes interactive, telematic art in terms of the meta-discipline of  "synnoetics" -- a term coined by Louis Fein to describe the cooperative interaction of people, mechanisms, plant or animal organisms, and automata into a system that results in a mental power greater than that of its components. According to Little, synnoetics predicts the current development of biological, genetic, and transgenic art forms currently under development by artists like Vibeke Sorensen, Eduardo Kac, and Tiffany Holmes. (Vol. 3 No. 1, Winter / Spring '03)|
2|Vol3_No1_bio_holmes.html|mag_sat.gif|the mighty mouse: communicating addiction research through computer art |Tiffany Holmes|Tiffany Holmes discusses the development of the art project "Mighty Mouse," a collaboration with neuroscientist Tolga Uz that fuses addiction research with multimedia installation work and is meant to foster public dialogue about issues related to drug use. The essay explores the potential outcomes of a collaboration between an artist and a scientist and describes the four principal elements of the project (a multi-channel video installation, a drawing series, a web art game, and a testimonial-style video). (Vol. 3 No. 1, Winter / Spring '03)|
2|Vol3_No1_bio_dominguez.html|mag_sat.gif|nano-fest destiny 3.0: fragments from the post-biotech era|Ricardo Dominguez|Dominguez speculates about the post-biotech era in which "Molecular Nanotechnology" (MNT) will implement its command-and-control structures. Outlining subjects such as bio-colonialism, end of history scenarios (for example, the gray goo syndrome), anti-market science, as well as the fusion of genetics, nanotechnology, and robotics, Dominguez considers our  nano-fest destiny. (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|thread: new media curation|
2|Vol3_No1_curation_schleiner.html|mag_sat.gif|fluidities and oppositions among curators, filter feeders and future artists|Anne-Marie Schleiner|Schleiner discusses the potential effects of collaborative and modular digital art practices on artists, curators, and cultural producers. (Vol. 3 No. 1, Winter '03)|
2|Vol3_No1_curation_crowe.html|mag_sat.gif|an interview with steve dietz|Jennifer Crowe|Jennifer Crowe talks to Steve Dietz, Director of New Media Initiatives at the Walker Art Center, about the status of the "New Media Art" exhibition within the American institution, the problems of introducing new forms of artistic expression, as well as possible new media spaces and their functions. (Vol. 3 No. 1, Winter / Spring '03)|
2|Vol3_No1_curation_lichty.html|mag_sat.gif|reconfiguring the museum: electronic media and emergent curatorial models|Patrick Lichty|Using examples of alternative curatorial models as case studies, Patrick Lichty explores how networked communication technologies have influenced curatorial practice and challenge the status of the art institution as monopolistic cultural producer.  (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|probe|
2|Vol3_No1_probe_mtaa.html|mag_sat.gif|mtaa's amazing criswell future algorithm system|MTAA|In 1967, MTAA Sci-Corp. developed a "highly complex yet functional" software system named for the futurist and Ed Wood sidekick Criswell. For this issue of Intelligent Agent, MTAA plugged a thoughtful selection of keywords into the ACFAS. (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|exhibition review|
2|Vol3_No1_reviews_exhibitions_documenta.html|mag_sat.gif|documenta11_platform5: exhibition as research|Hope Childers and Susan Ryan|Childers and Ryan discuss D11 as archive and "research," an ongoing project that must be "finished" by its audience. "The entire event may be emblematic of our age: our society's inability to keep up its own technical capabilities." (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|net art review|
2|Vol3_No1_reviews_netart_cloninger.html|mag_sat.gif|yoshi sodeoka: the interface is the massage|Curt Cloninger|Fake data or real data, surveillance cameras or internet spy software, Yoshi Sodeoka is tracking the aesthetic vibe of the interface itself. (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|tech sector review|
2|Vol3_No1_tech_sector.html|mag_sat.gif|the parallax toddler robot kit|Patrick Lichty|Parallax has been one of the leaders in creating the genre of easy-to-use microcontrollers that have supplanted larger, more expensive brands for small applications. The Toddler is the logical extension to the application of microcontrollers to small robotics. (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|book review|
2|Vol3_No1_reviews_book_little.html|mag_sat.gif|supercade, a visual history of the videogame age 1971 - 1984|Gregory Little|Gregory Little reviews Van Burnham's book Supercade (MIT Press), an account of the classic period of the videogame age. (Vol. 3 No. 1, Winter / Spring '03)|
1| |
4|festival reviews|
2|Vol3_No1_reviews_festivals_buhard.html|mag_sat.gif|instant culture in the high desert: burning man 2002|Elnor Buhard|Elnor Buhard on "Burning Man," an eclectic conglomeration and instant community held together by a culture of sharing and experimentation. (Vol. 3 No. 1, Winter / Spring '03)|
2|Vol3_No1_reviews_festival_edinburgh.html|mag_sat.gif|from the edinburgh theatre festival 2002|Stefan Dzeparoski|Dzeparoski reviews "Luminous" and "The Girl on the Sofa," two media-enhanced performances featured at the Edinburgh Theatre Festival. (Vol. 3 No. 1, Winter / Spring '03)|
1| |
1|Vol. 2 No. 3, Summer '98 (online only)|
4|interview|
2|Levinson_interview.html|mag_sat.gif|soft-edged questions--an interview with Paul Levinson|Jeremy Turner|Jeremy Turner talks to Paul Levinson about his new book, "Digital McLuhan: A Guide to the Information Millennium" and retrieves additional data about the philosophical route that the shape of the future may follow. (Vol. 2 No. 3, Summer '98)|
1| |
4|website review|
2|vol2_no3_vis_thes.html|mag_sat.gif|a burglar in the treasure house|Robbin Murphy|Plumb Design's java-based program "Visual Thesaurus" creates "Maplets" that enable users to visualize verbal associations of meaning by creating 3-D animated clusters of words connected by fine lines. There is that "persistence of vision" worked into it. While a word may no longer be the best choice based on the point of view it is still there, in the distance as a reminder of the complexity of language. (Vol. 2 No. 3, Summer '98)|
1| |
4|cd-rom reviews|
2|vol2_no3_liv_sci.html|mag_sat.gif|house of games|Christiane Paul|"An Odyssey of Discovery" invites students into the "Living Science Building," a three-dimensional space that can be explored by virtual reality navigation (QuickTimeVR) and feels like a less sophisticated version of the award-winning game "Myst." (Vol. 2 No. 3, Summer '98)|
2|vol2_no3_nazi.html|mag_sat.gif|from terminal to terminator|Christiane Paul|"The Nazi Loop," a CD-ROM by Hans Breder--Professor of Art & Art History at the University of Iowa--doesn't try to provide answers but rather sets out to capture moments and manifestations of Nazism's complexity. The CD-ROM uses montage to juxtapose images, sound, and text from the Weimar Republic and Nazi Germany with those of contemporary neo-Nazi propaganda and the opposition it has induced. (Vol. 2 No. 3, Summer '98)|
1| |
1|Vol. 2 No. 2, Spring '98|
3|magazine2_cover.html|mag_sat.gif|magazine cover|||
3|magazine2_contents.html|mag_sat.gif|table of contents|||
1| |
4|articles|
2|spring_timecap.html|mag_sat.gif|time capsule|Christiane Paul|Eduardo Kac's "Time Capsule" is an "intracorporeal" art work that combines a local event-installation with a site-specific work--in which the site itself is both the artist's body and a remote database--and a simultaneous broadcast on TV and the Web. (Vol. 2 No. 2, Spring '98)|
0|serious games: art--interaction--technology|kenneth wahl|A review of the exhibition "Serious Games: Art-Interaction-Technology," which was shown at the Barbican Art Gallery in London (June 19 - August 17, 1997) and the Laing Art Gallery in Newcastle-upon-Tyne (November 16, 1997 - February 9, 1998). (Vol. 2 No. 2, Spring '98)|
2|spring_linking.html|mag_sat.gif|linking and filtering, reading and writing|Noah Wardrip-Fruin|Noah Wardrip-Fruin discusses the library, hypertext, the web, and what's wrong with micropayment. (Vol. 2 No. 2, Spring '98)|
2|spring_elnino.html|mag_sat.gif|the el nino effect|Robbin Murphy|Robbin Murphy uses El Nino, Spanish for The Christ Child, as an example of religion as an interface with nature--a translator and navigational device for the world outside ourselves--and points out that scientific orthodoxy is partly losing ground because of networks (such as the Internet) that work because there are no definite borders or structures to comprehend. (Vol. 2 No. 2, Spring '98)|
0|artists and math|Lee Harrington|Lee Harrington discusses the interdependence between mathematics and art brought about by the Internet where artists communicate their vision through code and programming. (Vol. 2 No. 2, Spring '98)|
0|omnizone--mapping perspectives of digital culture|Stephen Pusey and Yu Yeon Kim|Stephen Pusey and Yu Yeon Kim discuss "omnizone," an online exhibition / forum they organized at plexus.org. (Vol. 2 No. 2, Spring '98)|
0|eyebeam atelier|Christiane Paul|A review of the programs and activities of Eyebeam Atelier, a New York-based new media organization.|
1| |
4|interviews|
2|spring_jodi.html|mag_sat.gif|we love your computer--an interview with jodi|Tilman Baumgaertel|Tilman Baumgaertel talks to Dirk Paesmans and Joan Heemskerk, the two artists behind the notorious jodi site. The interview addresses issues surrounding the institutionalization, representation and curating of net-based art. (Vol. 2 No. 2, Spring '98)|
2|spring_turkle.html|mag_sat.gif|screening our lives--an interview with Sherry Turkle|Adrianne Wortzel|Adrianne Wortzel talks to Sherry Turkle about online identity and communities, multiplicity and psychoanalytical concepts, computers as "evocative objects" as well as the effects of computer-aided design tools. (Vol. 2 No. 2, Spring '98)|
1| |
4|cd-rom reviews|
0|arial landscape sermons|Norman Weinstein|A review of the CD "Sacred and Secular: The Aerial Photography of Marilyn Bridges." (Vol. 2 No. 2, Spring '98)|
0|digitized avant-garde writing|Norman Weinstein|A review of the CD-ROM literary publication "The Little Magazine, Vol. 1." (Vol. 2 No. 2, Spring '98)|
0|john maeda's reactive book series|Jim Gasperini|A review of the "Reactive Book Series" by John Maeda--3 pieces that contain software and book components and explore common themes in parallel media. (Vol. 2 No. 2, Spring '98)|
1| |
4|website reviews|
2|spring_psycho.html|mag_sat.gif|(psycho)geography|Christiane Paul|One of the most prominent net narratives might be titled (psycho)geography--the attempt to find visual models for the non-locality of cyberspace, to establish connections between the geographical structures of the online and offline worlds, or to grasp the heterogeneity of identity in the digital realm. (Vol. 2 No. 2, Spring '98)|
2|spring_blake.html|mag_sat.gif|illuminating william blake|Robbin Murphy|"The William Blake Archive" takes advantage of digital technology in order to produce an electronic archive based on the visionary English poet's illuminated books, which were the "new media" art of their day. The archive's goal is to offer high-quality reproductions in ways that will enhance interdisciplinary understanding of the work. (Vol. 2 No. 2, Spring '98)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol. 2 No. 1, Fall '97|
3|magazine_cover.html|mag_sat.gif|magazine cover| |Cover of Vol. 2 No. 1, Fall '97|
3|magazine_contents.html|mag_sat.gif|table of contents|||
1| |
4|articles|
0|Avatars on the World Wide Web: Marketing the "Descent"|Victoria Vesna|Victoria Vesna discusses "avatars"--the representation of our on-line selves in multi-user environments--establishing a connection between their original theological source and the interplay between the dream and mass market of the WWW. (Vol. 2 No. 1, Fall '97)|
0|Notes on Immersion|G.H. Hovagimyan|G.H. Hovagimyan talks about immersive computer-generated environments, their historical precedents and the cognitive shifts they might induce. (Vol. 2 No. 1, Fall '97)|
2|fall_techno.html|mag_sat.gif|coping with techno fatigue|Robbin Murphy|"Keeping up with new technology can be exhausting for an artist. Simon Penny diagnosed the condition at the 1993 'On the Air' symposium in Innsbruck, Austria and called it techno-fatigue. It is that weariness I feel when I spend a long time dealing with technical problems at the expense of the esthetic and cultural aspects of my art work." Robbin Murphy discusses options of curing techno-fatigue. (Vol. 2 No. 1, Fall '97)|
0|Sex / Machine / Art: From Mechanical Repetition into Electronic Flicker|Joseph Nechvatal|Joseph Nechvatal discusses the works of Raymond Roussel who (in the early 20th century, invented language machines that produced texts through the use of repetitions and combination permutations and anticipated the arrival of computer-robotic technology and its application to visual art. (Vol. 2 No. 1, Fall '97)|
2|fall_globe.html|mag_sat.gif|globe theater archives, a blue planet discourse|Adrianne Wortzel|A Gathering of Entities from Varied Places, Times and Orientations in regard to Medieval Cartography, the Ideological Mapping of Cyberspace, the Theatrical Nature of Being and the Dissolution of Borders Between Arbitrary Disciplines. (Vol. 2 No. 1, Fall '97)|
0|turn on, zoom in... PAD++ multi-scale interface|Christiane Paul|IA talks to Noah Wardrip-Fruin, a research scientist at NYU's Center for Advanced Technology, about PAD++, a "zooming" interface. (Vol. 2 No. 1, Fall '97)|
0|Ten Probes into the Art of Unrealized Software|Norman Weinstein|Norman Weinstein's 10 short reflections on unrealized software.|
1| |
4|interview|
2|fall_shulgin.html|mag_sat.gif|i don't believe in self-expression--an interview with Alexei Shulgin|Tilman Baumgaertel|Tilman Baumgaertel talks to Alexei Shulgin about the state and future of net art. (Vol. 2 No. 1, Fall '97)|
1| |
4|reports |
0|Consciousness Reframed|Kenneth Wahl|Kenneth Wahl reports on "Consciousness Reframed I," a conference organized by CAIIA, the Center for Advanced Inquiry in Interactive Arts at the University of Newport, Wales. (Vol. 2 No. 1, Fall '97)|
0|Ongoings: The Fine Arts Gallery at SIGGRAPH 97|Dena Elisabeth Eber|Dena Elisabeth Eber reports on the SIGGRAPH 97 fine arts gallery. (Vol. 2 No. 1, Fall '97)|
1| |
4|website reviews|
2|fall_community.html|mag_sat.gif|networking communities|Christiane Paul|Ideally,  community networks make it easier for users to tap into cultural resources, education and community development, thus allowing increased participation in the democratic system. Two examples of different approaches to the creation of a community network are LA Culture Net and The Davis Community Network. (Vol. 2 No. 1, Fall '97)|
2|fall_radiation.html|mag_sat.gif|the truth out there|Christiane Paul|"Ironically, 'declassified' information tends to be more shocking to the public than what is labeled 'classified.' Some of the declassified information addressing controversial chapters in U.S. history has been made available online by the U.S. Department of Energy (DOE) and The Brookings Institution." (Vol. 2 No. 1, Fall '97)|
2|fall_books.html|mag_sat.gif|electronic books of creation|Christiane Paul|Mark Amerika's "GRAMMATRON" addresses the idea of spirituality in the electronic age and aspires to be an electronic book of origins, a digital bible. Merel Mirage's "Poem Navigator" is dedicated to decoding the origins of a short Chinese poem written in 754 AD by Li Po, a poet from the Tang dynasty. (Vol. 2 No. 1, Fall '97)|
1| |
4|cd-rom reviews|
0|By the Skin of our Nightmares: "Rehearsal of Memory"|Jim Gasperini|Jim Gasperini reviews the CD "Rehearsal of Memory" by Harwood & Ashworth, which uses the skin as an metaphorical entry point and territory for a multimedia exploration of memory and identity. (Vol. 2 No. 1, Fall '97)|
0|Clicks of Mindfulness: "Mnemonic Notations V.VI"|Jim Gasperini|Jim Gasperini reviews Phillip George's and Ralph Wayment's CD "Mnemonic Notations V.VI." (Vol. 2 No. 1, Fall '97)|
0|Clicking Our Way Out of the Crib: "Eve"|Jim Gasperini|Jim Gasperini reviews Peter Gabriel's much-hyped CD "Eve." (Vol. 2 No. 1, Fall '97)|
2|fall_minsky.html|mag_sat.gif|keep it simple, stupid!|Christiane Paul|"first person: Marvin Minsky" successfully highlights the basic structure and idea of Minsky's seminal work "The Society of Mind": as each essay or idea in the book, each multimedia building block of the CD-ROM is a smaller process (or "agent") and the joining of these processes through navigation builds up a larger theory--or society of mind. (Vol. 2 No. 1, Fall '97)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol. 1. No. 12, April/May, 1997|
1| |
4|articles|
0|Editorial: The Sound And The Fury|Christiane Paul|Will the continuous growth of online publishing turn the WWW into MMM (multimedia mediocrity)? Should there be Internet standards for the quality, precision and trustworthiness of information resources? (Vol. 1. No. 12, April/May, 1997)|
0|Computer Cynicism|Joseph Nechvatal|Joseph Nechvatal analyzes the phenomenon of computer cynicism--the cynical art of doubt and pessimism that has emerged as a reaction to the computer-assisted endless cycle of the production and consumption of images and information. (Vol. 1. No. 12, April/May, 1997)|
0|Financial Cryptography '97|Stuart Rosenberg|Stuart Rosenberg reports on the recent "Financial Cryptography '97" conference--a gathering of crypto anarchists, electronic money developers and advocates, security specialists and lawyers--that took place on the tax-free Carribean island of Anguilla. (Vol. 1. No. 12, April/May, 1997)|
1| |
4|website reviews|
2|april2_gang.html|news_sat.gif|The Style of Violence|Christiane Paul|"A Street Guide to Gang Identity"--a website developed by Dr. Janet Hethorn--helps demystify the visual cues that signify gang identity: it succeeds in fostering an improved understanding of the complexities of gang styles and the link between clothing and violence. (Vol. 1. No. 12, April/May, 1997)|
2|april2_tots.html|news_sat.gif|Preschool WebTV|Christiane Paul|"TOTS TV Theater"--a website enhancing the TOTS TV preschool television series--sets new standards for educational websites targeted at children. (Vol. 1. No. 12, April/May, 1997)|
1| |
4|cd-rom reviews|
2|April2_info.html|mag_sat.gif|The Essence of Forms|Christiane Paul|"InfoArt--The Digital Frontier From Video to Virtual Reality"--an interactive CD-ROM art catalogue featuring the works exhibited in the InfoArt Pavilion at the '95 Kwangu Biennale in Korea--illustrates the unique challenges that producers of digital art catalogues have to face. (Vol. 1. No. 12, April/May, 1997)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/apr-may97.html|news_sat.gif|Topic #9: (Re)Membering Port|Robbin Murphy|Robbin Murphy's monthly column re-members "PORT: Navigating Digital Culture"--the projects as well as the experiences of the participants and organizers (of which he was one). (Vol. 1. No. 12, April/May, 1997)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 11, March 1997|
1| |
4|articles||
0|Editorial: Evolution vs. Design|Christiane Paul|Digital evolution has become a "hot" topic, and its discussion often creates an unbridgeable gap beween evolution, a natural process with its own dynamics, and a history of design--technological development based on research. (Vol 1 No. 11, March 1997)|
2|march_road.html|news_sat.gif|Venues of Process: The Road Unraveled|musEleanor, C.M.S.A.|A Certified Muse in the Service of Art takes a look at the structural models behind three recent new media shows--BLAST, TECHNOSEDUCTION, and PORT--and examines "venues of process" as a new form of exhibition offered to artists.(Vol 1 No. 11, March 1997)|
0|Bio-Technology in the Gallery|Joseph Nechvatal|Artist Joseph Nechvatal reviews "Live in Boston," an installation by ART ORIENTE Object (AOo) in which bio-technology turns into an artistic metaphor: in their installation, the artists use skin samples that were created from bio-cultures bred from their cells. (Vol 1 No. 11, March 1997)|
1| |
4|interview|
0|Archived Memory|Christiane Paul|IA talks to Arnold Dreyblatt, the creator/producer of "Memory Arena"--a project he developed in collaboration with Fred Pommerehn. "Memory Arena"--a journey through an archive of biographical files--is a multimedia project presented in various forms: it has been staged as an interactive performance/installation, exists on CD-ROM and is now available on the Web. (Vol 1 No. 11, March 1997)|
1| |
4|website reviews|
2|march_darwin.html|news_sat.gif|Digital Darwin|Christiane Paul|A review of "Tree of Life" and "Digital Darwins"--two websites presenting information on the evolution of organic life-forms. (Vol 1 No. 11, March 1997)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/mar97.html|news_sat.gif|Topic #8: @PORT|Robbin Murphy|Robbin Murphy discusses "PORT: Navigating Digital Culture"--an exhibition of digital art online at The MIT List Visual Arts Center, which he co-organized with Remo Campopiano. (Vol 1 No. 11, March 1997)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 10, February 1997|
1| |
4|articles|
0|Editorial: Wandering|Christiane Paul|William Gibson once said that the Web gives us the opportunity to wander aimlessly through the post-geographical meta-country of cyberspace, to waste time and daydream... but perhaps our aimless wanderings also offer us the possibility to re-invent conceptual spaces. (Vol 1 No. 10, February 1997)|
0|Color and Light: A Painter meets a Computer|Lee Harrington|Artist Lee Harrington compares the use of color in painting and Web design and discusses subtractive vs. additive light.|
0|Artist and Familiars|Joseph Nechvatal|Artist Joseph Nachvatal discusses the changing nature of artistic definition in the age of computer communications technologies,  establishing a connection between the semi-automatic drawings of Austin Osman Spare and the media-reproduced individual in cyberspace. (Vol 1 No. 10, February 1997)|
1| |
4|website reviews|
2|feb_6168.html|news_sat.gif|Remembrances of Things Past|Christiane Paul|"6168"--a website exhibiting projects by artists Peter Horvath and Sharon Matarazzo--combines two distinct voices into creative unity and explores notions of history, place, self, and memory. (Vol 1 No. 10, February 1997)|
2|feb_roman.html|news_sat.gif|Romantic Circles|Christiane Paul|"Romantic Circles"--a website devoted to the study of Lord Byron, the Shelleys, John Keats and their contemporaries--offers access to a five-room MOO space, a virtual incarnation of the Villa Diodati where Lord Byron spent the summer of 1816 with the Shelleys, John Polidori and Claire Clairmont. (Vol 1 No. 10, February 1997)|
1| |
1|cd-rom review|
2|feb_twilight.html|news_sat.gif|Lyrical Twilight Zones|Christiane Paul|In his latest hypertext novel, "Twilight--A Symphony," Michael Joyce takes readers on an elegiac journey through the twilight zones of life and death that is ultimately life-affirming. (Vol 1 No. 10, February 1997)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/feb97.html|news_sat.gif|Topic #7: Performance Anxieties|Robbin Murphy|Robbin Murphy's monthly column talks about "wired" performances and the ability networked communications give us to recognize our multiple selves. (Vol 1 No. 10, February 1997)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 9, January 1997|
1| |
4|articles|
0|Editorial: Knowledge vs. Learning|Christiane Paul|Are information technology, networking and digital media undermining the basic assumptions behind our concepts of learning and knowledge? (Vol 1 No. 9, January 1997)|
2|jan_net.html|news_sat.gif|Networks--The Next Generation|Christiane Paul|Building the networks of the future has become a global business of particular concern to educational institutions. While the infrastructure seems to be in good shape, many educational institutions are still struggling to meet the requirements of Internet II and the next generation of networks. (Vol 1 No. 9, January 1997)|
0|Moving Pictures You Move|Jim Gasperini|Multimedia artist Jim Gasperini takes a look at 'moving pictures' and examines the control of time in new media aesthetics. (Vol 1 No. 9, January 1997)|
2|jan_blast.html|news_sat.gif|Blast5Drama: Art: Is It Stranger Than Diction?|musEleanor, C.M.S.A.|Certified Muse in the Service of Art speaks out, reviewing "blast5drama"--a model armature for groupings of creative works. (Vol 1 No. 9, January 1997)|
0|Text from Hamburg show... "discord.sabotage of realities"|Kathy Huffman|From Rhizome.org: Kathy Rae Huffman reports on "discord.sabotage of realities," a show currently on view in Hamburg as part of the "Week of Visual Arts." (Vol 1 No. 9, January 1997)|
1| |
4|website reviews|
2|jan_papyrus.html|news_sat.gif|Digital Papyrus|Christiane Paul|Several library collections are now making the most fragile of their documents available on the Web: documents existing on fragments of papyrus that have survived to the present day. (Vol 1 No. 9, January 1997)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/jan97.html|news_sat.gif|Topic #6: Seeing the Forest AND the Trees|Robbin Murphy|Robbin Murphy's monthly column discusses the future of intellectual property on the Net with regard to networked digital worlds. (Vol 1 No. 9, January 1997) |
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 8, December 1996|
1| |
4|articles|
0|Editorial: One to One|Richard Ledes & Christiane Paul|Intelligent agents and content management technologies are increasingly used to personalize editorial content on the basis of demographics. Can agent software replace human agents? (Vol 1 No. 8, December 1996)|
2|dec_bodies.html|news_sat.gif|Connecting Bodies in Space|Christiane Paul|Cyberspace and VR offer possibilities of remaking the body and releasing it from its physical limitations. But how can our technologically-enhanced bodies connect? Several art projects are trying to answer this question. (Vol 1 No. 8, December 1996)|
0|Personal Art|Richard Ledes|Personal art on the Web has become a genre in itself. IA discusses the qualities of this genre in relation to art exhibited and sanctioned by public institutions. (Vol 1 No. 8, December 1996)|
0|Festival Art: Fujihata at ISEA and Mikami at DEAF|Sean Cubitt|From Rhizome.org: Sean Cubitt reviews Masaki Fujihata's "Beyond Pages" and Seiko Mikami's "Molecular Informatics Ver. 2.0." (Vol 1 No. 8, December 1996)|
0|Download This|Richard Ledes|On the aesthetics of downloading and delay in the digital medium--CD-ROM and the Web.|
1| |
4|website reviews|
0|Dream Screens|Richard Ledes|Using features of performance art, Susan Hiller's "Dream Screens" invokes a state in which the division between waking and dreaming is overcome. (Vol 1 No. 8, December 1996)|
2|dec_bosnia.html|news_sat.gif|Surviving Bosnia|Christiane Paul|Various international projects are trying to reconstruct the collection of the Sarajevo library and Bosnia's cultural heritage by creating a digital library. (Vol 1 No. 8, December 1996)|
1| |
1|cd-rom review |
2|dec_kabuki.html|news_sat.gif|Digital Kabuki|Christiane Paul|The first encyclopedia of Kabuki translates the aesthetics of this traditional Japanese art form into the digital medium in order to "stage" information about Kabuki. (Vol 1 No. 8, December 1996)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/dec96.html|news_sat.gif|Topic #5: Becoming Objects|Robbin Murphy|Robbin Murphy's monthly column takes a look at "the art object Jasper Johns" and the personal image of artists as a commodity. (Vol 1 No. 8, December 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 7, November 1996|
1| |
4|articles|
0|Editorial: For Whom The Bell Tolls|Richard Ledes & Christiane Paul|Funding for basic research in the U.S. is increasingly directed to projects that promise short-term financial results in a predictable way. What will happen to the concept of "knowledge"? (Vol 1 No. 7, November 1996)|
0|Web.Democ.Edu.101|Christiane Paul|An examination and analysis of what the Web can tell us about the current state of democracy. (Vol 1 No. 7, November 1996)|
0|alt.youth.media|Richard Ledes|This exhibition featuring works about youth, for youth and largely by youth says a lot about what the future may be for Interactive Media and Technology. (Vol 1 No. 7, November 1996)|
1| |
4|interview|
0|Wiring "Jude the Obscure"|Richard Ledes & Christiane Paul|IA interviews Robert McClintock, Director of the Institute of Learning Technologies at Columbia University. (Vol 1 No. 7, November 1996)|
1| |
4|website reviews|
2|nov_cyber.html|news_sat.gif|Cyberdelia|Christiane Paul|The online hypermedia novel "Sunshine 69" takes visitors on a trip through the '60s, highlighting parallels between psychedelia and cyberdelia. (Vol 1 No. 7, November 1996)|
2|nov_surf.html|news_sat.gif|Surf Music Again|Bob Goldberg|Composer and sound artist Bob Goldberg has been surfing the Web for thought-provoking and useful music-related sites--and shares his findings with our readers. (Vol 1 No. 7, November 1996)|
1| |
4|cd-rom reviews|
2|nov_tech.html|news_sat.gif|Tech-Fears|Christiane Paul|The CD-ROM "Technophobia," published by Dooley Le Capellaine, features interactive multimedia works that provide various angles on our fears about new technologies.(Vol 1 No. 7, November 1996)|
0|Project Gutenberg|Richard Ledes|The big question is: why would you want Project Gutenberg on CD-ROM when you can get it online? (Vol 1 No. 7, November 1996)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/nov96.html|news_sat.gif|Topic #4: Databases or Digital Packrats?|Robbin Murphy|Robbin Murphy discusses issues surrounding the growth, searching and merging of databases. (Vol. 1 No. 7, November 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 6, October 1996|
1| |
4|articles|
0|Editorial: Are You Ready?|Richard Ledes & Christiane Paul|Will print newspapers lose their relevance because of personalized electronic news? (Vol 1 No. 6, October 1996)|
2|oct_arsel.html|news_sat.gif|Ars Electronica -- Web Winners|Christiane Paul|We take a look at the winners of the Prix Ars Electronica 1996 in the WWW category. (Vol 1 No. 6, October 1996)|
0|It's the End of The Millennium... Do You Know Where Your Bytes Are?|Richard Leds|The writings of the cypherpunks offer one of the most interesting areas of imaginative endeavor on the Web. (Vol 1 No. 6, October 1996)|
0|Web Space is the Art Place|Annette Weintraub|Annette Weintraub's report from Siggraph '96 focuses on the panel sessions dealing with the Web as a space for art. (Vol 1 No. 6, October 1996)|
0|AIDS Information Online|Marcus Boon|Marcus Boon examines resources for AIDS info and their educational use.|
0|Operative Brain|Christiane Paul|Tod Machover's "Brain Opera," which premiered at the Lincoln Center Festival '96 tries to explore the interplay of musical structure and sensory perception. (Vol 1 No. 6, October 1996)|
1| |
1|website review|
2|oct_super.html|news_sat.gif|Supercollisions|Christiane Paul|Two Supercolliders on the Web: the website of the "Fermi National Accelerator Laboratory" and Trevor Blackwell's "Web Collider," which uses HTML to let information collide. (Vol 1 No. 6, October 1996)|
1| |
1|cd-rom review|
0|Salt of the Earth|Richard Ledes|This CD-ROM (published by Organa) implies an ethos about the potential of multimedia to challenge how we think about the relation of a cultural artifact to its context. (Vol 1 No. 6, October 1996)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/oct96.html|news_sat.gif|Topic #3: Has the Mona Lisa Lost Her Head?|Robbin Murphy|Robbin Murphy takes a look at the copyright of images and paintings, and the use of famous "heads" as avatars in metaworlds. (Vol 1 No. 6, October 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 5, September 1996|
1| |
4|articles|
0|Editorial: Keeping the Cosmos Cosmopolitan|Richard Ledes & Christiane Paul|On new forms of hybridization, and on the new kinds of fundamentalism to which they sometimes appear to give rise. (Vol 1 No. 5, September 1996)|
0|Three Parts Interactive|Richard Ledes|IA analyzes the role that interactive art played in "Mediascape," an exhibition at the Guggenheim Museum in SoHo. (Vol 1 No. 5, September 1996)|
2|sept_burni.html|news_sat.gif|Burning Down the House|Christiane Paul|The second installment of our article examining the challenges of building interactive narratives. (Vol 1 No. 5, September 1996)|
0|Crossing Distances|Ed Gragert|I*EARN's director Ed Gragert reports on the third annual I*EARN conference in Budapest. |
1| |
4|website reviews|
2|sept_tiana.html|news_sat.gif|Tiananmen Gate|Christiane Paul|The website dedicated to the 1995 documentary "The Gate of Heavenly Peace" illustrates characteristics of the Web as a medium for historical events. (Vol 1 No. 5, September 1996)|
1| |
4|cd-rom reviews|
2|september_muse.html|news_sat.gif|Thank You for Your Visit... Now Scram!|Richard Ledes|Will you never be rushed because of closing time at a museum again? IA analyzes two websites and a CD-ROM connected to the collections of three famous museums. (Vol 1 No. 5, September 1996)|
2|sept_spirit.html|news_sat.gif|Spiritual Scrutiny|Christiane Paul|"ScruTiny in the Great Round," a CD-ROM by Tennessee Rice Dixon & Jim Gasperini translates collage art into the interactive medium--presenting a mythic, archetypal rendition of the cycles of life that seems to spring "unfiltered" from the unconscious mind. (Vol 1 No. 5, September 1996)|
0|Blocks in Motion|Richard Ledes|IA reviews a CD-ROM by Don Johnston Inc. (intended for children in grades K12) and speculates about the differences between what should happen and what may likely happen with the use of computers in classes for small children. (Vol 1 No. 5, September 1996)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/sept96.html|news_sat.gif|Topic #2: &copy 1996 Robbin Murphy|Robbin Murphy|Robbin Murphy continues his monthly column discussing issues surrounding copyright, permission, and the incentive for creativity. (Vol. 1 No. 5, September 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol. 1 No. 4, July/August 1996|
1| |
4|articles|
0|Editorial: CD-ROM vs. the Web|Richard Ledes & Christiane Paul|On the future of the CD-ROM. (Vol. 1 No. 4, July/August 1996) |
2|july_cyber.html|news_sat.gif|Cybercities/Cybernations|ChristianePaul|Some "territories" on the Web either experiment with abstract notions of cities, states and nations,  or try to recreate a digital version of an existing locality. (Vol. 1 No. 4, July/August 1996)|
2|aug_building.html|news_sat.gif|Housing Construction|Richard Ledes|This is the first installment of a two-part article examining the challenges of building interactive narratives. (Vol. 1 No. 4, July/August 1996)|
0|Medicine and the Other of the Two Fathers|Richard Ledes|The history of medicine is beginning to appear on the Web; we examine some of  its current manifestations in relation to what the Web might mean for the telling of history. (Vol. 1 No. 4, July/August 1996)|
1| |
1|website review|
2|july_chang.html|news_sat.gif|Changing Views of Nature|Christiane Paul|With their project "Dialogue With The Knowbotic South," the multimedia team knowbotic research allows users to trace how science and technology transform nature. (Vol. 1 No. 4, July/August 1996)|
1| |
4|interview|
0|Waiting for Jackie Gleason|Richard ledes & Christiane Paul|IA talks to Mike Enright, a multimedia producer at Macmillan Digital USA, about the future of CD-ROM publishing. (Vol. 1 No. 4, July/August 1996)|
1| |
4|cd-rom reviews|
0|Rescuing Innovation|Richard Ledes|IA reviews "The Great Solar System Rescue," an educational CD-ROM by Tom Snyder Productions that incorporates techniques of cooperative learning. (Vol. 1 No. 4, July/August 1996)|
2|july_midi.html|news_sat.gif|MIDI Chamber Music|Christiane Paul|"All my hummingbirds have alibis," a CD-ROM by composer Morton Subotnick, combines images and text from a collage novel by Max Ernst with two of Subotnick's compositions, exploring the CD-ROM as a kind of chamber music/art. (Vol. 1 No. 4, July/August 1996)|
1| |
4|monthly column|
3|artnetweb.com/views/intelligent_agent/july.html|news_sat.gif|Topic #1: Getting Started|Robbin Murphy|Artist Robbin Murphy joins IA for a monthly column on copyright and the Web. (Vol. 1 No. 4, July/August 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol. 1 No. 3, June 1996|
1| |
4|articles|
0|Editorial: Edutaining Ourselves to Death...|Richard Ledes & Christiane Paul|We ponder "edutainment" and the need for a coalition between arts and education. (Vol. 1 No. 3, June 1996)|
2|june_woa.html|news_sat.gif|Web On Arrival|Richard Ledes|A number of sites have been constructed to make the Web a user-friendly place for various approaches to death and immortality. (Vol. 1 No. 3, June 1996)|
2|june_going.html|news_sat.gif|Going the Educational Distance|Christiane Paul|On the difficulties and possibilities brought about by distance education--IA takes a look at some of the currently existing distance education projects. (Vol. 1 No. 3, June 1996)|
1| |
4|website reviews|
2|june_linke.html|news_sat.gif|Linked Senses|Christiane Paul|"Sensorium--Japan Theme Pavillion" uses the traditional Japanese poetic form of Renga (linked verse) to explore "linked senses." (Vol. 1 No. 3, June 1996)|
2|june_blood.html|news_sat.gif|From the Blood of Poets|Richard Ledes|An online exhibition of work by the artist Kevin Clarke makes use of DNA in ways that illuminate some of the Web's own characteristics. (Vol. 1 No. 3, June 1996)|
1| |
4|cd-rom reviews|
2|june_first.html|news_sat.gif|First Voices and Visions|Christiane Paul|The deadline for the 1996 "New Voices New Visions" competition is approaching--a good opportunity to look back at the "New Voices New Visions 1994" CD-ROM, an introduction to the winners of 1994. (Vol. 1 No. 3, June 1996)|
0|Print it: Weird|Richard Ledes|The CD-ROM "Comic Book Confidential" by Ron Mann documents some of the best work by American comic-book artists in an historical context marked by legal efforts at censorship. (Vol. 1 No. 3, June 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 2, May 1996|
1| |
4|articles|
0|Editorial: Enter Here|Richard Ledes & Christiane Paul|'Art on the Web': Art works reproduced in the digital medium vs. digital art. (Vol 1 No. 2, May 1996)|
2|may_westb.html|news_sat.gif|West Bank Industries--Betting on Virtual Economy|Christiane Paul|Crossing the lines between commerce, betting and art, West Bank Industries promotes an economy based on virtual currency and experiments with various projects, among them 'Core War Betting Hill.' (Vol 1 No. 2, May 1996)|
2|may_willy.html|news_sat.gif|Will Your Children be Morphed Into Small Cyber-Potatoes?!|Richard Ledes|The arrival of the $500 Network Computer  has raised a host of expectations. IA examines the terrain on which the debate around educational uses of the Web is taking place. (Vol 1 No. 2, May 1996)|
1| |
4|website reviews|
2|may_wildl.html|news_sat.gif|Wildlife Networks|Christiane Paul|A wildlife conservation project in the Crater Mountain area in Papua, New Guinea, uses technology to offer collaborative research opportunities for scientists and to establish communication between both forest communities and management groups around the world. (Vol 1 No. 2, May 1996)|
2|may_groun.html|news_sat.gif|The Ground of Cyberspace|Richard Ledes|A review of the "University of Delaware Botanic Gardens": are gardens on the web attracting so much attention because they make cyberspace appear more familiar? (Vol 1 No. 2, May 1996)|
1| |
1|cd-rom/hypertext reviews|
2|may_borgi.html|news_sat.gif|Borging|Christiane Paul|Diane Greco's hypertext "Cyborg--Engineering the Body Electric" uses the image of the cyborg in the works of 20th century authors to explore cyborgs as a metaphor for personal identity and political action. (Vol 1 No. 2, May 1996)|
0|Choice of Toppings, But It's Still Pizza|Richard Ledes|The flaws of "Psychic Detective," an interactive movie on CD-ROM by John Sanborn, may nevertheless offer some vital clues about how to create an interactive cinema. (Vol 1 No. 2, May 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|
1| |
1|Vol 1 No. 1, April 1996|
1| |
4|articles|
2|april_willt.html|news_sat.gif|Will the Teraflop flop?|Richard Ledes|The Future of NSF Funding for Supercomputing Centers. (Vol 1 No. 1, April 1996)|
2|april_missi.html|news_sat.gif|Missing Links of Digital Evolution|Christiane Paul|The search for the common denominator between evolution in the digital space and in the world offscreen: interactive arts projects explore the interconnectedness of digital and organic life-forms. (Vol 1 No. 1, April 1996)|
1| |
4|website reviews|
2|april_marke.html|news_sat.gif|Marketing--the Final Frontier?|Richard Ledes|"The Most Wanted Paintings" by Vitaly Komar and Alex Melamid is an art project that uses marketing statistics to make aesthetic decisions and comments on the Web as a new financial frontier. (Vol 1 No. 1, April 1996)|
2|april_world.html|news_sat.gif|Worlds Enough|Christiane Paul|"Diotima" and "The World Lecture Hall" are two websites for educators that provide an example of how the Web can be used in teaching and scholarship. (Vol 1 No. 1, April 1996)|
1| |
4|cd-rom reviews|
2|april_beyon.html|news_sat.gif|Beyond the Zero|Christiane Paul|Roz Dimon's "The World's Greatest Bar Chart," an explorable "cyberpainting" on CD-ROM celebrates the evocative and sensual in the artistic use of a technology that is traditionally associated with the realm of ones and zeroes. (Vol 1 No. 1, April 1996)|
2|april_youri.html|news_sat.gif|You're in...|Richard Ledes|With the CD-ROM "Ephemeral Films 1931-1960" by Rick Prelinger, a selected set of excerpts from films created by a company or industry brings into focus a secret part of American culture at midcentury. (Vol 1 No. 1, April 1996)|
1| |
4|FYI Arts: 10 short website reviews|
4|FYI Education: 10 short website reviews|