Javamuseum: few questions interview

This is my work for the closing call for the Javamuseum, a few questions interviews to all the particpants in the Javamuseum. It has not been possible to reach all of the participants, also not all of them have replied. Text have been only slightly edited, where the text was in a different language (it just occurred with Italian) the original text is provided together with its relevant english translation. Text in bold has been selected by the interviewer (that's me) and it will form my own text. Thanks to everybody who found the time to answer and thanks to Wilfried Agricola de Cologne for his efforts spent on the Javamuseum (http://www.javamuseum.org) project.

Featuring:

Questions:

1. Your full name, nickname (if any) and where you live.
2. What have you been working on for the last year?
3. Your thoughts on the Javamuseum experience.
4. What you think of net.art?
5. What about the web as a medium to create and promote art?

Answers:

George Alamidis

1. No nickname. I live in Melbourne Australia.
2. In My day job I have been developing online learning materials for an educational institution. For my night job (making artwork) the last two years were devoted to making ephemeral objects.eg. Id cards and postcards. I have also made a number of sculptural objects from found materials.
3. The first time I contributed artwork was to the Java Museum and it was fantastic to have had the opportunity to do so. After that, I found it hard to continue to participate because of work commitment.
4. What is net.art? If it is an online gallery I have not heard of it...
5. It provides a great opportunity to engage with international work and artists.

Stéphan Barron

1. Stéphan Barron. 235 av. du Puech de Massane. 34080 Montpellier. France.
2. corps@corps artwork with MMS / cellular phone.
3. I do not know.
4. It needs more body, but for some artworks: perfect.
5. It’s illusion, utopia, but art is utopia.

Isabella Bordoni

1. My name is Isabella Bordoni. For many years from 1985 to 1999/2000 I did all my art work under the name of “Giardini Pensili”. With the end of this common experience I create (2000/2001) “ib.project for the arts/isabella bordoni.progetto per le arti”, nomadic platform for arts, media and society, based in Rimini, Italy.
2. During the last years I was and I’m mostly focused in interactive installation (“Lacrima (e vive)” a commission by Palazzo delle Papesse, Siena), radio projects (with Orf Kunstradio and DeutschlandRadio) and theatre production. Next project "Digital Migration" interactive installation; “Poetry.scapes in Alma Mater” a project releted whit urban environment, art and perception, in collaboration whith Università di Bologna; “Dove l'ombra“ radio piece for DeutschlandRadio.
3. Was not exactly an experience. One of my piece, “www.poetrybox.net” was selected at Javamuseum 2003.
4. I like whatever possibility to combine art, technology, social environment. Net.art is one of those possibility.
5. In both cases web is for me an intelligent and charming machine. Of course “create” or “promote” are complitely different and needs different philosophy and practical approach.

Speranza Castillo

1. Speranza Casillo Roma.
2. [Oltre alla realizzazione dell’update del mio sito ho sperimentato nuove animazioni flash.] Updating my own web site and experimenting with some new Flash animations.
3. [Quello di Wilfried Agricola de Cologne è un progetto enorme, partito con un concorso on line ha poi proposto opere di netart appartenenti a diverse regioni culturali. Con il mio lavoro ho partecipato all’Actual Positions of Italian NetArt e successivamente al [R][R][F] 2004 VideoChannel curato per l’Italia da Laura Chiari; queste esperienze hanno avuto il significato di un incontro virtuale per conoscere il lavoro di altri che come me... manipolano pixel, oltre che da queste ricavarne una buona visibilità riscontrata dall’incremento del numero di accesi al mio sito.] It’s a huge project the one built by Wilfired Agricola de Cologne, it started with an online call then showed netart works from diffferent cultural areas. My work has been featured on Actual Positions of Italian NetArt and then on the [R][R][F] 2004 VideoChannel, this one curated for Italy by Laura Chiari. Those experiences were an opportunity to virtually know works from people manipulating pixels like I do. I received a good visibility form the whole thing as I increased accesses to my web site.
4. [Penso della netart ciò che penso dell’arte: credo che nulla sia definibile “arte” a priori; credo invece in un processo artistico che presuppone uno che fa una cosa, “quella cosa” e un altro che si emozione davanti a quella cosa. In quest’ottica, a mio parere ovunque ci può essere arte perciò perché non nella rete? La tecnlogia è il mezzo, ciò che conta è quello che hai da dire.] What I do think of netart is the same thing I do think about art: nothing may be called art a priori. It’s more like an artistic process, someone’s doing something, someone else get touched by that thing. From this point of view you may find art everywhere, so why not on the net? Technology is the medium, what really matters is what you have to say.
5. [Rispondo partendo dal fatto che se la mia esperienza sul web può essere interessante lo è per due motivi: uno è che la tecnologia non mi ha “disconneso” dal mondo, ma è al servizio del mio desiderio di espressione; il secondo è che il mio computer è diventato mezzo di produzione e distribuzione del mio lavoro e questo credo sia la grande rivoluzione di internet: quella di raggiungere tanti utenti in maniera immediata e gratuita. L’Arte si riappropia del suo valore di essere di tutti e alla portata di tutti.] I'll do an example on my own experience on the web, it is interesting for me for two reasons: the first one is that technology just disconnected my self from the real world. But technology is working for my own expression's desire. The second reason is my own computer is the tool of production and, in the same time, the medium of distribution of my work. This is, to me, is the big internet revolution: you may reach a huge audience in a quick, cheap way. Art takes back its own value: being everybody's and accessible to everybody.

Mauro Ceolin

1. Mauro Ceolin, Milan.
2. [Da quasi cinque anni, lavoro ad una traduzione e riscrittura dell’immagine mediatica, in un percorso che non vuole essere altro che una evoluzione, del fare pittura. In una riedizione postmoderna dell’estetica pop, vado setacciando il paesaggio di informazioni che mi circonda, selezionando una serie di immagini che sottopongo a decantazione attraverso la tecnica del disegno vettoriale.] Since almost five years I’m working on a translation of the mediatic image. It's a journey that it's nothing else than an evolution in the making of panting. It’s a postmodern revisitation of the pop aesthetic. I'm looking for informations in the landscape's surrounding me, I'll select a series of images then I'll let them breathe through a vectorial design techinique.
3. [...troppo contenitore.] Too much of a container.
4. [La net art è un periodo storico, per cui si rivolge al passato. Il presente è composto da una serie di esperienze molteplici che utilizzano la rete con finalità differenti. È compito di chi studia le dinamiche espressive connese con questo mezzo definire le attuali derivazioni.] Net art is an historic period, thus it's talking to the past. Present is made up of a series of multiple experiences' using the web with multiple goals. It’s a job for those who are studying the dynamics of expression of the medium itself, to define what the real derivations are.
5. [Anche ma non necessariamente, il web offre sicuramente una visibilità maggiore.] Also, but not necessarily, the web gives a better visiblity.

Sarawut Chutiwongpeti

1. Sarawut Chutiwongpeti, Now I'm in Bangkok. (Just back from EU). A few years, I lives in EU.
2. DVD Installation and Installation.
3. A good one channell to express art in Cyber World.
4. Still developed. It will be fantastic for those who love Cyber World.
5. It is a good way for introduce my works via Webart. Peoples around the world can access it any time, anywhere.There is no boundary! Whatever, White or Black peoples.

Lisa Cianci

1. Lisa Cianci, Melbourne, Australia.
2. I am currently doing a Masters Degree in Interactive Media at RMIT University in Melbourne, Australia. My Research Project involves creating an online, database-driven artwork using archival constructs and metadata to explore the life-cycle of multimedia objects.
3. Javamuseum is a great site dedicated to exploring new media / networked media. It was great to have the opportunity to be one of the artists to participate. It’s often difficult to find a forum or space for net.art it can be difficult to exhibit this kind of artwork in the same way as other forms of art, so I appreciate the experience.
4. Net.art is my main focus as a visual artist. I am particularly interested in networked space the internet is a kind of space where artwork can be developed, published, viewed, manipulated, etc. The technology for me is really just a tool, or medium like paint and canvas where I can work and create things, and hopefully others can see them. The medium has it’s own unique qualities and possibilities, and I like working within these parameters.
5. I guess the last question partly answers this question. The web is pretty useful to me personally in many aspects of my life and in particular my work as a visual artist. I have been able to create work and exhibit work in more diverse ways, and reach a wider audience than with my analogue artwork (painting and drawing). A lot of my work is database driven too, and web technologies such as dynamic web pages really allow this kind of work to be very playful and interactive for users. It allows for interesting creative processes like collaboration and documentation.

David Clark

1. David Clark. I live in Halifax on the East Coast of Canada. My personal website is www.chemicalpictures.net
2. I have completed a couple of smaller net projects for shows here in Canada. I did a collaboration with Montreal performance artist Pascale Malaterre and Halifax Programmer Rob Whynot called “Riddled with the Stinx” (http://riddledwiththestinx.net/stinx/) and a piece for a show called <PAUSE> where I did a piece called “Likewise” (http://www.chemicalpictures.net/cp/likewise/) I have been working on a larger project that is still in progress that is an extension of my interest in language and history that I explored in A is for Apple. The new piece centres around the philosopher Ludwig Wittgenstein. It’s called “88 Constellations for Wittgenstein (to be played with the Left Hand)”. I am also starting a new project about the letter X in collaboration with a Vancouver artist named Marina Roy.
3. I like the Javamuseum. I think that the net offers up a different model of sustaining cultural interaction beyond the institution of the museum. I see the Javamuseum has managed to created curatorial focus to a wide field. It’s also been helpful for me to make contacts with other artists. I have met a number of the artists who were on Javamuseum at festivals and it’s great to know the work of these people before I meet them.
4. Well I obviously quite interested in the phenomenon. In a way I kind of think that my interests in non-linear narrative and multiple story lines etc naturally progress towards the interactive media form. I think the other thing about my work that has been about connecting the dots so to say... about making connections between things, is that the net and the culture around it is about just that. For me it seems like the perfect post-modern medium for art... de-centred, de-authored but still having relevance and serving the functions of art to provoke and experiment.
5. Again, I'm interested in the web as an archive of stories and images that can be incorporated in my play of meanings and associations. It's a rich territory for an artist to play with. When I was a sculptor I was very interested in found objects and for me the web is a vast collection of found objects... even found virtual objects. As for the idea of promoting art on the internet... on one side it’s wide open. A general public seems to be able to engage with challenging work because they don’t know what the rules are. The medium really is in flux. I think in some ways the internet is the way for art to get out of the ghetto. On the other side I think that making art for the internet is still a pretty marginal activity in many people’s minds. In some ways this too is an advantage because less restrictions are placed on what you create or how. I’ve been very lucky to find an audience for my work on the net. This has happened in a very grassroots kind of way. A is for Apple grew in popularity because it wove together so many different areas of interest. I think it was accessible to a lot of people but also allowed them into a strange new space. Certainly there is something selfregulating about the internet. If someone is not engaged then they simply move on. If they are engaged they are very appreciative because they’ve discovered something new and kind of secret.... Art on the web is really art for it’s own sake in that it isn’t there to sell something. It has to be engaged for what it has to offer in content.

Carla Della Beffa

1. Carla Della Beffa, no nickname. I live in Milano Italy and Paris France.
2. Some videos and lots of photographs, which until now I’ve made into three full projects and some more to come.
3. Javamuseum offered me the chance to be seen around, and to meet some other artists. There were lots of opportunities, so it’s only my fault or my shyness or the slowness of my connection if they were not many more.
4. Net–art is becoming something different from when I started, often more political or interactive than my art can be. The critics working on net.art define it in more restricted ways every year and most of those who were there at the beginning are falling out of it. Blogs too are taking up a part of what used to be net.art matter. The spamming plague is not helping in any way. I sometimes wonder why I still bother, but I love my works to be on the internet in some site–specific, or better medium-specific, way. And I need to show them if I want to felle free to work on new projects, instead of letting the old festering unseen.
5. The art world and the internet world are quite apart. My work is relatively well–known on the web, and perceived by the public as something I generously give free of charges, but I need to sell something as well, and to make actual shows in actual places, and this is not made any easier by a website like mine. The art people just think it is some sort of catalogue, or it is too much of a catalogue, or whatever.

Simon Fildes

1. Simon Fildes, Newtonmore Scotland UK.
2. 2 new works 1 a new hyperchoreography piece called The truth the truth hyperchoreography.org and a piece called ardnamurchan zillij – zillij.org.uk
3. It’s great to see something with such ambition though I’m always slightly in the dark as to what it’s agenda is.
4. I think it’s great if it is ideas based and has an inner ’beauty’ but dull if it’s merely a technical display of someone’s coding or graphic ability.
5. An excellent means of distribution.

Santo File

1. Santo File. Members: David Casacuberta (da5id) Marco Bellonzi (marco13)
2. Several net.art project from a cyberpunk perspective, including an interactive novel. Still works in progress. An exhibit about hypertext and literature for the CCCB (Centro de Cultura Contemporanea de Barcelona). A live performance at Sonar festival 2004 based on the Cold War, with sounds from Spy communication radio stations and stock images from Cold War propaganda both from East and West.
3. It’s been an impressive experience. We’ve been following its development from the beggining and we are very happy to see how it has been developing, growing, and getting a more usable but yet aesthetically appealing interface. The quality we value most is how javamuseum has helped us to discover more net.artists working which we didn't know of.
4. To me, we are in an impasse situation right now. I guess we are getting a little infected by “copy or perish” which tends to rule in the graphic design world, so people keep coping one another, trying to look “modern” and webs tend to look more and more alike, which is a little pity. I discovered myself going back to old staff from the middle 90s finding it more interesting that what is being done now. Fortunately, there is some good stuff and I’m sure that this impasse will be avoided and we’ll get lots of fantastic stuff.
5. We still think it is very valid, and it hasn’t been properly explored yet. There are lots of new things to be done, new technologies to tinker with. Part of the impasse I was talking in the former question is probably due a false sense of familiarity. We think that everything which could be done has been done already. There is a false sense of maturity around most net.artists,which has to be abandoned to avoid this impasse. I don’t remenber the author, but I read once one guy at ArtByte stating that net.art was moving from punk to symphonic rock. I agree with that. First days were days of experiments, pranks, an incredible sense of amateurism and Do It Yourself that is diminishing in front a false pretension of maturirty. We need a punk revival, but not an empty one, repeting the same aesthetics, but a punk attitude revival. We are optimistic and think that we'll get that soon.

FiLH

1. Let’s say I’m FiLH, I live in Bordeaux.
2. A kind of diary on filh.deviantart.com
3. Not much return. Finally your mail is the first I got from this experience.
4. Sometimes it is too much technology oriented. I really don‘t know what is net art. 99% of my artistic life takes place on the net, but most of it does not use a heavy technology, just some web pages or even the use of an external site like deviantart. So... is it web art ?
5. In the begining I thought it would become a real freedom, and the opportunity to discover lot of artists. With the time, it seems to me that the artistic internet world is splitted: the big institutions are still here, still do a lot of filtering work, beeing unable to prospect by themselves outside the official art world (The funniest is the french artousider that pretend to present outsiders artists, but only show artists from the same old official stream); on the other hand there has been so much off stream artists that it is very difficult to see them, we are just too manies. So we just have to be humble and go on working for the very few people that look at your work.

Muriel Frega

1. Muriel Frega, no nikname, I live in Buenos Aires, Argentina.
2. There are three main things I’ve been working on for the last year: an art game, called Planet Treasure, with Barry Smylie (Canada) and Ryan Douglas. You can play it at:http://www.barrysmylie.com/flash/circ3/planetTreasure.htm Some erotic engravings and drawings http://www.geocities.com/murielfrega/naipes.htm choose EROS I or EROS II and last but not least, f5-reload http://www.geocities.com/murielfrega/multimedia.htm
3. It’s a great experience, a turbulence of content and info.
4. I could never get to a conclusion in that subject... it seems to change and update so quicly that... well, i guess that is the point, the soul of it, to be changing and updating making us all part of that movement.
5. For Latin American artists I guess it has been a great possibility. I’ve been working with artists in Canada, Brazil, U.S., Chile, conceiving projects together and showing them in the net, just like they were here round the corner. I’ve contacted a lot of interesting people through sites and contests, making my work develop.

Cliona Harmey

1. Cliona Harmey. I live in Dublin 8, Ireland.
2. Earlier this year I did an Artist Residency in a primary school exploring photography/photo processes, using the history of the linen industry as a theme. Some of the work produced can be seen here: http://linenireland.org/residencies/dernakesh/index.php I also worked on a webproject “Twinned with” for London based organisation variablemedia.org. It explored ideas of repetition, memory and photography. The archive is viewable here: http://www.twinnedwith.net It was a clickable sequence of photographic images taken along a walking route on the periphery of an Irish coastal town. Over the duration of the project, images were regularly replaced with similar photographs (images which copied the original compositions), taken whilst making journeys through other locations. The images were created using a matchbox camera obscura attached to the lens of a digital video camera. This method reduced image detail making a series of generic vistas which could be attributed to multiple places. My main focus this year has been with with lensbased media both digital and film. I am interested in exploring hybrid forms of photography as with the camera obscura images which combine analog and digital. I am also researching new work which will deal with ideas around photography and the city.
3. I was glad to be a part of a bigger project and to be shown in context with other artists. It was also a good way to see the work of other artists working in this way both locally and in other geographic locations.
4. The things I admire about net art are its open-endeness, its multiple forms, and the way that netart deals with everyday real and virtual data.
5. The things I like about the web as a medium to create art, is the intimacy of scale(particularly with work designed for a single user). I like the fact that you can work with things which are fragmentary, impermanent, and non monumental. I also think its a great way to distribute work and to show work internationally.

Fran Ilich

1. Fran Ilich (ilich sabotage), México City.
2. I started a net.label called música para espías where many sound artists have been publishing their narrative audio experiments, as well as a net.film called being boring where people voted online daily to decide the outcome of the following scene. i’ve also been writing fiction and articles, and as well, we had the second digital narrative workshop week at sevilla, this year with the participation of julián boal, nora barry, olia lialina, dhan, andrea zapp & scanner. i just received a research grant to work on narrative media issues...
3. i felt very happy collaborating with agricola de cologne on his curatorial projects.
4. i enjoy it very much, altough sometimes i get tired of the most graphic design or flash focused and less on content and ideas...
5. net.media as a lifestyle, the city as map to hack.

Fernando Llanos Jimenez

1. Fernando Llanos Jimenez. FLLANOS. Mexico City.
2. Video on line (www.fllanos.com)
3. No Comments... I Thought it was a good idea... after a while, I have my doubts.
4. I don't like the label, but I do like netart. ;-)
5. What about it? Who have any doubt about it? The question I think should be another one.

Olga Kisseleva

1. Olga Kisseleva. St. Petertsburg (Russia) and Paris (France).
2. The Seven Deadly Desires (MoMA, Ljubljiana, Slovenia) Instrumental Flying (Moscow Biennial).
3. Happy to work with the net-art community.
4. It's an art of dialog.
5. I like to create with web – it’s a good way to go into people’s private space.

Chris Joseph

1. Chris Joseph. babel. Montreal, Quebec and Cambridge, UK.
2. A mix of online and offline digital projects, but primarily two collaborative and experimental pieces: ’The Breathing Wall’ (http://www.thebreathingwall.com ) with Kate Pullinger and Stefan Schemat, and Online/Offline (http://trace.ntu.ac.uk/frame/index.cfm?article=124) with Jane Draycott, cris bevir and Simon Keep. My most recent piece is a small participatory video work, Eisenstein’s Monster (http://www.babel.ca/em).
3. I can’t think of anyone who has worked as hard to promote web and net art of artists from around the world as Agricola de Cologne – as with all of his curation projects, the Javamuseum is full of great works and is always worth another visit...
4. It is still blossoming – perhaps it is too early to give any meaningful generalisations. However, any artwork that can only exist online is certainly problematic with respect to the five-sixths of the world population who are currently not online. Related to that point, many net.art works are interesting to digital artists, but are less so from the perspective of someone new to the world of online art. I would like to see more to enable and encourage the non–digerati to experience net.art, webart and digital art in general, particularly exhibitions in public spaces where such art is not normally found – a great example of this was the MAD exhibition in Madrid last year (http://www.mad03.net). Despite all this, I find the best net.art very exciting and thought–provoking, and comparable to the best of more advanced digital manifestations such as DV, CD or DVD art – though net.art should not necessarily be considered in relation to those, nor criticised with the same criteria...
5. I think the web is an amazing place to cheaply and relatively easily create art – whether that art is ’worthwhile’ beyond the act of creating is another question. In terms of promotion, in theory it is much easier to promote work online, but in practice the numbers of ’new’ eyes you can attract to web art through purely online promotion may be limited. Mailing lists are fairly limited to artists/theorists etc., and most portal sites like Rhizome feature a lot of works, which makes them slightly hit–and–miss from the perspective of someone new to digital art. This might make physical galleries dedicated to digital art like HTTP in London (http://www.http.uk.net) very important for promotion to new audiences.

Robert J. Krawczyk

1. Robert J. Krawczyk. Chicago, IL USA.
2. Print pieces of strange attractors, a possible version in JAVA to show transformations of attractors when minor changes are made to the parameters, sort of an animated viewer; updated architectural studies using 3D cellular automata methods, and tried to use 2D cellular automata in an art piece; worked on some 3D crystal pieces; also I just became Gallery Director at my University with the focus of art and technology; http://art.iit.edu
3. Overall being on the site was good, I found some of the areas hard to get into in early versions; have not been on the site for about 6 months or so. I don’t think I have been reminded to take a look. You should maybe remind us once a month a changes to the site, I wouldn't mind one email per month.
4. I have a difficult time understanding and to keep a level of interest in net.art that is narrative in nature, not sure textural information is communicated well, visual is sill one that I thinks works best as a primary focus. I have never fallen in love with Flash type imaging, where images are animated with no real purpose. I am not saying that direction should not be investigated, it is just I have not seem any that have drawn me in – and kept me intterested – maybe it take too much mental work to understand – traditional art can be communicated initialy by a simple galance – very important - and then spending more time to fully understanding the piece. Much of net.art requires a lot of viewing to able to really aprepicate it. It may be more my problem than the media. There also seems to be a theory that anything put of the net makes it better or worse, art.
5. Still not fully exploited; I perfer to work on generative pieces, I have one on exhibit which I never submitted to the Javamuseum: http://www.csuchico.edu/art/net titled Any Wall, it is a parody of Sol LeWitt's Wall Paintings. The only button that is missing is send me a print. I have done prototypes of this concept for 3D sculptural pieces. I think when connected to printers or returning PDF files or connected to rapid prototyping systems, viewer directed art of the web could be an interesting future. Promoting art can be done – selling art on the net, I have not seen that work well.

Ximena Labra

1. Ximena Labra. I live in Barcelona.
2. Artist and graphic designer, curator.
3. I think it has been a very good way of having people that are interested in net.art know about what you do. The Javamuseum is one of the most complete webs of it’s type. It gathers a great amount of work for artists and researchers, it is very important to have on line archives of what is online art.
4. I think net.art is evolving rapidly, and I believe that it is slowly becoming a very important form of art, because of its generally low cost production, and because of the infinite variety of things that can be done in it. As it is happening with video art, net.art will eventually become widespread as an art form, though maybe, because of it’s own nature, much less commercial.
5. Unluckily, many people are still not used to all the navegation possibilities there really can be, which are infinite. The fast, click here, do this, click there system is still the major language of internet, because most people are not used to wonder or expect surprises, and most people only use the web as a sercher where they do not expect to see art. In spite of this, there are thousands of things going on in the web. The online communities are growing all the time, and, if you look for it, you will certainly get most of what you seek, and art communities have found it the ideal method of communications.. As a way of promoting art, I believe there is few systems to compare with the web: Artists, curators, and many specialized reaserchers can choose what they want to see, and that makes a huge difference compared to other media, (besides, it’s free) but most of all, the internet is probably the most interesting growing platform of art today, first because an artist can freely upload work without depending on anybody else, and be found by those who look for him/her with immediate efficiency, and second, because it is a form of art that con support many other forms, such as sound, image, movement, text, video, games... what else?

Peter Lind

1. Peter Lind (no nick).
2. Photography, and hybrid photography/web.
3. In the end good, at first a bit disappointed.
4. In the mid nineties very enthusiastic full of expectations, today more moderate, but there is still a lot of things to be don out there, that what keeps me going.
5. The web can be a very powerful media, but it’s also one of the best places to disappear.

Manu Luksch

1. Manu Luksch, London.
2. Dance performance for locative media environment http://www.ambienttv.net/telejam/3/ http://www.ambienttv.net/4/myriorama
3. (none)
4. Only interesting during the first years; now it lives on as ingredient of interdisciplinary art projects.
5. As good as any other!

Xavier Malbreil

1. Xavier Malbreil. I’m living in the south of France, near the Pyrenees Mountains.
2. I wrote a theater piece, that you can read here : http://www.0m1.com/Atten/Attentionnometre.doc And for the french “revue” Docks, for his call for works about the theme of “Nature”, I've made http://www.0m1.com/prepub.htm
3. Nothing bad.s I didn’t wait for anything about it, so, nothing to say.
4. I‘m not a net artist. I‘m a writer who is very intereted about the new possibilities of writing with new technologies. Both for the act of writing itself, in a multimedia way, and for the diffusion and the ideology of diffusion.
5. The best thing of the late XXth century. The birth of the net, between military willing to share communications, and the scientifics willing to share the files and ressources, has all the contradictions of the net. So, let’s go on!

Sergio Maltagliati

1. Sergio Maltagliati. Based in a town near Florence, Italy.
2. 2 work in updating from 1997 and 2002: netOper@ e NeXtOper@. In 2002/2003: ’neXtOper@’. It is “in progress” for the Web and GSM networks with cellular phones. The last project (2003) for I-Mode Phone: ’midi .Visu@lMusiC’ > from music.software Cubase on Atari Mega STE.
3. JavaMuseum is on the net only since 2000, in so far it is certainly not the oldest, but probably of the most active virtual institution currently.
4. The term netart, there are really many different spellings, but there does not exist a binding definition what netart may represent. For me personally, netart is “net based art”, with all Internet based technologies for artistic purposes without any ideological restriction, and incorporates all options and perspective for the future of Art.
5. The only possibility for the development of the art! But none of us really knows where the Web as an “art tool” is going to take us currently we are more or less stuck around the edges of the paradigms of conventional music and art but people like you (if you -Alessandro- persevere) will take us to the center.

Yvonne Martinsson

1. Yvonne Martinsson, Stockholm, Sweden.
2. Can’t say I’ve done any really new work. But, as I’ve learned more and more about net art and the technologies involved my skills have improved. Conequently, I’ve mainly refined and enhanced the work I’ve done during the last three years with a few additions and some deletions.
3. I think Javamuseum is a great place for the advancement of net art, and I’m sorry to hear that it will be discontinued. It seems as if Agricola de Cologne has made a real effort to make people interested in net art, exhibiting at every possible venue. The idea of global networking is appealing and I really support it but it may possibly also lead to anonymity. Maybe it needs to be anchored locally. The Javamuseum itself may be a barrier for people to move on to the works exhibited - I haven’t had many visitors from there as it is quite heavy, long downloads etc, so maybe people give up before they reach the features. The thought that Javamuseum is Agricola’s own platform has crossed my mind.
4. Net art appeals to me. I like the vibrant instability, that edgy nervousness, the interconnectedness, the sharing, the directness of expression, that is, the light-weightedness of the medium as opposed to the heaviness and stability of digital art in physical space. At the same time this is the problem with net art technology fails, people skip about erratically, don’t give it the same ’dignity’ as heavy tech institutionalized art. Yet, I think that we’ve only seen the beginning of net art people have to become accustomed to new modes of seeing, of relying on their own judgment, of seeing the internet as a means in itself and not as information about something in PR.
5. It seems to live in a dangerously marginalized zone, but as I said above, I’m confident it will change as our perceptions change. The net hasn’t been around for very long and perceptions and paradigms transform slowly.

Nancy Mauro-Flude

1. Nancy Mauro-Flude. aka. sister O. At the moment in Amsterdam, but sometimes in Tasmania and Sydney.
2. ’All of us [girls] have been dead for so long’ a 50 min newmedia/dance theatre solo performance. http://sistero.sysx.org/work/girls.html trade stream - webcast installation http://sistero.sysx.org/mythengine/tradestream.html hold still: keep going - short film http://sistero.sysx.org/
3. I found it great to be have my work represented with out having to do major production myself so i could be busy with my work and not arts administration. But I would have liked to actually know the people behind the email’s as sometimes i felt a little out of control about where the work is going and who is representing it.
4. Despite the incredible potential of recent communication technologies, radio is still the most accessible and therefore most important technology for most people on the planet. However the real revolution is taking place not in the bloodied streets but in the minds of a brilliant younger generation that are coding for the net, as I write. Net.art allows non-linear, extradimensional, fragmented, fractal, viral, etc.; varied forms of open-ended, possible, mutable, and generative structures for us to exist within. Without someone warm and breathing on the other side of the webpage, digital images and letters are worthless, the global/ net based middle class revels in its freedom, yet without roots our lives are meaningless. My aim is towards a deeper understanding and development of the work I and other net.art makers are developing. Networked art and collaborative work requires time patience and intimacy and a willingness to go into the unknown, out of the safeness of! ones protective cocoon. It has a social political agenda. Obviously, networked collaborative spaces, brings up many questions about aesthetic values, my work it is an attempt to subvert the powerfully conformist atmosphere of ego-centric screen culture, televised media, and nationalistic events. I feel that the initial excitement about technology by people is an issue that I want to seriously address. To be fully aware of the current problems of ones tools and languages, to be convinced of their extreme importance, and desirous of solving them from within, far from being just something we have to accept as if this term net.art had fallen from the sky. My practice intends to mould media and technology, invert and subvert explore unintended uses and so drive their development into more desirable directions for performance. I want to encourage other artists to take their own responsibility to promote social change through creative art. I am driven by a need for a deep conscious and responsive community. As an artist this remains the most important thing in the world.
5. In a way its like a show and tell, regarding its promotion because alot of my work exists virtually and in the physical space so the web is simply like a catalogue some times and in that manner we only see the surface of things. Although a lot of net.art communities make work that comes from socio-political roots the atmosphere can also be rather self referential and inward looking only the loudest voices still get heard. But there is a growing realization that to survive net.art needs to reach beyond the conceptual boundaries of the social political to make total works of art that speak to more than the coverted. Slowly a translocal awareness is occurring where work is also embedded in local histories. The ways in which this process is already occurring are helping to a relatively new kind of situated metropolitan tactics. From this perspective, rather than imagining that the networks have made boarders disappear, we see the emergence of new ways of organizing locally that (by the very act of connecting across and through our differences) lead us towards something like a global sense of place where practices of self-organisation, democracy and direct action can proliferate in a local manner.

Dennis McNulty

1. Dennis McNulty. Dublin, Ireland.
2. A project for the São Paulo bienal. [ http://alpha60.info ] It’s a website and a CD. The project also involved a series of improvised performances in São Paulo and Dublin. I organise concerts of improvised music in Dublin with some other Irish improvisers. We call ourselves i&e [improvisation & electronics]. This year we've put on concerts for John Butcher, John Edwards, nmperign [Greg Kelley & Bhob Rainey], Sean Meehan, Mark Wastell, Phil Durrant, Goh Lee Kwang and Tatsuya Nakatani. I do live improvised performances which involve simple manipulations of soundfiles using a computer. I’ve played at a lot of the i&e gigs as well as a number of festivals and support slots to the likes of Fly Pan Am and French Toast. Some of the performances are solo and some are collaborations. I’m part of a group called serverproject. It’s a site specific networked improvised performance: 4 people with computers connected to a server improvising through a quadraphonic PA, recording themselves in the space live and feeding these recordings back into the process. ’I am sitting in a room’ by Alvin Lucier is a big influence. We played a gig in a public square in Dublin during the Summer. I have a monthly show on the web radio station www.powerfm.org
3. It was interesting to put the project somewhere else and open it up to a new audience. On the down side, some of the links on the mailouts I've received are linked to the wrong place. 404's etc!
4. I'm very wary of categorisations. I like some net.art and I don't like a lot of it, but I don’t think it has anything to do with how it has been categorised. I am wary of technology in general and the motives/motivations of people who use it to make art.
5. I think the web is an economically efficient way to promote things, although it can be difficult sometimes to find the line between enthusiastically promoting something and spamming. It’s been very useful for i&e in establishing an audience for what we do. As for the creation of art, I’m not sure. The nature of the web [the lack of standards/compatibility] can be frustrating. I always think about the time before I had broadband, when I tried to look at web projects with huge media file downloads. When we were working on ’Seapoint’ Cliona and I talked about this. She was adamant that the file sizes should be tiny. I agreed. This attitude has continued with alpha60.info. I've tried to make it in a way that will work whether you can download the media files or not. This can be problematic too though, because using text/language automatically restricts the audience too in another way. So how do you make web art without being an imperialist? I don't really know.

Marcello Mercado

1. Marcello Mercado. Ksln Germany.
2. Video: “Das Kapital” Music: “Binding Sites” Performance: “Ich muss fallen lassen” Netart: “Global Economy”
3. It is a very interesting experience connecting people and artists
4. [not.finished]
5. An open and democratic way.

Chiara Passa

1. My name is Chiara Passa. At the moment I'm living between Rome and Milan.
2. I worked a lot... 2004 “Video screening” ExEgges Gallery, New York. Curated by Michela Arfiero 2004 “Asolo Film Festival” video Art section). Asolo (Tv) 2004 “Extravaganza” New media Art Festival, curated by Autumedia. Cincinnati, Usa 2004 “On Air” Videoteca, MACRO (Museum of Contemporary Art, Roma) curated by A. Crippa e A. Bruciati 2004 “Videomix” LCE (Cultural Center Madrid), curated by Javier Duer 2004 “Living Room” ’Coldcreation’ contemporary art gallery, Barcelona. Directed by Alex Mittleman and curated by Javier Duero 2004 “TTV Video Festival” Riccione-Bologn 2004 MAAP “Thailand New Media Festival” by ICECA, Thailand 2004 PEAM - Pescara Electronic Artist’s Meeting. Cuarated by Luigi Pagliarini. Video selection by Valentina Tanni 2004 “OUT VIDEO-International video art festival” NATIONAL CENTER FOR CONTEMPORARY ART, Ekaterinburg Russia 2004 “On Air”: video on air from Italy. Civic Gallery of Contemporary Art of Monfalcone. Curated by Andrea Bruciati and Antonella Crippa 2004 “The making of Balkan wars: The game” Media Lab Madrid Centro Cultural Conde Duque, Madrid. Curated by Nina Vagic 2003 VIPER International Festival of Film, Video and New Media, Basel 2003 “XIV Quadriennale” preview. Palazzo Reale, Naples 2003 “OBSERVATORI ’03” Festival internacional de investigacion artistica, Museo de la ciencias Principe Felipe. Valencia 2003 1 Adriatic Biennale of new art B.A.A.N. San Benedetto del Tronto 2003 11 Biennale of young artists of europe and the mediterranean countries. “Cosmos a sea of art”. Athens 2003 Forum of European cultural Exchanges “Intercultural dialogue & artistic mobility”. Contemporary Art Center of Thessaloniki. Curated by Ilias Marmaras and Nina Vagic 2003 PEAM Pescara electronic artists meeting Festival of electronic art, Pescara 2003 “5 Video Art exhibition ( Go Card Party )”, Palazzo delle Esposizioni Roma. Curated by Maria Cristina Bastante,video selection by MTV 2003 “L’oading” Civic Gallery of Contemporary Art, Siracusa. Curated by Valentina Tanin 2003 “Cronostroria” Fine Art Gallery, Metro of Santiago de Chile. Curated by Antonio Arevalo and Paola Capata
3. Slowtime. Violence online festival. Actual positions of italian net art.
4. I like to think Net Art as a message... coming from one other “parallel world”.
5. Web is a great medium to promote and divulge all kind of art to a large pubblic not only the obsolete “art’s system”.

Alessandro Piana Bianco

If it is an online gallery I have not heard of it... more body charming machine a priori container for those who love Cyber World. my work is database driven. The web has really changed the way I work perfect post-modern medium for art... The art people just think it is some sort of catalogue, or it is too much of a catalogue, or whatever. I’m always slightly in the dark. We need a punk revival your mail is the first I got from this experience. a turbulence of content a matchbox camera obscura i get tired of the most graphic design or flash focused and less on content and ideas... The question I think should be another one. dialog It is still blossoming.selling art on the net, I have not seen that work well click here, do this, click there. one of the best places to disappear ingredient. I'm not a net artist there are really many different spellings perceptions and paradigms transform slowly. how do you make web art without being an imperialist?[not.finished]2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2004 2003 2003 2003 2003 2003 2003 2003 2003 2003 2003great creation and realization. The data sonified The web has really changed the way I work. It is the future.consume art! I need some more content. I had forgotten I was on it... triggering user’s response It is getting pretty saturated. Confusion. i dont know why i should tell you. I don't see how web or internet relate to creation or promotion (funny these two are together) of art.Frustrating.I rarely see things which hold my attention. great! Should be used in any case.city called Vodskov in the northern top of Denmark. anything goes when your doing installations. It's a good medium, cheap, effective underrepresented sectors of the globe.

Regina Célia Pinto

1. Regina Célia Pinto, Brazil, Rio de Janeiro.
2. I have been working in my Internet Projets: THe Museum of the Essential and Beyond That (http://arteonline.arq.br) and the Llibrary of Marvels (http://arteonline.arq.br/library.htm).
3. It is Agricola de Cologne’s great creation and realization.
4. I will answer you with the end of my electronic artist book “The psichiatrist, the Net.Art, the Web.Art and other Stories”, at http://arteonline.arq.br/library.htm: Arriving at this conclusion, I had two contrary sensations, one of pleasure, the other depression. That of pleasure was from seeing that, at the end of long, patient investigations, constant work and hard fighting with critics, I could declare this truth: the category "Net Art" "Web Art" already occupied extensive territory within the frontiers of art. The Green House was being thought out and built simultaneously by many artists of various terrestrial co-ordinates. But as quickly as this idea refreshed my soul, another appeared which neutralised the first effect; it was the idea of doubt. So what! In Itaguaí and the rest of the world there were still many people who did not believe in that. This such absolute conclusion, would it not be mistaken in itself, and did it not come, therefore, to destroy the broad, majestic building of the new form of art? My affliction was defined by friends as one of the most awful intellectual storms that has broken on a “web artist”. But storms only bury the weak; the strong get stronger against them and stare at the thunder. Twenty minutes later my expression was lit up with a gentle clarity. Yes, that has to be, I thought... On the one side, the issue was commercial, I thought; it was about a relatively new art form, that until now had little or no market value. Current society is ruled by the media and by the market... This and that: Science and Art were frontier territories. There was a threshold space between them. This space corresponded to the space of the Green House. No rule? None Is everything valid? Everything. Art, on the web or outside it, has to be of good quality, has to awake the emotion of the admirer. “The artist creates for himself only for himself. The creation of the artist is an emblem: from his innermost he manifests all the small, ephemeral things: his suffering, free desires, anguished dreams and those joys that lose vigour. There his soul becomes great and festive, and he has created a dignified hearth for himself.” 1 I went into the Green House, I made it my hearth. “Often I feel such a great nostalgia for myself and, I know that the path is still long, but in my best dreams I catch a glimpse of the day in which I will be able to accept myself.” 2 I do not intend to leave it. After all, what is the line that separates the inside from the outside? “The creator is the ulterior man, he beyond whom the future is found.” 3 1 2 3 *RILKE, Rainer Maria. O diário de Florença. São Paulo, Editora Nova Alexandria, 2002. Regina Célia Pinto / Leblon, Rio de Janeiro, 2002
5. Up to now it is the best I know.

Andrea Polli

1. Andrea Polli New York, NY.
2. Heat and the Heartbeat of the City: Central Park Climate Change in Sound According to a 1999 report published by the Environmental Defense Fund, New York City will be dramatically impacted by global warming in the near future. Average temperatures in New York could increase by one to four degrees fahrenheit by 2030, and up to ten degrees by 2100. According to the Metropolitan East Coast Assessment, the impacts of these changes on this major metropolitan area will be great. Heat and the Heartbeat of the City is a series of sonifications (musical compositions created by directly translating data to sound) that illustrate these dramatic changes focusing on the heart of New York City and one of the city—s first locations for climate monitoring, Central Park.. As you listen to the compositions, you will travel forward in time at an accelerated pace and experience an intensification of heat in sound. The data sonified is actual data from summers in the 1990’s and projected data for the summers of New York in the 2020’s, 50’s, and 80’s using an atmospheric model of the city that is one of the most detailed models of any urban area. All data has been formatted especially for the creation of sonifications. This project can be presented as: 1] A web site including interactive sonifications and visualizations and video interviews with Polli and Rosenzweig (launching on turbulence.org Dec 1, 2004) 2] A multichannel sound installation presenting climate change throughout the NYC region in the summers from 1990-2060 3] A stereo headphone or speaker installation scientific collaborators: Cynthia Rosenzweig, David Rind, and Richard Goldberg, NASA Goddard Institute for Space Studies and Columbia University.
3. I think it provides an important opportunity for web artists. I knew Tia Johannson and thought it was really great that the Javamuseum honored her work with an online exhibition and hope that there are plans for a longterm archive.
4. I think it’s wonderful that artists can present ideas that can be easily received by a wide international audience. I think it can have a positive influence on humanity by allowing people in remote places a chance to grow intellectually.
5. Great in some ways, too limiting in others. As a sound artist, I wish more computer/internet users focused on the reproduction of sound as much as they focus on the image. Big, bright, high resolution screens are coveted but in general users don’t have high quality sound systems. Hopefully the improvement of video delivery will change that and more users will get high quality (even surround sound) systems for receiving sound from the internet.

Adele Prince

1. Adele Prince, London.
2. I have been working on a few different projects this year: a web based project www.luckyworld.co.uk, a commissioned digital artwork called ’Imperceptible’ for Punch and Vivid in Birmingham (UK), and illustrations for a book published by Sonic Arts Network- I am also working on a commission for ’The Bigger Picture’ in Manchester, and a couple of solo and group exhibitions taking place next year.
3. It has been great being involved with Javamuseum; it has generated a lot of interest in my work, and I have enjoyed having a chance to see work that other people are making at the moment.
4.  
5. The web has really changed the way I work. With my first web project www.lost-something.co.uk, I realised that this was a fantastic way of sharing your ideas with people on the other side of the world. The response was overwhelming, and allowed me to introduce my work to people who may not visit a traditional gallery space.

Humberto Ramirez

1. Humberto Ramirez, I live in Buffalo, New York, USA.
2. I have been working on two web based curatorial projects and my own work which is interdisciplinary and crosses media boundaries.
3. The Javamuseum has been an extraordinary venue for a lot of artists, I planned on curating something for it earlier this year but unfortunately my schedule did not allow it in the end. I think that Agricola is a great motivational force in netArt and the javamuseum in particular has been very engaged with the notions of margin and difference.
4. It is the future and the medium where the most interesting work is being produced.
5. The old physical forms are so compromised by capital and their credibility so seriously flawed... the web still has a chance, although as Critical Art Ensemble has warned, us that might not be for long.

Avi Rosen

1. Avi Rosen, Israel.
2. Time and Space compression in the Cybespace Art (Interactive video on the net).
3. Very impressive project by Agricola de Collon.
4. Net.art is the future of the art.
5. In the freescale network like the Internet this the most effective way to create and promote and consume art!

Lisa Rosenmeier

1. Lisa Rosenmeier.
2. A project called “The extended now” a project on the link between identity and memorymade for the museums space and may be later as a virtual exhibtion on the internet.
3. I thinks it is fine, but i must admit that I havent had the time to follow the initaitives. I have been working extremly hard realizing the before mentioned exhibition.
4. I am not so interested in art only focusing on the media “net”. I mean it is only a form. I need some more content.
5. The net is fine for communication and documentation art. It will expand in better possibilities the commming years þ when we come to full screen moving images it will improve... it is expensive to send catalogues(if you got any?) the net is much cheaper, but still i think that many in the artworld (not the artists but those on the other site of the table dont take their time to experiences. I am sure the the internet and many other communicationsforms will be developed in the near future... but is it only communications forms.

Antoine Schmitt

1. Antoine Schmitt, from Paris (France).
2. Earning money and new installations.
3. Not much actually. I had forgotten I was on it...
4. Fun and useful, but not questionning any more.
5. A great promotion tool, for sure.

Tamar Schori

1. Tamar Schori, Israel. http://www.tamar-schori.net
2. I’m working on data based oriented flash sites and a new interactive installation based on the combination of sound and touch in the context of ancient mythologies.
3. I find the Javamuseum both interesting and in tune with the nature of the web. Being a part of a group exhibition without being physically present is strange.
4. Net.art is a flexible medium. I’m mostly interested in triggering user’s response, creating collective experiences, creating on going pieces that enable accumulation of traces left by users. I love the feeling of data as a sort of substance and I’m therefore highly interested in information visualization.
5. Traditional hierarchies are reenacted by new online institutes, and yet the spread of power and the focus shifted and can now include broader audiences and creators. I would be interested to know how many artist practice net.art all over the world. As a rough estimate I would say around 10,000, but I’m not sure.

Roopesh Sitharan

1. Name: Roopesh Sitharan. I was born, raised and lived my entire life at Kuala Lumpur, Malaysia until 4 months ago I moved to San Francisco to work on my Graduate Studies.
2. Online Collaboration Artwork creation called UploadDownload, for further details, visit the project site at http://www.uploaddownload.org
3. It’s a good platform for emerging Artist, exspecially working wih New Media. It also impose many questions on the role of the Artist,Curator and Audience itself.
4. It is getting pretty saturated at the moment but there is much potential in it. Somehow as artist working on the New Media, we have to look beyond working on the virtual space (internet) and go beyond in trying to bring together the physical and virtual together. This expand the technology and the culture that revolves around it.
5. This calls for serious study. Many questions arise when we use it as a medium to promote and create Art. The medium is easily accessible by anyone from anywhere, thus the importance of Museum is at stake. Also the work is placed in a different setting according to the venue it is being accessed, from comfort of house to internet cafe, that plays a role in the display as well. The work also depend upon the medium and its developments, forcing the work to make quick and drastic transformation according to the development... and there are many other questions left unanswered which need critical aproach.

Barry Douglas Smylie

1. My full name is Barry Douglas Smylie. I live in Toronto, Ontario, Canada.
2. I have been working on four series of acrylic paintings best described by their subjects: Max Ties, Memories of Montreal, Impressions of Toronto, and Underwater Acrylics. I published two one person showings: MaxTies 2002 -2004: http://barrysmylie.com/galleries/maxTies/index01.htm Transition 1 1971-1975: http://barrysmylie.com/galleries/transition1/test.htm I published one two person show: Black and White: http://barrysmylie.com/galleries/blackWhite/test.htm I published a music Flash/video: Ick Pond Mudd: http://barrysmylie.com/flash/ickPondMudd/ickPondMudd.htm I published a video documentary: Hope a Sculpture by William Boyd Fraser: http://barrysmylie.com/video/Bill/WilliamBoydFraser01.htm I published an adventure game from the Circ Series: Treasure Planet Treasure: http://barrysmylie.com/flash/circ3/planetTreasure.htm I have published Book 20 of the Iliad translation: http://barrysmylie.com/iliad/book20/pages/booktwenty.htm and we are working on Book 21: http://barrysmylie.com/iliad/book21/pages/booktwentyone.htm I have published a detailed C.V. online: One Person Shows: http://barrysmylie.com/resume/resume04.htm Two and Three Person Shows: http://barrysmylie.com/resume/resume05.htm Group Exhibitions: http://barrysmylie.com/resume/resume06.htm Publications: http://barrysmylie.com/resume/resume07.htm
3. Confusion.
4. As in any art medium there are always good artists who contribute good art.
5. I think the web is marvelous. It allows artists to go directly to an audience. Promotionally I am using the internet to publish a life time of art work in a catalog form: http://barrysmylie.com/indexGalleries.htm I do not consider my catalogs of paintings, drawings, graphics, and sculpture to be media appropriate art. Those “galleries” are more attuned to the online commercial catalogs of corporations which probably occupy the majority of the internet servers. In Galleries I am using the internet in much similar fashion as commercial artists use art of printmaking within magazines and newspapers and graphics on television as an advertisement or a marker for services and products which exist in another medium. Computer art and video on demand are the most media appropriate best art applications. I began experimenting with HTML years ago as my internet medium which is similar to poetry and literature which is called “hypertext” except my works are based upon visual imagery: http://barrysmylie.com/indexStories.htm I have been familiar with BASIC programming for personal computers since 1981 and before that with mainframes. I have known for years that nothing on the computer screen is still; even images of still pictures must be programmed to refresh constantly and loop on the code used to produce a visual image. Stills within the computer environment are animation without motion. I was vaguely experimenting with a type of animation which could the thought of as a “slide show”. http://barrysmylie.com/indexStories.htm The first 7 Books of my Iliad translation are also hypertext experiments: http://barrysmylie.com/iliad/iliad0000.htm I published a magazine called “DuChimp” to become more familiar with other media artists and to hone my HTML skills to a more universal rate. As a lithographer I am a master printer not only able to publish my own work but also the work of others. During the DuChimp period of time I was required to incorporate music and computer animations into HTML. I was becoming familiar with “multi-media” and multi-media publishing methods. The programming in DuChimp is complex because everything is embedded in HTML and JAVA. http://barrysmylie.com/duChimp/index.htm Of course JAVA and HTML although they were designed as cross platform programs were limited because of platform peculiarities and what I call “the browser wars” between Microsoft and MAC. I required a programming medium which worked easily without extra programming requirements for each platform. I needednd had a more universal plugin. I discovered MacroMedia Director. I wrote a few things for the program but soon realized that because a lot of the program was accomplished with visual programming the plugin was too large because it contained the code for the visually programmed sequences. ShockWave was too large for people with telephone modems to download easily. It was about that time I heard that the Flash plugin was being shipped with both Netscape and Internet Explorer. Most people already had the plugin. Flash requires more (ActionScript) programming than Director (LINGO) but it is available to many more people. I decided to shift my attentions to Flash: http://barrysmylie.com/indexMulitimedia.htm There is a lot of talk now in programming communities about “multi user servers” and I feel that is the bright future of internet art. My first love is for “still visual art”. When I paint I know that my audience is unborn. They exist in the future. Painting is a time proven cross generational medium. My failures to gather a supportive audience are waylaid by my knowledge that paintings can exist for hundreds of years. Internet art is a form of performance. It is prerecorded performance art something like the non-interactive cinema and television. I have uncovered two different skills in myself, one for drama and one for painting (I have begun a return to my music career with a composition for Iliad Book 21). I was not successful in performance because of a debilitating fear of the stage. I have no such fear making interactive Flash entertainments because, like visual art, the medium comes between the artist and the audience like a mask. Performance art even when recorded is fleeting. Everything which I did for 8 bit computers is now lost. Computers will once again advance leaving everything we have done obsolete and behind. The internet is a pop fleeting medium like clothing fashions; either you make it quickly or you do not make it at all. My website has received and entertained 15,500 visitors who hit 168,000 times since September 15, 2004. Each statistical report shows a growth of audience. I have earned nothing from the transaction and have paid for my server and computer and connection out of my own pocket. The internet as a professional choice is a poor one but my income from the traditional arts is poor as well. I try to balance my position between a contemporary, live audience on the internet using appropriate media with an as yet to be born audience who appreciates traditional painting that tells the story about us in our day and local places. Over all, I think the internet is great! I no longer have curators and directors and critics who come between me and my audience, deselecting me because I am not who they want me to be. If you look carefully at my C.V.; I seem to have become more productive in recent years. That is a C.V. anomaly; I have always worked hard and made art everyday. With my application to the internet I have had more opportunity to exhibit because there is no censorship and I am allowed to show. I can show what I want, when I want on my own website.

Thomas Tirel

1. i dont know why i should tell you.
2. secret.
3. it was not of any real use for me to exhibit there.
4. interesting.
5. its a great medium, but not that important to promote art.

Nikola Tosic

1. Nikola Tosic, Belgrade
2. Training, writing a bit, some websites, I did not do many concrete things although I feel like I always do stuff I lost 30 kilos and went from very fat to training for halfironman (I am so proud of this obviously) I also shave my legs now.
3. I do not pay much attention to it, hence it should be improved, I guess, if anyone there cares about me as a user.
4. Like all other things if there are cool people to meet than its a great thing. I met some nice people so it is a nice experience for me.
5. Aren’t we passed the point where it is special enough for these kind of questions? Anyway I don't see how web or internet relate to creation or promotion (funny these two are together) of art.

May Trubuhovich

1. May Trubuhovich; I live in Sydney Australia.
2. Updating my portfolio site; creative retouching & illustration; looking for work, and working on online advertising campaigns.
3. Frustrating. I have given my feedback about this found the site difficult to use & navigate, and impossible to see the content as it was intended to be seen (running very slowly etc).
4. Still find it unsatisfying compared to the experience of being with a live audience you don’t get that immediate feedback. Strange knowing that potentially many more people will see your work than if you were part of a film festival for example, but you won’t know what they thought of it. Great that you can submit work so easily & quickly.
5. You have to see a lot of bad stuff to get to the good stuff like any other art form.

Myron Turner

1. Myron Turner, Winnipeg, Manitoba, Canada.
2. Database Projects. My most recent completed project is bigQuestions.com: http://www.room535.org/bigQuestions.com/ I am currently interested in a database idea that will involve DNS, doman name Server data.
3. I admired Argicola for his dedication and energy, and I was sorry to see him lose heart.
4. I think it has exciting potential, but I rarely see things which hold my attention. So much net art is at the level of conceptual art, that is, like conceptual art, the works have the scope and extent of aphorisms, one-liners. On the other hand—and this may seem to be a contradiction of what I just said—many works are either overburdened by text or move through sequences of images and image clips which which are ultmately unsatisfying both visually and intellectually. That is, many so many works aspire on one side towards essay or philosphy or crticism, and on the other towards video or cinema and remain unconvincing as any of these. Other works seem to emphasize what the aritsts must see as the limitations of net.art and offer minimalistic uses of text and/or image. On the other hand, a great deal of labor and knowledge can go into any work of net.art, no matter how minimalist it may appear on the surface. It is this very complexity and labor-intensive aspect of creating net.art that may contribute to its ’aphoristic” quality, that is, net.at may place a great many demands upon an artist working alone. For this reason, I can understand why artists might want to work as teams, making it possible to spit up the labor in order to creaqte complext works.
5. This overlaps with Question 4 above. I am not especially interested in the web as a means to promote art. My interest is in the web as a medium.

Marc Tuters

1. Marc Tuters, Montreal, Quebec.
2. I’ve been in europe working on the locative media workshop series (see locative.net), the cartographic command centre (at deaf), and now i’m in Montreal working on the mobile digital commons network (with hexagram in Montreal).
3. great!
4. I have been involved in this “locative media” scene, which i think could be seen as a kind of outgrowth of net art when it goes mobile and starts to consider issues of space and place, off-screen...
5. I’m not that into the web as a place to promote art for what I’m involved in, since the nature of the stuff I've done has been more about place and context.

Mona Vatamanu

1. Mona Vatamanu & Florin Tudor, Bucharest.
2. Projects living units, consuming the city, persepolis related to architecture, you can make an idea on our website http://www.exapes.org
3. A place to meet for net artists.
4. Curious if there will be a new development in the coming years.
5. Should be used in any case.

Lars Vilhelmsen

1. Artist Lars Vilhelmsen, live in a city called Vodskov in the northern top of Denmark.
2. In the last year i`ve been working with a project on the internet called: Travellers secret box www.travellerssecretbox.dk also my ongoing project. How scandinavian of me have been taking some of my time, also a netproject www.howscandinavianofme.dk
3. My experience was very good. My work have been curated into a professional enviorment together with other artist with a high level.
4. I think netart is great, it fits perfect to the kind of art and project that i worked with it does also give me the oppotiounity to show my work in many different contexts all around the world.
5. I think that is interesting too, the creation on the web gives art a new level a total different way to work with art. The promotion part work also in a very direct way, which i like.

Judson Wright

1. Legal name: Judson Wright. For art: judsoN. New York, USA.
2. Mostly commercial and fine art work using php. Of my art, about 1/3 is web art (1/3 performance, 1/3 for physical spaces). Php is ideal for the web, director for performance, and anything goes when your doing installations.
3. I like WAdC and send him works from time to time because i want to show support for what he’s doing.
4. I don’t. I started programming web interactive stuff about 10 years ago. By now, the web is just second nature. It’s something not to think about. Like we don’t think about phone lines or tv channels. We just use them. I can’t wait until the hype dies out and artists see that computers are ideal for things very different than traditional media. Some day, macromedia will give up on timelines. It’s just not how interactivity works.
5. It’s a great medium. Underestimated even by most “net.art”ists. Oddly, folks like amazon.com and cnn.com really appear to be leading in reconceptualizing how the web can be integrated into real life. Blogs are usually essentially the same chat forums that have been around since the 80’s. (nothing actually new has changed or been invented for the web, just redundancies). Pages don’t need to be static (including linear animations/video). Eventually, there could be one web site and all the info shared from every publisher and submitter. That megasite would be constantly evolving and the info on it changing. Folks still conceptualize truth as something static, but need to see the illustration to accept that it just isn’t.

Marina Zerbarini

1. Marina Zerbarini. I live in Buenos Aires, Argentina.
2. Last year I’ve been working in a Net.art project. “Eveline, Fragments of an answer” I’ve investigated the notion of hypertext.
3. I think Javamuseum is very importante experience, and have done a lot of activities, and probably it would have to think in have some place in the real world.
4. I’m working with net.art. I’m still thinking that it’s a important way for differents expression in arts. But only the future will give a real answer about its posibilities.
5. It’s a good medium, cheap, effective, but the creation and the art needs traditional mediums too and institutions to legitimate.

Ricardo Miranda Zuñgia

1. Ricardo Miranda Zuñgia, New York City.
2. A large scale project installation/video/animation/web for the New Museum of Contemporary Art: http://www.ambriente.com/bowery/ smaller online project that i haven't publicized, because i'm still developing: http://www.ambriente.com/species/ and a new projects for inSite05 an exhibition that happens between San Diego and Tijuana, the web component is curated by Mark Tribe; and a turbulence commission they will both be multiplayer games.
3. I feel that it presents a community of exchange between artist using the web as a creative medium. Although it has parallels with other such communities þ rhizome.org and turbulence.org, Javamuseum feels more specifically as a curated web space with an individual navigating its purpose, and it seems more dedicated toward a global exchange of creative works. Javamuseum seeks to present work from underrepresented sectors of the globe and in that sense it's a geat initiative.
4. It's exciting for me to watch a new genre develop. I parallel net.art to the video movement of the late 60s/early 70s. However I think that it represents a much more exciting medium than video due to the fact that it exists in a globally dispersed communication medium that is increasingly accessible to people. I’m very much engaged in playing a part in the genre’s transfromation as the technology of the network itself develops. To me the most exciting current work is work that engages both the virtual public space of the Web/Internet and the physical public space via wifi nodes. I believe that in person interaction tends to be more powerful and lasting that screen based interaction, therefore the access of the internet in public physical situations is quite exciting.
5. It’s a primary tool. I get most of my invitations via email and when it sounds good and I am available I go...