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Cristine Wang
is an independent new media curator, critic, and journalist. Curatorial works include: "Re:Duchamp Traveling Exhibition" at the 7th Int'l Istanbul Biennial, Turkey / 49th Venice Biennial, Italy (2001); "Defining Lines: <Breaking Down Borders>, Transmediale.02 Festival, Berlin (2002), Borderhack 2.0, Mexico (2001); "Dystopia + Identity in the Age of Global Communications", Tribes Gallery, New York (2000). Her curatorial work is included in the Whitney Museum's "Artport" website (organised by Christiane Paul).

She is a contributing editor of NYARTS Magazine (an international journal of contemporary art) and has been a curator of new media at The Alternative Museum, New York. Recently, she co-founded FreeTheMedia.org along with Paul Garrin (founder of Name.Space) and Frank Morales (activist). Additionally, she serves on the Board of Directors at A Gathering of the Tribes, directed by poet Steve Cannon.

She participated as part of International Jury for the The 48th International Short Film & Video Festival (Oberhausen,
Germany). She is on the committee for the Paris Biennial 2002 (France).

Her writings on new media art are included in "Control [Space]" exhibition catalog, ZKM, Karlsruhe Germany, published by MIT Press (2001); "The Eighth Day: The Transgenic Art of Eduardo Kac", published by Institute for Studies in the Arts, ASU (2002); "The Scala Guide to the Internet", edited by Douglas Davis, published by Simon & Schuster/i-books (2002).

Her lectures on new media art include: "The Ethics of Knowledge" at "The Eighth Day, Bioethics + Transgenics: a Public Forum on the
Art of Eduardo Kac", Institute for Studies in the Arts, ASU (2001); "Ruminations on a Society of Control" at Location One, New York (live webcast w/Museum of Contemporary Arts, Sarajevo) as part of "go_home" project by Bosnian artist Danica Dakic & Croatian artist (Sandra Serle)(2001); "Language, Globalisation & Borders" at Borderhack 2.0, organised by Fran Ilich, Mexico (2001); "Ruminations on a Society of Control", Socialist Scholars Conference, Cooper Union, New York, as part of the panel "Strategies in Web-Based Art and Video: Resistance and the Everyday" organised by Trebor Scholz (April 2002); "Curating New Media Art in the 21st Century", Bard College, Center for Curatorial Studies, Annandale-on-Hudson, New York, professor Douglas Davis, New York (April 2002); as well as being moderator on "How to Collect the Uncollectable", a lecture by Douglas Davis, organised by Molly Barnes at Roger Smith Hotel Penthouse (2001).

Her works have been reviewed by BBC Online (UK), Chinese-art.com (China), Delo (Slovenia), El Pais (Spain), Fine Art Forum (Australia), Mladina (Slovenia), Neural Magazine (Italy), NY Arts Magazine (USA), The New York Times (USA), Postmodern Culture/Johns Hopkins Press (USA), RAI (Italy), Rhizome.org (USA), Sputnik Digital Culture (Mexico), and Temaceleste (Italy). She will be collaborating with Time Magazine 100 Innovator, Mark Amerika in "Fictions + Factions: a History of Internet Art", with Alt-X Network in 2001/2002.

Email: info@cristine.org
website: www.cristine.org

Fran Ilich
Organiser of "Borderhack 2.0 <Delete the Border> event, is the general director of cinemátik, the 1st cyber-culture festival in latin américa, as well as the editor at large of "Sputnik Digital Culture (Mexico). He is the author of the best seller novel "metro-pop" (ediciones sm, madrid, 1997) printed in spanish, catalán, euskera and gallego, which was awarded 2 honorary mentions, and it has been presented in all kinds of places from centro nacional de las artes (mexico 1997) to the cristina show (latinamerican tv network univision, miami, 1998). screenwriter of interacción (discovery channel) broadcasted in spanish and portuguese. 2nd place winner at the 1st international award of hispanamerican screenplay by the new york film academy & usa network (new york, 1997) with divine histery (love parade, berlin, 1997). his film una ciudad sin estilo was screened at the next 5minutes III international conference (amsterdam, 1999) and is now part of the database of the internationaal instituut voor sociale geschiedenis.

Special thanks to Steve Cannon,
A Gathering of the Tribes
for all the support! http://www.tribes.org

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Artists Bio's:

0100101110101101.ORG
In response to the invitation to participate in the 49th Venice Biennale, 0100101110101101.ORG conceived and compiled "biennale.py" as a work of art and a computer virus. The source code of the virus was published and spread from the Slovene Pavilion on the opening day of the Biennale. life_sharing: 0100101110101101.ORG continues to challenge notions of artistic ownership giving every Internet user free 24-7 access to 0100101110101101.ORG's computer. In applying open source's general public license model to the artists' own computer server, life_sharing radically challenges the concept of privacy and explores the contradictions of intellectual property. A clone of the website belonging to Net artists Jodi is published on the website of 0100101110101101.ORG, this time without any modifications, to demonstrate that certain ideas and practices - such as the authenticity and uniqueness of an artwork - must be considered obstacles to the development of Web art.

Mark Amerika
was just named a "Time Magazine 100 Innovator" as part of their continuing series of features on the most influential artists, scientists, entertainers and philosophers into the 21st century, is the author of two novels. Amerika has just opened the first large-scale retrospective of his digital art work at the ACA Media Arts Plaza in Tokyo, Japan. The show is called "Avant-Pop: The Stories of Mark Amerika [an Internet art retrospective]". He is the Publisher of Alt-X, which he founded in 1993. Publishers Weekly has called Alt-X "the literary publishing model of the future." Amerika was a Creative Writing Fellow and Lecturer on Network Publishing and Hypertext at Brown University where he developed the GRAMMATRON project, selected as one of the first works of Internet art to ever be exhibited in the prestigious Whitney Biennial of American Art.

Betty Beaumont
is internationally recognized for her environmental and conceptual art marked by deep-seated social and ecological concerns, ranging widely from visionary landscape projects, photo-based art, image/text/object works, and information art, to virtual reality projects, and interactive online installations. She has had over 150 solo and group exhibitions that include the Whitney Museum of Art in New York, PS 1 Museum, The Hudson River Museum, The Queens Museum and The National Museum of Modern Art in Tokyo, and in Kyoto. Among the awards and fellowships she has been honored to receive are five National Endowment for the Arts grants, three New York State Council for the Arts grants, two Pollock-Krasner grants, the German Eine Welt Stiftung Award, and she is currently funded by Creative Capital Foundation.

C5 Corp
is comprised of Joel Slayton, Steve Durie, Jan Ekenberg, Lisa Jevbratt, Geri Wittig, Jack Toolin, Brett Stalbaum. Joel Slayton
C5 Corporation, founded in 1998, is both a corporation and artwork. At C5 there is no philosophical conflict in the relationships of art as theory,research as art, and art as business. C5 devises theoretical models, analysis and tactical implementations of
technology for assessment and information mapping. Conceptualizations of theory as experiment, prototype and simulation are used to create domains of digital media information as commodity. Theory is product.
C5 projects have been presented at SIGGRAPH; The San Jose Museum of Art; Walker Art Center; New Langton Arts, Transmediale, Ars Electronica; and The New Museum of Contemporary Art, NYC.

Douglas Davis
artist, theorist, performer, teacher + writer, has played an active role in contemporary art since the 1960's. A pioneer of video in the 1970's, and web art in the 1990's, his "live" satellite performance/video/web pieces are seminal exercises in the use of interactive technology as a medium for art + communications. In 1977 he joined with Nam June Paik + Joseph Beuys for the first live international satellite telecast by artists, transmitted from Documenta 6 in Kassel, West Germany. The World's First Collaborative Sentence is in the collection of the Whitney Museum of American Art, New York. "Metabody" is in the collection of George H. Waterman III, hosted by P.S.1, NYC. "Terrible Beauty", an evolving work of interactive global theater (on-going since 1997), uses the bodies and faces on the web as theatrical partners. And now, "Moralpornography.com", which just opened in Copenhagen, Denmark, will scandalize our mayor,delight you, and reform heterosexuality forever.

Andy Deck
makes media art. On the Internet his public address system is called Artcontext.net. It sounds a critical tone at a time when media mergers are portrayed as the emergence of progress. Deck interrupts regular network programming to announce a general sociocultural emergency in progress. His aesthetic program seeks a cultural break
from the modernization of passive consumerism. Applying techniques of détournement, parody, and defamiliarization, he engages both the politics and semantics of interactivity. Combining code, text, and image, he demonstrates new patterns of participation and control that distinguish online presence and representation from previous artistic practices.

EDT- Electronic Disturbance Theater
The Electronic Disturbance Theater (EDT) is a small group of cyber activists and artists engaged in developing the theory and practice of Electronic Civil Disobedience (ECD). Until now the group has focused its electronic actions against the Mexican and U.S. governments to draw attention to the war being waged against the Zapatistas and others in Mexico. But ECD tactics have potential application by a range of political and artistic movements. The Electronic Disturbance Theater, working at the intersections of radical politics, recombinant and performance art, and computer software design, has produced an ECD device called Flood Net, URL based software used to flood and block an opponent’s web site. While at present a catalyst for moving forward with ECD tactics, the Electronic Disturbance Theater hopes to eventually blend into the background to become one of many small autonomous groups heightening and enhancing the ways and means of computerized resistance.

Fakeshop
Using video-conferencing, web broadcasting and other assorted hi/lo tech tools, Fakeshop employs computer-specific strategies of electronic audio/visual transfer to create conditions in which the simultaneous transfer of digital information can occur in real time, ie: the transfer of experiential data being collected at a site of
production, to remote receiving and/or reciprocally re-transmitting audience participation/collabortional links. Their work has been shown at The Kitchen, the Whitney Biennial, The Guggenheim Museum, Gavin Brown's Enterprise, Ars Electronic (Austria), Creative Time, Next Five Minutes Conference, Eyebeam Atelier, NYC.

Peter Fend
has a longstanding practice of collaborating with other artists, architects, scientists, and scholars to bring their creative energies to bear on serious environmental issues. Fend seeks practical solutions to large-scale problems, and works to spark discussion and action among policy-makers, corporations and individuals. Fend, who lives and works in New York in 1980, he founded the Ocean Earth Construction and Development Corporation. Through the company, Fend and other artists, architects and scientists research, develop and promote alternative energy sources, and use satellite imaging to monitor and analyze global ecological and geopolitical hot-spots, largely for media clients. Fend has exhibited widely since the late 1970s; his work has been shown alone, as a product of Ocean Earth, and as part of other collaborative projects.

Joy Garnett
studied painting at L'Ecole Nationale Superieur des Beaux Arts in Paris and received her MFA from The City College of New York in 1991. Prior to that she studied life sciences and environmental biology at McGill University in Montreal. In March 2000 Garnett founded Newsgrist - where spin is art, <http://newsgrist.com> a subscriber-based alternative news digest and website that bridges the gap between the new media and traditional art communities. Garnett's paintings derive from science and pseudo-science photography, most of which is found on the Web. Her sources include a variety of documents such as PET scans, X-rays and other forms of medical imaging; UFO photography; NASA satellite images; footage of military and aviation disasters, and de-classified government films of Cold War-era nuclear testing. She is currently organizing The Bomb Project <http://www.thebombproject.org>, a Web-based image depository and resource for collaborative on-line agitprop.

Paul Garrin
is founder of Name.Space.org. He has received numerous awards for excellence including Prix Ars Electronica, 1997; ZKM Karlsruhe Medienkunstpreis, 1992. From 1982-1996 Paul teamed up with Video Art Legend Nam June Paik and emerged as one of Paik's most important collaborators. Garrin's well known documentary of the Tompkins Square Riot, 1988 in NYC, shot with a home video camcorder, exposed through the media the willful police violence against demonstrators and bystanders and became known as the spark, which ignited the "camcorder revolution." In 1996 Paul founded the Name.Space project to overthrow the U.S.- sanctioned monopolies that govern the internet and bring new and expressive extensions to the Internet Domain Name System, an initiative that continues to this day.

Marina Grzinic
(margrz@zrc-sazu.si) is doctor of philosophy and works as researcher at the Institute of Philosophy at the ZRC SAZU (Scientific and Research Center of the Slovenian Academy of Science and Art) in Ljubljana. She also works as a freelance media theorist, art critic and curator. Marina Grzinic has been involved with video art since 1982. "Labyrinth" (1993), was awarded at ZKM, Karlsruhe, Germany World Video Competition in 1993, "Luna 10" (1994) was awarded at the San Francisco International Film Festival, 1995); the work "On the Flies of The Market Place" (1999) received first prize at the Nuremberg Video Festival in Germany (2000). Her writings are included in Gallery 9, at the Walker Art Center.
"http://www.ljudmila.org/quantum.east"
"http://www.zrc-sazu.si/net.art.archive/"

Ingo Gunther
is the artist behind 'Refugee Republic' which seeks to establish an experimental, transglobal, supraterritorial state as a means for refugees to represent themselves worldwide and fuse their experiences into a global cooperative. For decades, Ingo Gunther has practiced journalism with artistic means in order to expand the objectives of the two realms. In his capacity as artist and correspondent, he worked extensively with Japanese TV (NHK), covering topics that ranged from media studies to military technology. In 1989, 9 months before the reunification of Germany, he founded the first independent TV station in Eastern Europe, Channel X (Leipzig), contributing to the establishment of a free media landscape. Ingo Gunther's works have been shown at the Venice Biennale, the Guggenheim Museum, P3 Art and Environment,Tokyo, documenta VIII, and other international venues.

I/O/D (Matthew Fuller, Colin Green, Simon Pope)
is a group that existed in Cardiff and London through much of the nineties and whose work on interface, software, interaction, is archived at http://www.bak.spc.org/iod/

Irational.org
is an international system for deploying "irational" information, services and products for the displaced and roaming. IRATIONAL.ORG supports independent artists and organisations that need to maintain mission critical information systems. These 'Irationalists' create work that pushes the boundaries between the corporate realms
of business, art and engineering. Irational.org is an international group of anarchist artists, who created the Cultural Terrorist Agency, and formulated "Superweed", utilizing genetic hacker technology to protest and subvert the biological arms race in corporate culture. Irational.org consists of Rachel Baker, Heath Bunting, Daniel Andujar, Minerva Cuevas, and Marcus Valentine.

Eduardo Kac
is internationally recognized for his interactive net installations and his bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced "Katz") emerged in the early '90s with his radical telepresence and biotelematic works. His visionary combination of robotics and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the "exotic" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac shocked the world with his "transgenic art"--first with a groundbreaking installation entitled Genesis (1999), which included an "artist's gene" he invented, and then with his fluorescent rabbit called Alba (2000).

Yael Kanarek
is a media artist. She has been developing her project "World of Awe" for the past six years.World of Awe versions 1995, 1997 and 2000 have been added to Rhizome's Artbase. Based on a journal describing the adventures of a traveler in search of lost treasure, the latest version of the website was launched in July 2000. World of Awe versions 1995, 1997 and 2000 have been added to Rhizome's Artbase. Ms. Kanarek is a recipient of the New York Foundation for the Arts 2001 fellowship award, The Alternative Museum Digital Commission 2000 and is currently an artist-in-residence at Harvestworks. She has been showing her online and offline work internationally. "World of Awe" has been included in festivals in Brazil, France, England, Germany, Netherlands, Israel, Korea and the USA.

Knowbotic Research
KR+cF (Yvonne Wilhelm, Alexander Tuchacek, Christian Huebler); was established in 1991, and since then the media art group has been experimenting with formations of information, interface and networked agency. Their more recent projects present artistic practice with media as an attempt to find viable forms of intervention in the new public domain. Since 98 KR+cF is as a co-founder teaching and researching at the New Media Department at University of Art and Design Zurich. KR+cF has got major international Awards. (Hermann Claasen Prize for Media-art and Photography 2001, internat. Media-art award ZKM Karlsruhe 2000 and 1997; August Seeling-Award of Wilhelm Lehmbruck Museum 97, Prix Ars Electronica, Golden Nica 94 and 98)

Tina Laporta
is a media artist who lives and works in New York City. Her most recent work has been created specifically for the internet. She has been commissioned by the Whitney Museum of American Art, The Alternative Museum & turbulence.org to create web-specific artworks. Her work has been included in the exhibition, "Telematic Connections: The Virtual Embrace,", San Francisco Art Institute; "Technically Engaged" at AIR Gallery, NYC; "Dystopia and Identity in the Age of Global Communications," at Tribes Gallery, NYC & "Body as Byte," at Neues Kunstmuseum Luzern, Switzerland. Ms. LaPorta has been invited to participate in several symposia & on-line projects including: "The Warhol Hijack," at weliveinpublic.com, Gender in New Media Online Panel at "INVENCAO: Thinking The Next Millennium," conference (Sao Paulo, Brazil) & Alterities: Interdisciplinarity & Feminine Practices of Space, Ecole Superieure Nationale des Beaux Arts, Paris France.

Lev Manovich
is an artist, a theorist and a critic of new media.He is the author of The Language of New Media (The MIT Press, 2001), Tekstura: Russian Essays on Visual Culture (Chicago University Press, 1993) as well as 50+ articles which have been translated into many languages and published in 20+ countries. Currently he is working on a new book provisionally titled Info-aesthetics and a digital film project Macro-cinema. Manovich was born in Moscow (1960) where he studied fine arts, architecture and computer science. He moved to New York in 1981, receiving an M.A. in Cognitive Science (NYU, 1988)] and a Ph.D. in Visual and Cultural Studies from University of Rochester [1993]. His Ph.D. dissertation The Engineering of Vision from Constructivism to Computers traces the origins of computer media, relating it to the avant-garde of the 1920s. Manovich has been working with computer media as am artist, computer animator, designer, and programmer since since 1984. His art projects include little movies, the first digital film project designed for the Web (1994-) and Freud-Lissitzky Navigator (1999-), a conceptual software for navigating twentieth century history.

Jenny Marketou
is a New York based artist. She has been working in different media, including photography,video, video events involving dj’s and performers, public performances, computer installations, using internet, telepresence environments and interfaces, networking technologies.and artificial smells. Her work has been shown internationally including "CTRL [SPACE], ZKM, Karlsruhe, "Markers Art / Re:Duchamp Exhibition" 49 Venice Biennial, Italy; Sao Paolo Biennial; Net_Condition, ZKM Karlsruhe, Manifesta I, Rotterdam; "Tenacity", Swiss Institute, NYC. Her lectures include: "Invencao", Sao Paolo, Brasil; <net.net.net> at MoCA, LA; Her grants + artist residencies include: ART OMI, MECAD, Barcelona, Banff Center, Canada; She is readying herself for "Art Hack: Open Source Lounge" at Media Z Lounge (New Museum of Contemporary Art, NYC) with Steve Dietz, Walker Art Center, and Anne Barlow, New Museum of Contemporary Art, NYC). Her work has been reviewed and published in: Speigel, Flash Art, El Pais, Artbyte, NY Times, Art Presse, and Temaceleste among others.

MEZ [Mary-Anne Breeze] has been progressively described as one of "the original net.artists" who is "...without doubt one of the most
consistent, prolific, innovative artists working in new media today.
Mez's work with language has had a considerable effect on the
language of many.". The impact of her unique net.wurks [constructed via her pioneering net.language "mezangelle"] has been parallelled with the work of Shakespeare, James Joyce, Emily Dickinson, and e.e. cummings. Since 1995, she has exhibited extensively via the internet and in "realtime" [e.g CTHEORY's Digital Dirt, Prague's Goethe Institute, Digitarts '96, Experimenta Media Arts, ISEA_97 Chicago, ARS Electronica_97, trAce, The Metropolitan Museum Tokyo, SIGGRAPH_99&00, d>Art 00&01 and_hybrid<life>forms_01]. Mez is also a virtual conference jillaroo, co-moderator of the Webartery Mailing list and freelance journalist. She is the 2001 Resident Artist at the WCG, has been awarded the 2001 VIF Prize by the Humboldt-Universitat in Berlin, was shortlisted for the prestigious 2001 Electronic
Literature Organisation's Fiction Award, and is currently in the running for the JavaMuseums' Artist Of The Year 2001 Award. http://www.hotkey.net.au/~netwurker

Mark Napier
has been creating artwork exclusively for the web since 1995. He combines his training as a painter with 15 years of expertise as a
software developer to create "art interfaces", software that addresses issues of authority, ownership and territory in the virtual world. Napier is known for his wide range of internet projects including The Shredder, an alternative browser that dematerializes the web, Digital Landfill, an endless archive of digital debris, and
Feed, a web filter commissioned by the San Francisco Museum of Modern Art for the 010101 show. Noted for his innovative use of the web as an art medium and for his interactive artwork, Napier's work has been reviewed in the New York Times, Forbes Best of the Web, ArtByte, Wired News, Art Forum, Publish, the Guardian, the Village Voice and many international publications. A recipient of a NYFA Fellowship (2001) and a grant from the Greenwall Foundation (2001), Napier has been commissioned to create net artwork for SFMOMA, the Whitney Museum, the Guggenheim, and Altoids.com. His work has been shown in SFMOMA's 010101, the Whitney's Data Dynamics show, ZKM net_condition, the Walker's AEN show, and at new media festivals in Germany, Italy, Denmark and South America.

Marko Peljhan
was born in Nova Gorica, & currently lives in Ljubljana, Slovenia.
He is the founder of PROJEKT ATOL, and co-founder of LJUDMILA-LJUBLJANA DIGITAL MEDIA LAB. Since 1989, he has made presentations in diverse media (performance, theatre, video, film, telecommunications, networks), lectures, exhibitions and situations. His works have beenb presented at Documenta X-Kassel, Ars Electronica 98-Linz, Manifesta II.-Luxembourg, Johannesburg Biennale. He has lectured at the University of Ljubljana, Northwestern University, the Royal Insitution, Sydney University, KIT Trondheim, University of Tasmania, V2, Public Netbase, Isea 94. From 1996 he was programs coordinator of LJUDMILA-ljubljana digital media lab responsible primarily for education and the hardware lab development and coorganiser of the Beauty and the East nettime conference in Ljubljana, May 1997.

RTMark
is an anonymous group of artists / activists who appropriate the tactical actions of large corporations in order to reveal / undermine the market driven society in which we are living. Past culture jamming campaigns have included the Barbie Liberation Organization (which attacked the gender stereotyping of children's toys), mirror sites such as Gatt.org reveal the transparency of the WTO's assertion that a free market economy will benefit us all, including the environment. RTMark most recently, in collaboration with numerous anonymous activists, was able to end the etoy.com vs eToys.com dispute via TOYWAR. RTMark channels mutual funds towards the sabotage of corporate products for an ultimate gain in cultural capital. Become a worker, or invest in a mutual fund today! (contact: invest@rtmark.com).

Stephen Vitiello
Stephen Vitiello is an electronic musician and media artist. His body of work includes audio CDs (Ligt of Falling Cars, Scratchy Marimba, Uitti/Vitiello), site-specific sound installations (P.S. 1
Contemporary Art Center, The Project), internet commissions (Dia Center for the Arts, SF MOMA/Walker Art Center) and over 75 soundtracks for independent film, video and dance. He has collaborated with artists, musicians and choreographers including Nam June Paik, Tony Oursler, Scanner, Frances-Marie Uitti, John Jasperse and performed internationally. Stephen Vitiello will have a solo exhibition at The Project, NYC in January 2002. Forthcoming CD releases include Bright and Dusty Things, New Albion Records, September 2001. Sound Archive 07.01-07.31.01 was originally
commissioned for CrossFade.Sound Travels on the Web, an online base for sound art jointly presented by SFMOMA, the Goethe-Institut Inter Nationes, ZKM Karlsruhe and the Walker Art Center (www.sfmoma.org/crossfade).

Ade Ward
works as a software artist, developing interactive generative visual and audio applications. Concerned primarilly with issues of authorship and the extension of aesthetic subjectivity into code, he is engaged with a number of projects that intend to bring about a subtle change in the way people interact with technology. Currently collaborating with a range of musicians, conceptual and performance artists, he also uses his software for live musical performances and installations. He is involved with a number of educational software projects that actively engage the user by exploring interactivity within a generative context. Ade has had his work published by Lovebytes (Sheffield), MediaSpace (Plymouth) and Rhizome (New York), had software exhibited at 291 Gallery (London) and the New Museum of Contemporary Art (NYC), and has presented papers at two International Generative Art conferences (Milan). His most ambitious project to date - Auto-Illustrator, a generative vector graphic design application - recently co-won the Transmediale.01 Artistic Software award (Berlin).

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