Predating the internet itself, email has become a mass communication tool as well as a pillar of contemporary computing culture. The artists featured in this exhibition consider the ways email has become an unquestioned part of our lives; and their diverse works push the traditionally prescribed uses of thie ubiquitous technology. All works are selected from Rhizome's ArtBase.

FW: Re: Re: takes the form of an email. The exhibition will exist solely in people's inboxes and will last until its moved to the trashed or filed and forgotten.

The artists assembled for this exhibition explore the ideologies and imagery associated with email and technologically mediated written communication. Several of the projects address email as a medium for curation. For example, New York-based artist and musician Jesse Aaron Cohen has organized email exhibitions since 2005, sending subscribers thematized collections of digital images taken from archives or found over the Internet. Other featured works expand categories of mail and email art. London-based artist Marc Garrett, Ruth Catlow and Lauren Wright have recently curated DIWO (Do-It-With-Others): E-mail Art at NetBehaviour, an email art project on the NetBehaviour email list, that was also exhibited at the HTTP Gallery in London. In the spirit of early Mail Art, this project was completely open to all, as long as they were subscribers to the mailing list. The submission and selection of the works and subsequent curating of the show was done collectively (with others! ) through emailing. Together, the works in the exhibition look anew at a medium that has become so normal that its implications, form and possibilities are often overlooked.

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in the new theatre of DIY slanderous offers hope for the oppressed, a way out for the circumscribed, a knowlede base for the downtrodden.

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From sounds to neurons, and back

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Welcome to Roland Quagmire III's cyberspace curatorial and blog.

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what are current (actual and potential) new media pedagogies? if 'new,' aren't new forms of critique and creative methodologies required? where are these pedagogies being practiced? the atelier? the Department of Computer Generated Imagery? the Sprint store? do these varied practices fall under Peter Lunenfeld's notion of a 'hyperaesthetics'? should they even be considered aesthetic, with all of the modernist baggage attached to the term? this 'exhibit' is loosely defined by networked artworks that point to intriguing pedagogical possibilities. each work will be studied in a course that i am currently teaching -- ARED 281: Art Education and Visual Culture -- at Indiana University of Pennsylvania. responses to these works will come in the form of new works created by students, which they will add to the network. new networks (newtworks?) this is *rhizome*, for pete's sake.

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Location is an integral problem (or inspiration) to all art. An installation piece, for example, is often very dependant upon its location to establish its effect. A piece of artwork hanging in a museum is contextualized by that setting, given, in this case, such things as credibility. The experience of viewing art is also changed by the location of other things relative to it—in the museum example, the other artworks hanging next to the piece. Furthermore, an artistic experience is greatly changed by our own location relative to it: we view a painting from several angles, we walk around a sculpture to take in its three-dimensional quality, we navigate through an interactive new media piece my changing the location of our mouse on the screen. Location is fundamentally about space, but when applied to the New Media art works of this exhibit, that spatial quality can mean many things. Some artworks concern themselves with specific locations or landscapes, others do not. In some artworks, the location of the art is irrelevant or nonexistent, and the theme of location is instead physically manifest within the piece: location of elements of the piece on the screen itself, location of the elements in relation in one another or in relation to you, the world, or something else. Pieces about location raise questions like, where am I? How do I find my way? The works of this exhibit, though diverse in their interpretation of the location theme, are connected by these ideas of spatial relevance. Furthermore, by placing them together within the location of this exhibit, I have created a new context and space by which they can be viewed, and thus created a new experience of the works themselves.

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Historically, surveillance has been used as a tool to control large amounts of people. The more information one can gather about their subject the larger their advantage is. Even the Greeks and Romans used on-foot military scouts to learn more about the number of the enemy’s troops or the weapons they would be using; they worked to secretly gather this information or risk death. Besides military intelligence, government institutions like prisons and hospitals used surveillance to control their subjects. The design of the Panopticon in 1791 by Jeremy Bentham was a major step in surveillance because it created the feeling amongst the subjects of a constant gaze or that they are always being watched. This constant sense of being watched has gone from specific institutions to general society since video and film cameras have become so practical and widely used. Since Trafalgar Square in 1960, when two temporary cameras were used to monitor crowds during the arrival of the Thai royal family, governments and large private companies have used video cameras to monitor crowds and places prone to criminal abuse. As time passed, people began to recognize the effectiveness and usefulness of video surveillance and cameras became cheaper and more practical. These two factors combined and large amounts of home-surveillance equipment and self-defensive technologies have ended up in the hands of middle-class and lower-class America. This has created a panoptic version of society. Not only does the average citizen have to worry about being taped in government buildings or large businesses, but also people have been recorded by cameras found in private homes, small shops, cars and even people’s phones. In America and all over the world, people and government officials roam the streets with the knowledge that any person could photograph them at any time without them knowing it. So what does the future hold? The government has been using surveillance for years to prosecute criminals; Hasan Elahi has been using self-surveillance to ensure that he is never falsely accused again. Will other people follow this trend of self-surveillance? Will we live in a society where being recorded is not only something that happens occasionally, rather something that we ensure is happening constantly? Only time will tell. All of the exhibits in this collection are examples of technology enabling people to use surveillance for their own purpose.

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With the advent of PACs (Political Action Committees), 527 groups, and other political advocacy organizations in American politics in the mid-1970s, the concept of “political action” has changed significantly. What was once a term stereotypically associated with naive public protestors on hunger strikes or rogue Greenpeace operatives scaling skyscrapers has become something conservative and institutionalized into the very corporate politics it once addressed.

Discussions within the right and within the left have been “resolved” and refined, then disseminated through the most widely consumed media: newsprint, radio, and television. The brevity of their positions on the issues and the black and white nature with which they characterize either themselves or their opponents may be attributed to the cost of articulation (30 seconds of air time, 1 page of newsprint), or the attention deficient constituent. Either way, the voter is not allowed to reason, as the argument for each side is not thoughtfully presented.

The works in this exhibit do not better represent the positions of contention. They do, however, reconsider political action in the context of a new medium. New media artists have used the less restrictive space of the Internet to return to an older definition of political action. Whereas movies, music, television, and other forms of mainstream communication require huge capital investments to make one’s voice heard, access on the worldwide web demands substantially less funding. The web is also a more neutral medium; a webpage creator is not limited by the political affiliation of his hosting server as a chief editor at a newspaper may be by the paper’s owner.

So long as the contemporary powers of “political action” cannot infiltrate the largely decentralized structure of the worldwide web, new media holds immense potential for the advancement of the public discourse and art of a political nature. In this way, one can think of the mainstream media as the primary vehicle for contemporary “political action” (PACs, 527s, etc.) and new media as a voice for an old style of political activism. This exhibit hopes to present and comment on such new media works in the scope of political action. The following works either embody the notion of political action/activism themselves, or address political action from an outsider’s perspective.

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Identity is divided into two categories: 1. Individual identity and 2. the concept of identity. We search for both. In order to unravel either most people assume the only way to so is to deconstruct what they know about themselves and place it in front of them. It's an extremely analytical way of finding an intangible 'truth'. But what has happened is that identity is now only defined by the search, rather than the entity itself. Thus, many times when an artist attempts to represent identity in any sort of philosophical way, they can only fragment it further and hope to touch upon some fundamental truth that might not even exist. So what are we looking for? This is a collection of five artists who have deconstructed their own identity and/or the concept of it. Some of this work was intentionally fragmented, but a lot of it was not, displaying the fact that humans are trapped in their own notions of themselves. Although these works are all well-executed, and some are extremely telling, it is debatable whether they have actually discovered or represented anything real or not. Can identity be represented? If so, is this the best way to do it? Or does it serve to superficialize and externalize something that should be immaterial and internal?

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The internet is offering more than simply a new medium for artists to manipulate; it also provides artist with an infinite source of material and content. This material is practically limitless, and at the same time it is fully searchable, a detailed catalogue of the lives of millions of people. Cyberspace is literally filled with the fodder of our daily lives. Many new media artists have looked at how to exploit this limitless source of new material within their art. These pioneering artists are exploring the worlds of Flickr, and Blogspot, using search technology like Google and tagged information to grab content from all over the Web to use as content. The works in this exhibit share a notable quality – they all appropriate the raw material of the work from the endless masses of cyberspace. But beyond simply appropriating the material, which artists have been doing since the Dadaist photomontages, these works represent the results of real-time trolling of cyberspace, and thereby the artist is not choosing what image to display, or what sound to play; he is simply developing a protocol and a structure within which to frame, manipulate or in some way contextualize and present, real-time raw data that is being harvested by searching the internet. While the methods of presentation that we see below vary greatly, each work shares the fact that the artist is not regulating the raw materials, and that these materials are gathered in real time. This have a very tangible affect on the meaning of each work. These works, especially when viewed collectively, give a visualized glimpse into the content of the web, giving the viewer insight into just what is out there, the varied dynamics of what we as a culture are uploading. Another important facet of these works is a result of the appropriation the artists initiate. We are viewing bits of the millions of pieces of data that people are self-publishing, but as the viewer, we cannot help but wonder if the people who post their snapshots on flickr or any other medium of self-publication, knew that they would be broadcast out to the world as art.

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Since its inception, the video game has been preoccupied with presenting the world how players would like the world. From the arcade games of the 1980’s to the societal metaphors of contemporary gaming, video games have remained an agent of fantasy and imagination. Often video games allow users to play along as characters they could never actually be (Indiana Jones or Harry Potter) or to interact within digital landscapes that are of this world (Hogwarts or Star Wars' Planet Hoth). Many video games feel intrinsically hedonistic. The mock situations, characters, storylines or actions that a user might want to participate with but cannot. These games fulfil and satisfy. They substitute contrived cyber experiences for the ‘real thing’. This exhibit titled Interfaces of Imagination examines artwork on the Rhizome.org artbase that explore the way in the video game can be used as an artistic medium to manifest fantasy. Throughout the works, artists try to reconcile what human imagination wants and desires with virtual interactions that satisfy these cravings. Some see the video game as an agent of revisionist history, a way of interacting with an imagined reality that is somehow preferred to the way ‘true’ history played out. Other artists see the video game hs a way of narrating their own life and growth alongside the development of gaming technology. For the artists featured exhibit reality can be totally re-informed by the virtual world of the video game. Whether this is intended or intrinsic to the works is almost inconsequential– all of the artists consciously or subconsciously pay homage to the video game as an interface of imagination. Instead of seeing the constraints of gameplay, setting, player characterization, and gaming narrative, these new media artists understand the video game to be a medium of manifesting fantasy. Their works, by extension, re-define the conventions of video gaming.

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This exhibit is best received through tight headphones-perhaps audio fragments will then sound familiar and you will stop wondering why memory failed you when trying to find out what Mary said about John. This is a collection of pieces that dwell into the obsessive world of audio surveillance: eavesdropping. These works are an exploration of the nature of the practice and the ways in which we choose to store this secretly gathered information. The artists probe into the nature of the biological processes of memory thus creating such thorough storage methods as algorithms. Several chose to render this audio in an updated version. They either included fragments from prerecordings, such as movie clips, or remixed in other ready made sound, perhaps as commentary on the nature of our sound memory and its susceptability to change with time. The art work to which this exhibit is dedicated and appropriated after, MTAA's TO BE LISTENED TO, is a celebration of available audio and truly encourages the listeners to engage with the audio. Ultimately what we care about is listening in: listening in on them, on the willful participants, on you listening to them now, on me wanting to listen in on it.

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In the past, people have turned to writing in diaries as not only a means of expressing one’s thoughts and emotions but also as a channel for documenting one’s own existence. Writing as the primary, if not exclusive, source of daily reflection, is one step removed from the actual experience itself. Even if the descriptive language is especially evocative of all the experiences one has, an outsider reading will never truly grasp or be able to imagine the intensity of the sun or facial expression of the drug store clerk. New technology has reduced the gap between the experience and the recording of the experience. A lot of daily experience is interpersonal; revolving ones interaction with people and places and concrete objects. With digital video we can record our interactions and people can observe us in our element. With online diaries and blogs, interactions between events and tangible items, like going to a movie and buying a ticket or going to a play and getting a program, can be integrated into our record of daily life. The artifact itself, which has in prior times provoked the reflection, is now integrated into the actual reflective piece, an action that results in the creation of a genre of art specific to this type of documentation. Digital photos can be uploaded into online blogs, ticket stubs scanned, an image from google earth posted. Dear Diary presents works of art that have an element of the autobiography but also attempt to tell a personal story. This project does not just search for online journals and blogs; it strives to find works of art that radiate diary-like reflection when they are examined. Artists Ana Carvalho, Chris Reilly, Richard Vickers, Florian Thalhofer, and Neil Sorenson document personal experiences in diary-like manners that reflect the presence of the blending of diary documentation and new execution techniques that employ digital and interactive media.

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An intro into the obsessive world of eavesdropping

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This exhibition presents works that engage in a practice of open authorship. In agricultural terms �Free Range� is the practice of allowing livestock to graze openly and forage on the natural environment rather than being confined to a feedlot. Traditional containment agriculture emphasizes control: there is a rigid system and while a predetermined outcome is almost guaranteed, the homogeneous product that results is entirely expected with rare exceptions being discarded. In contrast, free range systems allow varying degrees of openness and while the lack of control allows for chance, the end product has the possibility of transcendence. The artists represented here embrace the idea of free range and allow the audiences who encounter their work to read, redistribute, or modify the cultural artifacts in an open system, providing positive evolution and change. In the spirit of free range creation I have opened sourced this exhibition itself at http://certifiedfreerange.xwiki.com. I invite you as an audience to take an active role in the process and add, remove, change, remix and recreate. Just as the idea of author as genius has been suitably debunked, a similar extension can be drawn to curator as author and it is in this state of mind that we all become producers.

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this is an exhibition work in progress. since i am a new rhizome member i will be finding things that i like as i become more familiar with the artbase.

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This exhibition begins with the experience of sitting in front of the monitor and looking out into the vast culture of possibility offered to us by the Internet. On the one hand it is external to us, what's out "there" on the net. On the other hand, it's inside us, the imagined space of the network. It's like being at the center of a cosmic architecture that is at once chaotic and highly organized and which we can know only in fragments. All of the works in this exhibition, which range from the witty to the hypnotic, either communicate or arise from this sense of the Internet.

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This exhibition presents artwork that incorporates issues of identity by using the image as a mode of articulating, and from this coming to terms with, memory and location. Here, place is understood in literal terms: landscape/nature/urban/rural and also in broader terms: interior/house/virtual/body. What is it about these kinds of places that makes us want to remember things and, moreover, how can such places give rise to other memories that we bring to the image, and also self?

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Simplemente una recopilación de trabajos de artistas hispanos en la ArtBase. Absolutamente acrítica.

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I designed this exhibit to show people different types of "art" making techniques. Some of these pieces are interactive with the viewer and some are not. They intrigue me because they are new and interesting ways of creating "art". There is no set outcome.

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The "art of war" is a common term used to describe the strategy and tactics of warfare, but if one looked just beyond the words the term begins to take on different meanings --that war itself is art and that war encourages art (art "of the war"). Though it is very hard to say that war is a positive thing, to an artist it can be of the greatest sources of inspiration, a muse of tremendous and terrible proportions. The events of 9/11 and the war in Iraq (or any war or act relative) are just that. But, the idea that war itself is art brings a question to the table, who is the artist? George W. Bush? The Terrorists? Whether self-proclaimed artist or not, art can be created through accidents, through experiments, through chaos. They, like any artist, have tools to their disposal, expresses ideas, works with different media, changes, creates or tears something apart, (with all intentions aside) then calls it art (or it is called art by another). Then this idea, event, or piece of art work influences other forms of art. The following pieces demonstrate that war is art and as a work of art it encourages other, new forms of art. (The following critiques are my own. The meanings derived from these pieces are my own. I am an advocate of leaving the meanings and expressions of a work up to the viewer to allow a more individual experience.)

Ramblings to reinforce the theme: Art and artists influence one another. In literature many poets pose questions to other authors, poems that ask "where to now?." One view might be that the people of the Middle East (of course not all) look to their beliefs for inspiration, Bush looks to them for inspiration, and other artists look at it all --create art, then ask "where to now?." One may not like being compared to these individuals, but we are all just different shades of gray, all artists of different degrees --all without an acknowledgment to the other.

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This exhibit highlights art and life in a technology intensive world; where new media has transformed the art world by exploring hybrid forms and combining live and mediated experiences. Artists are producing work that simulate what may be considered 'real life', blurring the line between illusion and reality. Pushing this concept even further, artists are creating pieces that place the viewer in situations that offer a greater 'sense' of connection to the world as a whole, while at the same time breeding isolation and inhumanity. For instance, in works like Love Maker v7, the artist created a program that attempts to tailor a love letter that would best suit his/her desired mate and generates an image of a potential human which might be responsive to this letter. It seems that as the lines between virtual and actual worlds blur, technology is altering our perception of what is natural, organic and "real". Some artists are mocking this concept, choosing to explore in their work what the art world and the world as a whole may be coming to with the advent of an impersonal, technology- based life. David Sullivan depicts this reaction in The Ego Machine , a piece that mocks the idea of new technology blurring illusion and reality and how our lives and deaths may be effected by it. Created for a show of artist-designed funerary urns, this piece assumes that as our lives become more digitized, so will our deaths. Our vain efforts to project our historical selves into the future will be reflected in systems and programs that will eventually be created to carry on our egos. A virtual agent, a web spider, scours the web for mentions of the artists name. The results are stored in a database, which drives the artist’s image in Shockwave. As the mentions increase, an image of the artist on-screen multiplies and becomes younger. As the mentions decline, the artist's image loses its health and deteriorates. As with any piece of art, the medium and the content together form the art. The souly technology based interaction required for a piece of new media based art is what this exhibit celebrates and at the same time questions. How far will it be taken?

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Art and technology have gone hand in hand since the cavemen, although they seem to be opposites. Alexander Nguyen says, "Art is about using tools and finding new ways to create images and ideas. It is the catalyst for technological advancement." Most art is derived from the right hemisphere of the brain. While the left hemisphere of the artist's mind is absorbing the technology around them, the right side is producing art that represents the advancement of technology. I feel any art I choose could be used as examples for my theme, but I did look for some that seemed a little more techy than others.

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Man has a deep seeded desire to attain an understanding of life and to exist beyond death. This is a simple concept that can make or break a person according to their level of desire. These pieces explore the outlet of human understanding beyond the confines of the body and perception of reality.

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Today it seems that so many are focused on having a firm grip on everything around them. Control has become one of the primary motivators within the human experience. In fact, the idea of having little or no control at all frightens most of us. However, there are some, including the artists featured in this exhibtion, who have decided to give in to chance. Through doing so it has been discovered that art just as profound and beautiful as a planned piece can be achieved by giving in to randomness and spontaneity. All one has to do is provide the framework for chance.

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A collection of artwork comprised of video, audio, and text. These components are the three key elements to the web. Each piece has a design quality that is minimalistic yet still visually appealing. All web sites use either video, audio, or text in some way or another, to sell something, express opinions, or inform visitors, but those sites are typically linear, not allowing the user to experience the site, but simply visit then go on to the next with little or no interaction. The purpose of this exhibit is to showcase three sites that use each element, but in a way that is interactive with the user.

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What is virtual 3D? It is defined as a computer generated graphic display of depth, width, and height. Everything that exists on this planet has these three properties, but the difference is between physics and computer laws. A big aim of 3D modeling programs is to create realistic images and animation using these three properties. When I say realistic I am referring to 3D realism incorporating the three properties. While humans have found ways to bend the laws of physics, it is much easier to do so when you can create the laws yourself. My exhibit displays work from several artists who use virtual 3D to express their ideas while being unbound by gravity, space and time.

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Like the proverbial tree in the forest, does art exist without an audience to experience it? This exhibit showcases works of art that blur the line between artist and audience. All artists desire to speak to an audience through their work. What better way to involve the audience than to have their interactions with the piece become the art? The art works in this exhibit not only depend on the audience for recognition but require their interactions to enhance the works. In fact all of the works included draw their expressiveness from the audiences interactions with the pieces. And likewise the audience can not fully experience the works without direct interaction with them. The audience is not a passive viewer of the art, but in a way is the audience, the artist and the critic simultaneously.

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This exhibition presents the variety of emotional steps faced during change. Each piece represents a different state of mind that is felt during change; from the initial conception that change is needed to the feeling of achieving this goal. The reason I wanted to focus on the topic of change is that I feel it's an essential step in everyones life. Change is very healthly. The daily grind of life can bring one's spirit down. At this lowered state, obstacles in our way can seem unconquerable. Time is needed to think things through, to realize what changes are needed. Once the plan is in effect it's only time before the goal is reached and the "walkway to change" has been traversed.

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In most cases, a piece of artwork is the same no matter when or where you experience it. But, in a recent browsing of various rhizome.org works, I noticed that many works are different each time they are viewed. They have a sort of randomness to them. In the works that I chose to curate, the randomness factor was applied in very unique ways, either by the work itself, or by the person experiencing the piece, and sometimes both.

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In today's society, women are often viewed not as a unique individual, but as an idea or concept: a mother, a housewife, a sex-toy, etc. "Maintaining the Ideal" is a collection of pieces that speak on woman's perceived role in society as a plastic and unrealistic idealized version of a female, and how trying to maintain that ideal may entail the loss of one's own identity.

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Men on walls of stone and candle light monastery copies; great invention, great inventory. The language of abstract patterns understood, text read, and image created; blending the knowledge of the visual sense and the textual-created mind image sums a result far greater than either alone. Herein reside four examples:

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The evergrowing popularity of video gaming entertainment has grown and sophisticated to the point that it has created its own world, mimicking reality in many ways, skewering it in others, and generating its own cultural rules, taboos, and normalities. The artists in this exhibit examine the line between actual life and simulated life, a line they ultimately pierce.

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As I´m an artist, not a curator, you´ll find introductions under my single work(s).

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Moving Image Gallery (MIG), a physical gallery at 414 Broadway, NYC and a web site at movingimagegallery.com, was founded by Doron Golan and Michele Thursz in 2000. The gallery was in operation for over a year and produced over 15 shows and events.

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sine.qua.non (sin' ä kwä nön'), n. the essential, crucial or indispensable ingredient without which something would be impossible; an absolute prerequisite.

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The unveiling of the blog - an open window into another's innermost thoughts - has habituated the public into a priviledged knowledge of the intimate experiences and secrets of strangers. Why would anyone place something into the open waters of the world wide web if it is not meant to be seen, read, or experienced by another? Having placed something online, is it possible to un-invite the unknown thousands of web-surfers from you innermost moments?

The works selected for this exhibition all address the notion of invaded privacy. They tap into the need for a private oasis even within a world wide presence. In Awkward Moment #2 and in Inviligate, the artists create intimate spaces through which the viewer is placed in the position of an intruder. In Don't Touch Me the viewer is both rewarded and scolded for interacting with the site's "inhabitant" before being drawn into an increasingly personalized interaction with the "inhabitant." Crying Machine mechanizes an confoundingly intimate experience of emotional release, whereas Uninvited Words is a protest against automated email intrusions. Confess, on the other hand, capitalizes upon the public's impulses to find and reveal ever more intimate experiences.

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The electric cave of our collective hallucination.

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A visual reflection of sound, a timeline of noise reactions that are interpreted through a plotted image that morphs according to pitch, levels, tones volume and frequency. An intelligent flash design that utilized the users own mic for input creating a unique interactive design.

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Klara Hobza's Linux Version Project Website.

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This gallery inculdes artist work that I found interesting and would like to be involved with our use for inspiration.

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C6 are a small cell of like minded artists operating since 1997 to produce ‘Event Driven Afunctionality (E.D.A.). E.D.A emerges when an audience is provoked to participate in a counter productive system. This non logical process creates a new awareness to the broadcast medium and message. ‘Want & Need’s’ transformation of data from word to image then back to text involves the public in a displaced creative enviroment of complex technology for arcane result. This multi layered and unpredictable dialogue between the public, gallery and the viewer is essential to the practice of C6. There are no fixed territories for C6 works, which, since its formation, has produced art all over the world in several different media.

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namaste! am nil from kolkata(calcutta)India am a new in digital art my profession is of a civil engineer I seek guidance and support from all concerns related to Art only

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This exhibit highlights net art that uses three-dimensional interfaces to force its audience into exploring the work as if it were an actual physical environment. Since the internet currently tends to be viewed as a 2D space, forcing the audience into a third dimension often requires them to adopt an entirely different type of logic in order to fully view the piece. Abandoning tried and true two dimensional interfaces, these pieces force the audience to learn a new way to interact. As with any piece of art, the medium and the content together form the art. The interaction required for a piece of three-dimensional net art is what this exhibit celebrates. The added freedom of exploration in three dimensions is something to be aware of while viewing these pieces. Also note the relations between the physical and virtual world that are highlighted by three-dimensional interaction.

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Since its early days, the internet has been changing the way we perceive the world around us. It has opened up doors for the sharing, mixing, and re-interpretation of media. The web has allowed for information to be distributed and re-mediated over and over. Today, everyone and everything has a web presence. Grandmas have blogs now. And you better believe that Twinkies have a flash site. What I'm trying to say here is that the internet is making everything old new again. But eventually, that becomes old as well.
The pieces I have chosen for my exhibit are all exciting in their own way. Each piece remediates a different form of media into something that's charming or unexpected. I love it when things that I am familiar with are twisted in such a way that it sheds a completely different light on them. The examples I have chosen take generally familiar things and place them into different context. This is done by making them more personal, less personal, more interactive, less interactive - all of the subjects are approached in a different way than you'd expect. In different ways, these projects all exhibit how "the medium is the message."
In this exhibit, you will be able to see and enjoy re-mediated text, voyeurism, film, viruses, and more!

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