WARREN SACK
Artists
statement
The Conversation Map is a system for summarizing and visualizing large volumes
of email. This image is a visual summary of about 1300 email messages posted
to the Usenet newsgroup comp.ai.neural-nets in April
2002. You can access the Conversation Map online at this URL:
http://techne.sims.berkeley.edu/cainnapril2002.html
Bio
Warren Sack is a media theorist and software designer. Before joining the
faculty at UC Berkeley in 2000, he was a research scientist at the MIT Media
Laboratory and a research collaborator in the Interrogative Design Group at
the MIT Center for Advanced Visual Studies. He earned a B.A. from Yale College
and an S.M. and Ph.D. from the MIT Media Laboratory. More on his work can
be found here:
www.sims.berkeley.edu/~sack

WARREN SACK
The Conversation Map Postcards, 2002
Sale price per postcard $5.00
SUZANNE ANKER
Artists
statement
The Butterfly in the Brain series continues Ankers investigation into
the visualizing techniques available through high technology simulation such
as the microscope and the telescope. This work focuses on a dialogue of signs
within the symmetrical (or virtually symmetrical) structures of the butterfly
and the brain, both of which possess an axis copy. Using neurological maps
as well as charts of urban sprawl, Anker plots the shape of a butterfly in
each pattern. Constellations emerge from these distinct models calling into
question the ways in which biological form is replicated in the cultural domain.
Bio
Suzanne Anker is a visual artist working with scientific iconography in the
realms of genetics and neuroscience. Her work has been exhibited both nationally
and internationally in such venues as the J.Paul Getty museum, the Smithsonian
Institute, the Philips Collection, the Walker Art Center, the Museum of Modern
Art in Japan among others. Her work is represented by Universal Concepts Unlimited
in New York City.

SUZANNE ANKER
Butterfly in the Brain, 2002
Piezo-Dye Prints
13.25 x 13.75 inches

SUZANNE ANKER
Urban Sprawl (a subset of the Butterfly in the Brain) , 2002
Piezo-Dye Prints
18.125 x 18.75 inches

ALAN MOONAN BRUTON
Psyche - Dorsal View, 2002
Iris Print on Arches Watercolor Paper
16x20 inches
Edition of 25
Price per print $300

CHERYL COTMAN
Auditory and Visual Methods for Examining Patterns in Rhythmic Network Activity
: laser activity
2002
Graphite on paper
24 x 30 inches
Edition of 20
Price per drawing $650
ELIZABETH COHEN
Artists
statement
The print Numbers is taken from the videotape Numbers produced collaboratively
by Elizabeth Cohen and Michael Talley. In Numbers, people reflect the forces
at work in our current environment, testing their circuitry as they remain
continuously in training. As they arrive on camera they respond to the call
of numbers and attempt to reconfigure their bodies acordingly.
Bio
Elizabeth Cohen is an interdisciplinary artist working in New York City. She
has shown her work both nationally and internationally at Blum Helman Gallery,
The New Museum and Franklin Furnace in NY, as well as The Rhona Hoffman Gallery
in Chicago, The Davis Museum at Wellesley, The Bonner unstverein in Bonn Germany,
Cimelice Castle Czech Republic, and The Bogota Film Festival. In 2001, she
had 2 solo exhibitions: "Splice" at the Miroslav Kraljevic Gallery
in Zagreb Croatia and "Random Access" at Sideshow Gallery in Brooklyn
NY. She also received an ArtsLink Project Award. Her work is currently included
in group exhibitions at Nikolai Fine Art in NYC, and a traveling exhibition
currently at University Art Gallery, U Mass, Amherst . Cohen is an Assistant
Professor of Art at the University of Rochester.

ELIZABETH COHEN
Numbers,
2002
Diital C print,
3 5/8"H x 29"W
Edition of 25

Cathy Lebowitz
All the Important Names, 2002
C-print
17 by 22 inches
The edition number is 25
The price is $500

GABRIELE LEIDLOFF
Eye Tracking , 2000
C-Print
Edition of 3, plus 2 artist's proofs
Price per print $950

SUSAN LEOPOLD
Up the Down Stairs, 2002
Cibachrome
11 x 14 inches
Edition of 15
Price per print: $400
ELLEN K. LEVY
Artists statement
Through working with a database of actual patents provided online, I have
been able to suggest a complex portrait of how learning and innovation evolve
over time. These works are, in effect, models of the mind, displaying reels
of information rewinding through the space of accumulated mental projections.
The art works I produce are digital, narrow (8 x 88 inch) and vertically oriented
scrolls. They portray a hierarchical succession of images, exhibiting data
(sometimes transformed with 3DsMax), graphs and symbolic notations
My artistic process is as follows: I enter a search for patents by entering
2 terms such as brain and imaging or recombinant
and memory. Many patents subsequently appear between the years
2000 and 2002. When I trace the references of some of those patents back in
time, I may then locate other prior inventions related to the terms that I
initially entered. The references range from inventions dealing with brain
scanning equipment, to optics, to memory, and the images reference multiple
cultural styles encompassing Mayan figuration to minimalism. Some of the dates
of the patents cited go back to the 1800s. This procedure can suggest
how seemingly obsolete technologies can become exapted for new
uses. Just like art works, inventions can be seen as either priceless or worthless
at different times and in different contexts. By tracing the citations on
a patent back in time, I then discover an entire niche of industries based
on some aspect of the original entry.
Bio
Fine Artist involved with art/science interrelationships, resides NYC
Education:
BA, Mount Holyoke College;
MFA equiv., Museum School of Fine Arts in Boston
Awards:
Distinguished Visiting Fellow at Skidmore College
(Henry Luce Foundation); AICA award (for AAA show); Commission from NASA
One-person exhibitions include:
Institut Cochin de Moléculaire Génétique,
France; Associated American Artists, NY; Trans Hudson Gallery, NY; American
Cultural Center, Israel; Národní technické muzeum, Czech
Rep.; Galerie Wild, Frankfurt; New Jersey State Museum, NJ; National Academy
of Sciences, D.C.; Chapel Art Center, Cologne, Hamburg, Germany
Public Collections include:
NASA; Newark Museum, NJ; New Britain Museum of American Art; National Academy
of Sciences, D.C.; IBM, NY;
New Britain Museum of American Art, CT; SUNY New Paltz, NY
Reviews include:
Art in America, The New Yorker, The New York Times, Flash Art, Art Journal,
Leonardo
Publications (self-authored) include:
Guest Editor: Contemporary Art and the Genetic Code CAA Art Journal:Spring,
1996, vol 55, no 1 (with B Sichel); Endeavour (book review), 2000:24(3): 137,138;
Inner Vision:Art and the Brain, by Semir Zeki; Leonardo (Artist's
article), 1994: 27:75. Complexity; Perspectives in Biology and
Medicine (Artist's article), 1986: 31(1): 95-106. Monkey in the Middle:
Pre-Darwinian Evolutionary Thought and Artistic Creation

ELLEN K. LEVY
Brain + Imaging, 2002
Digital print on roll luster archival paper
88 x 8 inches (height first)
Edition of 10
Price per scroll: $800

ELLEN K. LEVY
Recombinant, 2002
Digital print on roll luster archival paper
88 x 8 inches (height first)
Edition of 10
Price per scroll: $800
STANZA
What drew you initially to producing art for the Web? When did you start?
Stanza
My interest in music and video in the 1980's and the production of various
videos and cds led me first into exploring imaging within computers and then
into interactive experiments. My interest was in combining the audio and visual
and my motif has been the city and its structure .This led me from video to
explore cdrom initially.
However, as soon as I became aware of the web in 1995, I moved all my ideas
over to the internet. And the reasons are the same as now. First as a distribution
and publishing vehicle, and second to explore the parameters of the net as
a medium for artistic expression. Both publishing/distribution and the technology
of the web are pretty useful to me as an artist. I have been putting music
online in side streaming juke boxes and allowing access to my work from a
greater potential audience. And also ive been developing a number of internet
specific works that exist only within an online capacity. When I came across
the web, it was obvious the web was going to change some rules and I liked
this.
Andrews
What are you trying to accomplish as a web.artist?
Stanza
I have a number of projects running simultaneously so I would have to be specific
about each one. The ones i've worked on in the last week include sound cities
and subvergence.
Subvergence is the abstracted noise based visual destruction of the browser,
the desktop, and the interface. Subvergence is a new 3d interface. Within
the screens it subverts and fragments the notion of our old browser. Instead
we have full screen desktop takover. Subvergence scrambles the icons of the
internet. The icons of the new age are our gifs and jpegs, the codes that
allow us to work, the symbols of the internet. Numbers, financial information,
source code , and software are all re-employed. Hidden areas and sounds as
well as spoken texts open up more pages scrambling technologies and ideas.
The first version allows multiple environments: subvergence.net. The version
online is two years old and i've been working on the downloadable browser
part people can install and run, and there are some technical issues.
I've also been working on inner city, a new cities based project for 2002.
Sections inside include virosity. artitexture. blackstar. complicity. cuboxis.
intoxcity. megalopolis.organicity. phyletcity.revolver. utopias. This project
continues the search for the "soul of the city". The idea is to
go deeper into analogies for the organic identity of the city. Inner City
is an audio visual, interactive, internet art experience. The micro city becomes
an organic networks of grids and diagrams.The form and content of this work
is a visual world of the city and its structure. The project fuses the sounds
of specific places.The sounds of language impose a rhythm that the visual
narrative can interact with. This project is located at thecentralcity.co.uk
and its an extension to the central city website.
As well as this is a project called soundcities, an audio project based on
the visual and expressive appearances of world cities. I have spent the last
year travelling to over fifteen worldwide cities. During this time I have
collected and recorded the sounds from these cities. I also took thousands
of photos. I have been to sao paolo, london, paris, dresden, amsterdam, saltburg,
graz, rotterdam, barcelona, san sebastian, manchester, liverpool, ljubiana,
frankfurt porto, and istanbul. I am interested in the sounds of specific places,
and how the sounds reflect this identity and re-impose characteristics back
onto the location or environment. Cities all have specific identities, and
found sound can give us clues to the people that inhabit these spaces, as
well as provoking us and stimulating our senses in a musical way. The sounds
of language impose a rhythm that the visual narrative can interact with.
The intention within newer sections of the central city is to create an audio
visual experience that evokes place, both as literal description but also
developed musical composition. These are the ideas that inform my new 'soundmaps'
series, and 'soundcity'. The website is a series of online mixing desks with
visuals from these places. They will represent idealized aural spaces from
these cities mapped onto the virtual world. I have built the mixing desk.
The site will allow users to save the mix they make and unload it on to the
database area where other people can listen to the results. It a sort of global
world mix.
I am also working on a cd of the project. And there are some other projectsone
connected with genomes, and as well as this I am always trying out new bits
of code and making "paintings" for the amorphoscapes series.
Andrews
Do you surf the work of other people much?
Stanza
I try to. My interest in looking, understanding and evaluating the work of
artists on the net led me to make my net art museum piece.
And I later developed my soundtoys site to further these investigations. So
soundtoys.net was established to provide a space for the exhibition of exciting
new works by a growing community of audio visual artists, while also providing
a forum for discourse around new technologies and the nature of soundtoys.
The site is a meeting point for this growing community of artists and users,
and exhibits audio visual projects. The site contains areas for artists projects,
interviews, links to resources, and texts by contributing writers where serious
issues around interactive arts, audio visual synthesis, generative art, and
a history of interactivity are discussed.
The internet has become the leading economic and artistic tool for our age.
Words like 'emergence' are used to explain the propulsion of these medias
into our daily lives. The site looks at the serious issues around interactive
arts, audio visual synthesis, generative art, and a history of interactivity.
Increasingly, a divergent group of artists are exploring, researching and
playing within the parameters of soundtoys.
Andrews
What venues besides the Web do you show your work in?
Stanza
Recent Exhibitions:
Fused 2002 + Sao Paulo Bienale 2002 + Zeppelin Barcelona 2002 + Net.art in
4L Istanbul 2002 + Immedia 2002 usa + Net-working at the watershed 2001 +
Soeul Net art festival 2001 + Generative Art 4th GA2001 + A Fair Place Turkey.2001
+ McLean Project Casting a Net USA 2001 + Art Image Graz 2001 + Video Lisboa
Lisbon 2001 + Impakt Utrecht 2001 + Medi@terra greece 2001 + Cynet 2001 Dresden
+ E.I.I.Festival edinburgh 2001 + Garage Festival Germany 2001 + Urban Myths.Israel
2001 Independent Newspaper best site of the week 2001. + DLUX 2001 Austrailia
+ Moscow International Festival 2001 + Sonar 2001 + Net-z-lab. 2001 + Vdor21/Break21
2001 + Thaw 2001 + ARCO 2001 + Transmediale 2001 + Architettura in Video 2000
+ Netart 2000 + Independent Newspaper best site of the week 2000.+ Macromedia's
UCON 1999 .+ BIMA shortlist UK 1999 + EMAF 1999 + Seafair.1998 + Proarte online
1997 + Department of Trade and Industry (DTI) Innovation award 1997.

STANZA
Roadroage , 2002
medium pigmented inkjet onto waterproof canvas
23 x 23 inches
Edition of 25
Price per print: $600
With stretcher: $800


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