is an independent agency that develops cross-over entertainment products to mobilize critical thought and action. Deploying high-leverage technology to reflects changing global realities and to maximize social engagement, ACTION TANK loads seemingly innocuous consumer products - such as music videos, computer and video games and Microsoft PowerPoint presentations- with unexpected ammunition. Action Tank was founded by Jin Lee and Natalie Bookchin in 2000.

Alla Mitrofanova (RU)
lives in St. Petersburg. She graduated from St.Petersburg university as art historian and philosopher. Alla is a writer, curator and editor of the internet magazine "Virtual Anatomy". 1990-94 main topics were nomadic subjectivity and nomadic semiotics, theory of m. 1995-98 topics: body theory, post-information theory.

Amy Alexander (USA)
has worked in film, video, interactive media, net art, and programming. Her net art work explores dynamic processes, temporal structures, and being a script kiddie. She received her MFA from California Institute of the Arts, and also taught there for awhile. As of Fall 2001 will be living and teaching in San Diego. Much of her work can be found at

Andrea Hapke (D)
cultural scientist, russist; MA thesis about "russian cyberfeministi strategies between reality, virtuality and fiction", co-authoring with a.ja.korb
at the moment freelance-work at the east-west womens' network (OWEN) - and looking out for new spaces of agency...

Andrea Jana Korb (D)
artiste, cultural scientist and web- and costumedesigner; m.a.thesis about "russian cyberfeminist strategies between reality, virtuality and fiction" together with andrea hapke.
[digital] work within the design-collective "pixelsterben",, especially on circusTheater costumes and webdesign; [performative] work on the new circusTheater productions of "zt geschwindel" , and "zirka trollop" >

Andrea Zapp (D/GB)
Born in Germany, she currently lives in Manchester, England. Her projects focus on networks as a model for digital drama, user participation and collaborative narrative. She received an MA in film and media theory, Russian and German language and literature in 1990. She has been teaching New Media Arts, Theory and Technology at the Academy for Film and Television (HFF) in Babelsberg and at the Universities in Marburg and Leipzig, Germany. She was visiting lecturer at Arteleku San Sebastian, Spain and at the State University of Santiago de Chile. In 1997 she was an artist-in-residence at the Future Lab of the Ars Electronica Center in Linz, Austria, and in 2000 visiting artist at the Goethe Institutes in Latinamerica.  She is currently editing a book and DVD - M. Rieser/A. Zapp: New Screen Media: Cinema/Art/Narrative - co-published by the British Film Institute BFI in London and the ZKM Karlsruhe  in autumn 2001. Her works have been shown in exhibitions in Europe, USA , Japan and on the net. Her projects are documented at:

Anne Hilde Neset (GB)
currently operates in London as one of the directors of The Wire Magazine where she works full time as web editor/events curator/occasional writer. She is one half of the DJ duo WSS (Wire Sound System) together with Rob Young. Previous projects include curating music events for various festivals including Impakt (Utrecht), Ultima (Oslo), FCMM (Montreal), Rooms For Listening (San Fransisco), the Interference series at the Lux Centre, the The Wire Sessions series at theQueen Elizabeth Hall and the cross media exhibition Invisible London for Sonar (Barcelona). Prior to joining The Wire she worked for Rough Trade record shop and ICA.

Annette Schindler (CH)
is currently the director of a new media art space [plugin] in Basel, Switzerland. She developed the concept for the space redefining the structures of traditional art institutions to suit the specific needs of new media cultural production. [plug in] was inaugurated in December 2000
>From 1997 - 2000 Annette Schindler directed the Swiss Institute in New York and from 1992 — 1997 the Kunsthaus Glarus in Switzerland ). Her exhibitions, publications and projects, have contributed to contemporary discourses such as: - feminist approaches (Helen Chadwick, 1995; Zoe Leonard 1997;
Körper-Identität-Irritation, 1996; Where is your rupture? 1998; Marlene McCarty: bad blood [in development: - critical art practice (Klöntalsommer, 1997; We are somewhere else already, 1998; Knowbotic Research: eventmodul::anonimous:databody:muttering 2001; LAN: 2001; copyleft - digital cultural production [in development]) technoculture (overdub, 1997; overpromised, 1998 both in collaboration with Schumacher/Clavadetscher).
Annette Schindler studied art history and sociology at the university of Zürich and Madrid and wrote her thesis on Pierre Bourdieu's theory of taste applied to the perception of Jean Tinguely's work.

Ariane Brenssell
psychologist, feminist-activist, lecturer for feminist psychology, research methods and epistomology at the Free University in Berlin, research on gender, globalisation and everyday-life.

AXIS OF LIFE (Grzinic/ Smid) (SI)
NET.ART.ARCHIVE (Grzinic/ Smid):
Grzinic on Mars:http://www.mars-patent.orga

Barbara Rechbach (AU/D)
is Senior Strategist Concept Development at Nofrontiere Design in Vienna, an award-winning design studio that develops new interface solutions for exhibition and online projects - She is also working as a *cultural catalyst* and freelance consultant investigating the aspects of branding, strategic marketing, scenario development and communication strategies for clients ranging from new media agencies to cultural institutions and museums. Main research fields: the future of media convergence, prototyping and the development of new communication technology devices; Special interest in Science Fiction theory & design visions; Barbara Rechbach is living in Berlin and Vienna. She received her MA for Hypermedia Studies from the HRC at he University of Westminster in London and her BFA for Electronic Arts and Communication Theory at the University for Applied Arts in Vienna.

Barbara Thoens (D)
political scientist, video activist ("Hacker packen aus", a film by Rena Tangens and Barbara Thoens), ex-bass-player, for more than 10 years active member of the Chaos Computer Club, currently working as programmer.

Bertha Jottar Palenzuela (USA)
is a video artist from Mexico City who lived and worked between Tijuana and San Diego for eight years. From 1988-1991, she was a member of Border Art Workshop/Taller de Arte Fronterizo. Founding member of the art collective Las comadres and collaborator with the artist and activist from Tijuana. Moved to New York in the Fall of 1994, Jottar is currently working on an experimental documentary about Afro-Cuban rhuma music in New York. She is finishing her Ph.D. in the Program of Performance Studies at TISCH School of Arts at New York University.

Beverley Hood (UK)
lives in Edinburgh and works with hybrid media, particularly digital in combination with traditional artistic processes. Recent projects include 'in conversation', an installation using projected 3D animation and 'trans-locale' an online performance. She has developed works with a number of organisations including c3, Budapest (1997), VRC at Dundee Contemporary Art (1999), LUTCHI Research Centre, Loughborough (1999-present) and Akiyoshidai International Art Village (2000). From Sept 2000 - June 2001 she was John Florent Stone Fellow in the School of Drawing & Painting, Edinburgh College of Art.

Britta von Heintze (D)
Independent filmmaker, video artist, born in 1970 in Magdeburg;
since May 2001 teaching at University for Applied Science Hamburg, Design/ Visual Communication Faculty;
2002: documentary film 'Stahl - ein Stoff mit Zukunft', 16mm; 2000/01: 'Der Breite Weg' 35mm, Dolby SR;
2001/02: documentation of 'very Cyberfeminist International', Hamburg 2000: documentation of 'Werkleitz-Bienale' (Art and Media Festival), cooperation
1989-1991: Medicine, Medical Academy Magdeburg
1993-1999: University of Applied Science Hamburg, design, M.A.
1999-2002: Art Academy Hamburg, Visual Communication

Caroline Bassett (GB)
is a lecturer in Media at Sussex University where she is researching narrative and hypermedia. She is also a technology journalist and writer.

Carrie Moyer (USA),
is a painter and collaborates with photographer, Sue Schaffner, as Dyke Action Machine!, a public art duo. Carrie's paintings have been exhibited throughout the US and Europe and is represented by Debs & Co. in Chelsea. Dyke Action Machine! (DAM!) is a 10-year old project which inserts lesbian hijinx into the artworld and public sphere. DAM!'s interventions are sited where ever the public gets its information -- on the street or in the subway, on the web, in the gallery or at your local cash machine. Check out our latest Neo-Luddite reverie, GYNADOME, at:

Christina Goestl (AU)
is a net.artist and communication designer, foundrix of SEX - a positive guide,, creatrix of matrix.64,, and, most recently, s.EXE,, a loop-based visual sequenzing tool for VJ's and other playful people. On the person side, she is a netizen, living in the EU, and holding a master of art degree.

Cindy Gabriela Flores (MEX)
born in Mexico City, in 1975. Journalist working day time in Modemmujer, and also doing the networking project ciberfeminista>, there are veteran and new feminists (from the mexican government congress to students), the site is Editor of Mujeres in the open directory project (ODP) Ex-editorial coordinator in M˛xico, at El, the most important latinamerican dot-com and ex-editorial coordinator in Sputnik, a digital culture mexican magazine (print and online).

Clara Ursitti (GB)
is literally led by the nose as her work is predominantly scent based. She is a Canadian/Italian, but has lived in Scotland since 1993. She regularly exhibits internationally. She recently was awarded a Wellcome Sci-Art Grant and has been invited to participate in the Gothenburg Biennale 2001.

Claudia Reiche (D)
media theorist, artist, curator. Her work focuses on (cyber)feminist approaches to the question of how man/machine relations are designed with words and images. E.g.: PIXEL: Experiences with the Elements. In: Medicine Meets Virtual Reality: 4, Suzanne J. Weghorst., et al., (Eds.), Amsterdam, Oxford, Tokyo, Washington DC 1996; Feminism is digital. In: First cyberfeminist international, documenta x, kassel, Cornelia Sollfrank /Old Boys Network, Ed., Hamburg 1998; Bio(r)Evolution ╗, On the Contemporary Military-Medical Complex. In: The Spectralization of Technology: From Elsewhere to Cyberfeminism and Back, Marina Grzinic, Ed., Maribor 1999; On/Off-scenity. Medical and Erotic Couplings in the Context of the Visible Human Project. In: Cyberfeminism. Next Protocols, Claudia Reiche /Verena Kuni, Eds., New York (forthcoming). See more: Member of the thealit Frauen.Kulur.Labor, Bremen, and of the cyberfeminist alliance Old Boys Network. Curating with Helene von Oldenburg The Mars Patent, the first exhibition site on Mars.

Claudia Kapp (D)
born 1972 in Kenzingen, Germany; since 1998 student at the School of Fine Arts, HfK Bremen/ Germany; since 2000 Class of Time Based Media, HfK Bremen/ Germany;
works in the fields of ducumentation and fiction, improvisations with video and sound:
-'dolgi', 16mm ('European Media Art Festival' ,Osnabrück '02)
- 'aus teilnahme wird gram', video (Videofestival 'Synchron', Oldenburg '01)
-'fortwährend', self initiated project involving different artists (Bremen'01)
- 'TV Control', films and videos in public space ( Bremen '01)
-'ein klein bisschen tiefer', interactive audiowork/ soundinstallation (Neues Museum Weserburg Bremen '01, 'digitales', symposium in Bruxelles '01)
-'futur2', sitespecificity (Gesellschaft für Aktuelle Kunst, Bremen '00)

Claude Draude (D)
M.A. in Cultural Studies/ Sociology, lives in Bremen, where she currently works at the university on restructuring the virtual representation of the international women's university . Her master's thesis is on 'CYBERFEMINISM: the internet, new technologies and feminist agency?. She held several lectures on cyberfeminism. A summarizing article on cf can be found in 'nylon', a vienna based magazine on feminism and popculture, spring issue 2001. She is a member of the TechnoTricksters - a Bremen based group of women with diversive backgrounds focussing critically on the sphere of technoscience. Further research / work experience and academic interest include the field of (un)popular culture, arts administrative work and artist's support, photography, textproduction, dance, international networking, gender / feminist issues, science and technology studies, postcolonialism. She has a history in hacking (sub)cultural, predominately 'male' occupied, meaning producing systems, that are part of pop/youth culture, such as: Cyberpunk, Manga/Anime, Roleplaying/ Games, Electronic Music, Graffiti and HipHop. At the moment she is involved in the local electronic music/ club-scene, where she does visual installations and text/music sets.

Cornelia Sollfrank (D)
artist and researcher living in Berlin and Celle. Central to her conceptual and performative works are the changing notions of art, the advent of a new image of the artist in the information age, gender-specific handling of technology, new forms of disseminating art, and communication and networking as art. She was a member of the women artist groups 'women and technology' and '-Innen+' and initiated the cyberfemininist alliance 'Old Boys Network'. Her project FEMALE EXTENSION (1997) ( was a hack of the first competition initiated by a museum, in which she flooded the museum's network with submissions by 300 virtual female net artists. Her generator ( automatically produces art on demand. She published the readers "First Cyberfeminist International" (1998) and "Next Cyberfeminist International" (1999) and did extended research on the subject of female hackers. ( Homepage:

Corrine Petrus (NL)
lives and works in Rotterdam. She is a computer-programmer with a great interest in communication and in people. In the beginning of 1996 she founded the Webgrrls Chapter in Holland and Belgium. Left Webgrrls in 1997. Now Corrine has her own Computer Consultancy Business called Webdiva and is chairman a the new organisation, Tech Women (

Die Patinnen Teil II(D/I)
they came to Hamburg to take revenge for a cruel incident which took place in the past. For many years they fought a bloody battle for the control of music to emerge as the most powerful crime family behind the turntables.
since 1997: club residencies in Hamburg, various DJ tours in Germany, Austria, Swiss;
1999/2000 short movie: "La storia di giradischi a Madame Hu", Casa Nostra Produzione, shown at "Shoot-Videos made by artists", Malmoe/Sweden; Gallerie, Caduta Sassi, Munich; Edith-Russ-Haus fuer Medienkunst, Oldenburg;
since 2000: Performance of own Turntable Compositions


Ellen Nonnenmacher (D)
was trained to be an artist in Hamburg. She was co-founder of frauen und technik (women and technology), the once famous "-Innen", and she enjoyed being an old boy for a while. Her harddisk is located in Berlin.

Faith Wilding (USA)
is a multidisciplinary artist, writer,teacher, and cultural activist. She was one of the founders of the feminist art movement in California, and has exhibited, performed, and published her work on women and biotechnology internationally. Currently she's a recombinant cyberfeminist collaborating with the feminist/activist group subRosa to investigate new possibilities for an embodied cyberfeminism.
Faith Wilding Home Page:
Subrosa Home Page:

Feminist Indymedia (AU)
The Austrian structures of political resistance have received new hype since the swearing in of the new coalition government in February 2000. This has led to a highly heterogeneous presentation of the concept of resistance. Rapid networking through the Internet was a first sign of this new movement. Nonetheless, another persistent sign of the new development has been the minimal presence of feminist resistance evident within that networking.
Emerging from the feminist congress of political resistance in October of 2000 in Vienna, was a group of women involved in the arts, academia, and other ventures determined to create a loose structure for the continued intensification of networking of feminist media in Austria.
Two videos were produced.. The work does not focus exclusively on visual techniques, but rather, the attempt was made to bring together the most varied forms of media presentation. Initiating and offering media-accompaniment of the highly diverse political events related to themes such as, "economic globalization processes," "work," and "gender performance," under the label "Feminist Indymedia," the framework of feminist media presence has been expanded.
"Feminist Indymedia" will offer the creation of a website. We decided to bring together the varied forms of presentation virtually and beyond that, to begin our exploration of an interactive medium whose main characteristic is its procedural character. In this context, we will examine the influence of so-called "new communication technologies" on the development of feminist resistance strategies in Austria and attempt to broaden their area of influence while also countering women's prejudices related to the use of the Internet. Our video project and Internet project flow into and from each other in what we see as a borderless realm of representational tactics for active feminist theory.
The goal of our project is to develop possibilities for collaborative work with structures of new information and communication technologies to expand feminist presence in all realms, including cyberspace.
The name Indymedia is already well known as an independent news network established throughout the globe for gathering alternative and grass roots positions on a variety of issues. The feminist version will take the name, but not the structure.
Where does subversion begin and end in cyberspace ... is a feminist cyber-version already a sub-version? Is membership in the new, higher than upper cybourgeois class necessary? What is possible with what tools? We would like to examine the connection of political discourse and political action at the most varied levels from dismissal to attack.

GashGirl (AUS/I)
has been working in the field of new media since 1984 as an arts manager, curator, corporate geisha girl, cyberfeminist, puppet mistress and ghost. Squandered hours investigating the artistic and erotic potential of negotiated email relationships, online virtual communities and web-based narrative architectures have been reverse engineered into multiple immaterialities. fleshmeat, her novella about love, lust and death on the net, will be soon published.
dollspace drifts through haunted ponds, detestable pleasures and military bunkers testing the theses that 'all women are ghosts and should rightly be feared', 'all history is pornography' and 'laws are made by men who fuck their daughters'.
Los Dias y Las Noches de los Muertos, uses the soft architecture and screenal bodies of the net to create a ghost work of counter-memories, opening thresholds of impossibilities outside of pan-capitalism.
Recently GashGirl has morphed into Liquid Nation, a sibyl from future's memory, joining Identity_Runners, Ephemera and Discordia, throughout a weary transportation of transmissions with time so small it stiches itself through the imaginary framework as a voice revealing the thematics of our current ruin.
Her online projects squat the screens at System-X

Gender Changer Academy - GCA (INT)
The GCA is an open platform where women can teach, learn and experiment with new media technologies like computers and open source software. The academy is run by volunteers only and in cooperation with the ASCII, a public Internet workspace in Amsterdam. The GCA gives courses in basic computer hardware knowledge, installing free operating systems eg GNU/Linux. Internet security and HTML are in the planning. Other activities include streaming radio, video and audio production, silkscreen printing, stencil techniques, alternative media cooperation, setting up computer networks, and other 'Do-It-Yourself' productions.
The Genderchangers
A group of female techies, artists and media activists with various cultural backgrounds and nationalities. The main group is active in Amsterdam, The Netherlands. Others are in London, UK, Vancouver, Canada, and Philadelphia, U.S.A (still in progress). In the past 16 months we have given nine Hardware courses to an average each of eight women, and one GNU/Linux course to six women. We were also co-teachers at an Ascii Hardware course.
Production: 'Computer Hardware 4 Women' (2002). Reader; 'Genderchangers Linux Installation Course' (2002). Reader; 'Smashing Girls' (2001). Video. 12 min.; 'Workshop Oldenburg' (2001). Video. 35 min.; 'PC dumpday in Amsterdam' (2001). Audiofiles (mp3), various lengths; 'How to Bake a Cake with a Screwdriver' (2001). Audiofile (mp3), 9 min.; T-shirts (exclusive production only ;)
GCA cooperates with, among others: SquatNet, ASCII, PUSCII, De Sirenen, Technika10, ASEED, Next5Minutes, De Waag, Mediamatic, Southspace, Cyberpipe, OBN, Constanz vzw, Plug'n Politics, and various Indymedia collectives.
In 2001 the GCA participated in: HAL2001, Enschede, The Netherlands; Tech_2 Bristol, England; No New Round Radio, WTO conference, Doha/Amsterdam; Digitales, Bruxelles, Belgium; Technics of Cyber Feminism: The Mode is the Message, Oldenburg, Germany; Very Cyberfeminist International, Hamburg, Germany;
In 2002 the GCA participated in: COP6, the Hague, The Netherlands;
In the future: - Hardware course to Technika 10 women volunteers. This organisation has been organising technical and scientific workshops for girls between the ages of eight and thirteen for the past 15 years! - Preparing for the Eclectic Tech Carnival 2003, an event where women from east-and west Europe exchange knowledge about new media technologies and open source developement. - Setting up a workshop 'Gender & Technology' during the Tactical Media Lab in September 2002 for Next5Minutes, Amsterdam.
For more insight please visit

Helene von Oldenburg (D)
lives in Rastede and Hamburg, Germany. She holds a doctor's degree of Agricultural Science and a Diploma in Visual Arts. Her work - presented in lectures, performances and installations - centers on research of appearances and effects digital media forces on perception, society and future. She is member of the Old Boys Network, curator of "UFO-Strategies", 2000, and with Claudia Reiche founder of the first interplanetarien exhibition site on Mars THE MARS PATENT. She curated with Rosanne Altstatt "Cyberfem Spirit - Spirit of Data" 2001/2002 at the Edith Russ Site for Media Art Oldenburg and she published "UFO - Strategien" (2000) and with Rosanne Altstatt "Cyberfem Spirit - Spirit of Data" (2002).

Ieva Auzina (LV)
art historian,curator and new media project coordinator, lives and works in Riga, Latvia.A member of e-lab crew. Since 2000 project coordinator at newly founded Riga Centre for New Media Culture RIXC together with Rasa Smite, Signe Pucena and people from e-lab and other inovative small scale initiatives.

Iliyana Nedkova (BG/GB)
is Presently working with New Media Scotland, Edinburgh as a Curator-in-residence, Iliyana Nedkova is a producer and researcher of old and new media art events. Since 1995 Iliyana has been an Associate Curator with the Foundation for Art and Creative Technology (FACT), Liverpool and more recently a PhD candidate exploring Curatorial Theory and Practice of Digital Art at the Liverpool John Moores University. Iliyana regularly delivers talks at various contemporary art fora and publishes widely both in her native Bulgaria and abroad.

Ina Wudtke (D)
diploma at Hochschule für Bildende Künste, Hamburg/Germany (B.J. Blume). Founded 1992 together with Claudia Reinhardt and Heiko Wichmann the Magazine NEID. Brought the project NEID (=envy) on a higher, extended level (transmedial works/shows ).Works with Vision, Sound, Word. Since 1992 working on a foto project called 'foto-studies'. Ina Wudtke takes photographs of members of different social groups, such as soldiers (German Bundeswehr), fan groups, inhabitants of urban districts, Red Cross nurses, members of religious communities (NYC orthodox Jews) etc. Wudtke's serial photography reproduces the aesthetic standards that subsume the individual within the different groups, but also raises fundamental questions concerning this phenomenon. With the partial integratation of text in her presen-tation, her work provides a subtle commentary. Lived in N.Y./Hamburg. Moved to Berlin.

Ine Poppe (NL)
works in Amsterdam as an artist, writer, director. She made a mothermilkcheese (1983), made several televisionprograms, and did together with Jetty Verhoeff the web-artproject Women with beards. Poppe published about technology & art, for instance: wrote the filmscenario NECROCAM, about a webcam in a coffin. She worked on multimediaprojects like Demi Dubbel Teletijdmachine at the moment she works on a documentary about cyberculture.

Inke Arns (D)
is an independent media art curator and a PhD candidate at the Institute of Slavistics at the Humboldt University, Berlin, Germany. The working title of her PhD thesis is 'Objects in the Mirror may be Closer Than They Appear: The Avant-Garde in the Rear-View Mirror. A Comparative Analysis of the Artistic Re-Reading of the Historical Avant-Garde in Eastern Europe in the 1980s/1990s in Retroavant-garde and Post-Utopianism'. After spending four years in Paris from 1982-86, from 1988-96 she studied Eastern European cultural studies, political science, and art history in Berlin and Amsterdam, graduating at the Free University of Berlin in 1996 with an M.A. thesis on 'Neue Slowenische Kunst (NSK) - an analysis of their artistic strategies in the context of Yugoslavia in the 1980s'. From 2000-2001 she has been a lecturer at the Institute of Slavistics at the Humboldt University, Berlin, Germany.
Her curatorial work includes exhibitions, festivals and conferences on international media art and culture, like OSTranenie 93 at the Bauhaus Dessau; Minima Media: Medienbiennale Leipzig 1994, Leipzig; discord. sabotage of realities, Hamburg 1996/97; body of the message, Berlin 1998; and update 2.0, ZKM Karlsruhe for the Goethe-Institute, 2000. She is a founding member of the translocal Syndicate network (*1996), and of the Berlin-based 'mikro' association for the advancement of media cultures (*1998) She has published widely on issues of media culture and art in international magazines and books. Her book 'Net Cultures' (Rotbuch Verlag) will be published in spring 2002. For further information see

Isabelle Massu (F)
work and live in Marseille and Paris; Member of the French feminist Association Les Pénélopes since 1998. Currently focusing in the training for women on image analysis, and visual media understanding, as a strategic tool for alternative practices of information and communication
Part of an artist collective and contemporary art structure in Marseille : La Compagnie, she is currently working with Martine Derain on a net art project: a game exposing the gentrification strategies of the city politics.
in collaboration since two years with on cyberfeminists events and workshops

Iskra Dimitrova (Macedonia)
graduated from university in skopje philosophy and sculpture. she is multimedia artist, has worked "classical" installations recently interactive

Janine Sack (D/S)
Born 1969 in Cologne. Lives in Hamburg and Stockholm.
2001-02 Gueststudent at the Kungliga Konsthoegskolan, Stockholm
1998 MA in Visual Communication, Hochschule fuer bildende Kuenste, Hamburg
2001 Arbeitsstipendium fuer bildende Kunst, Hamburg
Central to Janine Sack's works are playful investigations into klischés of representation. In her earlier works mainly notions of identity and gender were being analyzed in terms of their social construction and media representation. For the past years however her works have been increasingly deconstructing film imagery and recovering psychologic subtext of visual languages. The current video installation 'virtual fear' for example consists of 3d-animated scenes which explore the spatial aspect of fear and suspense in reference to the aesthetic of videogames and thrillers. Along with her individual artist production Janine Sack has been engaged in various collaborative practices. From 1992-93 she was involved in 'frauen-und-technik', a women artist collective that used performance and tv to discuss issues of feminism and media theory. She also was a founding member of '-Innen' (1993-97), a group of four women working with multimedial techniques like performance or tv-gameshows, constantly repositioning the subject in relation to the media.

Jenny Marketou
is currently co-curating with Steve Dietz, Walker Art Center, 'Open_Source_Art_Hack' at Z Media Lounge , New Museum of Contemporary Art, NYC, which opens on May 2, 2002. She has been part of the TRANSdance - e-lab / e-body research laboratory E-phos Festival 2001, Athens,Greece organized by Scott deLahunta (UK/ Netherlands) and she has collaborated with John McGormick artist, choreographer (Australia), Andreas Angelidakis, architect (US/ Greece) and most recently with Lev Manovich (US) The BREEDER #5 project.
Recently her net based installation project about surveillance was commissioned by Cornerhouse Gallery and Futuresonic, 2001, Manchester,UK and she represented Greece, in Sao Paolo Biennial 1998, Sao Paulo, Brazil. She has been part of 'CTRL [SPACE]', 2001, 'NET_CONDITION', 2000, ZKM, Karlsruhe, Germany; the series in CalArts and MOCA in L.A. and Borderhack 02 in Tijuana, Mexico.
She has received a grant project development from MECAD/the Media Center of Art and Design , Barcelona for research on Hacking and Net.Art, 2000-2001.

Jill Scott (AUS/D)
was born in 1952, in Melbourne, Australia. She has exhibited many video artworks, conceptual performances and interactive environments in USA, Australia, Europe and Japan. In 1973, she completed a Degree in Film, Art and Design from Prahran Institute of Technology, Melbourne. From 1975-1982 she lived in San Francisco, where she finished a Masters Degree in Communications from San Francisco State University, and became the Director of Site, Cite, Sight, an alternative Gallery for Sculptural Installation. In 1982 she returned to Australia to lecture in Media at the University of New South Wales, College of Fine Arts, Sydney and since then has worked with computers leading to 3d Animation and Interactive Art. In 1992 she was invited to be a Guest Professor for Computer Animation, in the Hochschule feur Kunst, Saarbrucken, Germany, and in 1994 won the prize for Interactive Art at Ars Electronica in Linz. From 1994-97 she was an Artist in Residence and project co-ordinator for the Medienmuseum at the Zentrum fur Kunst und Medien Technology in Karlsruhe.(ZKM) as well as a Research Fellow at The Center for Advanced Inquiry into the Interactive Arts, University of Wales, Great Britain, where she was awarded a Doctorate in Media Philosophy. Currently she is Professor for Installation design in the Media Faculty at The Bauhaus University in Weimar.

Josephine Starrs (AUS)
is an Australian new media artist who has a schizoid relationship to new technologies. While entranced with the playful possibilities of the medium, she maintains a healthy paranoia of its obsessions and controlling implications. She was a member of the cyberfeminist artist collective, VNS Matrix, whose early performance work in virtual communities used irony and humour to reveal the gendered biases hard wired into computer culture. She worked with Leon Cmielewski to produce the CD-ROM "User Unfriendly Interface", an ironic look at the hype surrounding cyberculture. Their latest projects include a computer game patch entitled "Bio-Tek Kitchen" and "Dream Kitchen", an interactive animation on CD ROM.

Julianne Pierce (AUS)
is an artist, curator and interactive media Producer. She is currently Executive Director of the Australian Network for Art and Technology She is a founding member of the influential cyberfeminist artists group VNS Matrix , who exhibited widely in Australia and internationally from 1991 - 1997. An original member of the Old Boys Network, Julianne was a participant in the First Cyberfeminist International, Hybrid Workspace at Documenta X (Kassel, 1997). She has a Graduate Diploma in Womens' Studies from the University of Adelaide and has worked for fifteen years in the Australian cultural sector with organisations such as Performance Space, Artspace Visual Arts Centre, Adelaide Festival of Arts, Adelaide Festival Fringe and Media Resource Centre. She has curated several new media exhibitions and events including 'Future Languages' (Adelaide Festival, 1994), 'Code Red' (ANAT/Performance Space national tour, 1997) and 'Biomachines' (Adelaide Festival, 2000). In 2000 she was Producer of the highly praised and widely exhibited interactive CDROM ' Uncle Bill', directed by Debra Petrovitch.

Jutta Weber (D)
Philosopher and science studies scholar; researcher on ┼The Concept of Life in Artificial Life and RoboticsĽ at the Univ. of Braunschweig, Dept. of History; Ph.D. Thesis on >Contested Meanings: Nature in the Age of Technoscience< (forthcoming 2002, Campus).
Areas of Research: Science Studies of Cyber- and Lifescience, Epistemology, Philosophy of Science, Feminist Theory; Recent Publications: Cyberfeminism Crossover: Talking about Intercultural and Interdisciplinary Experience. In: Christiane Floyd et al. (eds.): Feminist Challenges in the Information Age. Leske & Budrich 2002; Selbstorganisation als ┼little invisible handsĽ: Artificial Life und die wunderbare Ordnung einer undurchschaubaren Welt. In: Ulrike Bergermann et al. (Hg.): Hand. K×rper ć Medium ć Technik. Thealit 2001; Leviathan oder Trickster? Erzâhlstrategien in aktueller Erkenntniskritik und Wissenschafts-forschung. In:

Kathy Rae Huffman (USA/GB)
has been director of Hull Time Based Arts since June 2000. She is an artist working with web based initiatives, she is a collector of new media works, and she is a pioneering curator and supporter of artists work centred in media theory and practice.
1998-2000: Kathy was Associate Professor of Electronic Art, and director of EMAC, the undergraduate bachelor of science program Electronic Media Arts and Communication, at Rensselaer Polytechnic Institute (1998 - 2000). At RPI, her research focused around issues of female environments in the Internet, including 3D online environments, telepresence events, and the history of Video and Installation art.
Kathy's Internet works include: Huffman initiated FACES, a mailing list for women working in the various fields of new media, in 1996, with Diana McCarty.
FACES was inspired by FACE SETTINGS (1996-1998), a performance/installation Internet work with Eva Wohlgemuth (Vienna) that investigated communication between women, in on-line and in real life situations - mostly at special dinner events. SIBERIAN DEAL (1995) with Eva Wohlgemuth (Vienna), was a travel investigation value and the exchange of objects and information in Russia.
Kathy's recent curatorial work includes [e]dentity, a program of video works by women, which shows ways female identity is expressed in online environments. VRML-ART (1998 & 1999), an international juried competition of 3D Websites, was co-organized of with Karel Dudesek (Vienna). This exhibition has featured more than 50 artists each year, from more than 25 countries. It has been exhibited internationally, and was featured at the 3D Web Conference (Monterery 2000) and the SIGGRAPH 2000 art show (New Orleans): Huffman is the resident curator for The Virtual Museum System of Van Gogh TV, a 3D environment to connect the Internet with Museum collections: Kathy was the international co-ordinator for Piazza Virtuale, the live TV project commissioned by the documenta IX, created by Van Gogh TV (1992).
She is a board member of ISEA (Inter Society for Electronic Arts); a charter board member of the Lyn Blumenthal Memorial Fund; and an advisor to the VideoMedeja festival in Novi Sad. She worked with the Soros Regional Network, to establish media arts in the Centers for Contemporary Art throughout Eastern Europe from 1993-1995 and was a member of the international advisory board for C3 (Center for Culture and Communication), Budapest, Hungary, 1996-1997.

Kerstin Weiberg (D)
currently lives in Berlin and works in the field of computer aided installation and web projects since 1990 collaborates with the cross media performance group KONIC Thtr from Barcelona and since 1995 collaborates with Richard Schuetz in context related installations and web projects

Laurence Rassel (B)
From April 1998 Director of the non profit-organization Constant vzw based in Brussels. The organization puts in relation theoritical thinking, critical use, artistic behaviour and political questions on the web, and in organizing workshops, lectures, exhibitions in public places. Main issues: open source, cyberfeminism, copyleft, sharing new media knowledge... From february 2001: coordinator for Sophia, Belgian network for women'studies.
December 1999: launching of the Cyberfeminism webbased platform on
Last events: Copy.cult and the Original Si(g)n (, Cyberfeminism Working Days (workshop:, media situation Jonctions 5 -'Code'(may 2001,
Published: audio and paper publication on the Cyberfeminism Working Days archives with translation into French and Dutch of cyberfeminist texts (june 2001)

Lina D Russell (GB)
Lina fouded No Alternative Girls in 1996. A curator and media arts practitioner, she is currently working with London based Mute Magazine as Web Editor. Previous projects include curating Luxsquat - at the Lux Gallery, the Interference Series, Tech_nicks, New Media section of the Pandaemonium Festival 98/2001 and No Alternative Girls touring programme (presented in YU, Slovenia). Prior to joining Mute/Metamute Lina worked for OVEN Digital, The Lux Centre and the ICA.

Linda Putzenhardt (D)
born 1955, Stade, 1971-74 Fotografenlehre in Stade; 1974-77 Portraitfotografin in Hamburg; 1980-81 Studium Informations-Design an der Fachhochschule Kiel; 1981-87 Studium Visuelle Kommunikation an der Hochschule fuer bildende Kuenste Hamburg; since 1988 freelance photographer in Hamburg (Magazins, News Papers, Portraits, Theater and free lance work). Exhibitions: 1987 'Fotografie und Realitaet' (Diplomarbeit), Werkhof, Hamburg; 'Sequenzen, Serien, usw. ...' (group show), Museum of Photography, Braunschweig; 1998 'Rituale', Koelibri, Hamburg and Kulturhaus Eppendorf, Hamburg; 2000 'Gesicht 2000', Fundbureau, Hamburg; 2002 'Great Expectations', Galerie im Atrium, Hamburg.

Lindsay Perth (GB/CAN)
is a Canadian artist, working and living in Scotland for the past 16 years. Perth‚s work focuses on remote communication and interaction and includes installation, Internet-based performance and web-specific work in addition to working commercially with multimedia. A central part to Perth‚s work as an artist is working in the public domain. Perth works collaboratively with participants on projects designed to, merge art and education with new media to explore ways artists and participants can use and exploit new technologies as both content makers and creators in a contemporary arts environment.
Recent works include DK City. DK City is an online urban community created by artist Lindsay Perth. The work was created during the artist's residency at Street Level Gallery, Glasgow, Scotland in March of 2001. The design, events and people that inhabit DK City developed from collaborative discussion and workshops between the artist and 4 young people from Douglas Inch. Douglas Inch is a truancy unit based within the Douglas Inch Centre in Glasgow. DK City will be online until March 2002 at

Mare Tralla (GB/EST)
[aka Disgusting Girl] is an Estonia-born artist who currently lives and works in London and Tallinn. Presently, she is the Head of the E-media Centre at the Estonian Academy of Arts. Her practice involves digital art, video, photography, installation and performance. She co-curated "Private Views", a touring exhibition of Estonian and British contemporary art and was a co-editor of an accompanying academic book. Recently she designed and programmed a collective CD-rom "Virtual Revolutions". Her webwork is featured on

Maren Hartmann (B)
is a Post(pre)doc with EMTEL2 (, where she is working on youth and new technologies/ new patterns of consumption. Before that she was a lecturer in Media and Communications at the University of Brighton. She is also (still!) pursuing her PhD at the University of Westminster. She has studied in Berlin and Brighton (Sussex), where she also worked as a research officer fro EMTEL1. Her current research work is based around the metaphorical aspects of cyberspace as an emerging culture (especially the users and amongst these the cyberflaneur and cyberflaneuse).

Margaret Tan (SG)
Born 1970 (Singapore), is a practicing artist who situates her practice within a feminist context. She works with a wide range of media from objects, performance and installation to new media. She was the recipient of the Outstanding Achievement Award (RMIT) in her Bachelor of Fine Arts programme and became one of the first Artist-in-Residence with the Cyberarts Initiative, University Scholars Programme, National University of Singapore. She is currently tutoring (part-time) on 'New Media Arts' for the School of Computing, National University of Singapore and lecturing (part-time) with the Department of Art Theory and Art History in LASALLE-SIA College of the Arts, offering courses such as History of Performance Art, Issues in Performance, History of Installation Art and Domesticating Space: Constructing the 'Home'. Artist's Particulars: Margaret Tan Ai Hua.

Maria Fernandez (USA)is an art historian (Ph.D. Columbia University, 1993) whose interests center on postcolonial studies, electronic media theory, Latin American Art and the intersection of those fields. She has taught at Columbia University, Carnegie Mellon University, the University of Pittsburgh, the University of Connecticut at Storrs and at the Master of Fine Arts Program at Vermont College. Selected texts: "Postcolonial Media Theory" Third Text, 47 (summer, 1999) expanded version in Art Journal, fall 1999.
Interview CIE:
"New Canons, Old Histories..."

Marieke van Santen (NL)

Marina Grzinic (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. In collaboration with Aina _mid she has produced more than 30 video art projects, a short film, numerous video and media installations, Internet websites and an interactive CD-ROM (ZKM, Karlsruhe, Germany). Marina Grzinic has published hundreds of articles and essays and 5 books, including the text Grzinic, "Exposure Time, the Aura, and Telerobotics" in The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet, ed. Ken Goldberg (Cambridge, Mass.: MIT Press, 2000) Her last book is FICTION RECONSTRUCTED EASTERN EUROPE, POST-SOCIALISM and THE RETRO-AVANT-GARDE (Vienna: Edition SELENE in collaboration with Springerin, Vienna, 2000;

Maya C. Sternel (D)
is an artist and musician from Hamburg. Her work is often focused on various ways of personal perception of reality and the exploration of new spaces. Her latest project is centered on systems of thoughts and the creation of virtual societies: "Visit an Alien Resident" (2001/02) is shown at the first gallery for art which has no place on earth, The Mars Patent, as well as an experiment called "Mindgames 2",(2002). As a member of the DJ and producer duo "the godmothers part II" she created several turntable performances, wrote turntable compositions and released a CD/LP "Murder Beats Vol. 1" (1998) and other self-composed tracks on different compilations. "The Godmothers" made a short-movie called "La storia di giradischi a Madame Hu" that reveals a few secrets of their so-called turntable business. The movie was shown at at the international short-film festival "Shoot - Videos Made By Artists" in Malmű/Sweden(2000), at the gallery Caduta Sassi, Munich as well as at the exhibition "Cyberfem Spirit" at Edith-Russ-Haus fuer Medienkunst in Oldenburg, Germany (2001/2002). Maya also composed music for a stage-play ("Kaodashi", conception Elisabeth Moll), film soundtracks (e.g. "Kurz und Schmerzlos" by Fatih Akin, 1998) and wrote an interactive composition for turntable and audience called "006x_turntablecom" (2002).

Nana Peztet (D)
The artist Nana Petzet born in Munich 1962 lives and works in Hamburg. Since 1987, when she proclaimed 'rational scientific art'. her artwork has focused on a critical appraisal of scientific thinking. She has dealt increasingly with enviromental problems in the last few years. At the moment she does an inventarisation of her huge collection of trash and recyclingobjects by useing a sofisticated museum-databank called Hida Midas.
Groupexhibitions 2000: 'Models of resistance', Overgaden, Kopenhagen; 'Real Work', Werkleitz Biennale, Werkleitz; 'Aller Anfang ist Merz', Sprengel Museum Hannover; 'Räumen', Hamburger Kunsthalle.
Soloexhibitions: 1997, 'Wir machen wahr, was der Grüne Punkt verspricht', Bonner Kunstverein; 1998 'Endurvinnslust - nei takk!', Nylendugata 15, Reykjavík; 2000; 'Ekka frænka', Gallerí one o one, Reykjavík, 2001; 'Vom Erfassungstyp zur Untergruppe', multi.trudi, Frankfurt/Main.
Lectures: 1987 'Rational Scientific Art', Akademie der Bildenden Künste München; 1992 'Reversion als Realisation negentropischer Prozesse im makroskopischen Bereich', Centre d'Art Contemporain FRI-ART, Fribourg; 1993 'Das Zoschka´sche Glas', Gasteig, München; 1993 'Modellversuch ROT", Nationalgalerie Berlin; 1994 'Kennen Sie Schrödingers Katze?', Symposium 'Übergangsbogen und Überhöhungsrampe', Hochschule für bildende Künste; 2000 'Technokratie und cultural lag - mein Beitrag zur Verringerung des Abstands', Künstlerwerkstatt Lothringer Straße, München; 2001 'Das Sammeln Bewahren Forschen - Abfallwiederverwertungssystem', Malkasten, Düsseldorf.

Nancy Buchanan (USA)
is an artist working in various directions and media. She has produced experimental and documentary video since the 1970s, and in 1999 completed a CD-ROM about the politics of land use, home and housing (dealing with literal, not virtual space. Faculty in video at California Institute of the Arts (CalArts) since 1988, does occasional curating and is very interested in new work by women artists.

Nasya Bahfen (AUS)
is currently a student at the University of Technology Sydney where she is a recipient of an Australian Postgraduate Award. Her doctoral thesis is titled CyberMuslims@Southeast Asia: Processes and Methods Used in the Construction of Islamic Internet Identity. She has a Bachelor of Arts in Journalism from Melbourne's RMIT University which combined theoretical and practical training in media-related work with a solid liberal arts degree. She has added to this a Bachelor of Arts in Media Studies from Melbourne's LaTrobe University, graduating with first class honours.
Currently: Lectures in Business and Mass Communications at private college TMC; Educational Holdings and will soon teach Cyberculture at LaSalle-Singapore Institute of the Arts.
Previously: Producer-Presenter, Media Corp Radio Singapore Aug 2000 - August 2001; The commercial Media Corp Radio network is the largest in Singapore with 14 of the island's 29 FM stations.
Journalist: SBS Radio Melbourne Dec 1999 - Jun 2000; The Special Broadcasting Service is a stateowned radio and television network catering to the needs of Australians from a non-English speaking background.
Assistant Lecturer: Monash University Melbourne Jun 1999 - Jun 2000; Monash is one of Australia's largest universities and has an expanding Communications school within its Arts faculty.

Nat Muller (BE);
holds a BA from Tel-Aviv University (Israel) in English Literature and an MA in Cultural Studies and Gender Theory from Sussex University (UK). She has worked as a sex educator, bookshopkeeper and free-lance journalist writing on the subjects of gender, new media and art. Currently she is project co-ordinator at V2_Organisation, Institute for Unstable Media in Rotterdam ( and free-lances for Axis, Bureau for Gender and the Arts (, for which she recently edited the reader _Ctrl+Shift Art - Ctrl+Shift Gender: Convergences of New Media, Art and Gender_. From 2002 she will be embarking on a 2-year research project at the Theory Department of the Jan van Eyck Academy in Maastricht. Nat lives and works in Rotterdam, and is still desperately researching strategies to beat the Dutch bureaucratic system.

Neda Ploskov (D)
aka Neda Ploskow is an artist, dj and musician from Hamburg. She has been studying sculpture in Vienna and concept art in Hamburg. As an artist she works mainly on audio-visual spaces, combining sculptural elements with sound. Since 1997 Donna Neda is one musician of "The Godmothers Part II", an electronic duo, who released their first album "Murder Beats Vol.1" in 1998. The Godmothers Part II also composed music using turntables as instruments. For this piece they invented a new turntable score system. In 1999-2000 they created the short film "La Storia di Giradischi a Madame Hu". As the title implicates the film is about turntable affairs and family business of the Godmothers Part II, with ironical reference to "The Godfather" trilogy of Francis Ford Coppola.
"Severities should be dealt out all at once that by their suddenness they give less offence, benefits should be handed out drop by drop, that they be relished the more. There are so many ways to screw up your life, at any time respect who deserves it, and never underestimate the power of a woman!"
for more information check

Neotropic (GB)

No Alternative Girls (noaltgirls) (INT)
Noaltgirls is a collective of artists and curators based in NYC and London. Established in 1996, the collective aims to create a context and engineer situations which aide the survival of independent media practice by organising events, exhibitions and festivals and through collaborating with individuals and organisations placed outside the privately owned gallery system. NoAltGirls members also continue to make video and audio work. All NoAltGirls projects indirectly address issues of gender and social structures that the work operates within.

Nina Stuhldreher (D)
artist and journalist, currently student at the Academies of Fine Arts in Munich and Vienna. Co-founder of the online magazine (1995) and of "Linsenfrei", a pinhole photography project (1996). Member of the feminist art project "a room of one's own", since 2001. Organization of lectures and events since 1998, curating of the lecture programme "Digital Happy Hour" for the 'Medienforum Muenchen 2001. Interests: LowTech, cyborgs, cognitive sciences, Nature Watch, Hip Hop.

Pam Skelton (GB) is an artist and senior lecturer at Central Saint Martins College of Art & Design. Her work in video and installation have principally involved investigations which explore existing traces of history as evidence of ruptures and dislocations which occur between site, memory and event.

Prema Murthy (USA)
is an American-born artist exploring cultural and technological hybridity within herself and the world. Upon learning the technical aspects of creating digital images in 1994, as an assistant to a software engineer and inventor of patented algorithms, she began her investigations into code and the way it materializes as interface and image. This exploration has led her to create multi-media installations, net-based projects and digital prints both individually and collaboratively, as a former core member of the artgroup, Fakeshop.

Rachel Baker (GB)
Currently embarking on a residency at HTBA Rachel Baker hopes to implement in an independent media distribution network facility in Hull. The exploitation of the workplace is an ongoing project.
As part of Cultural TerroristAgency she is responsible for strategies in raising funds for projects that promote cultural interference. The most recent CTA project to be unleashed was GirM , a brand of genetically modified goods placed discreetly on supermarket shelves. Rachel Baker is also a keen advocate of audio networks and has published a d.i.y guide: and directory
Full CV at

Radhika Gajjala (USA)
has been a creative writer for the past 19 years. She currently teaches and researches in the area of cyberculture, South Asian Digital diasporas, and other related stuff in Bowling Green Ohio. She has published articles and book chapters in relation to cyberfeminism. Some of her work appears in journals such as "Gender and Development" and "Works and Days" and books such as "Technospaces" (ed. Sally Munt). Current projects: On an ongoing basis, she is collaborating/dialoguing on these issues with her co-author who is a fieldworker for an NGO in India, working with "old" technology related to handloom weaving and vegetable dying. Simultaneously she is working on South Asian immigrant tech labor in the US and in digital diaspora. Lists: Radhika is a member of the spoon collective, has founded some gender related lists and also maintains the postcolonial list at:

Rena Tangens (D)
artist, lives and works in Bielefeld, Germany. Worked with experimental film, video and free radio. Founded the gallery and art project "Art d'Ameuble-ment" together with padeluun. She brought the first modem to documenta (d8!) and women into the Chaos Computer Club. She was artist in residence in Canada. Rena Tangens is cofounder of FoeBuD e.V. and the BIONIC bbs and curator of the monthly culture & technology event PUBLIC DOMAIN since 1987. Published with FoeBuD the first manual on PGP encryption in German language. She does research on androcentrism and life in the networks, lectures and consulting for companies and institutions as well as the Enquete-Kommission of the German Bundestag. Rena Tangens , PUBLIC DOMAIN -- topics, documentation and info on coming events:
ZaMir network documentation:
Information on /CL network:
Information on ZERBERUS and CHARON software:
Pretty Good Privacy:
Text on androcentrism in the networks:

Rasa Smite (LV)
famous activist from Riga, Latvia.
radio ozone network

Rosanne Altstatt (USA/D)
is the director of the Edith Russ Site for Media Art in Oldenburg, Germany. Born in Seattle, she has lived in Germany since 1994 and now resides in Oldenburg and Cologne. She has been active on the board of directors for the Videonale in Bonn since 1995, worked as an art critic for many international art magazines and has curated exhibition of both new media and traditional art genres.

Roshini Kempadoo (UK)
is a digital practitioner and lecturer at University of East London in digital media. Her recent digital media artworks include:
'Virtual Exiles', Watermans Arts Centre, London (2000).
'Future Belonging', C3, for Communication and Culture, Budapest, Hungary (2000).
'The Future Looms', Internet art commission. (1998)
Publications of her work include: 'Roshini Kempadoo' available from Autograph (London) 1997. 'Photography in the 1990's' - CD-ROM by University Art Galleries, Wright State University, USA. Perspektief Magazine November Issue 1993,The Netherlands.

Sara Platon (S/NL)
born in stockholm, sweden, 29 years ago, moved to amsterdam in 1993, done a zillion things since then. most important of them are ---> joined an internet collective and free computer space called ASCII two years ago, formed the Gender Changer Academy together with other female geeks, participant of the worldwide radical newsnetwork called Independent Media Center, gaining a master's degree in communication science, writing a thesis: topic Open Publishing: a radical way of making, selecting and sharing news. major interests ---> free speech, copyleft, digitech and passionflowers.

slowrapid djs cfm & francis (Leipzig/D)

Stephanie Wehner (NL)
playing with computers since the age of 16. experienced in irc. mostly worked with freebsd, linux, sunos/solaris and bsdi. sys admin, programmer. Currently working for ITSX.

Susanna Paasonen (FI)
She works as researcher at the department for Media Studies, University of Turku and is finishing her PhD on the gendering and popularisation of the Internet. Her previous research and publication topics range from weddings as media spectacle to shopping centres as spatial experience, and Barbie dolls as cultural texts. Susanna has a special passion for feminist theory old and new. In addition to Internet research she is actively involved in projects, including:
Hygeia Revisited
For some publications and CV, see

Susanne Ackers (D)
founding member of OBN, art historian, currently living and working in Berlin and Karlsruhe.

Tina LaPorta (USA)
is a media artist who lives and works in New York City. Her early work included a documentary photo essay portraying pro-choice activism and anti-abortion demonstrations. After receiving her MFA from the School of Visual Arts in NYC, she went on to produce an experimental Television show titled Cyberfemme. Her most recent work has been created specifically for the internet. She was recently a recipient of The Alternative Museum's 2000 Web Residency Commission where she completed her world wide web work:
In 1999, Tina received a commission for the creation of 'Distance', a web-specific work hosted on (New York) with funding from the National Endowment for the Arts. Her work 'Distance' has been chosen as a semi-finalist in the Arts and Culture category of the Fourth Annual Global Information Infrastructure (GII) Awards. 'Distance'
Her work is currently on view in the exhibition, "Telematic Connections: The Virtual Embrace," at the San Francisco Art Institute. Ms. LaPorta's work has recently been included in the "Technically Engaged" show at AIR Gallery, NYC; the "Dystopia and Identity in the Age of Global Communications," exhibition at Tribes Gallery in NYC and "Body as Byte" at Neues Kunstmuseum Luzern, Switzerland. "Dystopia and Identity in the Age of Global Communications"
Ms. LaPorta has been invited to participate in several symposia and on-line projects including: "The Warhol Hijack," at, Gender in New Media Online Panel at "INVENCAO: Thinking The Next Millennium," conference (Sao Paulo, Brazil) and Alterities : Interdisciplinarity and Feminine Practices of Space at the Ecole Suprieure Nationale desBeaux Arts, Paris France.

Uli Peter (D)
Dipl., L.A., Educational scientist especially on inclusive education, independent living/ people first movement. Member of the cyberfeminist project group, international womens university (ifu): Her current work is based on developing web-design-criteria and sites with -so called "mentally handicapped"- women on feminist contents.

Ulrike Bergermann (D)
Working in the media studies department at the University of Paderborn, Germany, I am also busy in the women's cultural center of Bremen, and living in Hamburg. My doctoral dissertation deals with discourses on writing and images and with sign language notation. Will be working on genetics and cybernetics soon. You'll find my publications on media and gender studies as well as current projects, lectures, courses etc. here:
See the HAND-lab based in Bremen, Germany, and its lectures, films, exhibitions presented by women researchers, artists and activists:

Ursula Biemann (CH)
studied art and cultural theory in Mexico and at the School of Visual Arts (BFA) and the Whitney Program in New York. Her art and curatorial practice focuses is on the representation of minority identities and gender in the media and in posturban zones, such as the US-Mexico border or the periphery of Istanbul. Videos: Performing the Border, on gendered condition of the global digital industry, 1999; Writing Desire, on female sexuality and the bride market in cyberspace, 2000; and Remote Sensing, a topography of the global sex trade in the age of geographic information systems, 2001. Curatorial projects at Shedhalle Zurich 1995-1998 and upcoming Gender & Geography exhibition at Generali Foundation Vienna in Jan 2003. currently involved in Experiments in Mediated Earth Art (EMEA) a collaborative project with Lisa Parks from the UCSB at Makrolab. Biemann lectures and publishes internationally. Her most recent artist book is entitled "been there and back to nowhere - on gender in transnational spaces" , b_books Berlin 2000. She is with the Institute for Theory in Art and Design at HGKZ, Zurich.

Ute Vorkoeper (D)
art historian, critic, curator, artist; Ph.D. (1997); collaborator at Hochschule fuer bildende Kuenste Hamburg, Germany. Concerns: (re)presentations of self/personal freedom in recent art (by women); phemeral/ processual/ collaborative artworks; shifting sites of art; media stories/transmedia theories; problems of mediation/curating/teaching; dialogues of art and theory. Projects e.g.: transmedien - pilot project at Hochschule fÄr bildende KÄnste Hamburg (since 2001). get that balance: exhibitions, movies, videos, seminars, lectures, club, Kampnagel K3, Hamburg 2001. Reinstallations of Ensembles of Anna Oppermann (+1993), e.g. at P.S. 1 / New York (1999) and MCA Sydney (1994). discord -sabotage of realities, exhibition, performances, Kunstverein/Kunsthaus Hamburg (1996/97); interventions - city projects, public space, Dortmund, 1996; Sites - Academy on time and sitespecific exhibition, Coal Pit Minister Stein, Dortmund (1993). Several publications and editings, contributions to Artbyte, Kunstforum International, n-paradoxa, Springerin, Telepolis.
Please visit:

Vali Djordjevic (D)
lives and works in Berlin. Originally she studied comparative literature before becoming a member of the Internationale Stadt Berlin, one of the first net culture projects in Germany, 1996. She worked with Old Boys Network 1997 and co-organized the first Cyberfeminist International at the documenta X in Kassel. Now she is a member of mikro e.V., a Berlin based association examining the different facets of media culture, and list administrator for the FACES mailing list. She works in different contexts - from writing and lectures to organizing events and setting up of computer networks - on the topics of gender, networking, information and art.

Verena Kuni (D)
art historian and media theorist (m.a.). 1996-2001 assistant at the dept. of art theory/academy of fine arts at the johannes gutenberg-university of mainz, where she co-organized a special lecture & teaching programme for women artists: since may 2001 assistant at the dept. of art history at the university of trier where she is also coordinator for the interdisciplinary & intercultural gender studies programme. teaching assignments at several universities and art academies since 1995, a.o. at the hochschule fuer gestaltung/offenbach, where she is currently involved in the funding process of a center for gender studies in the arts (zentrum fuer genderforschung in den kuensten>, together with the hochschule fuer musik und darstellende kunst/frankfurt) and the research project "gender / medien / kunst". ph.d. project on the (self) staging of the artist's persona and the creation of artist's myths in contemporary art. besides working as a free lance curator organizing exhibitions, video screenings, webspaces and conferences []; as well as a free lance author and critic for several art magazines []; a. o. kunst-bulletin/zurich [], frieze/london [], camera austria/graz [, eikon/vienna []. as miss.gunst, she runs her own radio show focussing on contemporary art and media, GUNST, on radioX/frankfurt, and regulary spreads the GUNSTagenda newsletter. since 1995 co-curator of video programmes for the kasseler dokumentarfilm und videofest; where since 1999 she is also organising the 'interfiction' workhop meetings for art & media networkers. co-founder and webmistress of the mailinglist 'filiale', zeitgenoessische kunst gender vermittlung. active 'old boy'. research, teaching, lectures and writings in the field of contemporary arts, (electronic) media and gender related issues. @home@:

Victoria Vesna (USA)
is an artist, professor and Chair of the Department of Design | Media Arts at the UCLA School of the Arts. Vesna's work can be defined as experimental research that connects networked environments to physical public spaces. She explores how communication technologies effect collective behavior, and shift perceptions of identity in relation to scientific innovation. Vesna is currently building a 'community of people with no time' and is exploring the performative aspects of cellular telephones in public spaces. In 2000 she completed her Ph.D. at CAiiA, University of Wales, entitled "Networked Public Spaces: An Investigation into Virtual Embodiement".

Virtuella (D)
Virtuella came to life in the spring of 1996 in the city of Hamburg, when she first performed before an audience with a program of computer animations. After that, she soon switched over to presenting the Internet live instead of preserved animations on video. Over the years she developed a certain technique of story-telling using websites, pictures, texts, sounds and whatever she finds on the Internet as raw material. With that she performed in cinemas, clubs, and even educational contexts.
Virtuella's...hmm, let's say 'carrier', is a bit older, though. He was born in 1955 in the sign of Virgo, ascendent Pisces. Astrological analysis of his constellation at birth reveals a peculiar mixture of male and female elements. You may reject the astrological perspective and call him a crossdresser or transvestite, if you like. Anyway, gender issues have occupied his/her thinking and feeling to a great extent. Professionally he works as a writer, dealing with the same subjects as Virtuella: media & collective memory, space & life, artificial intelligence & robotics. (under construction)

Waltraud Schwab (D)
- studied drama, social sciences, languages and fine art in Berlin and London
- freelance journalist for major German newspaper and their internet editions
- I am mainly covering the following subjects: everyday-life, Berlin, culture and women
- I did among other things research on usability of multimedia interfaces, lectured at the Goldsmith College in London and organised women's educational programs in Berlin

Yvonne Volkart (CH)
is curator, art critic, and writer. She lectures theory of art and new media and gender at the Hochschule of Art and Design in Zurich, and at several European art schools and universities. She was one of the organizers of Next Cyberfeminist International', Rotterdam, March 1999. The latest exhibition projects were 'Connective Identities', internet- und CD-ROM-section of the exhibition 'Double Life. Identity and Transformation in Contemporary Arts', Generali Foundation Vienna, 2001, 'Body as Byte. The Body as Information Flow', Kunstmuseum Luzern 2001, 'Widerspenstige Praktiken im Zeitalter von Bio- und Informationstechnologien', Shedhalle ZŸrich 2000, 'Tenacity. Cultural Practices in the Age of Bio- and Information Technologies', Swiss Institute New York 2000. She is currently writing a PhD about gender and cyborg fantasies in new media art in Oldenburg.

Zoë Sofoulis (a.k.a. Zoë Sofia) (AU)
Senior Lecturer, Chair of School, School of Cultural Histories and Futures, University of Western Sydney, Nepean, Australia. Doctor of Philosophy in the History of Consciousness, June 1988, University of California, Santa Cruz. Doctoral thesis 'Through the Lumen: Frankenstein and the Optics of Re-Origination.'
GRANTS: 1996 - UWS Nepean Seed Grant for 'Smart Spaces' project, 1993 - Murdoch University Special Research Grant for Double Agents (women and electronic arts) book with Virgina Barratt, 1993 - Australia Council project grant for Double Agents; Australian Network for Art and Technology publications grant for Double Agents
SELECTED PUBLICATIONS: 2000: (Sofia) 'Smart Spaces @ The Final Frontier' New Technologies and Spatial Practices, Sally Munt, ed., London, Cassell; in press; (Sofoulis) 'Nola Farman and the Artwork/Network' in Objects and Spaces, Ted Snell and Julian Goddard, eds, Fremantle, Fremantle Arts Centre Press; in press; (Sofia) 'Container Technologies' Hypatia 15.2 (Spring); in press. 1999: (Sofoulis) 'Machinic Musings with Mumford' M/CÑ A Journal of Media and Culture, on-line at (Sofia) 'Virtual Corporeality: A Feminist View' Cybersexualities: A Reader on Feminist Theory, Cyborgs and Cyberspace, Jenny Wolmark, ed., Edinburgh: Edinburgh University Press, 55-68. (Reprint of Sofia 1992) 1998: (Sofoulis) 'Women and Technology Forum' (report from Resonances) Sounds Australian: Journal of the Australian Music Centre no.51, 17-18; 1997: Re:Public ( Ien Ang, Ruth Barcan, Helen Grace, Elaine Lally, Justine Lloyd, Zo‘ Sofoulis), editors Planet Diana: Cultural Studies and Global Mourning, Research Centre for Itnercommunal Studies, UWS Nepean, 163pp. (Sofoulis) ÔIcon, Referent, Trajectory, WorldÕ in Re:Public, eds. Planet Diana, 13-18.; 1996: (Sofia) Angel, Maria and Zo‘ Sofia, 1996 'Cooking Up: Intestinal economies and the aesthetics of specular orality' Cultural Studies 10.3: 464-482; (Sofoulis) 'Interactivity, Intersubjectivity and the Artwork/Network' in supplement toMesh 10, 32-35; also at Mesh website http://www/; (Sofia) 'Contested Zones: Futurity and Technological Art', Leonardo: Journal of the International Society for the Arts, Sciences, and Technology 29.1: 59-66.; 1995: (Sofia) 'Of Spanners and Cyborgs: De-homogenising feminist thinking on technology' in Barbara Caine and Rosemary Pringle, eds, Transitions: New Australian Feminisms, Sydney: Allen & Unwin, 147-163.; 1994: (Sofia) 'Technoscientific Poesis: Joan Brassil, Joyce Hinterding, Sarah Waterson' in N. Zurbrugg, ed. Electronic Arts in Australia (Special issue of Continuum (8.11)), 364-375. (Sofoulis) 'Slime in the Matrix: Post-Phallic Formations in Women's Art in New Media' in Jill Julius Matthews, ed. Jane Gallop Seminar Papers, Canberra: Humanities Research Centre, ANU, 83-106.; 1993: (Sofia) Whose Second Self? Gender and (Ir)rationality in Computer Culture, Geelong: Deakin University Press (149pp.).;
PUBLICATIONS IN PREPARATION: 'Cyborgs and Other Hybrids: LatourÕs Nonmodernity' chapter for Encore Le Corps: Embodiment Now and Then, Elspeth Probyn & Anna Munster, eds. Routledge, forthcoming. 'Women Artists and their Relations to Technologies' chapter for Ghosts in the Machines: Women Research Women and Technology, ed. Nicola Yelland and Andee Rubin, Peter Lang, NY, forthcoming; Technobodies, Technoworlds, book of collected papers and essays, Routledge (in preparation); Container Technologies - currently being researched.