Ada web

Ada web is launched in 1995 and its goal is to provide visual artists, composers, movie directors, architects, etc,  a station where they could engage in a dialogue with internet users.

http://adaweb.walkerart.org/
nota/messages/read_ada.html

Aksioma -  Institute for Contemporary Arts

Aksioma Institurte for Contemporary Arts is a non-profit cultural institution based in Ljubljana, Slovenia, which is interested in projects that take advantage of new technologies in order to investigate and discuss the structures of (post)modern society. Aksioma concentrates on artistic production that explores social, political, aesthetic and ethical concerns.

Vuk Ćosić has been active in politics, literature and art since 1994. Ćosić is well known for his work as a pioneer in the field of net.art. His work is an interesting mix of political, philosophical and conceptual issues. During a certain period of research he became interested in ASCII code and on the intersection between text and computer code, as well on the use of spaces in information.

The Yes Men (Andy Bichlbaum and Mike Bonanno) are an activist duo known for their outrageous satirical interventions at business events, on the internet, television, and in the streets. Their award-winning documentaries, The Yes Men and The Yes Men Fix the World--official selections at Sundance, Toronto, Berlin, and SXSW, and broadcast on HBO and many international TV outlets--chronicle the their mind-blowing pranks that expose and publicize vital issues at critical times.

Telestreet is an Italian movement that set up pirate TV stations in several metropolitan areas in Italy. The movement has started up in Bologna with a small transmitting station, OrfeoTv, which was founded by media theorist and activist Franco "Bifo" Berardi; since June 2002, this micro-TV has been broadcasting for a few hours a day within a range of 200 metres.

Alessandro Ludovico and Paolo Cirio’s online project  involved stealing 1 million Facebook profiles, filtering them with face-recognition software, and then posting them on a custom-made dating website. Conceptually hacking big online corporations has proven to be a symbolic, dangerous and revealing artistic process, challenging funding principles of the digital economy and of digital communication at large. Face to Facebook work is the third part in the Hacking Monopolism Trilogy which also includes hactivist projects centred around Google (Google will Eat Itself) and Amazon (Amazon Noir).

Mongrel is a mixed of people and machines that make socially engaged cultural products using the technological advantages. Founded in 1997 by Matsuko Yokokoji Graham Harwood, Richard Pierre Davis as collaborative project in which they learn to program, build and engineer their own software and hardware.

Marko Kosnik, polymedia artist, started his carrier in 80's as cofounder of Laibach, writing concepts as well for the groups Junajtit Adis, Cavis Negra, and Most. Since the beginning of his collaborative projects he was producing creative environments, open labs and media platforms, dealing with synchronization of authors from different backgrounds and self organization.

The Status Project.
A collaboration between Kayle Brandon and Heath Bunting.

This project will explore what it is to be a human being in the United Kingdom terms of social economic law. The core of this project is a relational database of personal legal status and their dependencies.

Irena Pivka is a Ljubljana-based artist, architect and scenographer /MA at Faculty for Architecture in Ljubljana, MA at St. Martins College of Art, London (MA scenography). Together with Brane Zorman she estabished CONA institute for procesing contemporary arts.

Daniel Garcia Anduhar is an activist, art theorist and visual media artist who leaves and works in Barcelona. He exhibited at the Manifesta 4 and the Venice Biennale. His most prominent project is Street Access Machine (1996). His critical reflection on the art world TTTP presents through the Technologies to the People Foundation with its non profit collections : Photo Collection (1997), Video Collection(1998) and Net Art Classics Collection (1999).

Eva and Franco Mattes were born in Italy in 1976. Neither of them received an art education, Operating under the pseudonym 0100101110101101.org, they are counted among the second wave of the Internet artists, after Net.art, and are renowned for their subversion of public media.

Digital Culture

Aniko Imre, Identity Games, Globalisation and the transformation of Media Cultures in the New Europe
http://issuu.com/aniko_imre__identity_games__globali

Carolin Wiedemann, Soenke Zehle, Depletion Design A Glossary of Network Ecologies
http://issuu.com/carolinwiedemann_soenke_zehle_de

Christopher M. Kelty, Two Bits The Cultural Significance of Free Software
http://issuu.com/christopher_m._kelty__two_bits_the_

Franco Berardi (Bifo), After the Future
http://issuu.com/franco_berardi__bifo___after_the_fu

UBERMORGEN.COM is a Swiss–Austrian–American artist duo founded in 1995 by lizvlx and Hans Bernhard.  Their main body of work consists of Internet art/net.art, Installation, Video, Photography, Software Art, Performance and uses the convergence of digital media to produce and publish online and offline.

The Critical Engineer (Julian Oliver, Gordan Savicic, Danja Vasilev) considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.

Paul Garrin is a video artist who is active from 1990. He had collaborated with famous video artist Nam June Paik creating numerous works between 1982-1996. He founded projects that acted in order to liberate the internet from corporate and government control.

Natalie Jeremijenko is an engineer and new media artist who is active member of the net.art movement. Her work investigates the interface between technology, society and environment. Her work takes the form of public art works, media installations, single chanel tapes and critical writing. She directs the xdesign  Enviromental Health Clinic.

I/O/D 4: "The Web Stalker" purports to be a new form of web browser that dispels with the page metaphor of traditional browsers and presents urls as a series of circular lines that are the links. I/O/D 4: "The Web Stalker" relies on spatial references in much the same way that Thinkmap does, and they are both refreshing visual distractions from the html series of links that we have become accustomed to on the web.

Mark Napier is new media artist, also a pioneer of digital and internet art. He investigates the potential of worldwide networks as a public space for art. Born in 1961, he lives and work in New York. His early artworks are "The Shredder","Feed" and "Digital Landfill". He created interactive art projects that used the internet as an exhibition space.

An Anti-entertainment interactive movie,
that develops according to your vote!

Demokino is a virtual parliament that through topical film parables provides the voters (participants) with the opportunity to decide on issues that are, paradoxically, becoming the essence of modern politics: the questions of life.

http://www.intima.org
Intima Virtual Base

Igor Štromajer – Intimate Mobile Communicator researches tactical emotional para-artistic actions, intimate guerrilla, and traumatic low-tech communication strategies. He has shown his work at more than a hundred exhibitions in more than sixty countries and received a number of awards (Moscow, Hamburg, Dresden, Belfort, Madrid, Maribor).

(CAE) is a collective of five tactical media practitioners of various specializations including computer graphics and web design, film/video, photography, text art, book art, and performance. Formed in 1987, CAE's focus has been on the exploration of the intersections between art, critical theory, technology, and political activism.

ArtLeaks is a collective platform initiated by an international group of artists, curators, art historians and intellectuals in response to the abuse of their professional integrity and the open infraction of their labor rights. In the art world, such abuses usually disappear, but some events bring them into sharp focus and therefore deserve public scrutiny. Only by drawing attention to concrete abuses can we underscore the precarious condition of cultural workers and the necessity for sustained protest against the appropriation of politically engaged art, culture and theory by institutions embedded in a tight mesh of capital and power.