alan∂ :: scopic regimes of uncertainty 2008

convergent media sculpture commission

alan∂ installation detail: Garden Cam

Media:

Moses Maimonides, “A Guide for the Perplexed” text

Muhammad Ibn Tufail, “Alive, Son of Awake” text
Federico García Lorca, “Songs” and “Book of Poems”
bird-spotting scopes, monocular devices, webcams
sculpted, working pc housings, advanced graphic boards
tripods, ladder, stands, bronze, glass, silicon objects
specially-abled person repaired and recycled ebay flatscreens
organic LED mini-screens and micro-controllers
open source linux, python, ffmgeg, php, mysql, javascript, xml
open source fluxbox, computer vision, image recognition
open source bluetooth, moblog, chatbot software
second life lsl scripting

Description:

Alan∂, is 'a land', 'off the land' – a desert island perhaps, and more precisely an abbreviation
for Al Andaluz, a rare historical convivial moment on the Iberian peninsula from the 8th to the 15th
Century, when a gateway from enlightened and innovative Asia flooded Dark Age Europe, and
catalyzed its Renaissance. Al Andaluz saw an explosion of creativity in science, cartography,
technology, architecture, engineering, philosophy, mathematics and medicine. Andalusia then
offered dozens of clinics where anesthesia and eye operations were practiced. Precision
astronomical devices, hydro-power mechanisms, and agro-business and exports flourished. There
were even public washrooms for horses and street lights in Cordoba.

Alan∂ is a participatory networked media sculpture installation, commissioned by the

Andalusian BIACS Foundation for the Seville Biannual 2008-9. Philip Pocock (Canada) directed a
team of artists and cultural engineers, some still undergrad and grad students, from Germany,
Switzerland, England and South Korea. Our starting point were three Andalusian philosophical and
literary figures and their texts. The first, “Alive, Son of Awake” the original desert island tale,
relating the life of a boy spontaneously born from the clay of a remote island shoreline, raised by a
deer alone, who upon her death was autopsied by the boy for cause, who goes on in steps to develop
self-realization, a philosophical consciousness and enlightenment alone in a world. This first
philosophical novel was penned in Arabic by the Andalusian Muslim scholar, Muhammad Ibn
Tufail, and became a model text for the colonialist Robinson Crusoe and the fabled animations
involving Mogli.

Muhammad, as this network media sculpture is called, calls on its stored text database and
applies computational linguistics to recombine with moderate grammatical correctness new
phrasings and sentence constructions that retain his original voice but convolute his meaning
poetically. Muhammad simulates conversation over the alan∂ network with a second text source
with his Andalusian contemporary, the Jewish philosopher Moses Maimonides, cyber-dialoguing in
a similar manner, drawing playful responses and offering sometimes surprisingly acute aphorisms
from his stored seminal 11th Century text “A Guide for the Perplexed”, in which he presages
thoughts about globalization and identity, spheres of influence, individual and community rights and
mores. The third literary and virtual leg upon which alan∂ is based, represents a Modern
Andalusian, the musical, melancholic poet Federico García Lorca, his “Songs”, “Book of Poems”,
almost his entire opus of verse. Dwelling in his media PC sculpture representing a Bird House, two
bronze figurines, Sitter and Pointer perched on its roof, that is also partially covered by a spider's
web like silicon Mandala, a charming digital simulacrum of Federico's cut-up poetry interlocutes
with Moses and Muhammad, as endlessly as time in art.

Moses is housed in a sculptural PC housing suspended from a very tall rickety wooden
Ladder, dotted with a blown glass Drip and crushed Globe, that reflect on his text metaphor of the
sphere as embodiment of power, just or unjust. Up high on Moses' Ladder sculpture a collectible
telescope is clamped and aimed at one of a gaggle of used screens that skirt the Ladder's feet. Four
more rather odd monocular devices and bird-spotting scopes, are also clamped to various rungs of
the Ladder, each trained to a detail of a Moses main screen on which his generative dialogue comes
and goes like subtitles, each line in its passing bringing with it a pastiche of contemporary cyber-
Andalusian blogger imagery, displayed as digital video generated in real time and cut or edited by
an abstract informatical process dependent on formal image properties such as pattern, i.e.
mosaicality, or color, i.e. mood, and faces, i.e. expression. All but one scopic appendage to Moses
does not track actual alan∂ installation guests but surveils screens keeping a Cyclopian eye on the
media instead, that is, countless social web blogger and photo-sharing site images of cyber-
Andalusia which fly over and by various screens with calculated rhythm, each image for a moment
searching for similar web2.0 images following a code-image editing principle of pictures looking at
pictures, to arrive at a new narrative implicit in alan∂'s algorithmic post-docu-drama cinema.

Moses sports Smile Cam, which is a modified webcam that is trained with open source
computer vision coded to identify smiles, and snap a shot of any installation guest who dares crack
a smile, display that frozen image and feed it like all other scoped pictures into the code-image post-
cinematic imaging system to accompany Moses philosophy-after-philosophy dialogue. The various
generative digital videos, called mash-up in web2.0 vernacular, are also deconstructed and
displayed on a string of 16 micro-controlled, exquisite, high resolution mini organic light-emitting-
diode OLED screens, that append Moses (as well as Federico and Muhammad). Over the Internet,
this time line of crystal images are displayed on a similar string of OLED screens in Philip Pocock's
open lab studio at the ZKM Center for Art and Media Technology, an alan∂ outpost.

Both the Muhammad and Federico media sculptures intertwined into the alan∂ installation
act on very similar principles to Moses. Their uniqueness lies in the voice and substance of their
respective text that subtitle respectively their sculpture's main screen, as well as the different types
and sentiments of the images their simulated dialogue aggregate from the same cyber-Andalusian
picture sources, all spied on by modified monoculars that mash-up in real time as well a myriad of
generative cyber-docu-drama clips on their respective flatscreen and OLED screen appendages.

Sculpturally, however, Muhammad and Federico are characteristically different in

installation from Moses' Ladder sculpture, yet complimentary, with Federico's main Bird House
motif, and Muhammad's Cyclopian animistic character and especially his auxiliary Garden Cam
that involves a miniature silicon-dabbed tree sculpture and a readymade model fruit tree object.
Muhammad is an apparition of a strange robot-ocular beast, with a pair of its webcam-modified
optical screen surveyors supported by tripods that pierce in fact right through Muhammad's double
PC housing body, one but a centimeter from its motherboard. Garden Cam is a sort of koan for the
entire installation, its fine filigree-like tree the focus of a sculpted bird-spotting scope trained as
well on the miniature tree's background, a flatscreen that displays a digital detail of the tree in a
setting that due to visual feedback and software-set screen swaying simulates some strange systemic
weather conditions.

In short, alan∂ is about informatic cinema, cyber-cinema, new natures for narrative that
reflect new and net-driven narrative for natures of many sorts, human and cyborg nature,s utteral
and historical natures, etc., and any number of their tangential qualities. Alan∂ from a perspective of
cynical reason is actively and playfully about surveilling screens and not people, and pictures
looking at pictures.

Exhibited:

BIACS3, Seville Bienale, Spain.

http://roundearth.zkm.de/aland
http://roundearth.zkm.de/aland_wp
Mobile Movie Matrix 2007
public moblog mash-up cinema

Media:

open source linux, python, php, mysql, apache, ffmpeg, bluetooth, computer vision software
recycled pc housing sculpture, mixed-media objects, wood frame
mobile phone, lcd flatscreens, pcs

Description:

A monolithic Crashed Satellite sculpture inhabits the public museum space. Composited
from discarded PC housings and suggestively sealed off as a crash site , the entire event architecture
installation acts as support for a matrix of flatscreens, over which rhythmically and algorithmically
generative digital post-cinema streams play ceaselessly, mashed-up, as it is termed online, from
blogger and social web image databanks queried formally, or abstract informatically, by computer
vision image recognition code. On site, you may upload or moblog (mobile blog) any image from
your mobile phone to the sculpture's address: up@zkm.de. Or, with bluetooth enabled on your
mobile phone, fire an image directly at the installation to trigger, auto-edit and compile the next
mash-up queued to appear on whatever screen the matrix video playlist is set to occupy. Remote
guests online can also trigger the same real time generated digital mash-up movie clips by attaching
a picture to an email sent over the Internet a la moblog to the sculpture's mail box, the results, also
viewable in a simplified variant form at the sculpture' website archive.

Exhibited:

10 Year Jubilee show, ZKM Center for Art and Media Technology, Karlsruhe.
http://youniverse.zkm.de
ZKM YOUniverse Island in Second Life 2007-9
massively collaborative, multi-user virtual 3d residence for art, avatars and education

Media:

Second Life SIM, lsl scripting

open source darwin streaming media server
open source linux, python, php, mysql, drupal, ffmpeg
open source image recognition software
open source chatbot software

Description:

For the 10th anniversary of the ZKM Center for Art and Media Technology 2007,
Philip Pocock directed the conception, programming, streaming and web2.0 convergence
of ZKM in Second Life.

The island consisted of a flooded wasteland, an iceberg floating, and avatar bots
chatting and boxing. The 5 synthespians were animated understudies of the German
philosopher and rector of the HfG Academy of Art & Design Karlsruhe, Peter Sloterdijk, the
cultural theorist, HfG Karlsruhe and Columbia University professor, Boris Groys, the art
historian, HfG Karlsruhe and ETH Zurich professor, Beat Wyss, the composer and Karlsruhe
Music Academy professor, Wolfgang Rihm, and ZKM director and media artist, Peter
Weibel. While taking turns in the ring sparing with each other or with avatar guests, all the
while, like cyborg updates to Deleuzian actor-media, they wax artificial poetic, incessantly
spewing nonsensically amusing maxims and pensées based on the voice and vocabulary of
their otherwise notable bodies of writing, done by code-crafting sentences from matching
words with their interlocutors, either between exchanged jabs and kicks, or all at one and
the same time.

Dotting the island are various cinemas, all supermodern virtual event architectural
apparitions. The main virtual glass cinema vitrine, in which is featured - and entering
avatars are confronted with - a somewhat treacherous snow-covered section of the island
landscape, a series of documentary interviews with film philosophers transform some
glass panes into screens. Viewable from there on the outside, the nearby floating iceberg
hosted the live streaming of the Jubilee events, including a speech by the visiting director
of the New York Guggenheim Foundation at the time, Thomas Kren. At intervals, Michael
Snow's film So Is This was mapped onto the iceberg's topology. Elsewhere, in an obscure
underground bunker cinema, with futuristic avatar-sensing Ali Baba sliding doors, were
screening underground films by very young and student Kabuli filmmakers, Philip Pocock
had encountered during a workshop for film and media he held under the auspices of the
Canadian External Affairs Cultural Personality programme in Afghanistan 2005. Hovering
like a virtual Mecca cube just above partially flooded terrain, island center, a House of
Cards cinema, composed of modular multiple screens, 128 in all, each scripted to sense
the position and orientation of avatars in its immediate vicinity, and so to rotate each
panel independently toward the avatar, ensuring from every flight path around this cinema
an ideal view, and resulting architecturally and datatecturally in a magnificent moving
crystalline cinema of events, which alternated during the Jubilee event between
documentary material concerning past media exhibitions at ZKM, and a compilation of
Pipilotti Rist video art works. Not far off, at the entrance to a long snaking tunnel, an
avatar guest could click on and occupy a waiting cinema seat, which automatically
transported her through the tunnel on a kaleidoscopic ride through user-generated images
projected onto its asymmetrical interior walls and surfaces, the animated images, mailed
up to Second Life from the Mobile Movie Matrix sculpture present in the ZKM Jubilee show
as well. This convergence of email images, locative media and Second Life, as well as the
event architecture was programmed by Pocock's Pforzheim University art and design
student along with a media art docent from the neighboring HfG Academy of Art and
Design Karlsruhe and a collaborative and motley coterie of talented Second Lifers and
autodidact cultural engineers from the local community which comprised in fact most of
the YOU that the Jubilee was aimed at and dedicated to.

Elsewhere or rather at any time somewhere over Second Life's flat earth, a virtual
satellite, our ZKM SLatellite, was built and scripted to traverse the entire Second Life
world at its aleatoric will, slowly hovering, to allow museum guests to take a Zeppelin-like
tour of all of Second Life's island SIMs without ever lifting a finger, or even logging in and
having to name and dress their own avatar. The ZKM SLatellite auto-navigates its course
over the polyglotal maze of virtually inhabited islands galore with the help of some rather
creative code. The SLatellite was also made available as a wearable scripted object, that
donned, instantly transformed its owner avatar into a shining spherical and sound-
transmitting island-hopping SLatellite on auto-pilot. Type in a reasonable number and your
current course altitude adapts accordingly. Pan and tilt with your mouse or joystick, and
your satellite eye responds in sync affording whatever new or unique perspectival view
you choose to take on the virtual terrain and dwellings passing by below.

ZKM YOUniverse Island in Second Life is a step on the way to metabolizing search
engines, social networking and e-learning platforms, given the understanding that a 3d
metaverse such as Second Life is not based on bricks and mortar, empty and unfit for
weightless avatars in a harmless virtual climate, but rather on events and encounters with
other avatars, the acquisition and exchange of personal, cultural or educational
information within an 3d social network environment, based not on the presence of
hapless buildings but of happening events.

Exhibited:

http://youniverse.zkm.de
Directors Lounge, Berlinale International Film Festival, Berlin.
Dún Laoghaire Institute of Art, Design and Technology, Ireland.
ZKM Center for Art and Media Technology, Karlsruhe.
Jack Goldstein Digital Aphorisms 1988 – 2006
aleatoric lettrist word movie tribute

Media:

digital color laser prints

actionscript, flash software
open source linux, apache internet server

Description:

Montreal-born, Los Angeles and New York-based artist and filmmaker, Jack Goldstein, had
recently died. Philip Pocock found he had a slew of digital Lettrist works on paper, proofs from
Goldstein's Totem Series that years ago Jack had given him. There were in all 43 sheets, each with 5
or 6 concrete maxims, clip art morphings, various typophoto aphorisms that underpin much
Canadian conceptual and postmodern cultural production. In honor of this troubled and gifted artist,
a flash programmed algorithmic Lettrist movie directed by Philip Pocock, combined aleatoric relief
and a logical principle for content selection and display timing for an online-based and museum
bound time-image of Goldstein's typophotographic work, that hovers tensively between still and
motion picture-making, both based on and a tribute to a remarkable Canadian artist's digital work.

Exhibited:

http://roundearth.zkm.de/goldstein
ZKMax / City of Munich locative media space, Germany
ZKM Center for Art and Media Technology
SpacePlace: Art in the Age of Orbitization 2005
locative mobile media and virtual curating

Media:

open source linux, python, php, mysql, ffmpeg, drupal, bluetooth, java
web2.0 aggregated space art and culture content
apple mac mini computers, loudspeakers, projectors
synchronized double projection
audio track of radio telescope sounds
mobile phone

Description:

SpacePlace is an experiment in future virtual museology, an aggregate of over 400

entries of art that is concerned with all peaceful and cultural uses for near Earth orbit and
beyond. The topos for the work is the philosophical fictional work “Dialogue Concerning
the Two Chief Systems of the World” that leaned toward a Copernican world view and
away from the Vatican geocentric model, with a good measure of sardonic humor, landing
its playwright Galileo Galilei under house arrest upon its publication in 1634. However, it
wasn't long after our home planet was removed as the center of the astronomical
universe, that we placed it once again smack in the center of another – the mediaverse,
where Mother Earth is orbited by satellite TV and the mobile Internet, with Google playing
the Milky Way, CNN as Mars and so on. The space art and culture material curated into
this virtual mobile museum project is all appropriated from the Internet, and presents the
content producers as a simulated web2.0 social network, each with lighthearted profiles
and personal touches. Online users have since joined the platform and uploaded work.

SpacePlace content is organized as a visual tag cloud, consisting of sets of cut-out

portraits of the space artists, each set of portrait icons representing a tag word, a
category,i.e. gravity, moon, physics, etc. Representative icons sized in proportion to their
set size cycle through their members. The looping portrait sets form a grid, a visual tag
cloud.

The archive online holds broad-based space art entries of an historical and
contemporary nature, from Galileo's Sunspot drawings, through Warhol's fingernail-sized
ceramic chip drawing on the moon, embracing fine art, sound, architecture, film and
literature, perusable in a web and a mobile version. Both represent only part of the actual
locative mobile media work installed in a downtown Munich passage, as well as in the ZKM
museum, where the curation is composed of two synchronized screens cyber-walking
through, arranging their contents according to former SpacePlace user steps, content
selections, in an ambience space of sound transduced from radio telescopes and
transmitted from the Net, in a way, sounds of the Earth turning. With Bluetooth-enabled
mobile phones, guests in the proximate vicinity of this locative pair of projections, are
welcomed with a message sent to their phones, and asked if they wish to join SpacePlace.
Accepted, a small application is sent to their phone, allowing them to use their phone's
buttons or joystick as a Bluetooth remote control and navigate the visual tag cloud on one
projection, and synchronously display those related works as a time-image on the other
projection, a time-image that subtly pitches and yaws, wobbling to the ambient sound of
space, and an intermittent text-to-speech reading of aggregated current Net news
concerning the SpacePlace content providers' actualities, as well as breaking space politics
and science news, that the system follows online. Should at any point a guest pause their
phone as a curatored entry catches their fancy, with their phone's camera, they may take
a picture and with their Bluetooth enabled fire off that image to attach itself to that
specific entry for display and integration as well on that entry's web archive page.

With the worldwide growth in mobile communications, and everyone, a satellite?

the intertwinedness of urban and virtual spaces for living and learning becomes more
apparent, and sustainable and participatory cultural and indirectly economic opportunities
abound. With globalization now a done deal, in McLuhanist terms, an environment that
has been usurped by a new one, having been distilled out of itself, so to speak, to become
a product inhabiting a new landscape, to be traded and gambled upon in a new
environment, that contains all things and persons considered to be global and glocal
including art, new cultural and community environmental research presents itself. Is the
new environment containing globalization's stock and trade now to be seen as that of
humankind's farthest possible reach, Earth orbit and outer space? Is there now to be
reckoned with a new media, that is, art in an age of orbitization?

The project is a collaboration with Pforzheim University students and recent

graduates in cooperation with ZKM Center for Art and Media Technology Karlsruhe.

Exhibited:

Center for Interdisciplinary Research, Bielefeld, Germany.

http://mobile.orbit.zkm.de
http://www.archive.org/details/ImaginingOuterSpace1900-2000ZifBielefeldConferenceKeynotes6.2.08-
http://www.orbit.zkm.de
ZKMax / City of Munich locative media space, Germany.
ZKM Center for Art and Media Technology, Karlsruhe.
Unmovie 2002
user-generated post-cinema installation

Media:

open source linux, python, php, mysql

open source chatbot, text-to-speech and game code
actionscript, flash
bronze, glass and computer sculpture
various mixed-media objects and models

Description:

Unmovie characterizes in some ways Gilles Deleuze prognosis for future cinema:
“The life of the afterlife of cinema depends on its internal struggle with informatics.”
(Cinema II: Time_Image 1989, p.270). Unmovie begins with 6 synthespians, in a cyber-
satirical sense, virtual kin to the celebrated playwright Pirandello's “Six Characters in
Search of an Author”. On the cyber-stage in Unmovie, listening, responding, avoiding or
searching out computer simulated conversation are - a Nobel Prize neglected Bob Dylan,
all his song lyrics; cineast Andrej Tarkowski “Sculpting in Time”; an androgynous sexy
chatroom pair fused into one presenting character nicknamed Geisha; Nietzsche's talking
book “Beyond Good and Evil”; 13th Century Zen Master Dogen's mind space musings; and
You. Up to 6 users, You_0-6, are free to enter the Unmovie Stage online, move around
with their mice, and enjoin other users, or more appealing, any and all of the Stage
botcast in conversation, creating a steady stream of Unmovie dialogue.
 This entire Botcast of characters roam the virtual Unmovie Stage and dialogue with
each other one way or other, or wander off to be alone for an interval. Their recent
dialogue is recorded – the bots have been talking non-stop 24-7 since 10 November 2002
- and certain words exchanged, according to certain Unmovie computer scripting
measures, such as word frequency, stem and type, are elected to act as Unmovie tags.
These literal tags search for user-generated online video clips with filenames, descriptors
or tags that match. All videos found in Unmovie's aggregated database of online user
video to match form a playlist and accompany the Unmovie Stage with an endless stream
of user-generated video playlists we call Unmovie Stream.

The chatbots are coded to retain any online user dialogue they may be fed on
Stage. As the bots learn vocabulary from their users, some new tag words emerge, find
previously unseen user-generated video clips aggregated in the database, and new
Unmovie Stream contents then add a quality of refreshing ever-changingness to their
programmed time-image endlessness.

“And the screen itself, even if it keeps a vertical position by convention, no longer
seems to refer to the human posture, like a window or a painting, but rather constitutes a
table of information, an opaque surface on which are inscribed 'data', information
replacing nature, and the brain-city, the third eye, replacing the eyes of nature.” [Gilles
Deleuze, “Cinema II: Time-Image”, p.265]

This custom software was engineered by Philip Pocock visual art and
communication students at Pforzheim University in cooperation with the ZKM Center for
Media Technology. Unmovie's python coding of user-generated media, folksonomy tagging
and Flash video generated on-the-fly preceded YouTube's mainstream application by 3
years. Unmovie has built several cinema houses, participatory art installations, for itself in
8 countries on 3 continents.

Exhibited:

Ars Electronica, Linz.

Blackwood Gallery, Mississauga
Dunlop Art Gallery, Regina.
Dutch Electronic Art Festival DEAF, Rotterdam.
Galerie Oboro, Montreal.
http://unmovie.zkm.de
Intercultural Center ICC, Tokyo.
International Festival of Media Art, Dresden
International Short Film Festival, Kingston-upon-Hull, UK.
Kiasma Museum of Contemporary Art, Helsinki.
Lotringer 13, Munich.
Walter Phillips Gallery, Banff.
Wood Street Galleries, Pittsburgh.
ZKM Center for Art and Media Technology, Karlsruhe.
h|u|m|b|o|t 1999
participatory movie-mapping network installation

h|u|m|b|o|t network installation in net_condition: art and global media exhibition, ZKM

Media:

open source linux, php, mysql, perl, java, javascript, xml, html
open source chatbot and self-organizing mapping software, c++
realplayer, realproducer video software
ibm thinkpad 360eds with mpeg hardware
sony pal digital video cameras
wooden palettes
carpets, furniture, mosquito nets
acrylic painting, drawings and works on paper
antiquarian books, maps and seafaring navigation instruments
double videos, beamers, and email slideshow
various objects and media

Description

At the request of the Goethe Institute Caracas and ZKM Center for Art and Media
Technology Karlsruhe, Philip Pocock conceived and directed a collaborative, large-scale network
media culture work in honor of the 200th anniversary of Alexander von Humboldt's travel to South
America 1799-1804.

Beginning with the word, Humboldt's engaging chronicle published in 1839 titled “A
Personal Narrative of a Journey to the Equinoctial Regions of the New Continent”, was marked up
by readers from a graduate gender study program at Maximillian University Munich, inserting,
paragraph by paragraph, server-readable xml tags (a first) according to personal qualities each
reader found in Humboldt's text, such as emotion, gps, surroundings, subject. Collaborating with
faculty and students from the ETH Zurich on programming, these reader tags were mapped by the
Finnish mathematician Kohonen's open source algorithm SOM (Self-Organizing Mapping), stored
in a database, queried and displayed, and what we call h|u|m|b|o|t (word fusion of Humboldt and
chatbot) becomes a post-reading group written, computational screen atlas of text, we call Flatbook.

Philip Pocock (Canada) asked artists Wolfgang Stehle (USA) and Roberto Cabot (Brazil) to
join him on a South American digital video journey tracing some of Humboldt's whereabouts in
Venezuela and Cuba in 1999. Digital video documents and performances were taped, edited, tagged
and uploaded for integration with the Flatbook of Humboldt's “Personal Narrative...” adding
contemporary rich media (Flatmovie) to the historical h|u|m|b|o|t screen atlas. Together Flatbook
and Flatmovie comprise the entirety of our h|u|m|b|o|t hypercinematic experience. This screen atlas
of Humboldt's diary entries and h|u|m|b|o|t's rich media, map out a deep narrative atlas that is open
to travels by museum guests and remote online users alike. Each user journey through h|u|m|b|o|t is
recorded by the system and are played back if auto-pilot is selected, or if the screen atlas remains
idle for some minutes. In a sense, Humboldt and h|u|m|b|o|t create an atlas of their travels through
which net navigators travel in turn, often arriving as is often the case in cybersapce, at a destination
that is somewhere within one's own self.

The collaborative h|u|m|b|o|t actual space installations are always situative and architectural,
networked and datatectural. Their presence often embody project collaborators' auto-biographical
moments and objects, traces and memories of interaction by co-authors in actual space that resonate
with project traces in virtual space, all in search of new natures of narrative for net narratives of
nature.

Exhibited:

Ars Electronica, Linz.

Art Basel, Switzerland.
FILE International Festival of Electronic Language, Sao Paolo.
htp://www.humbot.org
International Festival of Streaming Media, Amsterdam.
Irish Museum of Modern Art, Dublin.
Musée d'art moderne de la Ville de Paris, France.
Museu Fundacão Serralves, Portugal.
National Gallery of Art, Germany.
Staatsgalerie Stuttgart, Germany.
Steirischer Herbst, Graz.
V2 Institute for Unstable Media, Rotterdam.
ZKM Center for Art and Media Technology, Karlsruhe.
A Description of the Equator and Some ØtherLands 1997
participatory hypercinema produced by documenta X

Media:

open source linux, php, msql, perl, html

open source audio and time-image software
ibm thinkpad 360ed with mpeg hardware
sony digital video cameras

Description:

Where is the Equator on Motherboard Earth? Hypercinema is not playing at a cinema

near you, but in you? ØtherLands is a movie I'd rather see made by somebody else.

Based on the title for a richly illustrated book by Richard Pococke, “ A Description of the
East and Some Other Countries” 1749, Philip Pocock invited architect and datatect Florian
Wenz, linux guru Udo Noll and fellow artist Felix Stephan Huber to participate along with the
documenta's worldwide audience in the first database-driven, user-generated and tagged
hypermedia event.

Florian Wenz and Philip Pocock, along with two students from Kampala's Makerere
University travelled through Uganda, along the Congo and Rwandan borders, into western
Kenya, to walk along the Equator. This cyber-roadmovie sequel to Arctic Circle 1995 allowed
users to attach their own tagged and timed content to any Øtherlands movie thread, or branch
off at will. What results is a rhizomatic cinema of interwoven broken stories, much like life
itself.

Philip Pocock was also selected by documenta X director Catherine David to speak about
his direction of the collaborative work, and introduce the public to net aesthetics and user-
generated hypercinema as one of her guests in the 100 days 100 guests programme in
documenta hall, streaming live over the Internet.
Exhibited:

Akademie Schloss Solitude, Germany.

Art Basel, Switzerland
Art Cologne, Germany.
Documenta X, Kassel, Germany.
Fri-Art Center of Contemporary Art, Fribourg, Switzeland.
http://aporee.org/equator/
http://www.vimeo.com/1061616
International Documentary Film Festival, Rotterdam.
International Media Art Awards, ZKM, Germany.
International Performance Festival, Odense, Denmark.
Musée d'art moderne St. Etienne, France.
Palais des Beaux-Arts, Brussels.
Staatsgalerie Stuttgart, Germany.
St. Gervais Génève, Switzerland.
Stiftung Bauhaus, Dessau, Germany.
World Wide Video Festival, Stedelijk Museum, Amsterdam.
Arctic Circle 1995
collaborative, participatory video(b)log

Media:

1974 customized ford trailer van

apple powerbook 100, 150, 180c
http://www.dom.de/acircle
ntsc video camera and digitizer
linux ftp, http and mail servers
adobe premiere, open source animated gif, html, mpg and qt software
compuserve, yukon internet society and inukshuk.gov.yk.ca accounts

Description:

One of the Internet's first art works, a collaboration by Philip Pocock (Canada) and Felix
Stephan Huber (Switzerland) begins in Vancouver and takes the two performers on a double
journey; on the one hand, over highways and river beds through Canada's great wilderness to
the end of the road in Inuvik, where the pair were art scientists logging onto the most
northern Internet node at the time in the Inuvik Research Center, and onward to Tuktoyaktuk,
where the real journey ends.

In parallel, their actual journey became an online fiction, and the artists became
fictional characters in a cyber-roadmovie of their own making, as they lived, drove,
experienced, performed and wrote from RV trailer parks, auto and tire repair shops, anywhere
they could along the way, uploaded digital video and hypertext to their video(b)log server in
New York. Some Internet co-travelers uploaded their comments and queries to the pair of
pioneer net-artists, integrated into the site.

What began as a conceptual cyber-roadmovie, its original plot to travel to the Arctic
Circle and walk along it, and upload these remote highway and roadside performances onto the
information super-highway, became a pulp melodrama when two hitchhikers, Nora and Nicolas
hopped on board the 1974 customized Ford Supervan. The double travel, in reality and
virtuality, became as well an investigation into two types of contemporary loneliness; being in
a remote natural wilderness, a place one feels cars and people no longer belong; and
searching for any sign of life on the other side of a laptop screen, in the young days of the
Internet.
Exhibited:
Aktionsforum Praterinsel, Munich.
Art Cologne, Germany.
Bonner Kunstverein, Germany.
Documenta X, Germany.
Finnish Museum of Photography, Helsinki.
Fotomuseum Winterthur, Switzerland.
House of World Culture, Berlin.
http://roundearth.zkm.de/arcticcircle
Kunsthalle Krems, Austria.
Kunsthalle Kiel, Germany.
Swiss Cultural Center, New York.
Media Lab Munich, Germany.
Museum für Gestaltung, Zurich.
Museum of Fine Arts, Leipzig.
Museum for Photo Art, Odense, Denmark.
Palace of Expositions, Rome.
St. Gervais Génève, Switzerland.
VIPER Festival for Film & New Media, Lucerne.
Whitney Museum of American Art, New York.
Black Sea Diary 1993
a collaborative facsimile of digital faxsimile book project

Media:

1964 opel kadette deluxe car

apple powerbook 100
fax-modem
Logitech digital cameras
fax machine
silver-based photographs
faxes and photocopies
digital video and audio loops
book

Description:

Two artists, Philip Pocock (Canada) and Felix Stephan Huber (Switzerland) head
eastward from Cologne through newly opened Eastern Europe, along the Serbian border,
where ethnic war is raging, and traverse Romania to the Black Sea. Simultaneously,
traveling the other way, through telephone wires lining the streets en route, digital post-
Beat text and images made their way to a FAX machine in the Electronic Café in the
Aperto section of the 1993 Venice Biannual.

Like a digital roadmovie script, the uncut FAXes arriving in Venice curled and
covered some floor space, and were gathered up afterward and published by Edition
Patrick Frey, Scalo Verlag (Parkette), Berlin, New York, Zurich. The Introduction to this
'facsimile of faxsimiles' encompasses the major themes the duo broach in this digital
performative work – Time Lines, Tourist Bubbles, Transmission Errors. The car died on the
way home, soon after scaling the Carpathian Mountains.

Exhibited:

Aperto, Venice Biannual.

Art Cologne, Germany.
Galerie Brigitte Schenk, Cologne.
Gallery Storm, Amsterdam.
St. Gervais Génève, Switzerland.
Music Security Administration 1993-7
painting and drawing collaborations.

paint a different color on your front door, from “A Song for You”, Gram Parsons, 1973.

Media:

song lyrics
acrylic painting
drawing, collage, works on paper
silkscreen
video and film loops.

Description:

Borrowing our name from the Farm Security Administration - 1930s Great
Depression agency for social documentary photographic essays - the members of the
Music Security Administration - Dirk Bell, Walter Dahn and Philip Pocock - interpret blues,
country, indie and rock and roll song lyrics in paint and on paper, as if they were captions
for invisible photographs of an impending 1990s social and economic crash. The resulting
works numbering more than 60 paintings and 100s of drawings were produced in Cologne
under studio conditions. The are both collaborative and synesthetic, being about 'seeing,
hearing and reading' all at once.

Exhibited:

Centro d'arte contemporanea, Bellinzona, Switzerland.

Jörn Bötnagel Projects (Galerie BQ), Cologne.
Galerie Monika Sprüth, Cologne.
Kunstverein Augsburg, Germany.
Stedelijk Museum, Amsterdam.
Journal of Contemporary Art 1988 – 1994
a desktop-published semi-annual contemporary art journal, co-founded by Philip Pocock
and John Zinsser in New York.

Media:

interviews
special projects
apple mac plus computer
postscript laser printer
pagemaker 1.0
desktop publishing

Description:

The first desktop-published artist-run, artist-edited contemporary art magazine in

New York, is almost entirely composed of interviews with artists. With no pictures, the
artist's interviewed in each of the 16 issues published seem to be in an electronic dialogue
– precursing Internet use in some ways – based on their ideas and less on the forms their
art takes. The Journal migrated to the web in 1992, as part of The Thing, the original
contemporary art online portal.

“The magazine is an absolute must for any library involved with contemporary art.”
- Bill Katz, Library Journal, May 15, 1988.
Cibachrome Painting 1982-1992
color photochemical painting and light-sensitive imaging hybrid works.

Love Canal, Cibachrome painting, 2 scrolls, ea. 15m. X 86cm.

In Allocations, curated by William Ewing,49th Parallel Gallery of Canadian Art, New York, 1983.

Media:

35mm Kodachrome film, 4x5in. Ektachrome film

liquid frisket and monofilament silkscreen
Cibachrome color photographic material

Description:

Where does a photograph end and a painting begin? Extending the photogram, to
remove not only the camera but selectively light itself from the photographic process,
Cibachrome painting applies chemical, or alchemical, processes that require painterly
handling and result in seamless hybrids of painting and photography.

Exhibited:

49th Parallel Gallery of Canadian Art, Galerie Simon Dresdnère, Toronto.

New York.
Albany Museum of Art, Albany, Georgia.
Alternative Museum, New York.
Antibea Theater Festival, Cap d'Antibes.
Arts Festival of Atlanta, Atlanta.
Berland Hall Gallery, New York.
Centro de Arte La Regenta, Las Palmos,
Canary Islands.
Denver Museum of Art, Colorado.
Edith Blum Art Insitute, New York.
Everson Museum of Art, Syracuse.
Galerie Krinzinger, Vienna.
Galerie Löhrl, Mönchengladbach, Germany.
Gallery Leyendecker, Tenerifa, Spain.
Haggerty Museum of Art, Milwaukee.
Indianapolis Museum of Art, Indiana.
Julian Pretto Gallery, New York.
Laurie Rubin Gallery, New York.
Museum Ludwig, Cologne.
Museum of Fine Arts, Houston.
Piezo Electric Gallery, New York.
Piezo Electric West, Venice, California.
PS1 Institute for Art and Urban Resources,
New York.
Saidye Bronfman Center, Montreal.
Shoshona Wayne Gallery, Los Angeles.
Simon Watson Gallery, New York.
The Obvious Illusion: Murals from the Lower East Side, 1980
color photographs Philip Pocock, essay Gregory Battcock, publisher George Braziller,
New York.

Media:

35mm Kodachrome film

Cibachrome color photographic material

Description:

Where does a photograph end and a painting begin? A concerned and lyrical
documentary archive of color images capturing an urban moment and multicultural
conditions on New York's Lower East Side, visually narrated through of interplay of murals
and architecture.

Exhibited:
The Cooper Union for the Advancement of Art & Science, New York, 1980
The Art Gallery of Ontario, Toronto, 1981.
Prof. Philip Jackson Pocock - Resumé

b. Ottawa, Canada 1954

citizen Canada / EU

Philip Pocock is a Canadian new media artist and researcher, photographer, writer, publisher and educator.
His photographic works have been exhibited at the Cooper Union, New York and the Museum Ludwig,
Cologne. His internet-based art works have been produced by documenta X and the ZKM Center for Art &
Media Technology in Germany, and most recently the 3rd Seville Biannual BIACS Foundation, Spain.

BFA Film and Television Production, New York University, 1979.

Full Professor (tenure), Art, Art & Design Theory, Design Faculty, Pforzheim University, DE, 1994-
Artist-in-Residence, ZKM Center for Art & Media Technology, Karlsruhe, DE, 2005-
Creator, Interviewstream blog, ZKM Center for Art & Media Technology, Karlsruhe, DE, 2005-
Co-Founder, Journal of Contemporary Art, New York, US, 1988-94.
Reviewer, Texte zur Kunst, Cologne/Berlin, DE, 1992-95.
Fine Art Photographer, Brooklyn Museum, Harry Abrams Inc, New York Public Library, US, 1982-1990.
Instructor, International Center of Photography, New York, 1980-1990.

Selected Exhibitions:

2008
Alan∂::scopic regimes of uncertainty, BIACS3 Seville Biannual, ES.
SpacePlace::art in the age of orbitization, Center for Interdisciplinary Research, Bielefeld, DE.

2007
ZKM Youniverse Island in Second Life, ZKM Center for Art & Media Technology, Karlsruhe, DE.
Mobile Movie Matrix, ZKM Center for Art & Media Technology, Karlsruhe, DE.
SpacePlace::art in the age of orbitization, ZKM Center for Art & Media Technology, Karlsruhe, DE.

2006
SpacePlace::art in the age of orbitization, ZKMax, Munich, DE.

2005
Unmovie::how to make your corner mandala (Resites), Galerie Oboro, Montreal, CA.
Unmovie.net, Dunlop Art Gallery, Regina / Blackwood Gallery, Mississauga, CA.

2004
Unmovie::the mind cannot rest on anything, Walter Phillips Gallery, Banff, CA.
Unmovie::open tea house, Dutch Electronic Art Festival DEAF, Rotterdam, NL.

2003
Unmovie::kiasma extension proposal, Kiasma Museum of Contemporary Art, Helsinki, FI.
Unmovie::two tourists, Intercommunication Center ICC, Tokyo, JP.
The Conquest of Ubiquity, XTRA space CajaMurcia Foundation, Murcia, ES.

2002
Unmovie::wall-image, ZKM Center for Art & Media Technology, Karlsruhe, DE.

2001
A History of Grey, Musée d'art moderne St. Etienne, FR.
The Thing About Plastic, Staatsgalerie Stuttgart, DE.

2000
Voilà: Le monde dans la tête, Musée d'art moderne de la Ville de Paris, FR.
h|u|m|b|o|t::CAD memories, Galerie K&S, Berlin, DE.
Arctic Circle / Tropic of Cancer, Museum of Fine Arts, Leipzig / Kunsthalle Kiel, DE.

1999
h|u|m|b|o|t::platform, ZKM Center for Art & Media Technology, Karlsruhe, DE.
h|u|m|b|o|t::mail bot, National Gallery of Art, Bonn, DE.
Bad Bad w. W.Dahn, Kunsthalle Baden-Baden, DE.
Augenblick uud Endlichkeit, Museum Ludwig, Cologne, DE.
Rewind to the Future, Bonner Kunstverein / Neuer Berliner Kunstverein, DE.

1998
Otherlands, 16th World Wide Video Festival, Stedelijk Museum, Amsterdam, NL.
Otherlands, Palais des beaux-arts, Brussels, BE.
Kiosk II, International Sculpture Invitational, Art Cologne, DE.

1997
A Description of the Equator and Some Otherlands, Documenta X, Kassel, DE.
Otherlands, 7th International Video Week, Biannual of the Moving Image, Saint Gervais Génève, CH.
1st International Performance Festival, Kunsthallen Brandts Klædefabrik, Odense, DK.

1996
Homemade Ice Cream, Galerie Leccese Sprüth, Cologne, DE.
Art on the Web, Whitney Museum of American Art, New York, US.
Follow the Yellow Brick Road..., Kunsthalle New York, US.
A Memory Palace, International Artists' Museum Lodz, PL.
Hello World, Museum of Design, Zurich, CH.

1995
Arctic Circle, Museum of Photography, Odense, DK / Finnish Museum of Photography, Helsinki, FI.
Bumper Value Jotter, Städtische Sammlung, Augsburg, DE.
Growing Up and Coming Down, Jörn Bötnagel Projects, Cologne, DE.

1994
Cibachrome Painting, Galerie Simon Dresdnère, Toronto, CA.
Experimental Vision: The Evolution of the Photogram Since 1919, Denver Museum of Art, US.

1993
Black Sea Diary, Aperto, Venice Biannual, IT.
Excess in the Techno-mediacratic Society, Shoshona Wayne Gallery, Los Angeles, US.

1992
Cibachrome Painting, Galerie Leyendecker, Tenerife, Canary Islands, ES.
Adam, Andreas, Curtis, James, Peter & Philip, Centro de Arte La Regenta, La Palma, Canary Islands, ES.

1991
Bilderlust, Museum Ludwig, Cologne, DE.

1990
Total Metal, Simon Watson Gallery, New York, US.
Cibachrome Painting, Julian Pretto Gallery, New York, US.

1989
Cibachrome Painting, Albany Museum of Art, Georgia, US.

1988
Photography on the Edge, Haggerty Museum of Art, Milwaukee, US.
Real Inventions / Invented Functions, Laurie Rubin Gallery, New York, US.
100 Years: A Tradition of Social and Political Art on the Lower East Side, PPOW Gallery, New York, US.
Recent Acquisitions, Everson Museum of Art, Syracuse, US.

1987
Cibachrome Painting, Piezo Electric West, Venice, California, US.
New Trends in East Village Art, Mori Gallery, Sydney, AU.
Focus: New York, Moosart Gallery, Miami, US.

1986
Out of the Clouds, Edith Blum Art Institute, New York, US.
Cibachrome Painting, Piezo Electric Gallery, New York, US.
Contemporary Issues III, Holman Hall Art Gallery, Trenton State College, New Jersey, US.
The East Village, Fashion Institute of Technology, New York, US.

1985
The Art of Appropriation, Alternative Museum, New York, US.
Soon To Be a Major Motion Picture, Greathouse Gallery, New York, US.
37 Painters from New York's East Village, Museum Castagnino, Buenos Aires, AR.
East Village Art, Saidye Bronfman Center, Montreal, CA.

1984
Street Politics, Real Art Ways, Hartford, Connecticut, US.
Berlin Stories, Greathouse Gallery, New York, US.
East Village Art, Virginia Beach Arts Center, Virginia Beach, US.
Ghetto Murals, Sol Mednick Photography Gallery, Philadelphia College of Art, Philadelphia, US.
Berlin North South East West, Federal Republic of Germany Mission to the United Nations, New York, US.

1983
Allocations, 49th Parallel Gallery of Canadian Art, New York, US.
Cibachrome Painting, Piezo Electric Gallery, New York, US.
Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, Indiana, US.

1982
Limbo, PS1 Institute for Art and Urban Resources, New York, US.
First Six Photographers, Oggi Domani Gallery, New York, US.
Berlin Stories, London Regional Art Gallery, London, Ontario, CA.

1981
Two Ends of a Spectrum, Art Gallery of Ontario, Toronto, CA.
The Obvious Illusion, Cooper Union for the Advancement of Art and Science, New York, US.

Selected Awards, Festivals, Lectures, Presentations and Workshops:

2008
Imagining Outer Space international conference, Center for Interdisciplinary Research, Bielefeld, DE.
http://www.archive.org/details/ImaginingOuterSpace1900-2000ZifBielefeldConferenceKeynotes6.2.08-

2007
The Slatelliterates-ZKM in Second Life, Berlinale, International Film Festival, Berlin, DE.

2006
The Information Revolution: Between the Everyday and the Future, Informations Year international
symposium, Dept. Of Computer Science, University of Karlsruhe, DE.
http://www.archive.org/details/Pocock_EveryoneaSatellite_InformatikJahr2006_UniKarlsruhe

2005
Private Orbits::Vodcasting seminar, HfG Academy of Art and Design, Karlsruhe, DE.

2004
Art and New Media workshop and seminar, Faculty of Fine Art, University of Kabul, Visiting Cultural
Personality Program, Foreign Affairs and International Trade Canada, AF.
International Festival of Media Art, Dresden, DE.
18th Stuttgarter Filmwinter, Stuttgart, DE.

2004
Maybe TV seminar, Class David Larcher, Academy of Media Art, Cologne, DE.
Beyond Art and Media, Prof. Harald Klingenhöller, Academy of Fine Art, Karlsruhe, DE.

2003
Net Excellence honorable mention award, Ars Electronica, Linz, AT.
Runme Festival of Software Art, Moscow, RU.
Unmovie.net, virtual Art Basel 34, CH.
Code is the Current Language of Culture, International Festival of Electronic Language, São Paolo, BR.
Le FIFI Festival - 1er festival du web dédié aux fictions, Paris, FR.
Unmovie::A Long Curtain for a Short Festival, International Short Film Festival, Kingston-Upon-Hull, UK.

2002
Space Some Space, Academy of Fine Arts, Karlsruhe, DE.

2001
The Network is the Narrative, Net.Congestion International Festival of Streaming Media, Amsterdam, NL.
Environmental Factors: Art, Education, Audience, Vom Tafelbild zum globalen Datenraum international
symposium, ZKM Center for Art & Media Technology, Karlsruhe, DE.
Links, Liaisons, Ligações Prize 01 runner-up, V2 Rotterdam, NL / Virose, Museum Serralves, Porto, PT.
h|u|m|b|o|t, virtual Art Basel 31, CH.
Streaming Cinema 2.0, TheBitScreen, Ars Electronica, Linz, AT / Seoul Net and Film Festival, Seoul, KR.
Space Between, The Art of Exhibiting international conference, Academy of Fine Arts, Stuttgart, DE.

2000
Travel-as-Art: A Trilogy, International Media Art Award nomination, ZKM Center for Art and Media
Technology, Karlsruhe, DE.
Hypercinema Drifts - Docs Online, International Documentary Film Festival, Amsterdam, NL.

1999
h|u|m|b|o|t, net_condition, Steirischer Herbst Festival for New Art, Graz, AT.
Art, Travel, Agency: tangled up in the web, Shift e.V. Berlin, DE.

1998
Hypercinema Narrative workshop, Mediamatic, Amsterdam, NL.
Weather Report from the Equator, World Wide Video Festival symposium, Amsterdam, NL.
Net Cinema workshop, CONSTANT, Brussels, BE.
Double Aura: museums & networks, Das Museum als Medienmodell / The Museum as Media Model
conference, Ulm Museum, DE.

1997
Philip Pocock - Otherlands, 100 Days 100 Guests program, documenta X, Kassel, DE.
New Media Fellow, Academy Schloss Solitude, Stuttgart, DE.
Space without Qualities information and urbanism workshop, Bauhaus University, Dessau, DE.
Only Connect, CrossVideo: Das bewegt Bild in den elektronischen Künsten, Videonale, Kunstmuseum
Bonn, DE.
Hearing, Reading, Seeing, 2nd International Artist's Symposium, University of Ulm, DE.
The Museum as Outdated Media Model, German Museum Association conference, Ulm Museum, DE.
E-Quator, Salon Digital Soirée, ZKM Schaufenster am Marktplatz, Karlsruhe, DE.

1996
Ars Digitalis international symposium, Academy of Fine Arts, Berlin, DE.
Simulation/Simulation, VIPER Festival of Film and New Media, Lucerne, CH.
Internet Communication seminar / workshop, Version 2.2, Center for Contemporary Images, Geneva, CH.
Travels in Hypercinema, University of Design, Darmstadt, DE.
Expanded Net Cinema, Prof. Birgit Hein, Academy of Fine Art, Braunsschweig, DE.
Media Means Middle, German Philological Institute, Maximillian University, Munich, DE.
Ultimately, the Photograph, Antwerp Royal Academy of Fine Arts, BE.

1995
The Arctic and the Internet, Siemens Media Lab, Munich, DE.
From Thingness to Isness, Academy of Fine Arts, Berlin, DE.

1994
My New Museum - on the Work of Walter Dahn, Kunsthalle Kiel, DE.
July is Over and There is Very Little Trace – On the Work of Walter Dahn, Kunstraum Ulm, DE.
Growing Up in America - On the Painting of Frances Scholz, Albrecht Dürer-Gesellschaft, Nürnberg, DE.

1993
Black Sea Diary::travel-as-art-as-information, Electronic Café at Media Park, Cologne, DE.
When Science Loves Nature, San Miguel Academy of Fine Art, Santa Cruz de Tenerife, Canary Islands, ES.

1992
Painting Meets Photography, Glassell School of Art, Houston, US.
The Obvious Illusion, Art. Dept., University of Texas, Houston, US.

1990
Photomodern, Arts Festival of Atlanta, Georgia, US.
Antibea Theater Festival, Cap d'Antibes, FR.

1988
Current Trends in Contemporary Photography, New School for Social Research, New York, US.
Remembering the Future, Fruitmarket Gallery, Edinburgh, Scotland, UK.
1981
Beyond the Photograph, Prof. Duncan de Kergommaeux, University of Western Ontario, London, CA.
Cibachrome Photography, Prof. Thomas Drysdale, Photography Dept. New York University, US.

1980
Directions and Perspectives Series, International Center of Photography, New York, US.

Selected Articles, Books and Catalogues:

2008
YOU_ser: The Century of the Consumer, ZKM Center for Art & Media Technology, Karlsuhe, DE.
YOUniverse, BIACS3 Seville Biannual, BIACS Foundation, ES.

2007
Documents: Quelques pratiques artistique à l'ère de la numérisation, les presses du réel, FR.

2006
Jack Goldstein: Digital Aphorisms, DVD ROM, Karlsruhe, DE.
2005
Medien Kunst Interaktion: Die 80er und 90er Jahre in Deutschland, Springer Verlag, DE.

2004
Internet Art, Thames & Hudson, London, UK.
Digital Transformations: Medienkunst als Schnittstellevon Kunst, Whois Verlag, DE.

2003
Future Cinema: The Cinematic Imaginary after Film, MIT Press, US.
Feelings Are Always Local, NAi Publisher, Rotterdam, NL.
The Chrono-Files: from time-based art to database, lotringer13/halle, DE.
Critical Conditions: Information Atmospheres and Event Scenes, Wood Street Galleries, Pittsburgh, US.
CyberArts, Ars Electronica, Hatje Cantz Verlag, AT.

2001
net_condition: art and global media, MIT Press, US.
Solitude au musée/Solitude im Museum, Edition Solitude, FR/DE.
Die Kunst des Ausstellens: Beiträge, Statements, Diskussion, Hatje Verlag, DE.
Zero to Infinity: Arte Povera, Walker Art Center, US / Tate Modern, UK.
Photographie des 20. Jahrhunderts, Museum Ludwig, Cologne, DE.

2000
Voilà: le monde dans la tête, Musée d'art moderne de la Ville de Paris, FR.
Rewind to the Future, Bonner Kunstverein / Neuer Berliner Kunstverein, DE.
Traversing Territory, Portland Institute of Contemporary Art, Oregon, US.
Desert & Transit, Museum of Fine At Leipzig / Kunsthalle Kiel, DE.
Augenblich und Endlichkeit: Das von der Photographie geprägte Jahrhundert, Salon Verlag, DE.

1998
Peripherie ist überall, Edition Bauhaus, DE.
16th World Wide Video Festival, Stichtung WWVC, Amsterdam, NL.

1997
Documenta X: The Book, Hatje Cantz Publishers, DE.
Documenta CDX ROM, documenta gmbh, DE.

1996
Photography after Photography: Memory and Represention in the Digital Age, Art Stock, DE/UK.
Arctic Circle /Tropic of Cancer CD ROM, Center for Contemporary Images, Geneva, CH.
Pixel-Porträt: Eine Hochschule auf CD-ROM, Novum: Das Forum für Kommunikations-Design, Munich, DE.

1994
Experimental Vision: The Evolution of the Photogram Since 1919, Roberts Rinehart Publishers, US.

1993
Black Sea Diary, Editions Patrick Frey / Scalo Verlag, CH/DE/US.
1988
Journal of Contemporary Art, New York, US.

1984
Encyclopedia of Photography, Crown Publishers, US.

1982
Berlin Stories, London Regional Art Gallery, London, Ontario, CA.

1981
Two Ends of a Spectrum, Art Gallery of Ontario, Toronto, CA.
The Obvious Illusion: Murals from the Lower East Side, George Braziller Publ., US.