The goal of this project was to put the Mexican Anthropology Museum on the World Wide Web so it can be visited by anyone anywhere. The information (in Spanish and English) is structured so that it is fun and interesting, and it provides different ways for online visitors to leave their marks.

There are two main tours: by layout of the museum and by prehispanic culture, including additional stories such as Legends of the Ghosts of the Museum, Communities Then and Now, and Aztec News. There are many links among the various topics. All aspects of development of this project have been documented so that others can duplicate it, and the programming code is freely available for distribution.

In establishing a precedent and defining a path for putting parts of a country's culture on the net, the producers of Anthropology WebMuseum of Mexico hope that other countries with limited resources can realize the potential of this medium. The opportunity to visit a museum from any classroom or home in the world opens a vast array of possibilities for learning and understanding other cultures.

Arnulfo Zepeda Navratil
Mexico City, Mexico
+52.5.725.1050 fax

Concept and Implementation
Arnulfo Zepeda Navratil
Arturo Bejar Solar
Electric Communities

Content and Research
Karina Rebeca Durand Velasco
Museo Nacional de Antropologia

Eduardo Llaguno Velasco
Jorge Francisco Puente V.
J. Benjamin Alvarez M.
Multimedia & Computing Services
Jose Ivan Cervantes R.
Salvador Ayala Mungia

Graphic Design
Mario Vicencio Montiel
Jose Luis Bravo
Carlos Alberto Guzman

Centro Inv. Diseño Industrial


The ArtAIDS LINK is an art and communications project that uses the Internet and World Wide Web browsing tools as a medium for new forms of collaboration and interaction. The supported art forms are limited only by the availability of compatible file formats.

Art communities, which have traditionally not been part of a large-scale, international networked computing culture, are now accessing and exploiting the potential of fast communication links, developing new ways to collaborate, and forming new experiences, opportunities, expressions, and responses.

The ArtAIDS LINK's digital canvas promotes sharing and participation, wherever there is Internet access. A central theme of the LINK is the

response to AIDS, and everyone is encouraged to explore and apply creative inspiration to this worldwide crisis. Art and design educators are already using the ArtAIDS galleries to extend current patterns of learning and doing.

Visitors to the ArtAIDS LINK galleries can browse exhibits, download images, keep images for modification, and upload works for subsequent exhibition. Most of the LINK pages are dynamically generated. They provide opportunities to offer feedback and add additional art-site links. The gallery site is a World Wide Web server that deals with file conversion routines for thumbnails. Exhibits can be located at many sites around the world for retrieval by ftp or other means, depending on user location.

The LINK galleries promote a new way of viewing art and contributing to public art. They create a new forum for discussion and expand, explore, and study genealogical, visual, and emotional relationships.

Andrew Nimmo
Department of Computer Science
Queen Mary and Westfield College
University of London
Mile End Road
London E1 4NS United Kingdom
+44.181.980.6533 fax

Andrew Nimmo
Sylvia Wilbur
Gee-Kay Wong
Mike Hopkins
Queen Mary and Westfield College, University of London

Peter Ride
Cambridge Darkroom Gallery

Geoff Henning

John Clancy
Chelsea College of Art and Design, The London Institute

Nina Pope
Sheep T. Iconoclast
The Bartlett School of Architecture University College London

Q Love
Rourke Associates


ChainReaction is a worldwide collaborative art project that involves digital image manipulation and networked integration of visual communication and the visual environment. Participants from around the world collaborate with SIGGRAPH 95 attendees to create a nonlinear progression of digital images. Using the World Wide Web and network technologies, they collaborate to build a structure of images that reflects the multiplicity of the experience.


ChainReaction is based on the successful ChainArt Project (1993), Digital Journey Project (1994), and Diversive Paths Project (1995). Each of these projects utilized the Internet as a means of collaborative creation and exchange of visual imagery. They focused on inclusion and development of a collective experience, and demonstrated how the creative process is altered by digital communication and visual collaboration. ChainReaction focuses on individual creative decisions and maximizes the integration of digital input devices and networked visual communication, thus enhancing the creative possibilities.


The project began as a complex World Wide Web interface that included numerous starter images and interactive methods for inputting information. Once the project was underway, participants could download an image, manip-ulate it, and then upload it back to the ftp site. Using scripting, the image was then connected back to the chain, displayed as a link to the image from which it began, and made available for viewing and manipulation on the WWW. Each time an image was manipulated, it created another link in the chain. As the chain progressed, the images continued to branch off and create a more diverse selection of images to manipulate.


For SIGGRAPH 95, ChainReaction participants can choose from a variety of digital input devices to include their visual environment in their expressive reactions to other participants' images. They can manipulate another person's image by drawing on it using a digital tablet, incorporating video recorded at SIGGRAPH 95, or capturing images from a CU-SeeMe video session. They can also scan in images or capture digital images using a digital camera.

CU-SeeMe sessions involving participants from around the world and video performance events are captured for inclusion on the WWW ChainReaction site. Some images become part of other images while other CU-SeeMe images become part of pages, visually documenting the individuals who manipulated the image.

Participants from locations around the world can collaborate with SIGGRAPH 95 attendees in manipulating images and communicating via CU-SeeMe and email. Because hardware, software, and networking capabilities vary from location to location, involvement in the project ranges from ftping manipulated images to networked video performances merged into the manipulated images and documented on the WWW site.

This project is a journey into the creative process, and the results document a collective experience that can only be achieved through international digital networking technology and expressive responses to digital images on the network.

Bonnie Mitchell
Art Media Studies - Computer Graphics
College of Visual and Performing Arts
Syracuse University
Syracuse, New York 13244 USA
+1.315.443.1303 fax


Melody dos Santos
Drew Farris
Heather Elliott
Wayne Fidler
Joshua Jones
Scott Mager


Even though computer art is 30 years old, computer artists are still fighting a guerilla struggle to gain acceptance in the established fine art community and within our own broad-spectrum technology communities. The Guerrilla Gallery is a working Atelier that provides a rich interactive experience for works-on-paper artists and the entire SIGGRAPH community.

The purpose of the Guerrilla Gallery is two-fold. First, it offers members of the art and science communities a unique opportunity to experiment with the complicated process of printing images from their own files on a variety of printers, free of charge. The gallery features a fully equipped imaging studio where artists can produce digital prints.

The salon area of the gallery, Common Ground, also serves as a meeting place and crossroads, where SIGGRAPH 95 attendees from all disciplines can exchange ideas on all aspects of imaging. This exchange is intended to enhance our understanding and appreciation of one another. Works-on-paper artists exhibit their prints in Common Ground, talk with manufac-turers, and hold "Artists Talk on Art" sessions, which are open to anyone who wishes to attend.

The atelier is supervised by Jon Cone, founder of Cone Editions Press, who offers his services as master printer.

Pat Johnson


A Adobe Acrobat(tm) document is available here.

Motion Phone is an experiment in pure visual communication. Users sit at workstations that display digital animation loops and use a tablet to choose colors and drawing tools from palettes on the screen. As the users draw, the speeds and locations of their marks are entered into the animation loop. Additional marks are added into the same animation loop, allowing users to sequentially layer multiple rhythms of form and color. The non-modal interface allows users to simultaneously modify shape, size, and color by varying the pressure on the tablet, pressing keys, and using the surrounding interface. Users quickly learn to recognize and control the subtleties of motion in their hand-gestures - information that is normally lost or hidden by most computer art and animation tools.

When one animator decides to interact with other users, a connection is established by simply clicking on an icon. Then two people can communicate using motion, form and color in an unpredictable and sometimes startling interaction. Since the animators' marks are preserved over time, there is a sense of history to their dialogue. The resulting communication can be chaotic or graceful, but it is always engaging.

The tools provided in Motion Phone are primarily two-dimensional: lines, circles, polygons. Since the animation is stored in a display list, each viewer can translate over the infinite plane of interaction, or zoom into or out of parts. With more than two users, this space becomes an immense landscape upon which many dialogues are taking place.

In order to speed viewing of the Motion Phone Quicktime Movie, you can copy the file to your hard disk. The Motion Phone movie is located at [cdrom]/COMUNITY/ATELIER/MPHONE.MOV.

Scott Snibbe
1616 East Howell, Apartment 205
Seattle, Washington 98122 USA
+1.206.343.4240 fax


Scott Snibbe
Adobe Systems Incorporated


Community is a central tenet for those who have used the computer to transform art, culture, commerce and communication in the years since SIGGRAPH was founded. Yet there has never been a unified community of makers and users. Instead, we are "communities," satellites of interest groups and sub-specialties, employing local dialects so thick that even though we claim to speak a common language of bits and bytes, most of our conversations are impenetrable to all but a select few. Thus, it is cause for wonder when the technologies that so often splinter our attentions instead bring about new unities. We concentrate here on the conjoining of text and image because this involves a transformation not only of the form of on-line environments, but also of their very purposes.

Consider two groups of people: those who communicate with digital graphics and media, and those who use text-based networking to bring about interaction. This is not to say that graphics programmers did not have email accounts or that IRC and netnews users did not download .gif images. Though substantial numbers were card-carrying members of both groups, there were many who belonged to one or the other, each with its own history, emphasis, and argot. We speak in the past tense, because with the recent advent of the World Wide Web, these two groups have effectively merged. Designers are now creating home pages that compress effectively for transmission, and net surfers are incorporating graphics into on-line MOOs. Interactive Communities celebrates this fusion, showcasing those projects that combine the instant access and interlinking of on-line environments with the visual richness and iconographic quality of computer imaging. <

Yet we have to ensure that the specificities of each of the communities - what drew people to them in the first place - are not lost in the rush. What happens to the growing sophistication and nuance of digital images as we subject them to the compression algorithms required to pipe them around the globe? And, perhaps even more important, do we sacrifice the egalitarian community of text, which has defied our usual social hierarchies, to the requirements of "professional" imagemaking? The late critic Craig Owens once defined the essence of postmodern art as "the eruption of language into the field of the visual." In a cultural turnabout, the Web demonstrates an invasion of the textual by the order of the image. Lasting communities are built by a responsible and empowered citizenry. We must ensure that images flow from many to many - like the Internet in its text-only days - and not only from the powerful few to the multitudes (the model offered by contemporary mass media).

Peter Lunenfeld
Art Center College of Design
Ken Goldberg
University of Southern California


As we move toward the end of the millennium, museums are rapidly changing. New communities must be addressed, whether they are disenfranchised by economic circumstances or geographic limitations. Through World Wide Web tools, The California Museum of Photography integrates technology, social history, and contemporary art, and provides public opportunities for interaction on several levels.

The museum uses Apple's Library of Tomorrow program to develop liaisons with classroom teachers, contemporary artists, and the general public. Projects include:

Edward W. Earle
Associate Director
California Museum of Photography
University of California Riverside
+1.909.787.4797 fax


Associate Director
Edward W. Earle

Museum Director
Jonathan Green

Curator of Exhibitions
Kevin Jon Boyle

Museum Educator
Lori Fiacco
Robert Price
Hoffer Elementary School


Ylem/Artists Using Science & Technology now has an art space on the World Wide Web: Ylem's Art on the Edge. It ranges in media from artists who do immersive environments, interactive multimedia, and music, to essays on evolving aesthetic theory.

Click here for a mini-tour on this CD-ROM.

Click here to reach the online server, if you have a Web browser.

Ylem's Art on the Edge uses the World Wide Web to decentralize curating, displaying, experiencing, and eventually, making art within the global community. The non-hierarchical nature of web technology will certainly loosen traditional art institutions' control of even the definition of art by providing a "by-pass" link between the artist and the "user." The frontier spirit of the web will no doubt push the envelope in the areas of human sensory perception and multi-cultural vision. To facilitate this evolution, Ylem is acting as a WWW host for artists who wish to contribute web pages.

Beverly Reiser
Ylem/Artists Using Science &
6979 Exeter Drive
Oakland, California 94611 USA


Art Pages
Annette Loudon
Beverly Reiser
Larry Shaw
Gary Zellerbach

Interactive Media
Beverly Reiser
Bill Fleming
Hans Reiser
Kimberley Edwards
Life on a Slice

Craig Harris

Robotic Sculpture
Ken Rinaldo

Large-scale Site-specific Sculpture
Anita Margrill

Digital Photography
Annette Loudon

Digital Photography
Diane Fenster

Interactive Multimedia
Lucia Grossberger Morales

Interactive Multimedia
Steve Wilson

2D Graphics
Paul Brown

Robotic Sculpture
Jim Pallas

Multi-sensory Installations
Barbara Lee

Web Art
Ranjit Bhatnagar

Digital Photography
Marius Johnston

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