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"I can't get away from my hunger for the small, the domestic or the downright trivial. I dream of cyber-kitchens..."

Jess Loseby is a new but established net.artist from the UK. She exhibits primarily on the net in net.art galleries and exhibitions and at her own online gallery: http://www.rssgallery.com/ She has recently been invited to become the artist in residence at furtherfield.org - one of the first Internet residencies of it's kind.

Following the success of the net.art project 'the Digital Pocket Gallery' at ikatun.com (which she co-curated) her first solo-curated project 'the-cyber-kitchen.com' was launched in July 2002. This became co-curated with Michael Takeo Magruder in October 2002 as the project expanded. Her work is also found in the Rhizome artbase. In England she has shown her digital prints both nationally and at central London venues.

Her work centers around the cyber-domestic aesthetic. Is there room in the global arena that is the net for the small, the domestic and the whims of a neurotic woman? Mixing words and animation her work is often text based, sometimes using music and manipulated photographs to create narratives and skewed perceptions - reversing the view of the net telescope and narrowing the field of vision. Jess Loseby is young(ish), has three children, one husband and no time!

My photographs form landscapes possesed with familiar, human, animal and sacred presence. The familiar subjects are the essential everyday landmarks. I have immersed them in zones of shadow and mystery where there bleeds sensual, absurd, humorous, spiritual and allegorical lightning.

I live and work in Montral, Canada where I've had several solo and group exhibitions in artist run galleries for the past 15 years. Some of my autobiographical writing has been published. Back in 1989 I was a resident artist at the Banff Centre in the Canadian rocky mountains where I met Cathy Ward and Eric Wright. We maintained our friendship through the years. Cathy and Eric made me animal masks that I have used in accordeon playing performances and in photographs. Lately I've been using the masks with hair extensions. Hair has been a theme in my work (as in Cathy's) for the past two years during which I documented Montral's barber shops.

interdisciplinary artist

well, i cook. and that's almost everyday. one day someone will cook for me. and hopefully it will be before nursing home.

Amie Bolissian was born in Canada of Armenian and British parents and raised in London, England. She has studied at various Art Colleges in London and Brazil including Central St. Martins College and Chelsea College of Art where she graduated with a BA (honours) in Fine Art (Painting) in 1998.

She has been exhibiting in London and abroad since she was 19 and works in a range of media, including painting, drawing, print and photography. She lives and has her studio in East London but travels extensively.

In the last three years she has exhibited in a variety of venues including: The Green Door, Hackney(solo show); The Tardis, Farringdon, for 'Hidden Arts'; Summer Rights Festival; Erotica exhibition, Olympia; Ideal Homes Exhibiton; Solo show, First Out caf/Gallery, Tottenham Court Rd; King of Clubs English Cultural Centre, Sao Paulo, Brazil, Graphite Gallery, Vauxhall, London

I am digital artist with a main area of interest in 3-d animation, compositing & special effects. I hold a BA (Hons) in Digital Media. I've just been graduated at Wolverhampton University and currently working for "Shining Light Productions" Studio on the animation project which will hopefully see its light on Carlton TV later this year. I am also participating in a few project competitions for various TV Channels. My main ambition at this point is to be commissioned to implement my own animation poject by the third party. I feel very lucky to discover something that could fill my life in terms of interest and career-wise, and satisfy my hunger for creativity with a potenial for not just earning a bit, but travelling possibly, being mobile and flexible.

I think, I am not too different from you lot - been some places, seen some people, got some experience (up and down). I would like to share the good things that have come out of it. And definitely learn more... from you. Good luck to everyone!

Having worked in a variety of mediums over the years I have recently decided to develop my photographic work using both traditional and digital photographic methods. Original photographs may be scanned and altered using a computer or, simply printed to be assembled into a collage. Developing my photographic work I find I naturally gravitate towards layering, tearing the images and sometimes adding other found objects to produce a collage. I seem to never be satisfied with a pure photograph and need to constantly manipulate the image either digitally or adding other mediums. I want viewing the pictures to be more than a fleeting glance, for them more to be explored by the eye'

ABOUT MILK BOTTLE OF THE WEEK

Milk Bottle Of The Week is a new web site featuring some of the worlds most bizarre, beautiful and sexy milk bottles. What's more they're delivered, via email, fresh to your desktop every week. The site also includes competitions, a full history and the complete archive of every Milk Bottle Of The Week so far.

Since the sites launch, at the beginning of February, over 5000 people per week have visited the site. 2000 from all over the world have also subscribed.

Boy George once famously said, "I'd rather have a cup of tea than have sex." Well I say "why limit yourself?"

Born USA - serious automobile accident at 16 - lost parents - suffered amnesia - developed Social Anxiety Disorder - now completely house bound.

My 'artistic practice' is very much influenced by my past. Both by what I have experienced and what I have been unable to experience. My work is entirely computer/net based. Having to work with what is available means that I use mostly 'grabbed' images, sounds etc; detourning/updating the art of previous female artists or using representations of the female form by male artists. As an 'observer' only, I find the politics of gender fascinating. And although its not a debate I can enter into directly on a day to day basis, I hope my work at least raises interesting questions about sexuality/domesticity and the place/representation of women in art (both now and historically), from a female perspective - albeit a strange one.

Born in Gijon Spain 1965. Degree in Image and several photographic course in London and NY.

Some of my exhibitions: PhotoEspaa Descubrimientos.Centro Cultural Conde Duque. Madrid Feria Internacional de Arte contemporneo Mac21. Marbella.Espaa Instalation Alzado Vectorial interactive art capital del Pas Vitoria-Gasteiz. los Ferrocarriles Espaoles fonundation. A Virtual Memorial 2002- New Media Art Project by Agricola de Cologne. Alemania. infographie.univ-lyon. Francia. Sicur. Galera Vertice. Oviedo. Sala Cultural Cajastur. Gijn. Centro Cultural Antiguo Instituto Jovellanos. Instalatin. muestra Sala Cultural Cajastur. Avils. Centro Cultural Cajastur. Mieres. . Casa Municipal de Cultura de Luarca. Antigua Rula. Instalacin. Gijn. Sede de la Fundacin de Los Ferrocarriles Espaoles. Fundacin Alvargonzlez. Gijn. Centro de Imagen EFTI. Madrid. Caf Espaol. Oviedo. Asturias.

At the moment I work in my studio as proffessional photographer since 1999

another thing for networked environments. bin is a container, a photograph album. only with photos, we keep them, but with our litter, well, we throw it away...

please deposit a photograph of the contents of your kitchen trash can in the cyber-kitchen bin: http://www.devoid.co.uk/bin (jpeg, best size about 320 pixels square or bigger, no bigger than 50k)

A couple of Christmases ago I found some black grainy things on my kitchen worktops and wondered what they were. One night at about 3 a.m. I found out. That blur running across the kitchen floor? That was a mouse. So that stuff on the worktops? That was mouse shit. I had a major freakout. I couldn't sleep. I went out the next day with the thought running through my head that the little bastard might be running through my flat helping himself to whatever. I was being terrorised. Where did he go? I knew roughly (he was somewhere in my flat) but not precisely. So my first resort was to the heavy stuff. Fifteen mousetraps. These weren't clever, or humane, but they were precision weapons, designed to get the job done a.s.a.p. Plus I figured if they didn't work I could go chemical/biological with some trays of proprietary poison (Rentokil have their own range - a trusted brand makes for trusty products, doesn't it?). I laid the traps and tried to get some sleep. But I began to have second thoughts. As much as the mouse was terrorising me and threatening my way of life, wasn't I terrorising him and his? We both wanted the same things, after all - to eat, to reproduce, to roam free. Although I also wanted a DVD player. Apart from that, we were very much alike. I, however, had economic superiority and vastly greater available resources thanks to my near-colonisation of the local Savacentre. Knowing that, understanding that, could we not just live and let live? No. I couldn't stand the little long-tailed bastard crapping on my worktops. So I left the traps where they were and, a few minutes before midnight, I heard a loud SNAP from the kitchen. I slept well that night. In the morning there was a mess, sure, but I put it in a black bag and I pay my Council Tax on time so someone was sure to come and take the remains away for me. The point was, I was in charge again. I'd been re-elected president of my flat with an overwhelming majority. That was a year and a half ago. Now, on a beautiful sunny summer day in 2002, I climb the stairs from the garden to the flat and see a mouse's tail disappear between the floor and the skirting board of the kitchen. Simon Morse lives & works in London

Born in France, living in Amsterdam and both Dutch and British, I make art everywhere. I am a traveller. This piece: Window is a result of a brief residency in Lyon, France and a very urban experience. I like to explore my immediate environment in great detail. Much of my work concentrates on the idea of place, belonging and our emotional attachment to particular environments.

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The work: Digital artists spend more time developing projects around life forget the spiritual part of art and this is what I am exploring right now. I have sent the boudha 'cause every body could understand. But other work is based and different cults and and beliefs (the death of christianity,the secrets of babylon, old Jewish magic) etc.... All my work is digital.. I am rather bad at giving brief about myself so I used my friend to talk about me.

Miss Gabali can be described as an extrovert of all proportions, one who lives life to the fullest naturally without any addictives and is highly intellectual and humorous. She warms the streetsand anywhere she goes with her just her smile and charm and is yet to explore the extreme of her own genius capabilities. Miss Gabali is now concentrating on a few projects (music, digital art) which are gradually taking off the ground.

In the places I've lived the space below the sink has usually been a scene of chaos: the antithesis of the cleaning, washing, and scrubbing activities that take place in the space above.

A variety of stuff gets stored under the sink, "out of sight, out of mind". Cans and jars of suspect liquids, rubber gloves, rags, sponges, pot scrubbers, dust pans, etc. Under-the-Sink is also a metaphor for the imagination. When I work I begin by hauling out every prop and material from boxes and cupboards. Art doesn't get made in a tidy studio but takes on form in the chaos. Objects that have been put away, lost, forgotten, buried, or abandoned get resurrected in the process of making new work.

Jo Cook lives on Mayne Island, British Columbia, Canada. Her work can be seen on: http://www.freemanifesta.org/ http://www.smallworldtokyo.com/ http://www.ikatun.com/digitalpocketgallery http://www.helsinki.fi/~jjmvanha/wallet.htm

This year she is exhibiting her installations of drawings and sculptures in Artist Run Centres across Canada.

Kate Armstrong is a writer and new media artist who has lived and worked in Canada, France, Japan, Scotland and the United States. Her work has taken a variety of forms, from short fiction, essays and a novel, to short films, experimental javascript and hypertext applications, text-based flash animation and installation. Her net art works have been exhibited in international forums. Her first book of essays, Crisis & Repetition: Essays on Art and Culture, was published by Michigan State University Press in 2002.

The 12-hour ISBN JPEG Project ----------------------------- began December 30, 1994

Pointless Hypermodern Imagery... posted/mailed every 12 hours... a spectral, trajective alignment for the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of exclusive events...

A post-rhetorical, continuous, apparently random sequence of imagery... genuine gritty, greyscale... corruptable, compact, collectable and compelling convergence. The voluptuousness of the grey imminence: the art of making the other disappear. Continual visual impact;an optical drumming, sculpted in duration, on the endless present of theNet.

The basic structure of the project has been over twenty-four years in the making. While the specific sequence of photographs has been presently orchestrated for more than 12 years` worth of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing publication with additional new interjected imagery. Each 12-hour posting is like the turning of a page; providing ample time for reflection, interruption, and assimilation.

Sarah Klein’s work manifests itself in video. Drawn to the language of the home and the rituals of everyday life, she shares in common the traditions of our recent past.

Sarah Klein graduated with a MFA from Mills College in Oakland, California. Her recent exhibitions and screenings include the Performance Art Festival at the Works Gallery in San Jose, CA, the Film Arts Festival of Independent Cinema in Berkeley, CA, the Intermedia Festival in Cincinnati, Ohio, the De Young Museum, Secession and Meridian Galleries in San Francisco, CA. Recently she was awarded a project grant from the Chez Panisse Foundation.

Independent Videographer, Director, Producer, Editor, Educator, Artist and Consultant. Multimedia Instructor at The Illinois Institute of Art - Chicago. 99-current ARC Gallery and Educational Foundation, President/Director. 99-01 Siggraph. Video Research Consultants. 84-87. City of Chicago:Dept. Cultural Affairs-Coordinator 87-93; MOPD-Specialist, 93-99. Master of Fine Arts from the School of the Art Institute, Chicago. Multimedia/ Time Arts. Master of Education, Loyola University. InterArts/Columbia College. Interdisciplinary Arts Program/Curriculum and Instruction. Exhibition record locally, nationally and internationally. Recipient of the Illinois Arts Council Fellowship award in Media Art; American Video Conference Award, AFI/Billboard, Midwest Regional Fellow/NEA; Tokyo International Video Festival, Special Merit Award in Experimental Videoart.

The world can be beautiful; we must envision it; the present can become bearable; we must find our way out of it. Art is a service, not a product.

Performance has become a key term that in turns applies to experimental art, worker productivity, and functionality of technical, corporate, and military systems. Extrapolating from the purist corporatist bent, when we call Performance artistic, it references a cultural production that is meaningful and has definable roles in relation to the subjects of experience. Within a corporate context, Performance as artistic must be expressive within the experimental art domain, but also address issues of productivity, repeatability, and functionality. In the greater cultural context, Performance as a work of art does not exist. What, does exist, are services (design, labor, practices, management, etc) that we call art. We explore these services as discrete departments working towards a holistic goal. Service is an act (or when considered a process - an action, series of actions) done for others. Creation is an act (or process). Contrary to Baudrillard, everything did not begin with the object. Prior to the object there is creation. Prior to maintenance, there is creation. Prior to destruction, there is creation. Or perhaps better, transformation (an act),since the only true act of creation would be from nothing into something (the initial act of God?).

1998 Graduate University of Arts, Department of Visual Arts, Bucharest 1998 Member of Rostopasca Group, Bucharest 2002 Curator_ Coop Media Festival Bucharest _ Open, Lido di Venezia, Hyperhouse by Mona Vatamanu

Personal Exhibits: 2001 Demo, Lex Luthor Found Projects, Gad Photogallery (with angela, floe) 2000 Rostopasca Cultural Weeks, Briemberg Algorithm, with floe, Atelier 35, Bucharest

interdisciplinary media artist from Germany, creator and founder of NewMediaArtProjectNetwork - the experimental platform for the arts in Internet

The meeting place

Traditionally is the kitchen a meeting place, often enough that very place where family members meet only once a day early in the morning for breakfast, or where the most constructive and inventory conversations are made while someone is cooking. Sometimes in between the family's son has an intimate contact on the kitchen table - woman or man, who knows? And finally late at night, the tired mother cannot sleep in and takes some supplemetary stuff. What a day! What a meeting place!

Caterina Davinio, Italian artist and writer, curator. She is one of the first artists in Italy, who experimented new technologies (as video, computer and Internet) in literature since 1990; as curator she has brought the attention of the public and of the critic to the connections between experimental poetry and technologies, by organizing, since the beginning of the 90s itinerant festivals, which have brought the Italian performance and visual poetry in contact with the circuit of the video, computer and web art. As an artist Caterina Davinio has made computer art , audio-visual digital poems, real time computer interactions, installations, computer printings exhibitions, Internet performances and projects. Her works were showed in universities and museums, in international exhibitions and festivals, in Italy and in other countries (Greek, Spain, Portugal, Germany, USA, Brazil, Argentina, France, etc).

Every kitchen needs a dog. They smell when the food is done cooking, so food is never burnt. When living alone, one also needs the physicality of someone to share ones cooking with, and dogs are very handy here. They are not fussy--if you run out of dog food, dogs will eat just about anything, including cat food. In fact, you have to keep the food high enough on the counter, as dogs will eat even when they are not hungry. Because of this curious trait, they also make great vacuums, cleaning up every last crumb and food spill. And, best of all, curiosity only kills cats, at least in the e-world of make-believe, where the friendship of a dog is forever.

I am a lecturer in Multimedia at University of Northumbria (Newcastle, England) and just starting a Practice-based Fine Art PhD in Interactivity. I also work in The Cluny studios in Byker, Newcastle, recycling paintings into TV sets,prayer flags for the new techno-religion and sheds.

Philosophy of accepting is turning point in humanity progress. At the same time man cannot accept own mistakes and usually make anothers guilty for his own problems. For those people its easy to laugh or give advices to anothers but for them its not possible to be aware of ownself. In my life I take position of own observer and with dose of cynicisms and performed me and my body. I try to act without false ego and accept the fact state which is giving me possibility of realising general situation. In cruel reality I approach to children, looking at their relation toward life.There`s everything is possible. Components of unreal are based on real happening. Children imitate adults and the adults with their acting and irresponsibility remind to children. Life becomes game and game life. Art work together with philosophy and visual levels, have to have atmosphere of moment to be complete and to get individual feature. Im trying always to go further, thinking that man have to be universal, equally good in every his activity field. Step by step: from sketch to drawing, from drawings to painting, from paintings to performance, from performances to photography, from photography to video, from video to video installation and to interactive object. Using of new medias have only the sense and meaning in service of idea. Visual aspect than attain a goal to make something permanent.

Born in 1967 in Colombo

EDUCATION
1998 - 1999 Master of Arts in Fine Art. Royal Melbourne Institute of Technology (RMIT) at LASALLE-SIA College of the Arts, Singapore 1996 Bachelor of Arts in Fine Art (Painting) with Distinction. Royal Melbourne Institute of Technology (RMIT) at LASALLE-SIA College of the Arts, Singapore 1993 - 1995 Diploma in Fine Art (Painting). LASALLE-SIA College of the Arts, Singapore

SOLO EXHIBITION
2001 Shift, Flex, Listen, Feel. Socit Gnrale Gallery, Alliance Franaise de Singapour 2000 Installation art in a public space at the official opening of the new Piaget Boutique. Takashimaya Shopping Centre, Ngee Ann City Tower B, Singapore.

Video, Interactive Multimedia & Web Artist / Computer designer / Writer

BIO : http://users.skynet.be/tamara.lai/bio1.htm
Tell A Mouse (Web Ring) http://www.tellamouse.be.tf/

Spaghetti, pizza, espresso, cappuccino... Italian food is loved everywhere, but sometimes its origins aren't known (Some Americans think they invented pizza!) That's why Carla Della Beffa has concocted her new work. It's entirely visual, but is mostly about sound. Try to hear the sounds in your mind and you'll have a taste of Italy.

Carla Della Beffa is a well known Italian multimedia artist and painter. She works with still and moving images, words and sounds. Sometimes she manages to fit other senses, like taste, smell or hearing, into paintings. She often succeeds in making her art become a multi-layered experience.

dlsan is a non-graphic software (rpg/sql/cobol languages) developer since 1990. In April 2001 he approached at the web with his site Kid Koma (www.dlsan.org) after other activities like painting, photography, drawing comics and acting. }

statement { In my opinion "playing with materials" is the primary purpose of a creative act. Links are like ideas cause we think in a hypertextual way and usually remind to other sites. Kid Koma is an assembly of public culture domain materials. Although it's the simplest self-training, it's only a cut-up. Although it has no future, it's still growing. Although it's on inter-net, it's in ita-lang. Although it's art, it's trash. (Don't worry, be happy) }

<statement/bio> http://digilander.libero.it/dlsan/intro/intro.htm

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Kanarinka is a new media artist and a java programmer. She began her artistic career collaging bits of magazines and words together. Kanarinka accidentally fell in love with programming computers while conducting multimedia workshops for teachers and educators. Programming computers turned out to be a fantastic catalyst for discovering new ways to make collages and new ways to engage with art. Kanarinka currently leads an educational software project at the Harvard Graduate School of education by day and creates art and carouses with the iKatun collective at night.

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My Washing Machine/My Goddess is written between critical theory and everyday life, repeating a time when my washing machine had broken down, where washing flows suddenly took on a threatening volume, eating into my writing. The piece is also an exploration of Irigaray’s reading of Nietzsche?s thought of Eternal Return in Marine Lover of Friedrich Nietzsche (CUP; 1991), the text I was working with in another project and which drastically changed shape as the heap piled up. Producing critical theory punctuated by the hell machines of Zanussi seemed quite funny at first. However, not everyone can afford the luxury of laughter. A tiny and insignificant event, the breakdown of my machine, provoked a critical questioning of Irigaray’s tendency to write tools as a masculine predicate, moving from laughter to satire through the locus of the washing machine.
The poem is not anti-technology, despite the virulence of its comedy. What is intolerable to me, as a feminist critic, is avoidance of encounter with the many times of women and men compressed in my time stored in labour saving tools. The piece attempts to express a systematic cannibalism seaming time enough for writing in consumer relations and within Irigaray’s expressions of a feminine divine that, she hopes, carries the potential to aerate the suffocating logic of speculative thought. The piece graphically performs a redoubling of the logic of condensation and displacement that governs the becoming-comedy of reproductive metaphor. The shape of the poem compresses into an arrow of time, a point, implicated in the mechanical time of technologies that gives some women ‘time enough’ to breathe in relations of simultaneous co-dependence with many women, and men, who do not. It is dedicated to a (re)memory of my mother, Theresa-Anne, for whom the advent of a washing machine allowed time enough for painting.

If you would like give feedback or, even better, would like to make a hypertext link, in any medium, to a part that resonates with you, please contact: R.Chandler@ucc.ac.uk

Currently completing a doctoral thesis, Nietzsche and Feminism(s): Doing Time beyond the ends of Woman, I am always looking for interesting projects to work with, especially those that refuse a neat division between the creation of art and concepts.

Shamanistic and environmental artwork.

Next to the sink is a wooden drying rack comprised of many vertical wooden slats with spaces between each one into which I can slot plates. It stands upright and viewed from the side looks like a large X (only wider), the bottom half of the X being the legs and the top half the space into which the plates and everything else goes. There is a small separate wooden box like container - also open with slats - in which the cutlery can dry. On a good day washing up can slow me down into myself, but usually I'm going to fast and I just find it a chore. Painting and sculpting, on the other hand, really do slow me down into the medium and into myself. I'm sure that's part of the reason I do them. On the other hand I also do feel satisfied when the washing rack is full and the kitchen has been done - again.

My work is broad based - ranging from making through paint and oil painting installations and interventions to digital, Net-specific art projects to curating exhibitions and publications. All aspects of my work deal with ideas of nation and 'race' - us and them.

URL for upcoming exhibition/intervention into the tourist zone: http://www.thecurioproject.com/

I'm currently completing a Bachelor of Visual Arts, at QLD College of Art, Griffith University, Brisbane, Australia, majoring in Intermedia and having the time of my life. Previously taught English as a Second Language to high school kids, and still doing it in my spare time, voluntarily. Most recent exhibitions include involvement in painting three cows for the Cows On Parade/Cows Against Cancer Exhibition, (group show for the Leukemia Foundation )Queen Street City Mall, Brisbane,Queensland, June 2002- November 2002. Took part in online group exhibition, Digital Pocket gallery, April- August 2002. www.ikatun.digitalpocketgallery . My interests are the intersection between concepts of home and the outside world and how we perceive our different realities. I have a special interest in things multicultural. I work in paint, ink, and use digital
photography and video.

babel is a british/canadian artist, creator and editor of 391.org ( http://www.391.org ) and recovering marmite addict (taking it one slice at a time)

source movie: edison's 'panorama of eiffel tower' (9 august 1900)

I am a sound artist / electronic music composer (based in Leeds, (England) and as such I work primarily with sound, I also create animations, which are predominantly text based with ambient soundtracks. They are either interactive or linear (due to their file size they are 'off-line' works at present).My other ongoing projects are: Creating auditory illusions (using 3D sound techniques), Exploring 'in-between' states, Multi-sensory installation work, Using sound to evoke memories and associations, Ambient music composition (atmospherics). +++++++++++++++++++++++++++++++++++++++++++

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Hooshla Fox: Hooshla is a self-educated, multi-talented plush red fox (Vulpes vulpes) hyper-dilettante, ever-burdened by the knowledge that he might actually be a squirrel (Spermophilus or Sciurus). His lives in New Orleans but works mostly out of New York City, having recently returned from a long sojourn in South Pasadena, California.

A few years ago Hooshla announced a plan to gradually take over the world. At this point it's not clear whether he is still in the domination game. One might, in fact, argue that he's more inclined to save the world than control it. However, he is sly, perspicacious, unpredictable, and elusive and as such should probably be avoided and distrusted.

Fritz Donnelly: http://www.tothehills.com

Satyre and Nymph in the Kitchen is taken from the series, 'Domestic Idols', an erotic, interactive artwork. Cavorting pipe cleaner figures animate a domestic environment using this child's medium. 3 dimensional rude graffiti or frivolous fluffy toys

B. Stephen Carpenter, II, is associate professor in the Department of Art Education at Virginia Commonwealth University in Richmond, Virginia (U.S.A). His ceramic, mixed-media, installation, and performance artworks have been exhibited in Florence, Italy; Pittsburgh and Philadelphia, PA; Baltimore, MD; Greenville and Charlotte, NC; and numerous locations throughout Virginia.

His scholarly research explores contemporary and ceramic artworks, hypertext curriculum design, and cultural literacy through visual inquiry. Carpenter's articles have appeared in Art & Antiques, Art Education, Ceramics: Art and Perception, Educational Leadership, The Journal of Multicultural and Cross-cultural Research in Art Education, and Studio Potter.

Carpenter serves on the editorial board of The Journal of Cultural Research in Art Education. In March 2003, he will become the next editor of Art Education (the journal of the National Art Education Association). Steve Carpenter was born in Washington, DC, grew up in Maryland, and now lives in Richmond and Norfolk, Virginia.

Most objects in the Cyber-Kitchen are isolated from each other. To me, the relationship between the work, its environment (internet at the 'abstract' level - in this case the-cyber-kitchen.com website as a part of it, and the web browser at the user level) and its viewers (as participants of the artwork) are important and i try to avoid being arbitrary in making decisions about these relationships. My washing powder object therefore tried to establish a link to the rest of the kitchen. It does so by first superimposing the source codes of all other works onto each other, thus creating another interpretation of the Cyber-Kitchen and finally giving the user the option to clean what we perceive as dirt.

Ali Miharbi was born in Istanbul, Turkey in 1976 where he currently lives and works. He obtained his Bachelor of Arts in Art Theory & Practice from Northwestern University (IL, USA).