TINA is a video piece consisting of four takes shot in four locations of one side of a telephone conversation edited together to create one visual and audio whole. Kucera holds together the spatial discontinuities in this piece through both verbal and graphic matching, presenting the viewer with four parallel locations reconstructed into a continuous digital montage.

Portrait of Fred Astaire in Water is a video piece with a dreamlike aesthetic. Martinico uses three seconds of a late-career Fred Astaire and digitally separates them, spreading the images out over almost four minutes – shifting in and out of focus, moving towards a never fully defined realization of the embodied human.

Daniel Martinico’s work approaches video with a hacker’s mentality, playfully sampling and reworking appropriated material to reveal and reconsider dominant systems of structure found within the debris of popular media culture. Recent screenings and exhibitions have included Backup Festival of New Media in Film, Bauhaus-University Weimar, Germany; Vidarte 2002 in Mexico City; VideoEx, Switzerland; LA Freewaves @ MOCA’s Geffen Contemporary, Los Angeles; and REACTION! Cinema2 at II Cinema Ritrovato, Bologna.

Vis-à-Vis is a mixed-media work combining synthetic music and images. The two media share a number of governing principles, both technical and formal. In this piece, Miller employs the technique of convolution, in which two sounds or images are “blended” to create a new whole. Formal continuity is achieved through the varied repetition of elements of both media that are introduced near the piece’s opening.

Vis-à-Vis is organized into three distinct segments of approximately equal length. Each section introduces its own unique elements while developing the material that preceded it. Miller used the POVray scene description language to generate the images, and the Acoustic Mirror plug-in in the creation of the soundtrack.

The interrelationship of experience, mind and memory are seen and heard in Miller's elegant and mature work, Vis-à-Vis. Life is "compositional" and this piece provides more than an illustration, it exemplifies the process.
– Julie Lazar

Dennis Miller received his Doctorate in Music Composition from Columbia University in 1981 and is on the Music and Multimedia faculties of Northeastern University in Boston. His animations with original music have been shown at numerous venues throughout the world, most recently the ambient Electron show at the DeCordova Museum, the 9th New York Digital Salon, the 2001 Art in Motion screenings, immedia, Sonic Circuits, the Cuban International Festival of Music, and the 2001 Not Still Art screening. His work was also presented at SIGGRAPH 2001 in the Emerging Technologies gallery. His 3D still images are published in Sonic Graphics: Seeing Sound (Rizzoli Books). Miller’s music and artworks are available at www.dennismiller.neu.edu.

24 Sha Po Road, a digital video shot entirely with a spy-camera, outlines a collision between the spiritual and physical planes. In this piece, the life of a 25 year-old man intersects with the existence of a 175 year-old spirit, disrupting the young man’s understanding of his world. Shot on location in Sha Po Old Village in Hong Kong’s Wanchai district, 24 Sha Po Road considers the effect of contemporary communications technologies on traditional belief systems.

Shane Muchow’s work is propelled by a desire to visually and accurately represent the inner sphere of thoughts, dreams, and spirituality. He is a regular contributor to the Belgian publication Addict Creative Lab, and has worked as an Avid Editor and Pos-Production Supervisor in Hong Kong, San Francisco, and New York. Now based in Seattle, Shane, with partner Sarah Allen, founded Test-Tube, a production company focused on creative promotion for small businesses and independent fashion designers.

Halo comments on the capacity of video games to mediate human interactions. The viewer observes gamers communicating with one another through the construct of the game, from the view of the outsider essentially isolated from one another though they are engaged in a game, singularly focused on the mission at hand. The inactivity and nonverbal communication represented on this screen belies the intense mutual engrossment and involvement in the game being played. This piece portrays the machine not only as a tool facilitating communication, but also as the landscape in which communication occurs.

After seeing countless experiments by artists to make art around/from/based on computer games, it is great to have this work crafted by a professional master gamer. Demian "Lone Wolf" Petryshyn creates a restrained and yet dramatic portrait of computer-mediated subjectivity. Going beyond the tired oppositions of real/virtual, reality/game, and the like, Halo is a new type of group portrait of "two humans and a computer game."
- Lev Manovich

Demian “Lone Wolf” Petryshyn is one of the youngest rising stars in the pro-gaming world. Known for his unparalleled endurance and concentration, Petryshyn went pro just three years ago after being discovered on the internet, winning a 42-hour deathmatch under the alias “Lone Wolf”. Since then, Petryshyn has claimed numerous victories, including first prize in the Quake 2 competition at XSNew York, the setting for the championship tournament of the Professional Gamers’ League, and maintains an overall eighth place ranking in the Korean Starcraft league.