Modern Convenience: Luminous Object I is a physical manifestation of the interface between human and technology in the form of play. Dunphy uses technology as the transitional tool from parallel play to social play, in which activities become joined in creative and imaginary evolution. Modern Convenience: Luminous Object I provides a playful place, an inhabited space in which a participant can engage the other playmate -- in this case a technological fabrication -- creating both an inspired physical representation of the interface and a playground for the adult child.

Upon receiving the Masters of Fine Arts from the San Francisco Art Institute in 1988, Dunphy was awarded the Robert Howe Fletcher Cup for outstanding student work with a degree in Performance and Video. An exhibition, at New Langton Arts, San Francisco, was open for the Susan Watkins two years later.In 1992, two exhibition, Sexual Politics: Judy Chicago's 'Dinner Party' in Feminist Art History at the Armand Hammer Museum in Los Angeles and Recycling Art History at the Pittsburgh Center for the Arts in Pennsylvania, were after she moved to Los Angeles. Most recently with the Modern Convenience works, she has been included in the Atlanta biennial at the Atlanta Contemporary Art center and the Georgia Triennial, hosted by the Telfair Museum in Savannah, Georgia.

The etoy.CORPORATION, famous for works like "the digital hijack" (1996), "TOYWAR" (1999/2000), the etoy.CARGO-TANKS and etoy.DAYCARE (2002), was officially incorporated in 1994 and has rapidly developed into a controversial market leader in the field of experimental entertainment and art. The etoy.CORPORATION is currently owned and controlled by more than 2,000 SHAREHOLDERS.
etoy.OPERATORS are standing by to take your call …

Representing legendary culture-code manipulating corporation etoy, are etoy.ZAK: manager of the etoy.USA-BRANCH; and etoy.STAMBERGER: president of the etoy.VC-GROUP, which vigorously controls and protects the etoy.BRAND and TRADEMARKS.

The youngest etoy partner, ZAK represents a new generation of the etoy.CORPORATION. He has been a CORE-AGENT since early 2001, and has worked with etoy in Zurich, and remotely from California and New York, where he is currently located. Within etoy he is responsible for video production, USA operations, and design aspects in addition to co-authoring etoy.TEXTS with etoy.STAMBERGER. His background includes art-history, media-arts and graphic design. Outside of etoy he manages zak group (www.zak.to), a concept and design management firm.

A member of the etoy.BOARD since 2000, etoy.STAMBERGER is a database architect and designer, who, together with etoy.NEWTRON and etoy.GRAMAZIO is a principal architect for the etoy.IT-INFRASTRUCTURE. After a successful career in the music biz, STAMBERGER started a career in information technology, in which he gained experience in financial institutions, the telecom sector and the logistics of freight forwarding. When not working for the etoy.CORPORATION he is a successful entrepreneur managing his own data management consultancy company in Zurich.

Commute is an experiment in creating a video form with the articulation and precision of written poetry. Shot over five consecutive days from a camera in the backseat of a Saturn SL2, the film takes the viewer on a commute south on the 101 Freeway from Ventura, California to Hollywood. A meditation on fear, silence, and inaction, Commute begs the question of whether a constructed, non-conventional frame can speak as clearly as a verité camera, and if a sequence of these split-screen frames can tell a story of personal failure that is both compassionate and complex.

Andrew Filippone Jr. (Director/Editor) is a filmmaker who lives and works in Los Angeles. Commute is his first non-narrative film. Filippone's latest documentary feature, tentatively titled Mina & the Family Treasure, will be completed in late 2003.

Stefan Girardet (Music/Sound Design) has contributed music to films such as The Confessional, The Animal Room and The Saint. He has also worked with the artists Gilbert and George on the album We Love You. Born in London, Girardet trained classically at Cambridge University and now resides in Los Angeles.

Titled after the driving route between Los Angeles and Las Vegas, 10/15 uses the road trip as a metaphor for a journey through the inner landscape of the mind. Graveline demonstrates how vehicles, which serve as mechanical extensions of our bodies, are used to facilitate a synapse between these two technological meccas. The bus driver's head serves as a cutout for reflections, resulting in the imagery of vehicles winding through the mind of one whose living is made by quietly navigating through herds of machines, eventually making his way to the open road. 10/15 beautifully layers passing scenery and vehicles, creating a video environment of reflection on the relationship between the human and the vehicle.

Linda Graveline's background in fashion and production design in New York led her to Los Angeles, where she began experimenting with digital video and installation. Her goal is to push the viewer to questions perceptions of reality, race, memory and time, how our society has evolved, and at times, themselves. She creates experiences, which highlight the hidden aspects of life and otherwise mundane experiences. Using unpredictability, sensuality, serenity, humor, seating and aroma, her work captivates the viewer, surprising those who usually dismiss video as a medium and at times leading them into an almost meditative state.

The human shadow is an immaterial extension of the embodied being. It reflects one's position in relation to the surrounding environment. When introducing interactive and artificial shadows, an obscure aspect of the body is discovered, which is neither verbal nor purely visual. The aim of White Square is to create a digital environment that responds to the physical presence of the user with visual feedback. Haaslahti's installation enhances physical ways of experiencing projected imagery by utilizing the entire body as an instrument of interaction.

Yves Bernard acted as the programming, engineering, and the interaction design advisory for the White Square project, which has been co-produced by iMAL, Brussels (www.imal.org).