Inflat-o-scape is an experimental, multi-faceted "view" of an urban information zone: a merging of architectural structures, information technologies and inflatable forms. The presence of emerging and extinct technologies creates a historically ambivalent interface that examines the idea of a "progressive" landscape. Inspired by the history of inflatable architecture, the dot-com boom and bust, wireless networks, data compressions, economic inflation, urban utopias, consumer cluster mappings, architectural appendages, blimps, balloons and related disasters, Inflat-o-scape is a fabricated "space," merging and erasing historical and geographic specificity. The resulting landscape is part fiction, part history, part failure and part theoretical database.

Irish is a new media artist, whose art works have been exhibited and screened nationally and internationally. Her work has been supported by the Creative Capital Foundation, the California Arts Council and has been featured in magazines, newspapers and online journals. Jessica Irish is the Co-Director of OnRamp Arts, a digital arts non-profit that produces innovative new media projects in collaboration with communities and artists. Irish is also a visiting faculty in the Design/Media Arts Department at UCLA and has worked as a consultant and designer for many art and media institutions throughout Los Angeles.

The actual speed of the propeller is controlled by the combination of a self-contained circuit, a pulse width modulator that receives input from a photo resistor and the direct interference of the viewer.

Brooklyn-based Klima (b.1965) has been obsessed with 3D ever since 1978. Fascinated by the flight simulators and CAD programs, he began to build 3D graphics environments and write source code. Employing a variety of technologies to produce both hardware and software, Klima's work consistently connects the virtual to the real, addressing issues of remote responsibility, and blurring the distinctions between the simulated and the concrete.

Klima's work has been exhibited extensively, most notable being his solo show at Postmasters Gallery titled Go Fish; ecosystm included in BitStreams, curated by Larry Rinder at the Whitney Museum of American Art; EARTH part of the 2002 Whitney Biennial Net Art Selection; and the glasbead performance in the Media Z Lounge at the New Museum of Contempory Art. His international exhibitions include the Museum for Communication in Bern, Switzerland, the NTT InterCommunication Center in Tokyo, Japan, and numerous international festivals.

Matrix Maintenance Officers is a performative piece in which the artists clothe themselves in wearable computers and interact with the public, addressing the issues created when interpersonal contact is increasingly mediated by communications technologies. Mayo and Schaffer approach perceived reality as a social construct rather than a truth, acknowledging the unique gaze of each individual, and considering how that gaze is affected by communicating via computer. In this work there is a slippage in the boundary between body and machine, a blurring of the bodily interface with the computer environment, which prompts the artist to raise the question of when and if we will be forced to expand our definition of human being to include machines, and how such an expansion might augment our sense of human identity.

S. Mayo is an artist whose cross-medium approach has been reviewed in NY Arts magazine, and she has published articles in various printed and online magazines. She recently curated a group exhibition at HERE gallery entitled fakespace. Her work's focus is in examining through studio practice and critical writing perceptual shifts in how we envision the bodily interfaces with artificial environments, which formulate our digital culture.

New York City based artist Kate Schaffer received her MFA from the School of the Art Institute of Chicago in Chicago, Illinois. Her body of work, which includes video, sculpture, and interactive design, deals with issues of sex, commodity, and the fetishization of the machine. Her work has been exhibited internationally, including HERE Gallery, NYC; as well as screenings at "Chicago's Own" sponsored by Chicago Filmmakers, "Out on Screen" The Toronto Gay and Lesbian Festival, as well as other alternative and underground festivals.

http://www.matrixmaintenance.com/mission6.html

In Transit comprises a series of time maps exploring London's transport systems, exploring the relationship between architectural spaces and our perception of time. Pinsky comments on the ways in which our traditional understanding of time and distance are being transformed by the increasing speed of communication and transportation, which are represented visually in the temporal pleating of his V2 maps of commute lengths.

Michael Pinsky, an artist living and working in London, graduated from the Royal College of Art in 1995. Taking the combined roles of urban planner, activist, researcher, resident and artist, he merges video with other media such as performance, mapping systems and three-dimensional modeling to respond to the physical and sociological space in which each of his works exist. Pinsky finds that context is crucial to his work, providing both the content and the foundation for each piece.

Amoeba combines video, graphics, and music to develop a generative installation work. Snell utilizes a simple cellular automata to create and control a composition of both musical and video output. A pulse travels around a 16-celled grid based on a simple rule. This pattern and the information gathered from it are then used to make timing, duration, image sequence, and musical note choices, and video effects. A newly generated video/music piece between 3-6 minutes in length results each time the program is run. Each iteration generates the same components of the piece, but with emergent variations. Like a basic life form, the relatively simple rules of this automaton generate a complex and emergent pattern.

Dean Snell explores generative ideas with music, video, the web, graphics and in installations. A musician for over 21 years with experiences ranging from Javanese gamalon to avant garde electronics, Dean graduated from ITP at NYU in May of 2001 where he became interested in generative art and the development of simple emergent systems and the marriage of these with artistic visual and musical works. His work has been shown in Seattle, Phoenix, New York and at the IV Salon of Digital Art in Havana, Cuba. He currently teaches Multimedia in New York and does freelance web, video, and sound design.