Mouchette is presented to her public as a young artist - not yet 13 - who created her own website in October of 1996 (which of course would have made her an extremely precocious 6 year-old). Since the launch of the Mouchette site, she has taken part digitally in art manifestations, exhibitions, and events throughout the world, making additions to her site that document each occasion. mouchette.org, accepted both as a personal website and as an important piece of net.art, generates between a hundred and a thousand visits daily. Receiving vast amounts of mail through her site's interactive interface, Mouchette thus maintains her presence by keeping in contact with her public - exclusively in digital form.

Mouchette's identity-sharing interface gives registered members of mouchette.net the ability to share, use, and augment Mouchette's online identity. This interface also affords members the ability to "become" Mouchette when need (or desire) dictate - sending email, adding their own pages to the site, and generally passing as the author of mouchette.org.

Examples of shared Mouchette identities can be found at:

http://mouchette.org/page.php?name=master-of-nets
http://mouchette.org/page.php?name=cafard

Wholly based on the genetic code extracted from the artist's DNA, genomixer presents a series of online artworks, which investigate the human genome map. The site allows the user to cross reference all the code in the genome sequence, breed or remix variables and genetic mutations, and view the new mix of chromosomes online, in real time.

Shauna Frischkorn's Game Boys series explores the relationship between gamer and game, documenting the complete absorbtion, intense concentration, and emotional state of individuals "playing" video games. Investigating the cultural phenomenon of gaming through close examination of the gamers themselves, Frischkorn brings traditional portrait photography to the new media arena, focusing on the "virtual" activities of video game players performing fast-paced maneuvers and exercising split-second decision-making skills, providing various portraits of intense concentration.

In the academic world, most media, however new it may or may not be, is presented on a media cart. In creating Media Cart, Shane Hope utilized a vast assortment of materials, including but certainly not limited to genetically modified plants, dead foliage, fly tying gear, craft supplies and assorted flotsam and jetsam, which were crafted into dumb linear puppet components that are completely self-referencing, subjects which provide their own background landscapes.

Recorded with a circuit-board inspection video microscope, the video looping endlessly on the cart, entitled The Hope Book of the Dead Foliage, offers the viewer an extremely close look at Hope's whimsical, quirky, and sometimes disturbing creations.

Providing viewers with an opportunity to rethink their relationship with and to technology, Buffering . is a reflection on the emotional state of a society whose experience of love and affection is mediated by communications technologies. Shot in Hong Kong , Switzerland , and Chicago , Illinois , Kit Hung's video is a poetic depiction of the journey of searching for one's sense of self in the digital age.

An interplay of animation displayed on LCD monitors, overlayed with a static light projection, Monsters of Time utilizes diverse modes of visual narrative: from vector graphic, to stop-motion animation, to live-action video. Filled with whimsical imagery, Hwang's animations wander through the human mind's experiences, from dream sequence to reality.

Based on a modified software game engine, Jahrmann and Moswitzer's Nybble-Engine (interactive machinima) is an innovative piece that enables the user to generate real-time computer generated animation. Recycling this gaming technology, Jahrmann and Moswitzer have produced a real-time machinima film generator, an exciting departure from the predefined game-movies produced by standard machinimas.

By moving about with the system's cordless mouse in hand, the user is able to interact with the game's pre-set software bots, and affect the projected video. The "dance" between human and bot is realized in real space through Nybble-Engine's projected imagery - shooting movements made by the user trigger dance music clips to be played, and every move the player makes influences the projected movie's appearance, allowing the user to function as the artist.

Playfully manipulating the rhythmic possibilities of sound and image, Dishscape (part 1) juxtaposes the mechanical repetition of a common domestic chore and the graceful motion of the person performing it, commenting on the experience of the physical human body that is increasingly mediated and/or replaced by technology.

Visually disorienting and incredibly beautiful, Dennis H. Miller's faktura explores a range of virtual environments, touching upon an astounding variety of form, color, and texture. In this animation, objects that are somehow both organic and abstract appear, morph and dissolve against a backdrop of an evocative soundtrack that sets the emotional tone of each scene for the viewer.

Rick Mullarky's Chrysalis presents the user with a visually appealing, game-oriented interface which turns the human body into a digital construct. Interactive elements based on organic processes impart information and move the conversion forward to each new stage, eventually resulting in a complete metamorphosis and the birth of a terminal identity.

Couple examines the vulnerabilities and struggles inherent to the maintenance of a romantic relationship in an age defined by the presence of communications technologies. Attributing a couple's success to absolute commitment, Ruby and Stoltmann create an unusual narrative that gives the viewer pause, and asks them to reevaluate issues of spousal responsibility and traditional sex roles.

A focused examination of human patterns of decision-making, Scan-Tron utilizes the responses embedded within a series of fabricated standardized test sheets, creating a charming set of techno-pop audio and graphics.

In order to achieve this unique representation of standardized testing, Jennifer Schmidt filled out a series of test forms during the months of November, December, and January of 2003. The tests were conducted according to a given set of rules and unknown objectives.

A web phenomenon since its launch in November 2001, DavidStill.org offers visitors access to full use of David Still's identity, including his personal and family history, photo albums, and email account. Anyone can send email as David Still, or reply to mail received by the David Still online inbox. Site users are left wondering if David Still really exists, or if he is a completely authored online persona.

avid is a credible character whose charmingly crooked smile and extensive photo gallery make it difficult for the site's visitors to believe that he could not be a real live person. Referencing both the lack of personal privacy and the inability to check on the veracity of the online statements of others, davidstill.org is an amusing, yet prescient commentary on our reevaluation of the human concept of "self".