Philip Pocock Collaborative Documentary Datatecture 1980-

alan∂ :: scopic regimes of uncertainty 2008 convergent media sculpture commission

alan∂ installation detail: Garden Cam

Media: Moses Maimonides, “A Guide for the Perplexed” text Muhammad Ibn Tufail, “Alive, Son of Awake” text Federico García Lorca, “Songs” and “Book of Poems” bird-spotting scopes, monocular devices, webcams sculpted, working pc housings, advanced graphic boards tripods, ladder, stands, bronze, glass, silicon objects specially-abled person repaired and recycled ebay flatscreens organic LED mini-screens and micro-controllers open source linux, python, ffmgeg, php, mysql, javascript, xml open source fluxbox, computer vision, image recognition open source bluetooth, moblog, chatbot software second life lsl scripting Description: Alan∂, is 'a land', 'off the land' – a desert island perhaps, and more precisely an abbreviation for Al Andaluz, a rare historical convivial moment on the Iberian peninsula from the 8th to the 15th Century, when a gateway from enlightened and innovative Asia flooded Dark Age Europe, and catalyzed its Renaissance. Al Andaluz saw an explosion of creativity in science, cartography,

technology, architecture, engineering, philosophy, mathematics and medicine. Andalusia then offered dozens of clinics where anesthesia and eye operations were practiced. Precision astronomical devices, hydro-power mechanisms, and agro-business and exports flourished. There were even public washrooms for horses and street lights in Cordoba. Alan∂ is a participatory networked media sculpture installation, commissioned by the Andalusian BIACS Foundation for the Seville Biannual 2008-9. Philip Pocock (Canada) directed a team of artists and cultural engineers, some still undergrad and grad students, from Germany, Switzerland, England and South Korea. Our starting point were three Andalusian philosophical and literary figures and their texts. The first, “Alive, Son of Awake” the original desert island tale, relating the life of a boy spontaneously born from the clay of a remote island shoreline, raised by a deer alone, who upon her death was autopsied by the boy for cause, who goes on in steps to develop self-realization, a philosophical consciousness and enlightenment alone in a world. This first philosophical novel was penned in Arabic by the Andalusian Muslim scholar, Muhammad Ibn Tufail, and became a model text for the colonialist Robinson Crusoe and the fabled animations involving Mogli. Muhammad, as this network media sculpture is called, calls on its stored text database and applies computational linguistics to recombine with moderate grammatical correctness new phrasings and sentence constructions that retain his original voice but convolute his meaning poetically. Muhammad simulates conversation over the alan∂ network with a second text source with his Andalusian contemporary, the Jewish philosopher Moses Maimonides, cyber-dialoguing in a similar manner, drawing playful responses and offering sometimes surprisingly acute aphorisms from his stored seminal 11th Century text “A Guide for the Perplexed”, in which he presages thoughts about globalization and identity, spheres of influence, individual and community rights and mores. The third literary and virtual leg upon which alan∂ is based, represents a Modern Andalusian, the musical, melancholic poet Federico García Lorca, his “Songs”, “Book of Poems”, almost his entire opus of verse. Dwelling in his media PC sculpture representing a Bird House, two bronze figurines, Sitter and Pointer perched on its roof, that is also partially covered by a spider's web like silicon Mandala, a charming digital simulacrum of Federico's cut-up poetry interlocutes with Moses and Muhammad, as endlessly as time in art. Moses is housed in a sculptural PC housing suspended from a very tall rickety wooden Ladder, dotted with a blown glass Drip and crushed Globe, that reflect on his text metaphor of the sphere as embodiment of power, just or unjust. Up high on Moses' Ladder sculpture a collectible telescope is clamped and aimed at one of a gaggle of used screens that skirt the Ladder's feet. Four more rather odd monocular devices and bird-spotting scopes, are also clamped to various rungs of the Ladder, each trained to a detail of a Moses main screen on which his generative dialogue comes and goes like subtitles, each line in its passing bringing with it a pastiche of contemporary cyberAndalusian blogger imagery, displayed as digital video generated in real time and cut or edited by an abstract informatical process dependent on formal image properties such as pattern, i.e. mosaicality, or color, i.e. mood, and faces, i.e. expression. All but one scopic appendage to Moses does not track actual alan∂ installation guests but surveils screens keeping a Cyclopian eye on the media instead, that is, countless social web blogger and photo-sharing site images of cyberAndalusia which fly over and by various screens with calculated rhythm, each image for a moment searching for similar web2.0 images following a code-image editing principle of pictures looking at pictures, to arrive at a new narrative implicit in alan∂'s algorithmic post-docu-drama cinema. Moses sports Smile Cam, which is a modified webcam that is trained with open source computer vision coded to identify smiles, and snap a shot of any installation guest who dares crack a smile, display that frozen image and feed it like all other scoped pictures into the code-image postcinematic imaging system to accompany Moses philosophy-after-philosophy dialogue. The various

generative digital videos, called mash-up in web2.0 vernacular, are also deconstructed and displayed on a string of 16 micro-controlled, exquisite, high resolution mini organic light-emittingdiode OLED screens, that append Moses (as well as Federico and Muhammad). Over the Internet, this time line of crystal images are displayed on a similar string of OLED screens in Philip Pocock's open lab studio at the ZKM Center for Art and Media Technology, an alan∂ outpost. Both the Muhammad and Federico media sculptures intertwined into the alan∂ installation act on very similar principles to Moses. Their uniqueness lies in the voice and substance of their respective text that subtitle respectively their sculpture's main screen, as well as the different types and sentiments of the images their simulated dialogue aggregate from the same cyber-Andalusian picture sources, all spied on by modified monoculars that mash-up in real time as well a myriad of generative cyber-docu-drama clips on their respective flatscreen and OLED screen appendages. Sculpturally, however, Muhammad and Federico are characteristically different in installation from Moses' Ladder sculpture, yet complimentary, with Federico's main Bird House motif, and Muhammad's Cyclopian animistic character and especially his auxiliary Garden Cam that involves a miniature silicon-dabbed tree sculpture and a readymade model fruit tree object. Muhammad is an apparition of a strange robot-ocular beast, with a pair of its webcam-modified optical screen surveyors supported by tripods that pierce in fact right through Muhammad's double PC housing body, one but a centimeter from its motherboard. Garden Cam is a sort of koan for the entire installation, its fine filigree-like tree the focus of a sculpted bird-spotting scope trained as well on the miniature tree's background, a flatscreen that displays a digital detail of the tree in a setting that due to visual feedback and software-set screen swaying simulates some strange systemic weather conditions. In short, alan∂ is about informatic cinema, cyber-cinema, new natures for narrative that reflect new and net-driven narrative for natures of many sorts, human and cyborg nature,s utteral and historical natures, etc., and any number of their tangential qualities. Alan∂ from a perspective of cynical reason is actively and playfully about surveilling screens and not people, and pictures looking at pictures. Exhibited: BIACS3, Seville Bienale, Spain. http://roundearth.zkm.de/aland http://roundearth.zkm.de/aland_wp

Mobile Movie Matrix 2007 public moblog mash-up cinema

Media: open source linux, python, php, mysql, apache, ffmpeg, bluetooth, computer vision software recycled pc housing sculpture, mixed-media objects, wood frame mobile phone, lcd flatscreens, pcs Description: A monolithic Crashed Satellite sculpture inhabits the public museum space. Composited from discarded PC housings and suggestively sealed off as a crash site , the entire event architecture installation acts as support for a matrix of flatscreens, over which rhythmically and algorithmically generative digital post-cinema streams play ceaselessly, mashed-up, as it is termed online, from blogger and social web image databanks queried formally, or abstract informatically, by computer vision image recognition code. On site, you may upload or moblog (mobile blog) any image from your mobile phone to the sculpture's address: [email protected]. Or, with bluetooth enabled on your mobile phone, fire an image directly at the installation to trigger, auto-edit and compile the next mash-up queued to appear on whatever screen the matrix video playlist is set to occupy. Remote guests online can also trigger the same real time generated digital mash-up movie clips by attaching a picture to an email sent over the Internet a la moblog to the sculpture's mail box, the results, also viewable in a simplified variant form at the sculpture' website archive. Exhibited: 10 Year Jubilee show, ZKM Center for Art and Media Technology, Karlsruhe. http://youniverse.zkm.de

ZKM YOUniverse Island in Second Life 2007-9 massively collaborative, multi-user virtual 3d residence for art, avatars and education

Media: Second Life SIM, lsl scripting open source darwin streaming media server open source linux, python, php, mysql, drupal, ffmpeg open source image recognition software open source chatbot software Description: For the 10th anniversary of the ZKM Center for Art and Media Technology 2007, Philip Pocock directed the conception, programming, streaming and web2.0 convergence of ZKM in Second Life. The island consisted of a flooded wasteland, an iceberg floating, and avatar bots chatting and boxing. The 5 synthespians were animated understudies of the German philosopher and rector of the HfG Academy of Art & Design Karlsruhe, Peter Sloterdijk, the cultural theorist, HfG Karlsruhe and Columbia University professor, Boris Groys, the art historian, HfG Karlsruhe and ETH Zurich professor, Beat Wyss, the composer and Karlsruhe Music Academy professor, Wolfgang Rihm, and ZKM director and media artist, Peter Weibel. While taking turns in the ring sparing with each other or with avatar guests, all the while, like cyborg updates to Deleuzian actor-media, they wax artificial poetic, incessantly spewing nonsensically amusing maxims and pensées based on the voice and vocabulary of their otherwise notable bodies of writing, done by code-crafting sentences from matching words with their interlocutors, either between exchanged jabs and kicks, or all at one and the same time. Dotting the island are various cinemas, all supermodern virtual event architectural apparitions. The main virtual glass cinema vitrine, in which is featured - and entering avatars are confronted with - a somewhat treacherous snow-covered section of the island landscape, a series of documentary interviews with film philosophers transform some glass panes into screens. Viewable from there on the outside, the nearby floating iceberg hosted the live streaming of the Jubilee events, including a speech by the visiting director of the New York Guggenheim Foundation at the time, Thomas Kren. At intervals, Michael Snow's film So Is This was mapped onto the iceberg's topology. Elsewhere, in an obscure underground bunker cinema, with futuristic avatar-sensing Ali Baba sliding doors, were screening underground films by very young and student Kabuli filmmakers, Philip Pocock had encountered during a workshop for film and media he held under the auspices of the Canadian External Affairs Cultural Personality programme in Afghanistan 2005. Hovering

like a virtual Mecca cube just above partially flooded terrain, island center, a House of Cards cinema, composed of modular multiple screens, 128 in all, each scripted to sense the position and orientation of avatars in its immediate vicinity, and so to rotate each panel independently toward the avatar, ensuring from every flight path around this cinema an ideal view, and resulting architecturally and datatecturally in a magnificent moving crystalline cinema of events, which alternated during the Jubilee event between documentary material concerning past media exhibitions at ZKM, and a compilation of Pipilotti Rist video art works. Not far off, at the entrance to a long snaking tunnel, an avatar guest could click on and occupy a waiting cinema seat, which automatically transported her through the tunnel on a kaleidoscopic ride through user-generated images projected onto its asymmetrical interior walls and surfaces, the animated images, mailed up to Second Life from the Mobile Movie Matrix sculpture present in the ZKM Jubilee show as well. This convergence of email images, locative media and Second Life, as well as the event architecture was programmed by Pocock's Pforzheim University art and design student along with a media art docent from the neighboring HfG Academy of Art and Design Karlsruhe and a collaborative and motley coterie of talented Second Lifers and autodidact cultural engineers from the local community which comprised in fact most of the YOU that the Jubilee was aimed at and dedicated to. Elsewhere or rather at any time somewhere over Second Life's flat earth, a virtual satellite, our ZKM SLatellite, was built and scripted to traverse the entire Second Life world at its aleatoric will, slowly hovering, to allow museum guests to take a Zeppelin-like tour of all of Second Life's island SIMs without ever lifting a finger, or even logging in and having to name and dress their own avatar. The ZKM SLatellite auto-navigates its course over the polyglotal maze of virtually inhabited islands galore with the help of some rather creative code. The SLatellite was also made available as a wearable scripted object, that donned, instantly transformed its owner avatar into a shining spherical and soundtransmitting island-hopping SLatellite on auto-pilot. Type in a reasonable number and your current course altitude adapts accordingly. Pan and tilt with your mouse or joystick, and your satellite eye responds in sync affording whatever new or unique perspectival view you choose to take on the virtual terrain and dwellings passing by below. ZKM YOUniverse Island in Second Life is a step on the way to metabolizing search engines, social networking and e-learning platforms, given the understanding that a 3d metaverse such as Second Life is not based on bricks and mortar, empty and unfit for weightless avatars in a harmless virtual climate, but rather on events and encounters with other avatars, the acquisition and exchange of personal, cultural or educational information within an 3d social network environment, based not on the presence of hapless buildings but of happening events. Exhibited: http://youniverse.zkm.de Directors Lounge, Berlinale International Film Festival, Berlin. Dún Laoghaire Institute of Art, Design and Technology, Ireland. ZKM Center for Art and Media Technology, Karlsruhe.

Jack Goldstein Digital Aphorisms 1988 – 2006 aleatoric lettrist word movie tribute

Media: digital color laser prints actionscript, flash software open source linux, apache internet server Description: Montreal-born, Los Angeles and New York-based artist and filmmaker, Jack Goldstein, had recently died. Philip Pocock found he had a slew of digital Lettrist works on paper, proofs from Goldstein's Totem Series that years ago Jack had given him. There were in all 43 sheets, each with 5 or 6 concrete maxims, clip art morphings, various typophoto aphorisms that underpin much Canadian conceptual and postmodern cultural production. In honor of this troubled and gifted artist, a flash programmed algorithmic Lettrist movie directed by Philip Pocock, combined aleatoric relief and a logical principle for content selection and display timing for an online-based and museum bound time-image of Goldstein's typophotographic work, that hovers tensively between still and motion picture-making, both based on and a tribute to a remarkable Canadian artist's digital work. Exhibited: http://roundearth.zkm.de/goldstein ZKMax / City of Munich locative media space, Germany ZKM Center for Art and Media Technology

SpacePlace: Art in the Age of Orbitization 2005 locative mobile media and virtual curating

Media: open source linux, python, php, mysql, ffmpeg, drupal, bluetooth, java web2.0 aggregated space art and culture content apple mac mini computers, loudspeakers, projectors synchronized double projection audio track of radio telescope sounds mobile phone Description: SpacePlace is an experiment in future virtual museology, an aggregate of over 400 entries of art that is concerned with all peaceful and cultural uses for near Earth orbit and beyond. The topos for the work is the philosophical fictional work “Dialogue Concerning the Two Chief Systems of the World” that leaned toward a Copernican world view and away from the Vatican geocentric model, with a good measure of sardonic humor, landing its playwright Galileo Galilei under house arrest upon its publication in 1634. However, it wasn't long after our home planet was removed as the center of the astronomical universe, that we placed it once again smack in the center of another – the mediaverse, where Mother Earth is orbited by satellite TV and the mobile Internet, with Google playing the Milky Way, CNN as Mars and so on. The space art and culture material curated into this virtual mobile museum project is all appropriated from the Internet, and presents the content producers as a simulated web2.0 social network, each with lighthearted profiles and personal touches. Online users have since joined the platform and uploaded work. SpacePlace content is organized as a visual tag cloud, consisting of sets of cut-out portraits of the space artists, each set of portrait icons representing a tag word, a category,i.e. gravity, moon, physics, etc. Representative icons sized in proportion to their

set size cycle through their members. The looping portrait sets form a grid, a visual tag cloud. The archive online holds broad-based space art entries of an historical and contemporary nature, from Galileo's Sunspot drawings, through Warhol's fingernail-sized ceramic chip drawing on the moon, embracing fine art, sound, architecture, film and literature, perusable in a web and a mobile version. Both represent only part of the actual locative mobile media work installed in a downtown Munich passage, as well as in the ZKM museum, where the curation is composed of two synchronized screens cyber-walking through, arranging their contents according to former SpacePlace user steps, content selections, in an ambience space of sound transduced from radio telescopes and transmitted from the Net, in a way, sounds of the Earth turning. With Bluetooth-enabled mobile phones, guests in the proximate vicinity of this locative pair of projections, are welcomed with a message sent to their phones, and asked if they wish to join SpacePlace. Accepted, a small application is sent to their phone, allowing them to use their phone's buttons or joystick as a Bluetooth remote control and navigate the visual tag cloud on one projection, and synchronously display those related works as a time-image on the other projection, a time-image that subtly pitches and yaws, wobbling to the ambient sound of space, and an intermittent text-to-speech reading of aggregated current Net news concerning the SpacePlace content providers' actualities, as well as breaking space politics and science news, that the system follows online. Should at any point a guest pause their phone as a curatored entry catches their fancy, with their phone's camera, they may take a picture and with their Bluetooth enabled fire off that image to attach itself to that specific entry for display and integration as well on that entry's web archive page. With the worldwide growth in mobile communications, and everyone, a satellite? the intertwinedness of urban and virtual spaces for living and learning becomes more apparent, and sustainable and participatory cultural and indirectly economic opportunities abound. With globalization now a done deal, in McLuhanist terms, an environment that has been usurped by a new one, having been distilled out of itself, so to speak, to become a product inhabiting a new landscape, to be traded and gambled upon in a new environment, that contains all things and persons considered to be global and glocal including art, new cultural and community environmental research presents itself. Is the new environment containing globalization's stock and trade now to be seen as that of humankind's farthest possible reach, Earth orbit and outer space? Is there now to be reckoned with a new media, that is, art in an age of orbitization? The project is a collaboration with Pforzheim University students and recent graduates in cooperation with ZKM Center for Art and Media Technology Karlsruhe. Exhibited: Center for Interdisciplinary Research, Bielefeld, Germany. http://mobile.orbit.zkm.de http://www.archive.org/details/ImaginingOuterSpace1900-2000ZifBielefeldConferenceKeynotes6.2.08-

http://www.orbit.zkm.de ZKMax / City of Munich locative media space, Germany. ZKM Center for Art and Media Technology, Karlsruhe.

Unmovie 2002 user-generated post-cinema installation

Media: open source linux, python, php, mysql open source chatbot, text-to-speech and game code actionscript, flash bronze, glass and computer sculpture various mixed-media objects and models Description: Unmovie characterizes in some ways Gilles Deleuze prognosis for future cinema: “The life of the afterlife of cinema depends on its internal struggle with informatics.” (Cinema II: Time_Image 1989, p.270). Unmovie begins with 6 synthespians, in a cybersatirical sense, virtual kin to the celebrated playwright Pirandello's “Six Characters in Search of an Author”. On the cyber-stage in Unmovie, listening, responding, avoiding or searching out computer simulated conversation are - a Nobel Prize neglected Bob Dylan, all his song lyrics; cineast Andrej Tarkowski “Sculpting in Time”; an androgynous sexy chatroom pair fused into one presenting character nicknamed Geisha; Nietzsche's talking book “Beyond Good and Evil”; 13th Century Zen Master Dogen's mind space musings; and You. Up to 6 users, You_0-6, are free to enter the Unmovie Stage online, move around with their mice, and enjoin other users, or more appealing, any and all of the Stage botcast in conversation, creating a steady stream of Unmovie dialogue.

This entire Botcast of characters roam the virtual Unmovie Stage and dialogue with each other one way or other, or wander off to be alone for an interval. Their recent dialogue is recorded – the bots have been talking non-stop 24-7 since 10 November 2002 - and certain words exchanged, according to certain Unmovie computer scripting measures, such as word frequency, stem and type, are elected to act as Unmovie tags. These literal tags search for user-generated online video clips with filenames, descriptors or tags that match. All videos found in Unmovie's aggregated database of online user video to match form a playlist and accompany the Unmovie Stage with an endless stream of user-generated video playlists we call Unmovie Stream. The chatbots are coded to retain any online user dialogue they may be fed on Stage. As the bots learn vocabulary from their users, some new tag words emerge, find previously unseen user-generated video clips aggregated in the database, and new Unmovie Stream contents then add a quality of refreshing ever-changingness to their programmed time-image endlessness. “And the screen itself, even if it keeps a vertical position by convention, no longer seems to refer to the human posture, like a window or a painting, but rather constitutes a table of information, an opaque surface on which are inscribed 'data', information replacing nature, and the brain-city, the third eye, replacing the eyes of nature.” [Gilles Deleuze, “Cinema II: Time-Image”, p.265] This custom software was engineered by Philip Pocock visual art and communication students at Pforzheim University in cooperation with the ZKM Center for Media Technology. Unmovie's python coding of user-generated media, folksonomy tagging and Flash video generated on-the-fly preceded YouTube's mainstream application by 3 years. Unmovie has built several cinema houses, participatory art installations, for itself in 8 countries on 3 continents. Exhibited: Ars Electronica, Linz. Blackwood Gallery, Mississauga Dunlop Art Gallery, Regina. Dutch Electronic Art Festival DEAF, Rotterdam. Galerie Oboro, Montreal. http://unmovie.zkm.de Intercultural Center ICC, Tokyo. International Festival of Media Art, Dresden International Short Film Festival, Kingston-upon-Hull, UK. Kiasma Museum of Contemporary Art, Helsinki. Lotringer 13, Munich. Walter Phillips Gallery, Banff. Wood Street Galleries, Pittsburgh. ZKM Center for Art and Media Technology, Karlsruhe.

h|u|m|b|o|t 1999 participatory movie-mapping network installation

h|u|m|b|o|t network installation in net_condition: art and global media exhibition, ZKM

Media: open source linux, php, mysql, perl, java, javascript, xml, html open source chatbot and self-organizing mapping software, c++ realplayer, realproducer video software ibm thinkpad 360eds with mpeg hardware sony pal digital video cameras wooden palettes carpets, furniture, mosquito nets acrylic painting, drawings and works on paper antiquarian books, maps and seafaring navigation instruments double videos, beamers, and email slideshow various objects and media Description At the request of the Goethe Institute Caracas and ZKM Center for Art and Media Technology Karlsruhe, Philip Pocock conceived and directed a collaborative, large-scale network media culture work in honor of the 200th anniversary of Alexander von Humboldt's travel to South America 1799-1804. Beginning with the word, Humboldt's engaging chronicle published in 1839 titled “A Personal Narrative of a Journey to the Equinoctial Regions of the New Continent”, was marked up

by readers from a graduate gender study program at Maximillian University Munich, inserting, paragraph by paragraph, server-readable xml tags (a first) according to personal qualities each reader found in Humboldt's text, such as emotion, gps, surroundings, subject. Collaborating with faculty and students from the ETH Zurich on programming, these reader tags were mapped by the Finnish mathematician Kohonen's open source algorithm SOM (Self-Organizing Mapping), stored in a database, queried and displayed, and what we call h|u|m|b|o|t (word fusion of Humboldt and chatbot) becomes a post-reading group written, computational screen atlas of text, we call Flatbook. Philip Pocock (Canada) asked artists Wolfgang Stehle (USA) and Roberto Cabot (Brazil) to join him on a South American digital video journey tracing some of Humboldt's whereabouts in Venezuela and Cuba in 1999. Digital video documents and performances were taped, edited, tagged and uploaded for integration with the Flatbook of Humboldt's “Personal Narrative...” adding contemporary rich media (Flatmovie) to the historical h|u|m|b|o|t screen atlas. Together Flatbook and Flatmovie comprise the entirety of our h|u|m|b|o|t hypercinematic experience. This screen atlas of Humboldt's diary entries and h|u|m|b|o|t's rich media, map out a deep narrative atlas that is open to travels by museum guests and remote online users alike. Each user journey through h|u|m|b|o|t is recorded by the system and are played back if auto-pilot is selected, or if the screen atlas remains idle for some minutes. In a sense, Humboldt and h|u|m|b|o|t create an atlas of their travels through which net navigators travel in turn, often arriving as is often the case in cybersapce, at a destination that is somewhere within one's own self. The collaborative h|u|m|b|o|t actual space installations are always situative and architectural, networked and datatectural. Their presence often embody project collaborators' auto-biographical moments and objects, traces and memories of interaction by co-authors in actual space that resonate with project traces in virtual space, all in search of new natures of narrative for net narratives of nature. Exhibited: Ars Electronica, Linz. Art Basel, Switzerland. FILE International Festival of Electronic Language, Sao Paolo. htp://www.humbot.org International Festival of Streaming Media, Amsterdam. Irish Museum of Modern Art, Dublin. Musée d'art moderne de la Ville de Paris, France. Museu Fundacão Serralves, Portugal. National Gallery of Art, Germany. Staatsgalerie Stuttgart, Germany. Steirischer Herbst, Graz. V2 Institute for Unstable Media, Rotterdam. ZKM Center for Art and Media Technology, Karlsruhe.

A Description of the Equator and Some ØtherLands 1997 participatory hypercinema produced by documenta X

Media: open source linux, php, msql, perl, html open source audio and time-image software ibm thinkpad 360ed with mpeg hardware sony digital video cameras Description: Where is the Equator on Motherboard Earth? Hypercinema is not playing at a cinema near you, but in you? ØtherLands is a movie I'd rather see made by somebody else. Based on the title for a richly illustrated book by Richard Pococke, “ A Description of the East and Some Other Countries” 1749, Philip Pocock invited architect and datatect Florian Wenz, linux guru Udo Noll and fellow artist Felix Stephan Huber to participate along with the documenta's worldwide audience in the first database-driven, user-generated and tagged hypermedia event. Florian Wenz and Philip Pocock, along with two students from Kampala's Makerere University travelled through Uganda, along the Congo and Rwandan borders, into western Kenya, to walk along the Equator. This cyber-roadmovie sequel to Arctic Circle 1995 allowed users to attach their own tagged and timed content to any Øtherlands movie thread, or branch off at will. What results is a rhizomatic cinema of interwoven broken stories, much like life itself. Philip Pocock was also selected by documenta X director Catherine David to speak about his direction of the collaborative work, and introduce the public to net aesthetics and usergenerated hypercinema as one of her guests in the 100 days 100 guests programme in documenta hall, streaming live over the Internet.

Exhibited: Akademie Schloss Solitude, Germany. Art Basel, Switzerland Art Cologne, Germany. Documenta X, Kassel, Germany. Fri-Art Center of Contemporary Art, Fribourg, Switzeland. http://aporee.org/equator/ http://www.vimeo.com/1061616 International Documentary Film Festival, Rotterdam. International Media Art Awards, ZKM, Germany. International Performance Festival, Odense, Denmark. Musée d'art moderne St. Etienne, France. Palais des Beaux-Arts, Brussels. Staatsgalerie Stuttgart, Germany. St. Gervais Génève, Switzerland. Stiftung Bauhaus, Dessau, Germany. World Wide Video Festival, Stedelijk Museum, Amsterdam.

Arctic Circle 1995 collaborative, participatory video(b)log

Media: 1974 customized ford trailer van apple powerbook 100, 150, 180c http://www.dom.de/acircle ntsc video camera and digitizer linux ftp, http and mail servers adobe premiere, open source animated gif, html, mpg and qt software compuserve, yukon internet society and inukshuk.gov.yk.ca accounts Description: One of the Internet's first art works, a collaboration by Philip Pocock (Canada) and Felix Stephan Huber (Switzerland) begins in Vancouver and takes the two performers on a double journey; on the one hand, over highways and river beds through Canada's great wilderness to the end of the road in Inuvik, where the pair were art scientists logging onto the most northern Internet node at the time in the Inuvik Research Center, and onward to Tuktoyaktuk, where the real journey ends. In parallel, their actual journey became an online fiction, and the artists became fictional characters in a cyber-roadmovie of their own making, as they lived, drove, experienced, performed and wrote from RV trailer parks, auto and tire repair shops, anywhere they could along the way, uploaded digital video and hypertext to their video(b)log server in New York. Some Internet co-travelers uploaded their comments and queries to the pair of pioneer net-artists, integrated into the site. What began as a conceptual cyber-roadmovie, its original plot to travel to the Arctic Circle and walk along it, and upload these remote highway and roadside performances onto the information super-highway, became a pulp melodrama when two hitchhikers, Nora and Nicolas hopped on board the 1974 customized Ford Supervan. The double travel, in reality and virtuality, became as well an investigation into two types of contemporary loneliness; being in a remote natural wilderness, a place one feels cars and people no longer belong; and searching for any sign of life on the other side of a laptop screen, in the young days of the Internet.

Exhibited: Aktionsforum Praterinsel, Munich. Art Cologne, Germany. Bonner Kunstverein, Germany. Documenta X, Germany. Finnish Museum of Photography, Helsinki. Fotomuseum Winterthur, Switzerland. House of World Culture, Berlin. http://roundearth.zkm.de/arcticcircle Kunsthalle Krems, Austria. Kunsthalle Kiel, Germany.

Swiss Cultural Center, New York. Media Lab Munich, Germany. Museum für Gestaltung, Zurich. Museum of Fine Arts, Leipzig. Museum for Photo Art, Odense, Denmark. Palace of Expositions, Rome. St. Gervais Génève, Switzerland. VIPER Festival for Film & New Media, Lucerne. Whitney Museum of American Art, New York.

Black Sea Diary 1993 a collaborative facsimile of digital faxsimile book project

Media: 1964 opel kadette deluxe car apple powerbook 100 fax-modem Logitech digital cameras fax machine silver-based photographs faxes and photocopies digital video and audio loops book Description: Two artists, Philip Pocock (Canada) and Felix Stephan Huber (Switzerland) head eastward from Cologne through newly opened Eastern Europe, along the Serbian border, where ethnic war is raging, and traverse Romania to the Black Sea. Simultaneously, traveling the other way, through telephone wires lining the streets en route, digital postBeat text and images made their way to a FAX machine in the Electronic Café in the Aperto section of the 1993 Venice Biannual. Like a digital roadmovie script, the uncut FAXes arriving in Venice curled and covered some floor space, and were gathered up afterward and published by Edition Patrick Frey, Scalo Verlag (Parkette), Berlin, New York, Zurich. The Introduction to this 'facsimile of faxsimiles' encompasses the major themes the duo broach in this digital performative work – Time Lines, Tourist Bubbles, Transmission Errors. The car died on the way home, soon after scaling the Carpathian Mountains. Exhibited: Aperto, Venice Biannual. Art Cologne, Germany. Galerie Brigitte Schenk, Cologne. Gallery Storm, Amsterdam. St. Gervais Génève, Switzerland.

Music Security Administration 1993-7 painting and drawing collaborations.

paint a different color on your front door, from “A Song for You”, Gram Parsons, 1973.

Media: song lyrics acrylic painting drawing, collage, works on paper silkscreen video and film loops. Description: Borrowing our name from the Farm Security Administration - 1930s Great Depression agency for social documentary photographic essays - the members of the Music Security Administration - Dirk Bell, Walter Dahn and Philip Pocock - interpret blues, country, indie and rock and roll song lyrics in paint and on paper, as if they were captions for invisible photographs of an impending 1990s social and economic crash. The resulting works numbering more than 60 paintings and 100s of drawings were produced in Cologne under studio conditions. The are both collaborative and synesthetic, being about 'seeing, hearing and reading' all at once. Exhibited: Centro d'arte contemporanea, Bellinzona, Switzerland. Jörn Bötnagel Projects (Galerie BQ), Cologne. Galerie Monika Sprüth, Cologne. Kunstverein Augsburg, Germany. Stedelijk Museum, Amsterdam.

Journal of Contemporary Art 1988 – 1994 a desktop-published semi-annual contemporary art journal, co-founded by Philip Pocock and John Zinsser in New York.

Media: interviews special projects apple mac plus computer postscript laser printer pagemaker 1.0 desktop publishing Description: The first desktop-published artist-run, artist-edited contemporary art magazine in New York, is almost entirely composed of interviews with artists. With no pictures, the artist's interviewed in each of the 16 issues published seem to be in an electronic dialogue – precursing Internet use in some ways – based on their ideas and less on the forms their art takes. The Journal migrated to the web in 1992, as part of The Thing, the original contemporary art online portal. “The magazine is an absolute must for any library involved with contemporary art.” - Bill Katz, Library Journal, May 15, 1988.

Cibachrome Painting 1982-1992 color photochemical painting and light-sensitive imaging hybrid works.

Love Canal, Cibachrome painting, 2 scrolls, ea. 15m. X 86cm. In Allocations, curated by William Ewing,49th Parallel Gallery of Canadian Art, New York, 1983.

Media: 35mm Kodachrome film, 4x5in. Ektachrome film liquid frisket and monofilament silkscreen Cibachrome color photographic material Description: Where does a photograph end and a painting begin? Extending the photogram, to remove not only the camera but selectively light itself from the photographic process, Cibachrome painting applies chemical, or alchemical, processes that require painterly handling and result in seamless hybrids of painting and photography. Exhibited: 49th Parallel Gallery of Canadian Art, New York. Albany Museum of Art, Albany, Georgia. Alternative Museum, New York. Antibea Theater Festival, Cap d'Antibes. Arts Festival of Atlanta, Atlanta. Berland Hall Gallery, New York. Centro de Arte La Regenta, Las Palmos, Canary Islands. Denver Museum of Art, Colorado. Edith Blum Art Insitute, New York. Everson Museum of Art, Syracuse. Galerie Krinzinger, Vienna. Galerie Löhrl, Mönchengladbach, Germany. Gallery Leyendecker, Tenerifa, Spain.

Galerie Simon Dresdnère, Toronto. Haggerty Museum of Art, Milwaukee. Indianapolis Museum of Art, Indiana. Julian Pretto Gallery, New York. Laurie Rubin Gallery, New York. Museum Ludwig, Cologne. Museum of Fine Arts, Houston. Piezo Electric Gallery, New York. Piezo Electric West, Venice, California. PS1 Institute for Art and Urban Resources, New York. Saidye Bronfman Center, Montreal. Shoshona Wayne Gallery, Los Angeles. Simon Watson Gallery, New York.

The Obvious Illusion: Murals from the Lower East Side, 1980 color photographs Philip Pocock, essay Gregory Battcock, publisher George Braziller, New York.

Media: 35mm Kodachrome film Cibachrome color photographic material Description: Where does a photograph end and a painting begin? A concerned and lyrical documentary archive of color images capturing an urban moment and multicultural conditions on New York's Lower East Side, visually narrated through of interplay of murals and architecture. Exhibited: The Cooper Union for the Advancement of Art & Science, New York, 1980 The Art Gallery of Ontario, Toronto, 1981.

Prof. Philip Jackson Pocock - Resumé b. Ottawa, Canada 1954 citizen Canada / EU Philip Pocock is a Canadian new media artist and researcher, photographer, writer, publisher and educator. His photographic works have been exhibited at the Cooper Union, New York and the Museum Ludwig, Cologne. His internet-based art works have been produced by documenta X and the ZKM Center for Art & Media Technology in Germany, and most recently the 3rd Seville Biannual BIACS Foundation, Spain. BFA Film and Television Production, New York University, 1979. Full Professor (tenure), Art, Art & Design Theory, Design Faculty, Pforzheim University, DE, 1994Artist-in-Residence, ZKM Center for Art & Media Technology, Karlsruhe, DE, 2005Creator, Interviewstream blog, ZKM Center for Art & Media Technology, Karlsruhe, DE, 2005Co-Founder, Journal of Contemporary Art, New York, US, 1988-94. Reviewer, Texte zur Kunst, Cologne/Berlin, DE, 1992-95. Fine Art Photographer, Brooklyn Museum, Harry Abrams Inc, New York Public Library, US, 1982-1990. Instructor, International Center of Photography, New York, 1980-1990. Selected Exhibitions: 2008 Alan∂::scopic regimes of uncertainty, BIACS3 Seville Biannual, ES. SpacePlace::art in the age of orbitization, Center for Interdisciplinary Research, Bielefeld, DE. 2007 ZKM Youniverse Island in Second Life, ZKM Center for Art & Media Technology, Karlsruhe, DE. Mobile Movie Matrix, ZKM Center for Art & Media Technology, Karlsruhe, DE. SpacePlace::art in the age of orbitization, ZKM Center for Art & Media Technology, Karlsruhe, DE. 2006 SpacePlace::art in the age of orbitization, ZKMax, Munich, DE. 2005 Unmovie::how to make your corner mandala (Resites), Galerie Oboro, Montreal, CA. Unmovie.net, Dunlop Art Gallery, Regina / Blackwood Gallery, Mississauga, CA. 2004 Unmovie::the mind cannot rest on anything, Walter Phillips Gallery, Banff, CA. Unmovie::open tea house, Dutch Electronic Art Festival DEAF, Rotterdam, NL. 2003 Unmovie::kiasma extension proposal, Kiasma Museum of Contemporary Art, Helsinki, FI. Unmovie::two tourists, Intercommunication Center ICC, Tokyo, JP. The Conquest of Ubiquity, XTRA space CajaMurcia Foundation, Murcia, ES. 2002 Unmovie::wall-image, ZKM Center for Art & Media Technology, Karlsruhe, DE. 2001 A History of Grey, Musée d'art moderne St. Etienne, FR. The Thing About Plastic, Staatsgalerie Stuttgart, DE. 2000 Voilà: Le monde dans la tête, Musée d'art moderne de la Ville de Paris, FR. h|u|m|b|o|t::CAD memories, Galerie K&S, Berlin, DE. Arctic Circle / Tropic of Cancer, Museum of Fine Arts, Leipzig / Kunsthalle Kiel, DE. 1999 h|u|m|b|o|t::platform, ZKM Center for Art & Media Technology, Karlsruhe, DE. h|u|m|b|o|t::mail bot, National Gallery of Art, Bonn, DE. Bad Bad w. W.Dahn, Kunsthalle Baden-Baden, DE. Augenblick uud Endlichkeit, Museum Ludwig, Cologne, DE.

Rewind to the Future, Bonner Kunstverein / Neuer Berliner Kunstverein, DE. 1998 Otherlands, 16th World Wide Video Festival, Stedelijk Museum, Amsterdam, NL. Otherlands, Palais des beaux-arts, Brussels, BE. Kiosk II, International Sculpture Invitational, Art Cologne, DE. 1997 A Description of the Equator and Some Otherlands, Documenta X, Kassel, DE. Otherlands, 7th International Video Week, Biannual of the Moving Image, Saint Gervais Génève, CH. 1st International Performance Festival, Kunsthallen Brandts Klædefabrik, Odense, DK. 1996 Homemade Ice Cream, Galerie Leccese Sprüth, Cologne, DE. Art on the Web, Whitney Museum of American Art, New York, US. Follow the Yellow Brick Road..., Kunsthalle New York, US. A Memory Palace, International Artists' Museum Lodz, PL. Hello World, Museum of Design, Zurich, CH. 1995 Arctic Circle, Museum of Photography, Odense, DK / Finnish Museum of Photography, Helsinki, FI. Bumper Value Jotter, Städtische Sammlung, Augsburg, DE. Growing Up and Coming Down, Jörn Bötnagel Projects, Cologne, DE. 1994 Cibachrome Painting, Galerie Simon Dresdnère, Toronto, CA. Experimental Vision: The Evolution of the Photogram Since 1919, Denver Museum of Art, US. 1993 Black Sea Diary, Aperto, Venice Biannual, IT. Excess in the Techno-mediacratic Society, Shoshona Wayne Gallery, Los Angeles, US. 1992 Cibachrome Painting, Galerie Leyendecker, Tenerife, Canary Islands, ES. Adam, Andreas, Curtis, James, Peter & Philip, Centro de Arte La Regenta, La Palma, Canary Islands, ES. 1991 Bilderlust, Museum Ludwig, Cologne, DE. 1990 Total Metal, Simon Watson Gallery, New York, US. Cibachrome Painting, Julian Pretto Gallery, New York, US. 1989 Cibachrome Painting, Albany Museum of Art, Georgia, US. 1988 Photography on the Edge, Haggerty Museum of Art, Milwaukee, US. Real Inventions / Invented Functions, Laurie Rubin Gallery, New York, US. 100 Years: A Tradition of Social and Political Art on the Lower East Side, PPOW Gallery, New York, US. Recent Acquisitions, Everson Museum of Art, Syracuse, US. 1987 Cibachrome Painting, Piezo Electric West, Venice, California, US. New Trends in East Village Art, Mori Gallery, Sydney, AU. Focus: New York, Moosart Gallery, Miami, US. 1986 Out of the Clouds, Edith Blum Art Institute, New York, US. Cibachrome Painting, Piezo Electric Gallery, New York, US. Contemporary Issues III, Holman Hall Art Gallery, Trenton State College, New Jersey, US. The East Village, Fashion Institute of Technology, New York, US. 1985 The Art of Appropriation, Alternative Museum, New York, US. Soon To Be a Major Motion Picture, Greathouse Gallery, New York, US.

37 Painters from New York's East Village, Museum Castagnino, Buenos Aires, AR. East Village Art, Saidye Bronfman Center, Montreal, CA. 1984 Street Politics, Real Art Ways, Hartford, Connecticut, US. Berlin Stories, Greathouse Gallery, New York, US. East Village Art, Virginia Beach Arts Center, Virginia Beach, US. Ghetto Murals, Sol Mednick Photography Gallery, Philadelphia College of Art, Philadelphia, US. Berlin North South East West, Federal Republic of Germany Mission to the United Nations, New York, US. 1983 Allocations, 49th Parallel Gallery of Canadian Art, New York, US. Cibachrome Painting, Piezo Electric Gallery, New York, US. Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, Indiana, US. 1982 Limbo, PS1 Institute for Art and Urban Resources, New York, US. First Six Photographers, Oggi Domani Gallery, New York, US. Berlin Stories, London Regional Art Gallery, London, Ontario, CA. 1981 Two Ends of a Spectrum, Art Gallery of Ontario, Toronto, CA. The Obvious Illusion, Cooper Union for the Advancement of Art and Science, New York, US. Selected Awards, Festivals, Lectures, Presentations and Workshops: 2008 Imagining Outer Space international conference, Center for Interdisciplinary Research, Bielefeld, DE. http://www.archive.org/details/ImaginingOuterSpace1900-2000ZifBielefeldConferenceKeynotes6.2.082007 The Slatelliterates-ZKM in Second Life, Berlinale, International Film Festival, Berlin, DE. 2006 The Information Revolution: Between the Everyday and the Future, Informations Year international symposium, Dept. Of Computer Science, University of Karlsruhe, DE. http://www.archive.org/details/Pocock_EveryoneaSatellite_InformatikJahr2006_UniKarlsruhe 2005 Private Orbits::Vodcasting seminar, HfG Academy of Art and Design, Karlsruhe, DE. 2004 Art and New Media workshop and seminar, Faculty of Fine Art, University of Kabul, Visiting Cultural Personality Program, Foreign Affairs and International Trade Canada, AF. International Festival of Media Art, Dresden, DE. 18th Stuttgarter Filmwinter, Stuttgart, DE. 2004 Maybe TV seminar, Class David Larcher, Academy of Media Art, Cologne, DE. Beyond Art and Media, Prof. Harald Klingenhöller, Academy of Fine Art, Karlsruhe, DE. 2003 Net Excellence honorable mention award, Ars Electronica, Linz, AT. Runme Festival of Software Art, Moscow, RU. Unmovie.net, virtual Art Basel 34, CH. Code is the Current Language of Culture, International Festival of Electronic Language, São Paolo, BR. Le FIFI Festival - 1er festival du web dédié aux fictions, Paris, FR. Unmovie::A Long Curtain for a Short Festival, International Short Film Festival, Kingston-Upon-Hull, UK. 2002 Space Some Space, Academy of Fine Arts, Karlsruhe, DE. 2001 The Network is the Narrative, Net.Congestion International Festival of Streaming Media, Amsterdam, NL. Environmental Factors: Art, Education, Audience, Vom Tafelbild zum globalen Datenraum international

symposium, ZKM Center for Art & Media Technology, Karlsruhe, DE. Links, Liaisons, Ligações Prize 01 runner-up, V2 Rotterdam, NL / Virose, Museum Serralves, Porto, PT. h|u|m|b|o|t, virtual Art Basel 31, CH. Streaming Cinema 2.0, TheBitScreen, Ars Electronica, Linz, AT / Seoul Net and Film Festival, Seoul, KR. Space Between, The Art of Exhibiting international conference, Academy of Fine Arts, Stuttgart, DE. 2000 Travel-as-Art: A Trilogy, International Media Art Award nomination, ZKM Center for Art and Media Technology, Karlsruhe, DE. Hypercinema Drifts - Docs Online, International Documentary Film Festival, Amsterdam, NL. 1999 h|u|m|b|o|t, net_condition, Steirischer Herbst Festival for New Art, Graz, AT. Art, Travel, Agency: tangled up in the web, Shift e.V. Berlin, DE. 1998 Hypercinema Narrative workshop, Mediamatic, Amsterdam, NL. Weather Report from the Equator, World Wide Video Festival symposium, Amsterdam, NL. Net Cinema workshop, CONSTANT, Brussels, BE. Double Aura: museums & networks, Das Museum als Medienmodell / The Museum as Media Model conference, Ulm Museum, DE. 1997 Philip Pocock - Otherlands, 100 Days 100 Guests program, documenta X, Kassel, DE. New Media Fellow, Academy Schloss Solitude, Stuttgart, DE. Space without Qualities information and urbanism workshop, Bauhaus University, Dessau, DE. Only Connect, CrossVideo: Das bewegt Bild in den elektronischen Künsten, Videonale, Kunstmuseum Bonn, DE. Hearing, Reading, Seeing, 2nd International Artist's Symposium, University of Ulm, DE. The Museum as Outdated Media Model, German Museum Association conference, Ulm Museum, DE. E-Quator, Salon Digital Soirée, ZKM Schaufenster am Marktplatz, Karlsruhe, DE. 1996 Ars Digitalis international symposium, Academy of Fine Arts, Berlin, DE. Simulation/Simulation, VIPER Festival of Film and New Media, Lucerne, CH. Internet Communication seminar / workshop, Version 2.2, Center for Contemporary Images, Geneva, CH. Travels in Hypercinema, University of Design, Darmstadt, DE. Expanded Net Cinema, Prof. Birgit Hein, Academy of Fine Art, Braunsschweig, DE. Media Means Middle, German Philological Institute, Maximillian University, Munich, DE. Ultimately, the Photograph, Antwerp Royal Academy of Fine Arts, BE. 1995 The Arctic and the Internet, Siemens Media Lab, Munich, DE. From Thingness to Isness, Academy of Fine Arts, Berlin, DE. 1994 My New Museum - on the Work of Walter Dahn, Kunsthalle Kiel, DE. July is Over and There is Very Little Trace – On the Work of Walter Dahn, Kunstraum Ulm, DE. Growing Up in America - On the Painting of Frances Scholz, Albrecht Dürer-Gesellschaft, Nürnberg, DE. 1993 Black Sea Diary::travel-as-art-as-information, Electronic Café at Media Park, Cologne, DE. When Science Loves Nature, San Miguel Academy of Fine Art, Santa Cruz de Tenerife, Canary Islands, ES. 1992 Painting Meets Photography, Glassell School of Art, Houston, US. The Obvious Illusion, Art. Dept., University of Texas, Houston, US. 1990 Photomodern, Arts Festival of Atlanta, Georgia, US. Antibea Theater Festival, Cap d'Antibes, FR. 1988 Current Trends in Contemporary Photography, New School for Social Research, New York, US. Remembering the Future, Fruitmarket Gallery, Edinburgh, Scotland, UK.

1981 Beyond the Photograph, Prof. Duncan de Kergommaeux, University of Western Ontario, London, CA. Cibachrome Photography, Prof. Thomas Drysdale, Photography Dept. New York University, US. 1980 Directions and Perspectives Series, International Center of Photography, New York, US. Selected Articles, Books and Catalogues: 2008 YOU_ser: The Century of the Consumer, ZKM Center for Art & Media Technology, Karlsuhe, DE. YOUniverse, BIACS3 Seville Biannual, BIACS Foundation, ES. 2007 Documents: Quelques pratiques artistique à l'ère de la numérisation, les presses du réel, FR. 2006 Jack Goldstein: Digital Aphorisms, DVD ROM, Karlsruhe, DE. 2005 Medien Kunst Interaktion: Die 80er und 90er Jahre in Deutschland, Springer Verlag, DE. 2004 Internet Art, Thames & Hudson, London, UK. Digital Transformations: Medienkunst als Schnittstellevon Kunst, Whois Verlag, DE. 2003 Future Cinema: The Cinematic Imaginary after Film, MIT Press, US. Feelings Are Always Local, NAi Publisher, Rotterdam, NL. The Chrono-Files: from time-based art to database, lotringer13/halle, DE. Critical Conditions: Information Atmospheres and Event Scenes, Wood Street Galleries, Pittsburgh, US. CyberArts, Ars Electronica, Hatje Cantz Verlag, AT. 2001 net_condition: art and global media, MIT Press, US. Solitude au musée/Solitude im Museum, Edition Solitude, FR/DE. Die Kunst des Ausstellens: Beiträge, Statements, Diskussion, Hatje Verlag, DE. Zero to Infinity: Arte Povera, Walker Art Center, US / Tate Modern, UK. Photographie des 20. Jahrhunderts, Museum Ludwig, Cologne, DE. 2000 Voilà: le monde dans la tête, Musée d'art moderne de la Ville de Paris, FR. Rewind to the Future, Bonner Kunstverein / Neuer Berliner Kunstverein, DE. Traversing Territory, Portland Institute of Contemporary Art, Oregon, US. Desert & Transit, Museum of Fine At Leipzig / Kunsthalle Kiel, DE. Augenblich und Endlichkeit: Das von der Photographie geprägte Jahrhundert, Salon Verlag, DE. 1998 Peripherie ist überall, Edition Bauhaus, DE. 16th World Wide Video Festival, Stichtung WWVC, Amsterdam, NL. 1997 Documenta X: The Book, Hatje Cantz Publishers, DE. Documenta CDX ROM, documenta gmbh, DE. 1996 Photography after Photography: Memory and Represention in the Digital Age, Art Stock, DE/UK. Arctic Circle /Tropic of Cancer CD ROM, Center for Contemporary Images, Geneva, CH. Pixel-Porträt: Eine Hochschule auf CD-ROM, Novum: Das Forum für Kommunikations-Design, Munich, DE. 1994 Experimental Vision: The Evolution of the Photogram Since 1919, Roberts Rinehart Publishers, US. 1993 Black Sea Diary, Editions Patrick Frey / Scalo Verlag, CH/DE/US.

1988 Journal of Contemporary Art, New York, US. 1984 Encyclopedia of Photography, Crown Publishers, US. 1982 Berlin Stories, London Regional Art Gallery, London, Ontario, CA. 1981 Two Ends of a Spectrum, Art Gallery of Ontario, Toronto, CA. The Obvious Illusion: Murals from the Lower East Side, George Braziller Publ., US.