FRIDAY - February 29

STAGE

ELEVATOR

CAGE

7:00 –
   8:00

(Shimmy Shimmy Grass set-up)

Elevator – performance (Joshua Holden)

Let’s Paint TV – tv program, installation, painting(v.) (John Kilduff and i^3)
Watercouleur Park – digital sculpture (Qubo Gas)
Bathtub Electric Kool-aid Keg Music - music (Lusid)

8:00

29 February Interview with NEENstars – netcast performance (NEEN)

8:30

Fix It With Eyes – screening (Daniel Kibblesmith)

8:35

The Simplification of an Island Imploding – sound sculpture (Fashion Flesh)

8:46

Utopics Video Guide - screening (Geoffrey Pugen)

9:00

Sock – performance (Lord of the Yum-Yum)

9:30

Shimmy Shimmy Grass – digital sculpture (Qubo Gas)

9:45

Gimme The Mermaid – screening (Tim Maloney and Negativland)

9:50

This is What I’ve Been Trying to Say All Along – screening (Heather Marie Vernon)

10:00

$e><: Level 2 – screening WORLD PREMIER!  (Arturo Cubacub, Sarah Weis)

10:20

Fun Party – screening (Emily Alden Foster)

SATURDAY – March 1

STAGE

OFFICE

CAGE

1:00 –
   3:00

- Screening Mix -

NEEN room (www.neen.org)
Utopics– interactive performance installation presentation of conceptual interactive cyber-art and video project (Geoffrey Pugen w/ i^3 volunteers)
Shimmy Shimmy Grass – digital sculpture (Qubo Gas)
Gendering – interactive performance installation (Jennifer Weigl)
Blue Skies and Monsters – screening (Jad Fair)

Let’s Paint TV – tv program, installation, painting(v.) (John Kilduff and i^3)
Watercouleur Park – digital sculpture (Qubo Gas)
Bathtub Electric Kool-aid Keg Music - sound collage (Lusid)

3:00

Running Wild – treadmill performance with audio (Kye: Cool Renegade)

3:25 –
   6:00

Let’s Paint TV – tv program, installation, painting(v.) (John Kilduff and i^3)
Watercouleur Park – digital sculpture (Qubo Gas)
Bathtub Electric Kool-aid Keg Music - sound collage (Lusid)

6:00

Statistics - performance (Super-Cool Sluuts of America)

6:10

Chim^Pom– screening (Chim^Pom)

6:40

Pretty Things - screening and performance (Michael Lucid of Pretty Things)

7:00 –
   8:00

NEEN room (www.neen.org)
Utopics– interactive performance installation presentation of conceptual interactive cyber-art and video project (Geoffrey Pugen w/ i^3 volunteers)
Shimmy Shimmy Grass – digital sculpture (Qubo Gas)

8:00

About a Gnome - music performance (Soft Serve)

8:30

B-17: Re-Zoom 2 "Electro-Magnetic"- screening (Arturo Cubacub, Sarah Weis)

8:40

Notre Icare - screening (Johanna Vaude)

9:00

Club Sashay – music performance (Randall Christopher Bailey, Rand Sevilla, Camilla Ha)

10:00

Asparagus – animation (Suzan Pitt)

10:30

:: DEVOLUTION-REDUX :: – performance (Melinda Snyder)

SUNDAY – March 2

STAGE

OFFICE

CAGE

1:00 –
    5:00

- Screening Mix -

NEEN room (www.neen.org)
Utopics – interactive performance installation presentation of conceptual interactive cyber-art and video project (Geoffrey Pugen w/ i^3 volunteers)
Blue Skies and Monsters – screening (Jad Fair)
Pop Art – screening and edible installation (Abe Ferraro)

communication. // saturation.– performance (Katie Schaag, Kate Graham)
Watercouleur Park– computer program (Qubo Gas)
Bathtub Electric Kool-aid Keg Music - sound collage (Lusid)

5:00

Untitled – performance (Jeff Trainor)

5:05

Cinema Poetics 3 – screening (Jake Barningham)

5:15

Why I Love Shoplifting From Big Corporations – screening (Franklin Lopez)

5:40

CTRY – screening WORLD PREMIER! (Anne Laplantine)

6:05

Zenith Ceremony – screening (Geoffrey Pugen)

6:15

Montessori's Revenge – musical performance (Ray St. Ray and Chameleon world)

NEEN
NEEN MANIFESTO:

A Few Things I Know about Neen

Neen stands for Neenstars: a still-undefined generation of visual artists. Some of them belong to the contemporary art world; others are software creators, web designers, and video game directors or animators.

Our official theories about reality—quantum physics, etc.—proved that the taste of our life is the taste of a simulation. Machines help us feel comfortable with this condition: they simulate the simulation we call Nature. Opening the door of your room or clicking on a folder on your computer's desktop will send you to similar destinations—two versions of reality that are seemingly perfect and dense, but they will start dissolving after you analyze them.

Computing is to Neen as what fantasy was to surrealism and freedom to communism. It creates its context, but it can also be postponed. Neenstars buy the newest products and they study how to create momentum. They glorify machines, but they get easily bored with them. Sometimes they prefer just watching others operating them. Neenstars find their pleasure in the in-between actions. Neen is about losing time on different operating systems.

Neenstars love copying in the same way that the city of Hong Kong multiplies its most successful buildings. The same, but a little different: Names, Clothes, Style, Art, and Architecture are important for Neenstars. So they create all that from scratch, as if what has been done before them is not so important.

Neen is very sentimental, but it is not about identity, although Neenstars occasionally use their identities as passwords in order to obtain certain privileges. Because the identity of a Neenstar is his state of mind, he is free to use the identity of another Neenstar if he needs to do so. But this works also on reverse: a Neenstar can create artwork for another Neenstar and that is the major difference between Neen and contemporary art.

While in contemporary art you need to be yourself all the time, a certain type of "hero" who is polishing always his image until he becomes a mirror of his lifetime, in Neen, you are a kind of "screen." A Neenstar projects a temporary self that stays always under construction and moves from the present to past and future without limitations. And because a Neenstar will publish everything on the web, his state of mind reflects the public taste. Neenstars are public personas.

If fantasy brought surrealists to the ridiculous and revolution drove communists to failure, it will be curious to observe where computing will bring Neen.

Suzan Pitt
This candy coloured nightmare rocked audiences upon its release and catapulted maker Suzan Pitt to the front ranks of indie animation. Stunning cel animation propels its blank-faced protagonist into the world of the phallus, rendered here as a field of asparagus, which she deep throats, excretes and flushes away...The film's stunning set piece occurs before a claymation audience who gape as the artist opens her Medusa's box to release rare wonders. A moving meditation on art and the cost of reproduction, Asparagus remains, twenty-five years after its release, a benchmark of single frame intensity.

Soft Serve
Twisted oscilation and old-fashioned drum machines from this old-fashioned Chicago girl.

Lusid
A lusid produced fusion of reality and illusion.

Mark Mothersbaugh
Images pulled from man's past... then corrected into sickeningly beautiful beings. A study of humans via symmetry using photos both recent & vintage.
Rorschach's patterns, though abstract, suggest different visual images to each person who views them, and each interpretation is correct. Objects in this world are what they are to you because of how you happen to see them.
People are all hiding something. Many know exactly what that is, while most probably have no idea. Our asymmetrical exterior hides the true contents of each of us.
Aztec Indians built gigantic Kaleidoscopic pyramids that focused light from the sun through complex polished silver mirrors that reflected and flipped images of humans onto walls, giving rise to the celebration of a quest for true symmetry in their lives. In the 1800's people would flirt with these ideas and play parlor games with signatures, paper cuttings, etc. It was in the early 1900's that Rorschach and other psychiatrists developed theories and medical practices (inverted, as it turned out) based on their intuitive hunches regarding symmetry and the internal workings of man. Humans, great pretenders to bi-lateral symmetry, are in actuality, closer to potatoes in their lack of precise symmetry. A closer look reveals what is truly inside the people around us.
The photographs in this show were corrected in order to examine those who have walked the planet before us. Theoretically symmetrical in generalities, the subtle potato-like qualities of the human form allow the tenants of these bodies to hide within their asymmetric muddiness.
These corrected photographic images allow the true tenant of these human faces and figures to be 'flushed-out' and viewed without the disguise that we all so expertly hide behind.
For this project, old photographs were "corrected" using a combination of both antiquarian hand-crafting and modern computer technology. Other images have been enlarged to reveal details that might be over-looked at a smaller size.
These images were my personal favorites from over 3000 different tests created between 1999 and 2007 from original image sources that included personal photography, old photo booth strips, and daguerreotypes and ambrotypes obtained from a wide variety of sources including research facilities, antique shops located around the world, and online auction sites.

Jad Fair
Slide-shows of Jad’s visual art with music by Jad Fair and Lumberbob

Randall Christopher Bailey, Rand Sevilla, Camilla Ha
(gliffery lumps of lorps in gaseous space and chirruppy pard calls originated in the town of Florb - neighboring Whispery Trickles in the region of Squeem Valley) first began appearing on earth approximately one year ago.
their performances are a combination of chaotic kitten purrs, insane droolings of pixelated pubic brains boiled in abominable salamander butter, toopy fart shields and the humping and squishing of seemingly unplayable instruments. there is a
magic of sorts in their digits, limbs and various appendages.
one might ask themselves "is this butt drugs?" feeling the rhythmic slapping of eyes on tacos in sloppy diamond turd disco club dance - gloved feline hands flopping in sloppy pants -this is somebody with a face multiplying in funny sandwich parade producing swarms of puppy puddles - relieve yourself?

Katie Schaag, Kate Graham, Ellen Rebman, Sarah Marie Coogan
This will be a multimedia experimental performance installation piece. the piece will be an exploration of the way constraining forces and limiting discourses put us in boxes and tell us there's no in-between. we want to expose our frequent non-resistance/cooperation with the superstructure, but also the ways that we dismantle the system from within. we want to see if we can create a temporary autonomous zone where we can forge our own discourses, but we also want to explore the challenges and limitations to this ideal. we want to blur boundaries, explore the spectrums behind the binaries. we want to explore and transcend/transform barriers between people, especially communication barriers. within the technocratic culture, we want to forge or explore an intimate connection that is creative and human.

Anne Laplantine
The title CTRY sums up the nature of this new project from Anne Laplantine; without explanations, without a message, in an undetermined language with no fixed pronunciations.
Is this a new album accompanied by images and movements, a firstperson narrative in a filmed diary, or a compilation of video clips?  The long silence which preceded this new release provides some of the answer: it's about how it might still possible to say something today, and who might be addressed. 
So Anne Laplantine has chosen to construct her work as directly as possible, opening up a dialogue with users of the online video site YouTube. Placing herself deliberately outside the preoccupations of the art world, she enters a universe super-saturated with signs. 
There, from one day to the next, almost totally immersed, she builds special relationships in front of her screen, addressing herself -- by way of video texts, video images, music videos -- to the people and the subjects that preoccupy her: apathy or engagement -- including the military kind -- the state of nature or the nation state, the use of force, violence and, finally, faith. 
Connecting first-person writing, image montages of endangered nature, and war documents filmed by soldiers, Anne Laplantine sketches out a deliberately ambiguous path, while her musical universe deploys, once again, great melodic and instrumental richness. To sing about war just to sing, without hymns and without speeches: in the voice and the images of Anne Laplantine -- who respects the law of "an eye for an eye" -- war is just what it is: a desperate celebration, a call to collective annihilation.
Like its vague title -- somewhere between an essay and a howl – CTRY finally is neither standing nor sitting, but on its knees. Somewhere between a message in a bottle and a Molotov cocktail.

Jake Barningham
A still image from Vincente Minnelli's 1958 film; Some Came Running (featuring Shirley MaClaine) is slowly saturated with color over the course of nine minutes. The transition is almost imperceptible at first, but soon becomes a garish digital invocation of meditative (read, passive) decomposition.

Dave Nold
A remix of public domain Soviet SciFi footage.

Melinda Snyder
this piece explores both the beauty and terror of the ironic marriage between humanist nihilism.  a 16-foot tall textile-sculpted puppet and interactive installation also sets the stage for a short performance piece to take place at 10 pm on saturday, march 1st, featuring performance artist meredith miller.  watch as nature gives birth to the awe and horror of the human consciousness, or existential existence, which despite its amazing potential and unparalleled developments within the animal kingdom on planet earth, unravels (or de-evolves) into chaotic barbarism and eventual self-annihilation.

Joshua Holden
Jonathan has been living in the elevator for the past 24 years.  He has been taken care of by i^3.  Everything he is issued and given has the brand i^3 on it.  There is a whole system that has beeen established between Jonathan & i^3 in order for him to survive.

the elevator has not worked in all the time he has been there.

Suddenly the elevator descends, the doors open.....

what happens from there is to be explored on Feb 29.

John Honey
"Forget It!! Nelumbo" enshields Lotophagi, the Greek island of the Lotus-Eaters, as Homer depicted in the Odyssey, who devour a "honey-sweet fruit" that induces a craven stupor of forgetfulness of past and future, an addiction to be forever caught up in the moment. In this trash art installation piece, John Honey materializes the blue Nile lotus into the modern context of American mega-consumerism and "slash-and-burn" ideology, that which lures one to ditch one's motherland for the terra infirmas dreamt to contain the necessary amount of distraction against one's birth. Honey has salvaged each item from the landfill in order to encapsulate mummified remnants of such distraction against birth, little colorful rebellions as secondhand pleasures, warped into new pleasures, residues of our infinity of loti having been devoured. YOU ARE ENCOURAGED TO TOUCH AND MARVEL THE SPECULAE.
John Honey's motherland is Milwaukee, Wisconsin, where his excavations into junkyards, abandoned factories, and litter-filled alleys began. With music, he is classically trained and holds a bachelor's in music composition from the Chicago College of Performing Arts. His creative outputs are mainly transcendental works (Rennaissance-style folksongs, trash art installation pieces, and all-American poetic verse), reposing universal human passions (paranoia, elation, unrequitedness). He currently resides in San Francisco, California, where most of this garbage came from.

Emily Alden Foster
An experimental video montage which is all about maybe being at a really fun party.

Daniel Kibblesmith
Incredibly sad short films in the guise of comedy.  Long term goals include creating a more direct conduit between idea and product, impulse commitment and validation and gradual breakdown of reality through persistent impositions of fiction.
- Or “video art.”  I guess.  Some of it is funny on purpose.

Jennifer Weigel

• 1 bat cave with doll accessories
• b1 My Little Pony House
• 1 doll hotel
• 1 Barbie car
• 30 My Little Ponies
• 15 Barbie/Disney type dolls (including 2 Kens and 1 Max Steele)
• 6 Ninja Turtles
• 4 airplanes and 1 space shuttle
• 9 cars/trucks/vans (including semi w/ trailer)
• 2 motorcycles
• 1 tank & 1 forklift (w/ rock)
• 5 stuffed animals (including 1 mermaid)
• 2 army men
• 1 articulated snake & 1 shark
• 1 purse of plastic bugs & 1 glow-in-the-dark butterfly
• 1 tea set (4 cups, 4 saucers, teapot, creamer, sugar)
• 1 play mat & 1 camouflage fabric mat
• 2 coloring books & markers
• 1 puzzle
• toy chest (altered steamer trunk)

Tim Maloney and Negativland
Made after-hours on Disney equipment - uses audio from phone calls involving the Negativland/ U2 copyright controversy.

Arturo Cubacub, Sarah Weis, Kathryn Korosi
A rhythmic and glittery master/slave story about international economics.  The two main characters in this heavily symbolic experimental piece are The Dollar and The Euro (played by the writers, Sarah Weis and Kathryn Korosi) Director Arturo Cubacub shot the movie with a recently self-invented camera and infused the final picture with vivid digital color. ><: Level 2 is part of the Hyper-Cinema movement being forged by  i^3.

Doctor Metropolis
This film is an expression of the mingling of sight/sound/text/color/music/light.
The figure of Doctor Metropolis floats like a helpless leaf on the digital winds of fate.  Above him electrical beams send him indecipherable messages that are critical to his existence.
The space he floats in is not completely empty.  Giant digital mountains sit waiting to be climbed in the distance.  The large Kubrick monolith is at one end of the axis, a small metal shelter at the other end.
The voices are distinct and seemingly vague.  The sound of the voice is male as gender is the cultural bias humans respond to.
Doctor Metropolis plays the music off-screen, mixing and programming and strumming the instruments in an almost desperate manner.
Two different passages bathe the listener, one is minor the second major.  This is to indicate the binary nature of the way Doctor Metropolis is received by human beings alive during the start of the 21st century.
The text intersects the film with a situational message.  The structure of E-motion is broken into three words that define the way users of electronic media interact with the devices they need to receive the experiences offered by the devices.
Doctor Metropolis used real world methods to create an almost Dali-esque mind bath that is in motion.  It is in E-motion.  The methods are sifted like sand paintings on the floors of a Tibetan temple to leave the viewer with an electronic composite of what Doctor Metropolis feels in his existence here on planet earth.  He hopes that the viewer will want to re-experience this moment, and follows him to the other side of the vast digital space he inhabits.

The artist's devil-may-care attitude is instrumental in helping viewers conquer the primary stumbling block that prevents most people from expressing themselves on canvas, the fear of making mistakes. Kilduff's got that one figured out: "Making mistakes is part of the fun! Ole!"

Join Kilduff as he takes you through the entire process of creating still-lifes, landscapes, and portraits.

In "Let's Paint TV" Kilduff also leavens his lessons with light hearted banter. It's sort of like the show Emeril Lagasse might do if he were a painter. Emphasize "sort of" here.

We will have episodes of John Kilduff’s “Let’s Paint TV” playing in our back cage, with paints and canvases for festival-goers to paint with.

Nate Murphy
A circular story with no beginning and no end. A 3' by 3' ring of hand-drawn pictures surrounds the reader; one can enter from any point. Wherever the eyes land is a perfect place to start - work in progress .

Ray St. Ray and Chameleon World
"Not Just a Band, It's a World"

Johanna Vaude 
Two selections from Johanna Vaude’s DVD “Hybride” by lowave. The diversity of subject and technique contained in Johanna’s films encourages the viewer to think about the inventiveness and possibilities of contemporary experimental cinema. "Hybride" screened with permission from Johanna Vaude and lowave.

Farley Gwazdor
These animations are part of an ''interactive'' art project - all about YOUR OPINIONS! Sometimes artistic ''interpretation'' can be difficult and artificial. I am trying to show that it can be as simple and natural as answering "What is it?" -- a question we all start answering when we are little babies.

Even though it is a simple question, the answers people have left so far are both beautiful and profound. This shows that art has significance for everyone, and that meaning is discovered through a democratic process.

Yes, I know these images are strange... But the whole world is strange when we are infants, and yet we come to understand it. As long as you are true to your senses and your own way of thinking there can be no ''wrong answers.''

Abe Ferraro
This piece deals with issues relating to the struggle that artists undergo to produce, afford, and promote their work. It draws from the paradigms, methodology, and development strategies of the current and past Pop Cultures like the original Pop Art artists did in the sixties. The piece intensifies in a circular manner as I adopt the devices & ideals of these Pop Art artists. The theme of Athleticism vs. Aestheticism, and society’s attraction towards thrill sport activities fuels my personal physical vigor towards the creative process of High Art.  It’s all about the Pop!

The Vegetable Orchestra of Vienna
The Vegetable Orchestra performs music solely on instruments made of vegetables. Using carrot flutes, pumpkin basses, leek violins, leek-zucchini-vibrators, cucumberophones and celery bongos, the orchestra creates its own extraordinary and vegetabile sound universe. The ensemble overcomes preserved and marinated sound conceptions or tirelessly re-stewed listening habits, putting its focus on expanding the variety of vegetable instruments, developing novel musical ideas and exploring fresh vegetable sound gardens.

Michael Lucid and Pretty Things

The "Pretty Things" compilation includes:

the feminist anthem "Always A Bad Girl," which celebrates the strong women of the ages - from Marie Antoinette to Barbara Walters; an episode of the soap opera "Mulberry Commons," following the antics of a group of precocious boarding school co-eds; an "Opal" sketch, about the inattentive Opal who can never manage to pay attention to her best friend Alexis; some whimsical non-sequitors, and more!

The solo live sketch performance by "Pretty Things" co-creator Michael Lucid will include a Goddess Workshop and other surprises.

Kye: Cool Renegade
A live performance/sound composition about the condensed and absurdly exhibited evolution of time management and efficiency in the rise of the fitness industry as it exists - just another superfluous thing in a world of contradictory efficiency/inefficiency. The music itself is intended to give a sense of wild abandon and get people to want to move their bodies in a free wheeling, 'wild' way defying the purpose of a device that tells you how far you have travelled, calories burned, etc., all the while drawing electrons from your wall connected to the coal burning power plant. Wasting energy to expend energy to gain energy; waste vs. expending energy to feel energized and alive; wild.
Kye has worked in the fitness industry for 15 years and have always been intrigued by how unhealthy and decadent most people in the industry live. He has seen really gross thievery, financial fraud, legal dilemmas, drug use, sex in the office bathroom, gang signs all over the warehouse, etc. He is putting a comic book together documenting these various characters and scenarios It would be liberating to pull this off as he is a well respected technician in the industry and finds it totally absurd as this is merely a dumbass job. He actually helped the manufacturers design the treadmill that he will be using. This happened in 1993 and the design is still in production, He got paid nothing for this input.

Fashion Flesh
A  slow implosion, like a captured shorthand version of the event played out to illustrate the major points ending in the pigmented vapors, dust and steam of what used to be

ps- how about if I make the bio up now completely on the fly?:
Fashion Flesh is the mirror of John Talaga. The sound sculptures you hear and see are created entirely from electronics and audio devices hand made by the creator. Nothing is consumer grade, all brushes and pigments are equally and simultaneously above and sub standard build; quality and taste is something added only by the viewer. For those that are interested in finding more words and ephemera on Fashion Flesh in terms of recorded works and past performances it is not such a difficult task, look online and you'll find things both true and false. For now the timelines, history and future will be missing here and included within the simple search of those that are interested when you return home. 

Lord of the Yum–Yum
A man wakes up to find one of his socks missing, follows its thread to an alternate dimension, and has to dupe its keeper into returning it...an operetta of epic proportions.

The Glass Bead Collective
A 17 minute Documentary about the March 2007 NYC Critical Mass. Shot with more than 30 cameras the film follows the first critical mass bike flash mob held under the new NYC parade permit rules that prohibits citizens from assembling in groups of more than 50 people without getting previous authorizion from the police department.

The Super-Cool Sluuts of America
performance

Harry Merry
Music video for one-of-a-kind Dutch songwriter Harry Merry’s Stevie Storm. By Harry Merry and Marianne van Maaren.

Kate Bergeron
The United States government wants to know everything about you...and they mean everything. An exploration of just how far you'll let them go when you gotta go.

Heather Marie Vernon
When we tell something, what are we really saying? Often we may turn a corner and find ourselves caught between that which we consciously want to say and what we might actually be telling. To tell, reveals and also tricks. My video attempts to manipulate this interference of untranslatable slippery speaking and telling. "that's what i've been trying to say all along" doesn't essentially say anything but it tells you a lot in codes. In my video mash-up of 24 multi-personas, speaking acts across variegated strata with speeds and slownesses. Where visible and audible layers make new textures of speaking, to modulate a place for me to tell on my self.

Geoffrey Pugen
“Utopics” Is an experimental art project masquerading as a self-help lifestyle program and cult.  A satirical investigation as well as a deeply serious one exploring the myriad of dysfunctional ways that we humans attempt to ‘master’ our identity, our fellow animals and the natural. We will be screening Aerobia, Utopics Video Guide, and Zenith zideos, as well as having the website available for guided exploration.

FluxRostrum
As a Writer/Director/Editor FluxRostrum's digital shorts "DotCompost Heap" & "WOOD" were selected for The Malibu International Film Festival 2002, "Public Housing and Black Panthers in New Orleans" and "N.O. Evictions" were screened at the Anthology Theatre in NYC March 22nd 2006 as part of a program from Third World News Reel entitled "imMEDIAcy". "Public Housing and Black Panthers in New Orleans" was also screened at the 6th annual Anarchist Film Festival May 7 2006. Many FluxRostrum Films have been aired on FreeSpeech TV as part of the Blacked Out Media show and on numerous public access channels world wide, including Manhattan Neighborhood Network and PeraltaTV. Get That Camera! has aired on FreeSpeech TV, screened at a variety of film festivals and was aired on The Documentary Channel. Flux has worked as part of several collectives that regularly contribute footage and/or finished pieces, such as "Watch This!", "Mandate?" & "The Iraq War 3rd Anniversary Special", to FreeSpeech TV. Several videos from Flux's time in Post Katrina New Orleans have been screened at Columbia University, film festivals and are available for rent on-line @ Liberation Video.

These selected shorts follow Vermin Supreme, Anarchist and Republican presidential candidate since 1988, on the campaign trail in 2008.

Qubo Gas
Shimmy Shimmy Grass is an ephemeral virtual vegetable microcosm whose autonomous and random evolution is controlled by a data-processing program. A digital and imaginary flora spreads out and overruns the space, being part of the place which shelters it in a poetic way.
Qubo Gas's virtual garden, started in 2003-2004, is something forbidden, something wild, well-protected weeds. In spite of its disorderly and impure aspect, Shimmy Shimmy Grass is the result of
perfect organization. With its one hundred and fifty specimens and as many sounds, this garden lives with climatic uncertainties thanks to a sophisticated program which collects real-time weather forecast data and regulates the growth of this plant microcosm. This forbidden garden conceals an infinite potential: ferns, mushrooms, weeds grow freely, at random. This mad garden, the result of precise arrangement of data, can permit a rigorous, fragile natural growth subjected to temperature, sunshine and hygrometry. This unique, transitory garden, in situ, gives its fleeting fertility and exuberance to an ideal infinity. If it can be understood as the fantasy of nature reconstructed and interpreted according to a science-fiction scenario,Qubo Gas's enclosed garden is above all the surface for spiritual projection, the conception of a mental space of world reconfiguration.
Collaboration:
Code by David Deraedt (Flash Action Script / PHP)
Music by Olivier Bruggeman

Franklin Lopez(of Submedia)
How a young American survives in world controlled by corporations.  Inspired by crimethinc's Days of War, Nights of Love.

Jason Zimmerman
The substance of this project, 100+ color laser prints of email responses, originated by means of a solicitation on a common social networking website. A short request for a supposed rape fantasy was posted in personals forums all over the United States—including New York, Chicago, Los Angeles, and Washington, D.C. The words “rape me” formed the bulk of the content. Nothing more was stated or implied beside a willingness to engage in some level of correspondence with willing, yet unwitting, and relatively anonymous respondents. An attempt to maintain the anonymity of those who choose to respond was made by redacting individual names, email addresses, or phone numbers, and in many cases; the faces, tattoos, and other physical identifiers present in attached images, were blurred or otherwise distorted. Although the gathered responses, either presented in bound volumes or tacked to the wall in a large grid, constitute the physical substance of the project, it can also be considered that the project exists largely in the viewer's reaction, and in resulting conversation. For the experience of this project to be meaningful, the viewer needs to approach it with an open-mind, however shocking the subject matter. In this environment discussions may be allowed to transcend the obvious, ranging from viewer’s thoughts on human fantasy (or more specifically sexual fantasy) and its impact on one’s perceived reality, to the complications of socially imposed moralities, or even to broader dialog circulating around how such topics play-out in the relatively new social dynamics created by internet technologies.

FluxRostrum
As a Writer/Director/Editor FluxRostrum's digital shorts "DotCompost Heap" & "WOOD" were selected for The Malibu International Film Festival 2002, "Public Housing and Black Panthers in New Orleans" and "N.O. Evictions" were screened at the Anthology Theatre in NYC March 22nd 2006 as part of a program from Third World News Reel entitled "imMEDIAcy". "Public Housing and Black Panthers in New Orleans" was also screened at the 6th annual Anarchist Film Festival May 7 2006. Many FluxRostrum Films have been aired on FreeSpeech TV as part of the Blacked Out Media show and on numerous public access channels world wide, including Manhattan Neighborhood Network and PeraltaTV. Get That Camera! has aired on FreeSpeech TV, screened at a variety of film festivals and was aired on The Documentary Channel. Flux has worked as part of several collectives that regularly contribute footage and/or finished pieces, such as "Watch This!", "Mandate?" & "The Iraq War 3rd Anniversary Special", to FreeSpeech TV. Several videos from Flux's time in Post Katrina New Orleans have been screened at Columbia University, film festivals and are available for rent on-line @ Liberation Video.

Jeff Libersher
Having survived my formative years surrounded by various disturbed family members, perverse relatives, creepy barflies, and twisted neighbors, I have always felt compelled to escape myself through various forms of art.  My drawings and oil paintings are a logical extension of these collective experiences.  It is my hope that viewers may find a visceral familiarity in the disturbed, bloated, distorted, images and drunken monsters that fill my canvas.

I find that oils best allow me to visually frame the underlying feelings of rage, desperation, and helplessness inherent in the dark, sexual, surrealistic images that form a common theme in my work.  I generally begin a composition by covering the entire canvas with a free-flowing gesture painting, allowing the brush movements to block in these feelings with basic shapes and lines.  Subsequently, I begin to consciously construct the details with layers of highly saturated colors, working one image at a time, until I feel the work is complete.