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  • Dobrila, Peter Tomaz and Aleksandra Kostic, ed. Eduardo Kac: Telepresence, Biotelematics, Transgenic Art. Maribor, SL: Kibla, 2000.
  • Davenport, Glorianna. Your Own Virtual Storyworld Scientific American 283, no. 5 (2000): 79-82.
  • Christina Kubisch was born in Bremen in 1948. She studied music, painting and electronics. Performances and concerts until 1980, subsequently sound installations, sound sculptures and work with ultraviolet light. Numerous grants and awards, such as
  • Martin Kusch is particularly interested in the influence of digital technologies on our way of thinking and on our perception of the body and space. Following his studies in art history, philosophy, and painting in Berlin and in media art with Peter
  • Candeira, Javier. Rebecca Allen: El arte interactivo tiene mucho que aprender de los videojuegos El Mundo - Diario del navegante: Especial Art Futura 2000 (2000).
  • MacMahan, Alison. Architecture of the Mind. The Work of Jeffrey Shaw Archis. Architecture-City-Visual Culture 6 (2000): 38-43.
  • Deeply rooted in art, music, mathematics and technology, Lin Hsin Hsin has composed and realized digital music without sound card and midi instruments since 1985. She has created the first virtual art museum in the world, 1994, designed the 50th
  • Napier, JoAnn and Denise Shortt and Emma Smith. Culture: Char Davies, Virtual Artist In Technology with Curves: Women Reshaping the Digital Landscape, Toronto, Ontario: Harper Colllins Ltd, 2000.
  • Pesce, Mark. The Playful World: How Technology Is Transforming Our Imagination. New York: Ballantine Books, 2000.
  • Pesce, Mark. Cathedrals of Light In The Playful World: How Technology is Transforming Our Imagination, edited by Mark Pesce, 248-255; 267. New York: Ballentine Books, 2000.