1. YOSHIYUKI ABE, Tokyo, Japan:
    MPH964, 1996
  2. This image was created with two raytraced thin sheets of hyperbolic paraboloids.

  3. LEO BAKX, Eidhoven, Holland:
    WCD 1P, 1995
  4. Photograph of dancers, scanned in monochrome, using Adobe Photoshop, deleted undesired image elements and colorized parts of the image. Impressionistic character given by Delta Taoïs Monet. Finished by Photoshop.

    St-George 2, 1994 (scanned from the catalogue)
  6. Graduated in history and history of art. I deal with with with archeology of Middle Age. Self educated painter I experiment with different techniques. I started with computer in 1984.

    Structure 6_05, 1995
  8. Function of two real variables F(x,y). Colors are computed by the functional values in particular points of definition area (using prime numbers or iterative method with random numbers).
    J. Blazek cooperated with painter Zdenek Sykora, the first artist in former Czechoslovakia who used computer.

  9. RODNEY CHANG, Honolulu, Hawai, USA:
    Tropical Fruit, 1994
  10. Vehicle O.K. Profitable to earn Dollars for artists support only through second generation hard copy imaging. E-mail O.K. for economically transporting promoting artist work but too volnurable to pirating and copying with no compensation to creator.

  11. MICHAEL CLEEMPOEL, Brussels, Belgium:
    Family album #6, 1995
  12. The pictures are part of series, worked in Photoshop (Mac Quadra 840 AV) with images captured from old family 8mm b/w movies.

  13. CHARLES CSURI, Columbus, Ohio, USA:
    Fragments of The Past
  14. I wanted enough realism so that you might think they were actually figures photographed in a special setting. I tried to achieve a quality of tenderness between two people who have shared much together in life. I used my displacement shader for the surface properties. My fragmentation tool also allows me to specify what parts of the object are to be fragmented.

    Charles Csuri is one of the pioneers in computer art, educated painter, works with computers since the Sixties. He uses procedural language AL, connected with Renderman shader and special shading program, SGI Indigo 2 computer with 128MB RAM and 8GB HD. The final image is computed in 4000 lines resolution.

  15. GARY DAY, Omaha, Nebraska, USA:
    Fountain of Chaos, 1995
  16. The images are of virtual sculpture installations that are based on fractal forms, art historical sources and actual gardens around the world, modeled and rendered with Crystal Topas on PC and postprocessed with Photoshop on Mac. Fountain is based on a BZ scroll that often occurs in chaotic fluids. The background images are from Versailles.

  17. ETIENNE DELACROIX, Paris, France:
    Without title, 1994
  18. Modern art has been a vast exploration of our perception of space which had become more and more separated from traditional imagery. Painting has seemed to lose its importance in front of the trend towards "installations" and other abstract representations of "ideas". At the same time the advent of cheap computers with substantial graphic capabilities has dramatically increased the capacity of generating,transforming,reproducing a flow of mass produced images using standardized software.

  19. DARIA DOROSH, New York, N.Y. USA:
    Arizona desert, 1996 This images represent some of my sculptures (and myself) transported into other locations. In this case into highway in the Arizona desert.

    The work is response to the call for theme of E-Mail Art 3

    Cim 77, 1995
  21. Generated by means of a specially developed software IMA, which simulates the breeding cells. One single parent cell with a given color divides into four "baby" cells. Their colors are defined by the influence of their surroundings (adjecent cells) combined with their own free will. Repetition of this breeding process refines the tissue, and an inpredictable image - with a more or less coherent structure - arises.

  22. OREST DUBAY, Bratislava, Slovakia:
    Message1, 1995
  23. I created my program for the modeling and wire frame rendering of mathematically defined surfaces and I experimented with this program for several years. In order to achieve a colored, shaded images with the reflexions and shadows, since 1993 I am using ray tracing program Vivid (PC). Computer generated images are compatible with the style of my oil paintings.

    Videos, 1996
  25. Images are making fun of my neighborhood in Tucson Arizona, Chicanismos (Mexican-American) images and icons, good old American violence and assorted science fiction fantasies.

  26. BRIAN EVANS, Nashville, Tennessee, USA:
    Song #4 (icterus), 1996
  27. Images from the Song Series are examples of a current body of work called sound portraits-graphic and/or sonic manifestations of simple periodic functions. Vibration becomes color and shape, light or sound. In algorithmic art, mathematical processes are translated into sensory experiences. Is the realization a glimpse of reality-the apprehension of mathematical (Platonic) truth? Or is it simply a human-derived diversion?

  28. TANIA FREGA, Brasilia D.F., Brazil:
    Object1 (left/right eye), 1995
  29. (It is necessary to converge the eyes, either to use prisms or appropriate glasses to achieve the illusion of deepness).
  30. I develop a research on interactive stereoscopic visualization using computer graphics and has a collection of virtual spaces. These spaces constitute a set of 3D objects. Their shapes are freely constructed using mathematical surfaces and curves such as: the Moebius strip, the Pluecker conoid, the Koch curve, among others. My goal is to create my own poetic repertoire. The present set of three stereo pairs were created using the public domain software: Rayshade from the University of Utah (USA).

  31. MADGE GLEESON, Bellington, Washington, USA:
    Thin Slice of Life, 1995
  32. Photoshop, scanner. I printed them on standard letter size paper and then enlarged them on an architectural Xerox machine to final size.Both images are about issues of privacy and the incursion of technology into every aspect of our lives.

  33. MARIA das GRACAS, Rio de Janeiro, Brazil:
    Beach at 8 o'clock a.m., 1995
  34. A digitized photo (using video camera) of my own legs, while sitting on a chair at Tabuba beach (with background cut away), leaving only the legs that I used to recreate a new rocky beach, like those we have in Rio.

  35. LIN HSIN HSIN, Singapore:
    U gonna be out there?, 1996
  36. Copyright (c) 1996 Lin Hsin Hsin. All Rights Reserved.
  37. U gonna be out there? is inspired by the inaccessibility of the stratosphere. The 3-D cyber-aired balloon is a dream-like vehicle to parachute human being to land on the cyberspace.

  38. MICHI ITAMI, New York, N.Y., USA:
    The Irony of Being American, 1995
  39. This image is about my father who was born in America, sent back to Japan to be educated , and then returned at the age19. Pictures of my father - at 16 in Japanese dress at 25; and in American uniform are superimposed over a photograph by Ansel Adams of "Manzanar", a concentration camp where the American government imprisoned Japanese-Americans during World War II. My father volunteered for the American Army, and went on to become the head interpreter of the Tokyo War Crimes trials.

  40. ADAM JAKIMOVICZ, Bialystok, Poland:
    Abstract modelling, 1994
  41. These are some of my works, which I have been doing for the last few months, under a general theme "Abstract modelling"

  42. KEVIN JONES, London, Great Britain:
    Fractal Coral, 1993 (scanned with handy scanner)
  43. My early work as a student was much influenced by the ideas of John Cage. I wanted to drive definitions of music to absurd extremes, exploring boundaries, intrigued with notions of chance and randomness. This image was used on "Tomorow's World and BBC "Antenna" programme. The tree - generating algorithm is run, it animates itself automatically on a computer monitor ....and combined with computer generated music.
    Archimedes PC, own software

  44. EDUARDO KAC, Kansas City, Kansas, USA:
    Mind - Wind, 1994
  45. Has been working continuously with linguistic forms in holography since 1983 with computers and tellecomunications art events since 1985. Has been developing and exhibiting with Ed Bennett the Ornitorrinco project of telepresence installations since 1989. More recently has been working with hypertextual interactive visual poems.

  46. FEVZI KONUK, Riegelsberg, Germany:
    Cross, 1996
  47. The projects name is "The second temple/just slipped my mind"

  48. JIRI MANAK, Bratislava, Slovakia:
    Chi, 1995
  49. The image is inspired by the chinese signs, painted by brush. There is a dynamics of the brush movement - recorded on a paper and I tried to reconstruct it in 3D. I added head and the figures in action were created. Autodesk 3D Studio (PC) and POVRAY (HP 700).

  50. YEHUDA MARTON, Haifa, Israel:
    Nigshu, 1995
  51. Twelve hours Photostyler and Deluxe Paint. Today after using AMIGA for several years (from 1987 upto 1991), I'm using the PC with advance tools like Painter, Photo Styler, and Deluxe Paint to make my pictures, also I'm making sculpters (not with computers).

  52. GEORG MUEHLECK, Stuttgart, Germany:
    Cellular soldier - Celtic pawn #2, 1995
  53. The piece was made by a combination of video grabbs from tin chessmen and Cellular Automata Simulations calculated into the chessmen.

  54. VERA MOLNAR, Paris, France:
    Hommages - irrespectueux - a Albrecht Duerer, 1994 (scanned with handy scanner)
  55. Born in Hungary, lives in France. Co founder of "Groupe de recherche d'art visuael " (GRAV) 1960 and "Art et informatique" at the Institut d'estetique et des sciences de l'art, Paris, 1967. Since 1968 she works with computer and plotter. In 1974-75 developes programs "Molnar". Since 1979 she works at Centre Pompidou (Atelier de recherche des techniques avancees). Since 1980 member of "Centre de recherche experimentale et informatique des arts visuels". 1985 - 1990 professor at the Sorbonne University, Paris.
    Own software, pen plotter.

  56. RICHARD G. RAMSDELL, Sarasoga, Florida, USA:
    1995-4, 1995
  57. The pieces represented here is to be realized as large-scale, site-specific, tiled ink-jet prints.1995-4 will be approximately 144 x 540 inches and will be shown at the University of Idaho in the spring of 1996. The pieces have been created using Adobe Photoshop software on a Macintosh computer.

  58. MARKUS RIEBE, Linz, Austria:
    Territories, 1996
  59. Digital projections of Rubens picture "Continents" (Museum of Fine Art Vienna) on 3-dimensional territories with sources of light, altering in time. A cultural bridge between Art, Space and Time, using an individual shape.

    The work is response on a call for the theme of E-Mail Art 3

  60. AGNESA SIGETOVA, Bratislava, Slovakia:
    Heads, 1986 (detail, scanned with handy scanner)
  61. Multiplication of Portraits, Atari 500 home computer, program Degas, SLM 605, mosaic printer

  62. JAN SEKAL, Aubervilliers, France:
    Without the title, 1993 (detail, scanned with handy scanner)
  63. I use PC, Corel Draw program, ink jet printer.

  64. ROMAN VEROSTKO, Minneapolis, Minnesota, USA:
    Ezekiel Series: The Chariot, 1993
  65. My studio work follows vigorous experimental procedures requiring two work stations, one for research and development and the other for executing my art. Over the past decade I have been developing drawing instructions which are coded procedures that tell a computer how to drive a "multi-pen plotter". Such plotters are mechanical machines that physically draw lines with ink pens selected from an array of pen stalls. Coupled to a computer and following the artist's instructions these plotters "grow" the work of art. Like faithful companions they work for seemingly endless hours executing those instructions with an amazing precision. Thousands of lines are drawn yielding forms that could not be visualized without computing power. Recent works include gold leaf crafting with algorithmic scripts and illuminations bearing the aura of medieval manuscripts. These works provide a window on unseen processes shaping mind and matter. By doing so they become icons illuminating the mysterious nature of earth and cosmos.
    PC, own software Hodos, Houston plotter with 14 pens, hand made brush painting with golden color.

  66. MARILYN WALIGORE, Richardson, Texas, USA:
    The Old Hag, 1994
  67. The problem of exploring the history of the visual representation of women concern me. I have chosen still life photography as a mechanism to investigate gender conventions. The figurine, a miniature representation of a human form, is a frequent catalist for my photographs. Similiary, I select objects that refer back to the body, including clothing, the skull, hand tools, and drawings or photographs representing the figure..........

    This work in digital photography was created on Sun Sparc 2 workstation. File (240MB) was written at a resolution of 1000 pixels on color Ektachrome transparebcy film. The- computer digitized photographs were enlarged to 24" x 30" Fujichrome reversal prints.