updated winter 2002

The Alt-X Network is actively supporting the research and development of innovative digital narrative, Internet art and critical media theory with a special creative interest in state of-the art interactive environments made for the Web. Hyper-X is an ongoing "network installation" space that enables participants from all over the world to interact with these breakthrough projects.

Our current feature is Random Paths by Jody Zellen. Random Paths is an interactive web work about sequence and memory and how groupings of images and passages of poetic texts can create different associations. Random Paths is meant to be circular and hopefully upon each viewing new meanings will be generated.

(2001)

"Some general themes of my recent work are sex, humor, perception, language and art itself. I try to work as an artist/medium rather than artist/master. I'm more interested in discovering or revealing art rather defining or asserting it." "Virtual Workyards" documents the pioneering work of digital artist Jim Johnson.

(2000)

"Let us never hear again the tired complaints about declining language arts skills in the age of technology." Featuring Shelley Jackson's My Body, The Unknown by the collaborative-authoring unit of William Gillespie, Scott Rettberg, Dirk Stratton and Frank Marquardt, Rice by Jenny Weight and Friday's Big Meeting by Rob Wittig.

(1997-1998)

"We might go so far as to say that the contemporary art world, once confined exclusively to the continuous exhibition of various art works and installations in physical space, will need to start radically re-evaluating its ability to maintain social relevance while branding its cultural imprint on the screenal spaces connected via the Net." Featuring new work from Roy Ascott, Shelley Jackson, Knut Mork, Erwin Redl, Ricardo Dominguez, INTIMA, Vuk Cosic, Alex Galloway, Tina Laporta, Nino Rodriguez and many more.

(1997)

"The medium that has emerged on the Web, and that continues to dominate commercial esthetics in general and through it a large part of ourselves, is one that fosters, and depends on, utter transience of attention. Extending television's effects through its much-vaunted interactivity, the Web has served to render writing into "content"--something to squeeze between flashy interaction and absorb any drops of attention that might spill. (It is no coincidence that this is the same, already proverbial, position that humans have come to occupy vis-a-vis machines.)." Featuring new work by Mark Amerika, Bobby Rabyd, Jacques Servin and Eugene Thacker.

(1997)

"The theory and the medium are on the same wavelength; that is, there is a real convergence, even if it is not a total mapping of all theory to all technology. But hypermedia certainly is very useful in embodying the theory just like the theory is very useful in intellectualizing and explaining the space."

(1996)

"There's the whole notion of perception -- there are cognitive psychologists who'd argue that our perceptual apparatus is prejudiced in favor of perceiving things in a linear, causal fashion. We create causality and sequences in the act of perceiving." Featuring Jay David Bolter, Jane Yellowlees Douglas, Jim Rosenberg, Ruth Nestvold, Jay Dillemuth and Ben Cohen .

(1995-1996)

Featuring:

Hypertextual Consciousness
by Mark Amerika,

Omphaloskepsis
by Jay Dillemuth,

Six Sex Scenes
by Adrienne Eisen

Post-Feminism Forum
with the Guerrilla Girls,
Critical Arts Ensemble, Tribe 8, Eurudice, Kiki Smith, Deb Margolin and others.