URL: http://www.alvaroardevol.org


What interests me is to compose the time in the way the space is made up, with forms. And how space is also configured through the sound. And as sound and forms in movement can create an expressive unit. And the way it can be related to the poetry that is done of words that elapse in the time but which also have forms. Forms that can be in movement accompanied by sound...


My name is August Highland. I produce work that brings together literature, art and technology.

My new series is printed on canvas. The compositional elements are text and the source material is from human DNA sequences. I am attaching a detail from the series called "Self-Complementary Microarray Translation." This piece contains the human DNA sequence from clone RP11-1086F11 on chromosome 1.

This is my exhibition schedule for March-May

May 2005
"ART ON PAPER", Gallery International, Baltimore MD
May 2005
April 2005
"ARTech: MAN & MACHINE", Washington Gallery of Photography, Bethesda MD
April 2005
"ON THE FLOOR, ON THE WALL", Absolute Arts Gallery, San Marino CA
April 2005
"SUBTEXT", Arts + Literature Lab, New Haven CT
March 2005
"TOP 40", Los Angeles Center for Digital Arts (LACDA), Los Angeles CA
March 2005
"REVIEW", Rockhurst University, Van Ackeren Gallery, Kansas City Kansas
March 2005
"INFINITY", Harvard University, Cambridge MA

August Highland's Methodology


All the compositional elements in August Highland's paintings are text; every sentence, phrase, word, part of a word, letter and part of a letter makes up every stroke and gesture in his visual work.

Using present day art materials, (technological tools), Highland "writes" the pieces rather than "paints" them. Without the use of commercial graphic software, he creates the visual work by typing computer programming language on the keyboard, viewing the work on the monitor, and ouputting the finished piece onto a 4-foot printer in his studio. When he is inputting data for an individual artwork, he is writing instructions for the placement of the text, what text to use, what color and size of text to use and what the overall dimension of the piece will be. Using digital tools that he developed independently, he can scale the work as small as a postage stamp or large enough to be installed on the side of a building.

Typically Highland produce 5-10 works in a series. Yet, each of the works is unique in that each one consists either of a different text source or a compositional arrangement or both. Highland produces his visual work in this way so that each piece is a single-edition and not a reproduction.

The reasons for Highland’s use of text as the exclusive compositional element in his visual work are several. The three principal reasons are: 1. To expand the conventional norms of written language and infuse it with expressive and kinetic energy; 2. To refer to the codework that underlies digital media and tech-art; 3. To assimilate into high-tech media the presence of human touch.

The name of Highland’s visual genre is “Alphanumeric Painting” or “Genre-Splicing” and at his <a href=”http://www.august-highland.com”>online studio</a> there is more information about his work and a gallery of works, past and present. He welcomes your comments, so feel free to contact him with any questions or inquiries.

August Highland
Online Studio
http:// www.august-highland.com


Born in Lascano, Rocha, Uruguay (October 8th 1939). Poet, graphic artist, performer, videomaker, multimedia & networker. Graduated in Hispanic Literature. Edited the magazines Los Huevos del Plata (The Silver´s Eggs), 1965-1969; OVUM 10 and OVUM, 1969 -1975, Participación (Participation) 1984 -1986 and Correo del Sur (Southern Post), 2000 - 2003.

He has showed his works
in several individual exhibitions in United States of America, Italy, Korea, Argentina, Uruguay, Germany, Spain, Brazil, Belgium and Japan. Among other distinctions he was personally invited to the XVI Bienal de São Paulo (1984), to the Biennial of Havanna (2000) and Cuenca, Ecuador (2002). Scholar by the Academy of Arts and Letters of Germany (1984), he has dictated seminaries in the 4 corners of the world. Since "The Poetry should Be made for All," Montevideo, 1970, he has carried out countless performances in many places of the world. Padín is also author of 18 books and hundred of notes and articles published in many places of the world too. He has participated in multiple events in Internet since 1992 and have published two CD ROMs with Net Art.

Clemente Padín: C. Correo Central 1211, Montevideo 11000, URUGUAY


My name is David Daniels.

I create Shape Poetry.

My work is at:


My Biographical Notes are at:


This poem above is from The Gates Of Paradise:


David Daniels took the .pdf to the printer to be printed 6 feet long. The printer printed 10 copies 18 feet long. When he discovered his error he gave David the 10 - 18 foot poems and printed the 10- 6 foot ones.

The poem in the photo at the top of David's studio is 18 feet long and two feet wide.

I have liked very much this history and the photo. What about you?


I've been fascinated with the endless possibilities of new media and digital art and literature since before computers. I first started with Marble Springs (Eastgate Systems 1993), where readers can click on graveyards and empty town streets to find out who lived there and ferret out their connections. Then I found the joys of structure as metaphor and then imagery, sound, and so much more! My works and curriculum vitae are at http://www.deenalarsen.net. I have some easy introductions into this brave new world--come on in, the water is fine!


Dunadigital is one of the alter-egos of Dante Smirnoff, alter-ego himself of
a flesh-n-bones guy who lives in the Straits of Gibraltar (the sea strip
between Spain and África). Our activities online are:
- almost daily update of a digital magazine publishing news and glocal
initiatives from the Straits of Gibraltar. www.dunadigital.com
- cultural collaboration / activism in various areas
- now we are trying to set the basis of a project that alows a better
communication and spreading of digital arts in spanish.


French, living and working in Austria and France.
Activities : netart/webart, photography, writer
of short stories, writer of articles and reviews
in the e-zine "netartreview" (California),
2D & 3D drawings, 2D & 3D animations,
works under copyleft license, and some other


Isabel Aranda * Yto * / VISUAL & DIGITAL ARTIST

I began the digital art transforming images of my work in painting and drawing. Little by little I have gone away these images and my net.art's works has become small animations and experimentation pieces. I am also making longer works that I show offline because they are very heavy in MB, these continue the same spirit of the small animations.

I work from 1995 in the digital art, but I feel that it is only the beginning of many ideas that I want to develop. ***

I feel very attracted by the Ascii Art. It is the language that I am integrating to my last works. The main topic of my work is the human being, our physical condition, as first state that dominates our spiritual being and intellectual. From the beats of our heart to our external movements. Finally our thoughts and creativity. Our body, so vulnerable. of our body our spirit does depend? ***

Today many of the images that I am going discovering in the digital art, I am integrating them to my paintings and drawings.

Brief Biography

The year 1990 she is graduate in arts mention painting in the "Universidad de Chile".
She begins painting abstract postulating for the pure painting, taking to the plastic elements as main characters of their work. Later on (1992)she intrudes a landscape expressionist to arrive of full to the figuration the year 1995.
In 1995 she begins work digital art
( www.escaner.cl/netart - www.escaner.cl/yto/net-art ).
In January of 1999 she publishes "Escáner Cultural", web site virtual of art and culture that continues publishing monthly until today. ( www.escaner.cl )
That same year she begins make paper for their paintings working strong with the materiality and the collage. She also knows and it participates in the nets of mail art activity that continuous until today .
The year 2001 make classes in the University Uniacc in charge of the "Expression Multimedia", and their first convocation of Mail Art "Flies in the Soup (Communication and Vanguard) ". The 2001 also begin to work in engraving.
At the moment she is devoted to investigate and to create around the NeT.ArT and digital art. She integrates this language to their painting.
( www.escaner.cl/yto/net-art )
More information: www.yto.cl

Brief Curriculum:

Prizes and selections:
2004 prize of the Critic in the specialty of Visual Arts, National Category. 2003. Circle of Critical of Art of Valparaíso.

2004 works selected "Digitalis 3: Urban Poetry". (The Digitalis Digital Art Society and the Evergreen Cultural Centre, British Columbia, Canada.
2000 - 2002 - 2003 work selected "Art-E-Mail", Mac 21, International Fair of Contemporary Art. Málaga, España.
2003 work selected "Digitalis 2: The Spiritual In Digital Art". ( The Digitalis Digital Art Society and the Evergreen Cultural Centre, British Columbia, Canada.
2003 Second place "Competition of Painting In Situ" , La Unión, X región de Los Lagos, Chile.
2001 Prize Corporación de Televisión Universidad Católica de Valparaíso. Competition of Painting "Reñaca en Color" (In Situ). Viña del Mar, Chile

2001 Third Place "Primer Workshop de Poesía On-Line", Escuela de Diseño Universidad Uniacc.
1984 Works selected "Competition of Painting Alumnos Universidad de Chile "

Mailart y net-art:

2003 "Violence Online Festival v.5.0". version 5.0 on 18th Videoformes Festival Clermont-Ferrand (France) 20-23 March. www.newmediafest.org/violence

2001 "Identidad y Globalización" Salón Digital de la VII Bienal Internacional de Pintura de Cuenca, Ecuador, 2001.

2001 1ra Convocatoria de Arte Correo (Mail Art), Moscas en la Sopa (Comunicación y Vanguardia). Sala Proyect Room, Universidad Uniacc, Santiago de Chile.

2001 Xi Festival Internacional de Poesía en Medellín, I Exposición Internacional de Poesía Experimental. Medellín Colombia

2000 Proyecto 2000 Para la Suspensión de la Pena de Muerte Convocatoria de Mail Art Organizada Por Amnistía Internacional y AUMA. Tarragona, España
2000 Nudo 2000 Regidoría de Cultura, Alcanar Tarragona, España.
2000 Esquema 2000 Simposio Internacional Sobre Nuevas Tendencias en El Arte Contemporáneo. Sección Arte Correo. Syberia Nova Kultura Center, Rusia
2000 3er. Encuentro Internacional de Poesía Visual, Sonora y Experimental - Vórtice Argentina - Argentina.
2000 Cruces del Mundo. Museo de Arte Contemporáneo. Santiago - Chile.

Painting and engraving:
2003 "Sensoriales". Galería Centro Cultural Reñaca. Reñaca.
2001 "Papel". Galería Centro Cultural Reñaca. Reñaca.
2000 "Aranda & Hernández, Recoger - Retener - Renovar". Galería de Arte "Ventana Cemicual". Santiago.
2000 "Aranda & Naranjo". Edificio Corporativo Lan Chile. Santiago.
1998 "La Esquina". Centro Experimental "Perrera Arte". Santiago.
1997 "Mi Amigo El Color". Centro El Belloto. Quilpue. V Región.
1997 "Presente". Corporación Cultural de Ñuñoa. Santiago.
1996 "Pentágono". Centro Experimental "Perrera Arte". Santiago.
1996 " El Que Tenga Ojos Que Vea ". Galería de Arte Balmaceda 1215. Santiago.
1995 " Isabel Aranda * Yto * " Sala Arte Reñaca.
1994 "Y Toma y Da Y... " Sala Mar Futuro. Viña del Mar.
1994 "Yto May Day ". Centro Marginalia. Constructora Pacífico. Santiago.
1991 "Después de Seis Años Pintando Para El Closet , Mi Pintura Perderá la Virginidad". Santiago. Exposiciones Simultáneas: - Galería Bucci y Libro Café
1990 "Pintura - Pintura". Sala de Exposiciones, Departamento de Artes Plásticas, Universidad de Chile.
1985 "Paneles". Las Encinas. Universidad de Chile.


I am Joesér Alvarez, media artist, Rio de Janeiro, 1962. I learned to draw very early. When I was 9 years old, I drew as Michelangelo, but I learned to paint very late - the 12 years old boy Picasso was much better than me when I was a 33 years old man. I learned sculpture working in an iron foundry; and engraving with some artists in Florence. I have worked with digital art since 94, and net.art since 2001. Currently interests me the conceptual questions of media art in cyberculture.

I live in the Amazonia's periphery, which is the Brazil's periphery. I worked during 11 years in the gold mines, I won some money "fighting bulls" the death many times, knowing it closely, by the smell and sometimes very very closely.

To know more about me, only interviewing me...; -)

A great hug to all!

Joe is very creative and surprising, he is the unique I know that being in Amazonia is able to draw directly in Dublin sky and then to dedicate that drawing to me.



Master in Science of Art (Universidade Federal Fluminense). Graduated and Post-Graduated at the Escola de Belas Artes (EBA) of the Universidade Federal do Rio de Janeiro (UFRJ). He carried out the implementation of the workshop of Lithography at the "Escolinha de Arte do Brasil", where he taught and co-ordinated the Engraving Nucleus (woodcut, litography and etching) from 1994 to 1997. Currently he teaches Engraving at EBA, UFRJ and at Bennett - RIO DE JANEIRO. He has participated actively in individual and collective art shows in Brazil and abroad, being granted many awards. Participated in the 13ª Xylon (the Triennial International of Engraving-Switzerlandand ) and Mostra Rio Gravura. He was curator of the extinct Galeria SESC de Copacabana from 1996 to 2000. Since 1999 he directs the ATELIER VILLA OLÍVIA.

"In my work the drawing is materialized through the form. It was in this way, through experiences, that I arrived at a personal way to represent my emotions and perception of the world. Simplifying the form, I arrive at its minimum and even to at the abstraction, giving it a new sense, in this way, each observer decodes my works in accordance to his/her perception of the world. Thus, my idea turns into new ideas, new sensations. This happens in both my kind of works: analogical or digital."


Descubrí el mundo con el arte correo, las bibliotecas haciendo ex-libris, con la computadora me hice haragana y ahora ya no quiero limpiar pinceles cuando termino de trabajar, y así metí en el scanner todo lo que se pueda imaginar para hacer ilustraciones para niños.

También armé naipes interactivos, eróticos y comodines.
Pero no hay nada en la vida como el olorcito de la tinta para imprimir xilografías, o el ruidito que hace el lápiz cuando deja su huella en el papel.


Born in Chile, 1950 - independent artist - self-taught woman.


- Experimental midia poet - video installation - poster - performance - theater - mail art - Internet mail- artist's book- photography - electronic poetry...

- Cultural manager: creator of several cultural proposals: artforum places - workshops for development of expression through experimental art for young people and adults of the community.


- Constant process of visual and audio-visual poetic creation which is based on the exploration of the matrix of the language: Spanish, in many contents and forms... from the shortage of the anonymity to a critical reflexion of the cultural established codes: gender... race... identity... materiality... autonomy... diversity... a "cosmopolitical" cultural vision.


- At several Art places and forums ... institutionals and alternatives .... in Chile and abroad, continually since 1990, and from my life place ... Valparaíso. (Click to know Valparaíso with the eyes of SALDAMANDO-DIAZ.)


To know me, I would like to invite you to browser the following URL:


(You must visit this presentation, it is pure Art!



Brazilian from Rio de Janeiro, just now I'm Paulo Villela, architect that after many years of work went aware of age and decided to dedicate exclusively to drawing, painting and, modern times, to all that in the virtual space. My magnetic north has been Regina Célia Pinto, artist whose knowledge, wisdom and infinite pacience shows me the ways in the web. After Regina another reference in my journey is Marcelo Frazão. Thanks.

It is very interesting a ride by the world of Paulo Villela!



I am Regina Célia Pinto. I am Brazilian, and I was born and still live -
perplexed but with pleasure - in the splendid city of São Sebastião do Rio
de Janeiro. I'm a visual//web artist and researcher.
As a visual artist, I have participated in several
exhibitions and curated several. My interest in web.art started in 1997.
I created and publish arteonline.arq.br which, since July 2001, turned into the Museum of the Essential and Beyond That, where I try to
work with virtual reality - in other words, with virtual architectures. I believe that one of
the good characteristics of globalization is it allows the exchange of
national and international artistic experiences. So that I created this newsletter. I hope it works in the way I have imagined and allows us to live the good aspects of globalization.

URL: Library of Marvels


My name is Ricardo Baez-Duarte. I am from Venezuela.

I do not consider myself an orthodox photographer. My camera,
computer and software are instruments of expression and search for my inner self through the analysis of the images.

Some times an image post processed has something essential from me,
about my fears, my joys and preocupations, sound strange but this is
my truth. The other face of this coin is the transmission of the message to another human being, to share with him these feelings, conclusions and thoughts, that is very rewarding.

URL: http://www.artrbd.com

By the way, I would like to share with you that one of Baez - Duarte's photos appears on the front cover of a magazine of digital art in Australia! Baez-Duarte photos are really astonishing!



Saul Ostrow is Dean of Fine Arts and Head of Painting at the Cleveland Institute of Art. From 1999 to 2003 he was Associate Professor of Art and Art History, Director of the Center for Visual Arts and Culture (CVAC) and Coordinator for the Raymond and Beverly Sackler Master Artists and Scholars Institute at the University of Connecticut. Before going to the University of Connecticut he was the graduate thesis advisor for the MFA program at NYU University where he had taught courses in critical theory and contemporary art history since 1989.

Since 1995 he has been the Editor of the book series Critical Voices in Art, Theory and Culture which was originally published by G+B Arts International and is now published by Routledge, London. Among the books series included in this series were publications on or by Arthur Danto, Marshall McLuhan, Freidrich Kittler, Griselda Pollack, Stephen Melville, Jonathan Katz, Moira Roth, Mark Poster, Stanley Aronowitz, Norman Bryson, Mieke Bal, David Carrier and two books edited by Richard Woodfield respectively on the work of Alois Riegl and Aby Warburg.

Prof. Ostrow is also Art Editor for Bomb Magazine (a quarterly magazine of art, literature, theater and film) and Co-Editor of Lusitania Press (which publishes anthologies focusing on contemporary cultural issues and a consulting editor to the University of Minn. Press). His own writings have also appeared in Flashart International, ArtPress (FR.), Neue Bilde Kunst (Ger) the International Review of Art (Col.) Arts Magazine, World Art and the New Art Examiner (USA) Art Journal,, Art Bulletin as well as numerous exhibition catalogues.

In addition to his writing and teaching, Prof. Ostrow has since 1987 curated over 50 exhibition in the US and abroad in addition to the 4 exhibitions a year he organized as director of the Center of Visual Art and Culture. Approximately half of his curatorial projects have dealt with the issues of Abstract Art, the others with issues arising from other forms of representation. These have included in recent years "Painting All-Over: Again" at the Municipal Gallery, Zaragoza, Spain 1996, "Painting in an Expanding Field" Bennington College, Vt. 1997 and "Divergent Models", Kunstverein, Wiesbaden, Germany, 1997 "Painting Function, Making it Real", Spaces, Cleveland Ohio, 2000, and Supports/ Surfaces, Prescient Now and Then, David Dorsky Projects, NYC, 2002.