The anthropological effects of cyberspace grant to the interfaced body a new capacity for attempting higher and more complex levels of interaction. The author's on-line project Ouroboros provides first and second interactivity. The web site explores the seamless condition of being a reptile in interaction with various environments as it evokes the symbolism of the great world serpent Ouroboros. The author proposes that interactive technologies return us to forms of communication similar to the rituals of primitive societies. Feedback and emergent behaviors effected through tele-immersion, remote action and self-organizations related to the lives of snakes are intended to provide the sensation of being in a day-dreaming state.

The complexity of digital media technologies requires artists to form teams of specialized experts integrating their contributions. Studies on interdisciplinary collaborations in organizational and scientific research-and-development teams have revealed that three processes—communication, coordination and knowledge-sharing—significantly influence their efficiency and effectiveness. This model was applied to an international and interdisciplinary digital media art production team to analyze the effects of team members' geographical dispersion, differing nationalities and heterogeneity of disciplines. The results are in accordance with previous studies of teams in corporate and scientific settings but also reveal differences between artistic and industrial product development processes.

Surveillance technologies and centralized databases are threatening personal privacy and freedom. Radio Frequency Identification (RFID) microchip technology is one of several potential human tracking and authentication systems. The author's interactive art installation Pop! Goes the Weasel aims to explore opportunities for resisting surveillance by altering underlying assumptions concerning identity. Viewers are encouraged to experiment with resistance by avoiding access control, intervening in the database and subverting notions of a stable or single identity. The author is planning a future project to develop an interface between the author's two implanted microchips and her computer in order to track her computer usage as it relates to her technology-induced shifting sense of self.

This paper is an attempt to make sense of the Japanese word orai and to consider in what way the author's own “comings and goings” across artistic, literary and esoteric pathways led to the formulation of his practice, later to be theorized as telematic art and to be understood as a form of associative connectivism . The paper focuses on La Plissure du Texte , his first project involving distributed authorship.

The inevitable realization in scientific circles that the reality of the imagined has an equivalent epistemological significance to the material raises fascinating questions, as it invites a skeptical reconsideration of the essential basis of knowledge. While this dramatic shift provides a moment of profound satisfaction for those artists, designers and scientists who have long argued for a transdisciplinary worldview, it also provides a moment of the greatest challenge as we begin to consider how knowledge might be extended, codified and distributed in a multiverse of collaborative realities

The author considers the meaning of interactivity and the potentials of virtual environments, in particular in the exploration of the total visual field and its periphery. She presents her artistic project, the aim of which is to cause viewers to become more sensitive to their own perceptions, respecting images and indistinct sensations that may arise