Natalie Jeremijenko (born 1966) is an artist and engineer whose background includes studies in biochemistry, physics, neuroscience and precision engineering. She is an active member of the net.art movement, and her work primarily explores the interface between society, the environment and technology. She has alternatively described her work as "X Design" (short for experimental design) and herself as a "thingker", a combination of thing-maker and thinker. She is currently an associate professor at New York University in the Visual Art Department, and has affiliated faculty appointments in the school's Computer Science and Environmental Studies.[1] She directs the Environmental Health Clinic at New York University, which is modeled on the health clinic model, but offers patients prescriptions not for pharmaceuticals but for art, design and participatory projects. [2]

The Telegarden is an art installation that allows web users to view and interact with a remote garden filled with living plants. Members can plant, water, and monitor the progress of seedlings via the tender movements of an industrial robot arm.[1]

Users participate in tending a living garden using a remote industrial robot to perform simple requests such as watering, planting and viewing the garden. Users are presented with a simple interface that displays the garden from a top view, the garden from a global composite view and a navigation and information view in the form of a robot schematic. By clicking on any of the images one commands the robot to move to a new absolute location or one relative to where they just were. The robot, upon completion of the move, will return a refreshed image of the garden. In this manner one can explore the entire garden remotely using simple mouse clicks. [2]

The robot performs users requests on a first come first server bases. Because of this multiplexing of the robot more than one user can be within the garden at once. By using the member tracker overlay one can not only see who but where other members are within the garden. If they wish to communicate with these other members they can enable or enter the village square. The village square is a public message chat system where people within the garden can discuss subjects of their choice. [2]

To water the garden users align the camera image over the section of the garden to water and press the water button. This will command the robot to release a small squirt of water over the area in view. To plant a seed a user is first requested to find a spot that is relatively empty (there are no restrictions to where one can plant) and then asked to press the plant button. This will cause the robot to poke a small hole in the ground, proceed to the seed bowl, suck up a seed and deposit it back into the previously dug hole.[2]

The Telegarden is a community project where users interact not only with the garden but amongst themselves. The project was created to push the possibility of web interaction using customizable user options, chat areas, garden movie making, web cameras, etc.[2]

Reconnoitre is the artist duo of Gavin Baily and Tom Corby. Since the 1990s they have collaborated on artworks, texts and research that broadly explore intersections of environmental, technological and social processes. Recent work includes the use of information from the climate, meteorological and geological record to visually condense the aleatory and hidden aspects of environmental sites and landscape, and the employment of social media platforms to produce speculative geographies and experimental maps. At the heart of much of this work is an interest in data, employed as a medium beyond a conventional analytics approach, but which stresses its critical, experiential and affective potential.[1]

Aram Bartholl’s work creates an interplay between internet, culture and reality. How do our taken-for-granted communication channels influence us? Bartholl asks not just what humans are doing with media, but what media is doing with humans. Tensions between public and private, online and offline, techno-lust and everyday life are at the core of his work and his public interventions and installations, often entailing surprisingly physical manifestations of the digital world, challenge our concepts of reality and incorporeality. Bartholl has exhibited at MoMA Museum of Modern Art NY, Skulptur Projekte Münster, Palais de Tokyo, Hamburger Bahnhof and the Thailand Biennale among other as well as conducting countless workshops, talks and performances internationally. Bartholl lives and works in Berlin.[1]

Set up in the mid-1990s, Ljudmila Art and Science Laboratory has been bringing together technology, art, science and civil society ever since. As such, it is not only a place where hackers, researchers and artists meet, but also a platform for reflecting and modifying culture through the lens of politics, as generated by the developments in communications technologies.

Ljudmila's programmes are rather diverse and wide-reaching. It runs the Strictly Analog Festival and the art&hacking meeting PIFcamp. Since 2010, it operates the Culture.si portal and, as of 2013, also the metasearch engine and culture aggregator Kulturnik.si. Since 2011, it acts as a public lead of Creative Commons Slovenia. It organises workshops on the uses of open source software and on making DIY technological hacks; supports the production of new media artworks; has an orchestra; and more. [1]

RTMark (derived from "Registered Trademark") is an activist collective that subverts the "Corporate Shield" protecting US corporations.

RTMark is itself a registered corporation which brings together activists who plan projects with donors who fund them. It thus operates outside the laws governing human individuals, and benefits from the much looser laws governing corporation. [1]

What does ®TMark do?

®TMark receives project ideas from internet users, then lists them (here). Each listed project has its own discussion list (linked from the project). When a project requires a bit of funding to be accomplished, sometimes investors will step up to the plate and offer their help. Even more often, people will offer non-financial help or feedback.

How is ®TMark defined, in legal terms?

®TMark is a brokerage that benefits from «limited liability» just like any other corporation; using this principle, ®TMark supports the sabotage (informative alteration) of corporate products, from dolls and children's learning tools to electronic action games, by channelling funds from investors to workers for specific projects grouped into "mutual funds."

So ®TMark is just a corporation?

®TMark is indeed just a corporation, and benefits from corporate protections, but unlike other corporations, its ‹bottom line› is to improve culture, rather than its own pocketbook; it seeks cultural profit, not financial. [2]

etoy.CORPORATION, an art group registered as a Swiss corporation, has been using internationally standardized (physical, virtual, legal and technical) containers to construct a global corporate sculpture since 1994. This "corporate sculpture" serves no purpose other than art - that is, the reflection of contemporary culture and its critical interaction with it.[1]

etoy.CORPORATION is art and invests all resources in the production of art beyond traditional dimensions. The aim is to take the resources, tools and legal framework of our time to create a corporate sculpture - a shareholder company registered in Zug/Switzerland that has no other purpose than cultural value. The privately held company etoy.CORPORATION SA issues etoy.SHARES (more information) to compensate its artists, investors, collectors and supporters. etoy.VENTURE association was founded 1994 and is registered in Zurich. This non-profit organization operates etoy.TANK-PLANTS in various cities, takes care of etoy.SOCIAL-ACTIVITIES, runs etoy.DAY-CARE and establishes MISSION ETERNITY - a digital cult of the dead. [2]

In the years 1999 to 2001, there was also a brand and domain name conflict with the American company eToys Inc., which became the largest online toy retailer during the boom years and reached a peak market value of around 10 billion US dollars. The fight for the rights to etoy.IDENTITY went down in history as a "TOYWAR" and is now part of textbooks. More than 400 international media have reported (from the New York Times and CNN, Art in America, to the Wall Street Journal). The group etoy has rejected very high financial offers of the counterparty precisely because the defense and preservation of the abstract identity container (TRADE MARK) in the case of etoy is much more important than the identity of the individual agents.[1]

From julianoliver.com:

Julian Oliver is a New Zealander, Critical Engineer and artist based in Berlin. His work and lectures have been presented at many museums, galleries, international electronic-art events and conferences, including the Tate Modern, Transmediale, the Chaos Computer Congress, Ars Electronica, FILE and the Japan Media Arts Festival. Julian has received several awards, most notably the distinguished Golden Nica at Prix Ars Electronica 2011 for the project Newstweek (with Daniil Vasiliev). He is the co-author of the Critical Engineering Manifesto and co-founder of Crypto Party in Berlin, who’s shared studio Weise7 hosted the first three crypto-parties worldwide. He is also the co-founder of BLACKLIST, a screening and panel series focused on the primary existential threats of our time.

Vuk Ćosić (born July 31, 1966 in Belgrade) is a Slovenian contemporary artist associated with the net.art movement. Active in politics, literature and art, Ćosić has exhibited, published, and been active since 1994. He is well known for his challenging, ground-breaking work as a pioneer in the field of net.art. His constantly evolving oeuvre is characterized by an interesting mix of philosophical, political, and conceptual network-related issues on the one hand, and an innovative feeling for contemporary urban and underground aesthetics on the other. One of the pioneers of net.art, Ćosić became deeply interested in ASCII code during a long period of research (1996–2001) on low-tech aesthetics, the economy, ecology and archaeology of the media, on the intersections between text and computer code, on the use of spaces in information, its fluid nature and infinite convertibility. Out of this came History of Art for the Blind, ASCII Unreal (an art game), ASCII Camera, ASCII Architecture, Deep ASCII and ASCII History of Moving Images, a history of the cinema converted into text format. He is a co-founder of Nettime, Syndicate, 7-11, and Ljubljana Digital Media Lab. [1]

After the golden days of net.art, he decided to become an ASCII artist. Why ASCII? For several reasons: because it existed before computing; not everyone takes it seriously, it's rather ugly (won't be recuperated by the art world very easily) and it's sexy (infected by hacker virus).[2]

Vuk Cosic was the Slovenian representative to the Venice Biennale in 2001, he’s the co-founder of Ljudmila — a digital media lab for artists in Slovenia and of the ASCII Art Ensemble and of course he’s a pioneer in the field of net.art. He gained the notoriety for having copied the DocumentaX website in 1997. After the art event closed, the website was set to shut down. And it did closed, but not before Cosic copied it. And it’s still up.[3]

Jan Robert Leegte is among the first artists who were involved in the 90s NetArt movement. Since 1997, he creates art in the form of websites, which he connects to art historical movements such as minimalism, land art and conceptualism. Leegte also translates the themes of his work to offline media such as print, sculpture and projections. A reoccurring theme in his work is the sculptural materiality of interfaces of computer programs. Like the early graphic design of cursors, selection boxes and menu bars that were to give the user the impression of actually physically pressing the buttons with graphic shadows. Leegte often uses these components and by placing them in a new context, giving them their own, sculptural legitimacy. [1]