Harold Abeles, Professor of Music and Music Education, is the Coordinator of the Program in Music and Music Education. In addition, he serves as the Co-director of the Center for Arts Education Research at Teachers College. He has been at Teachers College for 18 years. Prior to coming to Teachers College, he served on the faculties of the School of Music at Indiana University, and the University of North Carolina at Greensboro, and Oklahoma State University. He also served as a general and nstrumental music teacher in Ashford, Connecticut, and in Prince Georges County, Maryland. At Teachers College, Professor Abeles has previously served as the Chair of the Arts in Education Department, and the Director of the Division of Instruction. He received his Bachelors and Masters degrees in Music Education from the University of Connecticut and his Ph.D. from the University of Maryland. Dr. Abeles has contributed more than 50 articles, chapters and books to the field of music education. The Foundations of Music Education, the most widely used graduate textbook in the field of music education, is now in its second edition. Recent chapters by him have appeared in the Handbook of Music Psychology and the Handbook of Research on Music Teaching and Learning. He is the founding editor of The Music Researchers Exchange, an international music research newsletter founded in 1974. He is currently a member of the Executive Committee of the Society for Research in Music Education. He serves or has served on the editorial boards of several journals including the Journal of Research in Music Education, Psycholmusicology, Dialogue in Instrumental Music Education, and Update. His research has focused on a variety of topics including, the assessment of instrumental instruction, the sex-stereotyping of music instruments, the evaluation of applied music instructors, the evaluation of ensemble directors, and the verbal communication that takes place in applied lessons. He recently completed a study with Professor Judy Burton and Dr. Rob Horowitz on Learning in and Through the Arts.

Maxwell Anderson is the Alice Pratt Brown Director of the Whitney Museum of American Art in New York City. Prior to his appointment at the Whitney in 1998 he was director of Toronto's Art Gallery of Ontario and before that of the Michael C. Carlos Museum at Emory University in Atlanta. He is a trustee of the American Federation of Arts and of the Association of Art Museum Directors. He was decorated as a Commendatore by the Republic of Italy in 1990, and is a 1999 Cultural Laureate of the New York City Landmarks Preservation Center. He holds his A.M. and Ph.D. degrees from Harvard University. Dr. Anderson's commitment to collaboration among museums has led him to work for changes in federal legislation to assure tax equity for artists, for changes in international conventions and treaties to permit the free circulation of artworks internationally, and for the refinement of regulations to assure the protection of endangered species. He has been an active proponent of the value of networked information in education and for the art museum community and is Executive Producer of the Art Museum Network www.amn.org, which manages several databases on behalf of 200 of the world's leading art museums. He was instrumental in launching AMICO, a consortium of over 30 of the leading art museums in North America to create a single database of use in higher education and for K-12 teachers and students around the world(www.amico.org).

John Perry Barlow is a former Wyoming rancher and Grateful Dead lyricist. He graduated in 1969 with High Honors in comparative religion from Wesleyan University in Middletown, Connecticut. More recently, he co-founded and still co-chairs the Electronic Frontier Foundation. He was the first to apply the term Cyberspace to the "place" it presently describes. He has written for a diversity of publications, including Communications of the ACM, Mondo 2000, The New York Times, and Time. He has been on the masthead of Wired Magazine since it was founded. His piece on the future of copyright, The Economy of Ideas is taught in many law schools and his Declaration of the Independence of Cyberspace is posted on thousands of web sites. In 1997, he was a Fellow at Harvard's Institute of Politics and has been, since 1998, a Berkman Fellow at the Harvard Law School. He works actively with several consulting groups, including Diamond Technology Partners, Vanguard, and Global Business Network. In June 1999, FutureBanker Magazine named him "One of the 25 Most Influential People in Financial Services He writes, speaks, and consults on a broad variety of subjects, particularly digital economy. He lives in Wyoming, New York, San Francisco, On the Road, and in Cyberspace. He has three teenaged daughters and aspires to be a good ancestor.

Benjamin Barber is the Kekst Professor of Civil Society and Director, The Democracy Collaborative and a principal of the new "Democracy Collaborative." Dr. Barber brings an abiding concern for democracy and citizenship to issues of politics, culture and education in America and abroad. His 15 books include the classic Strong Democracy (1984) and the recent international best seller Jihad vs. McWorld (1995). His honors include Guggenheim, Fulbright and Social Science Research Fellowships, an honorary doctorate from Grinnell College, the Berlin Prize of the American Academy of Berlin (2001) and the Chair of American Civilization at the Ecole des Hautes Etudes in Paris. For television, Barber co-wrote with Patrick Watson the prize-winning CBC/PBS ten-part series The Struggle for Democracy (1988, re-released in 2000); his work for theatre includes the libretto for George Quincy's opera Home and the River (produced in New York), and the performance piece Kaspar (at Café la Mama in New York) created with his wife, the choreographer and performer Leah Kreutzer.

Todd Bishop joined The Museum of Modern Art in 1997, first in Finance, then in 1999 as the Project Manager for the Muse Project, a for-profit, on-line partnership with the Tate Gallery in London. In 2000, Mr. Bishop was named Content Manager, where he has been responsible for identifying and developing the digital assets of the Museum. Though the Tate partnership was dissolved, he has continued to work closely with the Muse Project in its renewed efforts to develop additional revenue streams for MoMA. Most recently, Mr. Bishop has been involved in the research and development of potential product lines from the Museum's collection. Before joining MoMA, Mr. Bishop worked at Galerie Ropac and Galerie Krinzinger in Austria and owned and managed ARTkammer, an exhibition space in Boston. He was also the founding director of the Pride Arts Festival in Boston. He has an undergraduate degree in Art History and German from Colby College and a Masters Degree in Arts Administration from Teachers College Columbia University. In addition, Mr. Bishop studied German and Art History at the University of Salzburg, Austria.

Joline Blais, a fiction writer, is also an Assistant Professor at Polytechnic University where she directs the Digital Media Studies Program. Previously she pioneered the development of the Media Studies program in SCPD at New York University. Informed by a background in history and comparative literature at Harvard and University of Pennsylvania, her writing explores the way that introducing alternative viewpoints can destabilize the traditional plots found in mainstream literature and cinema. She presented Fair e-Tales, a DHTML-based fable created with Keith Frank and Jon Ippolito, at the Digital Art Conference in Atlanta in 1999. She has recently completed Sorties, which is her first novel. (http://www.nyu.edu/classes/blais/)

John Broughton is currently Professor of Psychology and Education in the Philosophy and Education program at Teachers College, where he is responsible for the Cultural Studies area of concentration. He teaches courses on Gender, Violence, Technology, Media, Youth, and Popular Culture. His undergraduate degree in Experimental Psychology was from Cambridge, UK, and his doctorate in Developmental Psychology from Harvard. He has edited books on critical theory and the history of social thought, has written widely on war and weapons, and is currently preparing volumes on violence and care, and film as educator. He edits the on-line journal Subject Matters: Cultural Studies, Education and Subjectivity.

Steven Dietz Curator of New Media at the Walker Art Center in Minneapolis, founded the New Media Initiatives Department in 1996. He is responsible for information systems, programming the online Gallery 9, commissioning new work and curating online exhibitions. He co-initiated the award-winning ArtsConnectEd collaboration with The Minneapolis Institute of Arts and initiated one of the earliest archive-collections of net art, the Walker's Digital Art Study Collection. He has organized and curated new media exhibitions, including "Beyond Interface: Net Art and Art on the Net" (1988), "Shock of the View: Artists, Audiences and Museums in the Digital Age" (1999), "Outsourcing Control? The Audience as Artist" for the Open Source Lounge at Medi@terra (2000) and "Telematic Connections: The Virtual Embrace" (2001-2), a national travelling exhibition. He speaks and writes extensively about new media, including a regular e-column, "WebWalker." Dietz was formerly the head of publications and new media initiatives at the Smithsonian Art Museum. He also edited American Art And has served on the board of the Consortium for the Interchange of Museum Information (CIMI) and the Museum Computer Network(MCN).

Ricardo Dominguez is a co-founder of The Electronic Disturbance Theater (EDT), the group that developed Virtual-Sit In technologies in 1998 in solidarity with the Zapatista communities in Chiapas, Mexico. He is Senior Editor of The Thing (bbs.thing.net), and a former member of Critical Art Ensemble, the originators of the theory of Electronic Civil Disobedience. Currently, he is a Fake_Fakeshop Worker (www.fakeshop.com), a hybrid performance group, presented at the Whitney Biennial 2000. Dominguez has collaborated on a number of international net-art projects and with Jennifer and Kevin McCoy (airworld.net) on a number of projects, as well as participated in "The Warhol Hijack" with the Verbal group. He is a founding member of nettime latino (nettime.org) and presented EDT'S SWARM action at Art Electronica's InfoWar Festival in 1998 (Linz, Austria). His essays have appeared at Ctheory (www.ctheory.org) and in Corpus Delecti: Performance Art of the Americas (Routledge, 2000) edited by Coco Fusco. He edited EDT'S forthcoming book Hactivism:network_art_activism (Autonomedia Press, 2001). Recently, Dominguez presented a 12-hour Streaming Media performance with Coco Fusco, "DOLORES FROM 10 TO 22 HS", at the Finnish Contemporary Art Centre Kiasma.

Cheryl Faver, Co- Director at Gertrude Stein Repertory Theatre, specializes in the work of the 20th century avant-garde, and in the development of new theater processes. She holds a M.F.A. in Directing from the Yale School of Drama. She has studied drama and language at the University of Giessen in Germany and the Sorbonne in France. She has been a guest director and is a frequent lecturer at NYU's Tisch School of the Arts and Center for Digital Media, Lincoln Center, Yale Repertory Theatre and TCG. She founded The Gertrude Stein Repertory Theatre in 1989. Her pioneering work in the use of computer-based visualization and multimedia for theater process and performance has been covered in Information Week, Theater Crafts International, New Media and International Design magazine among others. Her work in multi-media in the performing arts was the subject of IBM's international ad campaign for distance technologies and appeared in 25 magazines in 5 languages.

Carl Goodman is Curator of Digital Media and Director of New Media Projects at the American Museum of the Moving Image (www.ammi.org), where he oversees the Museum's use and study of computer-based media and technology. Carl also sits on the Board of Directors of the arts organizations Creative Time (www.creativetime.org), which produces public art installations in New York City, and Harvestworks Digital Media Arts Center (www.harvestworks. org), which cultivates artistic talent through electronic and digital technologies. Carl curated "Reel New York Web," WNET/13's two-year foray into showcasing web-based art made in New York, and serves as advisor, panelist, new media hype-deflator for a few foundations and film/media arts festivals. In 2001, Carl was named to the Crain's New York Business "Tech 100" and the Silicon Alley Reporter's "Silicon Alley 100."

Thomas J. Gulick has held the position of Executive Director, Development and Marketing for San Francisco Opera since December of 2000. Prior to that time, he held the position of Senior Director of Development and Marketing. His previous experience includes Director-level positions in marketing and public relations with the Detroit Symphony Orchestra, Indianapolis Symphony Orchestra, Oregon Symphony and the San Francisco Ballet. Mr. Gulick holds an undergraduate degree from the University of Wisconsin at Madison and a graduate degree from the University of Michigan at Ann Arbor. Mr. Gulick has more than 24 years of professional experience in marketing and fundraising for performing arts organizations. He is considered one of the leading experts in strategic arts marketing, specializing in using change as an opportunity to strategically reposition performing arts organizations with the public. He has been involved in the restoration of four major performing arts halls over the last two decades. Upon completion of the restoration of the War Memorial Opera House in San Francisco, he has been involved in developing three major capital campaigns to prepare the San Francisco Opera for the 21st Century. Mr. Gulick is a leading proponent of the use of technology in the performing arts field. His programs at San Francisco Opera have been the subject of a published case study of Harvard Business School. He has presented this case study twice at the Harvard Business School as well as at the Stanford Business School and at the University of California - Davis Business School. Mr. Gulick is also a leading proponent of strategic partnerships with corporations as a means of strengthening the business skills of performing arts companies. In this manner, he has worked with EDS, Cisco Systems, General Motors, Epiphany, McKinsey & Company, Deloitte Consulting, A.T. Kearney, Landor Associates and Harvard Community Partners. Mr. Gulick has been involved in the formation and development of Intelitix, a new database management system for performing arts organizations in marketing campaigns. Mr. Gulick serves as a voting member of the Memorial Union Building Association and is a member of the American Society of Fundraising Executives.

Karin Olander Heck is the Project Coordinator for this course. She also heads Coach's e-commerce channel, Coach.com. Prior to Coach, she ran the Museum of Modern Art's e-commerce department from its inception in 1998, leading the Museum's online marketing, development and retail initiatives. While working in the US, Karin has taught classes at Teachers College Columbia University on arts and technology, as well as been a featured speaker at various technology events. In 1995/96, Ms. Heck worked at the National Museum of Art in Sweden, developing their technology strategy for the next five years. From 1991-94 she worked with brand management at Proctor and Gamble, launching brands such as Vicks cold medicines and Pantene. She is a graduate of the Program in Arts Administration (MA) at Teachers College Columbia University, and has an MBA, and a certification in Art History, from the University of Stockholm.

Jon Ippolito is an artist and Assistant Curator of Media Arts at the Guggenheim Museum, where he curated Virtual Reality: An Emerging Medium events for John Cage's Rolywholyover A Circus CyberAtlas (winner of Best Online Exhibition Site at the 1999 Museums and the Web conference), and, with John Hanhardt, The Worlds of Nam June Paik. He has been an artist-in-residence at the University of Pennsylvania in Philadelphia and the Headlands Center for the Arts in Sausalito, and has taught as a visiting professor at the Yale School of Art and as visiting artist at the Art Center College of Design in Pasedena and the School of Visual Arts in New York. Ippolito's critical writing has appeared in Flash Art the Art Journal and various exhibition catalogues; he writes a regular column for ArtByte magazine. Together with his artistic collaborators Janet Cohen and Keith Frank, he has earned a Louis Comfort Tiffany prize and a Lannan Foundation residency grant, and has exhibited work at the Walker Art Center, ZKM/Center for New Media Karlsruhe, and WNET's ReelNewYork Web site. Their recent exhibition, Three Degrees of Separation opened at Sandra Gering Gallery in New York on May 25th.

Joan Jeffri is Director of the graduate Program in Arts Administration at Teachers College Columbia University, and this course is an example of the Program's responsive curriculum development and its use of the program's talented alumni to help it stay current and relevant to the field of arts administration. She is also the founder and director of the Research Center for Arts and Culture, also at TC, which is internationally known for its work on living artists. Her international work includes the creation of training programs, diploma courses, colloquia, feasibility studies and research in Australia, Brazil, Canada, Hong Kong, Japan, Hungary, Portugal, and Russia. She won the 1987 Leavey Award for Excellence in Private Enterprise Education, a Teachers College Excellence in Teaching Award, the Washington D.C. press award for Excellence in journals. She has authored Arts Money: Raising It, Saving It and Earning It; The Emerging Arts: Management, Survival and Growth; Information on Artists I and II; the Artists Training and Career Project; and edited Artisthelp: the Artist's Guide to Work-Related Human and Social Services and the Journal of Arts Management and Law. Originally trained as an actress, Jeffri appeared in the national company of Pinter's The Homecoming; as a member of the Lincoln Center Repertory Theatre and the Boston Company of The Effect of Gamma Rays on Man-in-the-Moon Marigolds.

I. Fred Koenigsberg is a partner in the law firm of White & Case, LLP. He is a board member of Volunteer Lawyers for the Arts, a Past Chair of the American Bar Association Section on Intellectual Property Law; a past President of the American Intellectual Property Law Association and a past Trustee of the Copyright Society of the USA. He has served as Chairman of the New York State Bar Association Committee on Copyright Law, the New York County Lawyers Association Committee on Communication and Entertainment Law, and served as a member of the Library of Congress Advisory Committee on Copyright Registration and Deposit. He serves as general counsel of the American Society of Composers, Authors and Publishers (ASCAP). He has taught in the Columbia University Program in Arts Administration since its inception in 1980. His J.D. is from Columbia Law School and his M.A. in Communications is from the University of Pennsylvania.

Zoe Melendez, Project Development Manager for Vulcan, Inc in Seattle, is overseeing implementation of major cultural and education projects, including work in the areas of institutional planning, exhibit design, program development, and creative services forecasting. Melendez joined Vulcan from Olson/Sundberg Architects, where she provided institutional planning services to new and existing nonprofit and profit organizations, and was instrumental in the initial program concept development for Experience Music Project. Her extensive arts management experience includes positions with ArtFair/Seattle, the Columbia University Research Center for Arts and Culture, and Harlem School of the Arts. Melendez holds a Bachelor of Arts degree in communication arts from the University of Wisconsin, Madison and a Master of Fine Arts in arts administration from Columbia University.

Christianne Orto, Director, Videoconferencing & Recording Department, has been head of the Videoconferencing Program at Manhattan School of Music since its inception in 1996. During this time, Manhattan School of Music's videoconferencing/distance learning program has grown into an internationally recognized program in music performance and education videoconferencing. Under Ms. Orto's direction, the program has expanded to include regular videoconference master classes, one-on-one lessons, chamber coaching, composer colloquiums, professional development sessions, educational and community outreach programming, and has been awarded Bell Atlantic Foundation and New York State Council on the Arts grants for its excellence in programming and pioneering musical applications. Notably, Manhattan School of Music's on-going multipoint videoconferencing educational outreach program, Music Teaches, begun in 1998, with the New York City School system, has been featured on educational television. In her capacity as program director, Ms Orto has developed programming with many illustrious members of the Manhattan School of Music faculty and collegial institutions such as Maestro Pinchas Zukerman, American String Quartet, and The Cleveland Institute of Music. In 1997, Ms. Orto became director of the newly formed Department of Videoconferencing and Recording incorporating her prior background and experience in recording technology. Before working at Manhattan School of Music, Ms Orto worked as a freelance producer and associate producer in the classical recording industry for BMG Classics as well as Sony Classical, Angel/EMI, and numerous independent recording labels. She has worked with such artists as Alicia de Larrocha, The Canadian Brass, Marilyn Horne, The Moscow Virtuosi, Hillary Hahn, and The Waverly Consort, and is a voting member of the National Academy of Recording Arts & Sciences (NARAS). Ms. Orto, a Phi Beta Kappa, magna cum laude graduate of Barnard College with a bachelor's of art degree in piano performance and music history also holds a master's degree in Musicology from Columbia University where she was the recipient of University and Presidential Fellowships for her musicological studies.

Theresa Perrone is a Senior Project Manager with Craver, Mathews, Smith & Co. Interactive, the Internet division of the fundraising and communications consulting firm Craver, Mathews, Smith & Co. She is responsible for conceiving and implementing online fundraising opportunities and events, integrated multi-channel fundraising campaigns, and managing site traffic generation campaigns. Current clients include the American Civil Liberties Union, Amnesty International USA, and the Christopher Reeve Paralysis Foundation. Formerly, Ms. Perrone was part of the AppNet Inc. Online Marketing group. Ms. Perrone worked with clients to develop their Web site presence and online marketing strategies. She developed and managed public relations and online fundraising campaigns for such organizations as Heifer International, UNICEF, CARE, World Wildlife Fund, National Trust for Historic Preservation, and America's Second Harvest. Ms. Perrone was formerly the Communications Coordinator at the International Campaign for Tibet, supervising a membership program that grew by approximately 50% under her guidance. While in this role, she executed PR campaigns, served as a spokesperson, and conceived and implemented ICT's online and offline fundraising and communications programs. Ms. Perrone has a Bachelor of Arts degree awarded magna cum laude from Mount Holyoke College in South Hadley, Massachusetts.

Alex Rivera is the son of a native of Peru and a native of New Jersey. Growing up in a bi-cultural, channel surfing, Post-Inca, Pre-NAFTA, suburb forced him to rethink some of the basic assumptions about race, immigration, nostalgia, identity, and the global economy. His work in film and video is always concerned with politics, particularly the politics of race and immigration in the context of the "Global Village". In his work he attempts to address these concerns in a unique, humorous and ultimately surprising way. The computer has been central, both technically and metaphorically, to his work. Rivera uses the language and imagery of 'Cyberspace,' to create rich metaphors and ironic juxtapositions. In his first video, Papapapá (USA 1995), he used the rhetoric of the internet to make metaphors about his father's experience of immigration. By using this metaphor he simultaneously deployed the sense of place-less-ness of Cyberspace, making a clear metaphor to a recent immigrant's experience of place, while also ironically playing on the fact that the concerns of marginalized people are so often entirely void from the conversations around new technology. Papapapá won a Silver Award at the New York Expo of Short Film and Video, a Silver Hugo at the Chicago Intercom Competition, and a First Work Award from the San Antonio Cinefestival. It has been screened on PBS/WNET's "Reel New York" series, at the Museum of Modern Art, The Robert Flaherty Film Seminar, Lincoln Center, The Guggenheim, The Lussas Festival in France, and other domestic and international film festivals. In his new work Rivera is using the internet and the phenomenon of "tele-commuting" as a metaphorical device to talk about migrant farm workers, or braceros. As the internet slowly destroys geography, allowing more and more people to work in one location while living in an entirely different one, it also strengthens hierarchies of mobility and access to knowledge. These hierarchies are marked by sharp distinctions among races and classes, leaving people of color at a pronounced disadvantage. In his second video, Why Cybraceros? (USA 1997), Rivera sarcastically imagine a future in which there is no difference between rich and poor on the internet, a future in which everyone, even braceros, can work from home. Why Cybraceros? was recently screened at The Guggenheim Museum in New York City.

Robert Santelli, Director and CEO of Experience Music Project, began as a freelance music journalist in New Jersey, and has since contributed to Rolling Stone, CD Review and Downbeat. He has written seven books on rock 'n' roll and the blues, including The Big Book of Blues and The Best of Blues. He continues as executive editor of the American Music Masters book series, published by Wesleyan University Press. Santelli established the Popular Music Studies Program at Monmouth University, and taught courses on contemporary American culture, pop culture and the blues at Rutgers University. Prior to joining EMP, Santelli worked on numerous music and industry-related projects including Cleveland's Rock 'n' Roll Hall of Fame and Museum. As deputy director of public programs, Santelli oversees multimedia, curatorial and education teams, as well as new museum content and exhibits.

Graeme Sullivan, Associate Professor of Art Education, Department of Arts and Humanities, Teachers College, Columbia University, joined the faculty in January, 1999. He is a former Senior Lecturer in Art Education, College of Fine Arts, University of New South Wales, Australia. He received his PhD from The Ohio State University, Columbus Ohio in 1984. Since the early 1990s his research has involved an ongoing investigation of critical-reflective thinking processes in the visual arts. In 1998 he produced a CD-ROM titled Critical Influence that documented the influences and contexts surrounding the art practice of two contemporary artists as they prepared work for an exhibition. Graeme is the author of Seeing Australia: Views of Artists and Artwriters and numerous published articles on art education. He is the Senior Editor of Studies in Art Education, the research journal of the National Art Education Association.

Mark Tribe, founder and executive director of Rhizome.org, is an artist and curator whose interests lie at the intersection of emerging technologies and contemporary art. His latest art project, StarryNight (made in collaboration with Alex Galloway and Martin Wattenberg), is an interface for browsing Rhizome's text library that represents each article as a star in a night sky. Recent curatorial projects include the computer art section of Game Show (co-curated with Alex Galloway), an exhibition of artists' games at MASS MoCA in North Adams, Massachusetts and net.ephemera, an exhibition of sketches, notes and diagrams by 25 New York-based net artists at Moving Image Gallery in New York City. Prior to founding Rhizome.org, Mark worked as an artist in Berlin, where his work was presented at Computer Aided Curating, the first online net art exhibition space, the Akademie der Kuenste and Friseur. While in Berlin, he also designed web sites at Pixelpark and developed an interest in electronic music. Mark received a Masters of Fine Arts in Visual Art from the University of California, San Diego in 1994 and a BA in Visual Art from Brown University in 1990. (www.rhizome.org)

Sara Tucker is the Director of Digital Media at Dia Center for the Arts where she is the network administrator, webmaster and producer of Dia series of artists' projects for the web. Since the inception of the series in 1995 she has produced seventeen projects, having worked closely with artists including Tony Oursler, Komar & Melamid, Diller Scofidio, Kristin Lucas, Francis and Gary Simmons. She has presented Dia projects at the Kitchen Digital Happy Hour, Thundergulch events, and in various panel discussions.

David R. White (Executive Director and Producer) has been at the helm of Dance Theater Workshop (DTW) since 1975, shaping and guiding DTW'S multi-disciplinary presenting, service and community programs. He conceived, designed and served as Executive Director for the National Performance Network and the Suitcase Fund, acclaimed a catalytic support structures that promote practical collaborations among organizations, artists and communities across geographic, cultural and economic barriers. He has received Dance/USA Honors (2000), a Capezio Ballet Makers Dance Foundation Award (2000), a 1998 Governor's Arts Award for his leadership in DTW, an Association of American Culture's Mentor Award for the creation and culturally inclusive achievement of DTW's National Performance Network (1994), a Mayor's Award of Honor for Arts and Culture (NYC 1992) for outstanding achievement in and service to the arts; an Obie Award (1989), a Chevalier de l'Ordre des Arts et des Lettres (1989), and a Dance Magazine Award for his pioneering work in support of the dance community(1989). Mr. White was co-founder of the New York Dance Umbrella and Pentacle and has served on numerous panels for the National Endowment for the Arts and state arts agencies. He is a 1970 graduate of Connecticut's Wesleyan University.

Susie Wise is Senior Producer and Acting Program Manager for Interactive Educational Technologies (IET) at the San Francisco Museum of Modern Art (SFMOMA). She has been at SFMOMA for three years during which time she developed the website and CD-ROM programs Making Sense of Modern Art; Art as Experiment, Art as Experience: The Anderson Collection; and Ansel Adams at 100. In addition to producing multimedia content, she led the team that created Pachyderm, the museum's browser-based multimedia/Macromedia Flash authoring tool. Most recently she participated in both the development and evaluation of Points of Departure: Connecting with Contemporary Art, a theme-based exhibition of contemporary artwork that featured the use of new technologies as learning tools: IPAQ Gallery Explorer, Smart Tables, Make Your Own Gallery and Making Sense of Modern Art. Susie teaches Museums, Interactive Technologies, and Electronic Access at JFK University Museum Studies Masters Program. She has spoken at Museums and the Web, Museum Computer Network, American Association of Museums, Sonoma State University and the Compaq Western Regional Research Center as well for public audiences at SFMOMA. Before coming to SFMOMA she has experience developing educational multimedia for McGraw-Hill Home Interactive, Knowledge Universe Interactive Studio, and Morgan Interactive. She has a BA in History and Art History from the University of Pennsylvania. (URLs: Making Sense of Modern Art www.sfmoma.org/msoma Art as Experiment, Art as Experience: The Anderson Collection www.sfmoma.org/anderson Ansel Adams at 100 www.sfmoma.org/adams )

Elyssa Wortzman is currently the Vice President, Legal & Business Affairs and Assistant Secretary of Guggenheim.com, a for-profit Internet arts and culture destination site founded by The Solomon R. Guggenheim Foundation. Ms. Wortzman has advised a variety of entertainment, arts and museum clients, including the National Gallery of Canada, the Canadian Heritage Information Network and the Royal Ontario Museum. She has specialized in assisting arts organizations in the implementation of copyright, e-commerce and online digital projects. Ms. Wortzman administered a public art commission for the Law Society of Upper Canada commemorating women's contributions to the law. Ms. Wortzman has served on copyright and arts advisory committees for the Canadian Museum Association and the Law Society of Upper Canada. Her speaking engagements include presentations on privacy law, at the NETLAW 2000, Canadian Institute Conference and on promotional and publicity uses of digital libraries, at Electronic Imaging and the Visual Arts in 1999 at MoMA (New York). Ms. Wortzman practiced as an Intellectual Property & E-Commerce Associate at Blake, Cassels & Graydon, LLP in Toronto. She also has an Honors degree in Art History from McGill University.

Christina Yang, Director of Media Arts at The Kitchen, oversees The Kitchen Art Gallery, The Kitchen Archives, The Kitchen Video Collection, and media productions including the TV Dinner, Digital Happy Hour, and TV Dinner-Dance series. Artist projects have included Logic of the Birds by Shirin Neshat/Sussan Deyhim et al., Jordan Crandall: Drive, Vistas Nuevas: Recent Video from Cuba, Fatimah Tuggar: Fusion Cuisine, Benton Bainbridge: Triggers, Capsule Hotel Project: Fakeshop and many others. She works on research, planning, and implementation for The Kitchen's programs in art and technology. She has taught at CCAC, Hunter College, and SVA. She holds a BA from the University of California, Berkeley (1985), an MA from Williams College (1989) and is pursuing her PhD in art history from the CUNY Graduate Center, New York.

Pinchas Zukerman (Artistic Director, Pinchas Zukerman Performance Program) Studies: The Juilliard School. Honorary doctorate, Brown University. Studies: Ivan Galamian. Artistic Director: Baltimore Symphony Orchestra's Summer Music Festival. Music Director: Ilona Feher Music Center, Holon, Israel. Former Music Director: South Bank Festival; St. Paul Chamber Orchestra. Former Principal Guest Conductor: Dallas Symphony; Dallas Symphony's International Summer Music Festival. Conducting performances: Berlin Philharmonic; Boston Symphony; Chicago Symphony; English Chamber Orchestra; Los Angeles Philharmonic; Montreal Symphony; National Arts Centre Orchestra; National Symphony; New York Philharmonic; San Francisco Symphony; Toronto Symphony. Chamber music performances: Emmanuel Ax; Daniel Barenboim; Yefim Bronfman; Jacqueline Du Pre; Ralph Kirshbaum; Midori; Shlomo Mintz; Jean-Pierre Rampal; Isaac Stern; Yo-Yo Ma; Guarneri Quartet; Tokyo String Quartet. Competitions/Awards: first prize, Twenty-Fifth Leventritt International Competition; 21 Grammy nominations; 2 Grammy awards: "Best Chamber Music Performance"/1980; "Best Classical Performance, Instrumental Soloist with Orchestra"/1981; three ASCAP Awards; Achievement Award, International Center in New York; recipient, King Solomon Award/America-Israel Cultural Foundation; recipient, Medal of Arts (President Reagan, 1983). Television/ Radio: Mozart By the Masters/Chicago Symphony, PBS; Live from Lincoln Center. Recordings: Angel; BMG Classics; CBS; Deutsche Grammophon; London.