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| Foreword | |
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| Preface | |
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| Introduction: Ready or Not? | |
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| History | |
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| Prologue (1979) | |
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| A Medium Matures: Video and the Cinematic Enterprise (1984) | |
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| On the History and Aesthetics of the Digital Image (1984) | |
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| MIDI--What It Is and What It Means to Electronic Artists (1984) | |
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| Ten Indications of an Emerging Computer Culture (1986) | |
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| Art from the Screen (1986) | |
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| The Visual Artist Turns to Computer Programming (1986) | |
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| Gesamtdatenwerk: Connectivity, Transformation and Transcendence (1989) | |
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| Radio Art (1989) | |
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| Werner Alone Has Looked on Reality Bare: Proposal for a Really New "New Physics" (1990) | |
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| Virtual Environments, Personal Simulation and Telepresence (1990) | |
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| The Future of Cyberspace: Wild Frontier vs. Hyperreal Estate (1990) | |
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| The Universal Robot (1991) | |
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| Thresholds of Control: Destruction Art and Terminal Culture (1991) | |
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| Video and Architecture: Beyond the Screen (1994) | |
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| The Noise of the Observer (1995) | |
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| Vector in Open Space (1996) | |
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| The Memesis Network Discussion (1996) | |
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| Mind Viruses (1996) | |
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| For a Digital Renaissance of Situationism (1996) | |
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| Neuron-Silicon Junction or Brain-Computer Junction? (1997) | |
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| Bad Girl Versus the Astronaut Christ: The Strange Political Journey of the Cyborg (1997) | |
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| On the History of the Theory of Information Warfare (1998) | |
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| Theory | |
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| Expansion of Media Art: What Will Remain of the Electronic Age? (1984) | |
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| Media Art (1986) | |
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| "An Ear Alone Is Not a Being" (1987) | |
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| The Sound of Music (1987) | |
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| Memories (1988) | |
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| Virtual Worlds: The Emperor's New Bodies (1990) | |
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| Cybermedia and the Fatal Attraction of Realities (1990) | |
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| The Future Merging of Science, Art, and Psychology (1990) | |
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| Virtual Reality for Collective Cognitive Processing (1990) | |
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| Riding the Giant Worm to Saturn: Post-Symbolic Communication in Virtual Reality. Excerpt from an Interview with Jaron Lanier (1990) | |
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| Endophysics--Physics from Within (1992) | |
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| The Three Faces of Life (1993) | |
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| Trace Apparatus (1993) | |
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| Artificial Life (1993) | |
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| Praise to the Parasites (1993) | |
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| The Overexposed City (1994) | |
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| The Medialization of the Cities (1994) | |
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| Winds of the Media from Asia: Human Beings and Art in the B-ISDN Era (1994) | |
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| Keep Him on the Phone: The Human Body in the Realm of Technology (1995) | |
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| Slacker Luddites (1995) | |
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| Netopos ... Notopos The Fate of Reason in the Global Network: Teleology, Telegraphy, Telephony, Television, Telesthetics (1995) | |
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| Media Memory (1996) | |
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| Becoming Positive (1996) | |
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| Economics, Computers, and the War Machine (1998) | |
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| Infowar (1998) | |
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| Norn Attacks and Marine Doom (1998) | |
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| Practice | |
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| The World in 24 Hours (1982) | |
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| Sky Art (1982) | |
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| Mind of Universe (1984) | |
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| The Philosophical Data Bank of Minus Delta T (1984) | |
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| Virtual Space: The Electronic Environments of Mobile Image (1986) | |
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| A Contemplation of Dangerous Games (1986) | |
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| Statement about Art and Technology (1986) | |
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| Terminal Art (1986) | |
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| Propositions on the Dark Age of Television (1986) | |
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| Pompino Project (1990) | |
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| "Nobody Is Safe" (1991) | |
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| Cartesian Chaos (1992) | |
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| Interactive Evolution (1993) | |
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| Simulation Room (1993) | |
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| Interactive Plant Growing (1993) | |
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| Audience Participation (1994) | |
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| Horizontal Radio--24 Hours Live (1995) | |
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| What's That Supposed to Be, What's Program? (1996) | |
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| Parasite Visions: Alternate, Intimate, and Involuntary Experiences (1997) | |
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| Fragments from "Borderscape 2000." | |
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| From "The Chicano State Department Chronicles" (1997) | |
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| Humanistic Intelligence (1997) | |
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| Music Plays Images x Images Play Music (1997) | |
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| Ground Truth (1998) | |
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| Are You Online? Presence and Participation in Network Art (1998) | |
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| Biographies | |
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| Acknowledgments | |
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| Sources | |