with reference to generative methods were developed. What is special about the Internet is that it is not restricted simply to one use, it moves across genres, finding applications in every conceivable field of artistic activity. It makes connections possible between the most diverse artistic fields and disciplines. For example, process visualization, animation, installations, sample music, programmed applications etc. The following selected examples from these fields illustrate the versatility and range of applications for generative methodology in the Internet age. In a kind of automated collage creation, websites such as http://www.potatoland.com/shredder search for pictures by means of search engines, or by entering URLs, and assemble them in line with given parameters to create independent artistic works. In Drawing Machines 1-12[19], Marius Watz documents the information flow on the Norwegian government s server. He draws distinctions between micro and macro structures in the dataflow, generating artistic works from this over a specified period of time. At the end of the nineties, the group of artists from Cologne known as Knowbotic Research created a work they

called IO_dencies[20] (a model for several city projects), in which they made visible the urban force fields such as the city of Tokyo (1997), for example. Ten city areas, selected for their density of traffic and business activity, were declared "intensity zones" on the basis of this energy potential. They could be divided into sub-groups (humans, information, economy, traffic, architecture) and could be altered graphically, either individually or together. In 2002, the group of artists called Mashica programmed their work Hommage to Walter Marchetti_movements of a fly on window between 8 am and 7 pm one day in May, 1967 on a Website http://mosca.mashica.com. A number of flies from 0 to 99 move at random across the imaginary window of the computer screen. The only link on the page leads to a listing of the mouse positions traced by the user during the session. A symbolic fly then crawls once more over the mouse route, thereby visually representing the fact that the users' behaviour is just as aimless and random as that of the other flies. The forms and figures generated in this animation appear to have independent life, and, freed from linear dramaturgy, to have overcome defining