HUHB (2000) stands as an early example of ‘phygital’ netart work. The project was created in conjunction with the inclusion of Fakeshop in the 2000 Whitney Biennial. The installation and the web aspect were interlinked through a remote ‘chatspace’ incorporating CUseeme video chat software. It explored the themes of isolation and interconnectivity evoked by the original website. The physical aspect of the work was an ‘immersive’ reactive installation in which the viewer entered a network of rooms, a cluster of surveillance monitors and cameras. The viewer became a participant whose attention was re-focused on his/her own eye-to-hand, mouse-pointing/clicking behavior. This behavior becomes functionally linked to the overall subject and setup of the phygital environment, human-to-machine interface system.

HUHB was part of a series of Fakeshop works which explored the user as a deliverance device to the corporate takeover of online space, examining ‘cookies’ and other user tools put into