Cory Arcangel is an artist and performer who works with early computers, the Internet and video game systems. He is best known for his Nintendo game cartridge hacks and his reworking of obsolete computer systems of the 1970s and '80s, such as the Commodore 64 and Atari 800. Arcangel often works with art collective/record label Beige, a loosely defined ensemble of artists and programmers who work collaboratively in digital media. Beige has produced videos, Web projects, albums of electronic music, and modified Nintendo video game cartridges.

Michael Bell-Smith uses digital forms to explore contemporary visual culture and how it is mediated through popular technologies. His work often incorporates the visual vocabulary of the Internet, such as animated gifs and lo-res images, and references the aesthetics and semiotics of common computer programs such as Powerpoint and Web sites such as YouTube. Remixing and reinterpreting sources ranging from industrial videos and music clips to classic cinema and contemporary art, Bell-Smith reconsiders the cultural meaning of these materials in a "post-personal computer, post-Internet, post-Google" age.

In a multidisciplinary practice that includes videos, performances and music, Kalup Linzy creates satirical narratives inspired by television soap operas, telenovelas and Hollywood melodramas. Taking an irreverent approach to stereotypes of race, gender and sexuality, Linzy performs, most often in drag, in a series of memorable recurring roles. The artist serves as writer, director, cinematographer, editor, and actor—and, in a distinctive strategy, also voices and overdubs the dialogue of multiple characters. At once comic, raunchy and poignant, Linzy's unique narrative videos fuse theatrical intensity with melodramatic irony.

Shana Moulton creates evocatively oblique narratives in her video and performance works. Combining an unsettling, wry humor with a low-tech, Pop sensibility, Moulton plays a character whose interactions with the everyday world are both mundane and surreal, in a domestic sphere just slightly askew. As her protagonist navigates the enigmatic and possibly magical properties of her home decor, Moulton initiates relationships with objects and consumer products that are at once banal and uncanny.

Takeshi Murata produces extraordinary digital works that refigure the experience of animation. Creating Rorschach-like fields of seething color, form and motion, Murata pushes the boundaries of digitally manipulated psychedelia. With a powerfully sensual force that is expressed in videos, loops, installations, and electronic music, Murata's synaesthetic experiments in hypnotic perception appear at once seductively organic and totally digital.

Artist collective Paper Rad synthesizes popular material from television, video games, and advertising, reprogramming these references with an exuberantly neo-primitivist digital aesthetic. As member Jacob Ciocci writes, "In the '70s and '80s cartoons and consumer electronics were bigger and trashier than ever and freaked kids out... Now these kids are getting older and are freaking everybody else out by using this same throw-away trash."

Radical Software Group is a loosely defined ensemble of artists and programmers, working collaboratively in digital media. Radical Software Group, or RSG (named for Radical Software, the seminal 1970s magazine), has focused on network environments and interface design, including the award-winning software tool Carnivore.

Ryan Trecartin is one of the most innovative young artists working with video today. Trecartin's fantastical video narratives seem to be conjured from a fever dream. Collaborating with an ensemble cast of family and friends, Trecartin merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique.