The project is discussed in three phases, with only the first being proposed, and accepted as one of 10 funded artist's pieces, for a collaborative installation entitled "The Bridge." The Bridge is part of SIGGRAPH96, taking place at the Contemporary Arts Center (CAC) and the Morial Convention Center, late July and early August 1996, in New Orleans, Louisiana.
Victoria's vision is to allow people logging onto Bodies INCorporated to build out bodies in 3-D space, graphically visualizing what were previously bodies generated as text-only. At this point, Robert, Jason, and Victoria have next to no idea about how this could happen. But this, due to Victoria's determination, is not allowed to be perceived as a problem. Victoria makes a key contact with Viewpoint Data Labs, who agree to give her free and unlimited use of 3-D models that their company creates and sells. She begins paging through their extensive catalog of wire-frames in order to place her order. Kenny thinks of ways to transpose the interactive sound experience of Virtual Concrete into something that will work online. It is at this moment that virtual acoustic environments become his new obsession.
During Fall of 1995 and Winter of 1996, Victoria, Jason, Kenny, and Robert meet on several occasions to further conceptualize the project. Working closely with Victoria and Robert, Jason begins to implement some more elaborate CGI scripts to force users to log onto the site with e-mail ID and password in order to become active members of the newly forming organization. All three periodically battle with the problem of how to graphically visualize what are now nearing 3000 ordered bodies. Many body owners are getting frustrated at seeing no images of their "alter-egos," "significant others," or "desired sexual partners" for over half a year. Because nothing much is happening to the bodies, Victoria starts referring to this gestational holding pattern the bodies are in as "limbo."
The task of visualizing all of the ordered bodies is becoming truly monumental. It is during one of these meetings that Robert proposes the idea of unleashing a virus that randomly wipes out ALL of the existing bodies held in limbo, in effort to force body owners to log on again and order new ones that will conform to whatever method of visualizing the bodies gets developed. Based on conversation he had with a collaborator on a variety of other projects named Jason Brown, Robert suggests that the place the infected bodies get sent to be called "Necropolis." (This idea emerged at a time that both Jason and Robert were working with Victoria on an UC-wide online exhibition and conference entitled Terminals: Considering the End, that was organized by Victoria and Connie Samaras in conjunction with a physical conference being held at the Santa Barbara campus called Terminals: the Cultural Production of Death. There is even talk of linking "Necropolis" to Terminals as part of the exhibition. The linkage never happens.)
- San Jose Museum of Art, San Jose, CA. June 1 – Nov 3, 2002
- Media Connection. Palazzo delle Esposizioni, Rome. 2001
- Anagramatic Bodies, Karlsruhe, Germany. 2000
- Net Condition, ZKM, Karlsruhe, Germany. Sep 1999
- Il Bienal de Mercosul, Cibearte: zonas de Interacao. Porto Allegre, Brazil. 1999
- Art House, Dublin, Ireland. 1998
- Solo exhibition. San Francisco, CA. Nov 10, 1997
- Los Angeles Bordies, Xtraspace, Barnsdall Municipal Gallery, Los Angeles, CA. Sep 9 – Nov 9, 1998
- Club Media, Venice Biennale, Italy. 1997
- ACM’97, San Jose Convention Center. 1997
- Bridge Art Show, SIGGRAPH, Convention Center and Contemporary Arts Center, New Orleans, LA. 1996
- Dirty Windows, Berlin, Germany. 1996
- Figuratively Speaking, Santa Barbara Museum of Art, Santa Barbara, CA. 1996