performance art, ritual and practices of everyday life. In the studio, the students work in ‘bands’ to collaboratively conceive and develop performative aspects of their projects. StudioLab bands contain specialised players; one student might focus on imagery, another on text and another on interactive elements. However, in the lab, the same students work in different groupings called ‘guilds’ to develop the electronic elements needed by the bands. Guilds are technically monochromatic, composed of specialised players such as Photoshoppers, Hypertextualists and Interactivists. Individual guild members then bring their skills back to their bands in the studio, integrating them into projects. Moving between studio and lab, band and guild, these projects unfold through the interlacing of bodies, ideas and media. McKenzie's role in this process is one of producer giving his students advice on how to mix their tracks. The interlacing of the bands and guilds was an important discovery for McKenzie, for it took the collaboration to a higher level. One project McKenzie used was ‘Interface in Everyday Life’ combining performance art and Donald Norman’s work on interface design. Students were given the opportunity to pick a common interface, explore the activities the design brings forth, and create a live performance from this exploration. They then tried to translate the performance back into a Web interface. Another project is a transformation of Brenda Laurel’s Computers as Theatre, which developed a theory of human-computer interaction using Aristotle's Poetics. Students created actual and virtual events by substituting another performance form for Greek tragedy: Kabuki, solo performance, Dada, Sumo as well as the theatre of Brecht, Artuad, Schechner and LeCompte. In this interview McKenzie was asked about his opinion about the validity of collaborative student Web projects. He explained that theatre has traditionally been a collaborative activity: ‘If dramatic writing has traditionally been a solitary activity, producing theatre has always been collaborative: actors, costume and set designers, technical crews, etc. It's this collaborative dimension that makes theatre so applicable to creating new media, which requires integrating so many different skills and media. McKenzie believes that the model of individual genius that has dominated modern aesthetics is giving way to collaborative modes of creativity. For him, all creativity is social and recombinant’. McKenzie goes on to talk about the process of updating and maintaining a large website like StudioLab. He joked that ‘Maintaining a Website was artificial life!’ He explains that the joke makes sense