nce of the Internet. The pupils were
communicating by e-mail with schools all over the world. This is very enriching,
especially when supervised by specially-trained teachers. So that is how I see
the Internet. Now I am equipped at home, more for fun, and I hope to convince my
daughter to use all these tools to the fullest.

*Interview of August 10, 1999 (original interview in French)

= What do you think of the debate about copyright on the Web?

With its text database Frantext, the INaLF is greatly affected by problems of
copyright and publisher's rights. I think the rules should be more flexible. At
the moment, use of the database is restricted, which reduces its influence and
the spread of French in general.

= How do you see the growth of a multilingual Web?

Personally I have no problem about the use of English, which has to be regarded
as a shared communication tool. But websites should offer access both in English
and in the language of their country of origin.

= What is your best experience with the Internet?

It was the one I recalled in 1998, when I got responses from all over the world
to my very trivial question about type-faces.

= And your worst experience?

When I sent an email to someone by mistake. Sometimes this communication tool
has to be used carefully. It goes faster than the human brain and can then be
used by the recipient in a very ugly way.

JEAN-PAUL (Paris)

#Webmaster of cotres furtifs (Furtive Cutter Ships), a website that tells
stories in 3D

The cotres furtifs was launched on October 20, 1998, after they had become a
group. Following a break to show solidarity with the Altern web server (which
fell foul of the inadequate French laws about the Internet), they are now
offering two parts and preparing a third. The aim is to tell stories in 3D and
explore how a 'link' opens the way for 'hyperwriting,' which is a set of
characters, sounds and animations. It gives priority to words.

Jean-Paul is a writer and a musician. In June 1998, he wrote: "The Internet
allows me to do without intermediaries, such as record companies, publishers and
distributors. Most of all, it allows me to crystallize what I have in my head
(and elsewhere): the print medium (desktop-publishing, in fact) only allows me
to partly do that. Then the intermediaries will take over and I'll have to look
somewhere else, a place where the grass is greener..."

*Interview of August 5, 1999 (original interview i