newsgroups: RHIZOME_RAW date: Thu, 15 Sep 2005 11:18:34 -0400 (GMT-04:00) message-id: <4273614.1126797514641.javamail.root@elwamui-wigeon.atl.sa.earthlink.net> references: no_parent from: christina mcphee subject: RHIZOME_RAW: Fw: see the kabinet or forever wonder Rhizomers of SF / Bay area... Please come by and say hello.. I'lll be there Saturday night (in NYC now). The show is on tonight, Friday and Saturday. "Curious technologies.....dedicated to the Muses...." Christina -----Forwarded Message----- From: TROY BYKER Sent: Sep 14, 2005 4:12 AM To: troy.byker@gmail.com Subject: see the kabinet or forever wonder Tho i dare say the kabinet consists of such fine materials that it warrants many more viewings than the three that remain. You heard me right, there are only 3 performances left. Viewings require less than an hour and they happen Thursday Friday and Saturday night at 8, at the Lab. Hello all, Troy here to tell you of the good fortune i have had in being able to work closely with the exceptional craftspeople of the Wunderkabinet. Bask in the awe that until now, has been restricted to the children of the Lion, The Witch and the Wardrobe. Opera? Meeting of the masters? Complete sensual immersion? Dont be swept underneath only to be found later, wandering and wondering whats inside. the Lab 2948 16th Street San Francisco 415.864.8855 Curious? check out pamelaz.com/wunderkabinet.html mjt.org thelab.org or read on > Pamela Z > (in collaboration with Matthew Brubeck and Christina McPhee) > WUNDERKABINET > at The LAB > 2948 16th Street > San Francisco, CA 94103 > p: 415.864.8855 > Thursday-Saturday, September 15-17, 2005 > doors open 7:30 pm performance at 8 pm > $10-$20 sliding scale admission > > Thursday Special: The LAB will be donating all > proceeds from Thursday evening's performance to > the American Red Cross for the victims of Katrina. > > Saturday Special: After the show on Saturday, > September 17, Pamela Z and her collaborators > Matthew Brubeck and Christina McPhee will meet > with the audience for a Q&A and reception. And > David Wilson, from the Museum of Jurassic > Technology, will be attending this final > performance of Wunderkabinet. > > > > > Wunderkabinet is a new experimental multi-media > opera developed by composer/performer Pamela Z > in collaboration with cellist/composer Matthew > Brubeck and media artist Christina McPhee. Scored > for voice & electronics, cello & electronics, & > video, the piece is inspired by and based on the > exhibits displayed at the enchanting and renowned > Museum of Jurassic Technology in Los Angeles. > Wunderkabinet premieres this month with a > two-week run at The LAB Gallery in San Francisco. > > The boundary between reality and imagination is > blurred as Wunderkabinet's central character > "Alice May Williams" makes her strange and > magical journey in search of the scientists of > the Mount Wilson Observatory to whom she has been > sending abundant correspondence, only to find > herself in a strange cabinet of curiosities where > she eventually becomes a docent. > > The music of Wunderkabinet is performed by Pamela > Z (voice and live electronic processing) and > Matthew Brubeck (cello & electronics, and a > multi-layered set (largely comprised of projected > images created by Christina McFee) evoking the > dark yet radiant focus of the museum dioramas > forms the backdrop for this evocative experience. > The score (composed by Pamela Z and cellist Matt > Brubeck) utilizes bowed and plucked strings, > sampled found objects, and a wide range of vocal > work ranging from operatic bel canto to > experimental extended vocal techniques and spoken > text. The libretto is derived from passages of > actual descriptive texts from the Museum of > Jurassic Technology's exhibitions and stories > inspired by them. > > About the Artists: > > Pamela Z is a San Francisco-based > composer/performer and audio artist who works > primarily with voice, live electronic processing > and sampling technology. Processing her live > voice through "MAX MSP" software on a PowerBook, > she creates solo works that combine operatic bel > canto and experimental extended vocal techniques > with found percussion objects, spoken word, and > sampled concr�te sounds. These sounds are > triggered with a MIDI controller called The > BodySynth�, which allows her to manipulate sound > with physical gestures. > > Pamela Z has toured extensively throughout the > United States, Europe, and Japan. She has > performed in numerous festivals including: Bang > on a Can at Lincoln Center in New York; the > Interlink Festival in Japan; Other Minds in San > Francisco; and Pina Bausch Tanztheater's 25 Jahre > Fest in Wuppertal, Germany. She has composed, > recorded and performed original scores for > choreographers and for film/video artists, and > has done vocal work for other composers > (including Charles Amirkhanian and Henry Brant). > Her large-scale, multi-media performance works, > Parts of Speech, Gaijin and Voci, have been > presented at Theater Artaud and ODC Theater in > San Francisco, and at the Kitchen in New York. > She has had audio works included in exhibitions > at the Whitney Museum of American Art in New > York, the Erzbisch�fliches Di�zesanmuseum in > Cologne, and the Dakar Biennale in S�n�gal. She > has also been presented at the San Jose Museum of > Art, El Museo del Barrio in New York and at La > Biennale di Venezia in Italy. > > Ms. Z has been commissioned to compose works for > new music chamber ensembles: the Bang On A Can > Allstars; Ethel, the California E.A.R. Unit; the > Left Coast Chamber Ensemble; and the St. Luke's > Chamber Orchestra. Since 1986, she has been > producing "Z Programs", an ongoing series of > interdisciplinary events in which her own work > has been featured along with that of other > experimental artists in various genres. She has > done collaborative work with Jeanne Finley + John > Muse, Miya Masaoka, Donald Swearingen, The Qube > Chix, Zakros New Music Theatre, and has performed > with The San Francisco Contemporary Music > Players. Pamela is the recipient of numerous > awards, including: the Guggenheim Fellowship, the > CalArts Alpert Award in the Arts; the Creative > Capital Fund; the ASCAP Music Award; and the NEA > and Japan/US Friendship Commission Fellowship. > She holds a music degree from the University of > Colorado at Boulder. She has a solo CD on > Starkland which the WIRE (UK) refers to as "Sheer > genius from the most gifted and enterprising > vocalist/composer/audio artist in the US since > the heyday of Joan La Barbara and Mededith Monk". > http://www.pamelaz.com > > > Matt Brubeck is a composer/performer specializing > in improvisation on the cello. Classically > trained, with a Master's in cello performance > from Yale, Matt is at ease in multiple genres and > has taken his cello improvisation skills into > diverse musical territories. During his many > years in the San Francisco area, Matt performed > with a variety of jazz, improv, and new music > artists including Pamela Z, John Schott, Ralph > Carney, Myles Boisen, and Scott Amendola. He > founded Oranj Symphonette, which recorded two > CD's for Rykodisc and went on to play many of the > major jazz festivals, including Toronto, > Montreal, New York, San Francisco, and Monterey. > Matt worked for several years as composer and > cellist/bassist with the San Francisco based Club > Foot Orchestra, contributing to scores for film > and television. In the pop/rock world, his > eclectic adventures include touring with the > Dixie Chicks, Sheryl Crow, and the Indigo Girls, > as well as performing and/or recording with Tom > Waits, Sheryl Crow, Sarah McLachlan, Tracy > Chapman, Jonathan Richman, and others. Matt has > continued to play classical cello and was a > member of the Berkeley Symphony Orchestra from > 1989-2003. Under the adventurous direction of > Maestro Kent Nagano, Matt enjoyed performing the > traditional repertoire, as well as the works of > many new music composers. His "Concerto Grosso > for Two Improvising Soloists and Orchestra" > (featuring violinist Carla Kihlstedt and Matt on > cello) was premiered in 2003 at the BSO's Under > Construction series for emerging composers. > Currently Matt resides near Toronto, where he > teaches cello, improvisation, and leads the New > Music Ensemble at York University. Matt is > actively involved in Toronto's vibrant music > community, playing with a wide range of jazz and > improvisational artists such as David Mott, Anne > Bourne, Kevin Breit, Jesse Stewart, Marilyn > Lerner, David Buchbinder, and David Braid, among > others. (And, yes he is the tallest son of Dave.) > > Christina McPhee is a Los Angeles-born new media > and installation artist who's technological > landscapes engage strange ambiguities at the > interface of art and science. Her performances, > video and net art have been included in > exhibitions, festivals and electronic media > archives around the world, including Cornell > University Electronic Media Archive, chairetmetal > (Montreal), Cinemateque/Video Channel (Koln), > Rhizome Artbase(New York) , > Cybersonica/Convergence at the ICA New Media > Center, London, California Museum of Photography, > back_up/Lounge|lab at Bauhaus-University Weimar, > and Victoria Film Festival, Victoria, BC, COSIGN > 2004 at the University of Split, Croatia, FILE > Sao Paulo 2002 , and Digital Arts and Culture > 2003 at RMIT Melbourne, especially for her online > and installation project naxsmash. She writes on > phenomenology, trauma and memory in electronic > art and architecture, most recently in book print > with "Net Baroque" in Life in the Ruins: A > CTheory Reader", edited by Marilouise and Arthur > Kroker (2004) and online with "Aphasia/Parrhesia" > for drunkenboat(2005). Online, CTheory also > features Slipstreaming the Cyborg, an interview > with the artist with Rome-based Francesca De > Nicolo. Current multimedia work queries seismic > memory in digital chromogenic prints, video and > live data based net art, in the Carrizo-Parkfield > Diaries (2005). Created with text contributions > from Jeremy Hight and web programming design from > Sindee Nakatani, the live data work, based on > current and archived ground motion values in > collision, is part of the Whitney Museum of > American Art, new media seriesArtport, and can > also be reached at > www.carrizoparkfielddiaries.net. McPhee's videos > from the Carrizo Parkfield Diaries will travel to > Carnegie Mellon University's Regina Gouger Miller > Gallery, Pittsburgh, as part of Groundworks: > Environmental Collaboration in Contemporary Art > October 14 - December 11, 2005. In December 2005, > she will be a visiting artist at HUMlab, > University of Umea, Sweden. > http://www.christinamcphee.net > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 15 Sep 2005 10:28:48 -0700 message-id: <200509151728.j8fhsmqp000856@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: 23 Reasons to Spare New York: Music Videos from the Art Rock Scene Ocularis at Galapagos Art Space 70 North 6th Street, Brooklyn, NY 11211 Contact: Contact Thomas Beard for further information :: thomas@ocularis.net 646.420.0359 FOR IMMEDIATE RELEASE 23 Reasons to Spare New York: Music Videos from the Art Rock Scene Sunday, October 2 at 7 PM Ticket Price $6 Ocularis is excited to present an overview of the NYC art rock community and its connections to contemporary video art and underground cinema on October 2. "23 Reasons to Spare New York: Music Videos from the Art Rock Scene," curated by Nick Hallett (of Plantains and Maison du Chic) features the franticly experimental sound of the city, as realized by such bands as Antony and the Johnsons, Black Dice, Ex-Models, Foetus, Japanther, Jason Forrest, Liars, Mitgang Audio, Mixel Pixel, My Robot Friend, Oneida, Regina Spektor, Ted Leo, and Vaz (to name just a few). The identification of psychedelic themes by video artists will be the evening's focus, with stroboscopic, DayGlo imagery re-imagined through digital means by such filmmakers as Cody Critcheloe, Danny Perez, Devin Flynn, Disbelief Street, English Kills, Glen Fogel, Karen O, Mighty Robot, Noah Lyon, Pancake Mountain, Punkcast, Starter Set, and Waverly Films (again, just a sample here). Plus, we will throw in some alternative responses to new music by filmmakers like Kent Lambert and Tom Moody. A broad variety of countercultural media are included, including documentary, video mash-up, computer animation, and "promotional" music videos which deconstruct the consumerist models of their top-of-the-pops counterparts. Please join us. About Ocularis Ocularis is a 501(c)3 not-for-profit organization that provides a forum for the exhibition of independent, experimental and documentary film/video and new media, as well as international and repertory cinema. Ocularis was established in 1996 as a rooftop film series catering to local audiences in North Brooklyn. Since then, Ocularis has evolved into a weekly cinema, a producer of collaborative film/video work and a summer open-air screening series. Ocularis screens weekly at Galapagos Art and Performance Space. 70 North 6th Street Brooklyn, NY 11211 http://www.ocularis.net tel/fax: 718.388.8713 -- Thomas Beard Program Director Ocularis at Galapagos Art Space 70 North 6th Street Brooklyn, NY 11211 http://www.ocularis.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > 310 Bathurst st. > Toronto ON M5T 2S3 > 416-203-1846 > 647-292-1846 > + > -website; > http://www.mikidot.com > + > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 05:39:26 -0700 message-id: <200509201239.j8kcdqck027610@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Mediamatic Workshop: Triggered by RFID Mediamatic workshop Triggered by RFID 2 November 7| 8| 9| 2005 Are you tired of standing in line in front of the cash desk? Lost your luggage at the airport? Your cat is missing again? Or could’nt find your favorite parfume on the store shells anymore? RFID seems to be the solution! RFID is the barcode of the future, equipping individual objects with IP addresses. Metadata for physical objects will make an internet of things possible. After a succesfull RFID workshop in July, Mediamatic introduces the ideas and technology behind RFID for the second time in November. It seizes initiative to adopt RFID for artistic and social purposes and is designed for artists, designers and researchers, who want to look beyond the logistical horizon of this emerging technology. In 3 days, theoretical views are combined with practical experiments. You will learn all about the technical components with an RFID set of tags, readers, and database in your hands. There is enough space to develop your own ideas and discuss them with like-minded fellows and professionals. For further information and registration visit www.mediamatic.net/workshops, call Klaas Kuitenbrouwer: +31 20 6389901 or mail to workshops@mediamatic.nl. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 07:17:18 -0700 message-id: <200509201417.j8kehi0r011664@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: ASCA Conference: Trajectories of Commitment and Complicity: Knowledge, Politics, Cultural Production Trajectories of Commitment and Complicity: Knowledge, Politics, Cultural Production Wednesday, 29 March - Friday, 31 March 2006 The Amsterdam School for Cultural Analysis (ASCA) invites proposals for the international workshop, Trajectories of Commitment and Complicity, to be held between 29th – 31st of March, 2006 in Amsterdam, the Netherlands. This interdisciplinary workshop will be dedicated to exploring the concepts of commitment and complicity as they manifest themselves at the intersections of knowledge, politics and cultural production. Confirmed Keynotes: Prof. Sara Ahmed, Prof. Timothy Brennan, Prof. Elleke Boehmer, Prof. Rey Chow. The concepts of commitment and complicity come into play when scholars engage with tensions between knowledge, world politics and everyday life. For example, if one asks how knowledge and methodologies in the humanities can travel to make a difference in everyday politics and vice versa. Although the two concepts are widely used in colloquial language, their intellectual trajectories have often been under-illuminated. Either commitment seemed (a) good in itself, or the so-called disinterestedness of knowledge production foreclosed any kind of assessment of the term. Equally, the uses of complicity have kept the concept outside the realm of examination. Either complicity was used to stress the accommodating roles of knowledge, intellectuals and cultural production in relation to dominant power structures, or it was celebrated as an enabling condition for research. Sparked by an interest in commitment as a form of self-reflexive, engaged and responsible knowledge production, while haunted by the hidden or explicit complicity of the theories and concepts with which we work, this workshop sets out to examine both concepts within their situated trajectories. In order not to turn blind – methodologically and conceptually – at the very moment we use commitment and complicity, both concepts need to remain subject to critical examination. Thus, the question is not whether one is a committed or a complicit scholar, but how the twin concepts crystallize and manifest themselves at the intersections of knowledge, politics and cultural production, and how they travel through space and time, institutions, and methods of analysis. Uncomfortably and paradoxically, ‘individuality’, ‘freedom’ and ‘choice’ are some of the constitutive conditions of intellectual practices. However, the position of the intellectual, the commitment and/or complicity of the knowledge s/he produces and her/his actions are not merely contingent upon these conditions, particularly when other notions such as autonomy, intellectual solidarity, critical thought and answerability are taken into consideration. Opening up a space for discussion for alternative conceptualizations of intellectual practices while keeping in mind that knowledge, politics and cultural production are discourses of power, we wish to develop an understanding that both works with and against commitment and complicity. In doing so, we intend to treat these twin concepts with the same kind of generous scrutiny bestowed on other traveling concepts in the humanities. * We encourage contributions surrounding, but by no means limited to, the following questions: Spatio-temporal Trajectories: Definitions of commitment and complicity are often dependent on the historical, political and cultural frameworks within which they are discussed. Due to this variation, the ‘object’ of commitment and complicity as well as its specific spatio-temporal cultural manifestations should not be taken for granted. Yet, commitment and complicity also seem to relate to universalisms such as ‘human rights’ and ‘freedom of thought’. How can we think of commitment and complicity without running the risk of turning them into either master narratives or culturally relativist concepts? To what extent are commitment and complicity culturally specific concepts? How do specific forms of commitment and complicity arise in particular geographic, cultural and social locations, and how can they possibly move to other contexts? Regarding the genealogy of commitment and complicity, how, by whom and to what aims have both concepts been used? Trajectories in Cultural Production: Cultural artifacts as productions of knowledge are often informed by practices of commitment and complicity, and hence require to be analyzed in terms of them. In what ways do cultural products articulate or produce forms of commitment and complicity? How, and through which strategies, do cultural artifacts negotiate the ways in which they are committed or complicitous? How are reading/viewing practices informed by commitment and complicity? In what ways do overtly ‘committed’ cultural artifacts become expressions of complicity? Is there such a thing as a ‘committed’ cultural artifact or is it more apt to talk about committed or complicitous readings? How can we understand processes of cultural production and consumption in terms of commitment and complicity? Trajectories of intellectual production: While committed to socio-political causes, intellectuals are also mediated by that which they seek to resist. Through the concepts of commitment and complicity, the nature of the relationship between the intellectual, the knowledge s/he produces, and everyday politics can be scrutinized. How can we envision intellectuals to be committed and complicit in terms of their political (institutional, personal, cultural) situation? To what extent is their institutional situation an enabling or restrictive condition, and to what extent does that situation politicize or depoliticize the very material and ideas they work on? When do the commitment and complicity of knowledge and its production risk inserting one’s scholarly production into the dominant ideologies one sets out to criticize? And to what extent could the concepts of commitment and complicity contribute to an effective methodology (e.g. self-reflexivity) for studying these questio! ns? * Organizing Committee: Bregje van Eekelen, Begum Ozden Firat, Sarah de Mul, Ihab Saloul, Sonja van Wichelen * Host Institution: The Amsterdam School for Cultural Analysis (ASCA) is devoted to studying contemporary culture through detailed, historically as well as theoretically informed analyses of case studies. Participants should specify how the concepts of commitment and/or complicity are theoretically, politically, and culturally relevant and related to their own work. The concepts may be addressed together or separately and preferably in correlation with cultural objects such as film, artworks, television, literature, photography, music, museums, scientific objects/practices, religious objects/practices, etc. This conference is the latest in a series of ASCA graduate conferences and is inspired by the Theory Seminar organized by Mieke Bal in 2004-2005 on “Commitment in the Humanities.” *The workshop format of the conference is designed to stimulate discussion in the panels. Instead of “reading” their papers at the conference, participants are encouraged to give a 15-minute presentation of their work, connecting their paper to the other papers in their panel and to the overall concerns of the conference. Participation instructions Please send your 200 - 300 words proposal, accompanied by a short CV, by October 15th 2005. Proposals will be selected according to their relevance to the topics of the conference. Participants will be asked to send the final version of their papers (4000-word maximum) by January 30th, 2006. A reader will be prepared for each of the panels and will be circulated before the workshop. Keynote speakers are to be announced. * Please send your proposal to the ASCA office at the following address: Dr Eloe Kingma, Managing Director ASCA Spuistraat 210. 1012 VT Amsterdam. The Netherlands. Phone: +31 20 525 3874. Fax: +3120 525 3052. Email: asca-fgw@uva.nl Website: http://www.hum.uva.nl/asca + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 07:59:57 -0700 message-id: <200509201459.j8kexvw0018845@idx164.idx.net> references: no_parent from: Claire Jervert subject: RHIZOME_RAW: Need a Geek No offense. I'd like to work with a programmer to produce a DVD by grabbing corporate logos from web sites and pulling them into a motion graghic sequence twisting and morphing the brands in space. Anyone interested in working with me. Claire Jervert + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 16:43:04 +0100 message-id: <20050920164304.e9a8rps9c8o8g0w4@webmail.robmyers.org> references: <200509201459.j8kexvw0018845@idx164.idx.net> from: rob@robmyers.org subject: Re: RHIZOME_RAW: Need a Geek Quoting Claire Jervert : > No offense. I'd like to work with a programmer to produce a DVD by > grabbing corporate logos from web sites and pulling them into a > motion graghic sequence twisting and morphing the brands in space. > > Anyone interested in working with me. I think you mean "for". How much are you paying? - Rob. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 08:54:05 -0700 message-id: <200509201554.j8kfs5dh028760@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: Need a Geek this might be helpful: http://rhizome.org/thread.rhiz?thread=18625&page=1#35599 Jason Van Anden Claire Jervert wrote: > No offense. I'd like to work with a programmer to produce a DVD by > grabbing corporate logos from web sites and pulling them into a motion > graghic sequence twisting and morphing the brands in space. > > Anyone interested in working with me. > > Claire Jervert + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 11:16:46 -0700 message-id: <200509201816.j8kigkyp021183@idx164.idx.net> references: no_parent from: brad brace subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island philosophy. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 11:23:14 -0700 message-id: <200509201823.j8kineo3022734@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory This project actually beat me to the punch. My next post in the "_ this concept" series was going to be... +++++++++++++++++++++ subcontract this concept: art-starz-r-us inc. PRECEDENCES: Corporations have been hiring marketing firms to make them look good forever. Those marketing firms in turn hire graphic design firms, many of whom turn around and hire freelance designers. Damien Hirst, Mariko Mori, etc. subcontract out their larger installation pieces to be build by other folks. Teen boy groups like Menudo and New Kids on the Block are created and pimped by A&R record executives to be the next new thing. "We make you big star." CONCEPT: You long since stopped "making" art. Why waste your precious time even coming up with the concepts! You just want to be an art star, no mucking about. Skip the middle man and simply subcontract out the entire lot -- ideas, craft, implementation, and marketing. If you meet our criteria (got the look, the verve, the drive, that special something), we'll make you an art star. Our generative semiotic software will come up with your name (N.N., dextro, stanza, eBoy, Linda Lovelace, etc.) and the name of your art movement (neen, telic, etc.). We will construct an artsy public persona for you, and even hire a good looking stand-in (think Matthew Barney or Bjork) should your newly found professional art lifestyle cause you to add on some unsightly pounds. We'll select the central theme of your life's work (based on our in-house marketing studies), and begin cranking out the "pieces" proper. We'll come up with the ideas, implement them, pimp them around to galleries, and even hire degreed art critics to write obtuse essays about your work that reference at least five 20th century french philosophers, and of course McLuhan (out of context). You didn't get into this artmtaking thing to explore existence or get your hands dirty with actual media. You don't really even want to say anything in particular. You just want to say it loudly where everyone can hear it. We feel you, dog. You're our kind of contemporary artist. INSTRUCTIONS: Don't call us, we'll call you. We're not looking for talent (we got the talent); we're just looking for someone willing to "sell their soul 4 rock n' roll," as the saying goes. We'll get 85% of all profits, and we'll have the option to use your (our) brand in the Japanese toy and t-shirt market. You'll get your 15 minutes, and then some! Pleased to meet you. Hope you guessed my name (no, not charles saatchi, the other one). +++++++++++++++++++++ Leonardo wrote: > Readme 100 software art factory presents > > Open Call for Proposals > Get your Software Art Piece Done for Free > OUTSOURCE ME! > http://outsource.solaas.com.ar > > Have you ever dreamt of having a piece of software art (1) you could > call truly yours? Or had the feeling that most media art is dull, and > that you could do it better? Or had a marvelous idea you could not > realize for lack of time, commitment or expertise? > Well, your chance has come. > > No need to mess around with abstruse programs or bother with dreary > code. The world is full of people willing to do the hard work for you. > That’s what outsourcing is about. Those are the rules of the global > electronic market. > > It doesn’t cost much. Actually, just for this time it will cost you > nothing. > > Leonardo Solaas, an Argentinean programmer and net artist, suggests > reversing the rules: only once it is not the programmer who is chosen > by the employer but it is the employer who is chosen by the > programmer. He is looking for someone to tell him what to do, thus > himself outsourcing the task of getting an idea. > Submit yours! Become his boss! Submit your ideas at > http://outsource.solaas.com.ar till October 3rd, and you could be the > lucky winner of a possibility to implement YOUR piece of software > art. > If Leonardo chooses your concept, he will become your outsourced > Contractor for > this work, and you will be his Employer. > > You could learn about Leonardo’s skills and interests (at > http://solaas.com.ar/outsource/leonardo) to figure out whether your > proposal would fit his experience. > > All this is made possible by Readme 100 Temporary Software Art Factory > (2) (a.k.a. the MetaEmployer). The resulting piece will be presented > at a festival taking place on November 4-5, 2005, in the State and > City Library of Dortmund, Germany. > _____________________________ > > 1. For those who are not sure what software art is, please, learn more > at http://runme.org/faq.tt2 > 2. http://readme.runme.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 12:32:39 -0700 message-id: <200509201932.j8kjwdoc012544@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Faculty position in New Media /Design New Media Artist/Designer: The Department of Visual Communication seeks a full-time faculty member working in web- or video-based communication design and/or interactive media, to play a lead role in the development and coordination of the new media track in Visual Communication, and to teach screen-based graphic design to graduate and undergraduate students within an interdisciplinary context. Candidates should have a strong conceptual, historical and methodological grasp of issues in the intersecting worlds of graphic design and new media, such as digital content configuration, navigation, interpretation and production. Specific competencies might include typographic structure and expression; hybrid environments; planning and production of motion graphics for television and film; research and development of cultural and environmental issues; and/or contemporary visual cultural criticism. The successful candidate will interface with other media departments in the School to articulate and integrate visual communication objectives and potentialities in the School’s media initiatives. Teaching experience and a terminal degree in visual communication, design or other relevant area is essential. Applicants should have an active design and/or art practice. The position is full-time, tenure-track, rank and salary commensurate with experience and begins the fall of 2006. Application: curriculum vitae, artist statement and teaching philosophy, course syllabi, and portfolio samples which may include CD-ROM, DVD, VHS, mini-DV, slides and/or website URLs. Deadline for priority consideration: January 1, 2006 Application materials will be accepted until the position is filled. Send to: Viscom New Media Search/RH The School of the Art Institute of Chicago Office of Deans and Division Chairs 37 South Wabash Avenue Chicago, IL 60603 For more informationon the School and its programs, available faculty positions, and application details, go to www.artic.edu/saic/public/jobs/faculty.html. Questions may be addressed to Shanna Linn at slinn@artic.edu, or 312.899.7472. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 21:48:13 +0200 message-id: <00c701c5be1c$4cbaf610$f606f0d5@aart> references: no_parent from: Andrej Tisma subject: RHIZOME_RAW: New web site on contemporary art - SPIRIT ART Please visit the new web site on contemporary art: SPIRIT ART http://www.webheaven.co.yu/spiritart/ ...BEUYS-ABRAMOVIC-FILLIOU-ONO-DUCHAMP-KLEIN-BYARS-LIGHTNING-OHO-CLEAR BROOKS-MANDIC-WIJERES-POGACNIK-TURRELL-DE MARIA... =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Guide to the past, present and future of the nonmaterial, mental and spiritual art and numerous phenomena linked to them. Explore how art, science and spirituality meet. Site authors: Andrej Tisma and Arleen Hartman __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 12:52:58 -0700 message-id: <200509201952.j8kjqwzi016288@idx164.idx.net> references: no_parent from: mike pelletier subject: RHIZOME_RAW: Workstudy Opportunity @ The Banff Centre: Banff Alberta, Canada. Workstudy Opportunity @ The Banff Centre: Banff Alberta, Canada. TITLE: Computer Technician Work Study, Interactive Media DURATION: OCTOBER 2005 – MARCH 2006 STIPEND: $425 per week APPLICATION DEADLINE: SEPTEMBER 30TH, 2005 The Creative Electronic Environment (CEE), as a whole, is a technical support team committed to supporting artists in computer and non-computer based mediums at the Banff Centre. CEE has been in existence for over 20 years and is comprised of four areas: TV/Video, Technical Services, Photography and Interactive Media. As the Work Study you will: -Provide technical support and training for Mac & PC hardware and operating systems; -Provide technical support and training for printing, digital imaging and CD production; -Provide technical support and training for the following multimedia software: -Maya, Final Cut Pro, DVD Studio Pro, Cleaner, Director, Dreamweaver, Flash, Photoshop, Illustrator, After Effects, Premiere, QuarkXPress, and others; -Technically and creatively assist artists and program participants. Work study programs are intended to provide the participant with a combination of learning opportunities and supervised, practical work related to the participant’s learning objectives. Learning opportunities may be formal sessions and/or workshops, or may be informal opportunities arising out of the situation of the moment. The work portion of the experience will primarily focus on activities that compliment the participant’s learning objectives, as the work relates to the real and ongoing activities of The Banff Centre. This position is responsible for providing general computer support to artists in the Computer Studio and in their studios including answering software questions, teaching, and orientation to equipment; installing software and hardware; relocating equipment; and providing computer support to organizers and speakers at events. The Banff Centre is looking for someone with a good understanding of and some experience in technical tools supporting the Arts. The ideal candidate will be proficient with digital imaging, CD production and standard multimedia software tools including Photoshop, Illustrator, Flash and Dreamweaver and be able to work in both Windows and Macintosh operating systems. They should have the ability to work under direction, as well as, independently and be self-motivated to learn. Knowledge of web design, digital video and audio tools, sensing technology and contemporary art would be an asset. To apply, please fax or email resume and covering letter to: Manager, Interactive Media Creative Electronic Environment, The Banff Centre Email: michael_pelletier@banffcentre.ca Fax: 403.762.6646 Participation in a Work Study term is considered to be full-time study, rather than employment. All participants sign a learning contract that assists in the evaluation of their Work Study experience. Expenses such as on-campus accommodation and meal plans will be deducted from stipend payments. No deductions for income tax, CPP, or UIC are made from stipend payments. Financial assistance and stipend awards are considered taxable income for Revenue Canada purposes. The Banff Centre’s Arts programming is a place for artists. It is dedicated to lifelong learning and professional career development in the arts, acting as site and catalyst for creative activity and experience. The Banff Centre may be able to offer shared accommodation on campus at very reasonable rates, subject to availability. Accommodation is not guaranteed. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 16:13:01 -0400 message-id: references: <200509200413.j8k4dm1o008153@idx164.idx.net> from: Lee Wells subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory Wow you are really out of control. Take a chill pill and dont worry about it. Sounds like this guy is looking for a collaboration. As a new media artist that has dabbled in various aspects of the computer wonderland. I have always found my time was much better served by finding the code I needed online or in a book. You dont need to be a rocket scientist to learn this stuff, you just need the time. For the most part coding is sooooo boring that I would just rather be painting, at least it would be original. On 9/20/05 12:13 AM, "ivansafrin@gmail.com" wrote: > > This kind of shit really pisses me off. I'm so sick of these design and > technology "artists" who have no idea how to do anything, and just come up > with ideas for people who did spend years learning how code. > > "No need to mess around with abstruse programs or bother with dreary code. > The world is full of people willing to do the hard work for you." > > What the fuck? Why are you doing this in the first place if you don't take > any interest in code? > > Somehow people think that if they went to art school they have some kind of > revolutionary ideas that every programmer is just dying to go and be their > code monkey for. Because hey, they're programmers, you know.. people who live > to write code for brilliant old you and have no creative ideas of their own. > > I cant quite express what I feel when I see projects that are nothing but a > bunch of mockups because the person who came up with it has no idea how to do > anything. I can come up with a million brilliant ideas right here and now.. > Hey, let's make this thing that uses google to build a complete map of human > consciousness... great! Why don't I outsource it to someone who's actually > brilliant, so I can really call it my own. > > Assholes. > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php -- Lee Wells Brooklyn, NY 11222 http://www.leewells.org 917 723 2524 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 17:36:36 -0300 message-id: <72319d6a05092013363b914f26@mail.gmail.com> references: from: giselle beiguelman subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory come on, lee, do you think that the mouse is just another kind of brush? i'm sure you don't. so let's put this way: it is impossible to talk about digital art without understanding that *it is digital* and this means: to be conscious that we work not just with code -- what is a too broad term and not a concept -- but with programming languages. and language is a virus (ins't it?) the idea that you can always hire someone to do the "boring part" of the work is a romantic idea. inspiration does not match with media creation. otherwise we will bet on tecnoxamanism... 2005/9/20, Lee Wells : > Wow you are really out of control. > Take a chill pill and dont worry about it. > Sounds like this guy is looking for a collaboration. > > As a new media artist that has dabbled in various aspects of the computer > wonderland. I have always found my time was much better served by finding > the code I needed online or in a book. You dont need to be a rocket > scientist to learn this stuff, you just need the time. For the most part > coding is sooooo boring that I would just rather be painting, at least it > would be original. > > > > > On 9/20/05 12:13 AM, "ivansafrin@gmail.com" wrote: > > > > > This kind of shit really pisses me off. I'm so sick of these design and > > technology "artists" who have no idea how to do anything, and just come up > > with ideas for people who did spend years learning how code. > > > > "No need to mess around with abstruse programs or bother with dreary code. > > The world is full of people willing to do the hard work for you." > > > > What the fuck? Why are you doing this in the first place if you don't take > > any interest in code? > > > > Somehow people think that if they went to art school they have some kind of > > revolutionary ideas that every programmer is just dying to go and be their > > code monkey for. Because hey, they're programmers, you know.. people who live > > to write code for brilliant old you and have no creative ideas of their own. > > > > I cant quite express what I feel when I see projects that are nothing but a > > bunch of mockups because the person who came up with it has no idea how to do > > anything. I can come up with a million brilliant ideas right here and now.. > > Hey, let's make this thing that uses google to build a complete map of human > > consciousness... great! Why don't I outsource it to someone who's actually > > brilliant, so I can really call it my own. > > > > Assholes. > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms set out in the > > Membership Agreement available online at http://rhizome.org/info/29.php > > -- > Lee Wells > Brooklyn, NY 11222 > > http://www.leewells.org > 917 723 2524 > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 23:04:29 +0200 message-id: <20050920210456.sicv26124.amsfep14-int.chello.nl@vilt> references: from: Dirk Vekemans subject: RE: RHIZOME_RAW: Re: Call for Proposals at Readme 100 SoftwareArt Factory Ah, so you are the guy who's doing the original painting. Thanks mate, great job! dv -----Original Message----- From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf Of Lee Wells Sent: dinsdag 20 september 2005 22:13 To: ivansafrin@gmail.com; list@rhizome.org Subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 SoftwareArt Factory Importance: Low Wow you are really out of control. Take a chill pill and dont worry about it. Sounds like this guy is looking for a collaboration. As a new media artist that has dabbled in various aspects of the computer wonderland. I have always found my time was much better served by finding the code I needed online or in a book. You dont need to be a rocket scientist to learn this stuff, you just need the time. For the most part coding is sooooo boring that I would just rather be painting, at least it would be original. On 9/20/05 12:13 AM, "ivansafrin@gmail.com" wrote: > > This kind of shit really pisses me off. I'm so sick of these design and > technology "artists" who have no idea how to do anything, and just come up > with ideas for people who did spend years learning how code. > > "No need to mess around with abstruse programs or bother with dreary code. > The world is full of people willing to do the hard work for you." > > What the fuck? Why are you doing this in the first place if you don't take > any interest in code? > > Somehow people think that if they went to art school they have some kind of > revolutionary ideas that every programmer is just dying to go and be their > code monkey for. Because hey, they're programmers, you know.. people who live > to write code for brilliant old you and have no creative ideas of their own. > > I cant quite express what I feel when I see projects that are nothing but a > bunch of mockups because the person who came up with it has no idea how to do > anything. I can come up with a million brilliant ideas right here and now.. > Hey, let's make this thing that uses google to build a complete map of human > consciousness... great! Why don't I outsource it to someone who's actually > brilliant, so I can really call it my own. > > Assholes. > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php -- Lee Wells Brooklyn, NY 11222 http://www.leewells.org 917 723 2524 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 17:24:12 -0400 message-id: references: <72319d6a05092013363b914f26@mail.gmail.com> from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory > >the idea that you can always hire someone to do the "boring part" of >the work is a romantic idea. actually it's post-modernist. (See Kostabi) -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 18:49:36 -0300 message-id: <72319d6a05092014492f47bba8@mail.gmail.com> references: from: giselle beiguelman subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory makes sense. post-modernism is a very romantic idea... gb 2005/9/20, miklos@sympatico.ca : > > > >the idea that you can always hire someone to do the "boring part" of > >the work is a romantic idea. > > > actually it's post-modernist. (See Kostabi) > > > -- > > Miklos Legrady > 310 Bathurst st. > Toronto ON. > M5T 2S3 > 416-203-1846 > 647-292-1846 > http://www.mikidot.com > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 22:59:16 +0100 message-id: <70fc974d-b857-4a00-b5ea-8cc315638712@robmyers.org> references: from: Rob Myers subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory On 20 Sep 2005, at 22:24, miklos@sympatico.ca wrote: >> the idea that you can always hire someone to do the "boring part" of >> the work is a romantic idea. > > actually it's post-modernist. (See Kostabi) Postmodernism is Romantic. - Rob + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 18:12:32 -0400 message-id: references: <72319d6a05092014492f47bba8@mail.gmail.com> from: miklos@sympatico.ca subject: RHIZOME_RAW: postmodernist romanticism There was this belief, scuse me if I embarass anyone... Has to do with human spirit interacting with physical matter, both are transformed thereby. For example, a child learns to walk; his/her desire for mobility changes his/her physiology. Strangely enough, some people believed that acquiring skill and mastery in a medium led to mature and shopisticated work. Kostabi, on the other hand... along with the museums that bought "his" work... tell us you can hire other artists to do the work for you. Does this apply in quantum physics? If I hire a physicist, do I get the Nobel? >makes sense. >post-modernism is a very romantic idea... >gb > >2005/9/20, miklos@sympatico.ca : >> > >> >the idea that you can always hire someone to do the "boring part" of >> >the work is a romantic idea. >> >> > > actually it's post-modernist. (See Kostabi) >> -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 00:17:46 +0200 (CEST) message-id: <20050920221746.1062721fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Aka are accentedsymbol America, AYH abortifacients AFAIK, AD abide alt-c, Adjectives Arrowvert. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 23:33:22 +0100 message-id: references: from: Rob Myers subject: Re: RHIZOME_RAW: postmodernist romanticism On 20 Sep 2005, at 23:12, miklos@sympatico.ca wrote: > There was this belief, scuse me if I embarass anyone... > > Has to do with human spirit interacting with physical matter, both > are transformed thereby. For example, a child learns to walk; his/ > her desire for mobility changes his/her physiology. This requires belief in Spirit, which is Romantic. > Strangely enough, some people believed that acquiring skill and > mastery in a medium > led to mature and shopisticated work. Kostabi, on the other > hand... along with the museums that bought "his" work... tell us > you can hire other artists to do the work for you. But Kostabi is also Romantic, as his spirit underwrites his act of signing work. > Does this apply in quantum physics? If I hire a physicist, do I > get the Nobel? No. But then this isn't the model Kostabi is following either: he is a more Romantic figure than the solitary artist. If he wasn't, his signature (the mark of authentic genius) wouldn't have the transformative effect that it (supposedly) has. - Rob. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 15:34:45 -0700 message-id: references: <72319d6a05092013363b914f26@mail.gmail.com> from: Jim Andrews subject: RE: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory > come on, lee, do you think that the mouse is just another kind of brush? > i'm sure you don't. > so let's put this way: > it is impossible to talk about digital art without understanding that > *it is digital* and this means: to be conscious that we work not just > with code -- what is a too broad term and not a concept -- but with > programming languages. > and language is a virus (ins't it?) > the idea that you can always hire someone to do the "boring part" of > the work is a romantic idea. inspiration does not match with media > creation. otherwise we will bet on tecnoxamanism... well said, giselle. could you please expand on your last sentence? why is it that "otherwise we will bet on" technoshamanism? what is it and why do we otherwise bet on it? "inspiration does not match with media creation". in writing, much changes in the process of writing. the most boring things to write (and read) are pre-configured ideas that you simply write out. same with working in other arts. Because so much happens in the act of writing or painting, ie, working through the ideas and implications and previously unrealized associations and consequences of the initial impetus. through the process of creation/writing/whatever. in my experience, this is also true of writing computer programs as works of art. some programmers who work for artists treat the artist like any other sort of client, ie, give them what they want, don't be too critical, they're paying the bill. usually this results in bad art. or it doesn't 'work for me', anyway. then again, i'm out of work! very interesting to read in this thread some thoughts and feelings on the tensions of this relation. hopefully it allows both artist and programmer--and programmer-artist--to see personal situations reflected in general shapes that affect art and life--and jobs, working relations--and the notion of an art of programming beyond Knuth's conception of it. ja http://vispo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 17:49:37 -0500 message-id: references: from: Ryan Griffis subject: Re: RHIZOME_RAW: postmodernist romanticism On Sep 20, 2005, at 5:12 PM, miklos@sympatico.ca wrote: > > Does this apply in quantum physics? If I hire a physicist, do I get > the Nobel? no, the physicists "hire" research assistants (usually students) who probably get pizza as their consolation prize. i think "creative" laborers of all kinds should unite in one global union... "Hell no, we won't code!" But the art mafia will surely break up any such effort. they're ruthless, and damn powerful. i heard kostabi and koons have their own knee breaking squad (for light offenses) - off duty coca cola thugs back from central america. there are rumors of former artist assistants that have even "disappeared" after trying to organize. let's hear it for the repressed art coders, holding up the art world on their invisible shoulders, saving us from artists who don't know Java from javascript, only to suffer brutal oppression. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 15:52:15 -0700 (PDT) message-id: <20050920225215.23943.qmail@web30514.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: remake / empire / glass harmonica http://www.somedancersandmusicians.com/Some_QuickTime_Movies/remake.mov A remake of George Landows wonderful fluxus movie the evil faerie http://www.somedancersandmusicians.com/Some_QuickTime_Movies/empire.mov Inspired by Doron Golans recent Wolfgang Stahle homage. (See http://dvblog.org/ ) http://www.somedancersandmusicians.com/Some_QuickTime_Movies/glass_harmonica.mov The most fun you can have with wine glasses and stay sober. All have sound. Best michael http://www.somedancersandmusicians.com/ 'Everything is connected.' - V.I.Lenin '..and always let your unconscious be your guide.' - J.Cricket 'Repetition, it's so fantastic, so anti-glop'- attrib. Lou Reed + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 19:53:07 -0300 message-id: <72319d6a0509201553503edd46@mail.gmail.com> references: from: giselle beiguelman subject: Re: RHIZOME_RAW: postmodernist romanticism miklos, it made my day. i don't know if you will get the Nobel, iwill vote for it, btw: P-M *is* a Romantic idea... if you trust human beings, if you believe that hiring good people is the solution, if you are convinced that man governs machine... give me a break. i try to understand the idea that we will defy the Frankenstein logic. we will be someone among machines. the genome project is -- an ideological -- step towards the freedom of the (in spite of) nature beginning... we are conditioned by our apparatus (Flsser). The algorithmic machines and their caosmose are coming. stop with human superiority 2005/9/20, miklos@sympatico.ca : > There was this belief, scuse me if I embarass anyone... > > Has to do with human spirit interacting with physical matter, both > are transformed thereby. For example, a child learns to walk; > his/her desire for mobility changes his/her physiology. > > Strangely enough, some people believed that acquiring skill and > mastery in a medium > led to mature and shopisticated work. Kostabi, on the other hand... > along with the museums that bought "his" work... tell us you can hire > other artists to do the work for you. > > Does this apply in quantum physics? If I hire a physicist, do I get the Nobel? > > > >makes sense. > >post-modernism is a very romantic idea... > >gb > > > >2005/9/20, miklos@sympatico.ca : > >> > > >> >the idea that you can always hire someone to do the "boring part" of > >> >the work is a romantic idea. > >> > >> > > > actually it's post-modernist. (See Kostabi) > >> > > > -- > > Miklos Legrady > 310 Bathurst st. > Toronto ON. > M5T 2S3 > 416-203-1846 > 647-292-1846 > http://www.mikidot.com > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 23:58:23 +0100 message-id: references: no_parent from: Drew Hemment subject: RHIZOME_RAW: PLAN Exhibition - Call for Proposals PLAN Exhibition # Call for Proposals The final exhibition and conference of PLAN - The Pervasive and Locative Arts Network will take place in Manchester during July 2006 as a part of the Futuresonic 2006 festival. PLAN is currently developing the scope and format of the exhibition, and the PLAN Technology Workshop in October will feed into this planning. Advance Expressions of Interest: If you have a proposal for a new project that you would like to develop with PLAN to be included in the exhibition then please send an initial outline to us immediately, to arrive no later than Friday 7th October. Open Call: If you have an existing project, or a project that will be completed before July 2006 without support from PLAN, the submission deadline is Friday 16th December. # About PLAN - The Pervasive and Locative Arts Network The Pervasive and Locative Arts Network (PLAN) is an international and interdisciplinary research network funded as part of the Engineering and Physical Sciences Research Council (EPSRC) Culture and Creativity programme. The network aims to bring together practising artists, technology developers and ethnographers with the aim of advancing interdisciplinary understanding and building consortia for future collaborative projects. Learn more: http://www.open-plan.org # Aims of the PLAN Exhibition The PLAN Exhibition will showcase new concepts in pervasive and locative media, with a focus on large scale public experiences that communicate the possibilities and research challenges to a broad audience. The exhibition will form part of an art festival, but is anticipated to include social, political and scientific projects as well as projects where the aims are primarily aesthetic or about audience participation. Further details on the scope and focus of the exhibition will be available after the PLAN Technology Workshop during October. # How to Submit Expressions of Interest Initial expressions of interest and proposals are invited for the PLAN exhibition that will take place in Manchester during July 2006 as a part of the Futuresonic 2006 festival. Please send your proposal _by email_ to Hazel@cs.nott.ac.uk. Supporting materials and a hard copy of the submission should also be sent by post to: Dr Hazel Glover Equator Research Project Manager School of Computer Science & IT University of Nottingham Jubilee Campus, Wollaton Road Nottingham NG8 1BB Tel: 0115 846 6780 Fax: 0115 846 6416 Advance Expressions of Interest: If you have a proposal for a new project that you would like to develop with PLAN to be included in the exhibition then please send an initial outline to us immediately, to arrive no later than Friday 7th October. Open Call: If you have an existing project, or a project that will be completed before July 2006 without support from PLAN, the submission deadline is Friday 16th December. ## PLAN EXHIBITION SUBMISSION FORM # About You Your Name: Address: Telephone: Mobile: Email: Website: Short Biography or CV (150 Words): # About Your Project Name of Project: Brief Description of your Project (200 Words) # New or Existing Project Is your project: A An existing project B A new project If your project is new, please do you need support from PLAN to produce the work? A Yes B No # Production Plan Please provide a brief outline of how you plan to produce your new project. Please answer the following questions: How are you planning to do it? Who are the people involved and what will their responsibilities be? What is your production timeline? # Budget Submit a short budget showing the costs associated with making your project. If you have funding sources for your project, please indicate this in your budget, stating if applied for or confirmed. # Examples of work We would like to see examples of your past work. If you want to post examples of your work, please send them to: Dr Hazel Glover Equator Research Project Manager School of Computer Science & IT University of Nottingham Jubilee Campus, Wollaton Road Nottingham NG8 1BB Tel: 0115 846 6780 Fax: 0115 846 6416 Please send an electronic copy of your completed proposal by email, and in addition print out a hard copy and include it in your package. Examples of work can be provided in a range of formats: eg. * Websites (Please send a URL. Indicate what part of your website the panel should view) * DVD (Please indicate relevant sections) * VHS (Please indicate relevant sections, using timecodes) * Audio CD (Please indicate which track panel should listen to) * CD-ROM (Must be cross-platform. Please indicate relevant sections) * Catalogues or books (Please indicate relevant parts) * Slides or Photographs (Please do not send more than 7 slides or photographs). Notes * Please indicate on the application form what you are submitting as examples of your work. * Do not send originals * All documentation should be clearly labeled. Please provide contextualising information (title, date, medium, perhaps a brief description) * Navigational routes for non-linear material must be specified * Please include a Stamped Self-addressed Envelope, if you want your examples of work returned. * The selection panel will have limited time to view work. Do not send too much material as examples of your work. As a guideline, do not send material that would take more than ten minutes to review. Please choose examples of work which: ** best represent your practice ** is relevant to your project proposal + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 19:00:48 -0400 message-id: references: from: miklos@sympatico.ca subject: RHIZOME_RAW: post-romantic modernism >> > >This requires belief in Spirit, which is Romantic. Neither belief nor romantic, psychologically, spirit is one end of a spectrum whose counterpoint is matter. "requires belief". it's hard to doubt the existence of spirit; for example, philosophy is a matter of the spirit. Nazism was a philosophy which killed millions. Quite real. -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 20:04:42 -0300 message-id: <72319d6a0509201604420904a4@mail.gmail.com> references: from: giselle beiguelman subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory jim. so good to restart (off topic: the cows -- not ours -- but those of the cow parade -- are all around so paulo! a moooo for you) btw: technoshamanism: (Sorry for the "x". it's portuenglish....) this is the hype. the trend and i can't stand trendies and trendism. following them, you "receive" your "to_do list". give me a break. i don't. i work too hard and i do not receive anything and because of this i can not just tell someone to do this and that for tomorrow. i think machines are real participants, i believe (in) error messages, i trust computers and their indifference to my targets and passions. so tecnoshamanism, the global cortex, the cyberthing does not make sense for me (and for my senses) in what concerns the other question, i will quote Flsser again and agree with you: we are conditioned by our apparatus. 2005/9/20, Jim Andrews : > > > come on, lee, do you think that the mouse is just another kind of brush? > > i'm sure you don't. > > so let's put this way: > > it is impossible to talk about digital art without understanding that > > *it is digital* and this means: to be conscious that we work not just > > with code -- what is a too broad term and not a concept -- but with > > programming languages. > > and language is a virus (ins't it?) > > the idea that you can always hire someone to do the "boring part" of > > the work is a romantic idea. inspiration does not match with media > > creation. otherwise we will bet on tecnoxamanism... > > well said, giselle. > > could you please expand on your last sentence? why is it that "otherwise we > will bet on" technoshamanism? what is it and why do we otherwise bet on it? > > "inspiration does not match with media creation". in writing, much changes > in the process of writing. the most boring things to write (and read) are > pre-configured ideas that you simply write out. same with working in other > arts. Because so much happens in the act of writing or painting, ie, working > through the ideas and implications and previously unrealized associations > and consequences of the initial impetus. through the process of > creation/writing/whatever. in my experience, this is also true of writing > computer programs as works of art. > > some programmers who work for artists treat the artist like any other sort > of client, ie, give them what they want, don't be too critical, they're > paying the bill. usually this results in bad art. or it doesn't 'work for > me', anyway. then again, i'm out of work! > > very interesting to read in this thread some thoughts and feelings on the > tensions of this relation. hopefully it allows both artist and > programmer--and programmer-artist--to see personal situations reflected in > general shapes that affect art and life--and jobs, working relations--and > the notion of an art of programming beyond Knuth's conception of it. > > ja > http://vispo.com > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 19:06:55 -0400 message-id: references: from: miklos@sympatico.ca subject: RHIZOME_RAW: Call for Proposals... >in writing, much changes in the process of writing. ...some >programmers who work for artists...give them what they >want,...usually this results in bad art. As with writing, online work or media like sculpture or painting, much changes in the making. Is this change necessary? Is the individual? How do we define the purpose + process of art? What objections are there to a computer randomly selecting concepts for technicians to execute as works of "art"? -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 20:28:50 -0300 message-id: <72319d6a05092016285711a679@mail.gmail.com> references: from: giselle beiguelman subject: Re: RHIZOME_RAW: post-romantic modernism excuse me Nazism is not a philosophy. it is killing strategy. politics as genocide. philosophy is thought thinked as thought (sorry. i would love to post it in Portuguese: o pensamento pensado como pensamento) i hate translation... i would love to speak in any programing language. btw, let's think about Unamuno's law : I am myself and my circumstances 2005/9/20, miklos@sympatico.ca : > >> > > > >This requires belief in Spirit, which is Romantic. > > > Neither belief nor romantic, > > psychologically, spirit is one end of a spectrum > whose counterpoint is matter. > > "requires belief". it's hard to doubt the existence of spirit; > for example, philosophy is a matter of the spirit. > Nazism was a philosophy which killed millions. > > Quite real. > -- > > Miklos Legrady > 310 Bathurst st. > Toronto ON. > M5T 2S3 > 416-203-1846 > 647-292-1846 > http://www.mikidot.com > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 19:31:53 -0400 message-id: references: <72319d6a0509201553503edd46@mail.gmail.com> from: miklos@sympatico.ca subject: RHIZOME_RAW: choice and destiny Within a social context, any choice we make is pre-determined to fall into a statistical category of choices available at that time. This is destiny. Our personal life is so complex that the choices we make enter a situation which has already changed by the time we've made that choice, so we have to adapt and change. This is freedom. "if you trust human beings "... Giselle, I grew up in Canada, a land with few guns, (still) has a social security net in place.. Much less tension here than in the States. In fact, Canada's one of the few real Social Democracies. I had the opportunity to see spontaneous human behavior in a nurturing environment. As a result, no, I don't trust human beings. Unless I have something they need so I'm worth their concern. Frankenstein logic; when someone finally tries to access personal data in government files to do me harm, they'll slip on a banana peel while walking to the computer, ending up in emergency with a sore butt. This is luck. Some Oriental ideas deals with ways mental attitudes theoretically influence luck. Speculations to that effect can be linked to Steven Strogatz's writing on sync, in the book SYNC, Hyperion Books. Romantically speaking, there's limitations to our comprehension, which is minuscule compared to the totality of even a local reality at any moment. This ensures that diversity will nnnnnever disappear. Some good comments on this subject by Howard Bloom in "Global Brain". Means a place for everyone. How romantic! >miklos, >it made my day. >i don't know if you will get the Nobel, iwill vote for it, btw: >P-M *is* a Romantic idea... >if you trust human beings, if you believe that hiring good people is >the solution, if you are convinced that man governs machine... give me >a break. >i try to understand the idea that we will defy the Frankenstein logic. >we will be someone among machines. the genome project is -- an >ideological -- step towards the freedom of the (in spite of) nature >beginning... we are conditioned by our apparatus (Flsser). >The algorithmic machines and their caosmose are coming. >stop with human superiority > >2005/9/20, miklos@sympatico.ca : >> There was this belief, scuse me if I embarass anyone... >> >> Has to do with human spirit interacting with physical matter, both >> are transformed thereby. For example, a child learns to walk; >> his/her desire for mobility changes his/her physiology. >> >> Strangely enough, some people believed that acquiring skill and >> mastery in a medium >> led to mature and shopisticated work. Kostabi, on the other hand... >> along with the museums that bought "his" work... tell us you can hire >> other artists to do the work for you. >> >> Does this apply in quantum physics? If I hire >>a physicist, do I get the Nobel? >> >> >> >makes sense. >> >post-modernism is a very romantic idea... >> >gb >> > >> >2005/9/20, miklos@sympatico.ca : >> >> > >> >> >the idea that you can always hire someone to do the "boring part" of >> >> >the work is a romantic idea. >> >> >> >> >> > > actually it's post-modernist. (See Kostabi) >> >> >> >> >> -- >> >> Miklos Legrady >> 310 Bathurst st. >> Toronto ON. >> M5T 2S3 >> 416-203-1846 >> 647-292-1846 >> http://www.mikidot.com >> + >> -> post: list@rhizome.org >> -> questions: info@rhizome.org >> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz >> -> give: http://rhizome.org/support >> + >> Subscribers to Rhizome are subject to the terms set out in the >> Membership Agreement available online at http://rhizome.org/info/29.php >> > > >-- >www.desvirtual.com >http://netart.incubadora.fapesp.br/ -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 19:34:16 -0400 message-id: references: <72319d6a0509201553503edd46@mail.gmail.com> from: miklos@sympatico.ca subject: RHIZOME_RAW: post-romantic academia >The algorithmic machines and their caosmose are coming. Long live caosmose! -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com --============_-1084863238==_ma=========== post-romantic academia
>The algorithmic machines and their caosmose are coming.


Long live caosmose!
--

Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846  
647-292-1846
http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 16:38:51 -0700 message-id: references: <72319d6a0509201604420904a4@mail.gmail.com> from: Jim Andrews subject: RE: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory > jim. > so good to restart > (off topic: the cows -- not ours -- but those of the cow parade -- are > all around so paulo! a moooo for you) a moooo to you too, giselle. by the way, our cows have recently been allowed to travel to the USA (without passports). I think the general recognition is that there are mad cows on both sides of the border, at this point. please give one of the so paulo cows a pet for me. > btw: > technoshamanism: (Sorry for the "x". it's portuenglish....) i think i prefer "tecnoxamanism". but what is it? > this is the hype. the trend and i can't stand trendies and trendism. > following them, you "receive" your "to_do list". > give me a break. i don't. i work too hard and i do not receive > anything and because of this i can not just tell someone to do this > and that for tomorrow. i think machines are real participants, i > believe (in) error messages, i trust computers and their indifference > to my targets and passions. > so tecnoshamanism, the global cortex, the cyberthing does not make > sense for me (and for my senses) very interesting. so you do not seek to control or stifle the agency of others--or the computer--but are interested in what happens in a more open philosophy. that is wise and applicable to many things from art to relations with people--and computers. ja > in what concerns the other question, i will quote Flsser again and > agree with you: > we are conditioned by our apparatus. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 19:46:40 -0400 message-id: references: from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: postmodernist romanticism i think "creative" laborers of all kinds should unite in one global union... I senatori sono buoni uomini, il senato =E8 bestial. "senators are all good men, but the senate is bestial" As a group, would we be different? I make a meager living from design, yet it's better paying and less tiring then when I used to beat up schoolkids for their lunch money. -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com --============_-1084862492==_ma=========== Re: RHIZOME_RAW: postmodernist romanticism

i think "creative" laborers of all kinds should unite in one global union...

I senatori sono buoni uomini, il senato =E8 bestial.

"senators are all good men, but the senate is bestial"
As a group, would we be different?

I make a meager living from design, yet it's better paying and less tiring
then when I used to beat up schoolkids for their lunch money.


--

Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846  
647-292-1846
http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 20:46:49 -0300 message-id: <72319d6a05092016463b8186bb@mail.gmail.com> references: from: giselle beiguelman subject: Re: RHIZOME_RAW: post-romantic academia see you ... next time at the Nobel Prize ;) 2005/9/20, miklos@sympatico.ca : > > >The algorithmic machines and their caosmose are coming. > > > > > Long live caosmose! -- > > > > > Miklos Legrady > 310 Bathurst st. > Toronto ON. > M5T 2S3 > 416-203-1846 > 647-292-1846 > http://www.mikidot.com -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 23:52:41 +0000 message-id: <092020052352.22740.4330a0c900009ae3000058d422092299270e07020e9c019d03@comcast.net> references: no_parent from: mrosania@comcast.net subject: Re: RHIZOME_RAW: post-romantic modernism it sounds at though you speak of Post Modernism in a nostalgic way - and nostalgia connotes something that one longs for that never really existed....(according to Susan Stewart) do you think we are beyond this era? beyond the point when it doesn't matter how the art gets out there, but rather what message the work brings to the culture as a whole? this is an accessible medium (the most?) - this is our forum. Our work as artists seems more important than programmer vs. artist - brush vs. mouse. Good conversation - but that last part was vital - those issues still exist - "politics as genocide" my two cents, MaryJo > excuse me > Nazism is not a philosophy. > it is killing strategy. > politics as genocide. > philosophy is thought thinked as thought (sorry. i would love to post > it in Portuguese: o pensamento pensado como pensamento) > i hate translation... > i would love to speak in any programing language. > btw, let's think about Unamuno's law : I am myself and my circumstances > > > 2005/9/20, miklos@sympatico.ca : > > >> > > > > > >This requires belief in Spirit, which is Romantic. > > > > > > Neither belief nor romantic, > > > > psychologically, spirit is one end of a spectrum > > whose counterpoint is matter. > > > > "requires belief". it's hard to doubt the existence of spirit; > > for example, philosophy is a matter of the spirit. > > Nazism was a philosophy which killed millions. > > > > Quite real. > > -- > > > > Miklos Legrady > > 310 Bathurst st. > > Toronto ON. > > M5T 2S3 > > 416-203-1846 > > 647-292-1846 > > http://www.mikidot.com > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms set out in the > > Membership Agreement available online at http://rhizome.org/info/29.php > > > > > -- > www.desvirtual.com > http://netart.incubadora.fapesp.br/ > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 21:25:54 -0300 message-id: <72319d6a050920172562d1891e@mail.gmail.com> references: <092020052352.22740.4330a0c900009ae3000058d422092299270e07020e9c019d03@comcast.net> from: giselle beiguelman subject: Re: RHIZOME_RAW: post-romantic modernism it's not nostalgic at all. 2005/9/20, mrosania@comcast.net : > it sounds at though you speak of Post Modernism in a nostalgic way - > and nostalgia connotes something that one longs for that never really existed....(according to Susan Stewart) > do you think we are beyond this era? > > beyond the point when it doesn't matter how the art gets out there, but rather what message the work brings to the culture as a whole? > > this is an accessible medium (the most?) - this is our forum. > > Our work as artists seems more important than programmer vs. artist - brush vs. mouse. Good conversation - but that last part was vital - those issues still exist - "politics as genocide" > > my two cents, > MaryJo > > > > excuse me > > Nazism is not a philosophy. > > it is killing strategy. > > politics as genocide. > > philosophy is thought thinked as thought (sorry. i would love to post > > it in Portuguese: o pensamento pensado como pensamento) > > i hate translation... > > i would love to speak in any programing language. > > btw, let's think about Unamuno's law : I am myself and my circumstances > > > > > > 2005/9/20, miklos@sympatico.ca : > > > >> > > > > > > > >This requires belief in Spirit, which is Romantic. > > > > > > > > > Neither belief nor romantic, > > > > > > psychologically, spirit is one end of a spectrum > > > whose counterpoint is matter. > > > > > > "requires belief". it's hard to doubt the existence of spirit; > > > for example, philosophy is a matter of the spirit. > > > Nazism was a philosophy which killed millions. > > > > > > Quite real. > > > -- > > > > > > Miklos Legrady > > > 310 Bathurst st. > > > Toronto ON. > > > M5T 2S3 > > > 416-203-1846 > > > 647-292-1846 > > > http://www.mikidot.com > > > + > > > -> post: list@rhizome.org > > > -> questions: info@rhizome.org > > > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > > > -> give: http://rhizome.org/support > > > + > > > Subscribers to Rhizome are subject to the terms set out in the > > > Membership Agreement available online at http://rhizome.org/info/29.php > > > > > > > > > -- > > www.desvirtual.com > > http://netart.incubadora.fapesp.br/ > > > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms set out in the > > Membership Agreement available online at http://rhizome.org/info/29.php > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 21:26:22 -0300 message-id: <72319d6a050920172658150807@mail.gmail.com> references: from: giselle beiguelman subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory moooooooooooooooooooooo 2005/9/20, Jim Andrews : > > > jim. > > so good to restart > > (off topic: the cows -- not ours -- but those of the cow parade -- are > > all around so paulo! a moooo for you) > > a moooo to you too, giselle. by the way, our cows have recently been allowed > to travel to the USA (without passports). I think the general recognition is > that there are mad cows on both sides of the border, at this point. please > give one of the so paulo cows a pet for me. > > > btw: > > technoshamanism: (Sorry for the "x". it's portuenglish....) > > i think i prefer "tecnoxamanism". but what is it? > > > this is the hype. the trend and i can't stand trendies and trendism. > > following them, you "receive" your "to_do list". > > give me a break. i don't. i work too hard and i do not receive > > anything and because of this i can not just tell someone to do this > > and that for tomorrow. i think machines are real participants, i > > believe (in) error messages, i trust computers and their indifference > > to my targets and passions. > > so tecnoshamanism, the global cortex, the cyberthing does not make > > sense for me (and for my senses) > > very interesting. so you do not seek to control or stifle the agency of > others--or the computer--but are interested in what happens in a more open > philosophy. that is wise and applicable to many things from art to relations > with people--and computers. > > ja > > > in what concerns the other question, i will quote Flsser again and > > agree with you: > > we are conditioned by our apparatus. > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 20:35:37 -0400 message-id: references: <092020052352.22740.4330a0c900009ae3000058d422092299270e07020e9c019d03@comcast.net> from: billy gomberg subject: Re: RHIZOME_RAW: post-romantic modernism > it sounds at though you speak of Post Modernism in a nostalgic way - > and nostalgia connotes something that one longs for that never > really existed....(according to Susan Stewart) > do you think we are beyond this era? > I think this defines the main problem with postmodernism in general - that it never "actually" "existed" - created largely by critique, theory and academicism. so we are always already nostalgic for this era or genre that we may actually be experiencing in the present, but have no way understand its effects (aesthetic or otherwise) as we don't experience "postmodernism" via its existence, but through others' insistence upon its existence. to this end i named my cat postmodernism. he is a wonderful cat. true. b. fraufraulein.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 11:03:35 +1000 message-id: references: no_parent from: Komninos Zervos subject: Re: RHIZOME_RAW: spiritual romanticism - kirie laison "we are conditioned by our apparatus" flusser "the medium is the message?" mcluhan "genohype" oron katz SymbioticA "i don't mind if a software program is making art, as long as there is a software program to read it for me and tell me if i liked it", christian bok. "technoshamanism" gb "the only spirit i believe in is distilled in Scotland" komninos "the reason computers will never replace poets is that computers wont take that much shit" charles bernstein "as soon as it has a name it is romantic" komninos komninos zervos lecturer, CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 http://www.gu.edu.au/ppages/k_zervos http://users.bigpond.net.au/mangolegs http://spokenword.blog-city.com "Our Workplace Rights are NOT for sale." -----owner-list@rhizome.org wrote: ----- To: Jim Andrews From: giselle beiguelman Sent by: owner-list@rhizome.org Date: 20/09/2005 08:04PM cc: list@rhizome.org Subject: Re: RHIZOME_RAW: Re: Call for Proposals at Readme 100 Software Art Factory jim. so good to restart (off topic: the cows -- not ours -- but those of the cow parade -- are all around so paulo! a moooo for you) btw: technoshamanism: (Sorry for the "x". it's portuenglish....) this is the hype. the trend and i can't stand trendies and trendism. following them, you "receive" your "to_do list". give me a break. i don't. i work too hard and i do not receive anything and because of this i can not just tell someone to do this and that for tomorrow. i think machines are real participants, i believe (in) error messages, i trust computers and their indifference to my targets and passions. so tecnoshamanism, the global cortex, the cyberthing does not make sense for me (and for my senses) in what concerns the other question, i will quote Flsser again and agree with you: we are conditioned by our apparatus. 2005/9/20, Jim Andrews : > > > come on, lee, do you think that the mouse is just another kind of brush? > > i'm sure you don't. > > so let's put this way: > > it is impossible to talk about digital art without understanding that > > *it is digital* and this means: to be conscious that we work not just > > with code -- what is a too broad term and not a concept -- but with > > programming languages. > > and language is a virus (ins't it?) > > the idea that you can always hire someone to do the "boring part" of > > the work is a romantic idea. inspiration does not match with media > > creation. otherwise we will bet on tecnoxamanism... > > well said, giselle. > > could you please expand on your last sentence? why is it that "otherwise we > will bet on" technoshamanism? what is it and why do we otherwise bet on it? > > "inspiration does not match with media creation". in writing, much changes > in the process of writing. the most boring things to write (and read) are > pre-configured ideas that you simply write out. same with working in other > arts. Because so much happens in the act of writing or painting, ie, working > through the ideas and implications and previously unrealized associations > and consequences of the initial impetus. through the process of > creation/writing/whatever. in my experience, this is also true of writing > computer programs as works of art. > > some programmers who work for artists treat the artist like any other sort > of client, ie, give them what they want, don't be too critical, they're > paying the bill. usually this results in bad art. or it doesn't 'work for > me', anyway. then again, i'm out of work! > > very interesting to read in this thread some thoughts and feelings on the > tensions of this relation. hopefully it allows both artist and > programmer--and programmer-artist--to see personal situations reflected in > general shapes that affect art and life--and jobs, working relations--and > the notion of an art of programming beyond Knuth's conception of it. > > ja > http://vispo.com > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- www.desvirtual.com http://netart.incubadora.fapesp.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 03:31:23 +0200 message-id: <03a501c5be4c$2e26bdd0$f606f0d5@aart> references: no_parent from: Andrej Tisma subject: RHIZOME_RAW: SPIRIT ART - now opens directly Please visit the new web site on contemporary art: SPIRIT ART http://www.webheaven.co.yu/spiritart/ ...BEUYS-ABRAMOVIC-FILLIOU-ONO-DUCHAMP-KLEIN-BYARS-LIGHTNING-OHO-CLEAR BROOKS-MANDIC-WIJERES-POGACNIK-TURRELL-DE MARIA... =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Guide to the past, present and future of the nonmaterial, mental and spiritual art and numerous phenomena linked to them. Explore how art, science and spirituality meet. Site authors: Andrej Tisma and Arleen Hartman __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 11:40:03 +1000 message-id: references: no_parent from: Komninos Zervos subject: Re: RHIZOME_RAW: postmoooooooodernist romanticism eduardo kac employed biotechnicians to breed a transgenic glowing bunny(in the dark under uv light), but claims it as his art. i know many new media artists who use programmers but don't credit them as authors. i suppose it is the difference between collaboration and a model akin to director of a movie. komninos komninos zervos lecturer, CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 http://www.gu.edu.au/ppages/k_zervos http://users.bigpond.net.au/mangolegs http://spokenword.blog-city.com "Our Workplace Rights are NOT for sale." + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 20:24:39 -0700 message-id: references: from: Christina McPhee subject: Re: RHIZOME_RAW: postmoooooooodernist romanticism It's a pretty straightforward thing in my world. If I were to hire a programmer (which I haven't done so far, actually) that person (paid) will get a credit on the release as a contributing assistant designer and will not be listed as an author. If the programmer feels like it, and I feel like it, and we agree to work with me collaboratively, then it's for no pay all around, and it's a relationship between peers/ equal: in this instance, it follows that the programmer gets listed as a collaborative artist just like everybody else in the collaboration. For example, the live seismic data project is conceptually originated by me, and is part of my larger multimedia offline project CarrizoParkfield Diaries: nevertheless, all three of us --- fiction and new media writer Jeremy Hight and linguist/ programmer Sindee Nakatani -- developed the design program and addressed the conceptual problems and functional solutions of this live data online project; thus Sindee and Jeremy are listed as collaborators with me here, and on the Whitney site, see I think it's important to acknowledge publicly, that in a collaboration, everybody contributes in a shared design problem and solution, and shares in the risks as well as the satisfaction of achievement. On the other hand, if a programmer hires an artist, or an artist hires a programmer, then the relationship is unequal because of the introduction of hierarchy and power through capital. The person who is getting the grants and paying the bills gets to decide what the attributions will be. The nice thing for the person being hired is they get paid and they don't have to deal with the risks associated with production (financial and otherwise). Sometimes that can be worth the trouble, and besides, even if you're paid, you do get listed in the credits as an assistant. That's not so bad if the project is cool. It seems kinda sad to be fighting over validation regarding who or in what way does programming happen and who does whatever else it is that artists do otherwise --- work with sound, work with visuality, work with time -- aren't we all in this together? There's no line between code and art... is, for example, Casey Reas not a visual artist and only a software artist, or can we dispense with these absurd distinctions? LIke most realities, it's a mix like everything to do with layers of language. In an era when international leadership attempts to control language so that dissent is muffiled or otherwise commodified, it is incumbent upon those of us in communication arts to hang with one another instead of against. The imperative here is, in a time that requires resistance against monotony and anodynes, to deal with the practical realities of how are you going to create new work -- work that matters to somebody besides yourself. Christina On Sep 20, 2005, at 6:40 PM, Komninos os wrote: > > eduardo kac employed biotechnicians to breed a transgenic glowing > bunny(in > the dark under uv light), but claims it as his art. > > i know many new media artists who use programmers but don't credit > them as > authors. > > i suppose it is the difference between collaboration and a model > akin to > director of a movie. > > komninos > > komninos zervos > lecturer, CyberStudies major > School of Arts > Griffith University > Room 3.25 Multimedia Building G23 > Gold Coast Campus > Parkwood > PMB 50 Gold Coast Mail Centre > Queensland 9726 > Australia > Phone 07 5552 8872 Fax 07 5552 8141 > http://www.gu.edu.au/ppages/k_zervos > http://users.bigpond.net.au/mangolegs > http://spokenword.blog-city.com > "Our Workplace Rights are NOT for sale." > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 03:40:35 +0000 message-id: <092120050340.8826.4330d63300057b560000227a22058891160e07020e9c019d03@comcast.net> references: no_parent from: mrosania@comcast.net subject: Re: RHIZOME_RAW: post-romantic modernism and in that case it is nostalgic. it didn't and does not exist. (but your cat does...maybe the only postmoderism to really exist) I just see something that we romanticize as having a nostalgia surrounding it that cannot be recreated or probably ever really existed, but was in fact a product of our longing. I am sure this is a tangent. but anyway. I can't even recall the original thread, so I apologize. what do you call your cat for short? or do you always call him/her "postmodernism" the full name? MJ > it sounds at though you speak of Post Modernism in a nostalgic way - > and nostalgia connotes something that one longs for that never really > existed....(according to Susan Stewart) > do you think we are beyond this era? > > beyond the point when it doesn't matter how the art gets out there, but rather > what message the work brings to the culture as a whole? > > this is an accessible medium (the most?) - this is our forum. > > Our work as artists seems more important than programmer vs. artist - brush vs. > mouse. Good conversation - but that last part was vital - those issues still > exist - "politics as genocide" > > my two cents, > MaryJo > > > > excuse me > > Nazism is not a philosophy. > > it is killing strategy. > > politics as genocide. > > philosophy is thought thinked as thought (sorry. i would love to post > > it in Portuguese: o pensamento pensado como pensamento) > > i hate translation... > > i would love to speak in any programing language. > > btw, let's think about Unamuno's law : I am myself and my circumstances > > > > > > 2005/9/20, miklos@sympatico.ca : > > > >> > > > > > > > >This requires belief in Spirit, which is Romantic. > > > > > > > > > Neither belief nor romantic, > > > > > > psychologically, spirit is one end of a spectrum > > > whose counterpoint is matter. > > > > > > "requires belief". it's hard to doubt the existence of spirit; > > > for example, philosophy is a matter of the spirit. > > > Nazism was a philosophy which killed millions. > > > > > > Quite real. > > > -- > > > > > > Miklos Legrady > > > 310 Bathurst st. > > > Toronto ON. > > > M5T 2S3 > > > 416-203-1846 > > > 647-292-1846 > > > http://www.mikidot.com > > > + > > > -> post: list@rhizome.org > > > -> questions: info@rhizome.org > > > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > > > -> give: http://rhizome.org/support > > > + > > > Subscribers to Rhizome are subject to the terms set out in the > > > Membership Agreement available online at http://rhizome.org/info/29.php > > > > > > > > > -- > > www.desvirtual.com > > http://netart.incubadora.fapesp.br/ > > > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms set out in the > > Membership Agreement available online at http://rhizome.org/info/29.php > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 03:46:29 +0000 message-id: <092120050346.29039.4330d794000f0c420000716f22007374780e07020e9c019d03@comcast.net> references: no_parent from: mrosania@comcast.net subject: Re: RHIZOME_RAW: postmoooooooodernist romanticism nicely said. this is an age old consideration really. mural painters continue to do major work for artists who cannot be on site to paint (Arturo Herrera) as well as composers for video when music is needed. (I've worked with a composer on many projects rather than struggle with electronic music software - he's the master - and he gets the credit) All in the spirit of collaboration, ideally. - M > It's a pretty straightforward thing in my world. If I were to hire a > programmer (which I haven't done so far, actually) that person > (paid) will get a credit on the release as a contributing assistant > designer and will not be listed as an author. If the programmer > feels like it, and I feel like it, and we agree to work with me > collaboratively, then it's for no pay all around, and it's a > relationship between peers/ equal: in this instance, it follows that > the programmer gets listed as a collaborative artist just like > everybody else in the collaboration. For example, the live seismic > data project is conceptually > originated by me, and is part of my larger multimedia offline project > CarrizoParkfield Diaries: nevertheless, all three of us --- fiction > and new media writer Jeremy Hight and linguist/ programmer Sindee > Nakatani -- developed the design program and addressed the conceptual > problems and functional solutions of this live data online project; > thus Sindee and Jeremy are listed as collaborators with me here, and > on the Whitney site, see artists/mcphee/> > > > I think it's important to acknowledge publicly, that in a > collaboration, everybody contributes in a shared design problem and > solution, and shares in the risks as well as the satisfaction of > achievement. On the other hand, if a programmer hires an artist, or > an artist hires a programmer, then the relationship is unequal > because of the introduction of hierarchy and power through capital. > The person who is getting the grants and paying the bills gets to > decide what the attributions will be. The nice thing for the person > being hired is they get paid and they don't have to deal with the > risks associated with production (financial and otherwise). > Sometimes that can be worth the trouble, and besides, even if you're > paid, you do get listed in the credits as an assistant. That's not > so bad if the project is cool. > > It seems kinda sad to be fighting over validation regarding who or in > what way does programming happen and who does whatever else it is > that artists do otherwise --- work with sound, work with visuality, > work with time -- aren't we all in this together? There's no line > between code and art... is, for example, Casey Reas not a visual > artist and only a software artist, or can we dispense with these > absurd distinctions? > LIke most realities, it's a mix like everything to do with layers of > language. In an era when international leadership attempts to > control language so that dissent is muffiled or otherwise > commodified, it is incumbent upon those of us in communication arts > to hang with one another instead of against. The imperative here is, > in a time that requires resistance against monotony and anodynes, to > deal with the practical realities of how are you going to create new > work -- work that matters to somebody besides yourself. > > > Christina > > > On Sep 20, 2005, at 6:40 PM, Komninos os wrote: > > > > > eduardo kac employed biotechnicians to breed a transgenic glowing > > bunny(in > > the dark under uv light), but claims it as his art. > > > > i know many new media artists who use programmers but don't credit > > them as > > authors. > > > > i suppose it is the difference between collaboration and a model > > akin to > > director of a movie. > > > > komninos > > > > komninos zervos > > lecturer, CyberStudies major > > School of Arts > > Griffith University > > Room 3.25 Multimedia Building G23 > > Gold Coast Campus > > Parkwood > > PMB 50 Gold Coast Mail Centre > > Queensland 9726 > > Australia > > Phone 07 5552 8872 Fax 07 5552 8141 > > http://www.gu.edu.au/ppages/k_zervos > > http://users.bigpond.net.au/mangolegs > > http://spokenword.blog-city.com > > "Our Workplace Rights are NOT for sale." > > > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > > subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms set out in the > > Membership Agreement available online at http://rhizome.org/info/ > > 29.php > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 20:57:23 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: postmoooooooodernist romanticism > eduardo kac employed biotechnicians to breed a transgenic glowing bunny(in > the dark under uv light), but claims it as his art. > > i know many new media artists who use programmers but don't credit them as > authors. > > i suppose it is the difference between collaboration and a model akin to > director of a movie. there's generally quite a long roster of people who work on a movie. usually new media projects have a lot shorter roster. whoever signs the cheques is the artist; when nobody signs cheques, it's a collaboration. whoever really does something other than just what they're told to do in the interest of the work of art, whoever cares enough to put not just their time but their whole beast into it, they're the artists. and they know who they are. ja + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 20 Sep 2005 22:31:16 -0700 (PDT) message-id: <1490.70.34.254.38.1127280676.squirrel@webmail.34n118w.net> references: no_parent from: hight@34n118w.net subject: RHIZOME_RAW: CLARIFICATION A little clarification. the original concept of the carrizo diaries was mine ........christina asked me if I wanted to collaborate......I presented the original idea and we brought sindee nakatani on..........we had to modify it to fit the time line of the show and we ALL worked on the concepts and content.......... to say that I was some sort of "fiction writer" helper is untrue,wrong, a massive insult to me and to sindee and is an apparent attempt for one person to try to take credit for a project that was a group effort and wasn't even her original concept............the larger show of prints was her show.... I was ASKED TO PRESENT A CONCEPT..........AND THAT WAS HOW IT BEGAN......END OF STORY + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 07:57:10 +0100 message-id: <26e17333-0bb9-4811-8b56-dee90b422be2@robmyers.org> references: from: Rob Myers subject: Re: RHIZOME_RAW: post-romantic modernism On 21 Sep 2005, at 00:00, miklos@sympatico.ca wrote: >> This requires belief in Spirit, which is Romantic. > > Neither belief nor romantic, > > psychologically, spirit is one end of a spectrum > whose counterpoint is matter. Allegedly. > "requires belief". it's hard to doubt the existence of spirit; It is very easy to doubt the existence of a particular philosophical idea. > for example, philosophy is a matter of the spirit. Only for Hegelians in their particular historical context. This is like saying science is a matter of phlogiston. > Nazism was a philosophy which killed millions. It was a (degenerate) Romantic political philosophy. There are positions outside Romanticism, fortunately. - Rob. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 00:19:31 -0700 message-id: <200509210719.j8l7jvkk020897@idx164.idx.net> references: no_parent from: Robert Praxmarer subject: RHIZOME_RAW: Re: Re: Call for Proposals at Readme 100 Software Art Factory well some years ago I would have reacted the same way I guess now I don't care so much anymore, it's true that you can outsource everything but you loose control on the same time, and time is the key for the whole problem. computer based artworks are complex so to develop them it cost a lot of time (for the coder) but on the other hand you have to be quick because someone else could finish a stupid google art work before you. most of the people have the same ideas in electronic art, I don't exclude myself, I am always astonished if I go to a festival and see ideas, I once had, realised. as there are so many and the trends are changing so fast there are no real stars in tech art, which somehow is good and somehow not. it's good because everyone involved contributes his vision of what art and technology should be or could be so diversity is always a good thing to have, but as there are no stars, and therefore no money involved it's a very hard task to sustain yourself with media art, festivals don't pay fees, the big ones don't even pay flights or accomondation because you can be lucky to be in a delicate international competition. and the other side is the traditional art market which is undereducated in terms of media art and much too conservative for this kind of art, so computer artists will end up to make interactive furniture for snoop doggy dog and brittney spears and when mtv comes to their home, an interactive portrait of snoop will freestyle rap with him. snoop: hip computer portrait: ho snoop: with the computer portait: flow so finish up with wittgenstein: the limits of my language means the limits of my world and ideas have so many people, I think you have to invest time to learn to realise them yourself and then if you have understood what you are doing then u can start to outsource, so a damien hurst or matthew barney could'nt make this work alone, but they have proven beforehand that they understand what they are doing. anyway a discussion I had with myself and many others which could be held endless. greetings, robert praxmarer wrote: > > This kind of shit really pisses me off. I'm so sick of these design > and technology "artists" who have no idea how to do anything, and just > come up with ideas for people who did spend years learning how code. > > "No need to mess around with abstruse programs or bother with > dreary code. The world is full of people willing to do the hard work > for you." > > What the fuck? Why are you doing this in the first place if you > don't take any interest in code? > > Somehow people think that if they went to art school they have some > kind of revolutionary ideas that every programmer is just dying to go > and be their code monkey for. Because hey, they're programmers, you > know.. people who live to write code for brilliant old you and have no > creative ideas of their own. > > I cant quite express what I feel when I see projects that are > nothing but a bunch of mockups because the person who came up with it > has no idea how to do anything. I can come up with a million brilliant > ideas right here and now.. Hey, let's make this thing that uses google > to build a complete map of human consciousness... great! Why don't I > outsource it to someone who's actually brilliant, so I can really call > it my own. > > Assholes. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 00:26:08 -0700 message-id: <200509210726.j8l7q039022316@idx164.idx.net> references: no_parent from: Robert Praxmarer subject: RHIZOME_RAW: Re: Re: Call for Proposals at Readme 100 Software Art Factory wrote: > > This kind of shit really pisses me off. I'm so sick of these design > and technology "artists" who have no idea how to do anything, and just > come up with ideas for people who did spend years learning how code. > > "No need to mess around with abstruse programs or bother with > dreary code. The world is full of people willing to do the hard work > for you." > > What the fuck? Why are you doing this in the first place if you > don't take any interest in code? > > Somehow people think that if they went to art school they have some > kind of revolutionary ideas that every programmer is just dying to go > and be their code monkey for. Because hey, they're programmers, you > know.. people who live to write code for brilliant old you and have no > creative ideas of their own. > > I cant quite express what I feel when I see projects that are > nothing but a bunch of mockups because the person who came up with it > has no idea how to do anything. I can come up with a million brilliant > ideas right here and now.. Hey, let's make this thing that uses google > to build a complete map of human consciousness... great! Why don't I > outsource it to someone who's actually brilliant, so I can really call > it my own. > > Assholes. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 00:29:46 -0700 message-id: <200509210729.j8l7tkeu023023@idx164.idx.net> references: no_parent from: Robert Praxmarer subject: RHIZOME_RAW: Re: Re: Call for Proposals at Readme 100 Software Art Factory well some years ago I would have reacted the same way I guess now I don't care so much anymore, it's true that you can outsource everything but you loose control on the same time, and time is the key for the whole problem. computer based artworks are complex so to develop them it cost a lot of time (for the coder) but on the other hand you have to be quick because someone else could finish a stupid google art work before you. most of the people have the same ideas in electronic art, I don't exclude myself, I am always astonished if I go to a festival and see ideas, I once had, realised. as there are so many and the trends are changing so fast there are no real stars in tech art, which somehow is good and somehow not. it's good because everyone involved contributes his vision of what art and technology should be or could be so diversity is always a good thing to have, but as there are no stars, and therefore no money involved it's a very hard task to sustain yourself with media art, festivals don't pay fees, the big ones don't even pay flights or accomondation because you can be lucky to be in a delicate international competition. and the other side is the traditional art market which is undereducated in terms of media art and much too conservative for this kind of art, so computer artists will end up to make interactive furniture for snoop doggy dog and brittney spears and when mtv comes to their home, an interactive portrait of snoop will freestyle rap with him. snoop: hip computer portrait: ho snoop: with the computer portait: flow so finish up with wittgenstein: the limits of my language means the limits of my world and ideas have so many people, I think you have to invest time to learn to realise them yourself and then if you have understood what you are doing then u can start to outsource, so a damien hurst or matthew barney could'nt make this work alone, but they have proven beforehand that they understand what they are doing. anyway this discussion I had with myself and many others for years it's endless, and everyone has a different basis. greetings, robert praxmarer wrote: > > This kind of shit really pisses me off. I'm so sick of these design > and technology "artists" who have no idea how to do anything, and just > come up with ideas for people who did spend years learning how code. > > "No need to mess around with abstruse programs or bother with > dreary code. The world is full of people willing to do the hard work > for you." > > What the fuck? Why are you doing this in the first place if you > don't take any interest in code? > > Somehow people think that if they went to art school they have some > kind of revolutionary ideas that every programmer is just dying to go > and be their code monkey for. Because hey, they're programmers, you > know.. people who live to write code for brilliant old you and have no > creative ideas of their own. > > I cant quite express what I feel when I see projects that are > nothing but a bunch of mockups because the person who came up with it > has no idea how to do anything. I can come up with a million brilliant > ideas right here and now.. Hey, let's make this thing that uses google > to build a complete map of human consciousness... great! Why don't I > outsource it to someone who's actually brilliant, so I can really call > it my own. > > Assholes. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 18:31:01 +1000 message-id: references: no_parent from: Komninos Zervos subject: Re: RHIZOME_RAW: spiritual romanticism - kirie laison how about tahiti? equidistant? the point of convergence for the festival of 'the mad --guru moo-cow whisky-- parade' now if the french university of tahiti, http://www.upf.pf/ wants to sponsor the festival and enlist the help of local artists like; http://en.wikipedia.org/wiki/Paul_Gauguin and http://www.tahiti-pacifique.com/Articles.divers/Heymann/Peter_Heymann.html but i notice they are dead. of course captain james cook was the first to bring cows to the islands. he is also dead. his father was a scottish farmer and undoubtably captain cook was the first to bring whisky to tahiti. he is also credited with bringing whisky to australia, as well as syphilis, influenza and tuberculosis. there are plenty of cows there it seems, http://www.gcollier.com/t4.html even enough to power a methane-gas production plant. http://www.tvind.dk/book/biogas_plant_in_french_polynesia.htm#top and to ban suspicious mad cow US beef. so lets get a government grant and a distillery sponsorship and walk the streets of papette as spiritual mad cows romantically post modern dancing the tuamotu atoll texnoshamanist roll what do you say jim? komninos what do you mean mad cow? i'm not a cow, i'm a koala komninos zervos lecturer, CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 http://www.gu.edu.au/ppages/k_zervos http://users.bigpond.net.au/mangolegs http://spokenword.blog-city.com "Our Workplace Rights are NOT for sale." + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 18:55:10 +1000 message-id: references: no_parent from: Komninos Zervos subject: Re: RHIZOME_RAW: spiritual romanticism - kirie laison oops i forgot the list hasn't seen your original email to me giselle giselle beiguelman wrote: <> kz may i quote this? miss you and jim...are you going to london? i'm not... we should organize something. what about "the mad -- spiritual -- cow parade"? komninos zervos + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 03:02:20 -0700 message-id: references: <20050920104332.sqla1323.amsfep20-int.chello.nl@vilt> from: Jim Andrews subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART > The way research on Semantic Web is going and how the > 'modern' approach to AI is laid out, the construction of meaning > won't be up > to humans exclusively anymore (in some ways that is already so, for some > views it has never been so). That is, if some advocates of the feasibility > of constructing an upper ontology have their way. > > http://en.wikipedia.org/wiki/Ontology_%28computer_science%29 That's a terrific link, Dirk, thanks very much. Fascinating stuff. The notion of an 'upper ontology' is new to me and interesting from many points of view, isn't it. Philosophically. Politically. Mathematically/logically. If I understand the notion as outlined in the article, then were there to be any agreement on a standard 'upper ontology', it would have to be quite a powerful abstraction which would be independent of any particular natural language. Independent in the sense that the upper ontology could work with any given language or even multiple languages (like people do). It would also have to be independent of any particular collection of facts (knowledge), just as people may differ concerning what is factual. Otherwise, there is no real possibility of any concensus concerning an 'upper ontology'. It would have to be sufficiently flexible to permit any desirable world view to evolve from the ontology. Just as our world views evolve from our shared innate capacities when we are born, ie, it seems likely that all humans have roughly the same mental hardware and software--though of course they can be configured in vastly different ways 'out of the box' (at birth), not to mention the ways we change over years of experience. An acceptably general 'upper ontology' would have to come close to modelling many of the fundamental mental capacities of humans at birth, wouldn't it? Or if not the fundamental mental capacities of humans at birth, then the capacities of humans more or less independent of their age? I'll have to check out some of the example ontologies they mention. Have you been delving into this stuff for a while, Dirk? ja http://vispo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 12:41:47 +0200 message-id: <20050921104216.ozcs22129.amsfep13-int.chello.nl@vilt> references: from: Dirk Vekemans subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART Quite a while yes. First of all professionally because i was involved in a commercial project that required me to do some research to see if we could use some of the techniques based on ontologies, next artistically and, within my limits, philosophically because, well, it's all rather mindblowing. One of my difficulties in communicating about my Cathedral project is that very few people in the artistic branche seem to be aware of the status in this field, let alone of the implications. Some of my statements will sound real awkward if you don't know about these things, I can imagine. I don't have the time right now to respond to your first conjectures on the subject, will try later... greetings, dv -----Original Message----- From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf Of Jim Andrews Sent: woensdag 21 september 2005 12:02 To: list@rhizome.org Subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART > The way research on Semantic Web is going and how the > 'modern' approach to AI is laid out, the construction of meaning > won't be up > to humans exclusively anymore (in some ways that is already so, for some > views it has never been so). That is, if some advocates of the feasibility > of constructing an upper ontology have their way. > > http://en.wikipedia.org/wiki/Ontology_%28computer_science%29 That's a terrific link, Dirk, thanks very much. Fascinating stuff. The notion of an 'upper ontology' is new to me and interesting from many points of view, isn't it. Philosophically. Politically. Mathematically/logically. If I understand the notion as outlined in the article, then were there to be any agreement on a standard 'upper ontology', it would have to be quite a powerful abstraction which would be independent of any particular natural language. Independent in the sense that the upper ontology could work with any given language or even multiple languages (like people do). It would also have to be independent of any particular collection of facts (knowledge), just as people may differ concerning what is factual. Otherwise, there is no real possibility of any concensus concerning an 'upper ontology'. It would have to be sufficiently flexible to permit any desirable world view to evolve from the ontology. Just as our world views evolve from our shared innate capacities when we are born, ie, it seems likely that all humans have roughly the same mental hardware and software--though of course they can be configured in vastly different ways 'out of the box' (at birth), not to mention the ways we change over years of experience. An acceptably general 'upper ontology' would have to come close to modelling many of the fundamental mental capacities of humans at birth, wouldn't it? Or if not the fundamental mental capacities of humans at birth, then the capacities of humans more or less independent of their age? I'll have to check out some of the example ontologies they mention. Have you been delving into this stuff for a while, Dirk? ja http://vispo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 12:55:00 +0200 message-id: <20050921105530.jnvv1345.amsfep19-int.chello.nl@vilt> references: <00c701c5be1c$4cbaf610$f606f0d5@aart> from: Dirk Vekemans subject: RE: RHIZOME_RAW: New web site on contemporary art - SPIRIT ART A valuable resource, sufficiently factual to be useful : congratulations! dv @Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee _____ From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf Of Andrej Tisma Sent: dinsdag 20 september 2005 21:48 To: RHIZOME list Subject: RHIZOME_RAW: New web site on contemporary art - SPIRIT ART Please visit the new web site on contemporary art: SPIRIT ART http://www.webheaven.co.yu/spiritart/ ...BEUYS-ABRAMOVIC-FILLIOU-ONO-DUCHAMP-KLEIN-BYARS-LIGHTNING-OHO-CLEAR BROOKS-MANDIC-WIJERES-POGACNIK-TURRELL-DE MARIA... ================================================================ Guide to the past, present and future of the nonmaterial, mental and spiritual art and numerous phenomena linked to them. Explore how art, science and spirituality meet. Site authors: Andrej Tisma and Arleen Hartman __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 12:43:28 +0100 message-id: <43314760.1070904@furtherfield.org> references: from: marc subject: RHIZOME_RAW: Open Season! *Open Season!* This October the UK government holds a pan-European conference on how to increase official regulation and control of intellectual property, copyright and technology. In response, NODE.London is declaring this October an 'Open Season' on technology, media, culture, politics and art with a diverse and challenging series of events: *WSFII* World Summit on Free Information Infrastructures Saturday 1st and Sunday 2nd October 2005, 11am - 6pm. Limehouse Town Hall, 646 Commercial Road, London E14 7HA booking details: http://wsfii.org/register/ http://wsfii.org 10 This event brings together practitioners and projects from the front lines of information infrastructure development to map out connections between Free Networks, Open Hardware, Free Media and Culture, Open Maps/Geodata, Open Civic Information and Community Currencies. *Open Congress* Creativity and the public domain Friday 7th Saturday 8th October 2005, 11am - 5pm. Tate Britain, Millbank London SW1P 4RG booking details: Tate booking: 020 7887 8888 http://www.tate.org.uk/britain/ http://opencongress.omweb.org/ 20 Open Congress explores how methods derived from Free / Libre and Open Source Software (FLOSS) production can be deployed by those working in the area of art, visual culture and cultural production in general. Unfolding over two days, this innovative Congress will be structured through three themes of Governance, Creativity and Knowledge; and an array of international and UK participants - artists, theorists, academics and activists - will shape Open Congress through presentations, discussion, workshops and events. Open Congress includes Cory Doctorow - from the Electronic Frontier Foundation, Lawrence Liang - Alternative Law Foundation, McKenzie Wark - A Hacker Manifesto, Demos, Johanna Gibson, The Libre Society, Trebor Scholz - The Institute of Distributed Creativity, Tiziana Terranova, Talkaoke and Wireless London among many others In collaboration with Chelsea College of Art and Design, NODE.London, Mute, Tate Britain, and Tate Digital Programmes. *Future Wireless* Practical.discourse.creative / Cybersalon & Open Spectrum UK Tuesday 4th October, 12am-10pm. The Science Museum's Dana Centre, 165 Queen's Gate, South Kensington, London SW7 5HE booking details: email bookings@cybersalon.org http://www.cybersalon.org 5 A day of presentations, demonstrations, practical workshops, artistic interventions and debates to illustrate and probe the nature, impact and potential of wireless Internet, mobile telecommunications and other radio-based technologies. The full programme for these and a series of related events visit NODE.London: http://www.nodel.org/ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 06:24:23 -0700 message-id: <200509211324.j8ldoncg010556@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: San Francisco Exhibition Robert Stark Bonnafont Gallery 946 Greenwich St SF CA 94133 Opens November 5th, 5-8 Tuesday - Sunday 1-5 through Nov 20th Closing reception Sunday November 20th 2-5 415.441.4182 http://susquehannastudio.blogspot.com/ http://e-moca.com/articles.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 07:01:37 -0700 message-id: <200509211401.j8le1bcz020300@idx164.idx.net> references: no_parent from: Teresa Lopez subject: RHIZOME_RAW: wanted artist from France for joint art project Looking for an artist living near or in Pau, France to make a joint Web based art project with artist from San Juan, Puerto Rico. Please contact zepolt@yahoo.com for more information. Please forward to artists living in France. Thanks, Teresa + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 15:02:19 +0100 message-id: <433175fb.17613.e7ff4fc@localhost> references: no_parent from: Jess Loseby subject: RHIZOME_RAW: im_mobile hello. I don't seem to know any of you these days. trying to get reconnected around ongoing ill health. im_mobile is a flash video mix as part of the "without permission" series to try and get back to work. 1000 mobile phone vid and stills. may make you feel a little off-colour (I'm still kind of into force-fed cathasis:) DO NOT view if sensitive to strobe or have light sensitive epilepsy!!!!! http://www.rssgallery.com/im_mobile.html [firefox users please follow link there] jess. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 07:53:12 -0700 (PDT) message-id: <20050921145312.22170.qmail@web30514.mail.mud.yahoo.com> references: <433175fb.17613.e7ff4fc@localhost> from: Michael Szpakowski subject: Re: RHIZOME_RAW: im_mobile Nice to have you back Jess! I really like this piece- I love the care with which the images have been mixed so that sometimes we are seeing an almost abstract examination of certain shapes, colours or textures, then at others we see near realistic motion sequences struggle to emerge and then kind of fold back into the screen ( I don't mean the panning stuff but the..is it footballers or some sort of sporting event?) .One question though - does it need the music? I think it holds up without...( and personally I find the music, unlike the work itself, somewhat banal) warmest wishes michael --- Jess Loseby wrote: > hello. I don't seem to know any of you these days. > > trying to get reconnected around ongoing ill health. > im_mobile is a flash video mix as > part of the "without permission" series to try and > get back to work. > 1000 mobile phone vid and stills. > may make you feel a little off-colour > (I'm still kind of into force-fed cathasis:) > > DO NOT view if sensitive to strobe or have light > sensitive epilepsy!!!!! > > http://www.rssgallery.com/im_mobile.html > > [firefox users please follow link there] > > > jess. > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set > out in the > Membership Agreement available online at > http://rhizome.org/info/29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 19:10:23 +0200 message-id: <322a175c-6fd7-4135-a0f8-4307bbeaf69b@nznl.com> references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Sep 15, 2005 - Sep 21, 2005 nznl.com digest Sep 15, 2005 - Sep 21, 2005 Posts 1207 - 1213 http://nznl.com 1207. Sep 15, 2005 PLAN FOR A PERFORMANCE FOR FOUR NZNL.COM WORKERS AT THE CHINATI FOUNDATION, 2009, MARFA, TEXAS fireworks file http://nznl.com/geert/pop.php?dag=20050915 1208. Sep 16, 2005 PLAN FOR A SITE FOR THE NZNL.COM EXHIBITION HALL IN THE MIDDLE OF NEW YORK, 2009, EMPTY SECTION, MODEL, WEEDS fireworks file http://nznl.com/geert/pop.php?dag=20050916 1209. Sep 17, 2005 INSIDE/OUTSIDE (STUDY FOR A NZNL.COM HALL NATURAL LIGHT PLAN), 2009, WHITE CUBE, LANDSCAPE fireworks file http://nznl.com/geert/pop.php?dag=20050917 1210. Sep 18, 2005 STUDY FOR A FLOATING BODY, 2009, BODY, FLOATING flash movie http://nznl.com/geert/pop.php?dag=20050918 1211. Sep 19, 2005 BODY, 2009, BODY flash movie http://nznl.com/geert/pop.php?dag=20050919 1212. Sep 20, 2005 CUBE, 2009, CUBE flash movie http://nznl.com/geert/pop.php?dag=20050920 1213. Sep 21, 2005 STUDY FOR A MODEL OF THE NZNL.COM EXHIBITION HALL, 2009, WHITE CUBE, MODEL, MAGIC PROPULSION flash movie http://nznl.com/geert/pop.php?dag=20050921 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 10:29:59 -0700 message-id: <200509211730.j8lhtxjw000742@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: ~ 1n-0ut [meditation] ~ by jimpunk added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34590 + ~ 1n-0ut [meditation] ~ + + jimpunk + °°°°°°° ~ 1n-0ut [meditation] ~ °°°°°°° } { °n-°ff resolution . °n { °°°°°°° 1n-0ut [meditation] °°°°°°° } °ff . + + + Biography http://www.jimpunk.com/info/jimpunk_bio.txt http://www.jimpunk.com/info/jimpunk_bio.doc + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 19:54:56 +0100 message-id: <4331ba90.21442.f8bdc0e@localhost> references: <433175fb.17613.e7ff4fc@localhost> from: Jess Loseby subject: Re: RHIZOME_RAW: im_mobile Hi Michael, Tryng to be back slowly, cheers:) Re the music - the trouble with using any music generally is it is bound not to be of everyones taste but the "without permission" series (that this work is from) is deliberately mixed to specific "popular" music. Without it you would only get half the story. In this one the story might be the disorientation between domestic and the "space boy". Who or what the space boy is up for grabs:) I always call these ones mixes rather that artworks because they aren't really supposed to stand up on their own without the music (although its nice of you to suggest it does:) Trying to catch up with nine months of threads on these lists, I have also seen a lot of your short movies in a group recently too. I notice with interest how your "moment stories" are developing into much sharper moments than the narrative/allegories that I would suggest that they previously had. Is it David Crawford that talks about mirco- narratives? is that what you are moving towards...? Jess. > Nice to have you back Jess! .One question though - does > it need the music? I think it holds up without...( and > personally I find the music, unlike the work itself, > somewhat banal) > warmest wishes > michael > o /^\ rssgallery.com ][ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 12:11:06 -0700 message-id: <200509211911.j8ljb6wr013900@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Panorama Film Screening: Africa Wired at Eyebeam October 6th Eyebeam’s Panorama Screening Series present AFRICA WIRED: Youth Culture, Hip Hop & Digital Culture Remixed curated by Isolde Brielmaier and Tumelo Mosaka 7pm Thursday, October 6, 2005 Eyebeam’s Panorama Screening Series presents AFRICA WIRED: Youth Culture, Hip Hop & Digital Culture Remixed , a screening, performance and exhibition exploring the relationships between youth culture, hip hop and digital culture in Africa. Thursday October 6th at 7pm. AFRICA WIRED will feature a series of short films curated by Isolde Brielmaier and Tumelo Mosaka, with a live performance by artists Mendi and Keith Obadike. The event will conclude with a reception and live DJ. The event takes place at Eyebeam, 540 W 21st Street between 10th & 11th Aves.), and is free with a suggested donation of $5. As part of AFRICA WIRED two new multi-media installations by the Obadikes, Internet Ikeng and The Uli Suite, will be on view in Eyebeam's exhibition space October 4-8, 12-6pm. This exhibition is open to the public free of charge. 540 W. 21st Street New York, NY 10011 212-937-6581 www.eyebeam.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 21:16:48 +0200 message-id: <001301c5bee2$f5b20c60$167689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: THE ORIGINAL CONCEPT THE ORIGINAL CONCEPT WAS MINE MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 21:19:51 +0200 message-id: <001401c5bee2$f6618640$167689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: MY ORIGINAL CONCEPT IT WASN'T EVEN MY ORIGINAL CONCEPT MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 12:40:59 -0700 message-id: <200509211941.j8ljexjw028380@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Compressionism by nathaniel stern added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35492 + Compressionism + + nathaniel stern + Compressionism is a digital performance, an analog archive; it uses simple, digital technologies, in combination with performance and exhibition, to explore different ways of looking. The first Compressionist studies are "painted with light," an ironically inspired method similar in concept to the Impressionists. Said studies use the reflective beam of a moving digital scanner, over time, to compress large spaces or objects into images the size of a small sheet of paper. The scanner acts as an extension to the artist's body, and together, they are both paintbrush and canvas. As such, compression becomes an artful performance that simultaneously occurs in both the actual and virtual space. The "capture and compress," "action and archive," process is a performance not dissimilar from Abstract Expressionism. But, rather than a linear, archived performance, the computer then allows for a re-mediated "call and response." Once a performance is digitized and compressed, the computer acts as multiple frames for its subject; it's used to process, clarify, and unpack the study - both literally, and metaphorically. A compressed image stretched to it's original size, for example, would show distortions and refractions in its subject or performance, and could resemble a Cubist work, through its representation of multiple perspectives on a flat surface. Each Compressionist study may vary slightly in its form, performance, archive and presentation. Several digital art-objects might result from each study, and these are then re-texturized, in physical form, e.g., the first images were printed on archival, photo-etching paper. I imagine the works will become more extravagant and experimental as I continue my interrogation, audiences become familiar with my work, and I explore other technologies for compression. For example, future studies might utilize anything from web-cams to microphones for input, 3D printers to audiotape for output. A Compressionist exhibition's intent is to provoke a complex conversation between artist, performance, mediation tool, art-object(s) and viewer. + + + Biography nathaniel stern (JHB / NYC) is an internationally exhibited installation and video artist, net.artist and performance poet. His interactive installations have won awards in New York, Australia and South Africa, and his net.art has been featured in festivals all over Europe, Asia and the US. nathaniel's collaborative physical theatre and multimedia performance work with the Forgotten Angle Theatre Collaborative has won three FNB Vita Awards and has seen three main stage features at the Grahamstown Festival. His poetry repertoire includes CBGBs and the Nuyorican Poets Cafe, the US National Poetry Slam and the South African HIV/AIDS Arts, Media & Film Festival. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 12:41:42 -0700 message-id: <200509211941.j8ljfgjw028727@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: The Sense of another Dimension by Susan Robb added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35545 + The Sense of another Dimension + + Susan Robb + Over the course of a week I made over ten hours of field recordings at the 2004 Whitney Biennial. I concentrated on the public tours they offer but also included sounds of the museum as work place, conversations between museum visitors, and my daily ride to and from the museum. I then sampled these recordings; adding beats and including the “sound granules”, clicks and pops that were the by-product of my recording process, to create pieces of glitchy electronica. I then sampled these songs and created cell phone ringtones available at www.susanrobb.com The Sense of Another Dimension explores the idea of "authorized speech"; in this case the Whitney docent tours, and how their words seem impartial yet are used to uphold certain values regarding what is art. In these songs I am folding the docents' voices in on themselves, re-ordering their speech so they themselves appear to be critical of the museum, speak about the wonders of the natural world, speak of culture’s fear of nature, and in some cases talk about particular works at the Biennial in a way that I believe describes them more accurately then their scripted explanations. By including the sound detritus, the clicks, pops, and street noise, I mix the cultural institution back into the everyday in order to create a conversation between authorized and unauthorized speech, between inside and outside the institution. I then strengthen this conversation between the sanctioned and unsanctioned voice by offering these pop songs as ubiquitous cell phone ringtones; turning the cell phone into a transmitter of affordable, populist,mobile art; broadcasting sonic interjections about culture and the everyday. + + + Biography Susan Robb's work crosses disciplines employing video, photography, performance, sound, sculpture, site-specific installation and new-media; often questioning modes of authority while exploring the intersection between nature and culture. She has received numerous awards including the Stranger "Genius Award", and Artist Trust Fellowship, and a Pollock-Krasner Foundation Grant. She is currently a visitibg professor at the University of Washington, Seattle, WA + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 21:43:05 +0200 message-id: <000601c5bee5$925ec600$197789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: million brilliant ideas I can come up with a million brilliant ideas right here and now... MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 12:43:27 -0700 message-id: <200509211943.j8ljhrjw030055@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Jed's Other Poem (Beautiful Ground) by Stewart added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35498 + Jed's Other Poem (Beautiful Ground) + + Stewart + An unsolicited music video for the band Grandaddy and their song of the same name off of the album The Sophtware Slump. Programmed entirely in Applesoft II on a 1979 Apple ][+ with 48K of RAM. Seriously. According to Grandaddy, Jeddy-3 the humanoid was assembled in the kitchen out of spare parts. Before Jed's system died he wrote poetry. This is one of his poems. + + + Biography Stewart Smith (www.stewdio.org) is a faker. Born in the dirty dirty south he escaped at a young age to the coast of Connecticut where he "grew up" before moving to Brooklyn NY where he continues to trick people into thinking he's special. Notable tricks include: CONFESS http://www.confess.cc Anonymously confess your sins then read the confessions of others. (2004-Present) JED'S OTHER POEM http://www.stewdio.org/jed Music video for Grandaddy's song of the same name programmed on a 1979 APPLE ][+. (2005) TWEED MAGAZINE http://www.tweedmag.com Music and political discussion magazine. (1997-Present) T-SHIRT http://www.stewdio.org/tshirt Create your own virtual t-shirt. (2004) STEW ENCRYPTION http://www.stewdio.org/encryption Method for encrypting data using dynamic waves, patent pending. (1998) EMAIL GOD http://stewdio.org/emailgod Email God for only one dollar, currently in development. (2004-Present) HELLO WORLD Performance piece, fit entire body through a vaginal canal. (1981) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 21:47:48 +0200 message-id: <000701c5bee5$92fefda0$197789d5@e9o9t1> references: no_parent from: manik subject: Fw: RHIZOME_RAW: ORIGINAL ----- Original Message ----- From: manik To: list@rhizome.org Sent: Saturday, May 21, 2005 5:49 PM Subject: RHIZOME_RAW: ORIGINAL THIS IS BETTER THAN ORIGINAL MANIK __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 16:47:58 -0400 message-id: references: from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: post-romantic modernism > > >to this end i named my cat postmodernism. he is a wonderful cat. true. > >b. >fraufraulein.com >+ Post-Modernism eats fish \ -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 21:49:30 +0100 message-id: references: no_parent from: Rob Myers subject: RHIZOME_RAW: Art From Your DNA http://www.makezine.com/blog/archive/2005/09/art_from_your_dna.html? CMP=OTC-0D6B48984890 Blah blah blah Virilio's Art & Fear blah blah blah. - Rob. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 16:51:49 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: titles Shouldn't it be "Kirie et Liaison"? -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 07:25:49 +1000 message-id: references: no_parent from: Komninos Zervos subject: Re: RHIZOME_RAW: titles
i don't know
i'm not catholic
i am phonetic
 
 
type eduardo kac or alba the bunny into any search engine and you'll get this link
 
surely you some times are tempted to call kitty po-mo
 
komninos
 

 
komninos zervos
lecturer, CyberStudies major
School of Arts 
Griffith University
Room 3.25 Multimedia Building G23
Gold Coast Campus 
Parkwood
PMB 50 Gold Coast Mail Centre 
Queensland 9726
Australia
Phone 07 5552 8872 Fax 07 5552 8141
http://www.gu.edu.au/ppages/k_zervos
http://users.bigpond.net.au/mangolegs
http://spokenword.blog-city.com
"Our Workplace Rights are NOT for sale."

-----owner-list@rhizome.org wrote: -----

To: list@rhizome.org
From: miklos@sympatico.ca
Sent by: owner-list@rhizome.org
Date: 22/09/2005 06:51AM
Subject: RHIZOME_RAW: titles

Shouldn't it be "Kirie et Liaison"?
--

Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846
647-292-1846
http://www.mikidot.com
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+ -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 18:34:11 -0300 message-id: <4331d1d3.2040708@rechen.com> references: no_parent from: roberto echen subject: RHIZOME_RAW: need some help hi> it seems that my last work http://www.rechen.com/revelation.cgi have some problems. i need you let me know if it looks like this> the taken moves from the right side of the face to the left one slowly. meanwhile you should hear a speech beginning with: "it was amazing..." and ending with "...it was god". para los que lo abren en espaol: comienzo: "fue asombroso..." fin: "...era dios". any news will be welcomed. best rechen + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 18:35:22 -0300 message-id: <4331d21a.5040308@rechen.com> references: <200509211730.j8lhtxjw000742@idx164.idx.net> from: roberto echen subject: Re: RHIZOME_RAW: ~ 1n-0ut [meditation] ~ by jimpunk added to the Rhizome ArtBase love it. best rechen Rhizome.org wrote: >Just added to the Rhizome ArtBase ... >http://rhizome.org/object.rhiz?34590 > > >+ ~ 1n-0ut [meditation] ~ + >+ jimpunk + > >°°°°°°° ~ 1n-0ut [meditation] ~ °°°°°°° } >{ °n-°ff resolution >. >°n >{ >°°°°°°° >1n-0ut [meditation] >°°°°°°° >} >°ff >. > > >+ + + > >Biography > >http://www.jimpunk.com/info/jimpunk_bio.txt > >http://www.jimpunk.com/info/jimpunk_bio.doc > >+ >-> post: list@rhizome.org >-> questions: info@rhizome.org >-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz >-> give: http://rhizome.org/support >+ >Subscribers to Rhizome are subject to the terms set out in the >Membership Agreement available online at http://rhizome.org/info/29.php > > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 23:57:18 +0200 message-id: <012a01c5bef7$70481960$197789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Fw: MY ORIGINAL CONCEPT ----- Original Message ----- From: manik To: LIST@rhizome.org Sent: Wednesday, September 21, 2005 9:19 PM Subject: MY ORIGINAL CONCEPT IT WASN'T EVEN MY ORIGINAL CONCEPT MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 23:57:48 +0200 message-id: <013501c5bef7$81f5db20$197789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Fw: million brilliant ideas ----- Original Message ----- From: manik To: list@rhizome.org Sent: Wednesday, September 21, 2005 9:43 PM Subject: million brilliant ideas I can come up with a million brilliant ideas right here and now... MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 23:58:52 +0200 message-id: <015801c5bef7$a82abd60$197789d5@e9o9t1> references: no_parent from: manik subject: Fw: RHIZOME_RAW: ORIGINAL ----- Original Message ----- From: manik To: list@rhizome.org Sent: Wednesday, September 21, 2005 9:47 PM Subject: Fw: RHIZOME_RAW: ORIGINAL ----- Original Message ----- From: manik To: list@rhizome.org Sent: Saturday, May 21, 2005 5:49 PM Subject: RHIZOME_RAW: ORIGINAL THIS IS BETTER THAN ORIGINAL MANIK __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 00:04:02 +0200 (CEST) message-id: <20050921220402.7500c21fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Bbs be baselineskip Brazilian, Barrie backplane BITNET, BS babies be bitmaps, BibTeX. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 00:05:43 +0100 message-id: <4331e747.6000209@furtherfield.org> references: <322a175c-6fd7-4135-a0f8-4307bbeaf69b@nznl.com> from: marc subject: RHIZOME_RAW: Re: nznl.com digest, Sep 15, 2005 - Sep 21, 2005 Hi Geert, Your monthly blog is pretty intriguing and I think that I will vist regularly, there is something ghostly about this one, single web page - web cams are amazing, un-invited spectres watching, capturing human behaviour (imposing eyes) and when there is no one there to see on the screen - one becomes a lone voyour just watching, static - eyes peeled and waiting...just one's self, and the screen. I noticed that you also have uploaded Jess Loseby's 'im_mobile' project... http://nznl.com/blog.shtml Here is some poetic txt that I did a while back regarding web-cams... Vision Bender Angle-less does despise - it does over emphasize my physical loss of movement, jailing thy scope I am groping for room for breath, it does grope Dangerous eyes do meander - they gander any gender a vision sender and life bender, sight dispenser emotional inventor of what I have not yet comprehender It rests in most corners, sitting like a friend lingering, sniggering. It mingles everywhere sharing its endless innards - sublime, all the time Killer of my space, rapid, invading space and I am a star homing into its Cyclops eye. Caught among the flicker, flickering its devotional haze, trapping Bulger's last testament - our mutual craze is collected spliced and then it becomes part of the visual noise. Squeezing blurred info, info radical, it spies Whether calamity or vanity, it is here, there, no care for path tredders, concrete pacers, measured am I. Sought by dangerous eyes, it does despise my own eyes Dead, wired into my life and yours, and it is our life it desires. It wants, my situation is clocked. Planted, stunted is one's growth, choking my mind It rewinds the motion, a constant assault teeeezing thy emotional glands. It does marginalize my action, my movements. Jailing thy scope, limiting hope Outer eye, evil eye, watching my personal growth, out here. Consuming one's space, no grace, in yer face, our race is traced, and then reinvented, displaced... marc > nznl.com digest > Sep 15, 2005 - Sep 21, 2005 > Posts 1207 - 1213 > http://nznl.com > > 1207. Sep 15, 2005 > PLAN FOR A PERFORMANCE FOR FOUR NZNL.COM WORKERS AT THE CHINATI > FOUNDATION, 2009, MARFA, TEXAS > fireworks file > http://nznl.com/geert/pop.php?dag=20050915 > > 1208. Sep 16, 2005 > PLAN FOR A SITE FOR THE NZNL.COM EXHIBITION HALL IN THE MIDDLE OF NEW > YORK, 2009, EMPTY SECTION, MODEL, WEEDS > fireworks file > http://nznl.com/geert/pop.php?dag=20050916 > > 1209. Sep 17, 2005 > INSIDE/OUTSIDE (STUDY FOR A NZNL.COM HALL NATURAL LIGHT PLAN), 2009, > WHITE CUBE, LANDSCAPE > fireworks file > http://nznl.com/geert/pop.php?dag=20050917 > > 1210. Sep 18, 2005 > STUDY FOR A FLOATING BODY, 2009, BODY, FLOATING > flash movie > http://nznl.com/geert/pop.php?dag=20050918 > > 1211. Sep 19, 2005 > BODY, 2009, BODY > flash movie > http://nznl.com/geert/pop.php?dag=20050919 > > 1212. Sep 20, 2005 > CUBE, 2009, CUBE > flash movie > http://nznl.com/geert/pop.php?dag=20050920 > > 1213. Sep 21, 2005 > STUDY FOR A MODEL OF THE NZNL.COM EXHIBITION HALL, 2009, WHITE CUBE, > MODEL, MAGIC PROPULSION > flash movie > http://nznl.com/geert/pop.php?dag=20050921 > > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 09:35:24 +1000 message-id: references: no_parent from: Komninos Zervos subject: RHIZOME_RAW: Authors sue Google over Google Print from macworld http://www.macworld.com/news/2005/09/21/googleprint/index.php Authors sue Google over Google Print By Nancy Gohring, PC World.com The Authors Guild and three other writers filed a class action suit on Tuesday against Google Inc. over the Google Print program. The lawsuit charges Google with massive copyright infringement. Google Print is a beta, or test, project that allows Internet users to search for content in books. Google is in the process of scanning books from several libraries into the searchable database. The Authors Guild, a society of published writers representing over 8,000 U.S. authors, charges that Google has not sought the approval of authors to include their works in the program. Google does allow copyright holders to exclude their books from the program. However, traditionally, content users must have affirmative authorization from a copyright owner to use the copyrighted material, said Terence Ross, a partner and copyright law specialist at Gibson, Dunn & Crutcher, a Washington, D.C., law office. "Merely saying that if we don’t hear from you we assume it’s okay has never been accepted by any court and I doubt it would ever be accepted," he said. Google said in a statement responding to the lawsuit that its activities are consistent with the fair use doctrine under U.S. copyright law and the principles underlying copyright law. Fair use is a concept within U.S. copyright law that allows copyright material to be used in limited circumstances, such as quoting parts of a novel for a book review, without the permission of the author. When users search the Google Print database, they find a "brief snippet of text where their search term appears," not the entire text, Google explained in the statement. Still, Google is copying entire works into its database. "It’s not what’s delivered to the PC user that’s the copyright issue, it’s the fact that they have copied the entire work in the first place," said Ross. "I don’t see fair use." Google also points to a paper issued by Jonathan Band, an intellectual property lawyer, who cites potentially relevant cases. In one, a company was allowed to make copies of images on Web sites and offer them in smaller, lower quality form because such a format doesn’t alleviate the need for the higher-quality originals. Similarly, rather than erode the potential for authors to sell books, Google argues the program will encourage sales. "This ability to introduce millions of users to millions of titles can only expand the market for authors’ books, which is precisely what copyright law is intended to foster," the statement said. Google is working with University of Michigan, Harvard University, Stanford University, The New York Public Library and Oxford University to scan all or part of their books into the Google Print database. The lawsuit was filed in a New York federal court. The three writers named in the suit in addition to the Authors Guild are Herbert Mitgang, a former New York Times writer and book author, Betty Miles, a children’s book author and Daniel Hoffman, a poet and author. http://www.macworld.com/news/2005/09/21/googleprint/index.php -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.4/109 - Release Date: 21/09/05 komninos zervos lecturer, CyberStudies major School of Arts Griffith University Room 3.25 Multimedia Building G23 Gold Coast Campus Parkwood PMB 50 Gold Coast Mail Centre Queensland 9726 Australia Phone 07 5552 8872 Fax 07 5552 8141 http://www.gu.edu.au/ppages/k_zervos http://users.bigpond.net.au/mangolegs http://spokenword.blog-city.com "Our Workplace Rights are NOT for sale." + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 16:52:15 -0700 message-id: <200509212352.j8lnqfht010964@idx164.idx.net> references: no_parent from: Brett Stalbaum subject: RHIZOME_RAW: Programmer Analyst Position - UCSD, ICAM Appologies for cross posting... Programmer Analyst Position - UCSD, ICAM UNDERGRADUATE INSTRUCTIONAL COMPUTER SPECIALIST Programmer Analyst II (100% career) Hiring Salary Range: $3484 - $4633/month Full Salary Range: $3484 - $6204/month Final Filing Date: 10/4/05 Job Number: 37423 Work locations: Three different computing facilities located across campus -- Visual Arts Facility (VAF), Applied Physics and Mathematics Building (AP&M) and University Center. DESCRIPTION: Responsible for the management and maintenance of the multi-platform Interdisciplinary Computing and the Arts and the undergraduate Visual Arts Instructional computing facilities in a number of different areas of computing in the arts. This includes but is not limited to web-authoring, multi-media, locative media, wireless media, virtual reality, computer games, and software development. Serve as technical liaison between Visual Arts computer arts faculty, other Visual Arts staff, Music Department, and Academic Computing Services regarding the operation of the facilities. Play a key role in developing initiative supporting the Interdisciplinary Computing and the Arts major (ICAM) which involves working with faculty and staff from several campus departments and develops contacts for industry support. Training responsibilities include offering workshops/classes/seminars for undergraduates and Teaching Assistants and the development of lab documentation in both online and print! ed forms. Responsible for the management of a web site on the computer arts program and activities. QUALIFICATIONS: * Demonstrated excellent interpersonal, writing, verbal communication and presentation skills to technical and non-technical audiences. * Working knowledge and expertise in multiple computer operating systems such as Linux variants, Windows, MacOSX. * Have expertise with applications and peripherals used in the creation of computer art projects such as Adobe Photoshop, Final Cut Pro, Micromedia Director, Alias/Wavefront, Max/MSP, PD and others. * Preferred expertise with some or all of the following: Visual C++, Open GL, JAVA, HTML, XML, HTTPD admin, and web services. Application information: http://joblink.ucsd.edu/bulletin/job.html?cat=information&job_id=37423 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 21 Sep 2005 20:43:20 -0500 message-id: <43320c38.6040106@uiuc.edu> references: no_parent from: Kevin Hamilton subject: RHIZOME_RAW: "Poor Duke - he can't shoot his way out of this one." Rhizomers- This morning, as I sat by the open window at my laptop, engrossed in a departmental email, one of my senses - sight, smell, hearing? - pricked, and I looked to the immediate right of my lap to see a large and twittery squirrel, on the sill of our screenless window. I jumped and yelled HEY, causing the contents of my coffee cup to go shooting up and over everything in sight - powerbook, papers, window. During the requisite freakout-session of careful cleaning of my laptop to keep coffee from getting inside the thing, I noticed a nut the squirrel had left behind, on the sill - he was looking for a place to stow it, I suppose. Of course last weekend's challenging and enlightening New Forms Festival in Vancouver came to mind, where the 2005 theme was "Ecosystems." Biological metaphors are nothing new to this community or to some of the more theoretically(academically?)-minded in new media. But Niranjan Rajah and the other conference organizers put together a collection of presenters and panels that gave the subject a deep, difficult examination, unlike any I have experienced. It was a rich weekend of difficult analyses and proclamations about the relationship between our tools, the institutions that hold them, and the other beings or places we have displaced, eradicated or absorbed in the process of creation. I thought I should share with the list some of what transpired, in part because I think there should be more of it south of the border. The New Forms Festival has been running for a few years, and this was my first. I'm sorry to say that I saw none of the exhibition components, and only a small piece of the music components, but the conference portion was quite a full plate. Three days saw numerous panels, papers, and performances - unique about these for me was that a new media conference was focussing on so many allegedly "extra-medial" concerns that don't seem to come up often in new media discourse. I'll run through some of the highlights. First, perhaps the most remarkable thing about this conference was its setting in the Museum of Anthropology at University of British Columbia, a world-renowned collection of works by the First Nations people of western Canada. Niranjan's characterization of this choice as forcing the examination of a field that runs "from bones to broadband" was just the start. The days' events went far beyond the predictable and essentialist juxtapositions of "hi-tech" and "low-tech" we've come to expect of some McLuhan-esque rhetoric. Instead, the setting constantly forced the difficult question of technology's role in colonization - the same colonization that led to the assembly of such a collection as anthropology rather than as history, as technology, or even as art. Carol Gigliotti's keynote paper on Friday took us through the history of the West's definitions of "human" and "non-human", with an emphasis on some seriously disturbing metaphors employed by the likes of Descartes. It comes as no surprise to many of you I'm sure that the Enlightenment gave us descriptions of Nature as "the proverbial 'bad girl'" (Carol's words), requiring a strong hand to the forelock and a slap to the back of the head, if not an outright rape. And from this we get modern science, and from that we get vaccine, but also flash memory and nanopods, and at the expense of beings and places we first had to label as not worthy of respect. For you skeptics, this was much more than an effort to scare more "PC" into your P.C.. To recognize the roots and expenses that make possible our faster and ever more social media forms is to weigh our enthusiasm about new possibilities against some of the effects. I count this as progress in an area that normally slips into utopianism like an old drug habit. Following Carol's talk was a provocative examination of the museum as a site of grieving - we witnessed a live remote performance by Peter Morin, who from just outside the auditorium took a page from Coco Fusco or Fred Wilson, and placed himself among the artifacts of his own people. Through a seemingly casual video monologue Peter spoke and sang about those who had long died, those of his people who were at that moment facing arrest during protest, and about the experience of the museum as mausoleum, as pain. The following panel complicated this perspective through the presence of Anthony Shelton, the museum's Director, and Raman Srinivasan, who related the story of visiting a temple in the Philadelphia Museum of Art as a graduate student, reverent and comforted but also aware of the violent rip that made the presence of the temple in his temporary home possible. These strategies persisted - we saw several panels set up to keep us uncomfortable in our assumptions, including the odd and provocative pairing of the champion of sampling, John Oswald (of Plunderphonics fame) with Ahasiw Maskegon-Iskwew, who told stories of information theft as colonialist strategy, but also of artist Cheryl L'Hirondelle Waynohtew's approach to piracy or sampling as act of infiltration or homage. Other standout moments included: - Learning from Ahasiw Maskegon-Iskwew and Stephen Loft about Winnipeg's Urban Shaman gallery, drumbytes.org, and conundrumonline.ca, several efforts at supporting and displaying works in New Media by aboriginal artists. In his talk, Stephen Loft re-imagined the gods of fire in aboriginal mythology as John Wayne, protecting and hoarding a powerful technology until he's finally encircled by his opponents. - Filmmaker and conference sponsor Loretta Todd also shared some about the effort she's leading, the new Aboriginal History Media Arts Lab. - Steve di Paola described his work with the Vancouver Aquarium to model Belugas and fishes in 3-D environments, in which he found himself confronted with the irreality of what some expected the virtual animals to do, and the shocking reality of illusionistic 3-D renderings that even react to stimuli. - Landscape architect Kelty Miyoshi McKinnon's excellent paper on "The Urban Bestiary," how animals adapt to and infiltrate urban landscapes, how we sensationalize their arrival, and how some architects respond. - Curator Alice Ming Wai Jim shared some about the new and exciting efforts of the recently relocated CENTER A, a non-profit space for new media and contemporary art from Asia and the Pacific Rim. Significant to Center A's current mission is the gallery's intentional and stark relationship to the surrounding neighborhood of Gastown, infamous as the poorest postal code in Canada. Alice and the Center seem committed to acknowledging this contrast through exhibition and outreach, including their involvement in the upcoming Container Project for ISEA 2006. - John Wynne's work on his project Hearing Voices, in which he explores the endangered Khoisan clik-languages of the Kalahari Desert through field recording, photography, radio documentary and installation. The conference concluded with a performance in the Anthropology Museum, at the foot of the totem poles in the main hall, backed by the setting sun over the pines of Vancouver's bay. At first, the pastoral sounds of electronic musician Noah Susswein jarred with the memories of violence implied by the artifacts, even as the landscape behind seemed timed for the music. But when vocalist Tanya Tagaq Gillis took the floor, backed by Souns on the laptop, we were reminded that even as we remembered death, First Nations people were very much alive, and strong. Tanya's throat-singing (which you may have heard on Bjork's Medulla album) and Souns' glitches meshed together in service of the power of the voice. Tanya ruled that space for awhile, as I'm sure she will with the Kronos Quartet later this Fall, and resisted our identification of the "natural" or aboriginal as dead or dominated. It was a fitting close to a weekend I won't forget - and for which I'm indebted to a long history of conquest. Kevin Hamilton LINKS: http://www.newformsfestival.com http://www.centera.org http://conundrumonline.ca http://drumbytes.org/ http://www.sensitivebrigade.com/ http://www.terrain.org/essays/13/mckinnon.htm http://www.sensesofcinema.com/contents/02/22/todd.html http://www.tanyatagaq.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 09:16:19 +0100 message-id: <43327663.18884.2729b2@localhost> references: <4331ba90.21442.f8bdc0e@localhost> from: Jess Loseby subject: Re: RHIZOME_RAW: im_mobile Hi Giselle cool - cultural entropy you can sing-along to. Nice way to start the day! Pixel-rhetoric is a new one on me (another nice name for a cat?) explain, please??!! jess. Send reply to: giselle beiguelman > Jess, > very good. > i think we are moving towards micronarratives and diving into the > pixel rhetoric. > try this one: > www.pucsp.br/~gb/desmemorias > (best viewed with IE6. pop ups unblocked + sound on + broadband.) > o /^\ rssgallery.com ][ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 01:39:27 -0700 (PDT) message-id: <1119.70.34.254.38.1127378367.squirrel@webmail.34n118w.net> references: no_parent from: hight@34n118w.net subject: RHIZOME_RAW: VERY IMPORTANT INFORMATION ABOUT FALSE CARRIZO DIARIES AND MISINFORMATION Due to an unfortunate turn of events, Carrizo parkfield diaries is NOT the project that was shown in the whitney artport and at transport gallery. Christina Mcphee has chosen to: 1. lie about concept and work on the "collaborative project" by making a claim that the concept was hers alone 2. give the false impression that sindee nakatani and I were helpers in specific and minute roles in the project....this cannot be farther frum the truth..........sindee contributed concept ideas,conceptualized and developed the very engine that runs the project and parses the seismic data........all three of us worked together on design............and my text and christina's images were to be set equally as animations 3. attempt to cobble a feeble mimicry of the project (currently seen on the link) that uses a version in which she minimized the text fonts to be unreadable........and is a collection of broken and non-functional loops that are NOT LIVE and do not REFERENCE SEISMIC DATA this notice is to all who may mistakenly think they are either looking at the project that was or who read her words about the project recently jeremy hight sindee nakatani + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 02:46:43 -0700 message-id: references: <43327663.18884.2729b2@localhost> from: Jim Andrews subject: RE: RHIZOME_RAW: im_mobile > > i think we are moving towards micronarratives and diving into the > > pixel rhetoric. > > try this one: > > www.pucsp.br/~gb/desmemorias > > (best viewed with IE6. pop ups unblocked + sound on + broadband.) that hits the screen really well, giselle. lots of sound and video i hadn't heard/seen for a long time, but i know just about all the references. that's a wonderfully contemporary time machine of popular mainly american tv. did you see all that stuff in brazil growing up? i was running around in my pajamas, sitting on the floor watching that stuff in canada. looks like you were doing much the same in brazil? it streams in very quickly, by the way. quite the job to do that, i imagine. are you pushing it to the max with a contemporary broadband connection? it seems that way. it's a bit easier to do, i'd think, in flash and director; streaming in html, images, video, the occasional flash piece, and sound separately, with no coordinating software, that's pretty cool, if it works, and it does in desmemorias. i watched several pieces today: desmorias, jess's piece, and some of jim punk's work. all of them streaming continuously or continually. all of them "diving into the pixel rhetoric". all of them much more interesting to me than watching tv. all of them using the whole screen in interesting ways. i like to see the full screen used. claiming the whole monitor for the art piece, not acquiescing to the browser chrome, the typical frame. all of them fast paced and making the monitor jump. all of them busting out with energy and different ideas of net art that relate to TV and video but are way not doing the same thing. thanks so much! it's great to come across such strong work. ja + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 03:28:54 -0700 (PDT) message-id: <20050922102854.88374.qmail@web30508.mail.mud.yahoo.com> references: <4331ba90.21442.f8bdc0e@localhost> from: Michael Szpakowski subject: Re: RHIZOME_RAW: im_mobile Hi Jess well...I *do* absolutely think it does.. I suppose I'm just cautious ( and I take everything you say about the purpose of the series) of the visceral power of loud popular music ( which don't get me wrong, I like in many contexts) rather overwhelming what seems to me quite a delicate and intricate sensibility and piece of work. I suppose I've just spent lots of time recently thinking about & becoming more and more gripped by linear, non interactive, non generative sequences of images & moved and absorbed by the smallest detail in these - the music feels like it's competing for my attention in a rather unfair contest. thanks for looking! < talks about micro- narratives? is that what you are moving towards...?> I honestly don't have a plan -perhaps this is a weakness - I get up in the morning and if I have time and an idea I make a short movie, rather like making an entry in a diary - at the moment I'm doing stuff with found footage & -loosely- "remakes" but I'm not interested in plowing a furrow except the bare fact of continuing to make the sequence; content wise I try just to do something *I'd* like to watch.. best michael --- Jess Loseby wrote: > Hi Michael, > > Tryng to be back slowly, cheers:) > > Re the music - the trouble with using any music > generally is it is bound not to be of > everyones taste but the "without permission" series > (that this work is from) is > deliberately mixed to specific "popular" music. > Without it you would only get half the > story. In this one the story might be the > disorientation between domestic and the "space > boy". Who or what the space boy is up for grabs:) > > I always call these ones mixes rather that > artworks because they aren't really supposed > to stand up on their own without the music > (although its nice of you to suggest it does:) > > Trying to catch up with nine months of threads on > these lists, I have also seen a lot of > your short movies in a group recently too. I notice > with interest how your "moment > stories" are developing into much sharper moments > than the narrative/allegories that I > would suggest that they previously had. Is it David > Crawford that talks about mirco- > narratives? is that what you are moving towards...? > > Jess. > > > > > > Nice to have you back Jess! > .One question though - does > > it need the music? I think it holds up without...( > and > > personally I find the music, unlike the work > itself, > > somewhat banal) > > warmest wishes > > michael > > > o > /^\ rssgallery.com > ][ > > > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 04:58:37 -0700 message-id: <200509221158.j8mbwbfd030149@idx164.idx.net> references: no_parent from: David Galbraith subject: RHIZOME_RAW: David Galbraith sound installation at Diapason (NYC) Diapason, gallery for sound and intermedia, presents David Galbraith Composition 2005 No. 1: Two Straight Lines Displaced, Nudged and Gently Spun A Sound Installation Saturdays, September 3, 10, 17, 24 6 PM - midnight  Diapason, gallery for sound and intermedia 1026 Sixth Avenue, # 2S (btwn 38th & 39th St.) New York, NY 10018 http://www.diapasongallery.org/ Notes on the work: Diapason is pleased to present the first solo exhibition by New York-based composer, performer and multidisciplinary artist David Galbraith. This exhibition pairs Galbraith’s 2003 mixed media work on paper Two Straight Lines For La Monte Young, originally shown in Berlin and on view at Diapason for the first time in New York, with a new work for multichannel sound titled Composition 2005 No. 1. The work on paper references American composer La Monte Young’s Composition 1960 No. 10 which reads ‘draw a straight line and follow it.’  Galbraith’s Two Straight Lines For La Monte Young uses twenty pages of tabular random permutations of integer numbers overlaid with systematically placed small blue dots.  These pages are pinned to the wall each skewed so the blue dots produce a pair of vertical straight lines each over six feet long.  With this work Galbraith breaks from the singular act called for by Young’s score and instead creates through repetition and serial techniques two straight lines that emerge from an infinite numeric field. For Composition 2005 No. 1 Galbraith transformed Two Straight Lines For La Monte Young into a graphic score for string quartet.  Galbraith realized this score by recording the process of hand tuning each note using his self-built analog electronic sound oscillators.  The work is animated by the micro-intervallic tension between two sets of pitches: the ‘absolute’ sine tones determined by graphical analysis and the ‘string’ tones which are derived from the ‘absolute’ tones by quantizing each to the nearest note of a justly intoned scale.  The final work is a multichannel edit of the ‘absolute’ manually tuned quadrature oscillator sine tones, digitally synthesized reference tones, and the recordings of the ‘string’ tone manual tuning process. Biographical information: David Galbraith explores the couplings between art, music, technology and the body through his sound installations, live sound performances, video works and drawings.  In addition to recent New York performances at Art in General, Diapason, and free103.9, Galbraith’s international performances include Erase & Reset: International Night Of Experimental & Electronic Music at Staatsbank Berlin (2003); Garage Festival, Stralsund, Germany (2003); and Pro Musica Nova (with Marina Rosenfeld), Bremen, Germany (2000).  Galbraith has had two-person shows together with Teresa Seemann at the New Museum of Contemporary Art, New York (2001), the Soap Factory, Minneapolis (2001), and Innocence & Mystery, Berlin (2003).  Collaborative and individual work has also been shown in group exhibitions at Kunst-Werke Berlin, P.S.1/MoMA, Artists Space, and Rosmund Felsen Gallery, among others. This show is supported in part by a grant from the Experimental Television Center. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 05:31:49 -0700 message-id: <200509221231.j8mcvnrp000938@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Trampoline -platform for new media art Trampoline is dedicated to the promotion of new technology art and artists and aims to present cutting edge art in an informal atmosphere; encouraging new artists to exhibit work to a real audience, whilst providing a platform for established artists working in new directions. Trampoline is based in Nottingham, UK and aims to cultivate the local talent of the surrounding region while also encouraging international participation. Trampoline began life in 1997 as Nottingham’s first ever platform event for new media art. This one day/night event is based in Broadway Media Centre, the creative hub of Nottingham http://www.broadway.org.uk/ The facilities/spaces which Broadway has to offer include: large lively bar/café space, a smaller bar space, foyer, cinema screens and projection onto the outside of the building. In the forthcoming events we hope to expand the reach of Trampoline, no longer restricting it to one venue but encouraging participating artists to explore the potential of public spaces around Nottingham too. The next call for submissions is for Trampoline's December event: 1st December Trampoline This will be the opening event for Radiator Festival - the international festival for new technology art. December’s Trampoline event will reflect the core concern of the Radiator Festival this year, the relationship between performance and new technology. http://www.radiator-festival.org/ http://www.digitalcultures.org/ How can the body and new media connect with each other? We are calling for work that not only investigates the relationship between the performer’s body and new technology but also the body of the viewer, the audience. Deadline for Submissions: November 7th We encourage proposals of work in all formats, as long as they reflect upon elements of new media. Video, installation, performance, web art, computer programmes, music and more are all welcome. We would also like to encourage initiatives which give the Trampoline audience an insight into the workings of new media and an opportunity to develop their own small creative works, for example in the format of workshops/group activities. If you have any queries please contact Emma Lewis, Trampoline Coordinator emma@trampoline.org.uk +44 (0)115 9559956 Please go to www.trampoline.org.uk and download an application form Please send Submission material to: Trampoline Submissions Broadway Cinema 14 - 18 Broad Street Nottingham NG1 3AL UK (include stamped addressed envelope if you wish your material to be returned) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 05:34:15 -0700 message-id: <200509221234.j8mcyfrk001302@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: TRAMPOLINE October 6th UK Trampoline October 6th 6pm-late Broadway and Synergy, Broad Street, Nottingham, UK The creative launchpad for new media art that is Trampoline again returns to Broadway this October. This is an opportunity to plug into the innovations of Nottingham based artists and at the same time connect with international media art developments. With a focus on locative and pervasive media Trampoline will be inviting you to question if you are increasingly connected to everyone else, being surrounded by information technology, where are you located? A diverse set of work and events will be examining how new media is entering the fabric of our everyday lives, installing itself into to every part of our environment, forming the new dimension of our reality, the dimension of data. Trampoline highlights include: Truck Art, www.truckart.org, a gallery on wheels moving through the city, encouraging all passers by to view its innards, challenging the exclusive enclosed form of the white cube. Truck art has already been doing its rounds throughout London and has recently been presented in Leipzig and at the Prague Biennale. Oliver Perry will be encouraging us to re-examine our environment through the use of site-specific live and pre-recorded video projection, experimenting with methods of viewing space. James Smith & Jo Lamming’s electronic noise bike will be clattering its way through Nottingham’s streets and streaming back to Broadway investigating Nottingham’s WIFI hotspots and so exploring the topography of the city on not just a physical but also on a virtual level. Jon Cambuel will also be touring the city with his Speech Guitar using a real-time generative speech and sound synthesizer, a combination between the aesthetic of Rock music and Digital music that engages your whole body to be able to perform with it. Kunal Sen will be offering us a fleeting glimpse of an old man’s life as he reflects on time, in the animation Hua Noor, having recently shown at ARS Electronica. The vivacious, quirky team, Video Babes, from Indonesia, will be presenting their high impact moving image, along with many other international and local animation and video. Srishiti School of Art, Design and Technology, Bangalore will be opening our eyes to local issues in India through the project “Mapping Devanahalli”, highlighting the impact of a major redevelopment of a village by the construction of a new airport. And Allen Coombs will be highlighting movement through our own locality through GPS mappings of his wanderings throughout the land. In addition to all these tantalizing activities there will be DJs, VJs, and lots of raucous noise. PLAN/MRL The Pervasive and Locative Artist Network and the Mixed Reality Lab (Nottingham University) will be making an appearance at Trampoline. They will be providing information on their collaborative workshop together, which aims to drive forward the productive yet often tentative relationship between artists, scientists and engineers. Some of the participants will be giving a presentation on the activities of PLAN the Mixed Reality Lab and providing insight into their own work. This will be a good opportunity to discuss what they are up to in an informal relaxed setting. Trampoline Timetable Start 6pm Screening 6.30-8pm PLAN/MRL Discussion 8.30-9.30pm Synergy 10.30pm with more live music and performance There will also be events/exhibits around the city throughout the evening If you have any queries please contact Emma Lewis, Trampoline Coordinator emma@trampoline.org.uk 0115 9559956 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 13:41:12 +0100 message-id: <20050922-13411244-1f34-2@wiss-blade5> references: no_parent from: subject: RHIZOME_RAW: Film Commissions for Mobile Phones 14 September 2005 Snack sized film challenge for hungry Northern creatives Pocket Shorts, the UK's only independent mobile phone film production fund will be commissioning again in November. Pocket Shorts is an initiative from Blink, who screen and commission short films and devise locative media projects using mobile devices, and is aimed at filmmakers who have graduated in the last five years, and live in Yorkshire, the North West and the North East of England. It is funded by NESTA (the National Endowment for Science, Technology and the Arts) as part of its support for new businesses in the creative industries. Filmmakers can apply for up to 2,000 production funding to create short films of four x fifteen seconds or 60 seconds in length. Pocket Shorts seek ideas from all forms of moving image makers working in animation, games design, advertising, 3D design, music video, motion graphics, graphic design as well as traditional artists and filmmakers. Mentor guidance from a compatible industry partner will support awardees through the production process. After a successful first year we are looking for ideas that really exploit the platform and engage the audience with something they have never seen before. With such a huge potential for play and a virtually blank canvas our message remains that restriction can stimulate creativity. Videophones deliver films on the move, simple and quick distractions anytime of the day or night. For filmmakers this new platform helps them to reach a new and diverse audience outside the realms of the traditional cinema. Prior to the application deadline, free mobile phone filmmaking workshops will be held in each of the three regions. Here, filmmakers can view examples of short moving image work and find out about the distribution channels for the finished films. LIVERPOOL: 24 October, 6.30pm-7.30pm, FACT, 88 Wood Street L1 4DQ SHEFFIELD: 27 October, 6.30pm - 7.30pm, Sheffield Independent, Film 5 Brown Street S1 2BS MIDDLESBROUGH: 2 November, 6.30pm - 7.30pm, Centre for Enterprise University of Teeside, Victoria Road TS1 3BA All Pocket Shorts films are showcased at key UK film festivals via our new free mobile phone content dispenser Bluevend, that uses Bluetooth technology to enable a free film takeaway for videophone owners. Lisa Roberts, Director of Blink said: "Why graduate and follow the masses working as a runner for a film company when Pocket Shorts offers an alternative? This is your chance to be a pioneer in mobile phone filmmaking, a genre demanding a kind of creativity that can keep up with the pace of technology." For all you need to know to apply go to www.pocketshorts.co.uk Deadline for applications: 30 November 2005 Pocket Shorts c/o Blink, The Old Caretaker's House J L Brierley Mill Quay Street Huddersfield West Yorkshire HD1 6QT Ends Contacts Lisa Roberts 01484 301805 / 07779 649 027 / lisa@blinkmedia.org Images on request Notes for editors Pocket Shorts is an extension of NESTA's Creative Pioneer Programme, which is designed to encourage the growth of a new generation of creative entrepreneurs. NESTA (the National Endowment for Science, Technology and the Arts) is a non-departmental public body (NDPB) investing in innovators and working to improve the climate for creativity in the UK. www.nesta.org.uk Blink is an arts project management company based in Huddersfield, West Yorkshire and is dedicated to the creative use of new mobile technologies. www.blinkmedia.org Bluevend is a wall-mounted Bluetooth vending machine designed for the wireless distribution of creative mobile phone content www.bluevend.com www.bluevend.blogspot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 14:48:16 +0200 message-id: <00ea01c5bf73$e8310c80$307689d5@e9o9t1> references: from: manik subject: Re: Fw: RHIZOME_RAW: ORIGINAL EMOTIONAL POST Are you referencing my extremely emotional post ? MANIK ----- Original Message ----- From: "carlos katastrofsky" To: "manik" ; Sent: Thursday, September 22, 2005 1:32 PM Subject: Re: Fw: RHIZOME_RAW: ORIGINAL > this is ORIGINAL: > http://aqua.subnet.at/carlos/projekte/netart/original/ > how can you say this is better? > ;-) > > > > ----- Original Message ----- > > From: manik > > To: list@rhizome.org > > Sent: Wednesday, September 21, 2005 9:47 PM > > Subject: Fw: RHIZOME_RAW: ORIGINAL > > 
 > > ----- Original Message ----- > > From: manik > > To: list@rhizome.org > > Sent: Saturday, May 21, 2005 5:49 PM > > Subject: RHIZOME_RAW: ORIGINAL > > 
 > > > > > > > > THIS IS BETTER THAN ORIGINAL > > MANIK > > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 07:05:43 -0700 message-id: <200509221405.j8me5hed010481@idx164.idx.net> references: no_parent from: marcus bastos subject: RHIZOME_RAW: Digital Writing October @ - empyre - Writing is one of the oldest known technologies, but the concept of writing did not change as substantially as the different forms of text mediation have done, throughout the years. Nevertheless, the invention of press and, most recently, of the computer, altered important operations related to how words and paragraphs are organized. Also, devices such as the Internet, DVD and mobile equipments allowed new forms of writing and publishing. During the month of October, Bill Seaman, Brigid McLeer, Friedrich Block, Giselle Beiguelman and Sue Thomas will discuss, at the – empyre – mailing list (http://www.subtle.net/empyre), if the concept of writing is still adequate to describe the most eloquent examples of creative processes involving words and digital media. Given the growing use of sound, image and programming at the web — once claimed to be the media that brought text back to the center of an increasingly image oriented culture—, what is the state of the art, on the field of digital writing? Issues such as the recombinant nature of digital writing, writing for public spaces (and related notions of placement / displacement), sampling as a form of intertextuality and writing for mobile devices, among others, will be the central topics. + Subscribe https://mail.cofa.unsw.edu.au/mailman/listinfo/empyre + Guest´s Bio Bill Seaman ( http://www.billseaman.com ) received a PH.D. from CAiiA, University of Wales, 1999. He holds a MSvisS degree from MIT, 1985. His work explores an expanded media-oriented poetics through various technological means. Seaman is Head of the Digital+Media Graduate Department at RISD. Brigid Mc Leer ( http://www.inplaceofthepage.co.uk ) is an Irish artist and writer based in London. Her work is cross-disciplinary and process-based. Moving between the practices of art, poetry, architecture and critical writing, the challenge of 'place' and 'translation' has become a driving force of the work. She currently lectures at the Bartlett School of Architecture and Goldsmiths College, London . Friedrich W. Block ( http://www.brueckner-kuehner.de/block ) is the director of the Brückner-Kühner-Foundation and honorary director of the Kunsttempel gallery in Kassel. Curator of numerous exhibitions, e.g. the "p0es1s. Digital Poetry" show, Berlin (2004). He has published about art and media, experimental literature, and the media-culture of humor. Giselle Beiguelman ( http://www.desvirtual.com) is a new media artist and multimedia essayist who teaches Digital Culture at the Graduation Program in Communication and Semiotics of PUC-SP (São Paulo, Brazil). Her work includes the award-winnings "The Book after the Book" (1999) and egoscópio (2002). She has been developing art projects for mobile phones ("Wop Art", 2001), praised by many media sites and the international press, including The Guardian (UK) and Neural (Italy), and art involving public-access, by the web, SMS and MMS, and internet-streaming for electronic billboards like "Leste o Leste?" and "egoscópio" (2002), released by The New York Times, Poétrica (2003) and esc for escape (2004). Sue Thomas ( http://www.mti.dmu.ac.uk/~sthomas/ ) is the author of several books, most recently 'Hello World: travels in virtuality' (2004). She has managed numerous online writing projects and is interested in the impact of digital technologies on writing and lived experience - see the collaborative project Writing and the Digital Life. In 1995 she founded the trAce Online Writing Centre at Nottingham Trent University and was Artistic Director until joining De Montfort University as Professor of New Media in 2005, where she is developing research into transliteracy. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 16:20:35 +0200 message-id: <011001c5bf80$f245b1a0$307689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Original Message > ----- Original Message ----- __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 07:43:13 -0700 message-id: <200509221443.j8mehd5t013934@idx164.idx.net> references: no_parent from: Thomas Beard subject: RHIZOME_RAW: An Evening with James Fotopoulos Ocularis at Galapagos Art Space 70 North 6th Street, Brooklyn, NY 11211 Contact: Contact Thomas Beard for further information :: thomas@ocularis.net 646.420.0359 An Evening with James Fotopoulos Sunday, September 25 at 7 PM Ticket Price $6 Ocularis is proud to present a show of recent video by Chicago-based media artist James Fotopoulos. Included in the program are works that highlight his technical virtuosity and range of formal concerns, from the pulsing abstraction in film/video hybrid The Lighthouse to the many-layered tableaux of Spine Face, which fuses drawing, sculpture, and animation into a complex amalgam of zoo animals, guns, masks, Biblical scripture, and his usual share of ontological anxiety. The screening will also feature a single channel excerpt from his installation The Mirror Mask. Commissioned for the recent Contour Biennial in Belgium, The Mirror Mask takes Fotopoulos' longstanding practice of rendering organic forms in synthetic modes to its logical conclusion, with content that resembles everything from Egyptian hieroglyphs to digitized versions of Viennese Aktionism. "Considering his craft prowess, esthetic ambition, and obsessive productivity, it is by no means outrageous or presumptive to cite Fotopoulos as a kind of post-video answer to Stan Brakhage: a lone male explorer, delving far into the expressive possibilities of form through the interface of audio-visual technology. But whereas Brakhage’s machine-age legacy stresses the carefully controlled purity of an expressly filmic vision, Fotopoulos embraces the chaotic impurities of continuously-evolving electronic media. Just as Brakhage’s camera-vision emerged in the age of cinephilia, Fotopoulos’ digital drones and hypnotic pixels parallel our own daily immersion in computery realms." - Ed Halter, "James Fotopoulos" To be screened: The Lighthouse, 2004, 10 min, video; The Watchtower, 2003, 6 min, video; Spine Face, 2005, 41 min, video; The Mirror Mask (excerpt) 2005, 14 min, video; 30.40, 2005, 2 min, video All works are New York premieres. James Fotopoulos will introduce the program and take questions afterwards. Total Running Time: 73 min About James Fotopoulos The work of James Fotopoulos has shown internationally at many festivals and sites including International Film Festival Rotterdam, New York Underground Film Festival, Sundance Channel, Walker Art Center, and the Andy Warhol Museum, among others. In 2002 he had a retrospective at Anthology Film Archives and was exhibited in the 2004 Whitney Biennial. In 2005 he received the Creative Capital Grant for his video on the life of Richard Nixon and has a book of drawings, The Lime Book, soon to be published. Most recently he has completed an installation for the 2005 Contour Biennial for Video Art. About Ocularis Ocularis is a 501(c)3 not-for-profit organization that provides a forum for the exhibition of independent, experimental and documentary film/video and new media, as well as international and repertory cinema. Ocularis was established in 1996 as a rooftop film series catering to local audiences in North Brooklyn. Since then, Ocularis has evolved into a weekly cinema, a producer of collaborative film/video work and a summer open-air screening series. Ocularis screens weekly at Galapagos Art and Performance Space. 70 North 6th Street Brooklyn, NY 11211 http://www.ocularis.net tel/fax: 718.388.8713 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 16:46:31 +0100 message-id: <4332d1d7.9070501@furtherfield.org> references: no_parent from: marc subject: RHIZOME_RAW: NODE.London presents : Open Season, London, October 2005 *NODE.London presents : Open Season, London, October 2005* This October the UK government, as part of its presidency of the EU is holding a pan-European conference on how to consolidate regulation and control of intellectual property, copyright and technology. Looking for creative alternatives, NODE.London is declaring this October an 'Open Season' on technology, media, culture, politics and art with a diverse and challenging series of events - building towards London-wide media arts events in March 2006. October 2005 Sat-1st--Sun-2nd *WSFII* (The World Summit on Free Information Infrastructures) Saturday 1st and Sunday 2nd October 2005, 11am - 6pm. Limehouse Town Hall, 646 Commercial Road, London E14 7HA Booking details http://wsfii.org/register =A310, concs =A37.50 This event brings together practitioners and projects from the front lines of information infrastructure development to map out connections between Free Networks, Open Hardware, Free Media and Culture, Open Maps/Geodata, Open Civic Information and Community Currencies. Tues-4th *Future Wireless* (practical.discourse.creative / Cybersalon & Open Spectrum UK) Tuesday 4th October, 12noon-10pm. The Science Museum's Dana Centre, 165 Queen's Gate, South Kensington, London SW7 5HE http://www.cybersalon.org Book through bookings@cybersalon.org =A35 A day of presentations, demonstrations, practical workshops, artistic interventions and debates to illustrate and probe the nature, impact and potential of wireless Internet, mobile telecommunications and other radio-based technologies. Fri-7th--Sat-8th *Open Congress* (Creativity and the public domain) - Friday 7th Saturday 8th October 2005, 11am - 5pm. - Tate Britain, Millbank London SW1P 4RG http://opencongress.omweb.org/ Tate booking: 020 7887 8888 or online http://tinyurl.com/dub2u =A320 or =A315 concessions for both days Open Congress explores how methods derived from Free / Libre and Open Source Software (FLOSS) production can be deployed by those working in the area of art, visual culture and cultural production in general. Monday 10th - 7pm - 9.30pm Cybersalon on Brazilian Open Source Software & CopyLeft Guanabara Parker Street Nr. Drury Lane London WC2 No booking, free event http://www.cybersalon.org/info Speakers: Gilberto Gil - Minister of Culture, Brazil Claudio Prado - Digital Policy Coordinator, Ministry of Culture, Brazil Dr. Richard Barbrook - Cybersalon and University of Westminster This Cybersalon will discuss the Brazilian government's open source softw are project and its support for copyleft at the forthcoming WSIS conference o n 18-19th November in Tunis, Tunisia. [WSIS is the United Nations World Summit on the Information Society: ] (6.30pm: press reception) 7.00-9.30pm: Cybersalon lectures and discussion 10.00pm: charity auction of football shirts signed by Pele and Brazilian team 10.30pm until late: DJ set and surprise performance ++ many other exciting related events: check http://nodel.org/october.html for more details __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 09:35:30 -0700 message-id: <200509221635.j8mgzuok027401@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Re: im_mobile Hi Michael (and Jess), I like the music a lot and wouldn't have enjoyed the piece nearly as much without it. I think that song is very strong in and of itself, and I do agree that it is not background music for the visuals. If anything, the visuals are a sort of background meditation or visual commentary on the music. The piece foregrounds the song, treating it as something important, something worthy of serious consideration, contemplation, and dialogue. In so doing, it recontextualizes the song from yet another Bowie space song and it forces us to take this paraticular one seriously. The song is actually very profound, epic, and sweeping (about death via detatchment). All that import is already resident in the song (masked by pop music connotations). This piece just brings it out and makes us chew on it. The piece makes me thing of Roeg's "The Man Who Fell to Earth" because both juxtapose cosmic themes with earthly normalcy. The Man Who Fell to Earth is ostensibly sci-fi, but it's got cowboy music, flashbacks to 1800s settlers, and a lot of normal mid-1970s settings. Bowie's car is a classic pimpmobile. Here's a favorite quote from the film which seems applicable to Jess's piece: "The strange thing about television is that it doesn't tell you everything. You see everything about life on earth and yet the true mysteries remain. Perhaps that's in the nature of television, just waves in space." curt Michael Szpakowski wrote: > Hi Jess > > (although its nice of you to suggest it does:)> > > well...I *do* absolutely think it does.. I suppose I'm > just cautious ( and I take everything you say about > the purpose of the series) of the visceral power of > loud popular music ( which don't get me wrong, I like > in many contexts) rather overwhelming what seems to me > quite a delicate and intricate sensibility and piece > of work. I suppose I've just spent lots of time > recently thinking about & becoming more and more > gripped by linear, non interactive, non generative > sequences of images & moved and absorbed by the > smallest detail in these - the music feels like it's > competing for my attention in a rather unfair contest. > your short movies in a group recently too.> > thanks for looking! > < talks about micro- > narratives? is that what you are moving towards...?> > I honestly don't have a plan -perhaps this is a > weakness - I get up in the morning and if I have time > and an idea I make a short movie, rather like making > an entry in a diary - at the moment I'm doing stuff > with found footage & -loosely- "remakes" but I'm not > interested in plowing a furrow except the bare fact of > continuing to make the sequence; content wise I try > just to do something *I'd* like to watch.. > best > michael + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 18:51:52 +0200 message-id: <01f001c5bf96$0d920480$307689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Fw: Original Message > ----- Original Message ----- ----- Original Message ----- From: manik To: list@rhizome.org Sent: Thursday, September 22, 2005 4:20 PM Subject: Original Message > ----- Original Message ----- __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 10:32:55 -0700 message-id: <200509221732.j8mhwtwn003174@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Kauft die Kunst von Ramon Haze! - Ausstellung in Berlin Schaufenster .Eine Ausstellung für Buscha 11 e.V. An exhibition for Buscha 11 e.V. Schönhauser Allee 172 Hinterhof. Zugang über Toreinfahrt No. 171 10435 Berlin-Prenzlauer Berg U2 Senefelderplatz Ausstellung/ Exhibition Zeitraum/ Duration: 28.9. – 4.10.2005 täglich geöffnet/ open daily 12.00 - 21.00 Eröffnung /Grand opening: 27.9.2005, 18.00 2.Oktober 2005, 20.00 Einweihungsfest mit Infovortrag, Videoperformance von und mit Piotr Baran, Filmen von Lasse Brandt, Kunstversteigerung, Live-Musik und DJs Nejat und Nihat Bal /Housewarmingparty with informative lecture, video performance, films, auction, live music and dance DJs Holmer Feldmann • Malerei *1967, lebt und arbeitet in Buscha und Rom/Italien. Lives and works in Buscha and Rome/ Italy. Seit 2000 arbeitet Feldmann an seinem Zyklus der Briefbilder, detailgetreuen Kopien gefundener Briefe, die er auf Holztafeln und Leinwände malt. Er zeigt seine Arbeit "An Alice - aus dem Briefraum"./ Since 2000 Holmer Feldmann is working on his cycle of found letters, copied in detail in oil on wood and canvas. His work "To Alice - from the letter room" will be shown. Uwe Kolodziej • Malerei "Gelb" Xenia Helms • Installation *1972, lebt und arbeitet in Berlin. Lives and works in Berlin. Als ausgebildete Europäische Ethnologin hat Helms einen besonderen Blick für Alltägliches. 1995 begann sie Imbißbuden zu fotografieren, ein bis heute andauerndes Langzeitprojekt. Sie zeigt ihre Arbeit "Imbiß". /Xenia Helms has been studied European Ethnolgy / cultural studies which provided her with a special view on the ordinary. In 1995 she start to take photographs of fast food stands, a project that is enduring ever since. The exhibition will show her work "Imbiß". + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 11:27:28 -0700 message-id: <200509221827.j8mirsgg016616@idx164.idx.net> references: no_parent from: Linda Handler subject: RHIZOME_RAW: September 2005 Exhibits Gallery I, Erick Lassiter, Sylvia Marins, Rafael Pedicini. Gallery II, Joseph Brown. Project Room, John Hampshire. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 12:59:54 -0700 (PDT) message-id: <20050922195955.37678.qmail@web30506.mail.mud.yahoo.com> references: <200509221635.j8mgzuok027401@idx164.idx.net> from: Michael Szpakowski subject: Re: RHIZOME_RAW: Re: Re: im_mobile Hi Curt fair enough - I guess we just have different tastes here, & again I entirely take Jess's point about what she is attempting with this series It just feels to me like I'm being shouted at ( and I don't care at all for Bowie which doesn't help.) I used to teach theatre & the first assignment I used to give students was to write & stage fully a short autobiographical monologue, the idea being to get them thinking practically straight away about the different components of performance -speech, gesture, light, design, music, sound &c. The thing that used to really stand out was how many students used popular music as a shortcut to semaphore their emotional state - bunging this or that track on & quite often doing little else. Of course I'm not suggesting that Jess is doing anything at all like this, just that she is not trusting what is, in my view ( & I know you differ), the interesting thing about this piece,her treatment of the visuals; small, delicate,subtle. I'm not being snotty about popular music -there's much of it, as you know, that I love - sometimes though it's use in pieces like this feels to me like a sort of category error. best michael --- curt cloninger wrote: > Hi Michael (and Jess), > > I like the music a lot and wouldn't have enjoyed the > piece nearly as much without it. I think that song > is very strong in and of itself, and I do agree that > it is not background music for the visuals. If > anything, the visuals are a sort of background > meditation or visual commentary on the music. The > piece foregrounds the song, treating it as something > important, something worthy of serious > consideration, contemplation, and dialogue. In so > doing, it recontextualizes the song from yet another > Bowie space song and it forces us to take this > paraticular one seriously. The song is actually > very profound, epic, and sweeping (about death via > detatchment). All that import is already resident > in the song (masked by pop music connotations). > This piece just brings it out and makes us chew on > it. > > The piece makes me thing of Roeg's "The Man Who Fell > to Earth" because both juxtapose cosmic themes with > earthly normalcy. The Man Who Fell to Earth is > ostensibly sci-fi, but it's got cowboy music, > flashbacks to 1800s settlers, and a lot of normal > mid-1970s settings. Bowie's car is a classic > pimpmobile. Here's a favorite quote from the film > which seems applicable to Jess's piece: > > "The strange thing about television is that it > doesn't tell you everything. You see everything > about life on earth and yet the true mysteries > remain. Perhaps that's in the nature of television, > just waves in space." > > curt > > > > Michael Szpakowski wrote: > > > Hi Jess > > > > > (although its nice of you to suggest it does:)> > > > > well...I *do* absolutely think it does.. I suppose > I'm > > just cautious ( and I take everything you say > about > > the purpose of the series) of the visceral power > of > > loud popular music ( which don't get me wrong, I > like > > in many contexts) rather overwhelming what seems > to me > > quite a delicate and intricate sensibility and > piece > > of work. I suppose I've just spent lots of time > > recently thinking about & becoming more and more > > gripped by linear, non interactive, non generative > > sequences of images & moved and absorbed by the > > smallest detail in these - the music feels like > it's > > competing for my attention in a rather unfair > contest. > > > your short movies in a group recently too.> > > thanks for looking! > > < talks about micro- > > narratives? is that what you are moving > towards...?> > > I honestly don't have a plan -perhaps this is a > > weakness - I get up in the morning and if I have > time > > and an idea I make a short movie, rather like > making > > an entry in a diary - at the moment I'm doing > stuff > > with found footage & -loosely- "remakes" but I'm > not > > interested in plowing a furrow except the bare > fact of > > continuing to make the sequence; content wise I > try > > just to do something *I'd* like to watch.. > > best > > michael > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set > out in the > Membership Agreement available online at > http://rhizome.org/info/29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 13:32 message-id: <200509222031.j8mkvpie029036@idx164.idx.net> references: no_parent from: subject: Re: Fw: RHIZOME_RAW: ORIGINAL this is ORIGINAL: http://aqua.subnet.at/carlos/projekte/netart/original/ how can you say this is better? ;-) >   > ----- Original Message ----- > From: manik > To: list@rhizome.org > Sent: Wednesday, September 21, 2005 9:47 PM > Subject: Fw: RHIZOME_RAW: ORIGINAL > 
  > ----- Original Message ----- > From: manik > To: list@rhizome.org > Sent: Saturday, May 21, 2005 5:49 PM > Subject: RHIZOME_RAW: ORIGINAL > 
  >   >   >   >                             THIS IS BETTER THAN ORIGINAL >                                                   MANIK >   + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 14:00:18 -0700 message-id: <200509222100.j8ml0iup032642@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Re: ASSISTANT PROFESSOR of SCULPTURE, STANFORD UNIVERSITY wrote: > ASSISTANT PROFESSOR (tenure track) > STANFORD UNIVERSITY > Stanford is seeking to hire a practicing sculptor, preferably with > expertise in areas such as installation, environmental systems, or > advanced fabrication technologies, to start September 2006 with the > rank of Assistant Professor. The ideal candidate will possess a > record of important exhibitions, a studio practice likely to attract > gifted graduate students, and a strong commitment to teaching and > advising. An M.F.A. (or equivalent) and college–level experience in > teaching sculpture is normally expected. Responsibilities will > include the teaching of sculpture classes for majors and non-majors > and the teaching and advising of M.F.A. students. We are seeking > someone eager to participate fully in a dynamic studio art program > that grants B.A. and M.F.A. degrees in the Fine Arts, an M.F.A. in > Documentary Film, and an M.F.A. degree in Product Design (in > cooperation with the Department of Mechanical Engineering). > Application deadline: December 15, 2005. Please send a letter of > introduction, a statement of artistic and academic goals, a c.v., a > record of teaching experience, and 20 slides labeled with slide > script, video documentation on DVD (as applicable), and a SASE for > return of slides and/or DVDs. In addition, please supply the names > and contact information of three referees. Applications should go to: > Search Committee in Sculpture, Stanford University, Department of Art > and Art History, 435 Lasuen Mall, Stanford, CA 94305-2018. Stanford > University is an equal opportunity, affirmative action employer. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 23:20:07 +0200 (CEST) message-id: <20050922212007.6f31c21fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Cd-rom casefrac Chilean, CMOS camcorder CIDR, Co cabs COULD checksummed, Conjunctions Cal. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 15:14 message-id: references: <> from: carlos katastrofsky subject: Re: Fw: RHIZOME_RAW: ORIGINAL EMOTIONAL POST > Are you referencing my extremely emotional post ? > MANIK not directly. i just mis/used your statement for advertising. this happened in a state of emotion, too. carlos > ----- Original Message ----- > From: "carlos katastrofsky" > To: "manik" ; > Sent: Thursday, September 22, 2005 1:32 PM > Subject: Re: Fw: RHIZOME_RAW: ORIGINAL > > > > this is ORIGINAL: > > http://aqua.subnet.at/carlos/projekte/netart/original/ > > how can you say this is better? > > ;-) > > > > > > ----- Original Message ----- > > > From: manik > > > To: list@rhizome.org > > > Sent: Wednesday, September 21, 2005 9:47 PM > > > Subject: Fw: RHIZOME_RAW: ORIGINAL > > > 
 > > > ----- Original Message ----- > > > From: manik > > > To: list@rhizome.org > > > Sent: Saturday, May 21, 2005 5:49 PM > > > Subject: RHIZOME_RAW: ORIGINAL > > > 
 > > > > > > > > > > > > THIS IS BETTER THAN ORIGINAL > > > MANIK > > > > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 23:32:30 +0100 message-id: <43333f0e.6892.33706e2@localhost> references: <200509221635.j8mgzuok027401@idx164.idx.net> from: Jess Loseby subject: Re: RHIZOME_RAW: Re: Re: im_mobile
Hi Michael,

I think bowie is a bit like marmite (either love it or hate it) - I don't think anyone is shouting "how dare you not like marmite..."  I admit I adore both bowie and that particular album, sorry:)

I'm not trying to defend the work (as I don't think you were attacking it) but honestly, using the music with the visuals is not about trust. 90% of my work deals with the small and subtle which I guess is why I like to dip in and out of "chewy" music (as curt so aptly put it) with this series.

The other ones in the series are "rsstango" (Divine Comedy)  which is news you can flirt with, "jellynet" (scissor sisters) which is apathy with you can dance to,  "textual tango" (sting/moulin rouge) sexy noncommunication and Lapdance (Pucinni) which is - well just that. All of these (visually) are rooted in "the domestic" as I am but  - because of the music and lyrics - become something transgressed, something  stolen - as I did when I first listened to my fav tunes and forcibly made them applicable to me and my circumstances...

Perhaps montage/mixing (moving or static) is always and emotional takeover bid....? Your pelinger archive movs also allow you to step outside of the  {visual] material that is immediately available to you normally - but that wouldn't suggest for a second that you did not trust your own...?


cheers,
jess.


> Hi Curt
> fair enough - I guess we just have different tastes
> here, & again I entirely take Jess's point about what
> she is attempting with this series
> It just feels to me like I'm being shouted at ( and I
> don't care at all for Bowie which doesn't help.)
> I used to teach theatre & the first assignment I used
> to give students was to write & stage fully a short
> autobiographical monologue, the idea being to get thempelinger
> thinking practically straight away about the different
> components of performance -speech, gesture, light,
> design, music, sound &c.
> The thing that used to really stand out was how many
> students used popular music as a shortcut to semaphore
> their emotional state - bunging this or that track on
> & quite often doing little else.
> Of course I'm not suggesting that Jess is doing
> anything at all like this, just that she is not
> trusting what is, in my view ( & I know you differ),
> the interesting thing about this piece,her treatment
> of the visuals; small, delicate,subtle.
> I'm not being snotty about popular music -there's much
> of it, as you know, that I love - sometimes though
> it's use in pieces like this feels to me like a sort
> of category error.
> best
> michael
>

o
/^\ rssgallery.com
][
+ -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 18:34:04 -0400 message-id: <83ebc45c-182e-467f-8391-e14812fe1bba@eyebeam.org> references: no_parent from: Christa Blatchford subject: RHIZOME_RAW: Eyebeam Announces Amanda McDonald Crowley as Executive Director delsp=yes; format=flowed For Immediate Release Media Contact: Christa Blatchford/ Perry Lowe 212/937.6580 x231/ x222 press@eyebeam.org www.eyebeam.org Amanda McDonald Crowley Appointed Executive Director of Eyebeam New York, NY, October 10 =96 Eyebeam is pleased to announce the appointment of Amanda McDonald Crowley as Executive Director of the not-for-profit arts and technology center. McDonald Crowley is relocating from her native Australia where she has been based while working nationally and throughout Europe and Asia as an arts producer, facilitator, researcher and curator. She will begin her new =20 position at Eyebeam on October 10, 2005. McDonald Crowley brings to Eyebeam a substantial and international background in media arts. Her prior vision and experience in fostering the cross-disciplinary practice, collaboration and exchange =20 provide a perfect fit to Eyebeam=92s mission and model. "Amanda McDonald Crowley is one of the most accomplished, groundbreaking new media curators and producers anywhere in the world," stated Steve Dietz, Director, ISEA2006 Symposium and ZeroOne San Jose Festival. "Her experience as director of ANAT, as a producer at the Adelaide Festival and ISEA2004 Symposium is a perfect match for the adventuresome, artist-oriented programming that both Amanda and Eyebeam are known for." Prior to joining Eyebeam, McDonald Crowley served as the Executive Producer of the 2004 International Symposium of Electronic Art (ISEA2004), developing the event from concept to major conferences, exhibitions, performances, concerts and site specific installations on a ferry in the Baltic Sea and locations in Estonia and Finland. In 2002-03 she was an arts worker in residency at Sarai: the New Media Initiative in Delhi, India and was Associate Director for Adelaide Festival 2002. =46rom 1995 to 2000 McDonald Crowley was Director of the Australian Network for Art and Technology (ANAT), an organization with a national brief to foster links between the arts, sciences and new technology. =93I am particularly excited by the opportunity to work with an organization that has such a strong commitment to an 'atelier' model. =20 It encourages a direct engagement with and participation in work that =20 makes sense of the intersection of the arts, sciences and technology,=94 said McDonald Crowley. =93Eyebeam's objectives and programs engage with impressively diverse groups of artists and audiences. I have a strong personal commitment to cross-disciplinary and collaborative art practices and am keen to ensure that Eyebeam continues to build partnerships nationally and internationally whilst =20 maintaining it's important role locally in providing innovative, stimulating, hopefully occasionally challenging but also celebratory spaces for the research, production and presentation of contemporary culture.=94 Eyebeam Board Chair John S. Johnson stated, "We're thrilled to have someone with Amanda's experience and vision to take Eyebeam into the next phase of it's development." McDonald Crowley arrives during the final phase of a year-long renovation of the Eyebeam's Chelsea facility which locates all programming under one roof for the first time. The renovation created new production and education studios, labs, editing suites, prototyping galleries, administrative offices, a flexible lounge/events space, a bookstore and expanded public entrance while retaining the existing 5,000 square foot main gallery, =20 one of the largest uninterrupted exhibition spaces in Chelsea. This reconfigured space renews emphasis on artists' experimentation and process, the exhibition of work produced within Eyebeam's studios and =20 labs, as well as on alternative forms of public presentation. "Amanda is a generous colleague and tireless advocate for whom contemporary cultural production is always firmly positioned within the broader political, socio-economic and cultural landscape," affirmed Sarah Miller, Director, Perth Institute of Contemporary Arts =20 (PICA). "This new role sees her well positioned to progress Eyebeam's =20 charter as it moves into the next exciting stage of its development. " Eyebeam Eyebeam supports the creation, presentation and analysis of new forms =20 of innovative cultural production. Founded in 1996, Eyebeam is dedicated to exposing broad and diverse audiences to new technologies =20 and media arts, while simultaneously establishing and demonstrating new media as a significant genre. Eyebeam's programs are made possible through the generous support of Atlantic Foundation, the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, Time Warner Youth Media and Arts =20 Fund, Alienware, the Jerome Foundation, the Helena Rubinstein Foundation, the Greenwall Foundation, the New York State Council on the Arts, a state agency, the New York City Department of Cultural Affairs, the David S. Howe Foundation, the Lerer Family Charitable Foundation, the Sony Corporation, Alias Systems, Inc. and the Milton and Sally Avery Foundation. Eyebeam Location: 540 w 21st Street between 10th & 11th Avenues Hours: Tuesday =96 Saturday, 12:00 =96 6:00pm Bookstore: Tuesday =96 Saturday, 12:00 =96 6:00pm Admission: All events are free to the public unless otherwise noted Website: www.eyebeam.org Email: info@eyebeam.org # # # =20 --Apple-Mail-11-944873108 Content-Type: text/html;

For Immediate Release

=A0
Media Contact:
Christa Blatchford/ Perry Lowe
212/937.6580 x231/ x222

press@eyebeam.org

www.eyebeam.org

=A0

Amanda McDonald Crowley

Appointed Executive Director of Eyebeam

=A0

=A0
New York, NY, October 10 =96 Eyebeam is pleased to announce the appointment of Amanda McDonald Crowley as Executive Director of the not-for-profit arts and technology center. McDonald Crowley is relocating from her native Australia where she has been based while working nationally and throughout Europe and Asia as an arts producer, facilitator, researcher and curator. She will begin her new position at Eyebeam on October 10, 2005.
=A0
McDonald Crowley brings to Eyebeam a substantial and international background in media arts.=A0 Her prior vision and experience in fostering the cross-disciplinary practice, collaboration and exchange provide a perfect fit to Eyebeam=92s mission and model. "Amanda McDonald Crowley is one of the most accomplished, groundbreaking new media curators and producers anywhere in the world," stated Steve Dietz, Director, ISEA2006 Symposium and ZeroOne San Jose Festival. "Her experience as director of ANAT, as a producer at the Adelaide Festival and ISEA2004 Symposium is a perfect match for the adventuresome, artist-oriented programming that both Amanda and Eyebeam are known for."
=A0
Prior to joining Eyebeam, McDonald Crowley served as the Executive Producer of the 2004 International Symposium of Electronic Art (ISEA2004), developing the event from concept to major conferences, exhibitions, performances, concerts and site specific installations on a ferry in the Baltic Sea and locations in Estonia and Finland.=A0 In 2002-03 she was an arts worker in residency at Sarai: the New Media Initiative in Delhi, India and was Associate Director for Adelaide Festival 2002. =46rom 1995 to 2000 McDonald Crowley was Director of the Australian Network for Art and Technology (ANAT), an organization with a national brief to foster links between the arts, sciences and new technology.
=A0
=93I am particularly excited by the opportunity to work with an organization that has such a strong commitment to an 'atelier' model. It encourages a direct engagement with and participation in work that makes sense of the intersection of the arts, sciences and technology,=94 said McDonald Crowley.=A0 =93Eyebeam's objectives and programs engage with impressively diverse groups of artists and audiences. I have a strong personal commitment to cross-disciplinary and collaborative art practices and am keen to ensure that Eyebeam continues to build partnerships nationally and internationally whilst maintaining it's important role locally in providing innovative,

stimulating, hopefully occasionally challenging but also celebratory spaces for the research, production and presentation of contemporary culture.=94
=A0
Eyebeam Board Chair John S. Johnson stated, "We're thrilled to have someone with Amanda's experience and vision to take Eyebeam into the next phase of it's development." McDonald Crowley arrives during the final phase of a year-long renovation of the Eyebeam's Chelsea facility which locates all programming under one roof for the first time. The renovation created new production and education studios, labs, editing suites, prototyping galleries, administrative offices, a flexible lounge/events space, a bookstore and expanded public entrance while retaining the existing 5,000 square foot main gallery, one of the largest uninterrupted exhibition spaces in Chelsea. This reconfigured space renews emphasis on artists' experimentation and process, the exhibition of work produced within Eyebeam's studios and labs, as well as on alternative forms of public presentation.

"Amanda is a generous colleague and tireless advocate for whom contemporary cultural production is always firmly positioned within the broader political, socio-economic and cultural landscape," affirmed Sarah Miller, Director, Perth Institute of Contemporary Arts (PICA). "This new role sees her well positioned to progress Eyebeam's charter as it moves into the next exciting stage of its development. "

=A0

Eyebeam

Eyebeam supports the creation, presentation and analysis of new forms of innovative cultural production. Founded in 1996, Eyebeam is dedicated to exposing broad and diverse audiences to new technologies and media arts, while simultaneously establishing and demonstrating new media as a significant genre.
=A0
Eyebeam's programs are made possible through the generous support of Atlantic Foundation, the Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, Time Warner Youth Media and Arts Fund, Alienware, the Jerome Foundation, the Helena Rubinstein Foundation, the Greenwall Foundation, the New York State Council on the Arts, a state agency, the New York City Department of Cultural Affairs, the David S. Howe Foundation, the Lerer Family Charitable Foundation, the Sony Corporation, Alias Systems, Inc. and the Milton and Sally Avery Foundation.
=A0
Eyebeam
Location: 540 w 21st Street between 10th & 11th Avenues
Hours: Tuesday =96 Saturday, 12:00 =96 6:00pm
Bookstore: Tuesday =96 Saturday, 12:00 =96 6:00pm
Admission: All events are free to the public unless otherwise noted
Website: www.eyebeam.org
Email: info@eyebeam.org

# # #

=A0
=A0
=A0
--Apple-Mail-11-944873108-- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 00:35:39 +0200 message-id: <1edce29c-f947-4c91-a994-3e589ac57acd@nznl.com> references: <20050922195955.37678.qmail@web30506.mail.mud.yahoo.com> from: Geert Dekkers subject: Re: RHIZOME_RAW: Re: Re: im_mobile Hi all Just wanted to let you know I linked the piece to my blog at http:// nznl.com/blog.shtml Actually think of the music as a caption (of course I use captions all the time in my own work) -- as a way of taking the viewer by the hand, to guide to the unknown using something known. Geert http://nznl.com On 22-sep-2005, at 21:59, Michael Szpakowski wrote: > Hi Curt > fair enough - I guess we just have different tastes > here, & again I entirely take Jess's point about what > she is attempting with this series > It just feels to me like I'm being shouted at ( and I > don't care at all for Bowie which doesn't help.) > I used to teach theatre & the first assignment I used > to give students was to write & stage fully a short > autobiographical monologue, the idea being to get them > thinking practically straight away about the different > components of performance -speech, gesture, light, > design, music, sound &c. > The thing that used to really stand out was how many > students used popular music as a shortcut to semaphore > their emotional state - bunging this or that track on > & quite often doing little else. > Of course I'm not suggesting that Jess is doing > anything at all like this, just that she is not > trusting what is, in my view ( & I know you differ), > the interesting thing about this piece,her treatment > of the visuals; small, delicate,subtle. > I'm not being snotty about popular music -there's much > of it, as you know, that I love - sometimes though > it's use in pieces like this feels to me like a sort > of category error. > best > michael > > --- curt cloninger wrote: > > >> Hi Michael (and Jess), >> >> I like the music a lot and wouldn't have enjoyed the >> piece nearly as much without it. I think that song >> is very strong in and of itself, and I do agree that >> it is not background music for the visuals. If >> anything, the visuals are a sort of background >> meditation or visual commentary on the music. The >> piece foregrounds the song, treating it as something >> important, something worthy of serious >> consideration, contemplation, and dialogue. In so >> doing, it recontextualizes the song from yet another >> Bowie space song and it forces us to take this >> paraticular one seriously. The song is actually >> very profound, epic, and sweeping (about death via >> detatchment). All that import is already resident >> in the song (masked by pop music connotations). >> This piece just brings it out and makes us chew on >> it. >> >> The piece makes me thing of Roeg's "The Man Who Fell >> to Earth" because both juxtapose cosmic themes with >> earthly normalcy. The Man Who Fell to Earth is >> ostensibly sci-fi, but it's got cowboy music, >> flashbacks to 1800s settlers, and a lot of normal >> mid-1970s settings. Bowie's car is a classic >> pimpmobile. Here's a favorite quote from the film >> which seems applicable to Jess's piece: >> >> "The strange thing about television is that it >> doesn't tell you everything. You see everything >> about life on earth and yet the true mysteries >> remain. Perhaps that's in the nature of television, >> just waves in space." >> >> curt >> >> >> >> Michael Szpakowski wrote: >> >> >>> Hi Jess >>> >>> >> (although its nice of you to suggest it does:)> >>> >>> well...I *do* absolutely think it does.. I suppose >>> >> I'm >> >>> just cautious ( and I take everything you say >>> >> about >> >>> the purpose of the series) of the visceral power >>> >> of >> >>> loud popular music ( which don't get me wrong, I >>> >> like >> >>> in many contexts) rather overwhelming what seems >>> >> to me >> >>> quite a delicate and intricate sensibility and >>> >> piece >> >>> of work. I suppose I've just spent lots of time >>> recently thinking about & becoming more and more >>> gripped by linear, non interactive, non generative >>> sequences of images & moved and absorbed by the >>> smallest detail in these - the music feels like >>> >> it's >> >>> competing for my attention in a rather unfair >>> >> contest. >> >>> >> your short movies in a group recently too.> >>> thanks for looking! >>> < talks about micro- >>> narratives? is that what you are moving >>> >> towards...?> >> >>> I honestly don't have a plan -perhaps this is a >>> weakness - I get up in the morning and if I have >>> >> time >> >>> and an idea I make a short movie, rather like >>> >> making >> >>> an entry in a diary - at the moment I'm doing >>> >> stuff >> >>> with found footage & -loosely- "remakes" but I'm >>> >> not >> >>> interested in plowing a furrow except the bare >>> >> fact of >> >>> continuing to make the sequence; content wise I >>> >> try >> >>> just to do something *I'd* like to watch.. >>> best >>> michael >>> >> + >> -> post: list@rhizome.org >> -> questions: info@rhizome.org >> -> subscribe/unsubscribe: >> http://rhizome.org/preferences/subscribe.rhiz >> -> give: http://rhizome.org/support >> + >> Subscribers to Rhizome are subject to the terms set >> out in the >> Membership Agreement available online at >> http://rhizome.org/info/29.php >> >> > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 15:58:17 -0700 (PDT) message-id: <20050922225817.87229.qmail@web30508.mail.mud.yahoo.com> references: <43333f0e.6892.33706e2@localhost> from: Michael Szpakowski subject: Re: RHIZOME_RAW: Re: Re: im_mobile I'm a fan of your work Jess as you know ( and I've enjoyed the other pieces I've seen in this series; got a bollocking here from T Whid in fact for enthusing about "lapdance"). It's such a fine point I'm not sure how worth pushing it is - I suppose rather than just burbling about how great the piece was I wanted to state some honest reservations. Having said that I can't *resist* one rejoinder & that is that the Prelinger archive stuff invariably involves me working on the material to transform it. For me the parallel here is with the visuals in your piece ( I think you said some of it was harvested from the web) The Bowie just sits there, nothing is done to it, *although* I accept and am thinking about Curt's point ( which I think you are making as well) about the visuals *illuminating* the sound, a kind of commentary..(thinks).. OK ... I'm coming round to it procedurally; back to *taste* on the actual work of Bowie , or marmite; now *that* I do so love. warmest wishes michael --- Jess Loseby wrote: --------------------------------- Hi Michael, I think bowie is a bit like marmite (either love it or hate it) - I don't think anyone is shouting "how dare you not like marmite..." I admit I adore both bowie and that particular album, sorry:) I'm not trying to defend the work (as I don't think you were attacking it) but honestly, using the music with the visuals is not about trust. 90% of my work deals with the small and subtle which I guess is why I like to dip in and out of "chewy" music (as curt so aptly put it) with this series. The other ones in the series are "rsstango" (Divine Comedy) which is news you can flirt with, "jellynet" (scissor sisters) which is apathy with you can dance to, "textual tango" (sting/moulin rouge) sexy noncommunication and Lapdance (Pucinni) which is - well just that. All of these (visually) are rooted in "the domestic" as I am but - because of the music and lyrics - become something transgressed, something stolen - as I did when I first listened to my fav tunes and forcibly made them applicable to me and my circumstances... Perhaps montage/mixing (moving or static) is always and emotional takeover bid....? Your pelinger archive movs also allow you to step outside of the {visual] material that is immediately available to you normally - but that wouldn't suggest for a second that you did not trust your own...? cheers, jess. > Hi Curt > fair enough - I guess we just have different tastes > here, & again I entirely take Jess's point about what > she is attempting with this series > It just feels to me like I'm being shouted at ( and I > don't care at all for Bowie which doesn't help.) > I used to teach theatre & the first assignment I used > to give students was to write & stage fully a short > autobiographical monologue, the idea being to get thempelinger > thinking practically straight away about the different > components of performance -speech, gesture, light, > design, music, sound &c. > The thing that used to really stand out was how many > students used popular music as a shortcut to semaphore > their emotional state - bunging this or that track on > & quite often doing little else. > Of course I'm not suggesting that Jess is doing > anything at all like this, just that she is not > trusting what is, in my view ( & I know you differ), > the interesting thing about this piece,her treatment > of the visuals; small, delicate,subtle. > I'm not being snotty about popular music -there's much > of it, as you know, that I love - sometimes though > it's use in pieces like this feels to me like a sort > of category error. > best > michael > o /^\ rssgallery.com ][ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 16:34:39 -0700 message-id: <200509222334.j8mnydql020043@idx164.idx.net> references: no_parent from: Will Pappenheimer subject: RHIZOME_RAW: Here For You “Here For You” Will Pappenheimer Installation and Network performance http://www.willpap-projects.com/Here_For_You/Here_For_You.html Internet participants are invited to participate in a live network performance project opening Friday September 22nd at 7pm online and at the XINDUSTRIA exhibition at CAFKA 05, Kichener, Ontario. The project is a prototypical internet controlled space which allows virtual participants to adjust room lighting, see into the space, move objects, time clocks, upload messages and sound from your computer play it for the sound system. The guideline is to redirect surveillance, control and distance into channels of giving for physical visitors in the exhibition space. The exhibition continues through September 30. This is a large ongoing project with dual physical and virtual levels and the challenges of connectivity and mechanics. It will begin simply develop as the exhibition proceeds. “Here For You” will create a series of IP controlled conventional and fanciful domestic objects to comprise a network livingspace. Exhibition participants will be invited to relax in a living/domestic space constructed in or modified from available exhibition space. Appliances, both practical and artistic, can be controlled by anyone accessing the Internet from anywhere in the world. . The project hopes to create an environment where telepresence meets presence, remote control meets lifestyle, distance becomes proximity, surveillance becomes community and network becomes living room. XINDUSTRIA exhibition at CAFKA 05, Kitchener, Ontario http://www.contemporaryartforum.ca/cafkas/2005-artists.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 17:44:07 -0700 message-id: <200509230044.j8n0i70g027776@idx164.idx.net> references: no_parent from: Project X subject: RHIZOME_RAW: -----> X-TRA Vol. 8 No. 1 <----- X-TRA Contemporary Art Quarterly http://www.x-traonline.org X-TRA Volume 8 Launch Party In celebration of the publication of Volume 8, Issue 1, we invite you to join the editors and publishers of X-TRA for a launch party in Los Angeles. Friday, September 23, 2005, 7:30-9:30 PM at The Mountain 475 Gin Ling Way, Chinatown, Los Angeles In Volume 8, Number 1, X-TRA features a pair of articles that address the historicization of the 1980s art world. In "The Myth of Criticism in the 1980s," Howard Singerman looks at the shifting critical positions on the art of the 1980s as represented in the recent pages of Artforum and Jack Goldstein and the CalArts Mafia. In conjunction with Singerman's essay, X-TRA is pleased to reprint of Douglas Crimp's original catalog essay from the pivotal Pictures exhibition at Artists Space in 1977. Substantially different from the later version published in a 1979 issue of October, Crimp's original essay has never been published outside of the exhibition brochure. Responding to the recent passing of legendary curator Walter Hopps, Ken Allan reflects on Hopps' importance to the Los Angeles art world. Allan details how Hopps' career shifted from promoting artist friends in unconventional exhibitions to participating in a "scene" that exemplified the particular combination of creativity and commodification that characterized the 1960s. Regular columnist Allan deSouza uncovers some delights and drawbacks of Parisian flaneurie in his latest postcard installment. This issue's Artist's Project features William Leavitt's Organism (a theatrical habitat), a fragment of a theatrical script that was in part generated by the semi-random selection of the images that are used to illustrate it. In the Reviews section, Jennifer Wulffson Goodell provides a walkabout of Olafur Eliasson's Meant to Be Lived In, a recent installation at the Jamie Residence in Pasadena. In a review of Marina Kappos's recent paintings at the Happy Lion, Kristina Newhouse examines how the subject disappears into the Los Angeles landscape. David Hatcher contemplates assemblage, postcolonial aesthetics, and art politics in a review of Wangechi Mutu's Problematica exhibition at Susan Vielmetter Los Angeles Projects. Reviewer Shana Lutker looks at recent visions of the public in the work of Carey Young, Sharon Hayes and Paul Chan. Sandra Esslinger revisits the presence of the female body in Barbara T. Smith's early feminist performances. With Volume 8, X-TRA continues its ambitious foray into arts journalism. Further refining the look and accessibility of the magazine, the editors have collaborated with Aaron King of Holiday Los Angeles in creating a new cover design. Additionally, X-TRA is now available on newsstands and in bookstores nationwide. Open Call for Artists' Projects: For the first time, X-TRA is extending an open call for Artists' Projects for our upcoming Volume 8. Artists are invited to submit original ideas for direct-to-print artworks for publication that address the content, context, and format of the magazine. Artists are encouraged to incorporate a web-based element in their proposal for online publication at our website. For more information, consult the advertising section of the current issue, our website at http://www.x-traonline.org, or contact editors@x-traonline.org. X-TRA is a contemporary art quarterly published in Los Angeles. Begun in 1997 by artists to provide an alternative to the limited critical discourse then available in Los Angeles, X-TRA has evolved into a provocative source for contemporary art criticism. Composed of Los Angeles-based artists and writers, the editorial board of X-TRA supports diverse critical approaches and unusual formats alongside historical essays, commissioned artists' projects, interviews, and substantive exhibition and book reviews. X-TRA is published by Project X Foundation for Art and Criticism, a not-for-profit 501(c)(3) organization. X-TRA is supported by the National Endowment for the Arts, the Los Angeles County Arts Commission, the City of Los Angeles Cultural Affairs Department, the California Community Foundation, the Pasadena Art Alliance, and the Peter Norton Family Foundation. X-TRA Editorial Board: Ken Allan, Stephen Berens, Ellen Birrell, Allan deSouza, Kianga Ford, Micol Hebron, Kristina Newhouse, Elizabeth Pulsinelli, Kati Rubinyi, Jan Tumlir. Project X Foundation for Art and Criticism: Jeff Beall, Stephen Berens, Ellen Birrell, Mike Kelley, Cay Sophie Rabinowitz, Mitchell Syrop. For information about X-TRA distribution, please contact projectx@x-traonline.org. Subscription information can be found at http://www.x-traonline.org. Please contact ads@x-traonline.org for ad rates and specifications. For more information about X-TRA, please contact : editors@x-traonline.org. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 20:56:34 -0400 message-id: references: from: subject: RHIZOME_RAW: Postcards from the Edge REMINDER / DEADLINE fyi ---------- Forwarded message ---------- From: Nelson Santos, Visual AIDS Date: Sep 22, 2005 5:43 PM Subject: [Visual AIDS - Friends] Postcards from the Edge REMINDER / DEADLINE To: Friends of Visual AIDS Postcards From the Edge Visual AIDS benefit Mark Your Calendars Three days of events! Pre-View Exhibition (NO SALES) Sunday, October 16 from 6:00-8:00 PM The only way to get a sneak peek and see the entire show! NO SALES. Artwork is displayed anonymously.$50 cover at the door includes one raffle ticket for a chance to win first selection of any artwork that evening. Participating artists may attend for free. Benefit Sale Opens Monday, October 17 from 6:00-9:00 PM and continues Tuesday, October 18 from 10:00-5:00 PM Only $50 each. First-come First-served. Over 1000 original postcards-size works of art. Works are signed on the back and displayed anonymously. Artists' names are revealed only after purchase. Cash and check only. Plan your holiday shopping now! All events take place at: Robert Miller Gallery 524 W. 26th Street (between 10th & 11th Ave) For more information visit: http://thebody.com/visualaids/current/postcards2005.html Artwork Deadline Postmark by Friday, September 30, 2005 If you are an artist and would like to participate in this year's Postcards from the Edge you must postmark your work by Friday, September 30, 2005. All artwork should be sent directly to Visual AIDS, 526 West 26th St. #510, New York, NY 10001 (DO NOT SEND OR DROP OFF ANY ARTWORK AT ROBERT MILLER GALLERY) Due to the large amount of work that needs to be processed, we can not accept any artwork that arrives at the Visual AIDS office after Friday, October 7, 2005. To download submission forms visit: http://thebody.com/visualaids/current/postcards2005_artists.html Volunteers Visual AIDS is still in need of volunteers to help before, during and after all Postcard from the Edge events. If you would like to help out, please contact Nelson Santos at nsantos@visualAIDS.org Thank you for your support! -- Nelson Santos Assistant Director Visual AIDS 526 W 26th Street #510 New York, NY 10001 P. 212.627.9855 F. 212.627.9815 E. nsantos@visualAIDS.org www.visualAIDS.org _______________________________________________ vafriends-visualaids.org mailing list vafriends-visualaids.org@lists.visualaids.org http://lists.visualaids.org/listinfo.cgi/vafriends-visualaids.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 18:14:50 -0700 message-id: <200509230114.j8n1eoau030426@idx164.idx.net> references: no_parent from: Robert-Jan Verhagen subject: RHIZOME_RAW: New <>TAG MAG Oh my, the second issue of TAG MAG is out: THE ULTIMATE BUBBLE ISSUE! Generic programming alle over the place. Headlining JASCH, Martijn van Boven and Theun Karelse. Also check www.tag004.nl + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 18:18:11 -0700 message-id: <200509230118.j8n1ibsd030796@idx164.idx.net> references: no_parent from: Robert-Jan Verhagen subject: RHIZOME_RAW: JASH EXHIBITION The swiss master of generic imaging: check http://www.tag004.nl + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 22:23:22 -0500 message-id: <0abc534e979b64d49abed7204962daa9@gmail.com> references: no_parent from: Ryan Griffis subject: RHIZOME_RAW: september action http://www.septemberaction.org/cs/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 22 Sep 2005 22:21:34 -0700 message-id: <200509230521.j8n5lyl8024936@idx164.idx.net> references: no_parent from: Trebor subject: RHIZOME_RAW: *Anyone Can Edit*: Understanding the Produser The Cultural Studies Concentration of Eugene Lang College & the Institute for Distributed Creativity present: *Anyone Can Edit*: Understanding the Produser Dr Axel Bruns Creative Industries Faculty Queensland University of Technology 10.00AM-11.40AM Tuesday 11th October room 215 in the Graduate Faculty Buiding 65 5th Avenue (between 14th and 13th sts) New York, NY Recent decades have seen the dual trend of growing digitization of content, and of increasing availability of sophisticated tools for creating, manipulating, publishing, and disseminating that content. Advertising campaigns openly encourage users to ŒRip. Mix. Burn.‚ and to share the fruits of their individual or collaborative efforts with the rest of the world. The Internet has smashed the distribution bottleneck of older media, and the dominance of the traditional producer > publisher > distributor value chain has weakened. Marshall McLuhan‚s dictum Œeveryone‚s a publisher‚ is on the verge of becoming a reality * and more to the point, as the Wikipedia proudly proclaims, Œanyone can edit.‚ The effect of these changes is not simply more (and more informed) consumption, however * we are not turning into Alvin Toffler‚s Œprosumers‚: consumers with an almost professional level of knowledge about what they consume, but consumers nonetheless. Instead, the networked and hypermediated persona that emerges is a very different beast: users are becoming active producers of content in a variety of open and collaborative environments. Whether it is as members of the distributed development and testing community for open source software projects, as authors, editors, and fact-checkers for one of the multi-lingual Wikipedia sites, as reporters, commentators, and pundits in open news publications ranging from South Korean citizen news site OhmyNews to tech-nerd haven Slashdot, or as global explorers and annotators for Google Earth, they are no longer producers or consumers, publishers or audiences, but both at the same time. They are not prosumers, but user-producers: produsers. While born perhaps out of a collaborative, open source ideology, produsing is now increasingly recognized as both a challenge and an opportunity by business and governments alike. For example, the Sims range of games relies overwhelmingly on its users as content produsers * 90% of content in The Sims itself is contributed by user-produsers. Similarly, Brisbane-based games company Auran has established a community of produsers around its popular train simulator Trainz, with some 200,000 Œassets‚ (locomotives, carriages, scenery and other elements) prodused so far. BBC News Online and other agencies now regularly call for their users to send in camera phone footage of unfolding events. And Trendwatching.com even sees a whole ŒGeneration C‚ of produsers emerging before our very eyes. More broadly, the Chinese government is in the process of initiating a shift in its economic focus from Œmade in China‚ to Œcreated in China‚, aiming to turn the country from the world‚s factory to the world‚s ideas generator. This shift, with its strong links to the recognition by European and Australian governments of the creative industries as a key economic driver, also builds on the move from users to produsers * it seeks to harness collaborative, grassroots creativity as a means of generating new ideas and new content (while at the same time attempting to maintain state control of the process). So who are these produsers * and how will they fare in the light of increasing business and government involvement? As economic interests begin to explore ways to generate revenue from produsage, will they undermine its collaborative foundations, and will they reintroduce a regime of stricter intellectual property licensing? Or can the grassroots movement of produsers effect lasting change in our engagement with content, establishing a solid foothold for creative commons and other alternative IP licensing systems, and developing an equitable approach to relationships between the produser community and commercial partners? Bio: Dr Axel Bruns Creative Industries Faculty Queensland University of Technology Brisbane, Australia a.bruns@qut.edu.au http://snurb.info/ Axel is currently researcher-in-residence at the Institute for Distributed Creativity. He teaches and conducts research about online publishing, electronic creative writing, online communities and popular music in the Creative Industries Faculty at Queensland University of Technology in Brisbane, Australia. He is the author of Gatewatching: Collaborative Online News Production (New York: Peter Lang, 2005), and a founding editor of the online academic publications M/C * Media and Culture and dotlit: The Online Journal of Creative Writing . He is currently preparing Uses of Blogs (with Joanne Jacobs), an edited collection of scholarly work examining the range of current approaches to blogging (forthcoming from Peter Lang in 2006). More information about this book and other research projects and publications can be found in his blog at http://snurb.info/. Eugene Lang College The New School for Liberal Arts http://www.lang.newschool.edu/ The Institute for Distributed Creativity http://distributedcreativity.org/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 11:14:32 +0200 message-id: <4333c778.7000005@kunsttot.de> references: no_parent from: Johannes Auer subject: RHIZOME_RAW: Reminder: 1st =?UTF-8?B?QmFjaGVsb3Jz4oCZIFByaXplIGZvciBOZXQtTGl0? =?UTF-8?B?ZXJhdHVyZSAvLyAgZGVhZGxpbmUgMzAuIFNlcHRlbWJlciAwNQ==? Deadline Approching! One week to go until the deadline for the 1st Bachelors’ Prize for Net-Literature on 30 September. For the details, see ----------------------------------------------- http://www.junggesellenpreis.de/index_engl.html ----------------------------------------------- Noch eine Woche bis zum Abgabeschluss fuer den 1. Junggesellenpreis fuer Netzliteratur am 30. September. Weitere Informationen siehe ------------------------------- http://www.junggesellenpreis.de ------------------------------- ------------------------------------------------------------------------- Literaturhaus Stuttgart in co-operation with Johannes Auer Literaturhaus Stuttgart Breitscheidestrasse 4 D-70174 Stuttgart Fon +49 (0) 711 – 22 02 17 3 Fax +49 (0) 711 – 22 02 17 48 www.literaturhaus-stuttgart.de www.code-interface-concept.de www.literatur-und-strom.de ------------------------------------------------------------------------- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 06:39:34 -0700 message-id: <200509231339.j8nddysf021951@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Re: Re: Re: im_mobile Hi Michael n' Jess, http://playdamage.org is full of pop audio, but the source audio is transformed by lifting tiny, quintessential bits out of context, looping them (sometimes synchopatedly), and compressing their sound quality. So I'd see that more as the equivalent of the prelinger visual remix approach. I do hate it when my students just put a full, high quality pop song as the background music for their pieces for no conceptual reason whatsoever. But the thing I like about Jess's piece is that the visuals are in such a weird intentional dialogue with the song. They are very tightly synched to the rhythm of the song, so much so that they almost feel like they are being driven by the audio via a synesthetic MAX/MSP bridge. And yet the content of the images is so un-outer-spacy. I freely admit that Bowie is a guilty pleasure. Not just Low/Heroes era with Eno. I even like "China Girl." curt Michael Szpakowski wrote: > I'm a fan of your work Jess as you know ( and I've > enjoyed the other pieces I've seen in this series; got > a bollocking here from T Whid in fact for enthusing > about "lapdance"). It's such a fine point I'm not sure > how worth pushing it is - I suppose rather than just > burbling about how great the piece was I wanted to > state some honest reservations. > Having said that I can't *resist* one rejoinder & that > is that the Prelinger archive stuff invariably > involves me working on the material to transform it. > For me the parallel here is with the visuals in your > piece ( I think you said some of it was harvested from > the web) > The Bowie just sits there, nothing is done to it, > *although* I accept and am thinking about Curt's point > ( which I think you are making as well) about the > visuals *illuminating* the sound, a kind of > commentary..(thinks).. OK ... I'm coming round to it > procedurally; back to *taste* on the actual work of > Bowie , or marmite; now *that* I do so love. > warmest wishes > michael + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 06:48:46 -0700 message-id: <200509231348.j8ndmkw7023050@idx164.idx.net> references: no_parent from: Christiane Paul subject: RHIZOME_RAW: jihui Digital Salon presents Joachim Sauter -- Chelsea Art Museum, Fri. Sept. 30, 6-8PM jihui Digital Salon In cooperation with The Project Room@Chelsea Art Museum presents Joachim Sauter Friday Sept. 30, 2005 - 6-8 PM NEW LOCATION: Chelsea Art Museum, 3rd Floor 556 West 22nd Street New York, NY 10011 http://agent.netart-init.org http://www.chelseaartmuseum.org Joachim Sauter will discuss the groundbreaking work that he has developed as part of the art collective and company Art+COM (http://www.artcom.de), one of the leaders in the field of interactive applications. Founded in 1988 by a group of artists, designers, scientists, and technicians, Art+Com has been committed to the future of new media and realizes ambitious, custom-tailored applications in the field of information and communication technologies. BIO: Joachim Sauter studied design at the polytechnic university Schwäbisch Gmünd. After completing his MA at the academy of fine arts in Berlin, he continued his studies at the 'German Academy for Film and Television,' Berlin. During this time, he received several film awards such as the 'Lisitzky Award' from the 'Deutscher Künstlerbund' and the 'Max Ophuels short-film-award.' Sauter has been using computers both as a tool and as a medium from the early stages of his work. Fueled by this interest, he founded Art+Com in 1988, together with other artist, designers, scientists and technicians. Their goal was to practically research this new upcoming medium in the realm of art and design. In the course of his work he was invited to participate on many exhibitions. Beside others he showed his work at Ars Electronica, Linz: Centre Pompidou, Paris, Stejdilik Museum, Amsterdam; Museum for Contemporary Art, Sidney; Deichtorhallen, Hamburg; Venice Biennial; ICC, Tokyo; Getty Center, Los Angeles; and ZKM, Karlsruhe. He received several awards like the 'Ars Electronica Interactive Award,' the 'Los Angeles Interactive Media Award,' the 'Prix Pixel INA,' the 'British Academy for Film and Television Interactive Award,' the 'German Design Award,' and the 'Swiss Design Award.' Since 1991 he is full professor for "New Media Art and Design" at the University of the Arts Berlin and since 2001 adjunct professor at the Design | Media Arts Center at UCLA, Los Angeles. jihui (the meeting point), a self-regulated digital salon, invites all interested people to send ideas for discussion/performance/etc. jihui is where your voice is heard and your vision shared. jihui is a joint public program by NETART INITIATIVE and INTELLIGENT AGENT http://www.netart-init.org | http://www.intelligentagent.com THE PROJECT ROOM is a special projects and education program at the Chelsea Art Museum that brings together international artists, curators, cultural, educational and corporate organizations. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 08:49:33 -0700 message-id: <200509231549.j8nfnxqs005446@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: argosfestival 2005 argosfestival 13.10.2005 - 22.10.2005 BRUSSELS www.argosarts.org As in previous years the fifth edition of the argosfestival provides a free port for a wide range of audiovisual art forms. It’s a wide work area that is in constant evolution, subject to societal and technological developments. The festival programme reflects this variability, going beyond the traditional delineations between disciplines and media, and offering a valuable perspective on numerous in-between spaces – in cinema, television, media art and visual art. Film, video, audio, installation and means of performance nestle together in a wide variety of both Belgian and international work. The products of several generations, historical and new work, all complement each other, creating breathing space for a multitude of trajectories. Beyond the origin, language and context in which they were realized, clear connections can be made in regards to formand content. The search for new narrative environments and relations between (the experience of) space and time; a resistance to conventional audiovisual forms and (mass)media and the immaterial stream of images that overrun us on both television and industrial cinema; a craving for adventure in expression and perception, learning how to see and hear (all over again): these are just some of the lines of flight which the programme traverses. CURATED PROGRAMS Four themed programmes form the backbone of the festival. In the exhibition Multipistes Jean-Christophe Royoux focuses on a generation of young French artists who propose post-cinematographic forms, deconstructions or alterations of the familiar notions of projection and identification. The works in the programme Black & White-outs also question the basic conditions of cinema, by making radical choices for monochrome images and exploring the physiological relationship between hearing and seeing. Challenging and destabilizing the dominant position of the image constitutes a directional guideline in the film and video programme of Tanya Leighton, In the Poem About Love You Don’t Write the Word Love, as well as in Inner & Outer Worlds curated by Herman Asselberghs, which offers a selection of Belgian audiovisual essays. ARTISTS IN FOCUS A contrary and wayward attitude also applies to the work of two ‘artists in focus’. The digital preservation of the work of the Belgian audiovisual artist Joëlle Tuerlinckx indirectly led to an appraisal which, spread out over a myriad of spaces and programmes, will be presented throughout the festival in various forms for your eyes and ears. A number of recent landscape portraits by the American filmmaker James Benning are shown, in which he goes on the lookout for the effects of duration on the perception of space. EVENTS The adhesion of sound and image, hearing and seeing, is also explored in real-time. Mikko Hynninen will make use of the inherent sound image of the Kaaitheaterstudio’s as a resource for an in-situ performance, in which the environment itself is considered as a virtual instrument. During the closing night of this festival edition the collective of MIMEO and video maker Kjell Bjørgeengen are on the lookout for colourful dialogue, amongst musicians, between image and sound, analogue and digital, control and coincidence. Furthermore, an international symposium on presenting media art and the role of the curator in respect to that , co-organised by the ‘Digital Platform’ (IAK/IBK, support centres for the Visual and audiovisual arts), will take place during the festival. BELGIAN FOCUS This wealth of approaches and use of media is also reflected in the Belgian Focus segment, traditionally offering a selective outline of recent domestic audiovisual artistic production. These are the cross-pollinations and connections that are the elementary particles of the argosfestival: stimulating a circulation of experiences and ideas, creating a virtual network of ex- and impressions, physically unfolding as well, over several locations in Brussels. For further information please visit www.argosarts.org or contact stoffel@argosarts.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 09:59:10 -0700 message-id: <200509231659.j8ngxa5r021740@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Chicago Artists\\\\\\\' Coalition I am posting on behalf of the Chicago Artists' Coalition, a service arts organization that has worked for the past 30 years to improve the status and environment of artists. We have been instrumental in the development of the Chicago Department of Cultural Affairs, and the Percent for Art Program. For more info on our activities, refer to our website www.caconline.org (which will be completely restructured and up in October). We are currently in the process of developing our programming and member benefits to reflect the current needs of new media and other contemporary artists. As we go through the process of developing our organization to serve a new demographic, we look to this base for suggestions and information. We invite you all to send in ideas for what kind of services and benefits you would need and what expectations you would have from a service organization such as ours. I thank you for your time and I hope to hear from you soon. You can also email your thoughts to olga@caconline.org Olga Stefan Executive Director + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 12:01:36 -0700 message-id: <200509231901.j8nj1ahs005076@idx164.idx.net> references: no_parent from: Claire Jervert subject: RHIZOME_RAW: Re: Re: Need a Geek I really did mean "with". I'd rather not just dictate. I've always worked with communication technologies in a non technical way so I can only construct a vague concept of what I'd like to do and work within the limits of the technology at hand. I couldn't begin to see the possibilites of this concept without some experimentation and several "what ifs". What is the usual fee for this kind of job. Rob Myers wrote: > Quoting Claire Jervert : > > > No offense. I'd like to work with a programmer to produce a DVD by > > grabbing corporate logos from web sites and pulling them into a > > motion graghic sequence twisting and morphing the brands in space. > > > > Anyone interested in working with me. > > I think you mean "for". How much are you paying? > > - Rob. > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 12:11:56 -0700 message-id: <200509231911.j8njbua5006762@idx164.idx.net> references: no_parent from: Claire Jervert subject: RHIZOME_RAW: Re: Re: Need a Geek Thanks Jason, I did briefly read over that thread and was surprised by the hostility of the coders. Although, I've had the same kind of thoughts when I see a famous artist who has never dealt with technology pump out a net art piece just for the hell of it and never credit the actual creator of the work. But this happens all the time in the art world and not just with technology based work. I hesitate to contact someone who is making a project out of collaboration. I was hoping to work with someone dealing with copyright, database or corporate power issues. Wish me luck Claire Jason Van Anden wrote: > this might be helpful: > > http://rhizome.org/thread.rhiz?thread=18625&page=1#35599 > > Jason Van Anden > > Claire Jervert wrote: > > > No offense. I'd like to work with a programmer to produce a DVD by > > grabbing corporate logos from web sites and pulling them into a > motion > > graghic sequence twisting and morphing the brands in space. > > > > Anyone interested in working with me. > > > > Claire Jervert + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 23:09:32 +0200 (CEST) message-id: <20050923210932.c804421fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Da dashbox Denmark, DVDs datasheet DDKs, Dr Doctor Mathews daily datagram, Dashes DisableTabs. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 14:21:43 -0700 message-id: <200509232121.j8nllhjs031228@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: [9th] Japan Media Arts Festival ON LINE ENTRIES for [9th] Japan Media Arts Festival February 24th - March 5th in Tokyo, 2006 Now OPEN! __________________________________________________________ On line entry is now open on the Japan Media Arts Festival official site: Japan Media Art Plaza http://plaza.bunka.go.jp/english The jury will award 1 Grand Prize, 4 Excellence Prizes, 1 Encouragement Prize in each of the following categories: - Art division - Entertainment division - Animation division - Manga division Japan Media Arts Festival has enthusiastically supported the creators of this field and their productions since its foundation in 1997. Each spring, leading talents in various fields from around the world will gather in Tokyo to share in the experience of this exhibition as well as other planned events. Attended by over 44,000 visitors, last year's [8th] Japan Media Arts Festival featured 168 innovative works selected from 1,498 submissions from 43 countries. Winning works also have a great opportunity to be introduced in the other related events of the Japan Media Arts Festival. We are waiting for your entry and looking forward to seeing you in Tokyo in spring! For any inquiry, please send e-mail to: contest@plaza.bunka.go.jp or call Japan Media Arts Festival Office _____________________________________________________________ CG-ARTS Society - Japan Media Arts Festival Office phone + 81-3-3535-3501 fax + 81- 3-3562-4840 1-11-2, Kyobashi, Chuo, Tokyo, 104-0031 Japan + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 00:16:03 +0100 message-id: <43349ac3.16604.35a32da@localhost> references: no_parent from: Jess Loseby subject: RHIZOME_RAW: disturb.the.peace "angry women" - open call disturb.the.peace "angry women" - open call "Whoa! Why does this word carry so much weight, and why do these women want to distance themselves so far from this word?" Once I had received a similar response from three other women, as though anger was un-cool, or un-sexy, I started thinking of the "Angry Young Men" of the fifties and sixties-the amorphous James Dean types whose anger was sexy, because anger is one of the sanctioned responses that men have, and women don't. No man would protest being featured in a book called Angry Young Men, do you think? [Interview with Andrea Juno, Ed of "angry women" (Juno Books, 1992)] Disturb.the.Peace [angry woman] will be aimed at creating a collaborative net-based installation with the core concept of the visual portrait of feminine anger. The net offers a canvas for self-portraiture and self-documentary, which both men and woman users and artists have used to explore the many eclectic thematics that make up contemporary net.art. However, anger - that non P.C, emotional serpent - still remains visually elusive. Emails are full of bile, blogs map outpourings of rage and disgust, newsgroups simmer over with adversary and cutting one-liners but not, apparently, visual artworks...? Can anger be beautiful? Can rage be aesthetic? In popular culture there are a range of angry babes to pick: from girl-power to the Powerpuff girls but "...their popularity may not reflect a dramatic shift in our society's view of gender roles, but rather our inability to stomach female anger unless it's sugar-coated in cuteness and scored with a pervasively chirpy, non-threatening tone." [Powerpuff Girls to the Rescue: Heather Havrilesky, Salon. Posted July 5, 2002] ---------[Gender] D/t\P is a call to women artists to visually explore the face of [their] anger. It will make no apologies for being a call predominantly for female work. Male submissions will not be excluded from open submissions but must demonstrate that they are either a) in collaboration with a female or b) make significant comment or exploration on a visual expression of female anger beyond (what Jess Loseby) judges to be a stereotypical portrayal. It will be possible to submit work anonymously or through androgynous pseudonyms. Beyond gender, all work submitted must meet the basic requirements of thematic response and net usability to be included. ---------[Collaboration] D/T\P is a collaborative artwork. It is curated by Jess Loseby as lead artist only through organisation and realisation of the concept in the provistion of webspace. Artists are invited to add pages and use the site/space as much or as little as they desire. Work will be open for free submission. There will almost no curatorial control but preference is to show work that not only visually explores anger but how that anger is amplified and augmented by the Internet and net technology/software; Can anger be interactive? Can anger be translocal? It is hoped that work that will go beyond static imagery. --------- [tech] html, flash, streaming video - cross browser compatible - collaborating artists choice ---------[Submission] Please send work as a email attachment (under 3MB) or work URL with name, location, url, email address and bio (150wds or under) to jess@d-t-p.tv or jess@rssgallery.com. FTP details may be provided on request. All work will be shown as "windows" within the overall site design unless specified. If work is hosted on a url external to d-t-p.tv please provide a "close window" button. ------- [end] || + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 21:22:56 -0300 message-id: <006a01c5c09e$1f577c00$5fa105c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: The newest gallery: TRIPS Dear all, To comemorate the new season of the year, the Museum of the Essential and Beyond That" is launching a new gallery: TRIPS, at: http://arteonline.arq.br, click on easy navegation - map and look for TRIPS or at: http://arteonline.arq.br/museu/reformas/corte1.htm (available popup windows will be needed and the better resolution is 1024 X 768) Concept: As you certainly know, the concept of TRIP is very wide: A going from one place to another; a journey. A stumble or fall. A maneuver causing someone to stumble or fall. A mistake. Slang. A hallucinatory experience induced by a psychedelic drug: an acid trip. An intense, stimulating, or exciting experience: a power trip. Slang. A usually temporary but absorbing interest or preoccupation: He's on another health food trip. A certain way of life or situation: "deny that his reclusiveness is some sort of deliberate star trip" (Patricia Bosworth). A light or nimble tread. A device, such as a pawl, for triggering a mechanism. The action of such a device. (http://dictionary.reference.com/search?q=trip) So that we have already new works showing TRIPS under different focus: Isabel Aranda - Yto. CL > "Responsabilidad en los hechos" - a trip to the sad times of Pinochet dictatorship. Joesr Alvarez > "Windmills" - useless to fight against wind mills... (also at the video room) Millie Niss > "Tabitha takes the train to Toronto" - You are invited to travel with her in this creative train! Patrick-Henri Burgaud > "Elegie", a love and romantic trip (written in French, this work received a good critic in the French newspaper le Monde) ...And some works selected among the museum's collection: Regina Vater > "Winter Poems", a flying bed and its amazing poetry... Marcelo Frazo, Paulo Villela and Regina Clia Pinto > "Boundaries" , through this work you are invited to visit the ancient docks distrit of Rio de Janeiro . Regina Clia Pinto> "A Trip to Paradise", where you will know the Brazilian archipelago of Fernando de Noronha. That is a very good trip to you do in a true way. Regina Clia Pinto> "Magic Walls", a surrealist trip - a true trip of the imagination, almost a delirium.. DURING THIS FALL (OR SPRING - southern Hemisphere) , THIS GALLERY IS RECEIVING NEW WORKS OR LINKS TO WORKS THAT EXPLORE THE CONCEPT OF "TRIP". PLEASE, SEND YOURS TO arteonline@arteonline.arq.br Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com New Works: http://arteonline.arq.br/ducks/ http://arteonline.arq.br/eva/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 19:41:42 -0700 message-id: <200509240241.j8o2fgzp015464@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Re: post-romantic modernism >and nostalgia connotes something that one longs for that never really >existed....(according to Susan Stewart) and of of course acording to George Bush,a man in a hole is worth 2000+ in the grave. Authorities always let us down according to Eric Dymond, we are all critters in the same environment. nostalgia is a door to experience and depth perception. Nostalgia, in the classical sense has nothing to do with existence, it has to do with vague remembrence. All other aspects are "NEW vernacular " interpretations. What we long for is real, what we feel nostalgic for is a filtered memory. That is a huge difference. Eric + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 20:03:52 -0700 message-id: <200509240303.j8o33qng017323@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: true nostagia >and nostalgia connotes something that one longs for that never really >existed....(according to Susan Stewart) for de Nerval, true nostalgia will end in suicide. Otherwise, the nostalgia is merely longing, and longing is a mild emotion. Nostalgia is a psychotic event with only one exit point Eric. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 21:54:42 -0700 message-id: <200509240454.j8o4sgbr027621@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: true nostagia and the only exit is fatal + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 01:05:26 -0400 message-id: references: <200509240303.j8o33qng017323@idx164.idx.net> from: Lee Wells subject: Re: RHIZOME_RAW: true nostagia The world already possesses the dream of a time whose consciousness it must now possess in order to actually live it. Time, as Hegel showed, is the necessary alienation, the environment where the subject realizes himself by losing himself, where he becomes other in order to become truly himself. -Guy Debord On 9/23/05 11:03 PM, "Eric Dymond" wrote: >> and nostalgia connotes something that one longs for that never really >> >existed....(according to Susan Stewart) > for de Nerval, true nostalgia will end in suicide. > Otherwise, the nostalgia is merely longing, and longing is a mild emotion. > Nostalgia is a psychotic event with only one exit point > Eric. > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php -- Lee Wells Brooklyn, NY 11222 http://www.leewells.org 917 723 2524 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 23 Sep 2005 22:18:49 -0700 message-id: <200509240518.j8o5insk029860@idx164.idx.net> references: no_parent from: o.blaat subject: RHIZOME_RAW: Sun. 9/25 Share @Mundial, E. Village, NYC, feat. unstablelandscape+dennis del zotto+shiftic, SteveO, plus Sputnik Booster & The Future Posers (Share, of course, has the openjam in between & before/after the feat. sets! Bring your own gear/instrument/equipment to join in! .. as for the featured artists this week, they are really in great variety! : 8-bit extravaganza gameboy set w/ his faithful robot dancers from germany, super-cool jitter-based visual artist teamed up with sound artist with killer-beat from ableton live, and guitarist w/ architectural background, and super catchy disco pop tuned singer supported by a maniacally good max/msp programmer... could be your perfect night-out, esp. if you'd end up jamming at the end!) ... ------share on sunday, september 25th, 2005 Sunday, September 25th: SHARE @Mundial, East Village, NYC - starting at 6 p.m.!!!! Share is having a second permanent home now at this wonderful East Village bar, Mundial, a minimal, high-tech lounge just 4 blocks from our old home at OpenAir. Share @ Mundial 505 E 12th St (between Ave. A & B) East Village, NYC 212-982-1282 http://share.dj http://mundialnyc.com no cover as always been!! Featured guests on September 25th, 2005: (come early for Sputnik Booster, get soaked with Solano/Del Zotto/Shiftic, & stay late for SteveO!) 1) very early hour special appearance by Sputnik Booster & The Future Poser (8 bit extravaganza with faithful robot dancers...!) http://catbull.com/futureposers ----------------------------- 2) Marlon Barrios Solano (Unstablelandscape) + Dennis Del Zotto + Shiftic aka Walter Froetscher (audio-visual collaboration) will be coming together to create fantastical vision & sound! Expect beautifully uplifting funtime!! Marlon Barrios Solano (Unstablelandscape) is a dance artist and interactive video designer from Venezuela based in NYC since 1994. He explores the interactive and generative potential of MaxmspJittter and portable computing for the creation of live visuals for Vjeing and multimedia dance performances. He combines a strong computational approach for the real-time manipulation of the video matrix and its contingency with his physical actions. He is artist in residency at STEIM (The Netherlands) and at ACCAD The Advanced Computing Center for the Arts and Design (The Ohio State University). He performs, lectures and teaches internationally on interactive multimedia and performance. http://accad.osu.edu/~mbsolano Dennis Del Zotto has been making music since he was a teenager playing drums in bands.And making installations and performance art since...He has been known as the inflatable man and "zendez" the performance artist.In recent memory he has taken up mixing laptop and percussion. He has performed at Phenomena,Ongolia,Galapagos and Share, to name a few, many times. Since 2002 he has performed in duo with vocalist/performance artist Shelley hirsch at Phenomena (subtonic); PS1 in Queens, the BASS Museum of Art in Miami and Nuremburg germany for an installation /performance project called The Edible Dress. Most recently he plays electronic percussion in a jam band with walter froetscher and bernardo zavatinni w guests nacho, aka once11 and shelley hirsch. Shiftic aka Walter Froetscher has been working professionally for the past twelve years in architecture and design, attaining leading placements and awards in various competitions within Europe and the United States. He is experimenting with music and sound since 1991, working primarily with piano, analog/electronic Synthesizers, experimental guitar & bass, digital editing and compositions. Recently he started performing live in NY at Share together with Shelley Hirsch (experimental Vocals), Dennis Delzotto (electronic Percussions) and performances in Vienna with Once 11 (electronic music), Atmsferik (realtime 3D-animations) and DJ Heidecker (turntables). -------------------------------------------------------- 3) SteveO (super-pop!) SteveO has been performing in and around the East Village for years doing catchy and uplifting songs, riffs, improvisations, rants and storytelling. He appeared last year at COLLECTIVE UNCONSCIOUS and the year before at The New York Poetry Festival. He has been appearing at Share since the summer of 2004 and in March of 2005 performed a featured set with Dr. Dawg as LIVE CONNECTION. He is also a an actor ("Sex in the City"; "Oz"), published songwriter (B.M.I.) and cocktail pianist (Sagafjord World Cruise 2002). http://www.stevenorr.com --------------------------- This week, the guests' sets will start fairly early, mainly due to the fact that we have so many wonderful packed line-up. Be prepared to come EARLY & stay late!! and... as always!! Please bring your own gear/instrument/equipment to join in the visual &/or audio jam before/between/after the featured sets!! upcoming at share: oct 30th: Douglas Ferguson -------------------------- (what is SHARE?) SHARE is an organization dedicated to fostering open and spontaneous collaborations between audio and video artists, and providing the necessary infrastructure to support this community. SHARE accomplishes this through a weekly free event, special large-scale events held in various cities, and a strong Internet presence. SHARE operates on an open and free philosophy, making our events as broadly accessible as possible and releasing software and media under open licensing schemes. More info can be found at http://share.dj AND! Now also new Share in Montreal, run by great people! http://www.videographe.qc.ca/share/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 00:51:54 -0700 message-id: <200509240751.j8o7pset013024@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Opportunity for higly motivated individuals / ART ASG ( Art & Alternative studio): is the establishment with plenty of artwork, paintings, designs, logos, creations, illustrations, written stories, poems, as well as other artistyc creations ordered or desired by a costumer. With 10 years of International experience, now we are giving the chance to everyone who wants to join our ART WORLD and earn some extra beneffits. At this point we are creating a list of '' GREEDING CARDS '' costumers, for season 05/2006, and giving the opportunity to everyone who brings a costumer to us. How does it work: You send us an e-mail at : artworldasg@yahoo.com ( under the subject you write : ASG OPPORTUNITIES & your name ), further in the e-mail you write short personal profile, full name, address, phone, mail and website, if having it, as well as paste a personal document under the attach file. In the e-mail you specify weather you wish to exhibit, work or simply be a member of ASG, where you choose from: 1.EXHIBITING OPPORTUNITIES - one year/ website and International promotion, exhibition, web hosting & other benefits / awards, discounts,..under the ASG projects (fee 150$/year, bringing 1 extra member with you/100$, 3 or more extra members 75$/year) All the instructions and offers will be send to you directly with further information by ASG. 2.WORKING OPPORTUNITIES - one year/ inviting other candidates under the ASG costumer site & getting payed for (for each candidate in any of the 3 sections, you get a % commision benefit, depending on your activity, unlimited earning potencials for those who have the vision, workative personality, are able to work unsupervised-individually... example: signing up 10-50 new members/year/1-5/mounths=20% 50-100 new members/y./5-10/mounth=30% for more active work-special bonuses, awards, % offered + comm.on sales. 3.MEMBERSHIP-ASG - one year fee = 50$, offers you newsletters, discounts, informs you regarding your interests, you becom a member on the list for yearl award, help you connect, writes CV's,gives you the opportunities within ASG. You can buy art, cosmetics with discounts, you can earn or develope your own talent, profession or interest and much more... REMEMBER-everyone can become a member, anyone can work or advertise him/herself under the ASG (talents, artists, musicians, businesses...) ASG is dealing with ARTS & ALTENATIVE brances, organizing events, exhibits, promoting, saling, advertising, hosting, performing. We have our own costumers, cliantele for each area, such as Art, Design, Promotion, Massage, Beauty, Body products and offers. Everyone who signs-in more than 10 new costumer, gets his/her fee refunded on the end of the membership season or he/she can remain a free member for the next season of 1 year. We look forward to place you at our ARTWORLD - ASG. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 13:19:17 +0200 message-id: <000701c5c0fc$86d932c0$e57789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: CONCEPT AND WORK I LIE ABOUT CONCEPT AND WORK MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 13:29:34 +0200 message-id: <000801c5c0fc$877042a0$e57789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: socio-economic and cultural landscape MANIK is a generous colleague and tireless advocate for whom contemporary cultural production is always firmly positioned within the broader political, socio-economic and cultural landscape," MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 09:17:14 -0700 message-id: <200509241617.j8oghel8008749@idx164.idx.net> references: no_parent from: Jody Zellen subject: RHIZOME_RAW: OOG --- http://www.volkskrant.com/oog OOG --- http://www.volkskrant.com/oog In the beginning of September the newspaper Volkskrant started Oog (Eye) an online platform where artists in sound and image are asked to respond to news and current affairs. The Volkskrant is one of Hollands most important national newspapers. Its on-line edition has more than 100.000 visitors a day andOog will be a separate page of the online edition. A small editorial team headed by Nanette Hoogslag for the online version of the Dutch national newspaper Ode Volkskrant to develop Oog (Eye) a new kind of online platform in which international artists in sound and image are asked to respond, on a regular basis, to news and current affairs. Central to the concept is the fact that each contribution is the result of the individual perspective that each artist will bring to current affairs, as well as the use of online media and the interaction with the visitor/reader of the Volkskrant on-line. It is open to artists contributing to Oog in a variety of ways, ranging from individual images through to serialised sets of sound, moving and interactive pieces. The artist that are selected are a diverse group of known applied and fine artists from the Netherlands and abroad. Oog will be announced on the front page of the on-line edition as well as in the print edition of the Volkskrant. Each contribution will be displayed prominently for a week and will remain accessible in the Oog-archive. Contributers include: Han Hoogerbrugge, 178 Aardige Ontwerpers Jody Zellen + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 12:36:49 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: available: dissidence.info Content-Disposition: inline FYI: dissidence.info is available if anyone wants it from my friend, A. Let me know... J ---------- Forwarded message ---------- From: A Date: Sep 24, 2005 12:23 PM Subject: Re: NEWSgrist: Wake Me Up To: NEWSgrist Hi! [...] Apparently I still own (for a few days iirc) the domain name dissidence.info . Do you know a worthwhile person to whom I could pass it on? Axel __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 20:19:03 +0200 message-id: <005801c5c134$73038d80$4e7689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Re: CONCEPT AND WORK ----- Original Message ----- From: manik To: LISt@rhizome.org Sent: Saturday, September 24, 2005 1:19 PM Subject: CONCEPT AND WORK I LIE ABOUT CONCEPT AND WORK MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 20:19:22 +0200 message-id: <006301c5c134$7d6bbcc0$4e7689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Fw: socio-economic and cultural landscape ----- Original Message ----- From: manik To: LISt@rhizome.org Sent: Saturday, September 24, 2005 1:29 PM Subject: socio-economic and cultural landscape MANIK is a generous colleague and tireless advocate for whom contemporary cultural production is always firmly positioned within the broader political, socio-economic and cultural landscape," MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 10:53:03 +1000 message-id: <6.0.1.1.1.20050925105242.0587ed00@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: _Neo[geo.graphic||image specifi]City_ ______________________________________________ Types.of.Und.Fineable.Ware[z] 10:46am 25/09/2005 ______________________________________________ _soft[h(e)ard]ware dichotomy leanings_ [read: _skeletalware_] +bone.code.stripped.4.brevity +constructed.4.non.comp[(brain.l)ooter]iling +filleted.f.lesh[ion]characters.mimick.core.functions [read:cor(t)e(x)stetchware] +language.EEG.copy.catted +neural.replification.in.punctu[re.a.code.vampire]ation.stakes [read: scoopware] +stop.the.builds.+.steal.grey[s anatomie]matta.by.the.[cmd]line.ful . l -- ________________________________________ _reality repres[t]entative_ 03:30pm 23/09/2005 ________________________________________ .my.crumbling.senti[m]en[t]ce. ......aged.b.yond.the.grave.... ....old.{UP}start+new.go{AH}. -- __________________________________________ _d[l]a[la][la]_fey_net.wurk_ 07:23am 21/09/2005 __________________________________________ /new.metronix.sounds.scraping --printer+S[l]R.[n]fused-- -- __________________________________________ _vo.m[p]it_ph(ero)[m]o[a]ne_ 07:57pm 20/09/2005 __________________________________________ _broken.glass.inflecti_m[S]outh.[fried.Chicklet]blood.+silence.vitriol.spilli_condemn+b+cont[l(OSs)]aminate_ s[sub_c]heep[ish].acting.vs.victim.gall+barb_soft_word_fairy_[f]loss_ #poking.inf[v]ectiff_melting.within.tender.blocks+denial.stills# #stttt[the](g)act[t]ic(a).d.reaming+.conversive.swellings.in.bottomless.chokings# -- _________________________ _DFT_ 06:14am 15/09/2005 _________________________ _dead flesh tower]]]ings[[[ vs [[[char]]]coal.bird.smudges_ _[tonal_media_choking vs _ [Edgar.A]Po.et[h]ic.bio.clock.wurking_ -- Neo[geo.graphic||image specifi]City Narrow||baton(rouge)down/the/pinpoint/hatches -- _intricate mirror mem[e_st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 21:45:15 -0400 message-id: references: no_parent from: Curt Cloninger subject: RHIZOME_RAW: eternity in an instant Hi all, here is a recent essay: http://lab404.com/articles/sms/ about this work: http://stopmotionstudies.net to appear in a book about this exhibition: http://sequences.org.uk curt + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 24 Sep 2005 21:49:24 -0700 (PDT) message-id: <20050925044924.78366.qmail@web54607.mail.yahoo.com> references: no_parent from: Jason Nelson subject: RHIZOME_RAW: 1980s meets 1400: hermeticon: spell maker New Work nearly done. Tech/aesthetic touble shoot asked. Title: Hermeticon http://www.secrettechnology.com/commercial/comvid.htm A keyboard driven incantation engine, loaded with 1980s commercials and 15th cetnury alchemy. cheers, Jason hermeticon: spell maker --------------------------------- Yahoo! for Good Click here to donate to the Hurricane Katrina relief effort. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 01:04:12 -0700 message-id: <200509250804.j8p84c5d029889@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Black Maria Gallery presents The Coffin Show: Between Life and Death. Black Maria Gallery presents the new exhibition, entitled “The Coffin Show: Between Life and Death” featuring the works of 16 Los Angeles-area artists, will open on October 8. Each of the participating artists was given an actual coffin and asked to transform it into a work of art and a personal statement. Participants of “The Coffin Show” comprise both established and emerging local artists, who have used various media for their exhibited works. A portion of the proceeds from the exhibition will be donated to the “Caravan of Hope” project, launched by KPFK and Veterans for Peace Chapter 110 Orange County, CA for victims of the recent hurricane that devastated The Gulf Coast. Black Maria is located at 3137 Glendale Boulevard in Los Angeles. Gallery hours are Tuesday through Saturday 12 to 6 PM. The opening reception: Saturday, October 8, 7:00-11:30pm. For more information, call 818.613.9090. “The Coffin Show” will kick off on Saturday, October 8, at 7 PM, and will remain open until Wednesday, November 2. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 01:11:01 -0700 message-id: <200509250811.j8p8b15j031370@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Black Maria Gallery presents The Coffin Show: Between Life and Death. Black Maria Gallery presents the new exhibition, entitled “The Coffin Show: Between Life and Death” featuring the works of 16 Los Angeles-area artists, will open on October 8. Each of the participating artists was given an actual coffin and asked to transform it into a work of art and a personal statement. Participants of “The Coffin Show” comprise both established and emerging local artists, who have used various media for their exhibited works. A portion of the proceeds from the exhibition will be donated to the “Caravan of Hope” project, launched by KPFK and Veterans for Peace Chapter 110 Orange County, CA for victims of the recent hurricane that devastated The Gulf Coast. Black Maria is located at 3137 Glendale Boulevard in Los Angeles. Gallery hours are Tuesday through Saturday 12 to 6 PM. The opening reception: Saturday, October 8, 7:00-11:30pm. For more information, call 818.613.9090. “The Coffin Show” will kick off on Saturday, October 8, at 7 PM, and will remain open until Wednesday, November 2. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 01:11:31 -0700 (PDT) message-id: <20050925081131.48978.qmail@web54604.mail.yahoo.com> references: no_parent from: Jason Nelson subject: RHIZOME_RAW: Hermeticon with the correct URL Previous post had wrong URL New Work nearly done. Tech/aesthetic trouble shoot asked. Title: Hermeticon http://www.secrettechnology.com/commercial/hermeticon.htm A keyboard driven incantation engine, loaded with 1980s commercials and 15th century alchemy. cheers, Jason hermeticon: spell maker --------------------------------- Yahoo! for Good Click here to donate to the Hurricane Katrina relief effort. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 10:30:05 +0200 (CEST) message-id: <20050925083005.a3bf121fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Eg eject English, Euler earthmoving Encarta, Eqn ear editable, End Punctuation eleventh EnableTabs. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 23:16:48 +0200 (CEST) message-id: <20050925211648.1f65521fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Feb fboxsep French, Fermat factoid Fano, facial formattable, five Fmtversion. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 17:29:26 -0700 message-id: <200509260029.j8q0tqvr002575@idx164.idx.net> references: no_parent from: jillian mcdonald subject: RHIZOME_RAW: Jody Zellen at Pace Digital Gallery Pace Digital Gallery is pleased to present: Jody Zellen, "Trigger", a site-specific installation. October 18 - November 8, 2005 163 William Street, between Beekman and Ann New York, NY Please join us at the opening reception Tuesday, October 18th, 6 - 8pm. details, including map and directions: http://www.pace.edu/digitalgallery for info contact directors Jillian Mcdonald and Francis T Marchese digitalgallery@pace.edu + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 25 Sep 2005 19:25:51 -0700 message-id: <200509260225.j8q2ppsj011750@idx164.idx.net> references: no_parent from: Gabriel subject: RHIZOME_RAW: Students Invited to Participate in Mentorship Forum The Leonardo Educators Forum (LEF) would like to extend a special invitation for students to participate in its mentorship initiative during the College Art Association Annual Conference in Boston, MA, February 2006. Students are invited to participate in person by presenting a brief statement with the goal of sparking discussion during the second annual Mentorship Roundtable. The Leonardo Educators Forum encourages statements about student priorities for scholarship in the art/sci/technology field, the benefits that mentorship opportunities could provide, and similar professional development concerns. Interested students should contact LEF Graduate Student Chair Gabriel Harp at . Leonardo Educators Forum on the web: http://webexhibits.org/about/lef.html http://leocaa.blogspot.com College Art Association Annual Conference, Boston, MA (Feb.22-26, 2006): http://www.collegeart.org/conference/ The Leonardo Education Forum is currently gearing up for the CAA Conference in Boston, MA, February 2006. Panels will include New Media Futures: The Artist as Researcher and Research as Art in the 21st Century, chaired by Timothy Allen Jackson; the second annual Mentorship Roundtable, chaired by Andrea Polli and the Leonardo Town Hall Meeting. One of the main functions of the College Art Association is to foster professional and career development, while the Leonardo Educators and Students program fosters scholarship in the field of art/science/technology. These organizations are working together to provide mentoring to the next generation of artists, scholars, and researchers working at the intersections of art, science, and technology. The goal of the LEF mentoring group is to provide opportunities and resources for students and emerging professionals. Current activities include a mentorship panel at the CAA annual meeting and ongoing mentorship resources. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 06:33:28 -0700 message-id: <200509261333.j8qdxs90005769@idx164.idx.net> references: no_parent from: Brooke Singer subject: RHIZOME_RAW: BIOART AND PUBLIC SPHERE BIOART AND PUBLIC SPHERE: A WORKSHOP AND CONFERENCE SERIES AT THE UNIVERSITY OF CALIFORNIA IRVINE Conference: Monday October 17 Biotech Art Workshop conducted by SymbioticA: October 10-14 This initiative aims to bring together artists, biologists, and science studies scholars, to address a broad range of questions about science in the public sphere. The list of possible research domains to be investigated includes, but is not limited to, genomics, tissue engineering, genetic engineering and stem cell research. 1 What types of models of interdisciplinary engagement might facilitate rich, well-informed public participation in scientific discourse? 2 How do we go beyond the "demo" model often used by science museums and approach the subject matter in an experiential hands-on way that allows for failure, redirection of research questions and the promotion of agency towards an area that is usually reserved for the expert community? 3 What types of epistemological questions emerge at the intersection of biology, art, and the public sphere? How would an exchange mutually benefit the research areas of each discipline? Under which umbrella could research collaborations of this kind be supported? We are specifically interested in the relationship of these research areas to the social landscape of the pharmaceutical industry, the agricultural industry, global trade and corporate license agreements, the framing of biosecurity and biodefense, constructions of disease, and the global politics of the reproductive health industry. FOR MORE INFORMATION PLEASE SEE: http://www.publicsphere.parasitelab.net/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 07:16:07 -0700 (PDT) message-id: <20050926141608.14648.qmail@web35603.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: Return of the Incredibly Mixed-Up House of Blog Who Stopped Living and Became Xanax Pop! http://lewislacook.corporatepa.com/xanaxpop/ Xanax Pop has, after a too long hiatus, returned. I missed Xanax Pop. It was friendly, like a numeric array. Begun June 2004, Xanax Pop is poem-as-blog and blog-as-poem. Is it all just one long poem? Find out now. The people like it. http://lewislacook.corporatepa.com/xanaxpop/ *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 08:06:39 -0700 message-id: <200509261506.j8qf6dcv023181@idx164.idx.net> references: no_parent from: serra subject: RHIZOME_RAW: Re: friendlyghosts Just wanted to let you know the link to your work doesn't work. I located the piece, but only through some sleuthing work. Love the concept. Serra Garrett Phelan wrote: > "friendlyghosts" is an internet based artwork that functions as a text > translator. Frequently, a relevant text is loaded from an external > text file into the Flash Movie and is then translated into a > preconstructed language using pre-set instructions within the > programming of the project. > > Each time the artist changes the text file a new and rearranged > sequence of information is built. This information is made up of > images and sounds. Each image is a pencil drawing (accompanied by > sound) and is associated with a letter, number or punctuation mark. > The information is structured in accordance with the functionality of > the international but fading language of Morse code. �A language once > removed.� > > The project has been developed by Garrett Phelan using Flash > technology during the creation of a wider body of work entitled > "Nomenclature," incorporating: photography, video, film, sound, > microfiche and microfilm. > > The artist gratefully acknowledges the assistance of Flash programmers > Stephen Fahy and Paul Harris during the production of this work. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 12:14:06 -0300 message-id: <008701c5c2ac$f24be230$80a305c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: LETTER OF INVITATION // CONVITE LETTER OF INVITATION We have the honor to invite you to participate of MOSTRA INTERNACIONAL DE POESIA VISUAL E ELETRNICA (Visual and Electronic Poetry International Exhibition), coming to be from 4th to 11th, November, 2005, in the city of Itu, State of Sao Paulo, Brazil. You can participate by sending two visual poetries, printed in colours or black and white, in A4 format, to the following address: Rua Goinia, 7 Alto das Palmeiras 13.301.341 - Itu - So Paulo - Brasil. Deadline: October 23nd, 2005. In case of having a site, we ask you to send the URL, a comment on the content of your site (no more than 5 lines) and your email, in case of wanting to contact the possible navigators of your site. These informations should be sent to the following email: jlantonio@uol.com.br. Best regards from Brazil MOSTRA INTERNACIONAL DE POESIA VISUAL E ELETRNICA VISUAL AND ELECTRONIC POETRY INTERNATIONAL EXHIBITION Hugo Pontes Jorge Luiz Antonio Roberto Keppler curators Academia Ituana de Letras London School promotors ================================================================== CONVITE Temos a honra de convid-lo(a) para participar da MOSTRA INTERNACIONAL DE POESIA VISUAL E ELETRNICA, a ser realizada no perodo de 4 a 11 de novembro de 2005, no Museu da Energia, na Rua Paula Souza, n 669, Centro, Itu, SP. Para participar, solicitamos o envio de duas poesias visuais, em preto e branco ou em cores, impressas em papel formato A4, no seguinte endereo: Rua Goinia, 7 Alto das Palmeiras 13.301.341 - Itu - SP Brasil. Data-limite: 23 de outubro de 2005. Em caso de ter um stio eletrnico, pedimos o endereo, uma breve informao sobre o contedo (mximo de cinco linhas) e o seu e-mail, caso tenha interesse em dialogar com os visitantes virtuais da Mostra. Essas informaes podem ser enviadas para o seguinte e-mail: jlantonio@uol.com.br. disposio para outras informaes que se fizerem necessrias, aceite as nossas mais Cordiais Saudaes MOSTRA INTERNACIONAL DE POESIA VISUAL E ELETRNICA Hugo Pontes Jorge Luiz Antonio Roberto Keppler Curadores Academia Ituana de Letras London School entidades promotoras =================================================================== Jorge Luiz Antonio Brazilian Digital Art and Poetry on the Web www.vispo.com/misc/BrazilianDigitalPoetry.htm + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 08:34:44 -0700 (PDT) message-id: <17874953.1127748884291.javamail.root@localhost> references: no_parent from: ken goldberg subject: RHIZOME_RAW: atc @ ucb: cobi van tonder, wed 7:30pm The Art, Technology, and Culture Colloquium of UC Berkeley's Center for New Media Presents: Ephemeral Gumboots: Dancing the Rhythm of Change Cobi van Tonder, Artist and Musician, Johannesburg *Wed*, 28 Sept, 7:30-9pm: UC Berkeley, 160 Kroeber Hall All ATC Lectures are free and open to the public. ==================================================== The history of Gumboot dance illustrates the potential of culture for transforming social aggression. Cobi will present Ephemeral Gumboots, a hybrid media artwork/musical instrument that takes South African Gumboot dance and extends it as an interface into an electronic music-making system. How does the music of Ephemeral Gumboots reflect the media age in South Africa? How has the artist or facilitator, responded (or succumbed) to the politics and hegemony of technology? For Deleuze and Guattari, music "both simulates space and creates it literally, on the dance floor, in headphones, on the Internet" (Andrew Murphy, 2000). The refrains of dance music provide territories for the body and mind to move and travel. Cobi will reflect on the contemporary impact of technology and her personal experience of it as she presents her project from a socio and political perspective. She will also invite composers and dancers to use her system for further creative exploration. ==================================================== Cobi van Tonder, aka OTOPLASMA, is a South African composer, producer and performer who specialises in interactive electronic music and other digital media. She has worked with various dance choreographers, video artists and actors. She also produces commercially for cinema, television, radio and mobile media. Cobi van Tonder holds a degree in Music in History and Society ( University Of The Witwatersrand ) ; a National Diploma in Light Music (Technikon Pretoria) and a National Certificate in Musical Theatre (Technikon Pretoria). She was born in Pretoria and grew up in a small town in the North Western countryside of South Africa. During 2005, she is ZERO ONE/IDEO artist-in-residence in the Bay Area. For more information see: http://en.groundspring.org/EmailNow/pub.php?module=URLTracker&cmd=track&j=44297489&u=408974 ==================================================== ATC Primary Sponsors: UC Berkeley Center for New Media (CNM) and Center for Information Technology in the Interest of Society (CITRIS) Additional ATC Sponsors: Office of the Executive Vice Chancellor and Provost, College of Engineering Interdisciplinary Studies Program, Consortium for the Arts, BAM/PFA, and the Townsend Center for the Humanities. ATC Director: Ken Goldberg ATC Associate Director: Greg Niemeyer ATC Assistant: Irene Chien Curated with ATC Advisory Board For updated information, please see: http://en.groundspring.org/EmailNow/pub.php?module=URLTracker&cmd=track&j=44297489&u=408975 ---------------------------------------- You are subscribed to this list as list@rhizome.org. To unsubscribe, send email to unsubscribe.53347.44297489.121770538664336189-list_rhizome.org@en.groundspring.org. Our postal address is 685 Carolina Street San Francisco, California 94107 United States __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 09:57:05 -0700 message-id: <43382861.9040100@ucsd.edu> references: no_parent from: Brett Stalbaum subject: RHIZOME_RAW: Programmer Analyst Position - University of California San Diego Apologies for cross posting... Programmer Analyst Position - University of California San Diego, Department of Visual Arts, Interdisciplinary Computing and the Arts UNDERGRADUATE INSTRUCTIONAL COMPUTER SPECIALIST Programmer Analyst II (100% career) Hiring Salary Range: $3484 - $4633/month Full Salary Range: $3484 - $6204/month Final Filing Date: 10/4/05 Job Number: 37423 Work locations: Three different computing facilities located across campus -- Visual Arts Facility (VAF), Applied Physics and Mathematics Building (AP&M) and University Center. DESCRIPTION: Responsible for the management and maintenance of the multi-platform Interdisciplinary Computing and the Arts and the undergraduate Visual Arts Instructional computing facilities in a number of different areas of computing in the arts. This includes but is not limited to web-authoring, multi-media, locative media, wireless media, virtual reality, computer games, and software development. Serve as technical liaison between Visual Arts computer arts faculty, other Visual Arts staff, Music Department, and Academic Computing Services regarding the operation of the facilities. Play a key role in developing initiative supporting the Interdisciplinary Computing and the Arts major (ICAM) which involves working with faculty and staff from several campus departments and develops contacts for industry support. Training responsibilities include offering workshops/classes/seminars for undergraduates and Teaching Assistants and the development of lab documentation in both online and printed forms. Responsible for the management of a web site on the computer arts program and activities. QUALIFICATIONS: * Demonstrated excellent interpersonal, writing, verbal communication and presentation skills to technical and non-technical audiences. * Working knowledge and expertise in multiple computer operating systems such as Linux variants, Windows, MacOSX. * Have expertise with applications and peripherals used in the creation of computer art projects such as Adobe Photoshop, Final Cut Pro, Micromedia Director, Alias/Wavefront, Max/MSP, PD and others. * Preferred expertise with some or all of the following: Visual C++, Open GL, JAVA, HTML, XML, HTTPD admin, and web services. Application information: http://joblink.ucsd.edu/bulletin/job.html?cat=information&job_id=37423 -- Brett Stalbaum, Lecturer, PSOE Coordinator, Interdisciplinary Computing and the Arts Major (ICAM) UNIVERSITY OF CALIFORNIA, SAN DIEGO Department of Visual Arts 9500 GILMAN DR. # 0084 La Jolla CA 92093-0084 http://www.paintersflat.net http://www.c5corp.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 10:32:12 -0700 message-id: <200509261732.j8qhwcn4020199@idx164.idx.net> references: no_parent from: Ana Carvalho subject: RHIZOME_RAW: Vjtheory book ++ EXTENDED DEADLINE ++ Vjtheory book ++ EXTENDED DEADLINE ++ The deadline for synopsis has been extended to the 30th of November. Since June we've received a very large amount of high quality proposals. We are therefore mailing everyone who has expressed an interest to let them know that we have extended the deadline for submiting a synopsis. This way we intend to have time to review the work so far and give contributors more time to develop work. ++ Timeline ++ + Call for submissions – Deadline: 30th November 05 Synopsis/abstract 500 words If possible please indicate the theoretical area where the work is focused. + Initial selection based on synopsis/abstracts - 28th February 06, contributors will be informed as soon as possible after this date. + Deadline to send final papers: 30th April 06 Final papers between 3000 and 5000 words ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ VJTheory Book Philosophy and cultural theory of vjing and realtime interaction ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Editors: Ana Carvalho and Brendan Byrne Narrative editors: Lara Houston and Paul Mumford ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Keywords; narrative, philosophy, psychoanalysis, cultural theory, ephemeral, performance, technology, aesthetics, politics, ethics, realtime processing, collaboration, integrating media. During AVIT UK 05 there was a fantastic level of debate based on both the theory and practice of VJing and realtime interactive installations and the questions those practices raise. Paul and Lara have been organizing Narrative Lab, a program of lectures, screenings, performances and projects as a major strand since of AVITUK since 2003. The group has been seeking to encourage debate, spark new work arising from theory and facilitate collaboration examining the territories of narrative. Over the last two years the narrative Lab has hosted lectures on hypertextuality, meta narratives, psychogeography, screen aesthetics, structuralism, process methodologies and various production techniques. These theoretical debates have now expanded across many of the other sessions. What became apparent was the lack of written texts which attempt to deal with these questions which involves everybody's practice. With this in mind we propose to gather a collection of articles and essays which begins to deal with these new media debates. We see this volume as paralleling the early anthologies of film criticism, such as 'Movies and Methods' by Bill Nichols, containing a broad range of analytical perspectives relating to the new medium. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ This is an invitation to submit a short synopsis, propose an article or ideas to be published as a book. Please send it to the following e-mail address: vjtheory@yahoo.co.uk Aditional information: + Deadline for synopsis: 30th of November Synopsis:500 words If possible please indicate the theoretical area where the work is focused. + Initial selection based on synopsis/abstracts - 28th February 06, contributors will be informed as soon as possible after this date. + Deadline to send final papers: 30th April 06 + Final papers between 3000 and 5000 words ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Here are some suggested areas, please feel free to suggest your own: 1- Narrative and hyper narrative + The cultural position of narrative + Meaning in narrative + Narrative Structures + New narrative + Cognitive process and discourse\Narrative Practice 2- Ethics + Copyright and "copyleft" (the creative commons open source software and gnu licensing) + Cross cultural appropriation of imagery themes and content (sources for video and other visual assets and it's relation to the social) + Commercial sponsorship and market flooding 3- Real time processing and the problem of the "now" + Problem of the 'real' and the problem of the "now" + Internet realtime data 4- Collaboration and rhizomic relations + Vj <> Dj/ Network collaborations 5- Philosophical and cultural perspectives including + Phenomenology + Language and the body + Schizoanalysis + Semiology + Feminist analysis + Deleuzian movement\Image + Habermas and the relationships with cinema and theatre 6- Interaction + Public/ work interaction (how much should the interaction be apparent to the user of an installation for example) + Vj <> interaction 7- Software + Open source and proprietary software + Latest software developments and software in development + Software and ideas led production of work 8- Aesthetics + Moving wallpaper + The problem of the formal time/movement image + Control and the dispersal of control + Crafting the image and its relations + Abstract animation (e.g. Oscar Fischinger, Len Lye) and it's relation to reactive 3D modeling. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 15:27:04 -0400 message-id: <0be88211f07b36942dfad3d64a0b44bc@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Rhizome seeks Design and Production Intern Rhizome is looking for a Design and Production Intern for the Fall 2005 session. The intern will assist the Director of Technology with tasks such as editing HTML pages, graphics production, and implementation of major design projects. In addition, there will also be opportunities to do self-directed work in fields such as website design, information architecture, and usability. We are looking for a responsible individual with a strong interest in new media and new media art, and an eagerness to learn about cutting-edge technologies and ideas by putting them into practice. The internship will involve a number of specific web-technologies, including: standards-based HTML, CSS, Javascript and AJAX, FTP, and Photoshop. The ideal candidate will have experience with some or all of these technologies. To apply, email your detailed cover letter and resume to Francis Hwang at francis@rhizome.org. Hours: 10 hours per week, scheduling flexible Dates: October 10 - December 16, 2005 (flexible) Notes: On-site, unpaid Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 07:41:46 +1000 message-id: <6.0.1.1.1.20050927074044.02532d60@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: RSS Poem Generator [with manual mezangelled] Output Vers1 At 07:11 PM 13/09/2005, rushking + i [bi rss poem generator]wrote: >Katrina Sets W[d]e[ad]b Records >But I'm [k]Not[ted +] Dead Yet[i.body.searches+cover.all.ups] >Yahoo N[ahnoo]yah-Nyah's Google On Search[ing+not.al/gore.y.rhythm.finding]. > >In In[af]fluence, Bloggers play code.d CatchUp >D[squ]eals Mark 'Real[ity.swivel.h(ydra)eaded] Change' In Newspaper. > >[g]N[u][tell.a(all)]ews S[orry]ites Surge On Katrina >Dealing With. Advertising Risks [all]. Unpredictable Content. >Google [leder]Hosed In Gei[ger.visions]co[opted] Spin Cycle >Hungry For [wolfs] Help In The [UN]Google Kitchen _intricate mirror mem[e_st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 26 Sep 2005 21:17:08 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: text zine #2 issue 2 of text zine: http://textzi.net edited by ivan monroy (mexico city) featuring interviews in spanish with fernanda g. weiden (free software activist/programmer) tree wave (electro pop band) pablo gaytn (writer) jim andrews (net artist) ja http://vispo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 01:56:16 -0700 message-id: <200509270856.j8r8ugzt002989@idx164.idx.net> references: no_parent from: zanni.org subject: RHIZOME_RAW: "Carlo Zanni: A Retrospective" at ICA London + Book Hi all, -"Carlo Zanni: A Retrospective" opens on October 5th at ICA in London http://www.ica.org.uk/index.cfm?articleid=14387 -ICA published my first book: "VITALOGY" Info and News on distribution soon at http://www.zanni.org Upcoming: -Rhizome Commissions presentation: October 18th, The New Museum, New York best z + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 06:28:36 -0700 (PDT) message-id: <20050927132836.82990.qmail@web35609.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: Incredible Math: being a remix, piece by piece, of Alan Sondheim's Nine --2.mp3 http://lewislacook.corporatepa.com/incredible_math/ I think that's Julu on guitar;-) ~some help from William S. Burroughs and Ted Berrigan *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ______________________________________________________ Yahoo! for Good Donate to the Hurricane Katrina relief effort. http://store.yahoo.com/redcross-donate3/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 07:05:06 -0700 message-id: <200509271405.j8re56oo021458@idx164.idx.net> references: no_parent from: Pau Waelder subject: RHIZOME_RAW: Move 36 by Eduardo Kac Move 36 Eduardo Kac A solo exhibition at Biche de Bere Gallery, Paris Curated by Numeriscausa and @rt Outsiders Festival Opening: September 27, Tuesday, from 7 PM to 10 PM Biche de Bere Gallery Septembre 28 - Octobre 26, 2005 8 Rue Rambuteau 75003 Paris (close to Pompidou Center) Tuesday to Sunday, from 2 PM to 7PM Phone : 06. 13. 50. 56. 16 Email : contact@numeriscausa.com Web : www.numeriscausa.com Two New Books Available: Eduardo Kac. Telepresence and Bio Art -- Networking Humans, Rabbits and Robots (Ann Arbor : University of Michigan Press, 2005). Elena Rossi, ed., Eduardo Kac : Move 36 (Paris : Filigranes Éditions, 2005). Texts by David Rosenberg, Frank Popper, Didier Ottinger, Linda Weintraub and Hugues Marchal. MOVE 36 "Move 36" makes reference to the dramatic move made by the computer called Deep Blue against chess world champion Gary Kasparov in 1997. This competition may be characterized as a match between the greatest chess player who ever lived and the greatest chess player who never lived. The installation sheds light on the limits of the human mind and the increasing capabilities developed by computers and robots, inanimate beings whose actions often acquire a force comparable to subjective human agency. According to Kasparov, Deep Blue's quintessential moment in game two came at Move 36. Rather than making a move expected by viewers and commentators alike--a sound move that would have afforded immediate gratification--it made a move that was subtle and conceptual and, in the long run, better. Kasparov could not believe that a machine had made such a keen move. The game, in his mind, was lost. The installation presents a chessboard made of earth (dark squares) and white sand (light squares) in the middle of the room. There are no chess pieces on the board. Positioned exactly where Deep Blue made its Move 36 is a plant whose genome incorporates a new gene that I created specifi cally for this work. The gene uses ASCII (the universal computer code for representing binary numbers as Roman characters, on- and off-line) to translate Descartes's statement: "Cogito ergo sum" (I think therefore I am) into the four bases of genetics. Through genetic modification, the leaves of the plants curl. In the wild these leaves would be flat. The "Cartesian gene" was coupled with a gene that causes this sculptural mutation in the plant, so that the public can see with the naked eye that the "Cartesian gene" is expressed precisely where the curls develop and twist. The "Cartesian gene" was produced according to a new code Kac created especially for the work. In 8-bit ASCII, the letter C, for example, is: 01000011. Thus, the gene is created by the following associations between genetic bases and binary digits: A = 00 C = 01 G = 10 T = 11 The result is the following gene with fifty-two bases: CAATCATTCACTCAGCCCCACATTCACCCCAGCACTCATTCCATCCCCCATC The creation of this gene is a critical and ironic gesture, since Descartes considered the human mind a "ghost in the machine" (for him the body was a "machine"). His rationalist philosophy gave new impetus both to the mind-body split (Cartesian dualism) and to the mathematical foundations of current computer technology. The presence of this "Cartesian gene" in the plant, rooted precisely where the human lost to the machine, reveals the tenuous border between humanity, inanimate objects endowed with lifelike qualities, and living organisms that encode digital information. A single parallel light beam shines delicately over the plant. Silent square video projections on two opposing walls contextualize the work, evoking two chess opponents in absentia. Each video projection is composed of a grid of small squares, resembling a chessboard. Each square shows short animated loops cycling at different intervals, thus creating a complex and carefully choreographed thread of movements. The cognitive engagement of the viewer with the multiple visual possibilities presented on both projected boards subtly emulates the mapping of multiple paths on the board involved in a chess match. A game for phantasmic players, a philosophical statement uttered by a plant, a sculptural process that explores the poetics of real life and evolution. This installation gives continuity to Kac's ongoing interventions at the boundaries between the living (human, non-human animals) and the nonliving (machines, networks). Checkmating traditional notions, nature is revealed as an arena for the production of ideological conflict, and the physical sciences as a locus for the creation of science fictions. Note: "Move 36" was previously shown at Gwangju and São Paulo biennials in 2004 and the Conde Duque Cultural Center, Madrid, in 2005. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 07:09:51 -0700 message-id: <200509271409.j8re9pu3022428@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV - We resdesigned the newsletter and our website!. We took your comments seriously, so it is now much easier to navigate. No new browser window opens if you look for any information. It will all enter next to the videoscreen. - Fourteen New Global Anchors Enhance OOH! TV's Robust Entertainment Catalogue; Mobile Distribution of a Diverse Group of Content Providers Creates New Entertainment Options for the Mobile Market. And one of these Content providers will be CULTURETV. Looking beyond traditional access via the web, OOH! TV has secured agreements to broadcast these channels over digital signage and Wi-Fi networks that represent nearly 1500 locations, such as airports, cafes, hotels, universities, malls, and other high traffic public venues in the US. The online television network will launch the beta version in October 2005 . - 'Russian POP ART part II, Moscow, Information / Transformation -EXTRACity (Antwerp) (B) and MONOPOLIS-Antwerp Witte de With, Rotterdam (NL) , are the exhibitions which we have for you on video. - About the new videart. This week we present a short intro of the documentary '7 Sons' by Florian Thalofer and Mahmoud Hamdy. “Sheik Suellim has seven sons” Maher says proudly. “Seven Sons, and not one daughter?” I wonder. “Seven sons,” Maher replies, “and further more six daugthers.” Florian Thalhofer from Berlin and Mahmoud Hamdy from Cairo met the Bedouins in the Sinai, close to the territories occupied by Israel. Berlin meets Cairo meets the Beguines - inclusive a sharia-court-case. [7sons] was made in summer 2003 with the support of the Goethe-Institute, Cairo. 'Space Invaders' by Marina Zurkow. “THE SPACE INVADERS” is a composite of live action footage and 2D character animation, redolent of vaudeville sketches, early cartoon pranks, and Grand Guignol’s shock theater. Enjoy our program and don't forget to subscribe to enter the Video on demand page, there you can even watch more videos on the time it suits YOU. http://www.culturetv.tv + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 09:24:02 -0700 message-id: <200509271624.j8rgo2kh016040@idx164.idx.net> references: no_parent from: arc.Naiff subject: RHIZOME_RAW: cierre de convocatoria Transitio_mx. Festival Internacional de Artes Electrónicas y Video desea recordarte que el día 30 de septiembre cierra la convocatoria al Primer Concurso que este festival organiza e invitarte a visitar su nuevo sitio de Internet http://transitiomx.cenart.gob.mx/index.html donde encontrarás la solicitud de registro además de información relativa al festival y al concurso. Transitio_mx. 2005, International Video and Electronic Arts Festival (Mexico), wishes to remind you that the deadline for the First Video and Electronic Arts Contest is on September 30. We also would like to invite you to visit the festival's new website http://transitiomx.cenart.gob.mx/index.html where you'll find the registration form, and general information about Transitio_MX 2005. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 10:57:01 -0700 message-id: <200509271757.j8rhv1tx032720@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: Mindplay Group for Research in Interactive Media London Metropolitan University presents Mindplay a one day conference on digital media theory, culture, practice and play Friday January 20th 2006 at London Metropolitan University, 35 Kingsland Rd, London, E2 8AA The conference will focus on our experience of both mindful and playful human-digital relationships, and explore our interaction and engagement with new digital media environments including those involving mobile and ubiquitous media, new cinema, gameplay, wired spaces, and networked communities. Call for Papers Deadline now extended to: Friday 30th September 2005 Selected papers may be published in a special issue of the journal 'Digital Creativity' Enquiries: enquiries@mindplay.org.uk + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 19:33:34 +0100 message-id: <4339907e.9000200@fact.co.uk> references: no_parent from: 1 subject: RHIZOME_RAW: HCI @ FACT - Laptops Welcome! REMINDER: HCI @ FACT Josh Nimoy: Icon==Function 4 October 2005 The Box 18:00 - 20:30 FREE (pre-booking required) BRING YOUR OWN LAPTOP The HCI (Human Computer Interaction) project is a collaboration between FACT and the School of Computing and Mathematical Sciences at Liverpool John Moores University that seeks to explore issues of computer usability. Artists Josh Nimoy (US), Simon Poulter (UK) and Caen Botto (Argentina) have been commissioned to propose experiments, based on scientific principles of human-computer interaction, that analyze how a variety of different users, from different backgrounds and levels of technological training, interact with the machine. Josh Nimoy will be presenting Icon==Function, a series of interactive game-like audio-visual environments that analyzes the relationship between the functionality of user interfaces, and their iconographic facades. The body of work attempts to eliminate the divide between the outer and inner parts of the machine. Caen Botto and Simon Poulter will also be present to inform us about their projects up to date. www.hci-fun.org.uk Made possible by a Partnerships for Public Awareness grant from the Engineering and Physical Sciences Research Council Marta Ruperez Curator FACT (Foundation for Art & Creative Technology) 88 Wood Street Liverpool, L1 4DQ t: + 44 (0)151 707 4425 f: + 44 (0)151 707 4445 http://www.fact.co.uk + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 11:47:53 -0700 message-id: <200509271847.j8rilr5x009668@idx164.idx.net> references: no_parent from: johannes grenzfurthner subject: RHIZOME_RAW: monochrom: Zeigerpointer Zeigerpointer http://www.monochrom.at/zeigerpointer/ The Zeigerpointer (a German-English word-mix tautology that we feel free to give birth to) is the most penurious form of capitulation in the print media. Various people, predominantly in local newspapers or magazines of regional interest, are forced by photographers armed with Zeiss-lenses to indicate occurrences. These people have to point at things. With their bare hands! They have to present occurrences that withdraw themselves through their absence, through optical expiration or simply the course of time. Like car wrecks that have already been recovered, asylum seekers that have fled, or burnt down buildings that were entirely consumed by the fire. Ocurrences that elude the media machinery because of visual boredom or a state of simply-not-there-anymore. Well, then let's give our readers a Zeigerpointer! The Zeigerpointer shall zeigerpoint it out! Please help us to collect and archive all the Zeigerpointers that have been photographed on our planet. Please scan the pictures. Please upload them. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 14:53:54 -0700 message-id: <200509272153.j8rlrse9016114@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: CALL FOR ART WORK - NUDES Call for Art Work: NUDES: The nude human figure in artistic representation This juried show is for artwork in any medium that depicts a nude or nudes in its subject matter or presentation. The nude has been a constant and enduring theme in American art despite our country’s Puritan beginnings. The nude remains an important subject in contemporary art, despite current conservative influences. The broad range of media and artists' stylistic approaches to the nude are varied — photography, video, painting, sculpture, drawing, academic, realistic, abstract, surrealist. The show will be juried by: Rob Clifford, Director & Curator of The Clifford-Smith Gallery, Boston & Nick Johnson, Director of Photographic Exhibitions & Instructor, New England School of Photography (NESOP) There will be a cash award for the work selected by the jury that depicts a nude or nudes in a conventional/classical manner. A cash award will also be given to the work selected that depicts a nude or nudes in an unconventional/creative manner. Artists may submit up to 2 works. The submission fee for 2 pieces of art is $15.00; the fee for one piece $10.00. Make checks payable to: Laurie Hoffma. Mailing address: Atlantic Works Gallery, 80 Border Street, 4th floor, East Boston, MA 02128, Attention: Juried Show Jurors will make selections from slides, CDs, and actual artwork. Slides must indicate front and top of image. CDs should only include high-quality JPEG images of artwork. Submissions must include a slide/CD list with contact information, the title of the piece, medium and price. An artist resume and/or bio is optional. If the artist would like their slides or CDs returned, they must include a stamped, self-addressed envelope. Artists may also drop off their artwork and fee in person on October 22nd, 2005 from noon to 5pm. All work must be dropped of at Atlantic Works Gallery, 80 Border Street, 4th floor, East Boston, MA 02128. At the time of drop off artists will be asked to provide their contact information, the title of the piece, medium and price. An artist resume and/or bio is optional. Notifications will be made via email or phone by November 2nd, 2005. Accepted pieces which were judged by slide or from a CD must be delivered to Atlantic Works Gallery on November 5th, 2005 between noon and 5pm. Work not selected must be picked on November 5th, 2005 between noon and 5pm. Works to be hung should not be bigger than 3'x3'. All work that is to be hung should arrive at the gallery with a wire backing or an easy to hang set-up. Installation and mixed media are encouraged; however any specific set-up needs to be completed by the artist submitting the work. Atlantic Works Gallery will take a 20% commission on any work sold. Questions about the show should be directed to atlanticworks@yahoo.com Nudes will open on November 12th, 2005; an opening reception will be held that evening at the Atlantic Works Gallery from 6pm to 9pm. Atlantic Works is a 25-member collaborative space for art and ideas. Since it opened in February of 2003, the Gallery has produced monthly art shows and occasional events. More information can be found at www.atlanticworks.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 00:00:18 +0200 (CEST) message-id: <20050927220018.e14f921fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Gmt gone gcd Greek, Galois galoot GUI, galaxy gigabyte, . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 16:20:05 -0700 message-id: <200509272320.j8rnk5dl030876@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Re: HMC 10days Residency/Seminar/Exhibition,Budapest/Hungary wrote: > HMC 10days Residency/Seminar/Exhibition,Budapest/Hungary > > 2nd INTERNATIONAL ARTISTS RESIDENCY/SEMINAR/BUDAPEST/HUNGARY > Dates: DECEMBER 27, 2005 - JANUARY 6, 2006 > > Hungarian Multicultural Center, Inc.® (HMC), non-profit organization, > invites 30 interested visual artists and writers to submit application > for its programs in Budapest, Hungary. Exhibition and Artist’s Talk > will be arranged (exhibit opening in July at EU Gallery, Budapest). > Applications should consist of: > - 5 SLIDES, labeled slides/CD/ writers 5 page writing / > - Artist's statement, Project Description > - One-page resume > - $35 application fee. > 10/15/05: Last day to receive entry form, slides, fee and SASE. > 10/25/05: Accepted/Rejected notification cards mailed. > Eligibility: Open to all professional artists, writers, painters, > photographers... > > Request entry form on email: bszechy@yahoo.com > Request entry form on mail (SASE): HMC P.O.Box 141374, DALLAS, TX > 75214 > Request entry form on web: www.hungarian-multicultural-center.com > > For more info and application form please contact us. > > Symposium/Seminar > The aim of this program is to investigate and showing of contemporary > art, develop theoretical and practical self-help through critical > development. Accepted applicants are expected to speak and > understand English. Lectures will be held in the mornings and will > followed by open discussions. Invited artists will give presentation > on their projects. The group seminar system will act as a catalyst > for all the other activities, as studio work, museum-gallery visits. > All participant has the opportunity to present their work at the > seminar once during this course. Seminar usually run 45 minutes to > an hour. Studios will be available as part of the time on the > program. Artists are expected to leave one piece of work made during > the residency as a donation to the HMC. The donated piece is decided > upon by the artist and the executive director. Donated work will be > exhibited at EU Gallery, Budapest. > > The residence offers 2 - 3 beds per room/ bath as living quarters. > Studio, room, breakfast and lunch, exhibition, seminar, artists’ > talk and travel cost from Budapest-Csopak-Budapest and exhibition cost > $680 for 10 days. > > TIME-TABLE > BUDAPEST > 12/27/05 ARRIVAL TO BUDAPEST > 12/28/05 9:30-12:30 and 2:30-5:30 SEMINAR - BUDAPEST > 12/29/05 9:30-12:30 and 2:30-5:30 SEMINAR - BUDAPEST > 12/30/05 9:30-12:30 and 2:30-5:30 SEMINAR & SIGHT SEEING - BUDAPEST > CSOPAK > 12/31/05 Leave to the country side in the morning, NEW YEARS EVE PARTY > - LAKE BALATON > 01/01/06 CREATION OF ART - Csopak/LAKE BALATON & SIGHT SEEING > 02/01/06 CREATION OF ART - Csopak/LAKE BALATON & SIGHT SEEING > 03/01/06 CREATION OF ART - Csopak/LAKE BALATON, Leave to Budapest in > the evening > BUDAPEST > 04/01/06 Museum and gallery visit, BUDAPEST > 05/01/06 FREE > 06/01/06 END OF RESIDENCY > > While HMC does not provide funding for residencies, we are helping to > facilitate the creation of programs and support the cost of the > exhibitions. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 27 Sep 2005 22:17:21 -0500 message-id: <2712d552bb1a6df945e58ae164a343aa@gmail.com> references: no_parent from: Ryan Griffis subject: RHIZOME_RAW: Fwd: [BeallCenter] Biotech Art Workshop conducted by SymbioticA: October 10-14 Begin forwarded message: > > BIOART AND PUBLIC SPHERE: > A WORKSHOP AND CONFERENCE SERIES AT THE UNIVERSITY OF CALIFORNIA > IRVINE > > Conference: Monday October 17 > Biotech Art Workshop conducted by SymbioticA: October 10-14 > > This initiative aims to bring together artists, biologists, and > science studies scholars, to address a broad range of questions about > science in the public sphere. The list of possible research domains to > be investigated includes, but is not limited to, genomics, tissue > engineering, genetic engineering and stem cell research. > > 1 What types of models of interdisciplinary engagement > might facilitate rich, well-informed public participation in > scientific discourse? > 2 How do we go beyond the "demo" model often used by > science museums and approach the subject matter in an experiential > hands-on way that allows for failure, redirection of research > questions and the promotion of agency towards an area that is usually > reserved for the expert community? > 3 What types of epistemological questions emerge at the > intersection of biology, art, and the public sphere? How would an > exchange mutually benefit the research areas of each discipline? Under > which umbrella could research collaborations of this kind be > supported? > > We are specifically interested in the relationship of these research > areas to the social landscape of the pharmaceutical industry, the > agricultural industry, global trade and corporate license agreements, > the framing of biosecurity and biodefense, constructions of disease, > and the global politics of the reproductive health industry. > > FOR MORE INFORMATION PLEASE SEE: > http://www.publicsphere.parasitelab.net/ > > > Beatriz da Costa > http://www.beatrizdacosta.net > http://www.preemptivemedia.net > > Assistant Professor of Studio Art Electrical Engineering and Computer > Science > Core Faculty of the Arts Computations Engineering Graduate Program > (ACE) > University of California at Irvine > http://www.ace.uci.edu > _______________________________________________ > BeallCenter mailing list > BeallCenter@uci.edu > https://maillists.uci.edu/mailman/listinfo/beallcenter + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 07:56:16 +0100 message-id: references: no_parent from: susana mendes silva subject: RHIZOME_RAW: private t'shirt __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 03:15:14 -0700 message-id: <200509281015.j8safe9a003902@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: Beware of the God The 30 animation is now playing on forty-two projected bilboards in Sydney train stations, and can be viewed online at: http://www.bewareofthegod.com/wp-images/movs/beware.mov and the results of Sunday's experimental projection onto clouds (clouds! in the sky!) as well as new essays and links can be found at: http://www.bewareofthegod.com/ For info on the project by Deborah Kelly: Beware of the God looks at the rise of religious literalists in the public sphere. It is a public project, and part of the Museum of Contemporary Art's Australian art exhibition that just opened in Sydney. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 09:12:02 -0300 message-id: <00b701c5c425$d789e620$4fa705c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: Sporkworld the Community -- call for articles for new site - CONTRIBUTE ! To my friends and net acquaintances: You probably know my web site www.sporkworld.org. Now I will be launching (in a few days) a companion "community site" (blog which welcomes contributors) which will publish articles about the themes addressed on Sporkworld. I am writing to you to ask you if you want to contribute to this site by submitting articles. Note that I haven't yet officially announced the site yet, so there should be few visitors and therefore not many comments etc. You can see new site at http://www.sporkworld.org//index.php. There are probably still bugs in the interface and the site will acquire more features as it develops. For example, I may add a way for users to upload images into photo albums, discussion forums, news feeds, etc. There will also be new articles appearing all the time, initially written by me but I hope people (you!) will contribute articles in the future. The first story on the front page of the blog tells about submitting articles. I do not promise to publish everything you send me, but I am eager to get as much material as possible, so I will strongly consider each submission. There is no fixed article length-- the minimum is a few paragraphs and there is no maximum. So far I have only five topic areas for articles, but these will expand as the site matures. The current topics are "Reviews" (of any kind of art or literature or music, etc.), "Web Art" (reviews, opinions, technical explanations of how pieces are made, nasty reviews, etc.), "Mental Health" (commentary or personal stories), "Poetry" (reviews, analysis, discussion of issues that come up as you write poetry, poetics and poetic techniques. Possibly even some poems -- I am undecided on the latter.), and "The Daily Saga" (personal stories and editorials about daily life, stories which reflect diverse subcultures such as ethnic, socioeconomic and religious groups about which readers may know little about, international stories reflecting daily life outside the US in a way we cannot get from the news or stereotypes, pet peeves and annoyances, discussions of various online communities, ranting and raving, humor, etc.) In addition, I have a topic called "Site News" which will contain posts about this site or the main www.sporkworld.org site. This topic will feature various works on the main site and describe (I cannot review my own works but you can!) them, and may also have calls for participation in Sporkworld collaborative projects and opportunities to get your work published on Sporkworld. You are welcome to help me write the descriptions of works already on my site (and you may include negative critcism!), but that is probably a chore I will have to do. If you are interested in writing any other type of article, please let me know so I can add a new topic if I agree that it is needed. I will probably add a "Politics" topic very soon. There is a feature on the site to submit links for the links page. Please submit your own links and links you like to it, especially links to sites relating to the topics on the site. If there are any bugs in the blog user interface or errors on the site, please let me know and I will do my best to fix them. You may have to be a little patient with me on this because I am new to blogging and the geeklog software which I used to build this site. If anyone has geeklog experience, I'd love to hear about it! Thanks for reading this and I hope to hear from you soon! Millie Niss men2@columbia.edu **************************************************** PS: I do recomend you visit and contribute to Niss' blog Regina Clia Pinto http://arteonline.arq.br/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 15:42:13 +0100 message-id: <433aabc5.5060907@furtherfield.org> references: <00b701c5c425$d789e620$4fa705c9@nomeamigotec> from: marc subject: RHIZOME_RAW: Low-fi gets physical at Stills *Low-fi gets physical at Stills* Article written about the Low-fi exhibition can viewed at Mazine - www.mazine.ws Written by Marc Garrett and Ruth Catlow (from www.Furtherfield.org) low-fi exhibiton at Stills, Edinburgh, UK. Mauricio Arango, Cavan Convery, James Coupe, UK Museum of Ordure, radarboy, Kate Rich 6th August - 1st October Low-fi: http://www.low-fi.org.uk/ The Stills Gallery: http://www.stills.org/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 09:09:36 -0700 message-id: <200509281609.j8sg9aib018008@idx164.idx.net> references: no_parent from: Mo Johnston subject: RHIZOME_RAW: NY Underground Film Festival Call for Entries +_+_+_+_+_+_+_+_+_+_+_+_+_+ NEW YORK UNDERGROUND FILM FESTIVAL CALL FOR ENTRIES www.nyuff.com for application and information 13th Annual festival takes place March 8-14, 2006!! ++_+_+_+_+_+_+_++++_+_+_+_+_+_+_+_++++_+_+_+ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 18:07:26 +0100 message-id: <433acdce.5080909@furtherfield.org> references: <200509281609.j8sg9aib018008@idx164.idx.net> from: marc subject: RHIZOME_RAW: The Fundamentalist Shadow of George W. Bush Dr. Bush and Mr. Hyde: The Fundamentalist Shadow of George W. Bush By John D. Goldhammer A mouth that prays, a hand that kills. - Arabian proverb "How do you find a lion that has swallowed you?" asked Swiss psychologist, Carl Jung, commenting on the moral dilemma posed by the "shadow," his insightful term for the dark, hidden side of the human psyche. The answer to Jung's questions is "you can't find or see that lion"-not as long as you are inside the beast. And therein resides the essential dilemma of a group's dark side or shadow: it is nearly impossible for those caught inside a group's belief system to see their own dark side with any clarity or objectivity. This hidden side grows over time, regressing, becoming more and more aggressive. It's the "long bag we drag behind us," says poet Robert Bly-where, as individuals, we dispose of all those things that are too uncomfortable to look at. "The long-repressed shadow of Dr. Jekyll rises up in the shape of Mr. Hyde, deformed, an ape-like figure glimpsed against the alley wall." http://www.scoop.co.nz/stories/HL0509/S00292.htm + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 22:48:38 +0200 message-id: <5e868631-6cb0-456a-81f4-65c45e7de599@nznl.com> references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Sep 22, 2005 - Sep 28, 2005 nznl.com digest Sep 22, 2005 - Sep 28, 2005 Posts 1214 - 1220 http://nznl.com 1214. Sep 22, 2005 PAST TENSE, PRESENT TENSE, FUTURE TENSE, 2009, PERFORMANCE FOR 3 NZNL.COM WORKERS flash movie http://nznl.com/geert/pop.php?dag=20050922 1215. Sep 23, 2005 MODEL OF THE NZNL.COM EXHIBITION HALL, 2009, WHITE CUBE, PLYWOOD, ACRYLICS, PLASTER OF PARIS fireworks file http://nznl.com/geert/pop.php?dag=20050923 1216. Sep 24, 2005 PLAN FOR A NZNL.COM RELIC CABINET, 2009, WHITE CUBE, GLASS, STEEL, PLYWOOD, ACRYLICS fireworks file http://nznl.com/geert/pop.php?dag=20050924 1217. Sep 25, 2005 WHITE CUBE, NO ART, 2009, WHITE CUBE (YOU WALKED INTO A WHITE CUBE AND YOU DIDN'T KNOW WHERE THE ART WAS) fireworks file http://nznl.com/geert/pop.php?dag=20050925 1218. Sep 26, 2005 PLAN FOR A PERFORMANCE OF VITO ACCONCI S SEEDBED, 2009, 2 NZNL.COM WORKERS (ONE HIDDEN) MICROPHONE, SPEAKER, WHITE CUBE fireworks file http://nznl.com/geert/pop.php?dag=20050926 1219. Sep 27, 2005 PLAN FOR A PERFORMANCE OF DAVID ROSENBOOMS MYOGENIC TRANSMISSION (1969), 2009, WHITE CUBE, 3 NZNL.COM WORKERS, ELECTROMYOGRAM MONITORS, ELECTRONIC MUSIC, COMPUTER GENERATED IMAGERY fireworks file http://nznl.com/geert/pop.php?dag=20050927 1220. Sep 28, 2005 PLAN FOR A REENACTMENT OF YVES KLEINS FALL, 2009, WHITE CUBE, NZNL.COM WORKER #1 FALLING fireworks file http://nznl.com/geert/pop.php?dag=20050928 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 22:01:44 +0100 message-id: references: <20050928105239.49258.qmail@web35006.mail.mud.yahoo.com> from: susana mendes silva subject: RHIZOME_RAW: private t'shirt+performances PRIVATE T'SHIRT adriana molder . joo onofre . joo pedro vale . joo vinagre . joo miguel rodrigues . nuno alexandre ferreira . susana guardado . susana mendes silva . patrcia romo . paulo romo brs + person with t'shirt [performance] maria joo garcia + susana mendes silva strip [performance] nuno alexandre ferreira direco de projecto | project director sofia ferreira inaugurao | opening 29-09-2005, 18h-21h a loja do lopes rua baro de quintela, 3 r/c. horrio 14hh/19h * 2 a sb. 213466025 alojadolopes@sapo.pt + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 22:49:54 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: they said I was insane Ads in progress for the Canadian Art Database, my favorite; "they said I was insane, now I'll show them!" http://www.ccca.ca/mikidot/newads/pages/rorchach1.html -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 28 Sep 2005 20:44:59 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: The Ghost City by George Friedman The Ghost City George Friedman http://www.nybooks.com/articles/18292 Here is an illuminating article on the economic role New Orleans has played historically (and now) as a major port in the USA. The Mississippi river is, of course, of tremendous importance as a shipping lane for many things, I gather (notably agricultural products); consequently, the author feels that New Orleans will have to be rebuilt to service the port. While you're at it, you might want to check out a rather disturbing article on John Roberts at http://www.nybooks.com/articles/18291 . The folks in New York should be very proud of your New York Review of Books--as with so many other things in New York, it is genuinely important. ja + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 17:12:39 +1000 message-id: <6.0.1.1.1.20050929171200.024830a8@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: _i_dentity_x_or[s]c[h]ism_ _i_dentity_x_orcism_ (1) exXo[n_valdez_like].cism_of_the_cor[e]p[o]orate_possessed _i_dentity_E_SS[||XX]_O[n]rcism_ _identity_shifts_in-ex.cell[ph]less.oil.deities_ _i_dentity_dreams.in.the.lap.of.the.stinking_luxX_ur_y_gawds_ (2) Bo_[PAY_didn't_they]PAL-xXx_or.c[(s)y]s[t(e)]m _i_dentification_of_[the_other_+unknown_]N_E_my_x_orcisms_ _i_d.[mark_black_]N_tity_x_orcism_ (3) Other [D]E[u]x_[wh]or[e]cisms _[i_den]_titty_x_orcism_ _occu_[n_sue]_lar||pol[e_dancing_creationism_M_T_moralities]arity_x_orcism_ _intricate mirror mem[e_st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 11:19:21 +0200 message-id: <20050929111921.bd19513c.314a0a31@127.0.0.1> references: no_parent from: {artNET} subject: RHIZOME_RAW: =?ISO-8859-1?Q?RRF2005=20spotlights=20VideoChannel? [R][R][F]2005--->XP http://rrf2005.newmediafest.org global networking project is proud to present new contributions to VideoChannel online & offline on occasion of a suit of physical events during October and November 2005 (more info see further ahead) 1. curated contribution by Vince Briffa (Malta) 2. curated contribution by Agricola de Cologne a) selection on the theme "memory & indentity" b) selection of 20 videos on theme "selfportrait" 3. the featured video on [R][R][F]2005--->XP start page "All Qiet on the Western Front" by Jamil Yamani (Australia) ****************************************** . 1. videos on theme "memory and indentity" by artists from MALTA curated by Vince Briffa featuring Mark Mangion, Austin Camilleri, Pierre Portelli and Vince Briffa. (see also http://netex.nmartproject.net/index.php?blog=3 ) curatorial statement by Vince Briffa The works of Vince Briffa, Austin Camilleri, Pierre Portelli and Mark Mangion. In parallel with video art practices, especially over the European continent and specifically in the United Kingdom*, in Malta, during the mid 1990s there was no clearly identifiable independent video (and to a lesser extent film) culture. It is in the last half of the 1990s that the first video art pieces were shown in the local art spaces. Ironically, video works by a handful of Maltese artists were many times given their first showing in exhibitions abroad and later re-imported back to Maltas shores. The works of Briffa, Camilleri, Portelli and Mangion amongst others are such examples. Having completed their studies abroad they returned to a culture where installation and even more video art practice and exhibitions were a rarity. This phenomenon was mainly due to two factors cultural and practical a strong artistic presence of the more traditional media which translated into an initial compelling resistance towards video art practice by the general public and also the scarcity of professional video production equipment in the mid 1990s mainly due to its prohibitive cost. With the advent of digitality and the explosion of desktop video more recently, the video medium has become more accessible and through such artists sustained practice it has steadily gained the recognition it deserves within the Maltese art scene. As manifest by their CVs, these artists are also very active in their own right internationally, especially in the European scene. All four artists are also founding members of START a group of Maltese contemporary artists working in a variety of disciplines (www.startmalta.com). * John Wyver , introduction to the third ICA biennial of Independent Film and Video, What you see is what you get, London, ICA, 1995. Details on VideoChannel htpp.//videochannel.newmediafest.org and after the launch of the new [R][R][F]2005--->XP - version on 5 October, also via http://rrf2005.newmediafest.org ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2. videos on the theme "memory and identity" curated by Agricola de Cologne (see also http://netex.nmartproject.net/index.php?blog=3 ) a) featuring these artists Silvio de Gracia (Argentina), Carlo Sansolo (Brazil Antoni Karwowski (Poland), Mireille Astore (Australia), Anatol Kraczyna (Italy), Jamil Yamani (Australia) b) selection on the theme "selfportrait" featuring ---> *Andr Austvoll (Norway), Clare Ultimo (USA) *Reuben James Preston (UK), Vinxce Briffa (Malta) *Agricola de Cologne (Germany), *Lee Welch (Ireland) *Giovanni Antignano (Italy), *Michael Szpakowski (UK) *Oliver Griem (South Korea),*Sinasi Gunes (Turkey) Nita Mocanu (Romania), *Eileen Bonner (UK) *Jack Messenger & Chirstinn Whyte (UK) *Jen Ross (UK), *Cynthia Whelan (UK) *Donal Bousted (UK), *Svetlana & Andi Wallwhore (USA) Christina McPhee (USA), Alice Arnold (USA) 3. the featured video on [R][R][F]2005--->XP start page "All Qiet on the Western Front" by Jamil Yamani (Australia) (see also http://netex.nmartproject.net ) Artist statement This work explores the changing face of identity when one is exposed to a greater cultural hegemony, it is illustrated through the simplistic device of eating food. In the work on the left/east side I can be seen eating a traditional indian meal, salt is taken at the beginning of the meal and I begin to eat with only my right hand (my family are muslims), no drink is taken until the meal is finished. On the right/western side a napkin is laid on my lap and I commence my meal by swallowing a large amount of beer, halfway through the meal I burp quite loudly and once again near the end. On the table on the eastern side is placed a jar of olive oil, its counterpart on the west is a jar of salted preserved lemons, how can these two elements come together to harmoniously communicate? Can they ever? For most of the duration of the film, both myselves studiously ignore each other but every now and then their eyes meet or when one is engaged in their food, the other observes himsel! f. I make no commentary or observations within this text, I merely present multiple facets of complex problems. About the artist JAMIL YAMANI video/installation artist His work has been exhibited at ARTSPACE, Centre for Contemporary Art, Sydney, Perth Institute of Contemporary Art, Perth, Performance Space, Sydney, Customs House, Circular Quay, Sydney, Space 3, Sydney, COFA Exhibition and Performance Space, UNSW, Sydney. His collaborative work has been exhibited in Taipei, Taiwan, Broken Hill, NSW, Gallery 4A, Sydney and Electrofringe, Newcastle. His screen-based work has been shown in Sydney and internationally, and he has given occasional guest lectures most notably at the Sydney arm of Boston University, USA. He has also collaborated with Professor David Malin to create the first new media visual component to accompany the work of a major Australian Composer (Ross Edwards) and presented in pre-eminent concert venues including the Adelaide Town Hall and the Sydney Opera House. Jamil works in IT support at the College of Fine Arts, UNSW where he also lectures in Computing. ****************************************************** As a part of [R][R][F]2005--->XP - global networking project, VideoChannel is presented online in the framework of IMPACT'SA 05 - event series project http://impact.newmediafest.org, but also on 10 DVD video volumes during the interactive [R][R][F]2005--->XP installation in the exhibition "Groundworks" - Environmental Collaboration in Contemporary Art 14 October - 11 December 2005 at Regina Gouger Miller Gallery at Carnegie Mellon University Pittsburg/USA and Biennale of Video & New Media in Santiago/Chile www.bienaldevideo.cl 18-28 November . "Selfportrait" video collection will be also presented in a gallery installation in the framework of Videoligia Festival Volgograd/Russia in November. . Further will be a special selection of videos, entitled "Rhythms of Memory" presented in the framework of PI-Five Short Video Festival Szczecin/Poland http://pi-five.piranho.com/ 7-17 October 2005 . ******************************************************* VideoChannel is a joint venture between Le Musee di-visioniste (http://www.le-musee-divisionste.org ) and [R][R][F]2005--->XP - global networking project http://rrf2005.newmediafest.org and is corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net the experimental platform for art and New Media operating from Cologne/Germany ********************************************************* These info are also issued on NetEX - networked experience http://netex.nmartproject.net and http://netex.nmartproject.net/index.php?blog=3 . contact and info info (at) nmartproject.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 14:45:25 +0200 message-id: <000201c5c4f4$756d7860$c97689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: ALL PAINTINGS ALL PAINTINGS ARE ACRYLIC ON CANVAS MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 07:47:14 -0700 message-id: <200509291447.j8tele33012131@idx164.idx.net> references: no_parent from: Luís da Silva subject: RHIZOME_RAW: SOURCE CODE blog Now on Source Code: T-shirts as Software, a text discussing Susana Mendes Silva's new performance, live art. http://vercodigofonte.blogspot.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 07:56:20 -0700 message-id: <200509291456.j8teukxy013359@idx164.idx.net> references: no_parent from: xavier cahen subject: RHIZOME_RAW: pourinfos Newsletter / 09-23 to 09-29-2005 pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- infos from September 23, 2005 to September 29, 2005 (included) ------------------------------------------------------------------- (mostly in french) ------------------------------------------------------------------- 01 Call : Fellowship , Center for Creative Photography, Tucson, Arizona, Usa. http://pourinfos.org/candidature/item.php?id=2011 ------------------------------------------------------------------- 02 Call : Fellowship For Research On The City, Sarai, Delhi, Inde. http://pourinfos.org/candidature/item.php?id=2010 ------------------------------------------------------------------- 03 Call : Fake Art: Call for Digital Web Art/Programs, virtual museum. http://pourinfos.org/participation/item.php?id=2009 ------------------------------------------------------------------- 04 Call : 5th International Short Film Festival , Berlin, Germany. http://pourinfos.org/participation/item.php?id=2008 ------------------------------------------------------------------- 05 Call : cycle conference intended for the architects, Paris ,France. http://pourinfos.org/participation/item.php?id=2007 ------------------------------------------------------------------- 06 Call : Figures Libres/ Free Figures, Pompidou Center, Paris, France. http://pourinfos.org/participation/item.php?id=2006 ------------------------------------------------------------------- 07 Divers : Petition, To save the Verlaine Museum,, Juniville, France. http://pourinfos.org/divers/item.php?id=2005 ------------------------------------------------------------------- 08 Job : assistant professor of new media/intermedia, Purdue University, West Lafayette, Indiana, Usa. http://pourinfos.org/emploi/item.php?id=2004 ------------------------------------------------------------------- 09 Meeting : Projection, Peter Greenaway, Pompidou Center, Paris, France. http://pourinfos.org/rencontres/item.php?id=2003 ------------------------------------------------------------------- 10 Publication : 05 out now, Spike Art Quartely, wien, Austria. http://pourinfos.org/publications/item.php?id=2002 ------------------------------------------------------------------- 11 Publication : Exporevue, magazine on line, France. http://pourinfos.org/publications/item.php?id=2001 ------------------------------------------------------------------- 12 Publication : n°36-37, Mouvement, Paris, France. http://pourinfos.org/publications/item.php?id=2000 ------------------------------------------------------------------- 13 Screening: Compilation #4, video of Latin America, Miss China Beauty, Paris, France. http://pourinfos.org/expositions/item.php?id=1999 ------------------------------------------------------------------- 14 Screening : CIT.CIT. Platform and Treasury, Etablissement d'en face, Brussels, Belgium. http://pourinfos.org/expositions/item.php?id=1998 ------------------------------------------------------------------- 15 Program : October, Discovered movies and videos of artist in October, Centre Pompidou, Paris, France. http://pourinfos.org/expositions/item.php?id=1997 ------------------------------------------------------------------- 16 Program : october 2005, Espace Culture Multimedia de la Maison populaire, Montreuil, France. http://pourinfos.org/expositions/item.php?id=1996 ------------------------------------------------------------------- 17 Exhibition : performances, myrtilles, en, quartiers, libres, montpellier, France. http://pourinfos.org/expositions/item.php?id=1995 ------------------------------------------------------------------- 18 Exhibition : videos-performances, ACTION D'ART, Grasse, France. http://pourinfos.org/expositions/item.php?id=1994 ------------------------------------------------------------------- 19 Exhibition : Versailles off, LA MARECHALERIE contemporary art center, Versailles, France. http://pourinfos.org/expositions/item.php?id=1993 ------------------------------------------------------------------- 20 Exhibition : A Told World, Parc Saint Léger, Pougues-les-Eaux, France. http://pourinfos.org/expositions/item.php?id=1992 ------------------------------------------------------------------- 21 Exhibition : Parabolas, Aire, espaces transdisciplinaires de creation, Moulins, France. http://pourinfos.org/expositions/item.php?id=1991 ------------------------------------------------------------------- 22 Exhibition : Nuit Blanche at la goutte d'or,l'Association M.U. et l'espace Cargo 21, Paris, France. http://pourinfos.org/expositions/item.php?id=1990 ------------------------------------------------------------------- 23 Exhibition : small stories, Biennale d’art contemporain de Lyon, Centre d’art contemporain de Lacoux, Hauteville-Lompnes, France. http://pourinfos.org/expositions/item.php?id=1989 ------------------------------------------------------------------- 24 Exhibition : "seen from top : to draw the landscape", Albert Clermont, Galerie/Ateliers L'H du Siège, Valenciennes. http://pourinfos.org/expositions/item.php?id=1988 ------------------------------------------------------------------- 25 Exhibition : ARBORESCENCE 05, Terre Active, Aix-en-Provence, France. http://pourinfos.org/expositions/item.php?id=1987 ------------------------------------------------------------------- 26 Exhibition "MADE IN CHINA" Pascal Simonet, Galerie Commune, Tourcoing, France. http://pourinfos.org/expositions/item.php?id=1986 ------------------------------------------------------------------- 27 Exhibition "the time of a photo" à la Galerie d'exposition du theâtre de Privas, Œuvres de la collection IAC, Privas, France. http://pourinfos.org/expositions/item.php?id=1985 ------------------------------------------------------------------- 28 Publication : virtual city III, N° 22, On line magazine du CIAC, Montreal, Canada. lien http://pourinfos.org/publications/item.php?id=1984 ------------------------------------------------------------------- 29 Publication : "photography as manufactures history", Isabelle Hersant, Rencontres Photographiques, Timisoara, Romania. http://pourinfos.org/publications/item.php?id=1983 ------------------------------------------------------------------- 30 Meetings : New formats, new territories of art, IRCAM, IRCAD, festival Emergences, Paris, France. http://pourinfos.org/rencontres/item.php?id=1982 ------------------------------------------------------------------- 31 Meetings : ITANOMTHUB : conference de Research&development et congres WU-M-P, Saint-Ouen, France. http://pourinfos.org/rencontres/item.php?id=1981 ------------------------------------------------------------------- 32 Job : web-design, teacher, Ecole superieure d'art et de design d'Amiens, Amiens, France. http://pourinfos.org/emploi/item.php?id=1980 ------------------------------------------------------------------- 33 Job : artist for realization of a fresco, Maison de l'Art et de la Communication, Sallaumines, France. http://pourinfos.org/emploi/item.php?id=1979 ------------------------------------------------------------------- 34 Job : artist for realization of a fresco, La Maison des Jeunes de Ruitz, Ruitz, France. http://pourinfos.org/emploi/item.php?id=1978 ------------------------------------------------------------------- 35 Job : Director for the contemporary arts center of Brest, Passerelle, France. http://pourinfos.org/emploi/item.php?id=1977 ------------------------------------------------------------------- 36 Call : Grant franco-german, Deutsch-Französischen Kulturrat, Saarbrücken, Germany. http://pourinfos.org/candidature/item.php?id=1976 ------------------------------------------------------------------- 37 Call : Call for Project, Belluard Bollwerk International, Fribourg, Switzerland. http://pourinfos.org/candidature/item.php?id=1975 ------------------------------------------------------------------- 38 Call : Interactive Film Lab Budapest, Korsakow System, Budapest, Hongrie. http://pourinfos.org/participation/item.php?id=1974 ------------------------------------------------------------------- 39 Call : PLAN Exhibition, Manchester, United Kingdom. http://pourinfos.org/participation/item.php?id=1973 ------------------------------------------------------------------- 40 Call : URBAN SCREENS, Amsterdam, Netherlands. http://pourinfos.org/participation/item.php?id=1972 ------------------------------------------------------------------- 41 Divers : A work of Alain Declercq destroyed, domaine de Chamarande, France. http://pourinfos.org/divers/item.php?id=1971 ------------------------------------------------------------------- 42 Divers : in "le cadre de lire en fete", reading of Claude Ber, Paris, France. http://pourinfos.org/divers/item.php?id=1970 ------------------------------------------------------------------- 43 Performance : Infraction program, Festival International de Performance, Sete, France. http://pourinfos.org/expositions/item.php?id=1969 ------------------------------------------------------------------- 44 Exhibition : installation Interactive, Nuit Blanche, Paris, Strasbourg, France. http://pourinfos.org/expositions/item.php?id=1968 ------------------------------------------------------------------- 45 Exhibition : Open studios, Issy-les-Moulineaux, France. http://pourinfos.org/expositions/item.php?id=1967 ------------------------------------------------------------------- 46 Exhibition : Artforum Berlin and Fiac de Paris, Galerie Jocelyn Wolff, Allemagne, France. http://pourinfos.org/expositions/item.php?id=1966 ------------------------------------------------------------------- 47 Exhibition : Exhibition #2, Association FetArt, Cachan, France. http://pourinfos.org/expositions/item.php?id=1965 ------------------------------------------------------------------- 48 Exhibition : "the name of the island", Clement Rodzielski, Betonsalon, Paris, France. http://pourinfos.org/expositions/item.php?id=1964 -- pourinfos.org -------------- XAVIER CAHEN Direction de la publication xavier.cahen@pourinfos.org http://www.pourinfos.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 17:34:28 +0200 (CEST) message-id: <20050929153428.095ea21fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Ht having hang Holland, Heisenberg handheld Hitachi, hair homepages, hundred Huge. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 12:09:51 -0400 message-id: <9340f89e-6059-4a76-a061-f7329d9116ec@highlala.com> references: no_parent from: Sal Randolph subject: RHIZOME_RAW: a call to musicians, sound artists, and phonographers for open sound exchange: boston a call to musicians, sound artists, and phonographers for open sound exchange: boston musicians and sound artists of all kinds are invited to participate in open sound exchange: boston, an opsound project which will take place at art interactive gallery in cambridge, october 15 - december 11, 2005 as part of glowlab's open lab exhibition. how to participate: open sound exchange: boston is gathering material for an open pool of sounds relating to the city. boston real and boston imaginary, boston past and boston now: yelling cabbies, rat new wave, fenway park crowds, sunday afternoon string quartets, harbor noises, sidewalk folk singers, composers in red sneakers new music, banker high heels, museum whispers, media lab algorithms, big dig construction, student arias. every city is a world of sound -- help discover boston's by creating a kaleidoscopic sonic portrait. contributions can include work from, about, or inspired by the idea of boston. boston sounds, including field recordings from various parts of the city, are already in the pool and available for remixing. ( http://opsound.org/tag/boston ) anyone is welcome to add work to the sound pool, and all material for the pool will be released under a creative commons license (the "attribution-sharealike license"), a copyleft license in the spirit of open source software licenses, which allows for all kinds of copying, remixing, use, and reuse while retaining an attribution to the original artist. sounds are not hosted directly by opsound, but free hosting is available through the internet archive and other sites. to contribute, simply sign up on the opsound site, add a band or artist project, and tag your sounds with the word "boston." your boston sounds will be used to create a special edition of the opstream, a radio broadcast which streams 24/7 over the internet via opsound.org. this boston pool will be offered in podcast form, and also played at the gallery and on outdoor speakers, constantly remixing itself with street sounds from the neighborhood. http://opsound.org :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 14:42:18 -0700 message-id: <200509292142.j8tlgils003742@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Focal Point with Jeremy Blake 7pm Focal Point with Jeremy Blake at Eyebeam Thursday, October 11, 7-9pm ¬¬ ”Time-based painter” Jeremy Blake will screen and discuss recent work on Tuesday, October 11th at Eyebeam as part of the Focal Point Lecture Series. Work presented will include Sodium Fox (2005), among other pieces featured in his October show at Feigen Contemporary. Blake’s films collage together abstract and representational images, bringing together painting and animation into looped semi-narratives. The talk will take place at 7:00pm at Eyebeam, 540 W. 21st Street, between 10th and 11th Avenues, and is free to the public with a suggested donation. Eyebeam 540 W. 21st Street New York, NY 212-937-6581 www.eyebeam.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 00:02:08 +0200 message-id: <20050929220249.kmyo2093.amsfep12-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: FW: [eu-gene] WolframTones (generative music) Wow! -----Original Message----- From: eu-gene-bounces@generative.net [mailto:eu-gene-bounces@generative.net] On Behalf Of Jelle Herold Sent: donderdag 29 september 2005 22:25 To: eu-gene@generative.net Subject: [eu-gene] WolframTones (generative music) Dear list, While doing my *cough* "homework", I came across this. Most interesting. WolframTones Launched by Wolfram Research A new system of computer-generated music known as WolframTones has been launched by Wolfram Research. WolframTones works by taking simple programs in the form of cellular automata and using music theory and Mathematica algorithms to render them as music. Each program can be viewed as defining a virtual world and WolframTones captures that computational world as a musical composition See here for a short introduction: http://mathworld.wolfram.com/news/2005-09-12/wolframtones/ And here is the site itself: http://tones.wolfram.com/ Enjoy. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 16:08:50 -0700 (PDT) message-id: <20050929230850.73995.qmail@web30501.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: motion picture 9Kb of generative movie: http://www.somedancersandmusicians.com/motion_picture/index.html best michael http://www.somedancersandmusicians.com/ 'Everything is connected.' - V.I.Lenin '..and always let your unconscious be your guide.' - J.Cricket 'Repetition, it's so fantastic, so anti-glop'- attrib. Lou Reed + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 17:08:02 -0700 message-id: <200509300008.j8u082sa020512@idx164.idx.net> references: no_parent from: Todd Brooks subject: RHIZOME_RAW: PenduGallery.com Accepting Sound, Text, Image, and Intermedia Submissions Calling to Sound Artists, Poets, Net.Artists, Painters, Creative People, ETC>>> Pendu Gallery is an online gallery exhibiting contemporary works by emerging and established international artists who work in a variety of media. It is our mission to provide a professional space to promote innovative artists who are uninhibited to experiment with unique approaches to making art. Pendu Gallery exhibits sound-art (experimental, creative, noise, sound poetry, etc) text/writings (hypertext, flash text, concrete, abstract, experimental poetry, etc) and images/surrogates (painting, photography, video art, installations, new media, etc) Please do not send artwork via attachments in e-mail (that means no JPGs, GIFs, MP3's, etc.). If you would like me to preview your work before sending hardcopy, send a URL link. Please send a info for review that includes: -project files+info (title, date, material, size, etc.) -statement of intention, -short bio, -and list of previous exhibitions Once you have been added to the site, you will be given your own URL @ www.pendugallery.com/yournamehere. Send URL Submissions: submissions@pendugallery.com Send Hardcopy Submissions: Pendu Gallery C/O Todd Brooks 435 E. 4th St. #3 Brooklyn, NY 11218 +Sound Art Submissions - Please send no more than 9 high-quality MP3's (192kbps) on a CD-R. [no .wav files please] [20mb file limit per track] +Text Submissions - Please send in Rich Text Format or MS Word format. JPGs and GIFs are also acceptable. +New Media Submissions - please send in .fla or .mov file format with a .txt file explanation for the piece.. +Image Submissions - Please send 6 - 18 large format (300dpi) .jpeg or .tiff files on a CD-R. In accepting submissions, Pendu Gallery places emphasis on multiculturalism, pluralism, and diverse media as criteria. Due to the volume of submissions received, only potential candidates will be contacted. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 21:36:48 -0300 message-id: <000b01c5c557$0e04f640$eca005c9@nomeamigotec> references: <20050929230850.73995.qmail@web30501.mail.mud.yahoo.com> from: Regina Clia Pinto subject: Re: RHIZOME_RAW: motion picture Hello Michael, I really liked this one, very interesting! Is it generated by programming? However I would like to see it full screem. Is it possible to do this or the size of the file will be very large? Best regards, Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com New Works: http://arteonline.arq.br/ducks/ http://arteonline.arq.br/eva/ ----- Original Message ----- From: "Michael Szpakowski" To: "netbehaviour" ; "rhizome" ; Sent: Thursday, September 29, 2005 8:08 PM Subject: RHIZOME_RAW: motion picture > 9Kb of generative movie: > > http://www.somedancersandmusicians.com/motion_picture/index.html > > best > michael > > http://www.somedancersandmusicians.com/ > > 'Everything is connected.' - V.I.Lenin > > '..and always let your unconscious be your guide.' - J.Cricket > > 'Repetition, it's so fantastic, so anti-glop'- attrib. Lou Reed > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 18:22:30 -0700 message-id: <200509300122.j8u1mui6026693@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: CALL FOR SUBMISSIONS We are seeking submissions for the first edition of the journal New Media Art : Embodied Praxis This journal will build dialogue about work that explores the intersections between emerging technologies and body, place, space & culture. We are seeking art works, articles (research oriented or reflection on artistic process), interviews or art reviews that can be displayed in a online context for this debut edition. Work from researchers, academics and artists working with the body, space and new technologies are welcome. We will consider all article abstracts of not more than one page and original art works received by October 24th 2005 for selection. Completed articles will need to be received by Nov 30th 2005. For consideration, please submit your work with a short (one paragraph) biography in electronic form by e-mail to this address : journal@liu.edu Please also note, that if your work is accepted, the journal requires either a hard copy of your work or high-resolution files uploaded to the internet. For hard copy submissions, please send a CD or DVD to the address below: New Media : Embodied Praxis Journal Sita Frederick Comm/Perf/Theater Long Island University 1 University Plaza Brooklyn NY 11201 5372 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 23:33:07 -0400 (EDT) message-id: references: <20050929230850.73995.qmail@web30501.mail.mud.yahoo.com> from: Alan Sondheim subject: RHIZOME_RAW: Re: [webartery] motion picture Please explain generative movie? Thanks, Alan On Thu, 29 Sep 2005, Michael Szpakowski wrote: > 9Kb of generative movie: > > http://www.somedancersandmusicians.com/motion_picture/index.html > > best > michael > > http://www.somedancersandmusicians.com/ > > 'Everything is connected.' - V.I.Lenin > > '..and always let your unconscious be your guide.' - J.Cricket > > 'Repetition, it's so fantastic, so anti-glop'- attrib. Lou Reed > > > > Yahoo! Groups Links > > <*> To visit your group on the web, go to: > http://groups.yahoo.com/group/webartery/ > > <*> To unsubscribe from this group, send an email to: > webartery-unsubscribe@yahoogroups.com > > <*> Your use of Yahoo! Groups is subject to: > http://docs.yahoo.com/info/terms/ > > > > ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt - revised 7/05 ) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 29 Sep 2005 23:58:17 -0700 message-id: <200509300658.j8u6whfa028889@idx164.idx.net> references: no_parent from: fernando goncalves subject: RHIZOME_RAW: barbara kruger I´m looking for the article "What´s High? What´s Low? and Who Cares?" from barbara kruger. Can you, all of you, help me ? Thanks in advance. Fernando Gonçalves + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 10:01:32 +0200 (CEST) message-id: <20050930080132.b229721fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART I'm is if Indian, IEEE impermissible IDEs, Inc icq iconify, Interjections IWA. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 10:12:49 +0200 message-id: <20050930101249.397cb7eb.8da5479c@127.0.0.1> references: no_parent from: {e-art} subject: RHIZOME_RAW: =?ISO-8859-1?Q?FAMILY=20PORTRAIT=20-=20Mosaica=20Award=20winner=202005? [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net . is proud to present the third and final version of ---> "Family Portrait" http://familyportrait.engad.org - - winner of the MOSAICA Award 2005 - Jews and Diaspora: Web Culture New Culture Jewish Culture - an Internet based hybrid between an art project and a documentary created by Agricola de Cologne, media artist and New Media curator from Cologne/Germany www.agricola-de-cologne.de . Agricola de Colognes collaborative project "Family Portrait" portrays three generations of the Partnoy family from Argentina in a triple diasporic tale of survival and artistic creativity. The Partnoys escaped persecution in Europe, fleeing to Argentina where they were once again persecuted during the so-called Argentine holocaust during the military dictatorships. After being "disappeared" and imprisoned in Argentina, Alicia (Raquel's daughter) and her family found asylum in USA, where later in 1994 also Raquel and her husband Salomn emigrated to, and they all live now as visual artists, writers and poets. In the framework of MOSAIC AWARD 2005, Agricola produced a third and final version of Family Portrait including new aspects of the story and a chapter about the lost son of the Partnoy Family. Agricolas project spotlights poignant aspects of Jewish diasporic history (Argentina) as well as artists whose identity and work is formed by this Jewish history. . "Family Portrait" is also part of the curatorial Internet based environment "Women: Memory of Repression in Argentina" http://argentina.engad.org which represents again an integral part of the global networking project [R][R][F]2005--->XP http://rrf2005.newmediafest.org . This final version of "Family Portrait" is launched online on Friday, 30 September 2005 on occasion of the [R][R][F]2005--->XP installation in the framework of the exhibition "Groundworks" - Environmental Collaboration in Contemporary Art 14 October - 11 December 2005 at Regina Gouger Miller Gallery at Carnegie Mellon University Pittsburg/USA, the Biennale of Video and New Media Santiago/Chile 18 - 28 November - www.bienaldevideo.cl and the IMPACT - events series in South America in October/November 2005 - detailled info on http://impact.newmediafest.org The MOSAICA site - www.mosaica.ca - will launch the works of the Mosaica Award winners Agricola de Cologne ("Family Portrait") and Nick Fox Gieg ("A good joke") online later in October, the exact date to be announced, yet. *************************************** These info can be found also on NetEX - networked experience http://netex.nmartproject.net [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for New Media art from Cologne. . Contact. info@nmartproject.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 10:11:49 +0100 message-id: references: no_parent from: susana mendes silva subject: RHIZOME_RAW: Live art http://rhizome.org/fp.rhiz?id=3D471 http://www.turbulence.org/blog/archives/001492.html#more Live art =E9 um projecto integrado em | Live art is a project integrated in PRIVATE T'SHIRT adriana molder . jo=E3o onofre . jo=E3o pedro vale . jo=E3o vinagre . jo=E3o miguel rodrigues . nuno alexandre ferreira . susana guardado . susana mendes silva . patr=EDcia rom=E3o . paulo rom=E3o br=E1s a loja do lopes 30.09 * 27.10.05 rua bar=E3o de quintela, 3 r/c. 14h/19h 2=AA a s=E1b | Monday to saturday 00 351 213466025 alojadolopes@sapo.pt -- Susana Mendes Silva Rua Jorge =C1lvares, 5, 1=BAdto 1400-227 Lisboa Portugal (+351) 917218012 arslonga@netcabo.pt __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 02:12:06 -0700 (PDT) message-id: <20050930091206.96323.qmail@web30514.mail.mud.yahoo.com> references: from: Michael Szpakowski subject: Re: RHIZOME_RAW: Re: [webartery] motion picture HI Alan its different every time. If you keep starting it you'll also notice from its little "progress bar" thing it goes at a different pace ( ie different length) each time. The actual content also is different ( admittedly, at that pace & level of abstraction it's not that easy to see!) best michael --- Alan Sondheim wrote: > > > Please explain generative movie? > > Thanks, Alan > > On Thu, 29 Sep 2005, Michael Szpakowski wrote: > > > 9Kb of generative movie: > > > > > http://www.somedancersandmusicians.com/motion_picture/index.html > > > > best > > michael > > > > http://www.somedancersandmusicians.com/ > > > > 'Everything is connected.' - V.I.Lenin > > > > '..and always let your unconscious be your guide.' > - J.Cricket > > > > 'Repetition, it's so fantastic, so anti-glop'- > attrib. Lou Reed > > > > > > > > Yahoo! Groups Links > > > > <*> To visit your group on the web, go to: > > http://groups.yahoo.com/group/webartery/ > > > > <*> To unsubscribe from this group, send an email > to: > > webartery-unsubscribe@yahoogroups.com > > > > <*> Your use of Yahoo! Groups is subject to: > > http://docs.yahoo.com/info/terms/ > > > > > > > > > > ( URLs/DVDs/CDroms/books/etc. see > http://www.asondheim.org/advert.txt - > revised 7/05 ) > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set > out in the > Membership Agreement available online at > http://rhizome.org/info/29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 02:18:57 -0700 (PDT) message-id: <20050930091857.36953.qmail@web30507.mail.mud.yahoo.com> references: <000b01c5c557$0e04f640$eca005c9@nomeamigotec> from: Michael Szpakowski subject: Re: RHIZOME_RAW: motion picture HI Regina Thanks! -don't know whether a programmer would call it programming but yes.. best michael --- Regina Clia Pinto wrote: > Hello Michael, > > I really liked this one, very interesting! Is it > generated by programming? > However I would like to see it full screem. Is it > possible to do this or the > size of the file will be very large? > > Best regards, > > Regina Clia Pinto > > http://arteonline.arq.br > http://arteonline.arq.br/library.htm > http://bigsheep.blogspot.com > > New Works: > > http://arteonline.arq.br/ducks/ > http://arteonline.arq.br/eva/ > > ----- Original Message ----- > From: "Michael Szpakowski" > To: "netbehaviour" ; > "rhizome" > ; > Sent: Thursday, September 29, 2005 8:08 PM > Subject: RHIZOME_RAW: motion picture > > > > 9Kb of generative movie: > > > > > http://www.somedancersandmusicians.com/motion_picture/index.html > > > > best > > michael > > > > http://www.somedancersandmusicians.com/ > > > > 'Everything is connected.' - V.I.Lenin > > > > '..and always let your unconscious be your guide.' > - J.Cricket > > > > 'Repetition, it's so fantastic, so anti-glop'- > attrib. Lou Reed > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms > set out in the > > Membership Agreement available online at > http://rhizome.org/info/29.php > > > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set > out in the > Membership Agreement available online at > http://rhizome.org/info/29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 02:50:02 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: Not My Type Not My Type http://www.lycettebros.com/notmytype You know, of course, that writing is a broader thing than it used to be. And occassionally a different thing than it used to be. ja + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 02:54:45 -0700 message-id: <200509300954.j8u9sjaf013261@idx164.idx.net> references: no_parent from: johannes grenzfurthner subject: RHIZOME_RAW: Soviet Game of Future Lost ** Soviet Game of Future Lost ** Interview with 'monochrom' about 'Soviet Unterzoegersdorf/Sector 1' for mutednoise.com. Intro: "Trying to summarize what Soviet Unterzoegersdorf is about is as easy as pronouncing its name. The free game, created by Austrian art-technology-philosophists monochrom, starts with a straight-forward premise that quickly explodes with quirky humor, challenging stereotypes, and intriguing play. As the name implies, Soviet Unterzoegersdorf tells the fictitious story of the last USSR republic." http://mutednoise.com/article.cfm?article=Soviet_Game_of_Future_Lost + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 03:14:29 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: how stories came to be how stories came to be: http://www.lycettebros.com/shocked/wscf.htm + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 07:59:47 -0700 message-id: <200509301459.j8uexlkg016456@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Leading Electronic Music Composer, PHILIPPE MANOURY, in New York For immediate release: Isabelle Deconinck 212-727-7662 A live performance of two seminal works by one of the world’s leading electronic music composers, Philippe Manoury Philippe Manoury: Jupiter and En Echo September 20, 2005—Electronic Music Foundation, in collaboration with New York University’s Music Technology program, presents live music by leading, contemporary French composer, Philippe Manoury. Renowned for his long-time association with IRCAM (Institute of Acoustic/Music Research and Coordination, Centre Pompidou, Paris), Manoury is considered one of the most gifted composers of his generation for his seamless integration of computer music techniques and instrumental/operatic traditions, an integration that moves beyond technological achievement and into the realm of art. Presented as part of NYU’s Interactive Arts Performance Series, the concert features Manoury’s classics, Jupiter for solo flute and real-time electronic system, and En Echo for soprano and interactive computer electronics. Performers include Elizabeth McNutt (flute), Juliana Snapper (voice), and Manoury’s long-time collaborator, Miller Puckette (live electronics), who has contributed to the ! genesis of both works, with Philippe Manoury overseeing the performance. Both of Manoury’s works, Jupiter and En Echo, are some of the most sophisticated and compelling electronic compositions created in the late 80s and early 90s—a period during which IRCAM was actively developing innovative software and hardware for electronic music. Composed as part of Sonus ex Machina, a cycle of interactive pieces which also includes Pluton, Neptune and La Partition du Ciel et de l’Enfer, Jupiter (1987) explores Manoury’s long-time interest in using live electronics as an extension of the live instrument. Prerecorded passages in the solo instrumental parts are subsequently recognized by the computer, which in turn activates a complementary response. The enrichment provided by this technique allows for a new distribution of sound in space, parallel to the numerous transformations taking place in the solo part. En Echo (1993) marks the culmination of Manoury’s eight-year tenure as a researcher at IRCAM. During that time, the composer collaborated with Puckette to work out techniques for synchronizing electronic music with live performers, while using the sonic quality of the instrument to control selected aspects of the overall sonority of the electronic part. En Echo is set to seven poems written by Emmanuel Hocquart in collaboration with Manoury, and centered in the recollections and erotic longing of Nabokov’s Lolita. WHEN: Monday, October 17, 2005 at 8pm WHERE: New York University’s Frederick Loewe Theater (35 West 4th St., NYC) TICKETS: Admission is free. For more information, visit www.emf.org or call 212-998-5422. Biographies: Born in France in 1952, Philippe Manoury studied piano with Pierre Sancan, musical analysis with Claude Ballif, composition with Gérard Condé and Max Deutsch, and computer music with Pierre Barbaud. In 1978, he began teaching during his residency in Brazil at the Universidade Nacionale do Estade de Sao Paulo. A major appointment followed at the Conservatoire National Supérieur de Lyon (1986-96). Most significant is his long association with the world's leading center for computer music research, IRCAM (Institut de Recherche et Coordination Acoustique/Musique), where he has worked as a Research Scientist since 1984, and as a Professor of Composition since 1993. For the European Year of Music, the Council of Europe commissioned Manoury to compose Aleph, which premiered in 1985. One of his most important works is the Sonus ex Machina series for solo instruments and real-time computer processing. Manoury has also composed three operas: 60ème Parallèle, which premiered at th! e Théâtre du Châtelet in March 1997; La Frontiere; and K…, commissioned and premiered by the Paris Opera and produced again by the Opéra de la Bastille in April and May 2005. Miller Puckette was the top scorer in the 1979-1980 William Lowell Putnam mathematics competition and was awarded Putnam and NSF fellowships to study mathematics at MIT and Harvard, where he finished his Ph.D. From 1979 through 1986 Puckette also studied computer music with Barry Vercoe at the MIT Media Lab. He then joined IRCAM in Paris, where he wrote the Max graphic programming language, which has become the lingua franca of live computer music. In 1994 Puckette joined UCSD where he is now professor of music and associate director of the Center for Research in Computing and the Arts. Since 1997 Puckette has also been part of the Global Visual Music project (with Mark Danks, Rand Steiger, and Vibeke Sorensen), which has been generously supported by a grant from the Intel Research Council. Flutist Elizabeth McNutt has worked with such recognized figures as Pierre Boulez, Philippe Manoury, Roger Reynolds, Joji Yuasa, and Joan Tower. Particularly drawn to the new sound worlds of electronic music, she collaborates intensively with composers and technologists to create groundbreaking works for flute and live interactive computer systems. McNutt has given solo recitals, often incorporating electronics, in Saint Louis, Birmingham, Chicago, San Diego, Providence, Frankfurt, and other U.S. and European cities. She has performed music for flute and electronics at the Los Angeles Philharmonic Green Umbrella Series, the Berkeley Symphony, the National Flute Association Convention, June in Buffalo Festivals, International Computer Music Conferences, and SEAMUS National Conferences. A native of the San Francisco Bay Area, soprano Juliana Snapper won the Blanche Thebom/Metropolitan Opera Council Award at 17 and went on to earn degrees in performance and critical studies in music from the Oberlin Conservatory and U.C. San Diego. Her performances and intermedia collaborations have been featured at SUSHI Performance and Visual Art (CA), The UCLA Armand Hammer museum (CA), the Participant Inc. gallery (NY), the NYC MIX Festival, the Istanbul Music Festival, The UK Fierce! Festival and Visions of Excess, Lubljana, Slovenia. Snapper performed the American premiere of Philippe Manoury's En Echo, with Miller Puckette at the New York Sounds French Festival, Stanford University, and The San Diego Museum of Art. She recently sang in a national tour of Eileen Myles'/Michael Webster's opera Hell, and toured the UK with The Judas Cradle, developed with artist Ron Athey, and premiered at Los Angeles’ RedCat Theater in 2005. Electronic Music Foundation’s mission is to empower individual creativity in music worldwide by producing events of international interest, communicating the history and creative potential of electronic music to the public, encouraging worldwide community and cultural diversity, inspiring engagement with environmental issues, and fostering the development and exchange of new ideas at the crossroads of music and technology. EMF produces events, commissions new work, publishes and distributes materials, and maintains a global network of contacts and collaborators. For more information on Electronic Music Foundation, please visit: This performance is made possible with public funds from the New York State Council on the Arts. For press inquiries, please contact: Isabelle Deconinck La PR – Press & Marketing for the Arts 212-727-7662 / isadeco@earthlink.net # # # + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 09:31:45 -0700 message-id: <200509301631.j8ugvjbf031823@idx164.idx.net> references: no_parent from: Jorge Luiz Antonio subject: RHIZOME_RAW: VISUAL AND ELECTRONIC INTERNATIONAL POETRY EXHIBITION VISUAL AND ELECTRONIC INTERNATIONAL POETRY EXHIBITION The Itu city is going to host an international exhibition of visual and electronic poetry from November 4th to 11th, 2005, in the Museu da Energia (Museum of Energy) and in the site of the eletronic journal www.itu.com.br. It treats about the MOSTRA INTERNACIONAL DE POESIA VISUAL E ELETRÔNICA (VISUAL AND ELECTRONIC INTERNATIONAL POETRY EXHIBITION), under the curatorship of Jorge Luiz Antonio, Hugo Pontes and Roberto Keppler, promotion of Academia Ituana de Letras (Academy of Letters from Itu) and London School, with the help of sponsors. Essa exposição faz parte da Semana da Cultura de Itu, evento da Secretaria Municipal de Cultura. This exhibition makes part of the Cultural Week of Itu, an event of the Culture Municipal Secretary of Culture. Visual poetry will count on the physical space of the Museum of Energy: panels with visual poetries, a room with an interactive books and exhibition of some magazines and books. The Exhibition will count on the participation of poets from Brazil and several countries. The electronic newspaper www.itu.com.br will host the electronic poetry exhibition, which will be appreciated by the cyberreaders in the following URL: www.itu.com.br/poesiavisual. The event is a cultural proposal and an invitation: to go to the exhibition and access several sites of electronic poetry, and, then, be in the round table, on November, 9th, 2005, from 8 p. m. on, in the Museum of Energy. Hugo Pontes, Jorge Luiz Antonio e Roberto Keppler will present short communications on visual and electronic poetry, for, then, to give the word to all who will have interest in asking, discussing or asking questions about the subject. For the readers will be able to appreciate visual poetry, there are some examples. “Orfeu”, by Elson Fróes: It is a poem made of images which represent the trajectory of poetry, from the one which was sung by the song of lyre in Antiquity to the one which starts existing in the computers. Other examples allow us to appreciate this type of making poetry: “Ligue-se” (Turn on yourself), by Hugo Pontes, explores the technology of communication (telephone) and of reproduction (xerox) to establish other poetical communication, the one with the word with the image: “Tributo a Cesário Verde” (Tribute to Cesario Verde), by Jorge Luiz Antonio, builds the possible image of the XIXth century poetry which announces the visuality in the poetry of the following centuries: Roberto Keppler, explorando as técnicas das artes plásticas, cria carimbos, um produto tecnológico e um símbolo da repetição e da burocracia, para produzir novos significados em “A consciência do vício”: Roberto Keppler, exploring the visual arts techniques, creates stamps, a technological product and a symbol of the repetition and of bureaucracy, to produce new meanings in the “A consciência do vício” (The consciousness of viciousness). This exhibition intends to present what is innovative in the poetical communication and, so, to indicate that the contemporary language, which is predominantly visual, is also receiving the intervention of poetry, and that now it is being propagated not only in the printed media, but also in the three-dimensional and electronic ones. Hugo Pontes is poet, teacher in PUC Minas and one of the pioneers in xerox art in Brazil and also a great divulgator of visual poetry. Jorge Luiz Antonio is poet and teacher and is developing researches and creations of electronic poetry. Roberto Keppler is civil engineer, artist, visual poet and works in Municipal Secretary of Culture in Sao Paulo. He is one of the pioneers in xerox art in Brazil, of visual poetry and computational poetry. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 14:27:02 -0400 message-id: <433d8376.4050400@corporatepa.com> references: no_parent from: joseph mcelroy subject: RHIZOME_RAW: Bronx Library So an interesting development for myself and my wife - we had a piece accepted by the curator of a show for the Bronx Library system to be shown at the Mott Haven Library - the up and coming arts area of the Bronx - anyway, one of the library administrators, a Bob Bellinger (rbellinger@nypl.org*) *for some unspecified reason rejected it - perhaps because the peice explicitly stated that we were interested in investigating whether the library is an agent of hegomony - or perhaps he was having a bad day - whatever, he doesn't give his reasons.... anyway, just by way of warning, don't go to the Bronx and challenge the library system with your art... for anyone interested - here is a link - it is a huge file but does have a progress indicator. http://www.corporatepa.com/library/ joseph mcelroy joseph and donna corporate performance artists corporate.com brotherhood winery direct brotherhood.com an incubator thetammi.org some art electrichands.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 16:01:00 -0400 message-id: references: <433d8376.4050400@corporatepa.com> from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: Bronx Library >anyway, one of the library administrators, a Bob Bellinger >(rbellinger@nypl.org*) *for some >unspecified reason rejected it - >perhaps because the peice explicitly stated that we were >interested >in investigating whether the library is an agent of hegomony I've found that any project will get rejected which threatens the reputation, structure, or governance of an institution, and may lead to the administrator losing their position. I think most administrators will not encourage a political attack on the institutions they work for. Mik -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 30 Sep 2005 13:34:46 -0700 message-id: <200509302034.j8ukykg8003635@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Postcards from the Edge benefiting Visual AIDS Postcards from the Edge benefit for Visual AIDS Small Art with Big Names hosted by Robert Miller Gallery 524 W. 26th St. (btw. 10th & 11th Avenues), NYC (Subway: C train to 23rd St) Preview Party [NO SALES] Sunday, October 16 from 6:00 - 8:00 pm ($50 at the door) Benefit Sale Monday, October 17 from 6:00 - 9:00 pm Tuesday, October 18 from 10:00 - 5:00 pm (free) http://thebody.com/visualaids/current/postcards2005.html Visual AIDS Postcards From the Edge is a show and sale of original, postcard-sized works on paper by established and emerging artists. Famous in the art world as the most exciting and affordable way to build a collection of work by internationally renowned artists as well as young and emerging artists, all works are sold on a first-come, first-served basis for $50. The works are signed on the back and exhibited so the artists' signatures cannot be seen. While buyers have a list of participating artists, they don't know who created which piece until purchased. A collector might end up with a work by a famous artist or someone they don't know yet. Either way, they walk away with a great piece of art while supporting the important work of Visual AIDS. Participating artists include: Vito Acconci, Polly Apfelbaum, Ida Applebroog, Dotty Attie, John Baldessari, Barton Lidice Benes, Nayland Blake, Ross Bleckner, Nina Bovasso, AA Bronson, Matthew Buckingham, Nancy Burson, Rick Castro, Mark Chamberlain, Aaron Cobbett, Greg Colson, Marcel Dzama, Neil Farber, Tony Feher, Brian Finke, Hans Haacke, Jane Hammond , Stuart Hawkins, Mary Heilmann, Matthias Herrmann, Jim Hodges, Elizabeth Huey, David Humphrey, Alfredo Jaar, Miranda July, Terence Koh, Louise Lawler, Sol LeWitt, Glenn Ligon, Barry McGee, Julie Mehretu, Carrie Moyer, Elizabeth Murray, Robyn O’Neil, Yoko Ono, Tom Otterness, Ernesto Pujol, Paul Henry Ramirez, Tim Rollins & K.O.S., Edward Ruscha, Gary Schneider, Kate Shepherd, Amy Sillman, Kiki Smith, Pat Steir, Barbara Takenaga, Rirkrit Tiravanija, Spencer Tunick, Kay Walkingstick, Nari Ward, John Waters, Mary Weatherford, William Wegman, Lawrence Weiner, Fred Wilson, Lynne Yamamoto and a thousand MORE… Preview Party: Sunday, October 16 from 6:00 - 8:00 pm This is the only opportunity to get a sneak peek at the entire Postcards From the Edge exhibition. No work will be for sale on the Preview Night, however one lucky raffle winner will be able to select any artwork that evening before anyone else! Postcard artwork is hung anonymously, so come to the preview party and scout out your favorites early! Benefit Sale: Opens Monday, October 17, 6-9 PM and continues Tuesday, October 17, 10-5 PM. First-come, first-served, no entrance fee. Postcards are displayed anonymously and the artists’ names are only revealed upon purchase. A collector might end up with a work by a famous artist or someone they don't yet know. Either way, they walk away with a great piece of art while supporting the programs of Visual AIDS. All Postcards from the Edge proceeds—100% of all sales—support the programs of Visual AIDS. Founded in 1988 by arts professionals as a response to the effects of AIDS on the arts community and as a way of organizing artists, arts institutions, and arts audiences towards direct action, Visual AIDS has evolved into an arts organization with a two-pronged mission 1) Through the Frank Moore Archive Project, the largest slide library of work by artists living with HIV and the estates of artists who have died of AIDS, Visual AIDS historicizes the contributions of visual artists with HIV while supporting their ability to continue making art and furthering their professional careers. 2) In collaboration with museums, galleries, artists, schools, and AIDS service organizations, Visual AIDS produces exhibitions, publications, and events utilizing visual art to spread the message “AIDS IS NOT OVER.” For more information on the programs of Visual AIDS, please visit www.visualAIDS.org. -- Visual AIDS 526 W 26th Street #510 New York, NY 10001 212.627.9855 info@visualAIDS.org www.visualAIDS.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 13:04:13 +0200 (CEST) message-id: <20051001110413.be84621fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Jell-o jobname Japanese, Jpn jaggies JavaScript, Jr jackoff jpg, . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 11:33:15 -0400 (EDT) message-id: <50148.151.201.31.254.1128180795.squirrel@rhizome.org> references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Open Call for Transmission Art Web Projects Hello, Please submit to Open Call! See below, and at: http://rhizome.org/info/32.new.php for details. -Lauren Rhizome and free103point9 Open Call for Transmission Art Web Projects free103point9 and Rhizome are pleased to announce a collaborative call for web-based works that explore transmission as a medium for creative expression. Projects should practically and/or conceptually incorporate transmission themes and tools. Applicants are encouraged to visit free103point9's online Study Center resource for historical, technical, and cultural reference materials on Transmission Art. Projects should have been completed within the last year of the opening of the exhibition: January 7, 2006. Projects that are in-development at the time of submission will be considered as long as their completion date seems to fit realistically with the exhibition timeline. A modest artist fee will be provided in support of selected projects. We welcome a wide range of interpretations and ideas. Selected projects will be included in an online exhibition featured by both free103point9 and Rhizome websites January March 2006. A live performance and/or presentation event will also take place during the duration of the exhibition. Open Call October 1, 2005 Submission Deadline October 31, 2005 Notification November 14, 2005 Online Exhibition January March 2006 Presentation/Performance March 2006 Application Please include the following items in your application materials. Proposals should be emailed to opencall@rhizome.org no later than midnight October 31, 2005. Questions regarding your proposal should be directed to Lauren Cornell and Galen Joseph-Hunter. Name of Artist/Collective Contact e-mail Contact phone CV/Resume Artist Statement Without exceeding 500 words, please describe your current artistic practice. Proposed Project Narrative Without exceeding 1000 words, please describe your project. Project Timeline Please outline your development strategy in order to meet a launch date of January 1st. Work Samples Please provide a list of URL references to previous work. Panelists: Lauren Cornell, Rhizome Executive Director Francis Hwang, Rhizome Director of Technology Galen Joseph-Hunter, free103point9 Executive Director Tianna Kennedy, free103point9 NYC Project Coordinator Tom Roe, free103point9 Program Director Open Call links: http://rhizome.org/info/32.new.php http://www.free103point9.org/opencall.php Lauren Cornell Executive Director, Rhizome.org New Museum of Contemporary Art 210 Eleventh Ave, NYC, NY 10001 tel. 212.219.1222 X 208 fax. 212.431.5328 ema. laurencornell@rhizome.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 09:27:53 -0700 message-id: <200510011627.j91grrfe020294@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: migration www.migrantas.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 09:29:51 -0700 message-id: <200510011629.j91gtpct020634@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: migration Migrantas has been working since 2001 on projects related to migration, identity and dialogue between different cultures. Their projects combine tools from the social sciences, graphic design and the visual arts, and put them at the disposal of reflection on the migrant condition. Mobility, migration and transculturality are not exceptional any longer. On the contrary, they are becoming a very central phenomenon of our times. The thoughts and emotions of the immigrants though, remain invisible for the greater part of society. Through Ausländer, Integration and further projects to follow, Migrantas aims to offer a means of expression for these silenced, anonymous identities and to make their experiences public. The visual language of Migrantas is based on pictograms. These apparently simple drawings combine a high potential for expression with a great power of synthesis. Their universality allows them to adapt to different cultural traces. People from very different backgrounds can recognize themselves in the tension between the singular and the collective. The installation of the pictograms as advertising posters visually integrates the immigrants' experiences into the urban landscape. Their lives become visible; the city speaks about them. The work is completed by the pedestrian, who is invited to send his or her own messages. Migrantas assumes that every person has the ability of reflecting on their own individual situation and linking it with broader social and political processes. Thinking about the "macro" causes which determine personal life stories helps to overcome the perception of their own lives as unique while acquiring intellectual tools to deal with it. The members of Migrantas have themselves emigrated, from Buenos Aires to Berlin. They conceive of their work with other migrants as a horizontal dialogue. Integration. Pictures of migrant women in Berlin September 23-October 30, 2005   Opening: September 22, 7 PM Finissage: October 28, 7 PM Galerie im Saalbau Karl-Marx-Straße 141 12043 Berlín Subway: Karl-Marx-Straße (U 7) more info www.migrantas.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 09:42:38 -0700 message-id: <200510011642.j91ggcmg022198@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: Cut-up.media.magazine: special issue on the art and politics of netporn In cooperation with the Institute of Network Cultures, Cut-up.media.magazine (http://www.cut-up.com) has produced a special issue on the art and politics of netporn. Although a growing number of theoretical and historical porn studies have appeared over the last decades, few have focused on the analysis of netporn as complex networks and its embedment within digital media environments. By publishing five new articles based on original research online and freely accessible to all, we hope to contribute to a climate of critical research surrounding the topic of netporn. The five new articles are: - Nishant Shah, "Playblog: Pornography, Performance, and Cyberspace" - Manuel Bonik and Andreas Schaale, "The Naked Truth: Internet-Eroticism and The Search" - Bert de Muynck, "The Art of Adult Architecture or the Politics of Pornographic Planning" - Tim Noonan, "Netporn and the Politics of Disability: A Catalyst for Access, Inclusion and Acceptance" - Mireille Miller-Young, "'Because I'm Sexy and Smart!': Black Web Mistresses Hack Cyberporn" Publication data: "Special Issue: The Art and Politics of Netporn", ed. by Bas van Heur, Cut-up.media.magazine, issue 20 (2005). Stable URL: http://www.cut-up.com/news/issues.php?issue + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 13:49:34 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: more on: Bronx Library "anyway, one of the library administrators, a Bob Bellinger (*) *for some >unspecified reason rejected it - perhaps because the peice explicitly stated that we were >interested in investigating whether the library is an agent of hegomony". What does that word mean? ------------------------- Main Entry: he=B7ge=B7mo=B7ny Pronunciation: hi-'je-m&-nE, -'ge-; 'he-j&-"mO-nE =46unction: noun Etymology: Greek hEgemonia, from hEgemOn leader, from hEgeisthai to lead : preponderant influence or authority over others : -------------------------- Is this a hegemony a good or a bad thing? In order to be fair we need to deconstruct the statement itself. It is loaded language designed to push emotional buttons, to awaken the desire for freedom against the hegemony that represses us. The sentence itself is similar in content and grammatical structure to the language of conspiracy theorists or others whose energy is consumed in trying to distract themselves, and others, from their own failure to make an effort in the right direction,which is to to deal with their own problems. A common strategy is to blame others, to project the personal failing of which we are in denial. Denial is a type of repression. According to C.G Jung, the energy repressed doesn't disappear but returns projected on a scapegoat; "they", "them", "they're at fault", "they're the agents of hegemony". My understanding is that it's the artist who feels repressed - by what the hegemony has but he or she is lacking; preponderant influence or authority over others. Technically, the spelling mistakes are primitive and suggest a lack of research and study; these require so much time and effort that one eventually pays attention to the tiny details, knowing them to be vital components of the whole and what they reveal about the person making the statement. =46inal conclusion; the artist might attain influence and authority over others by actually doing the work they are neglecting; the self reflection and development which, lacking, leads to the rejection of which they complain. Artist-driven social critiques have long historical and political precedents, i.e. colonialist African nations or occupied France during WW2. Playwrights would hide their critique in the context of the work, which was interpreted differently by the people or the political overlords. These works served to support and unify national rebellion. When making a political statement I always question myself first, seeking out any hidden motives or unconscious belief systems, any hidden agenda. An example is a recent performance where I slashed a valuable painting at an exhibition. http://www.ccca.ca/mikidot/photo/sept_mocca_perf/pages/DSC05649.html I had done some research on the destruction of art and the psychology behind it. During the performance I was very clear in exposing my own agenda, a desire for publicity, and that I was using a strategy of disturbance and emotional blackmail because it's effective and does bring critical attention if done right. Just another answer to the question "what does it take to..." -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com --============_-1083933519==_ma=========== more on: Bronx Library

"anyway, one of the library administrators, a Bob Bellinger (*) *for some >unspecified reason rejected it - perhaps because the peice explicitly stated that we were >interested in investigating whether the library is an agent of hegomony".

What does that word mean?

-------------------------
Main Entry:  he=B7ge=B7mo=B7ny 
Pronunciation:  hi-'je-m&-nE, -'ge-; 'he-j&-"mO-nE
Function:  noun
Etymology: Greek hEgemonia, from hEgemOn leader, from hEgeisthai to lead
: preponderant influence or authority over others :
--------------------------

Is this a hegemony a good or a bad thing?

In order to be fair we need to deconstruct the statement itself.

It is loaded language designed to push emotional buttons,
to awaken the desire for freedom against the hegemony that represses us.

The sentence itself is similar in content and grammatical structure to the language of conspiracy theorists or others whose energy is consumed  in trying to distract themselves,
 and others, from their own failure to make an effort in the right direction,which is to to deal with their own problems.  A common strategy is to blame others, to project the personal failing of which we are in denial.

Denial is a type of repression. According to C.G Jung, the energy repressed doesn't disappear but returns projected on a scapegoat; "they", "them", "they're at fault", "they're the agents of hegemony".

My understanding is that it's the artist who feels repressed - by what the hegemony has
but he or she is lacking; preponderant influence or authority over others.

Technically, the spelling mistakes are primitive and suggest a lack of research and study; these require so much time and effort that one eventually pays attention to the tiny details, knowing them to be vital components of the whole and what they reveal about the person making the statement.

Final conclusion;  the artist might attain influence and authority over others by actually doing the work they are neglecting; the self reflection and development which, lacking, leads to the rejection of which they complain.

Artist-driven social critiques have long historical and political precedents, i.e. colonialist African nations or occupied France during WW2.  Playwrights would hide their critique in the context of the work, which was interpreted differently by the people or the political overlords.  These works served to support and unify national rebellion.

When making a political statement I always question myself first,
seeking out any hidden motives or unconscious belief systems, any hidden agenda.
 
An example is a recent performance where I slashed a valuable painting at an exhibition.
http://www.ccca.ca/mikidot/photo/sept_mocca_perf/pages/DSC05649.html

I had done some research on the destruction of art and the psychology behind it.
During the performance I was very clear in exposing my own agenda, a desire for publicity,
and that I was using a strategy of disturbance and emotional blackmail because it's effective and does bring critical attention if done right.  Just another answer to the question "what does it take to..."


--

Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846  
647-292-1846
http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 11:14:31 -0700 message-id: <200510011814.j91iev8v031473@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: A.I.R. Gallery Openings A.I.R. Gallery Oct. 11 - Nov. 5, 2005 Opening Reception: Friday Oct. 14, 6-8 pm Gallery I: Ann Pachner: "Oakenashokan"; Gallery II: Jane Gilmor: "Blind"; Fellowship Gallery: Pattie Lee Becker: "The Harbingers" 511 West 25th Street, 3rd floor New York, NY 10001 (in Chelsea between 10th and 11th Ave.) Gallery hrs: tues.-sat. 11-6 pm Thanks! Emily A.I.R. Gallery 212.255.6651 www.airnyc.org info@airnyc.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 11:18:54 -0700 message-id: <200510011818.j91iisty031940@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: A.I.R. Gallery Fellowship Open Call A.I.R. Fellowship Program: 18-month sponsored membership with solo show opportunity for NYC greater metro area women artists. Application deadline: October 31, 2005. Send SASE for prospectus to 511 W. 25th Street, #301, NYC, NY 10001 or enter online at www.airnyc.org. Thank you, Emily Harris + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 01 Oct 2005 16:37:42 -0400 message-id: <433ef396.3030008@corporatepa.com> references: from: joseph mcelroy subject: Re: RHIZOME_RAW: more on: Bronx Library The title of the piece is "How do you envision your piece working?" And it is sure not a critique of the Library system. It is one small part of a larger performance, part of which you can see at www.corporatepa.com, www.brotherhood-direct.com, www.thetammi.org (under construction), www.electrichands.com and others to follow. These are the answer to the question "what does it take to..." What comes after the "..." includes hegemony. And I think you have a pretty poor opinion of other artists - assuming that they are pitiful voices plaintively complaining their lot and not doing the work to obtain their objectives. That prejudice just seeps out of your analysis - much like the guy at the Rotary club asking why we don't make jails into profit centers. best joseph mcelroy miklos@sympatico.ca wrote: > > "/anyway, one of the library administrators, a Bob Bellinger (*) *for > some >unspecified reason rejected it - perhaps because the peice > explicitly stated that we were >interested in investigating whether > the library is an agent of hegomony/". > > What does that word mean? > > ------------------------- > Main Entry: * hegemony* > Pronunciation: hi-'je-m&-nE, -'ge-; 'he-j&-"mO-nE > Function: / noun/ > Etymology: Greek/ hEgemonia,/ from/ hEgemOn/ leader, from/ hEgeisthai/ > to lead > *: preponderant influence or authority over others :* > -------------------------- > > Is this a hegemony a good or a bad thing? > > In order to be fair we need to deconstruct the statement itself. > > It is loaded language designed to push emotional buttons, > to awaken the desire for freedom against the hegemony that represses us. > > The sentence itself is similar in content and grammatical structure to > the language of conspiracy theorists or others whose energy is > consumed in trying to distract themselves, > and others, from their own failure to make an effort in the right > direction,which is to to deal with their own problems. A common > strategy is to blame others, to project the personal failing of which > we are in denial. > > Denial is a type of repression. According to C.G Jung, the energy > repressed doesn't disappear but returns projected on a scapegoat; > "they", "them", "they're at fault", "they're the agents of hegemony". > > My understanding is that it's the artist who feels repressed - by what > the hegemony has > but he or she is lacking; preponderant influence or authority over others. > > Technically, the spelling mistakes are primitive and suggest a lack of > research and study; these require so much time and effort that one > eventually pays attention to the tiny details, knowing them to be > vital components of the whole and what they reveal about the person > making the statement. > > Final conclusion; the artist might attain influence and authority > over others by actually doing the work they are neglecting; the self > reflection and development which, lacking, leads to the rejection of > which they complain. > > Artist-driven social critiques have long historical and political > precedents, i.e. colonialist African nations or occupied France during > WW2. Playwrights would hide their critique in the context of the > work, which was interpreted differently by the people or the political > overlords. These works served to support and unify national rebellion. > > When making a political statement I always question myself first, > seeking out any hidden motives or unconscious belief systems, any > hidden agenda. > > An example is a recent performance where I slashed a valuable painting > at an exhibition. > http://www.ccca.ca/mikidot/photo/sept_mocca_perf/pages/DSC05649.html > > I had done some research on the destruction of art and the psychology > behind it. > During the performance I was very clear in exposing my own agenda, a > desire for publicity, > and that I was using a strategy of disturbance and emotional blackmail > because it's effective and does bring critical attention if done > right. Just another answer to the question "what does it take to..." > > >-- > > > > Miklos Legrady > 310 Bathurst st. > Toronto ON. > M5T 2S3 > 416-203-1846 > 647-292-1846 > http://www.mikidot.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 21:49:06 -0700 message-id: <200510020449.j924n6el029244@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Cooking the Right Wing No doubt..., the right wing is cooked. Given the state of current popular opinion, it's hard to see the right wing surviving the next elections (or gaining more than 30% approval at the polls). 911, afaghanastan, Iraq, Katrina, Rita, and Gas prices have rendered the right impotent.It will take 20 years before most Americans forgive them. But what can we do with the remaining bodies? Well there are some recipes, available online. I have some suggestions for dealing with all this extra biomass: Breaded George Bush : \1 1/2 pounds boneless George Bush, trimmed and sliced into 6 equal portions 1/4 teaspoon salt 1/8 teaspoon freshly ground pepper 1 tablespoon vegetable oil 1-3 teaspoons finely chopped fresh ginger root 1/3 cup orange juice 3 tablespoons 62%-less-sodium soy sauce 2 tablespoons honey 1 tablespoon Dijon mustard 2 cloves garlic, crushed - Fresh sliced oranges (optional) - Watercress sprigs (optional) Barbequed Glazed Dick Cheney 48 4-ounce DIck Cheney 3 cups ketchup 1/2 cup brown sugar 1/4 cup lemon juice 1 tablespoon lemon rind 1 cup diced green pepper 1 cup diced onion Herbed Butterfly Rumsfeld 4 4-oz. boneless DOnald Rumsfeld (easy to get, hard to find a bone anywhere) 2 tablespoons lemon juice 2 tablespoons chopped parsley 1/2 teaspoon crumbled rosemary 1/2 teaspoon crumbled thyme 1/4 teaspoon black pepper I hope you enjoy these dishes and continue to listen to the Rolling Stones. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 1 Oct 2005 22:53:04 -0700 message-id: <200510020553.j925r4jq000702@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Cooking the Right Wing > I hope you enjoy these dishes and continue to listen to the Rolling > Stones. and don't forget Elvis http://www.netarts.org/mcmogatk/2002/entries/erick_dymond/eric/index.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 2 Oct 2005 09:14:20 +0200 (CEST) message-id: <20051002071420.8701a21fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Khz kill , Kilimanjaro keyboardist Kbytes, karyn kbits, . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 2 Oct 2005 13:22:26 +0200 message-id: references: no_parent from: nat muller subject: RHIZOME_RAW: BRUIT de BEYROUTH at De Melkweg [apologies for cross-posting] ***************************************** BRUIT de BEYROUTH Date: Wed 19th October Location: De Melkweg, Theaterzaal, Lijnbaansgracht 234 A, Amsterdam Time: Performances: 20.30 - 22.30 hours Entrance performances: 10,- ( 8,-) Time: Panel: 16.00 - 18.00 hours (free) Bookings: 020 5318181 URL: www.melkweg.nl (under media) ***************************************** BRUIT de BEYROUTH invites you to sample the diversity of the Beiruti experimental sound scene. Music has always played an important role within the Lebanese psyche artists such as Fairuz and her son composer/playwright Ziad Rahbani have become iconical carriers of national identity for Lebanese in Lebanon or in the diaspora.Mixing folklore with politics or nostalgia, even during the 15 years of civil strife music accompanied the Lebanese, and has been a significant part of cultural identity.Post-war Beirut as a city is now recovering also culturally - from the devastations and horrors of civil war.A new generation of musicians, who have all grown up during the war, is now coming of age and experimenting with electronics and free improvisation.Firmly rooted within the hustle and bustle of contemporary Beirut, their music is fresh, attempts to rid itself from the burden and the luggage of the past, and tries to look ahead: from the electronic manipulations and drones of the Kitano Home Ensemble and Discipline, to the fragile vocals of Mayaline Hage and the improv of Mazen Kerbaj. ***************************************** PROGRAM: Wed 19th October BRUIT de BEYROUTH: performance 20.30 - 22.30 hours, entrance: 10 Discipline (laptop) & Mayalina Hage (vocals) Kitano Home Ensemble(Marc Codsi: laptop | Charbel Haber: laptop) A (Mazen Kerbaj: trumpet | Raed Yassin: double bass) Tarek Atoui (laptop) BRUIT de BEYROUTH: panel 16.00 18.00 hours, entrance: free Participants: : Mazen Kerbaj (LB), Charbel Haber (LB), Joseph Ghosn (LB/FR), Thomas Burkhalter (CH) Moderation:Nat Muller (NL) URLs: Discipline: http://www.bureaurecords.com/Menu%20Discipline/menu.htm Those Kids Must Choke: http://www.thosekidsmustchoke.com/ Mazen Kerbaj: http://www.kerbaj.com/ and http://www.zwyx.org/mill/mkcv-en.htm Tarek Atoui: http://ilizboual.free.fr/pweb/asa.html Thomas Burkhalter: http:// www.norient.com ***************************************** BRUIT de BEYROUTH is part of Xeno_Sonic: Experimental Music Mapping in the Middle East, a project and initiative of Nat Muller in collaboration with De Melkweg. BRUIT de BEYROUTH is kindly supported by VSBfonds, Mondriaanfonds, Fonds voor Amateur en Podiumkunsten,Institut franais des Pays-Bas - Maison Descartes, Fonds voor Podium-Programmering & Marketing, STEIM.The research phase of Xeno_Sonic was supported by The Netherlands Foundation for Visual Arts, Design and Architecture. Editors note For more information, visual material or interviews, contact: Publiciteit Melkweg: Esther Lagendijk | tel: 020-5318167 | fax: 020-5318118 | esther@melkweg.nl + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 2 Oct 2005 08:04:02 -0700 message-id: <200510021504.j92f423q022761@idx164.idx.net> references: no_parent from: brad brace subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island philosophy. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 2 Oct 2005 09:48:59 -0700 message-id: <200510021648.j92gmxxj000584@idx164.idx.net> references: no_parent from: colm lally subject: RHIZOME_RAW: E:vent presents: CLOSENESS, by Annja Krautgasser 15th October to 11th November ‘05 Opening Night: Friday 14th Oct, 6-10pm CLOSENESS by Annja Krautgasser Annja Krautgasser is an architect and media artist. Her main artistic concern centres around issues of space, time and presence. Krautgasser moves between virtual and real architectures seeking out the potentials of technology to create new ways of thinking about the places we inhabit. Krautgasser’s practice articulates a sophisticated understanding of location and creates a conceptual apparatus’ that stimulates a locative literacy and awareness. Her work forces us to rethink our sense of place, locality and horizon. In most cases spatial memory is based on personal experiences of presence. Space points and space characteristics are stored in the memory and usually reused for the purpose of orientation. The spatial parameters are often noticed very individually and subjectively. Storing, compressing and mediating spatial characteristics are the main focus of work in this exhibition. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 2 Oct 2005 13:04:04 -0400 message-id: <31ae6b1b-74c1-470c-8a60-78bc3d9da0ef@computerfinearts.com> references: no_parent from: doron subject: RHIZOME_RAW: computerfinearts.com Monthly Statistics for September 2005 Total Hits: 1,121,579 Total Files: 900,700 Total Pages: 207,534 Total Visits: 53,028 Total KBytes: 10,764,614 Total Unique Sites: 38,802 Total Unique URLs: 8,975 Total Unique Referrers: 3,584 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 2 Oct 2005 17:55:10 -0300 message-id: references: no_parent from: marcus bastos subject: RHIZOME_RAW: October on -empyre-: Digital Writing Writing is one of the oldest known technologies, but the concept ofwriting did not change as substantially as the different forms of textmediation have done, throughout the years. Nevertheless, the inventionof press and, most recently, of the computer, altered importantoperations related to how words and paragraphs are organized. Also,devices such as the Internet, DVD and mobile equipments allowed newforms of writing and publishing. During the month of October, Bill Seaman, Brigid McLeer, FriedrichBlock, Giselle Beiguelman and Sue Thomas will discuss, at the empyre mailing list (http://www.subtle.net/empyre), if the concept ofwriting is still adequate to describe the most eloquent examples ofcreative processes involving words and digital media. Given the growing use of sound, image and programming at the web once claimed to be the media that brought text back to the center ofan increasingly image oriented culture, what is the state of the art,on the field of digital writing? Issues such as the recombinant natureof digital writing, writing for public spaces (and related notions ofplacement / displacement), sampling as a form of intertextuality andwriting for mobile devices, among others, will be the central topics. + Subscribehttps://mail.cofa.unsw.edu.au/mailman/listinfo/empyre + Guests BioBill Seaman ( http://www.billseaman.com ) received a PH.D. from CAiiA,University of Wales, 1999. He holds a MSvisS degree from MIT, 1985.His work explores an expanded media-oriented poetics through varioustechnological means. Seaman is Head of the Digital+Media GraduateDepartment at RISD. Brigid Mc Leer ( http://www.inplaceofthepage.co.uk ) is an Irishartist and writer based in London. Her work is cross-disciplinary andprocess-based. Moving between the practices of art, poetry,architecture and critical writing, the challenge of 'place' and'translation' has become a driving force of the work. She currentlylectures at the Bartlett School of Architecture and Goldsmiths College,London . Friedrich W. Block ( http://www.brueckner-kuehner.de/block ) is thedirector of the Brckner-Khner-Foundation and honorary director ofthe Kunsttempel gallery in Kassel. Curator of numerous exhibitions,e.g. the "p0es1s. Digital Poetry" show, Berlin (2004). He haspublished about art and media, experimental literature, and themedia-culture of humor. Giselle Beiguelman ( http://www.desvirtual.com) is a new media artistand multimedia essayist who teaches Digital Culture at the GraduationProgram in Communication and Semiotics of PUC-SP (So Paulo, Brazil).Her work includes the award-winnings "The Book after the Book" (1999)and egoscpio (2002). She has been developing art projects for mobilephones ("Wop Art", 2001), praised by many media sites and theinternational press, including The Guardian (UK) and Neural (Italy),and art involving public-access, by the web, SMS and MMS, andinternet-streaming for electronic billboards like "Leste o Leste?" and"egoscpio" (2002), released by The New York Times, Potrica (2003)and esc for escape (2004). Sue Thomas ( http://www.mti.dmu.ac.uk/~sthomas/ ) is the author ofseveral books, most recently 'Hello World: travels in virtuality'(2004). She has managed numerous online writing projects and isinterested in the impact of digital technologies on writing and livedexperience - see the collaborative project Writing and the DigitalLife. In 1995 she founded the trAce Online Writing Centre atNottingham Trent University and was Artistic Director until joining DeMontfort University as Professor of New Media in 2005, where she isdeveloping research into transliteracy. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 2 Oct 2005 23:48:14 -0500 message-id: <85d7931b0510022148p7efc4191x9c7fddca16fd8052@mail.gmail.com> references: no_parent from: Steve Dietz subject: RHIZOME_RAW: ISEA2006 Transvergence call Apologies for cross-posting. A reminder. The ISEA2006 Symposium call for projects related to the theme of Transvergence closes today, October 3, 2005. "Creative interplay of disciplines to catalyze artistic, scientific, and social innovation is evidenced by decades of multi-/ pluri-, inter-, and trans-disciplinary discourse and practice. Emphasis on the dynamics subtending this interplay has led to the notion of transvergence, a term coined by Marcos Novak which overrides discipline-bound issues, and serves as the focus of the present call. Proposals are sought that address but are not limited to issues outlined below, challenging the boundaries of disciplines and conventional (art) institutional discourse, and indicating creative strategies for overriding them." See http://isea2006.sjsu.edu/transvergence/index.html for more information. NOTE - This call is not for paper, panels, talks, etc. related to the theme of Transvergence. A call for papers will be sent out in mid-October. For a list of active and upcoming calls: http://isea2006.sjsu.edu/transvergence/index.html To subscribe to the ISEA2006 mailing list: http://cadre.sjsu.edu/mailman/listinfo/isea2006 -- Steve Dietz Director, ZeroOne: The Network Director, ISEA2006 Symposium + ZeroOne San Jose: A Global Festival of Art on the Edge http://isea2006.sjsu.edu : August 5-13, 2006 stevedietz[at]yproductions[dot]com AIM: WebWalkAbout http://www.yproductions.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 16:30:43 +1000 (EST) message-id: <20051003063043.52959.qmail@web33302.mail.mud.yahoo.com> references: no_parent from: sonya nielsen subject: RHIZOME_RAW: =?iso-8859-1?q?CALL=20FOR=20SUBMISSIONS=20=96=20ARTIFICIAL=20A.GENDER=3F? ARTIFICIAL A.GENDER? ONLINE EXHIBITION The gendered machine Will the humans disposition for categorising things cause a binary split for the machine as well? Or will the merging of human and machine see a breakdown of gendered dichotomies? The gendered machine is closer to our hearts than we can imagine, physically we are already unconsciously becoming machines through pacemakers and tooth fillings; the constant shift between the two states of reality and virtual reality can either transcend the idea of the split between human/machine or forge a new class of categories that determines the gender of a machine. We would like to see contributions: experimental e-poetry, new media art, digital video that takes the above ideas and to transform them into your own interpretation. Prizes will be awarded to first and second place, while the top ten will be showcased in an online exhibition. SUBMISSIONS All submissions must be submitted electronically, via e-mail as an attachment or send url of work A brief author bio and approx. 4 sentence description must accompany the work. SUBMISSIONS DUE: 15 October 2005 Works submitted will be assessed by a judging panel consisting of new media artists: Norie Neumark: sound/radio and new media artist. Associate Professor in Sound and Cultural Studies at the University of Technology, Sydney. http://www.out-of-sync.com/ (Out-of-Sync is a collaboration between and Maria Miranda and Norie Neumark) Maria Miranda (aka Max) Media artist and is currently a PhD candidate at Macquarie University in Sydney with researching 'artists making fictions online/offline' http://www.out-of-sync.com/ Jason Nelson: Net poet and Lecturer, Griffith University, www.secrettechnology.com. Please send materials or correspondence to: Sonya Nielsen artsonya@yahoo.com.au --------------------------------- Do you Yahoo!? The New Yahoo! Movies: Check out the Latest Trailers, Premiere Photos and full Actor Database. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 03 Oct 2005 03:44:40 -0300 message-id: <4340d358.7040004@rechen.com> references: no_parent from: roberto echen subject: RHIZOME_RAW: have a look at it hi> i made some changes to it. i hope it works well now. http://www.rechen.com/revelation.cgi let me know if it looks like this> the camera moves from the right side of the face to the left one slowly. meanwhile you should hear a speech beginning with: "it was amazing..." and ending with "...it was god". para los que lo abren en espaol: comienzo: "fue asombroso..." fin: "...era dios". please let me know best rechen + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 00:57:43 -0700 message-id: <200510030757.j937vhqu022608@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV News The Cultural season took off and we have impressions of some museum exhibitions or events in Antwerp, Rotterdam, Moscow, Hasselt and Amsterdam. We have: - 'Russian POP ART part II, Moscow, - MONOPOLIS-Antwerp Witte de With, Rotterdam (NL) , ANGELS OF HISTORY, MUHKA, Antwerp. SUPER! Hasselt and the biggest underground festival ROBODOCK. Which was held in Amsterdam from 21-24.09. - DiVA opens this thursday 6th October in Paris and we will be there. On Friday you can watch how, who and what of the opening. DiVA is the first art fair dedicated to video and digital art. Since the invention of photography, nothing has had a greater impact on artistic practice than the emergence of the personal video camera, and later, digital technology. - About the new video art. This week we present the video Modern Living/Neurotica by Han Hoogerbrugge. The first incarnation of Han Hoogerbugge's Neurotica was as a comic strip cataloguing the adventures and misadventures of his life as an artist in the mid-1990s. Hoogerbrugge then adapted it for a series of digital animations that he posted on his personal website.First he developed them as Gif animated shorts and then introduced interactivity with Flash software. Happy Holidays by Jessica Gomula (USA). What happens when Santa Claus and Dr. Ruth bring people holiday presents to enjoy during their playtime together? Growing out of the abundance of sexual aides available on the internet, Happy Holidays adds the delight and joy often associated with Christmas time gift giving. What better way to give and receive? Beware of the god by Deborah Kelly (AU). An animation, which will be shown on 42 projection screens in the underground rail network across Sydney city Beware of the God is part of the exhibition Interesting Times, at the Museum of Contemporary Art, Sydney, 22 September – 27 November 2005. Enjoy our program and don't forget to subscribe to enter the Video on demand page, there you can even watch more videos at the time it suits YOU. http://www.culturetv.tv + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 10:40:12 +0200 message-id: references: no_parent from: Anette - Radiator Festival subject: RHIZOME_RAW: PLAN/MRL Discussion PLAN & MRL Discussion - Broadway Mezz Bar, Broadway Cinema, Nottingham Thursday 6th October 8.30pm The Pervasive and Locative Arts Network and Mixed Reality Lab, Nottingham University will be holding a presentation as part of TRAMPOLINE on Thursday 6th October at 8.30pm Representatives of PLAN and MRL Drew Hemment, Ben Russell and Steven Benford will be discussing their recent activities in encouraging discourse between artists, scientists and engineers in the field of pervasive and locative media. Come along to this discussion and find out more about the innovative research, development and artistic production which is being pursued in this area. http://www.trampoline.org.uk http://www.open-plan.org/ http://www.mrl.nott.ac.uk/ PLAN A new international and interdisciplinary research network in pervasive media and locative media has been funded as part of the Engineering and Physical Sciences Research Council (EPSRC) Culture & Creativity programme. The network will bring together practicing artists, technology developers and ethnographers with the aim of advancing interdisciplinary understanding and building consortia for future collaborative projects. It will be of relevance to people working in the arts, games, education, tourism, heritage, science and engineering. The network will stage three major gatherings. Each gathering will have a distinct form and focus: an initial workshop to launch the network and assess the state of the art; a technology summer camp for artists and technologists, including hands-on prototyping sessions using the facilities at Nottingham's Mixed reality Laboratory; and a major public conference and participatory exhibition as a central component of the Futuresonic 2006 festival in Manchester; as well as a supporting web site and other resources. Mixed Reality Lab The Mixed Reality Laboratory (MRL) is an interdisciplinary research initiative at the University of Nottingham. The MRL brings together leading researchers from the Schools of Computer Science, Engineering and Psychology to research mixed reality - new technologies that merge the physical and digital worlds. The MRL is focused on the development and application of mixed reality to visualisation, learning, knowledge management, control systems, ethnomethodological studies, leisure and co-operative work. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 06:11:23 -0700 (PDT) message-id: <20051003131123.77306.qmail@web35607.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: New on Xanax Pop: The cigarettes are in bloom on a Sunday http://lewislacook.corporatepa.com/xanaxpop/ Some just never get out. Some only step in one river, and that only once, and let it age them. They list the differences in tone among sonnets and prose poems... http://lewislacook.corporatepa.com/xanaxpop/ *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 03 Oct 2005 16:20:24 +0200 message-id: <20051003162024.b3098d9e.d12dc01b@127.0.0.1> references: no_parent from: {soundART} subject: RHIZOME_RAW: =?ISO-8859-1?Q?SoundLab=20Channel=20launched=20EDITION=20III=20online? SoundLab Channel launched EDITION III online on 3 October 2005 in the framework of [R][R][F]2005--->XP global networking project http://rrf2005.newmediafest.org On occasion of the release of EDITION III, SoundLab Channel was completely re-constructed. It includes and features three curatorial contributions of works of sound & radio art a) from Australia curated by Michael Yuen (Adelaide/Australia) b) from Germany curated by Peter Wolf (Cologne/Germany) c) based on an open call curated by Melody Parker-Carter (Cologne/Germany) ******************************************** a) soundart from Australia curated by Michael Yuen who selected soundart by these artists Thomas Reiner, Lawrence English, Somaya Langley, Robert Sazdov Sebastian Tomczak, Stephen Gard Curatorial statement:--> Australia has a vibrant sound and experimental art community. By distance and cultural heritage Australia is a vast and isolated nation. With the ready integration of the Internet into our lives and artistic practices, Australian artists have become connected with their cultural past while reserving the right to observe from a distance. It has fallen to the current generation of artists to embrace our tyranny of distance and celebrate the freedom that is afforded by our new world conditions. There are many signs that Australia has evolved from an infant nation towards a vibrant new world community - the celebration of artistic freedom from the old; forced resourcefulness and innovation by the lack of traditional arts infrastructure; rapid acceptances of new technologies and techniques; the embracing of a national identity beyond iconicism; and the use of the old world as a historical reference rather than a guide to the future. The works assembled here are a reflection of sound art from around Australia celebrating these signs. b) soundart from Germany curated by Peter Wolf Cuttings from "KlangDrang 2005 - A Festival for Incredible Music" - Cologne In this case, "Incredible Music" means the spheres of New Music, experimental and improvised music, Performance Art and New Media. This festival was brought into being 2002 as a hommage for the Cologne Citizen Center Alte Feuerwache which enables the presentation of extraordinary music since more than 25 years. This year KlangDrang presented 4 ensembles from which you can hear each 3 cuttings of an each 45 minute performance featuring -----> F.I.M. (Free improvised music cologne) soundso Ensemble All-Tag Doppelpluss c) Based on an open call, Melody Parker-Carter (chief curator of SoundLab Channel) curates following selection, featuring ---> Gina Valenti, jean-franois flamey, David R. Mooney John Plenge, PRISM/ lars nagler, John E. Bower Michael Yuen, Pete Stollery, Tae Hong Park Suguru Goto, Nick Barker, Li-Chi Hsieh Herve Constant, Eldad Tsabary, Mira Burt-Wintonick Caroline de Lannoy, eduardo paz carlson, Andreja Andric & I. Vasiljev Natalie Bewernitz + Marek Goldowski CARLO FATIGONI, Annie Abrahams & Jan de Weille Ricardo Miranda Zuiga, Damian Stewart Darko Vuckovic, Tsila Hassine & Alejandra Perez Nunez Le Tuan Hung, Les Riches Douaniers, Miha Ciglar Owen Plotkin, meta, Colin Black, Cynthia Payne Carl Priestly, popcrash, Till Nikolaus von Heiseler Paolo Paolizzo, Pablo Bas, Khaled Sabsabi More details and all soundart works can be found online by entering the artistic body of [R][R][F]2005--->XP Memory Channel 7 - http://rrf2005.newmediafest.org or direct access via on http://rrf2005.newmediafest.org/schannel.htm and http://concerthall.le-musee-divisioniste.org ******************************************** EDITION III is released on occasion of the series of [R][R][F]2005--->XP - exhibitions and events in October/November 2005 in the framework of "Groundworks" - Environmental Collaboration in Contemporary Art 14 October - 11 December 2005 at Regina Gouger Miller Gallery at Carnegie Mellon University Pittsburg/USA http://millergallery.cfa.cmu.edu/~miller/exhibitions/online.html , Biennale of Video & New Media Santiago/Chile 18-28 November - www.bienaldevideo.cl and IMPACT'SA 05 - the event series in South America Argentina, Chile, Brazil and Uruguay http://impact.newmediafest.org ********************************************* SoundLab Channel is a joint-venture between ConcertHall at le Musee di-visioniste.org http://concerthall.le-musee-divisioniste.org and [R][R][F]2005--->XP - global networking project http://rrf2005.newmediafest.org and is further corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net ********************************************** These info are also released on NetEX - networked experience http://netex.nmartproject.net/index.php?blog=3&cat=14 . contact: info (at) nmartproject.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 16:24:52 +0200 (CEST) message-id: <20051003142452.a34d521fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Lcd labelenumii , Leica largehearted LF, Ltd lace lexers, LaTeX. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 08:34:43 -0700 message-id: <200510031534.j93fyhto003151@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Art & Fiction Club We are looking for artists, who are interested using our space for exhibitions and as residence opportunity. We are located in the centre of Berlin in Mitte in a 220 qm space. If you are interested: get in touch with Marianne: info@erster-stock.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 08:35:23 -0700 message-id: <200510031535.j93fzn8n003380@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Exhibition Angelik Riemer Pressemitteilung Mit Bitte um Veröffentlichung Art & Fiction Club Friedrichstrasse 112a, 3.OG 10117 Berlin U-Bahnhof Oranienburger Tor ANGELIK RIEMER FORTH AND BACK project Preview: Donnerstag 6. Oktober ab 19 Uhr Ausstellung 7. – 29. Oktober / Mo – Freitag 11.00 – 17.00 Uhr Silent Auction und Dinner zur Vernissage Essen, Trinken und um Kunst steigern, ohne das die Mitstreiter wissen wer wieviel bietet. So eröffnet der Art & Fiction Club seine Ausstellungen. Angelik Riemer, die lange Zeit in Japan gearbeitet hat, präsentiert ihr FORTH AND BACK project, Malerei aus sieben Schaffensperioden nebeneinander. Pro Ausstellungsraum wird an einer Wand aus verschieden Formaten und Jahren vom Boden bis zur Decke eine Bilder-Komposition präsentiert. Ausgangs- und Mittelpunkt dieser Bilder-Kompositionen ist jeweils ein Werk aus der aktuellen malerischen Phase. In dieser Phase sind eigenständig nebeneinander stehende Farbenflecken durch Bewegung zusammengeflossen. Das FORTH AND BACK project handelt von Bewegung, von Raum und Zeit und der Konfrontation damit. Der Art & Fiction Club ist eine Initiative von Amerikanischen, Englischen und Deutschen Kunstvermittlern, die in der Friedrichstrasse 112a im 3. Stock ihr ersten Ausstellungungsräume bezogen haben. Anliegen des Kooperationsprojektes ist es, Wege für Künstler und Kulturschaffende in die USA, nach England und Deutschland zu ebnen. Weitere Informationen schicken wir Ihnen sehr gern zu, Kontakt : Marianne Wagner-Simon 030 - 612 09 463 info@erster-stock.org www.erster-stock.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 09:34:31 -0700 message-id: <200510031634.j93gyvrr014148@idx164.idx.net> references: no_parent from: Julie Rasmussen subject: RHIZOME_RAW: Burning Man Los Angeles Decompression - OCT 15 2005 LA Burning Man Presents: Decompression 2005 SATURDAY, October 15th, 12pm til midnight STARTS AT NOON - SHARP!!! Downtown Artist District 1st Street, Santa Fe Streets and Little Pedros Blue Bongo Restaurant/Club Main Entrance: 1st @ Vignes $10 in creative costume attire; $15 street wear Respect the neighbors; don't litter or park in driveways. LEAVE NO TRACE! 21+ to drink with I.D. in Little Pedros Blue Bongo Restaurant or patio on 1st St. Welcome back! This is your invitation to decompress with Burning Man playa artists, theme camps and performers from the Conscious, Subconscious and the Unconscious at our 3rd Anniversary of LaDecom. Join us at noon for a full day of MIND-boggling art and art cars; interactive theme camps; a full range of live music, cabaret, circus, puppetry, dance, DJs, and theatrical performances and other Burning Man 2005 Psyche theme art. The festivities will be spread over three blocks in the heart of the downtown LA Artist District and community. Express yourself and dress your creative best! We will be creating "Black Top City" with all manner of PSYCHE pARTicipation, including and especially YOU! For more details go to www.la-burningman.com What is "Decompression?" Before the playa dust has completely settled and our heads have stopped spinning, many of us gather in the months after Burning Man to "decompress" by taking one more communal plunge into the depths of what we found so affirming and memorable at Burning Man. Decompression is an opportunity to dust off and share again playa art, performances, theme camps, photos, videos and stories from the playa; to re-connect with family and friends; and collaborate to create new art. It is, at its simplest, a reunion. But more significantly, it is a thoroughly participatory celebration of Burning Man art and community within our larger communities. And it is one of the more powerful ways many of us bring some of what is so inspiring about Burning Man to our cities and the rest of the year! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 09:35:26 -0700 message-id: <200510031635.j93gzqcy014342@idx164.idx.net> references: no_parent from: Julie Rasmussen subject: RHIZOME_RAW: Burning Man Decompression 2005 - Los Angeles LA Burning Man Presents: Decompression 2005 SATURDAY, October 15th, 12pm til midnight STARTS AT NOON - SHARP!!! Downtown Artist District 1st Street, Santa Fe Streets and Little Pedros Blue Bongo Restaurant/Club Main Entrance: 1st @ Vignes $10 in creative costume attire; $15 street wear Respect the neighbors; don't litter or park in driveways. LEAVE NO TRACE! 21+ to drink with I.D. in Little Pedros Blue Bongo Restaurant or patio on 1st St. Welcome back! This is your invitation to decompress with Burning Man playa artists, theme camps and performers from the Conscious, Subconscious and the Unconscious at our 3rd Anniversary of LaDecom. Join us at noon for a full day of MIND-boggling art and art cars; interactive theme camps; a full range of live music, cabaret, circus, puppetry, dance, DJs, and theatrical performances and other Burning Man 2005 Psyche theme art. The festivities will be spread over three blocks in the heart of the downtown LA Artist District and community. Express yourself and dress your creative best! We will be creating "Black Top City" with all manner of PSYCHE pARTicipation, including and especially YOU! For more details go to www.la-burningman.com What is "Decompression?" Before the playa dust has completely settled and our heads have stopped spinning, many of us gather in the months after Burning Man to "decompress" by taking one more communal plunge into the depths of what we found so affirming and memorable at Burning Man. Decompression is an opportunity to dust off and share again playa art, performances, theme camps, photos, videos and stories from the playa; to re-connect with family and friends; and collaborate to create new art. It is, at its simplest, a reunion. But more significantly, it is a thoroughly participatory celebration of Burning Man art and community within our larger communities. And it is one of the more powerful ways many of us bring some of what is so inspiring about Burning Man to our cities and the rest of the year! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 13:45:32 -0400 message-id: <540d7d7b175260b529c4f0a52d8a39b7@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Director of Technology's report, September 2005 Hi everyone, It's been a hectic month, but aren't they all? While art students and art professors all around the world were settling in with syllabi and class schedules, here are some of the things that your perennially under-schooled Director of Technology spent his time on: 1. The Community Campaign started. It's that time of year again. This month, we kicked off this year's Community Campaign. I won't go into the whole sales pitch here, but I will say that I hope you all, users and Members, feel that Rhizome is useful to you, and that we are listening to your input. With our small staff, and thousands of users to support, we can't necessarily act on every suggestion we get, of course, but we do keep them very prominently in mind as we plan for the future. On a smaller technical note, I'd like to mention that we try hard never to email somebody with a solicitation if they don't want it. You can opt-out at http://rhizome.org/preferences/email.rhiz . 2. The search is now improved. The search is cleaner now; I scrubbed out a lot of distracting text and duplicate pages that were making searches a lot less useful. And don't forget that if you're a Member, you get to augment those search results with our Advanced Search features, including filtering by text, artwork, member, etc. 3. I'm looking for a Design/Production intern. Make sure to spread the word; I'm looking for a Design/Production intern. The intern will help us out with some major upcoming projects, as well as have an opportunity for self-directed projects, too. http://rhizome.org/thread.rhiz?thread=18718&page=1#35794 Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 10:53:28 -0700 message-id: <200510031753.j93hrs40028694@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: NYU and Tiltfactor Lab Computer Science Colloquium NYU and Tiltfactor Lab Invite Virtual World Creator Philip Rosedale (Second Life, Inc) for Inter-University Colloquium Computer Science Department, New York University and Tiltfactor Lab, Hunter College COMPUTER SCIENCE COLLOQUIUM Speaker: Philip Rosedale, Second Life Inc. Title: Building a World with Digital Atoms Friday, October 7, 2005 - 11:30 a.m. Room 109 Warren Weaver Hall 251 Mercer Street New York, NY 10012-1185 Learn more about Second Life, the unique, online, 3D Society bringing issues of online intellectual property and user's rights to the forefront of discussions about digital culture. In Second Life, participants build their own communities, games, and economies. Second Life (SL) gives its users (referred to as residents) tools to shape the world. Much of the content in the SL world is user-created, and a hallmark feature of SL is users retain the intellectual property rights to the objects they create--a very distinct difference from other online community or game environments. Philip Rosedale, Founder and CEO of Linden Lab, creator of Second Life, will discuss the challenges of using a distributed network of computers to create a persistent 3D online world where users can do just about anything they can imagine. Philip Rosedale has an extensive background in the development and pioneering of streaming technology, having built his first computer in 4th grade, and started his first computer software company while still in high school. In 1995 he developed FreeVue, a low-bitrate video conferencing system for Internet-connected PC's, resulting in the acquisition of his company in early 1996 by RealNetworks. For 3 1/2 years, Rosedale served at RealNetworks as Vice President and CTO, where he was responsible for the development and launch of RealVideo, RealSystem 5.0, and RealSystem G2. In 1999 Rosedale returned to San Francisco, joined Accel Partners as an Entrepreneur-in-Residence, and began the basic research that would become the technology behind Linden Lab. Rosedale holds a BS degree in Physics from the University of California at San Diego. Refreshments will be served at 11 am. This talk is open to the public and students from Parsons, CUNY, SVA, Pratt, the New School, and Columbia are especially encouraged to attend. Hosts: Ken Perlin, perlin@cs.nyu.edu (212) 998-3386 Mary Flanagan, mary@maryflanagan.com Directions: http://cs.nyu.edu/csweb/Location/directions.html Colloquium Information:http://cs.nyu.edu/csweb/Calendar/colloquium/index.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 20:19:46 +0200 message-id: <01a101c5c847$0c8ae6b0$0500a8c0@artiste> references: no_parent from: valery.grancher subject: RHIZOME_RAW: Hello, Bonjour --------------- In english -------------- - From septmber 8 until november 13 2005, I have the pleasure to announce my participation at the Hasselt triennial of contemporary art, design and fashion in Belgium - The performance "Le bureau des delations" (the denouncement office) was done during the night of october 1 to 2 in "la nuit blanche" context at the city hall of the 4th arrondissement of Paris in the collective show curated by Metazone "What's beyond video-surveillance". This performance was created to denounce Nicolas Sarkozy Politic and what will going on in the next future in France regarding it... "Le bureau des d=E9lations" has got over 80 denouncement from 80 courageous citizen. For their civic act, they were decorated with the tricolor band !" http://lebureaudesdealtions.blogspot.com (in french) What Le Monde siad about it: http://www.lemonde.fr/web/article/0,1-0@2-3246,36-695351@51-694347,0.html - On cotober 6 until 10 the FIAC art fair is opening its door in Paris, and I have the pleasure to invite you at the both B 19 Hall 5 (Incognito gallery) Portes de Versailles where I am showing an installation. I will be there on october 6 - On October 7, I am taking off to Ecuador for my expedition in deep amazonia for a 13 days immersion in Jivaros shiwiars community, to create a piece for my next solo show at The Palais de Tokyo site de cr=E9ation contemporaine, Paris, France (October 25 - November 13). http://www.palaisdetokyo.com This project is called "the shiwiars project" and has staterd in palais de tokyo last september 1 through a blog, where you may follow my adventure: http://www.theshiwiarsproject.org A conference meeting will be organized on the first week of november at Palais de Tokyo with Philippe Descola, Jean Patrick Razon (Survival international), Jean Claude Monod, Pascual Kunchicuy (shiwiar community chief) and Pascal Languillon - From October 31 until November 20, I have the pleasure to announce my participation at the FILE festival in Sao Paulo (Brasil): http://www.file.org.br/ where "samsara is shown": http://www.nomemory.org/samsara ----------------- En fran=E7ais ---------------- - Depuis le 8 Septembre jusqu'au 13 Novembre, mes photos sont visibles =E0 la triennale d'art contemporain, du design et de la mode d'Hasselt (Belgique). - La performance "le bureau des d=E9lations" a =E9t=E9 r=E9alis=E9e dans le cadre de la nuit blanche =E0 Paris entre le 1er Octobre et le 2 Octobre 2005 dans l'exposition =E0 la mairie du 4=E8me arrondissement de Paris "Ce qui sous-tend la vid=E9o-surveillance" de M=E9tazone. Cette performance se base sur les d=E9clarations v=E9h=E9mentes de Nicolas sarkozy et ce que pr=E9figurent ces formules chocs... "Le Bureau des d=E9lations a dans le cadre de la nuit blanche 2005 enregistr=E9 plus de 80 d=E9lations correspondant =E0 plus de 80 d=E9lateurs citoyens. Pour remercier ces citoyens pour leur acte civique courageux et "anonyme", ils ont =E9t=E9 d=E9cor=E9 par nos soins du ruban tricolore. Aussi nous avons le plaisir de publier ci-apr=E8s la liste officielle et nominative des citoyens d=E9cor=E9s pour leur acte courageux:" http://lebureaudesdelations.blogspot.com ce que en dit Le Monde: http://www.lemonde.fr/web/article/0,1-0@2-3246,36-695351@51-694347,0.html - Le 6 Octobre La FIAC ouvre ses portes jusqu'au 10 Octobre, je vous invite donc =E0 me rendre visite le 6.10.2005 sur le stand de la Galerie Incognito: Stand b19 hall 5 portes de Versailles. En effet je pr=E9sente une installation. - Le 7 Octobre, je d=E9colle pour l'Equateur, pour une immersion en Haute Amazonie chez des Jivaros shiwiars pour 13 Jours, afin de r=E9aliser l'installation qui sera pr=E9sent=E9e au Palais de Tokyo, site de cr=E9ation contemporaine =E0 Paris du 25 Octobre au 13 Novembre 2005 L'aventure peut =EAtre suivi depuis le 1er septembre sur le blog: http://www.theshiwiarsproject.org Une rencontre avec Philippe Descola, Jean Patrick Razon (Survival international), Jean Claude Monod, Pascual Kunchicuy (chef de la conf=E9d=E9ration shiwiar) et Pascal Languillon - Du 31 Octobre au 20 Novembre, j'ai le plaisir de vous annoncer ma participation au festival "FILE" de Sao Paulo au Br=E9sil: http://www.file.org.br/ o=F9 la i=E8ce "samsara" est pr=E9sent=E9e: http://www.nomemory.org/samsara Val=E9ry Grancher http://www.nomemory.org http://www.nomemorybazaar.com http://www.wifi-art.com http://lebureaudesdelations.blogspot.com http://www.theshiwiarsproject.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 12:34:26 -0700 message-id: <200510031934.j93jyqen009338@idx164.idx.net> references: no_parent from: Mo Johnston subject: RHIZOME_RAW: Aljira Source: net.works SOURCE Professional development & networking forum for artists Net.Works This all day event presents networking opportunities and professional development workshops for artists looking to jump start their creative careers. Artist to Artist Dialogue/\Artist-to-Curator slide Review/\Legal Issues in the Arts/\Artists and Health Insurance/\Writing the Perfect Artist Statement/\Creative Capital Strategic Planning Intensives/\Post Event Reception and open Ipod Djing. When: Saturday, October 15, 2005, 10:00 a.m. - 5:00 p.m. Where: Aljira, a Center for Contemporary Art 591 Broad Street (between Central & New Street), Newark (973) 622-1600 www.aljira.org Price: $25, includes box lunch Free to Aljira Emerge alumni Pre-Registration Preferred OPEN INVITATION TO ALL NEW JERSEY & METRO-AREA ARTISTS + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 15:40:01 -0500 message-id: <9e1fdfd3a00f5dce71c0b8839a695552@conglomco.org> references: no_parent from: denim and diamonds subject: RHIZOME_RAW: META[CC] Receives Franklin Furnace Funding META[CC] Receives Franklin Furnace Funding META-CC.net, featuring an online real-time video captioning engine that provides multiple perspectives and resources to the mainstream news media, received Franklin Furnace's Future of the Present 2006 Grant, supported by Jerome Foundation. The website seeks to become an open forum for real time discussion and commentary of televised media by combining strategies employed in web-based discussion forums, blogs , tele-text subtitling, on-demand video streaming, and search engines. As the project develops, additional features such as web-based remote channel switching, video archiving, further data-mining capabilities, and on-demand streaming of archived content will be implemented. Meta[CC]is a project of the Conglomco Media Network. Utilizing the expanding potentials for copying, appropriating, sampling, and synthesizing provided by the internet, Conglomco seeks to create projects that explore the possibilities of social commentary and creative activism in a networked and techno-savvy environment. META[CC] ( http://meta-cc.net ) Conglomco Media Net ( http://conglomco.org ) Promo Video ( http://www.meta-cc.net/meta2.mov ) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 13:57:56 -0700 message-id: <200510032057.j93kvu6j021124@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Re: Chicago Artists\' Coalition and new media artists The Chicago Artists' Coalition is the oldest visual arts service organization in Chicago. With more than 2200 members, the CAC has been supporting artists for more than 30 years. Currently, we are trying to expand our sphere of influence to new media artists and would like to hear from you. What are your needs? What kind of services do you find helpful? What kind of support do you expect from a service organization? What can an organization offer you to attract you as a member? We would really love to hear your feedback. For more information on our services, please go to: www.caconline.org. Please note that we will be launching a new and imporved website on October 15, which will feature our newspaper online, as well as tons of other services. Thanks, Olga + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 16:59:25 -0700 message-id: <200510032359.j93nxpqo012200@idx164.idx.net> references: no_parent from: Jim Whitehead subject: RHIZOME_RAW: Faculty Position in Game Engineering The Department of Computer Science at the University of California, Santa Cruz invites applications for a tenure-track (Assistant Professor) faculty position. We seek outstanding applicants in Computer Science and we particularly welcome those whose interests relate to the science, design and engineering of computer games. The campus is especially interested in candidates who can contribute to the diversity and excellence of the academic community through their research, teaching, and service. The department has strong graduate M.S. and Ph.D. programs with approximately 155 graduate students, as well as established B.A. and B.S. undergraduate programs, and a new B.A. track focused on games titled Interactive Game Engineering. Work is underway on the creation of a new BS degree program on Computer Game Engineering. Excellent computing facilities and state-of-the-art laboratories in the new Engineering 2 building, completed in Summer 2004, support research and instruction. UCSC is close to Silicon Valley and has strong ties with many of the high technology companies in the area. Faculty salaries are competitive and opportunities for consulting are extensive. http://www.soe.ucsc.edu/jobs/faculty/cs/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 20:16:53 -0400 message-id: references: no_parent from: NStillman@nyfa.org subject: RHIZOME_RAW: free103point9 Interview
AN INTERVIEW WITH FREE103POINT9
By Nick Stillman
free103point9 has an array of goals toward which it is perpetually working, each ultimately
focused on expanding the scope of radio's possibilities and advancing the genre of Transmission
Arts. The nonprofit organization's online radio transmissions introduce audiences to aggressive
and challenging contemporary music and also include diverse sets like Field Recordings (found
sounds, weird abstract noise) and live performances from artists visiting free103point9's new
Greene County, NY Wave Farm site. A pioneering Transmission Arts presenter, free103point9
originated in Brooklyn, in 1997, as a quasi-collective of artists, musicians, and community
members dedicated to providing an airwave alternative to corporate radio. The organization's
center has recently migrated north, to Wave Farm, offering them a vastly greater amount of
physical space. They have implemented an artist residency program, and by 2007 (their tenth
anniversary) will have completed the construction of a study center, studio, and archive dedicated
to Transmission Arts. Over the course of several days, NYFA Current Editor and Artforum.com
contributor Nick Stillman exchanged emails with Galen Joseph-Hunter and Tom Roe, Executive
Director and Program Director, respectively, of this dedicated, vital organization.
Nick Stillman: Let's begin by talking about how renegade transmission has changed from 1997 to
now, specifically because of online radio. Has it tarnished the romance of pirate radio? Or,
because it's difficult to regulate and can be heard all over the world, is online radio nothing but
beneficial?
Tom Roe: During the early years of free103point9, we thought of the organization as something
akin to a library, and most weekends some different art organization or collective would come to
borrow the transmitting equipment to microcast whatever it was they did. We eventually found we
could be of more use to artists acting as a high-profile nonprofit media arts organization than as a
clandestine collective with civil disobedience as its main modus operandi. Thanks to all the
pirates, lawyers, and political novices who lobbied Congress, went on the air, and challenged
laws, low-power FM stations are now legal in the United States. We think a more important fight
now is to get the content of radio to be more interesting. This is less a political battle and more of
a culture war, or ideological shift. Radio should be endlessly different, richly creative, and
interesting to listen to. So we have set out to present radio projects that inspire others and start a
dialogue about the lack of creativity on the airwaves. Online radio is a good way to build
audiences, which is the goal of most arts organizations. Where before we might reach ten or
fifteen blocks, anyone with economic means around the world can listen now.
NS: The free103point9 Gallery (http://www.free103point9.org/gallery.php) continues on in
Southside Williamsburg, your organization hosts music festivals in the neighborhood, and much
of your activity is accessible from the non-site that is transmission. To what degree will the
expanse of space at the new Wave Farm site further free103point9's activities and what were the
motivating factors behind the relocation?
Galen Joseph-Hunter: The topography of the Wave Farm property includes meadows, streams,
ponds, forest paths, and views of the Catskill Mountains. This stark contrast to the environment of
New York City and other urban locations provides an important comparative context for artists
working with the airwaves and audiences experiencing these works. That is not to say we are
lessening our in activities in the city. While public programs at the free103point9 Gallery have
taken a bit of a hiatus, activities have remained vibrant and public events are scheduled to
resume in the coming months. Additionally, free103point9 presents projects in collaboration with
partnering organizations throughout New York City, State, and nationally and internationally. For
example, earlier this year we co-presented the exhibition Airborne
(http://www.free103point9.org/airborne.html) with the New Museum of Contemporary Art in New
York. These collaborative programs are an important means to provide opportunities for
transmission artists and build audiences in general.
TR: As location becomes less important in a hyper-wired world, the Wave Farm's breadth of size
allows for larger projects that were never possible in the free103point9 Gallery. The residency
program is already helping foster new works that need longer to incubate, and can cover more
ground, literally. Light is one area of transmission arts, and it is more plentiful upstate then in New
York City. All of the airwaves are less cluttered, which presents different sonic opportunities.
NS: Galen, as you mention, free103point9 has been active in the visual/performance art world.
The organization has presented several exhibitions since 1997 and your project for the upcoming
PERFORMA05 biennial will be a four-day series of transmission performances. What is it about
the audience's physical confrontation with transmission art that an exhibition or live performance
setting offers that's appealing to you?
GJH: I am interested in projects that have living, evolving qualities. Transmission works, whether
in a performance or exhibition context, incorporate and create live content. While these works
may or may not ask the public to interact physically, they impact our experience as a viewer by
inhabiting the space around us like a kind of invisible earthwork. free103point9 projects such as
"Tune(In))) (http://www.free103point9.org/tunein.php)," "Radio 4x4
(http://www.free103point9.org/radio4x4.php)," "Microradio Soundwalk
(http://www.free103point9.org/microradiosoundwalk.php)," and the upcoming "On The Air"
(http://www.free103point9.org/event.php?eventID=206) for WHITE NOISE at PERFORMA05 at
White Box, in early November, are performance events in which individual artists participate.
These projects, which include multiple transmissions and a constantly changing group of
performers, encourage participation from the audience. We consider these events a means to
conceptually map the airwaves and educate participants about transmission art?the
transmission and reception of content, _expression, and gesture?via their experiences as artists
and audiences.
NS: Transmission art, by its very nature, depends on engagement with and adaptation to new
technologies. What are some future technological developments that could substantially impact
(positively or negatively) free103point9's mission of cultivating the genre of Transmission Arts and
supporting its practitioners?
TR: The advent of digital radio will soon impact a lot of what we do. I just saw that the first hybrid
radios, which receive both analog and digital signals, are being sold in the UK, I think. Eventually
the analog radio and television bands will be given up for dead, yet there will remain millions of
receivers. While the money and high-priced content switch to digital and/or satellite signals,
perhaps experimental creative radio and television might thrive for a time in the future in that
dead zone. At the same time, radio is becoming intertwined with every aspect of our lives. Radio
ID tags are now attached to every product at Wal-Mart; most iPods now are attached to micro-FM
transmitters; thousands of people run their own internet radio stations; and cell phones, text
messages, and other wireless communication continue to multiply. But the number of radio waves
battering our brains daily could turn out to be bad for humans in all sorts of ways. And we might
not even be able to aim those waves at each other, if governments continue to limit control over
this most public of resources.
GJH: As Tom mentioned, the radio spectrum is now being integrated into almost every aspect of
our daily lives, and there are pros and cons to this saturation. In the pro category, I would suggest
that with so many wireless products being produced commercially, there exists a wide spectrum
of relatively affordable equipment for artists to repurpose for creative uses. Also, as these
technologies are becoming more and more familiar to our audiences, the "techcentric" aspect of
Transmission Arts is demystified, allowing for these projects to be considered in a greater
contemporary art context. It is important to clarify that free103point9 defines Transmission Art as
a conceptual practice that utilizes the airwaves in as many diverse approaches as possible. Our
recent publication "Wave Guide" (www.free103point9.org/waveguide.php) includes a section
identifying a selection of key transmission works from the early twentieth century to the present.
These historical projects were experiments with early radio, television, and telecommunication
technologies, and many contemporary transmission works employ these same fundamental tools
today.
NS: One of free103point9's obvious strengths is its ability to act both as practitioner and educator,
given its history of action in the field of transmission art. How much is transmission art education
a goal of the new site?
 GJH: I subscribe to a broad definition of education and would say that this is a goal in everything
we do: performances, exhibitions, online radio, workshops, dispatch releases, residencies, and
research facilities.
TR: Our goal is to get folks to understand what Transmission Arts are and how radio can be used
creatively. It is exactly like creating a wave and watching the ripple churn out endlessly into
space. The more we speak of the idea that radio is a polluted public area that needs to reclaimed
and replanted with fresh ideas, the more these ideas circulate and take hold. Several universities
are now working transmissions into their curriculum, and more groups are attempting creative
radio projects all the time. We hope the Wave Farm can help this movement grow.
 
 

Nick Stillman
Editor, NYFA Current
212.366.6900 x248
www.nyfa.org/current
+ -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 20:48:11 -0700 message-id: <200510040348.j943mbtf017036@idx164.idx.net> references: no_parent from: Tristan Perich subject: RHIZOME_RAW: Call for Works: Nhebraska Noise Fest (at The Tank, New York City) Attention musicians, artists, poets, filmmakers, choreographers, etc. etc. etc. etc. LET'S BE PIONEERS! We love noise music, and we promise to provide a lot of it. If you are a noise musician, or doing music that you think relates to NOISE in general, please let us know what you're doing! MEANWHILE, We are really interested in the studies and manifestations of noise in other fields of art, such as dance, visual art, film, poetry, theater, asdf, asdf, asdf, and any creative works that can deal with the concept of noise. Even noise enthusiasts have rarely seen NOISE reach beyond the forms of jazz , rock, or electronic music. This places you NOISE artists at a frontier of an incredible new movement which can bring NOISE to the attention of many new disciplines and bring many new disciplines to the attention of us NOISE musicians! NHEBRASKA NOISE FEST is a day-long festival at The Tank, New York City, on Friday, October 28, 2005 from 2pm to 11pm (exact times may change). Installations will be shown throughout the afternoon and performances will fill the evening. Yay! Let's fest! CALL FOR WORKS: Nhebraska Noise Fest October 28/2005 The Tank New York City LOOKING FOR WORKS DEALING WITH CONCEPTS OF NOISE: Music (live and installation) Visual art Film Dance Poetry Theater SUBMISSION PROPOSALS DUE OCTOBER 12: Please visit http://www.nhebraskanoise.com/submit/ to propose your work for inclusion in the festival or email mail@nhebraskanoise.com directly. Submissions will be considered at any time, though they are considered on a rolling basis, so please submit before October 12 for ample consideration. Please be sure to include your name, duration of piece or space needed and any other notes or requirements for your work. CONTACT: Tristan Perich, Kunal Gupta, Lauren Rosati mail@nhebraskanoise.com http://www.nhebraskanoise.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 21:21:35 -0700 message-id: <200510040421.j944lzxt021448@idx164.idx.net> references: no_parent from: pixelate burns subject: RHIZOME_RAW: FRINGEFEST 2006 --> call for entries (please forward) :-) HEy HEY hey! I want to you let you know that I am working on The Silver Lake Film Festival / FRINGEFEST for 2006. This is a film festival that is dedicated to showing cutting edge work, sometimes out of left field, but always interesting, and always worth checking out. Anyways, along with my team-mates Saskia Wilson-Brown and Joan Valencia, I am curating the Fringe Festival for the SLFF this year. We are currently in the process of finding artists, filmmakers and collaborators (for lack of a better word). Our primary programs are 1. MP4: An exhibition for artists and film or video makers who create narrative and experimental projects to be viewed on Sony’s Play Station Portable (PSP) consoles. Projects will be accessible in downloadable form from a website, as well as being available for viewing at various PSP stations in the Film Festival space itself. 2. Open Architecture: you know how David Byrne took Powerpoint and turned it into an art medium? Well we're looking for people who do this type of work, who re-configure programming and digital architectures into creative tools. An exhibition for digital projects by artists and designers working with Dreamweaver, Flash, MAX/Jitter, Microsoft Powerpoint and Excel, 3-D modeling software, and/or embedded and hot programmable digital video media. The selected works will be presented online, and in “real-space” on flat-screen monitors. 3. Green Fest: Short work about alternate transportations, technology, the handmade, extended family, and similar social, technological and political frameworks. Also seeking shorts about virtual, biological and nano-technology, artificial intelligence or other scientific movements that will bring global and ecological democracy to the planet. And then, of course, it's not too late to submit to the festival itself. Find out more at: http://www.silverlakefilmfestival.org So email me back if you have any ideas or want a call for artists for any of the elements mentioned above, and please spread the word! :-) Cheers, dave PS.. FRINGEFEST DEADLINE DEC 15th 2005 email me for more info or submission forms... -------------------- DAVE BURNS pixelate@pacbell.net t: 323 810 0081 f: 323 663 1405  + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 3 Oct 2005 21:39:47 -0700 message-id: <200510040439.j944dlcl024489@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Mark Amerika public lecture: Making Space for the Artist: Tuesday October 11 Making Space for the Artist A public lecture by Mark Amerika Tuesday October 11 7pm- 8.30pm Building 3.5.10 (Bon Marche Building- corner of Harris St and Broadway, Ultimo) Faculty of Humanities and Social Sciences University of Technology, Sydney Making Space For The Artist By its very nature, new media art is congested with always emergent technologies and a slew of theoretical justifications that attempt to turn aesthetic practice into art-research. But avant-garde artists have been at the forefront of pioneering an experimental humanities since the early 20th century, and many reputable universities are now finding pockets of interest in their various science faculties that want to move away from "computer science per se" as well as "theory" while simultaneously embracing new modes of interdisciplinary thought that border on the aesthetic. Who are the new media artists of today and where are they hiding in the midst of all of this interdisciplinary change? Are they capable of making space for their creative enterprise without conforming to preset research agendas and styles of inquiry, and is it still possible to take a radical stance from within the work of art itself regardless of what new technologies are hot and what current theory tries! to appropriate its fluid context? Mark Amerika's lecture will mix personal narrative, philosophical inquiry, spontaneous theories, and cyberpunk fictions as a way to locate the emerging spaces where new media artists operate when distributing their digital art personas. Presenting a selection of his work composed over the last 15 years, he will discuss how making space for the artist requires protecting the creative process from becoming neutered by the corporate greed machine, and how artists themselves might strategize a parallel "digital poetics" that creatively disturbs the by now predictable forms of academic research practice. Bio Mark Amerika is a Professor of Art and Art History at the University of Colorado at Boulder. His net art, DVD surround sound installations, and VJ performances have been exhibited and featured all over the world. He is the author of two novels, has edited three published anthologies, and is the Founder and Publisher of the Alt-X Online Network, a net art and new media writing site started on the Internet in 1993 (www.altx.com). His forthcoming book of artist writings, entitled META/DATA: A Digital Poetics, will be published by MIT Press later next year. Professor Amerika is also directing his first feature-length film, entitled MY AUTOEROTIC MUSE. His website is www.markamerika.com Mark Amerika is a Visiting Artist in the Faculty of Humanities and Social Sciences, UTS, in Spring 2005. For further information please contact Megan.Heyward@uts.edu.au. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 04 Oct 2005 01:11:47 -0400 message-id: <6a2842aa-1d82-4c12-a3af-64a4502a614e@alcor.concordia.ca> references: no_parent from: Pall Thayer subject: RHIZOME_RAW: A few words concerning open-source and art http://pallit.lhi.is/palli/ArtOpS.pdf -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 10:15:54 +0200 message-id: <80bd928c0510040115l3447b1f7idd4daf6a8fae21b0@mail.gmail.com> references: no_parent from: Kristofer Paetau subject: RHIZOME_RAW: ART FORUM ACCIDENT! This is a very embarrassing accident that happened at the opening of the Art Forum 2005 Art Fair in Berlin... If you want to check it out: A web documentation to view at: http://www.paetau.com/downloads/ArtForumAccident/ArtForumAccident.html A PDF documentation (0,8 MB) to download at: http://www.paetau.com/downloads/ArtForumAccident/ArtForumAccident.pdf A Quicktime Video (DSL required): http://www.paetau.com/downloads/ArtForumAccident/ArtForumAccident.mov Best wishes, Kristofer Paetau -- If you do not want mails anymore, you can unsubscribe automatically by sending an empty e-mail from your e-mail account to: ARTINFO-L-unsubscribe-request@listserv.dfn.de If this doesn't work, you probably got this e-mail re-routed through another address: Please reply to this mail and write UNSUBSCRIBE in the mail subject and please indicate some old or alternative e-mail addresses in order to help us unsubscribe you. Thank you and apologizes for the trouble! -- Kristofer Paetau http://www.paetau.com/exhibitions -- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 04 Oct 2005 10:55:35 +0100 message-id: references: no_parent from: Sheindal Cohen subject: RHIZOME_RAW: Vacancy for Head of Development at FACT, Liverpool, UK Head Of Development FACT FOUNDATION FOR ART AND CREATIVE TECHNOLOGY 30-35K (Dependant on experience) Based in Liverpool, European Capital of Culture 2008, FACT is dedicated to the support, development and presentation of artists work in film, video and new media. This is a unique opportunity for an experienced development professional wishing to work at a Senior Management Level. You will be a highly literate and media-focused individual, possessing exceptional communication, negotiation and networking skills. We need someone with a sophisticated understanding of the different funding sectors, who will be able to deliver maximum impact for FACT and will be able to plan strategically across the organisation. For an application pack please contact: Sheindal Cohen Email: recruitment@fact.co.uk Tel: 0151 707 4444 Website: www.fact.co.uk Deadline for applications: 24 October 2005 Interviews in Liverpool: Week beginning 31 October 2005 We welcome applications from any individual regardless of ethnic origin, gender, disability, religious belief, sexual orientation or age. All applications will be considered on merit. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 03:00:15 -0700 message-id: <200510041000.j94a0ffk010135@idx164.idx.net> references: no_parent from: Stephan Hausmeister subject: RHIZOME_RAW: INVITATION You are invited to view our work in progress at the INSTITUTE FOR NEW MEDIA in Frankfurt a. M.: FIELD OF VISION: EXTREMES Opening hours: 11:00 - 19:00 Dates: 9 -16 October 2005 Around 700 images are the response to the call for submissions for this combined internet / live art event. A selection will be printed postcard size and assembled into a billboard format artwork by the organising artists during a 7 day public event at the INM studios. More information: http://www.field-of-vision.net/Extremes A preview of ALL submitted images is online at: http://www.field-of-vision.net/Extremes/Raw *************************************** EVENTS PROGRAMME: --------------------------------------- ** PRESS OPENING ** SUNDAY 9 OCTOBER 11:00 - 13:00 with brunch at the INM studio presentation of FIELD OF VISION project by Stephan Hausmeister (organising artist) --------------------------------------- ** TALKS ** THURSDAY 13 OCTOBER 19:00 - 21:00 An evening of 4 short talks followed by an open discussion, INM conference room: Malcolm Ferris: THE PENUMBRA OF THE NET Michael Wright: BINARY OPPOSITION AS THE STAPLE CURRENCY OF MASS MEDIA IMAGERY Alison Dalwood: COMBINING MEDIA TO PRODUCE A NEW SYNTHESISED HYBRID FORMAT FOR PAINTING Stephan Hausmeister: ATTACK ON THE IMAGE TRANSMISSION SURFACE --------------------------------------- ** PARTY ** FRIDAY 14 OCTOBER FROM 19:00 Finishing Party with music by Dirk Rammstedt & drinks at the Residency Studio of the INM Presentation of the finished FIELD OF VISION: EXTREMES --------------------------------------- *************************************** Institute for New Media Schmickstrasse 18 D - 60314 Frankfurt am Main GERMANY Map: http://www.inm.de/images/inm-anfahrt.gif Phone: +49 (0)69 2575 4001 info@inm.de http://www.inm.de --------------------------------------- FIELD OF VISION is a series of events organised by: http://www.digitalartprojects.net mail@digitalartprojects.net --------------------------------------- *************************************** + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 06:31:47 -0700 message-id: <200510041331.j94dvllf015450@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Philip von Zweck, Alex V. Cook and BSD present a work with paper at BSD (Butcher Shop/Dogmatic) Chicago CLOSING RECEPTION THIS SATURDAY OCTOBER 8TH 6PM - 10PM BSD Butcher Shop/Dogmatic Philip von Zweck, Alex V. Cook and BSD present a work with paper at BSD BSD (Butcher Shop/Dogmatic) 1319 W. Lake St., 3rd Floor Chicago, IL 60607 Michael S. Thomas, Director 312.421.1917 dogmaticgallery@hotmail.com Full infotainment: http://tinyurl.com/atrhr If our experience is disconnected and fragmentary as John Dewey reflected, if it is full of beginnings that are never concluded or experiences that are manipulated towards uncertain ends. Then the exceptional experiences that succeed in gracefully consummating an end from a beginning, these are the experiences we hold as aesthetic. They are enjoyed for their own sake as complete and self contained. Because they are subjective and unconstrained by the mediocrity of history. Contemporary culture readily embraces its construction of meaning from multiple channels. Its art reflects this fragmentation, becoming increasingly more ephemeral. Engaging as it will, internal logics informed by a post moder crisis of identity. In this atmosphere Curators readily act as editors of context. They create the illusion of impartial truth from fragments of dystopic reason. In a pragmatic sense they complete the articulation of the aesthetic narrative. Chicago Artist Philip von Zweck and Baton Rouge Artist Alex V. Cook will independently prepare and ship works to BSD weekly. These will primarily be works on paper ranging from simple drawings to collage. The Curator will then hang or rearrange this work without the artists input, but based solely on new developments in the aesthetic narrative as it's presented to him. This collaboration will last the five weeks of the program. Documentation of the shows various configurations will be made available at the closing reception. Philip von Zweck, Alex V. Cook and BSD present a work with paper at BSD BSD (Butcher Shop/Dogmatic) Chicago Art Gallery + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 06:32:40 -0700 message-id: <200510041332.j94dweu9015688@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Philip von Zweck, Alex V. Cook and BSD present a work with paper at BSD (Butcher Shop/Dogmatic) Chicago CLOSING RECEPTION THIS SATURDAY OCTOBER 8TH 6PM - 10PM BSD Butcher Shop/Dogmatic Philip von Zweck, Alex V. Cook and BSD present a work with paper at BSD BSD (Butcher Shop/Dogmatic) 1319 W. Lake St., 3rd Floor Chicago, IL 60607 Michael S. Thomas, Director 312.421.1917 dogmaticgallery@hotmail.com Full infotainment: http://tinyurl.com/atrhr If our experience is disconnected and fragmentary as John Dewey reflected, if it is full of beginnings that are never concluded or experiences that are manipulated towards uncertain ends. Then the exceptional experiences that succeed in gracefully consummating an end from a beginning, these are the experiences we hold as aesthetic. They are enjoyed for their own sake as complete and self contained. Because they are subjective and unconstrained by the mediocrity of history. Contemporary culture readily embraces its construction of meaning from multiple channels. Its art reflects this fragmentation, becoming increasingly more ephemeral. Engaging as it will, internal logics informed by a post moder crisis of identity. In this atmosphere Curators readily act as editors of context. They create the illusion of impartial truth from fragments of dystopic reason. In a pragmatic sense they complete the articulation of the aesthetic narrative. Chicago Artist Philip von Zweck and Baton Rouge Artist Alex V. Cook will independently prepare and ship works to BSD weekly. These will primarily be works on paper ranging from simple drawings to collage. The Curator will then hang or rearrange this work without the artists input, but based solely on new developments in the aesthetic narrative as it's presented to him. This collaboration will last the five weeks of the program. Documentation of the shows various configurations will be made available at the closing reception. Philip von Zweck, Alex V. Cook and BSD present a work with paper at BSD BSD (Butcher Shop/Dogmatic) Chicago Art Gallery + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 04 Oct 2005 11:04:45 -0400 message-id: references: <8eadd6950510040425k6a598b5cq3f001b8d56296e41@mail.gmail.com> from: Pall Thayer subject: Re: RHIZOME_RAW: A few words concerning open-source and art Hi Jason, All art is more or less esoteric. It just depends on how deep you're prepared to delve. Paintings "status" has very little to do with its archival properties. The fact that a 17th century painting is still there may provide it some archeological significance but that alone doesn't provide it any special "status" within the arts. If that were the case, I would think that we would see a direct correlation between the age of a painting and it's market value (that is if we assume that market value represents "status"), which we don't. I look forward to seeing your code. Pall On 4.10.2005, at 07:25, Jason Van Anden wrote: > Hi Pall, > > Interesting ... and I am with you - because I code I can appreciate > the meaning code has for me, personally. > > Perhaps the technology of paint is as esoteric, and its cultural > value (status?) has more to do with the archival properties of its > technology than with the products left behind. > > Jason Van Anden > http://www.smileproject.com > > > > This makes me wonder if the whole esoteric obsession think that the > whole > > > On 10/4/05, Pall Thayer wrote: http:// > pallit.lhi.is/palli/ArtOpS.pdf > > > -- > Pall Thayer > p_thay@alcor.concordia.ca > http://www.this.is/pallit > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > > > > -- > Jason Van Anden > http://www.smileproject.com -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 04 Oct 2005 11:25:43 -0400 message-id: <282169b1-9e64-4fe3-ba22-1b0479ec705d@alcor.concordia.ca> references: <8eadd6950510040809v39080640j22fd3e1cae32764d@mail.gmail.com> from: Pall Thayer subject: Re: RHIZOME_RAW: A few words concerning open-source and art But artwork can still be seen as important even though it rotted away. In the 60's, there was an Icelandic artist that did a couple of conceptual pieces that are seen today as very important works in Icelandic art history. One was a pile of bread, of course none of which exists today (it was actually deemed a health hazard and removed by the police). Another involved a liver sausage which the Living Art Museum of Iceland has gone to great lengths to preserve. The artist is Kristjan Gudmundsson. Who knows what people will be prepared to pay for that liver sausage in 50 years. Pall On 4.10.2005, at 11:09, Jason Van Anden wrote: > My point was that other likely candidates that may have attracted > interest/value expired because their technology rotted away. > > j > > > On 10/4/05, Pall Thayer wrote: Hi Jason, > > All art is more or less esoteric. It just depends on how deep you're > prepared to delve. Paintings "status" has very little to do with its > archival properties. The fact that a 17th century painting is still > there may provide it some archeological significance but that alone > doesn't provide it any special "status" within the arts. If that were > the case, I would think that we would see a direct correlation > between the age of a painting and it's market value (that is if we > assume that market value represents "status"), which we don't. > > I look forward to seeing your code. > > Pall > > > On 4.10.2005, at 07:25, Jason Van Anden wrote: > > > Hi Pall, > > > > Interesting ... and I am with you - because I code I can appreciate > > the meaning code has for me, personally. > > > > Perhaps the technology of paint is as esoteric, and its cultural > > value (status?) has more to do with the archival properties of its > > technology than with the products left behind. > > > > Jason Van Anden > > http://www.smileproject.com > > > > > > > > This makes me wonder if the whole esoteric obsession think that the > > whole > > > > > > On 10/4/05, Pall Thayer wrote: http:// > > pallit.lhi.is/palli/ArtOpS.pdf > > > > > > -- > > Pall Thayer > > p_thay@alcor.concordia.ca > > http://www.this.is/pallit > > > > > > > > > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > > subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms set out in the > > Membership Agreement available online at http://rhizome.org/info/ > > 29.php > > > > > > > > -- > > Jason Van Anden > > http://www.smileproject.com > > > > -- > Pall Thayer > p_thay@alcor.concordia.ca > http://www.this.is/pallit > > > > > > > > -- > Jason Van Anden > http://www.smileproject.com -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 11:33:11 -0400 message-id: references: no_parent from: NStillman@nyfa.org subject: RHIZOME_RAW: F103p9 Interview AN INTERVIEW WITH FREE103POINT9 By Nick Stillman free103point9 has an array of goals toward which it is perpetually working, each ultimately focused on expanding the scope of radio's possibilities and advancing the genre of Transmission Arts. The nonprofit organization's online radio transmissions introduce audiences to aggressive and challenging contemporary music and also include diverse sets like Field Recordings (found sounds, weird abstract noise) and live performances from artists visiting free103point9's new Greene County, NY Wave Farm site. A pioneering Transmission Arts presenter, free103point9 originated in Brooklyn, in 1997, as a quasi-collective of artists, musicians, and community members dedicated to providing an airwave alternative to corporate radio. The organization's center has recently migrated north, to Wave Farm, offering them a vastly greater amount of physical space. They have implemented an artist residency program, and by 2007 (their tenth anniversary) will have completed the construction of a study center, studio, and archive dedicated to Transmission Arts. Over the course of several days, NYFA Current Editor and Artforum.com contributor Nick Stillman exchanged emails with Galen Joseph-Hunter and Tom Roe, Executive Director and Program Director, respectively, of this dedicated, vital organization. Nick Stillman: Let's begin by talking about how renegade transmission has changed from 1997 to now, specifically because of online radio. Has it tarnished the romance of pirate radio? Or, because it's difficult to regulate and can be heard all over the world, is online radio nothing but beneficial? Tom Roe: During the early years of free103point9, we thought of the organization as something akin to a library, and most weekends some different art organization or collective would come to borrow the transmitting equipment to microcast whatever it was they did. We eventually found we could be of more use to artists acting as a high-profile nonprofit media arts organization than as a clandestine collective with civil disobedience as its main modus operandi. Thanks to all the pirates, lawyers, and political novices who lobbied Congress, went on the air, and challenged laws, low-power FM stations are now legal in the United States. We think a more important fight now is to get the content of radio to be more interesting. This is less a political battle and more of a culture war, or ideological shift. Radio should be endlessly different, richly creative, and interesting to listen to. So we have set out to present radio projects that inspire others and start a dialogue about the lack of creativity on the airwaves. Online radio is a good way to build audiences, which is the goal of most arts organizations. Where before we might reach ten or fifteen blocks, anyone with economic means around the world can listen now. NS: The free103point9 Gallery (http://www.free103point9.org/gallery.php) continues on in Southside Williamsburg, your organization hosts music festivals in the neighborhood, and much of your activity is accessible from the non-site that is transmission. To what degree will the expanse of space at the new Wave Farm site further free103point9's activities and what were the motivating factors behind the relocation? Galen Joseph-Hunter: The topography of the Wave Farm property includes meadows, streams, ponds, forest paths, and views of the Catskill Mountains. This stark contrast to the environment of New York City and other urban locations provides an important comparative context for artists working with the airwaves and audiences experiencing these works. That is not to say we are lessening our in activities in the city. While public programs at the free103point9 Gallery have taken a bit of a hiatus, activities have remained vibrant and public events are scheduled to resume in the coming months. Additionally, free103point9 presents projects in collaboration with partnering organizations throughout New York City, State, and nationally and internationally. For example, earlier this year we co-presented the exhibition Airborne (http://www.free103point9.org/airborne.html) with the New Museum of Contemporary Art in New York. These collaborative programs are an important means to provide opportunities for transmission artists and build audiences in general. TR: As location becomes less important in a hyper-wired world, the Wave Farm's breadth of size allows for larger projects that were never possible in the free103point9 Gallery. The residency program is already helping foster new works that need longer to incubate, and can cover more ground, literally. Light is one area of transmission arts, and it is more plentiful upstate then in New York City. All of the airwaves are less cluttered, which presents different sonic opportunities. NS: Galen, as you mention, free103point9 has been active in the visual/performance art world. The organization has presented several exhibitions since 1997 and your project for the upcoming PERFORMA05 biennial will be a four-day series of transmission performances. What is it about the audience's physical confrontation with transmission art that an exhibition or live performance setting offers that's appealing to you? GJH: I am interested in projects that have living, evolving qualities. Transmission works, whether in a performance or exhibition context, incorporate and create live content. While these works may or may not ask the public to interact physically, they impact our experience as a viewer by inhabiting the space around us like a kind of invisible earthwork. free103point9 projects such as "Tune(In))) (http://www.free103point9.org/tunein.php)," "Radio 4x4 (http://www.free103point9.org/radio4x4.php)," "Microradio Soundwalk (http://www.free103point9.org/microradiosoundwalk.php)," and the upcoming "On The Air" (http://www.free103point9.org/event.php?eventID=206) for WHITE NOISE at PERFORMA05 at White Box, in early November, are performance events in which individual artists participate. These projects, which include multiple transmissions and a constantly changing group of performers, encourage participation from the audience. We consider these events a means to conceptually map the airwaves and educate participants about transmission art—the transmission and reception of content, expression, and gesture—via their experiences as artists and audiences. NS: Transmission art, by its very nature, depends on engagement with and adaptation to new technologies. What are some future technological developments that could substantially impact (positively or negatively) free103point9's mission of cultivating the genre of Transmission Arts and supporting its practitioners? TR: The advent of digital radio will soon impact a lot of what we do. I just saw that the first hybrid radios, which receive both analog and digital signals, are being sold in the UK, I think. Eventually the analog radio and television bands will be given up for dead, yet there will remain millions of receivers. While the money and high-priced content switch to digital and/or satellite signals, perhaps experimental creative radio and television might thrive for a time in the future in that dead zone. At the same time, radio is becoming intertwined with every aspect of our lives. Radio ID tags are now attached to every product at Wal-Mart; most iPods now are attached to micro-FM transmitters; thousands of people run their own internet radio stations; and cell phones, text messages, and other wireless communication continue to multiply. But the number of radio waves battering our brains daily could turn out to be bad for humans in all sorts of ways. And we might not even be able to aim those waves at each other, if governments continue to limit control over this most public of resources. GJH: As Tom mentioned, the radio spectrum is now being integrated into almost every aspect of our daily lives, and there are pros and cons to this saturation. In the pro category, I would suggest that with so many wireless products being produced commercially, there exists a wide spectrum of relatively affordable equipment for artists to repurpose for creative uses. Also, as these technologies are becoming more and more familiar to our audiences, the "techcentric" aspect of Transmission Arts is demystified, allowing for these projects to be considered in a greater contemporary art context. It is important to clarify that free103point9 defines Transmission Art as a conceptual practice that utilizes the airwaves in as many diverse approaches as possible. Our recent publication "Wave Guide" (www.free103point9.org/waveguide.php) includes a section identifying a selection of key transmission works from the early twentieth century to the present. These historical projects were experiments with early radio, television, and telecommunication technologies, and many contemporary transmission works employ these same fundamental tools today. NS: One of free103point9's obvious strengths is its ability to act both as practitioner and educator, given its history of action in the field of transmission art. How much is transmission art education a goal of the new site? GJH: I subscribe to a broad definition of education and would say that this is a goal in everything we do: performances, exhibitions, online radio, workshops, dispatch releases, residencies, and research facilities. TR: Our goal is to get folks to understand what Transmission Arts are and how radio can be used creatively. It is exactly like creating a wave and watching the ripple churn out endlessly into space. The more we speak of the idea that radio is a polluted public area that needs to reclaimed and replanted with fresh ideas, the more these ideas circulate and take hold. Several universities are now working transmissions into their curriculum, and more groups are attempting creative radio projects all the time. We hope the Wave Farm can help this movement grow. Nick Stillman Editor, NYFA Current 212.366.6900 x248 www.nyfa.org/current + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 04 Oct 2005 16:35:15 +0100 message-id: <4342a133.1050201@furtherfield.org> references: <6a2842aa-1d82-4c12-a3af-64a4502a614e@alcor.concordia.ca> from: marc subject: RHIZOME_RAW: A randomSeed Event A randomSeed Event Artists Talk and Launch of new work by boredomresearch HTTP Gallery Sunday 9th of October 2005 - 2 to 4 pm Vicky Isley and Paul Smith of boredomresearch will be presenting a new randomSeed and talking about their work. With the launch of a new randomSeed within the theatre of restless automata exhibition, you will be able to view the development of this computational system online at www.http.uk.net. A circle of pixels will gradually grow an intricate pattern that can yieldstructures that resemble patterns in needlework or natural forms. From this website you will be able to access boredomreseach research and development material online that led to these computational systems being created. boredomreseach will unveil investigations into simple rules found in natural systemsand how these can produce diverse and complex images free from our aesthetic control. boredomresearch are interested in building computational works, inspired by simplerules found in natural systems. Recent projects have used the complexity of decentralised systems and simple algorithms like those used in cellular automata tocreate observable digital entities. boredomresearch have produced a number of interactive sound applications and onlineprojects, which have been shown at Transmediale.05, Germany; FILE04, Brazil; NOW festival 2004, Nottingham, Electrohype festival in Sweden, Data:base Media Event inDublin. For more information, visit: www.boredomresearch.net HTTP [House of Technologically Termed Praxis] Unit A2, Arena Business Centre 71 Ashfield Rd, London N4 1NY Tel: 0208 802 2827 http://www.http.uk.net Tube: Manor House - Buses: 29, 141, 253, 254, 259,341, 279 Entrance is free. To book a place, please e-mail ruth@furtherfield.org .============================================ HTTP is showing Theatre of Restless Automata the largest solo exhibition to date byboredomresearch until the 23rd of October 2005. Theatre of Restless Automata comprises three animated universes modelled fromvariations of the same computational formula. Each universe has a distinct aesthetic quality, which ranges from geometric abstraction to decorative figuration. Usingcomputer algorithms based on scientific modelling techniques, the artists demonstrate how simple programming rules can create an infinite number of elaborate patterns. Gallery open Friday - Sunday 12-5pm ============================================ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 08:55:39 -0700 message-id: <200510041555.j94ftdke010706@idx164.idx.net> references: no_parent from: Georgina Bath subject: RHIZOME_RAW: Monster Gallery You are invited to submit a monster drawing to my gallery of monsters... Rules: 1. The monster should be drawn in any computer program that allows you to use a pencil tool and a paint can tool (photoshop, photoshop elements, paint...) 2. The monster should not take more than five minutes to complete (nothing too fancy) 3. The monster must have a name 4. Please submit your monster in .jpg .gif or .bmp format, nothing too big, in an email to georgebath@hotmail.com with MONSTER DRAWING somewhere in the subject line. These will be posted to my gallery at www.moonmonsters.blogspot.com (the gallery is only just beginning... check back for monster additions) Thanks! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 19:39:41 +0200 message-id: <000101c5c97b$d764e040$c87789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: The monster THE MONSTER MUST HAVE A NAME MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 20:16:53 +0200 (CEST) message-id: <20051004181653.d20f721fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Macintoshes magstephalf Morroccan, MIT maharajahs MIS, Mr Marilyn Monroe macs MAY megapixel, millionth MultlineGap. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 13:44:23 -0700 message-id: <200510042044.j94kinlu004476@idx164.idx.net> references: no_parent from: Jeff Tancil subject: RHIZOME_RAW: Call for Proposals: Lower East Side Tenement Museum The Lower East Side Tenement Museum is currently accepting proposals for its Digital Artists in Residence Program (DARP). The Museum will host one off-site residency. During the residency, artist(s) will complete a new web-based exhibition that explores an aspect of the contemporary immigrant experiences. All works completed through the DARP program must enhance the Tenement Museum’s mission to “promote tolerance and historical perspective through the presentation and interpretation of a variety of immigrant and migrant experiences on the Lower East Side, a gateway to America”. Additional information is available at http://www.tenement.org/prog_darp.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 16:10:35 -0700 (PDT) message-id: <20051004231035.97270.qmail@web30512.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: motion picture revisited Hi Anyone remotely diverted by last weeks b&w 'motion picture', you might like to try this full colour version - there's more visual variety too. http://www.somedancersandmusicians.com/motion_picture/index.html carries a bit more weight, this one, at 15Kb best michael + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 19:52:15 -0400 (EDT) message-id: references: <20051004231035.97270.qmail@web30512.mail.mud.yahoo.com> from: Alan Sondheim subject: RHIZOME_RAW: Re: [webartery] motion picture revisited I think this is by far the best/most original of your work I've seen - and it holds up for repeated viewing; it also stands up well in relation to abstract film / animation in general - Alan On Tue, 4 Oct 2005, Michael Szpakowski wrote: > Hi > Anyone remotely diverted by last weeks b&w 'motion > picture', you might like to try this full colour > version - there's more visual variety too. > > http://www.somedancersandmusicians.com/motion_picture/index.html > > carries a bit more weight, this one, at 15Kb > best > michael > > > > > > Yahoo! Groups Links > > <*> To visit your group on the web, go to: > http://groups.yahoo.com/group/webartery/ > > <*> To unsubscribe from this group, send an email to: > webartery-unsubscribe@yahoogroups.com > > <*> Your use of Yahoo! Groups is subject to: > http://docs.yahoo.com/info/terms/ > > > > ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt - revised 7/05 ) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 4 Oct 2005 17:06:48 -0700 message-id: <200510050006.j9506mbi003064@idx164.idx.net> references: no_parent from: Susan Robb subject: RHIZOME_RAW: Aqua Art Sound Broadcast Aqua Art Sound Broadcast invites submissions of audio work for this year’s Broadcast at Aqua Art, a new art fair taking place during Miami/Basel, in Miami Florida, Dec 1 - 4th, 2005. We are seeking a broad range of audio styles from spoken word to phonography to Japanese noise to orchestral works. We are specifically looking for previously unreleased materials and are especially interested in recordings that take a critical look at contemporary art's practice, consumption, and criticism. Aqua Art Sound Broadcast: Four days of sounds broadcast during Miami/Basel at the Aqua Hotel (http://www.aquaartmiami.com/) All sounds will be deposited into an ipod that will be kept hidden from the public eye. Audio speakers broadcasting ipod contents will be located throughout the Aqua Hotel. A video camera will be trained on the ipod screen relaying what's playing to a video monitor located in the Aqua Hotel courtyard. The Broadcast includes work by, among others, Climax Golden Twins, Steve Roden, Paul Schutze, Quiet American, Ann Magnuson, Rafael Toral, The Degenerate Art Ensemble, environmentalist Monte Merrick, painter Laura Corsiglia, Son of Rose, The Black Cat Orchestra, and consumption disruptor Filistine. For an application please email Susan Robb and Wyndel Hunt: susan@susanrobb.com Deadline for submissions is November 1st, 2005 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 05 Oct 2005 00:19:37 -0300 message-id: <43434649.3010401@gmail.com> references: no_parent from: Andrei R. Thomaz subject: RHIZOME_RAW: e-mail of members hello list, I tried to see a work that is in the ArtBase, but there are some problems with the PHP scripts used by the work. I got this message: *Fatal error*: Call to undefined function mysql_connect() in *D:\Servidor\www\estatisticas\settings.inc.php* on line *17 *So, I looked for the author's e-mail, to send a messge to him, but I haven't found the e-mail in Rhizome site. So, here goes a suggestion: in the ArtBase, there could be a link "send a message to the author of this work", or something like that. bye, andrei -- RGB Design Digital www.rgbdesigndigital.com.br andrei@rgbdesigndigital.com.br / (51) 92067436 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 05 Oct 2005 10:09:44 +0200 message-id: <20051005100944.909a8961.dceb36ea@127.0.0.1> references: no_parent from: {NetEX} subject: RHIZOME_RAW: =?ISO-8859-1?Q?NetEX=5FOctober=5F2005=20-=20special=5Fedition? October 2005 - special [R][R][F]2005--->XP issue !! ---> NetEx--->:||nmapn||:Cologne ~ networked experiences http://netex.nmartproject.net ****************************************** [R][R][F]2005--->XP global networking project http://rrf2005.newmediafest.org created and realized by Agricola de Cologne, media artist and New Media curator from Cologne/Germany continues its successful development. This project is not only an extraordinary art work in its totality based on the general theme "memory & identity", but includes also networking more than 850 media artists, 50 curators and about 200 institutions, organisations and individuals from all parts on the globe, who made this success only possible. At this stage, thanks to all !!! When the project started in March 2004, it could not be foreseen that the project as a whole or parts of it would have been presented on nearly all continents, in more than 20 countries and 40 places nearly at the end of 2005. (see list of venues further ahead) Contents: 1. New project version including new components --->VideoChannel --->SoundLab Channel --->Family Portrait - 2. physical event series in Poland and IMPACT SA 05 in Argentina, Chile, Uruguay, Brazil 3. list of venues ************************************************************ 1.) These new components complete the new [R][R][F]2005--->XP project version --> a) Vince Briffa curates video artists from Malta b) Agricola de Cologne curates 20"selfportrait" videos & a selection of featured videos especially featured video by Jamil Yamani (Australia), entitled "All quiet on the Western Front"on the start page of [R][R][F]2005--->XP http://rrf2005.newmediafest.org ---> all details on http://weblog.nmartproject.net/index.php?blog=3&cat=57 ---> all works can be acessed via the the artistic body of [R][R][F]2005--->XP http://rrf2005.newmediafest.org and also separately via http://videochannel.newmediafest.org . ---> SoundLab Channel - Edition III a) Michael Yuen curates soundartists from Australia b) Peter Wolf curates sound ensembles from Cologne c) Melody Parker-Carter curates 38 soundartists based on on open call ---> all details on http://weblog.nmartproject.net/index.php?blog=3&cat=14 http://rrf2005.newmediafest.org and also separately via http://rrf2005.newmediafest.org/schannel.htm . ---> Family Portrait- final version net based New Media art project by Agricola de Cologne Winner of the Mosaica Award 2005 !! http://familyportrait.engad.org www.mosaica.ca ---> details on http://netex.nmartproject ************************************************************ 2. [R][R][F]2005--->XP - physical project related events a) 7-17 October --> Agricola de Cologne curates a special selection for PI Five Video Festival Szczecin/Poland http://pi-five.piranho.com ---> details on http://weblog.nmartproject.net/index.php?blog=6 b) IMPACT'SA 05 - coordinates the event series in South America http://impact.newmediafest.org Agricola de Cologne is visiting on invitation Argentina, Chile, Brazil and Uruguay between 8 October and 8 November and [R][R][F]2005--->XP - is the basic subject of all organised events ---> Argentina Orilla'05 - International show of digital art Santa Fe - 25 Aug - 25 September Recoleta Cultural Center Buenos Aires - 11. October lecture/presentation National Library- Buenos Aires - 12 October lecture/presentation INTERFERENCIAS - National University of North West Junin - 14 October lecture/presentation MACRO - Museum of Contemporary Art Rosario - 18. October lecture/presentation National Univesity of Rosario - 19. October - lecture/presentation MAC - Museum of Contemporary Art Santa Fe - 21. October lecture/presentation Uruguay Goethe Institut Montevideo -27 October - Lecture- Introduction into netart in a global context via work examples of netart from Germany speaking countries and South America National School of Fine Art Montevideo - 28 October - lecture/screening Brazil FILE - Electronic Language Festival/FILE Hipersonica Sao Paulo - 31 October- 05 November FILE - Symposion Sao Paulo - lecture 02 October Federal University Rio de Janeiro/Brazil - lecture 3 October State University Rio de Janeiro/Brazil - lecture 7 October Chile Biennale of Video & New Media Santiago de Chile - 18-28 November- interactive installation at Museum of Contemporary Art ---> details on http://weblog.nmartproject.net/index.php?blog=6 and http://impact.newmediafest.org c) JavaMuseum - Forum for Internet Technology in Contemporary Art www.javamuseum.org On 27 October 2005, Agricola de Cologne will hold a lecture about netart in a global context based the net art showcases he organised for JavaMuseum in the framework of IMPACT'SA event series at Goethe Institute Montevideo/Uruguay http://www.goethe.de/ins/uy/mot/ver/de902311.htm & http://impact.newmediafest.org d) CyberPoem 2.1 - 22 October - Barcelona/Spain a presention of videos and cyber poetry by Agricola de Cologne http://www.cyberpoem.com/index2.htm ---> info also as PDF for free downlaod from http://downloads.nmartproject.net/CyberPoem2005.pdf **************************************************** 3. [R][R][F]200X--->XP venues in 2005 ---> 44. Biennale of Video & New Media Santiago/Chile 18/11-28/11 43. FILE - Electronic Language Festival & Symposion 31/10-05/11 42. National Academy of Fine Arts Montevideo/Ur - 28/10 -/lect/pres 41. Museum of Contemporary Art Santa fe/Ar - 21/10 - lect/pres 40. University of Rosario/Ar - 18/10 - lectures/present 39. Museum of Contemporary Art Rosario/Ar - 17/10 - presentation 38. Recolleta Cultural Centre Buenos Aires 12/10 - lecture/pres 37. National Library Buenos Aires/Ar - 11/10 lectures/pres 36. Interferencias - University of Noroeste/Ar 13/10-16/10 35. PI five Video Festival Szczecin/Poland 9/10 -13/11 34. "Groundworks" Regina Gouger Miller Gallery at Carnegie Mellon University Pittsburg/USA 14/10 - 11/10 33. Prog::ME - Electronic Art Festival Rio de Janeiro/Br 17/07-28/08 32. V SALON INTERNACIONAL DE ARTE DIGITAL Maracaibo/Venezuela 20/03-02/07 31. EAST'05 - Making Things Better - Norwich/UK 02/07- 20/08 30. MAF'05 June edition - New Media Art Festival Bangkok/Thailand 28. Hic et Nunc San Vito a/Tagliamento/Italy - Selection'03 11/07-17/07 27. Israeli Digital ArtLab Holon/Israel 16/04- 16/07 26. Version'05 Festival Chicago/USA 22/04- 01/05 25. Images Festival Toronto/Canada - 7/04 - 13/04 24. ZKM Karlsruhe/G - Making Things Public - 20/03- 08/03 23. Camera Obscura Academy Tel-Aviv/Israel - lecture - 02/03 22. MAF05 - New Media Art Festival Bangkok/Thailand - 25/02-29/02 21. Musrara Media Art Academy Jerusalem/Israel - lect/pres 22/02 20. Bethlehem International Center - lect/pres - 19/02 19. Bethlehem University - lect/pres- 17/02 18. CAVE Gallery at ICB Bethlehem/Palestine- solo show 17/02- 14/03 [R][R][F] 200X --->XP in 2004 ---> 17. University of Bremen/Germany - [R][R][F]2004--->XP - New Media event - 18/19 December 16. 404 New Media Art Festival Rosario/Argentina (7-15 Dec) 15. FILE - Electronic Language Festival Sao Paulo/Brazil (23 Nov-12 Dec) 14. 1st International Exhibition of Digital Art - Orilla'04 - Museum of Contemporary Art Santa Fe/Argentina (04/11- 04/12) 13. 24h of Nuremberg/Germany - International Shortfilm Festival 15/16 October 12. Biennale of Electronic Art Perth (Australia) (1/09 - 7/11) 11. West Coast Numusic & Electronic Arts Festival Stavanger/Norway 17/08-22/08 10. public_space_festival Yerewan/Armenia 23/07 - 03/08 09. International Festival of New Film and New Media Split/Croatia (26/06-02/07) 08. VI SALON Y COLOQUIO INTERNACIONAL DE ARTE DIGITAL - Havanna(Cuba) 21/06-24/06 07. BASICS Festival Salzburg/Austria - 08/05-16/05 06. Electronic Art Meeting - PEAM 2004 - Pescara (Italy) 19/05-23/05 05. Version'04 Festival - Invisible Networks - Chicago/USA - 16/04-01/05 04. Now Music Streaming Festival Berlin (Germany)- - 7/04 03. New Media Art Festival Bangkok (Thailand) (20/03-28/03) 02. Bergen Electronic Arts Centre Bergen/Norway (05/03- 28/03) 01. National Museum of Contemporary Art Bucaresti/Romania (05/03-30/04) **************************************************** NetEX - networked experience http://netex.nmartproject.net http://netex.nmartproject.net/index.php?blog=8 # released recently several calls in the external section--> http://netetx.nmartproject.net/index.php?blog=8&cat=25 # internal calls by Cinematheque and others can be found on http://netex.nmartproject.net/index.php?blog=8&cat=54 ************************************************ # This newsletter is also released on http://netex.nmartproject.net/index.php?blog=8&cat=26 # NetEx--->:||nmapn||:Cologne ~ networked experiences http://netex.nmartproject.net is a new and free information service by [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for Art and New Media from Cologne/Germany # info & contact: info@nmartproject.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 05:09:37 -0700 message-id: <200510051209.j95c9b2z028534@idx164.idx.net> references: no_parent from: fernando goncalves subject: RHIZOME_RAW: fernando gonçalves (black.box@sapo.pt) Hei people I´m working in a tesis and I need the text "what´s High? what´s Low? and who cares" of Barbara Kruger. Can you help me sending the text or telling me where I can found it ? Thanks in advance Fernando Gonçalves + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 14:45:01 +0200 message-id: <002a01c5c9aa$c3c63fa0$787689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Fw: The monster ----- Original Message ----- From: manik To: list@rhizome.org Sent: Tuesday, October 04, 2005 7:39 PM Subject: The monster THE MONSTER MUST HAVE A NAME MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 16:30:03 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Sep 29, 2005 - Oct 05, 2005 delsp=yes; format=flowed nznl.com digest Sep 29, 2005 - Oct 05, 2005 Posts 1221 - 1227 http://nznl.com 1221. Sep 29, 2005 3 NZNL.COM WORKERS POSING WITH 3 BLOBS, 2009, WHITE CUBE, NZNL.COM WORKERS, BLOBS fireworks file http://nznl.com/geert/pop.php?dag=20050929 1222. Sep 30, 2005 RELATION, ATTENTION, ADAPTATION, 2009, PERFORMANCE FOR ONE OR MORE NZNL.COM WORKERS (AFTER VITO ACCONCI) fireworks file http://nznl.com/geert/pop.php?dag=20050930 1223. Oct 01, 2005 PLAN FOR A DESERTION, 2009, WHITE CUBE, DESERTED fireworks file http://nznl.com/geert/pop.php?dag=20051001 1224. Oct 02, 2005 IN SEARCH OF THE MIRACULOUS, 2009, INSTALLATION (AFTER BASJAN ADER) fireworks file http://nznl.com/geert/pop.php?dag=20051002 1225. Oct 03, 2005 STUDY FOR A ROOM, 2009, WHITE CUBE, BLINKY PALERMO PAINTING fireworks file http://nznl.com/geert/pop.php?dag=20051003 1226. Oct 04, 2005 PLAN FOR A DAY AT THE NZNL.COM GALLERY, 2009, WHITE CUBE, ABSTRACT PAINTING fireworks file http://nznl.com/geert/pop.php?dag=20051004 1227. Oct 05, 2005 STUDY FOR A MARC ROTHKO SHOW AT THE NZNL.COM GALLERIES, 2009, PERFORMANCE FOR A WHITE CUBE, 4 LARGE MARC ROTHKO PAINTINGS AND 2 NZNL.COM WORKERS fireworks file http://nznl.com/geert/pop.php?dag=20051005 Geert Dekkers http://nznl.com --Apple-Mail-7--108451571 Content-Type: text/html;
nznl.com digest=A0
Sep 29, 2005 - Oct 05, 2005
Posts=A0 1221 - 1227

1221. Sep 29, 2005
3 NZNL.COM WORKERS POSING WITH 3 BLOBS, 2009, WHITE CUBE, NZNL.COM WORKERS, BLOBS
fireworks file

1222. Sep 30, 2005
RELATION, ATTENTION, ADAPTATION, 2009, PERFORMANCE FOR ONE OR MORE NZNL.COM WORKERS (AFTER VITO ACCONCI)
fireworks file

1223. Oct 01, 2005
PLAN FOR A DESERTION, 2009, WHITE CUBE, DESERTED
fireworks file

1224. Oct 02, 2005
IN SEARCH OF THE MIRACULOUS, 2009, INSTALLATION (AFTER BASJAN ADER)
fireworks file

1225. Oct 03, 2005
STUDY FOR A ROOM, 2009, WHITE CUBE, BLINKY PALERMO PAINTING
fireworks file

1226. Oct 04, 2005
PLAN FOR A DAY AT THE NZNL.COM GALLERY, 2009, WHITE CUBE, ABSTRACT PAINTING
fireworks file

1227. Oct 05, 2005
STUDY FOR A MARC ROTHKO SHOW AT THE NZNL.COM GALLERIES, 2009, PERFORMANCE FOR A WHITE CUBE, 4 LARGE MARC ROTHKO PAINTINGS AND 2 NZNL.COM WORKERS
fireworks file



Geert Dekkers

http://nznl.com


--Apple-Mail-7--108451571-- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 08:01:29 -0700 (PDT) message-id: <20051005150129.44534.qmail@web35603.mail.mud.yahoo.com> references: <282169b1-9e64-4fe3-ba22-1b0479ec705d@alcor.concordia.ca> from: Lewis LaCook subject: Re: RHIZOME_RAW: A few words concerning open-source and art --i've always wondered why more artists working in code don't release source code at all--and why, especially here at rhizome, there's so little discussion of code where new media headz gather-- --seems that in the new media context, code becomes fetishized--but no-one ever actually gets around to talking about code itself--i got excited when i saw a post here announcing a "source code" blog, then horribly disappointed when i recognized that the blog had nothing whatsoever to do with code-- --perhaps what is needed is an artists' code community--one in which artists working in code can share classes and libraries, where code artists really do become hackers and not just fantasize about it...like sourceforge for art... bliss l --- Pall Thayer wrote: > But artwork can still be seen as important even > though it rotted > away. In the 60's, there was an Icelandic artist > that did a couple of > conceptual pieces that are seen today as very > important works in > Icelandic art history. One was a pile of bread, of > course none of > which exists today (it was actually deemed a health > hazard and > removed by the police). Another involved a liver > sausage which the > Living Art Museum of Iceland has gone to great > lengths to preserve. > The artist is Kristjan Gudmundsson. Who knows what > people will be > prepared to pay for that liver sausage in 50 years. > > Pall > > On 4.10.2005, at 11:09, Jason Van Anden wrote: > > > My point was that other likely candidates that may > have attracted > > interest/value expired because their technology > rotted away. > > > > j > > > > > > On 10/4/05, Pall Thayer > wrote: Hi Jason, > > > > All art is more or less esoteric. It just depends > on how deep you're > > prepared to delve. Paintings "status" has very > little to do with its > > archival properties. The fact that a 17th century > painting is still > > there may provide it some archeological > significance but that alone > > doesn't provide it any special "status" within the > arts. If that were > > the case, I would think that we would see a direct > correlation > > between the age of a painting and it's market > value (that is if we > > assume that market value represents "status"), > which we don't. > > > > I look forward to seeing your code. > > > > Pall > > > > > > On 4.10.2005, at 07:25, Jason Van Anden wrote: > > > > > Hi Pall, > > > > > > Interesting ... and I am with you - because I > code I can appreciate > > > the meaning code has for me, personally. > > > > > > Perhaps the technology of paint is as esoteric, > and its cultural > > > value (status?) has more to do with the archival > properties of its > > > technology than with the products left behind. > > > > > > Jason Van Anden > > > http://www.smileproject.com > > > > > > > > > > > > This makes me wonder if the whole esoteric > obsession think that the > > > whole > > > > > > > > > On 10/4/05, Pall Thayer > wrote: http:// > > > pallit.lhi.is/palli/ArtOpS.pdf > > > > > > > > > -- > > > Pall Thayer > > > p_thay@alcor.concordia.ca > > > http://www.this.is/pallit > > > > > > > > > > > > > > > + > > > -> post: list@rhizome.org > > > -> questions: info@rhizome.org > > > -> subscribe/unsubscribe: > http://rhizome.org/preferences/ > > > subscribe.rhiz > > > -> give: http://rhizome.org/support > > > + > > > Subscribers to Rhizome are subject to the terms > set out in the > > > Membership Agreement available online at > http://rhizome.org/info/ > > > 29.php > > > > > > > > > > > > -- > > > Jason Van Anden > > > http://www.smileproject.com > > > > > > > > -- > > Pall Thayer > > p_thay@alcor.concordia.ca > > http://www.this.is/pallit > > > > > > > > > > > > > > > > -- > > Jason Van Anden > > http://www.smileproject.com > > > > -- > Pall Thayer > p_thay@alcor.concordia.ca > http://www.this.is/pallit > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set > out in the > Membership Agreement available online at > http://rhizome.org/info/29.php > *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ______________________________________________________ Yahoo! for Good Donate to the Hurricane Katrina relief effort. http://store.yahoo.com/redcross-donate3/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 08:25:50 -0700 message-id: <200510051525.j95fpoxp031179@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Produced at Eyebeam 2005, Opening Reception 6-8pm Produced at Eyebeam 2005 New work from our studios October 20, 2005 – December 17, 2005 Opening Reception: Thursday, October 20, 6 - 8pm New York, NY – Produced at Eyebeam, the annual presentation of new work created at the not-for-profit art & technology center Eyebeam, launches on Oct. 20 with a range of projects including installations, talks, workshops and live performances. Works from artists Brian Alfred, D-Fuse, Julia Loktev, LoVid, Christian Marclay, Anthony McCall, Chicheng Peng and Robot Clothes use technology to explore creative practice with themes of performance and algorithms pervading much of the work. The exhibition is open Tuesday– Saturday, 12 – 6pm at Eyebeam located at 540 W. 21st Street (between 10th & 11th Avenues) and is free to the public with a suggested donation. Eyebeam 540 W. 21st Street New York, NY 212-937-6581 www.eyebeam.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 17:30:41 +0200 message-id: <000e01c5c9c1$cabbbee0$4c7789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Fw: The monster ----- Original Message ----- From: manik To: list@rhizome.org Sent: Wednesday, October 05, 2005 2:45 PM Subject: Fw: The monster ----- Original Message ----- From: manik To: list@rhizome.org Sent: Tuesday, October 04, 2005 7:39 PM Subject: The monster THE MONSTER MUST HAVE A NAME MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 12:00:50 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: Launching: Visual AIDS blog Content-Disposition: inline Freinds & Colleagues, NEWSgrist announces the launch of a new project: A developed for Visual AIDS, the New York-based non-profit AIDS advocacy organization for artists. press release link: http://newsgrist.typepad.com/underbelly/2005/10/launching_visua.html Visual AIDS >blog: http://newsgrist.typepad.com/visualaids/ Visual AIDS site: http://visualaids.org The blog offers links to a wide variety of resources. Categories of interes t include: * AIDS + The Arts * Histories + Memorials * AIDS Advocacy (New York) * AIDS Advocacy (Elsewhere) * Recommended Publications Visual AIDS blog posts will range from exhibition announcements, press releases for events including the Visual AIDS monthly web gallery, the Postcards annual benefit, and relevant articles from online news and blogosphere sources. Posts are generated by staff, board members, friends and colleagues in the arts and health professions, activists, artists and guest bloggers. More info on Visual AIDS can be found on their main site: Founded in 1988 Visual AIDS was one of the first national initiatives to record the impact of the AIDS pandemic on the artistic community. It brough t together the arts and AIDS communities through its renowned national projects DAY WITH(OUT) ART, Night Without Light, and The Ribbon Project. [...] Visual AIDS strives to increase public awareness of AIDS through the visual arts, creating programs of exhibitions, events and publications, and workin g in partnership with artists, galleries, museums and AIDS organizations. By mobilizing the visual arts communities, Visual AIDS raises money to provide direct services to artists living with HIV/AIDS. [...] Advocacy continues to drive the ongoing work of all Visual AIDS programs. I t involves: the lobbying of gallery and museum staff to program the work of artists with HIV/AIDS; dissemination of information; education of funding agencies and the general public about the impact of AIDS within the arts; and promotion of the needs of artists living with HIV/AIDS. [...] Keep your eyes open for future developments here: Visual AIDS >blog http://newsgrist.typepad.com/visualaids/ +++ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 12:09:17 -0400 message-id: references: from: subject: RHIZOME_RAW: Launching: Visual AIDS blog Content-Disposition: inline Friends & Colleagues, NEWSgrist announces the launch of a new project: A blog developed for Visual AIDS, the New York-based non-profit AIDS advocacy organization for artists. press release link: http://newsgrist.typepad.com/underbelly/2005/10/launching_visua.html Visual AIDS >blog: http://newsgrist.typepad.com/visualaids/ Visual AIDS site: http://visualaids.org The blog offers links to a wide variety of resources. Categories of interes t include: * AIDS + The Arts * Histories + Memorials * AIDS Advocacy (New York) * AIDS Advocacy (Elsewhere) * Recommended Publications Visual AIDS blog posts will range from exhibition announcements, press releases for events including the Visual AIDS monthly web gallery, the Postcards annual benefit, and relevant articles from online news and blogosphere sources. Posts are generated by staff, board members, friends and colleagues in the arts and health professions, activists, artists and guest bloggers. More info on Visual AIDS can be found on their main site: Founded in 1988 Visual AIDS was one of the first national initiatives to record the impact of the AIDS pandemic on the artistic community. It brough t together the arts and AIDS communities through its renowned national projects DAY WITH(OUT) ART, Night Without Light, and The Ribbon Project. [...] Visual AIDS strives to increase public awareness of AIDS through the visual arts, creating programs of exhibitions, events and publications, and workin g in partnership with artists, galleries, museums and AIDS organizations. By mobilizing the visual arts communities, Visual AIDS raises money to provide direct services to artists living with HIV/AIDS. [...] Advocacy continues to drive the ongoing work of all Visual AIDS programs. I t involves: the lobbying of gallery and museum staff to program the work of artists with HIV/AIDS; dissemination of information; education of funding agencies and the general public about the impact of AIDS within the arts; and promotion of the needs of artists living with HIV/AIDS. [...] Keep your eyes open for future developments here: Visual AIDS >blog http://newsgrist.typepad.com/visualaids/ +++ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 05 Oct 2005 13:06:37 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Interview with YOUNG-HAE CHANG HEAVY INDUSTRIES Brief, charmingly elusive interview with YOUNG-HAE CHANG HEAVY INDUSTRIES. An interesting point is that the interview was prompted by their inclusion in the 3rd Fukuoka Asian Art Triennale but--as it turns out=8B the event organizers forgot to invite them to come..?! http://www.artkrush.com/mailer/issue16/interview/index.html -- Lauren Cornell Executive Director Rhizome.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 05 Oct 2005 13:14:27 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Rhizome 04-05 Commissions event on October 18th To Rhizome members based in the NYC area or passing through on the night of October 18th: Please come celebrate Rhizome's 2004-2005 Commissions! All seven of the works--by Warren Sack, Carlo Zanni, Jason Van Anden, Paul Catanese, Kabir Carter, Michael Wilson and Luis Hernandez Galvan--will be on view and drinks will be served. For more information on the 04-05 Commissions, and the artists go to: http://rhizome.org/commissions/2005.rhiz - The reception is from 7-9pm on October 18th at the New Museum which is located at 556 West 22nd street at Eleventh Ave. Please RSVP in advance to rsvp@rhizome.org. Thanks. Yours, Lauren Lauren Cornell Executive Director Rhizome.org tel. 212.219.1222 X 208 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 10:59:49 -0700 message-id: <200510051759.j95hxnow031273@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: CALL FOR PROPOSAL >>> Ministère de l\'Architecture >>> CALL FOR PROPOSAL >>> Société Réaliste launches an curating program entitled "Ministry for Architecture", with three calls for proposal. This program will exhibit and publish proposals which will have been retained. The project description, the three calls as well as conditions of participation are downloadable on the Ministère de l'Architecture website www.societerealiste.net/MA.html All participations are welcomed. -------------------------------------------------- SOCIETE REALISTE Ferenc Gróf & Jean-Baptiste Naudy del Fat 12 rue des Taillandiers 75011 Paris ma@societerealiste.net www.societerealiste.net >>> 06.16.83.84.09 -------------------------------------------------- >>> To download the project description http://www.societerealiste.net/MA_presentation_generale_eng.pdf >>> To download call for proposal #1 http://www.societerealiste.net/MA_appel_1_eng.pdf >>> To download call for proposal #2 http://www.societerealiste.net/MA_appel_2_eng.pdf >>> To download call for proposal #3 http://www.societerealiste.net/MA_appel_3_eng.pdf -------------------------------------------------- presentation of the project Ministère de l'Architecture aims to stimulate architectural and urbanistic creativity. Ministère de l’Architecture is a ministry of architecture. Here, architecture is understood as the whole arranged environment of the citizens. Ministère de l’Architecture exclusively promotes imagination. Ministère de l’Architecture wants to regive its place to the concept of possibility in the conception of common spaces. Ministère de l’Architecture concerns all kind of artists, even architects. Ministère de l’Architecture initiates creation programmes around various themes. Ministère de l’Architecture organizes exhibitions and publications of accepted projects. Ministère de l’Architecture only imposes two restrictions on artistic proposals: - Artistic proposals must be addressed by electronic way to Ministère de l’Architecture in the form of a document (.pdf, .doc., or .jpg) of A4 format, black and white, 9 pages maximum. Thus, admissible projects are printable on an office printer. Videos, animations, models are prohibited. Projects must be written and (possibly) briefly illustrated. Indeed, as Ministère de l’Architecture promotes imagination, the work of picturing is reserved to the public. - Ministère de l’Architecture does not accept any curriculum vitae. Proposals should be accompanied by contact information and the name under which the contributor intends to make himself known. With the exception of these two restrictions, everything is permitted. -------------------------------------------------- call for proposals #1 >>> to empty space Ministère de l’Architecture proposes to reconsider the question of urban space occupation. Contemporary metropolises are characterised by the optimization of constructible space. A pragmatic architectural approach consists in an effective use of the ground dedicated to construction. To fill in the zone. To fill in waste lands. Constructions or installations, roads, walls or nature under control, everything is about occupation, everywhere. Ministère de l’Architecture requires of its contributors to empty urban space. Ministère de l’Architecture invites participants to contribute by their proposals to constitute the main axes of an urbanism of annihilation. If the situationist psychogeography was constituted as an insurrection against functionalist architecture, Ministère de l’Architecture proposes to estimate the possibility and contemporary stakes of a naked and null space. TO EMPTY >>> to make empty > to pour out or remove the contents of something > to transfer the contents into, onto, on something else > to unburden or discharge oneself or itself. <<< source : Webster’s 3rd edition. Conditions of participation are detailed in the presentation of Ministère de l’Architecture. Deadline : 12-31-2005 -------------------------------------------------- call for proposals #2 >>> bonsai of monuments Ministère de l’Architecture proposes to take part in a reflection around a strange human practice consisting in raising monuments. The place granted to monuments is indeed disproportionate. Vehicles of a standardization of collective memory, monuments transform the history of power into cultural heritage. Aiming to free urban space in order to let architectural innovation grow and to minimize the psychogeographical dictatorship that monuments impose on the citizen, Ministère de l’Architecture launches the "Bonsai of monuments" call for projects. The bonsai is a miniaturization technique to represent nature. Ministère de l’Architecture requires of its contributors to propose new architectural miniaturization techniques to represent contemporary collective memory. Participants, more than proposing new architectural concepts of monuments, can propose a monument commemorating a forgotten event or an individual, non-existent or future event. If necessary, Ministère de l’Architecture enjoins its most aggressive participants to contribute to the project by the miniaturization of already existing monuments. MONUMENT >>> something set up to keep alive the memoruy of a person or event, as a tablet, statue, pillar, building, etc > a structure surviving from a former period > a writing or the like serving as a memorial > a work, production, etc. of enduring value or significance > lasting or outstanding evidence or example > a stone shaft or other object set in the earth to mark a boundary > a tomb; sepulchre > a statue, effigy. <<< source : Webster’s 3rd edition. Conditions of participation are detailed in the presentation of Ministère de l’Architecture. Deadline : 12-31-2005 -------------------------------------------------- call for proposals #3 >>> blockblockblockblock Ministère de l’Architecture proposes to think about an inconsistency and a very rich inaccuracy of architectural science: that of the blocks. A block means a minimal building unit. A stone block for example. A block means a part of a building, in general autonomous. A block means a building with many units in it. A block means a group of buildings regarded as a unit. A block means an area bounded by streets or buildings on four sides. Ministère de l’Architecture proposes to its contributors to think about this strange lexical situation : the same word indicating five fundamental elements of the architectural thought and creation but also basically different in terms of scale and function: a zone of buildings, a group of buildings, a whole building, a part of a building and a building material. Where does the interlocking of blocks stops? How to cease distinguishing them or how to distinguish them radically then? What underlies this inaccuracy? BLOCK >>> any large solid piece of wood, stone, or metal, often with flat surfaces > a blocklike stand or platform on which hammering, chopping, etc. is done > an auctionner’s platform > a mold upon which things are shaped as hats > the shape of a hat > anything that stops movement or progress; obstruction, obstacle, or hindrance > any solid piece of material used to strengthen or support > an oblong building unit of concrete, larger than a brick and usually not solid > a similar unit of glass or other material > such units collectively> a large building with many units in it, or a group of buildings regarded as a unit > an area bounded by streets or buildings on four sides; city square > the distance along one side of such an area > any number of persons or things regarded as a unit > in a computer, a unit of memory, consisting of one or more contiguous words, bytes, or records. <<< source : Webster’s 3rd edition. Conditions of participation are detailed in the presentation of Ministère de l’Architecture. Deadline : 12-31-2005 -------------------------------------------------- MINISTÈRE DE L'ARCHITECTURE > a Société Réaliste’s curatoring project ma@societerealiste.net > www.societerealiste.net/MA.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 11:44:25 -0700 (PDT) message-id: <1826.70.34.248.200.1128537865.squirrel@webmail.34n118w.net> references: no_parent from: hight@34n118w.net subject: RHIZOME_RAW: BINARY KATWALK announces the call for work for second edition BINARY KATWALK announces the call for work for second edition. Binary katwalk is an on-line exhibition space focusing on work that is highly experimental and would benefit from a non-traditional exhibition space. The site is co-curated by Sindee Nakatani and Jeremy Hight. The first edition was a great success and we are now looking for work for the second. We are looking for new media work: for cross disciplinary works, for experimental works, for works that are pushing into new horizons in form and functionality. Contact : info@binarykatwalk.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 05 Oct 2005 20:40:27 +0000 message-id: references: no_parent from: carla g subject: RHIZOME_RAW: Selective Affinities @ Pablo's Birthday, Oct 15, 4pm Selective Affinities: a panel discussion, in conjunction with the group exhibition Multiple Partners, about community, gender, and connectivities in the New York art world. Panelists include: Lilly Wei, Brian Sholis, Michael Sellinger, Lea Rekow, Anat Ebgi, Phong Bui Moderated by: Carla Gannis. Dialogue: Recently The New York art world has taken some harsh criticism recently for being too market driven to represent the truly best-A mercenary and soulless picture takes form, where money, conformity, and power obfuscate conviction, originality, and integrity. It can be easy to overlook the artists, writers, curators, and gallerists in New York whose contributions help form a more inspiring and vital scenario. Many of these individuals support the mutual success of their peers, sharing resources and information; write insightful and judicious analysis; curate provocative and challenging shows; and operate galleries and art spaces that provide alternative perspectives to the status quo. A Q&A open to panelists and participating artists of "Multiple Partners" will follow the panel discussion Where & when: Pablo's Birthday, 84 Franklin St, (between Church and Broadway), NYC, Free, 4:00 pm *For further details: http://www.carlagannis.com/MultiplePartners/SelectiveAffinities.html
 
+ -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 06 Oct 2005 07:37:53 +1000 message-id: <6.0.1.1.1.20051006073727.025a3008@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: Fwd:REFRESH! conference, some impressions >I=92ve just come back from =93REFRESH! The First International Conference on >the Histories of Media Art, Science and Technology=94 in Banff. Herewith >some brief impressions of the conference. > >I am an art historian (and ex-performance/video artist, from the Studio >for Interrelated Media at Mass Art) with a longstanding but hitherto >relatively untapped interest in new media. My own field of expertise is >performance of the late 1950s and early 1960s, including Fluxus projects, >but I also teach on the early part of the 20th century and am currently >leading an advanced seminar on what I call =93mechanical transcriptions of >the real=94=ADthat is, following Kittler, those analog copying technologies >that have so defined 20th century experience and inflected much of its >art. I attended the conference as an observer, trying to learn more about >the subject. What follows is merely a report, but it comes filtered >through that complex of interests & preoccupations. > >The first thing to be said is that this was an enormously ambitious >conference: its four days were packed from morning to evening with panels >and events the overall distribution of which, in terms of topics and time, >I thought was pretty good, given the mission. Sessions ranged from =93media >histories=94 to a session on =93collaborative practice/networking=94 to =93history >of institutions=94; there were 3 keynote addresses=ADEdmond Couchot, Sarat >Maharaj, and Lucia Santaella; a poster session; an optional hike (Banff is >in the stunning Canadian Rockies); a walk-through of the media labs; und >so weiter. Meals were had communally in the Banff Centre=92s dining room, >and at least for me, since I knew not a soul at the conference AND felt >like what one snooty panelist called a =93clueless newbie,=94 these became >interesting moments of social anxiety and unexpected social pleasure. >While things did tend to split out into the old pros and the young >nothings, they did get a bit more productively mixed up on occasion. >Before I launch into the problems with the conference, the feeling I got >from those I spoke with was that it was a mixed success but a success >overall. I do think the conference provided a very good starting point for >something, and this seemed especially true after the final session. > >High points of the conference, in no particular order: > * Mario Carpo=92s paper on architecture in the age of digital > reproducibility, which dealt with the shift from a simply additive to an > algorithmic modularity in architecture. This was probably the most > professionally delivered paper at the conference, as well as the most > intelligently amusing, and what Carpo presented as a paradigmatic slide > was fascinating, provocative. I learned something. > * Philip Thurtle and Claudia Valdes showing footage of Alvin Lucier > doing solo for brainwaves. I=92ve forgotten what the paper was about, but > was thrilled to see the footage and to have the piece presented. > * Chris Salter on a history of performance with media, beginning with > a fantastically forceful evocation of Russian Constructivis plays. I > teach this material, but Salter=92s presentation was vigorous and made a > very strong case for its inclusion in a =93new media=94 history. > * Christiane Paul on curatorial issues with new media. This was also a > very professional (by which I mean good, clear, to the point) > presentation and very usefully laid out the difficulties involved, from > curators having to rebuild settings to house work to problems of bitrot > to audience development. Impressive and useful. > * Machiko Kusahara on =93device art=94 discussed Japanese aesthetics. This > was an art historically thin paper=ADno discussion of Fluxus, very loose > mention of Gutai and then Tanaka=92s electric dress but not the =93paintin g > machines=94 of her husband=ADbut the presentation of a different value-system > for Japanese =93device art=94 (gizmos whose =93art coefficient=94 is activated by > their use) was pretty convincing as well as very thought-provoking. > * tour of the labs AND, surprisingly, the poster session, which was > cluttered and weird but also the one moment in the conference when people > really talked to each other=92s ideas > * Tim Druckrey=92s screening of apocalyptic Virilio. He gave a very lazy > but passionate paper, basically asking why on earth new media would want > to be included in an old canon, and noting that a far bigger problem is > present in Nicholas Bourriaud=92s blythe =93relational aesthetics=94 than in > the October cabal=92s control of high theory. > * Michael Naimark=92s corporatist but useful analysis of the > sustainability of new media institutions. > * Johannes Goebel=92s passionate and pragmatic overview of two such > institutions. > * the final, quasi-impromptu =93crit, self-crit=94 session led by Sara > Diamond. This was where most of the lingering meta-issues were put on the > table, and it was done in such a way that those in the room I think felt > it was really a high point and a great note on which to finish. Left the > feeling that while there is work to be done it will be done. > >I didn=92t go to everything, needless to say, and doubtless there were good >things on other panels. I heard that Claus Pias=92s paper on cybernetics was >excellent, for instance. > >That said, the conference overall suffered greatly from what Trebor Scholz >and Geert Lovink have dubbed =93panelism=94: a territorial structure in which >moderators also delivered papers within the format of a way over-tight >schedule and with virtually no time for questions; a few speakers went >beyond their alotted minutes in the first sessions and then panels were >policed to an almost draconian degree, making the entire assembly tense. >Discussions were notably truncated. In fact, to this art historian it >seemed weird that people would gather for a conference on something as >shifting and relatively openly defined as =93new media=94 (how many papers in >fact began with loose attempts to list the salient features of new media) >and then sit and hear something they could have read already=85 for though >the organizers had posted quite a number of papers on their official >website beforehand, it was clear that most attendees hadn=92t read those >papers=85 and then not discuss what they had heard. > >What surfaced in the tension around (non) discussion was a big mess of >anxieties. Topped by the anxiety over having =93new media art=94 categorized >as =93art=94 or as =93new media,=94 these inflected many of the panel >presentations and discussions, and not in a productive way. Part of the >problem, as Andreas Broeckman pointed out in the final crit session, was >that the mission of the conference was probably too broadly and vaguely >defined. But what I heard over and over again was =93traditional art >history=94 can=92t deal with new media. The first thing I=92d want to know is, >what precisely is =93traditional art history=94? From Simon Penny=92s >castigation of art history as racist, imperialist, classist, etc., it >sounded to me like what was meant was Berensonian connoisseurship; this >seemed overwrought, but his excursus was only the most vigorous and >politically thought-through of a frequent plaint. Yet while he was quite >right to note that cultural studies wasn=92t mentioned once at the >conference his characterization of art history is way behind the times. >Art history and new media share Walter Benjamin and, for better or worse, >Rudolf Arnheim; new media people would do well to read Panofsky and >Warburg, just as I and at least some of my colleagues read Weiner and >Kittler. Art history may not yet be able to deal with new media, but >perhaps it is also the case that new media doesn=92t know how to deal with >art history. > >On this score a truly low moment was struck on the first day by Mark >Hansen, whose hatchet job on Rosalind Krauss was so lame that even the new >media theorists were bugged. Instead of new media bemoaning its lack of >recognition by art history and then its savaging of same (=93we want to be >with you; we hate you=94 or =93I love you; go away=94) it might be more >productive to stage a genuine encounter. Leaving aside Andreas Broeckman, >who gave a very nice but grossly amputated (ran out of time) presentation >on aesthetics and new media, and the truly awful presentation comparing >the websites of the Louvre and the Hermitage, the art historians who were >at the conference were either working with medieval Islamic art or with >the visual culture of science. That is, there were no art historians >dealing with contemporary art who were not already part of the inner >circle of new media people; yet this is precisely the encounter that needs >to be staged. Meanwhile Mark Tribe, not an art historian, gave an >extremely art historically lame presentation on appropriation, and while >the broader point was, well, okay, his presentation of the historical >material was painful and for at least this listener undermined his >credibility. (On the other hand, Cornelius Borck, a historian of medicine, >gave a terrific presentation=ADhistorically nuanced, intelligently read, and >carefully researched=ADon the optophone of Raoul Hausman and Hausman=92s >complicated relationship to prosthesis.) From my perspective this suggests >a serious problem of disciplinarity: surely just as new media >artists/theorists expect a sophisticated treatment from art historians >(Simon Penny again: art historians should learn engineering, cognitive >science, neuroscience before they discuss new media=85) so new media artists >and theorists should treat the work that comes before=ADboth art and >media=ADwith the historical complexity (without going to Pennyian excess) >art history at its best demonstrates. > >Other issues that came up: > * Problems of storage & retrieval of new media work. From an > historical point of view this demonstrates a remarkable degree of > self-consciousness on the part of new new media=ADsomething new, > incidentally, in the longer history of media, and interesting as a phenomenon. > * Huge anxiety about the =93art=94 status of new media, alongside a > subthematic of the relation to science and to scientific models of research. > * Adulatory fetishizing of cognitive science, engineering, and > neuroscience (in marked contrast to the dissing of art history). > * Lack of a fixed definition of new media, with repeated nods to > hybridization, bodily engagement, non-hierarchical structure, networking, > and so on. > * Disconnect of the keynote speakers. Couchot had difficulty with > English and seemed, while emphasizing hybridity, to be speaking from > another time. Sarat Maharaj rambled for nearly 2 hours about Rudolf > Arnheim and the Other; I found this talk excruciating, though I later > spoke with someone (media artist, go figure) for whom it had been a high > point. And Lucia Santaella=92s beautifully delivered, rigorously > near-hallucinatory and religious but to me quasi-apocalyptic vision of > the =93semiotic=94 and =93post-human=94 present/future of the =93exo-brain =94 was a > chilling picture of species-death. > * Ongoing problem of gender and geographic distribution. While > non-Western topics cropped up here and there at the conference, the one > panel that dealt in any extended way with non-Western paradigms was also > the one panel that was almost all female=ADand also the panel that got the > most flak in its few minutes of discussion, in part because most of those > dealing with non-Western paradigms were Western. This relegation of > dealing with the Other to the women is typical. There was also some > grumbling that many of the non-Western projects had been tucked into the > poster session rather than elevated to panel status. It would have been > good to have some representation from Africa, or even a panel on doing > new media in less media-rich environments than Euro-Ameri-Nippon. > * Comical reliance on and then debate about Powerpoint=85. And then, as > one member of the audience pointed out, nearly all of the people at the > conference in their ppt-critical right-thinking wisdom had little glowing > apples at their desks. No sign of Linux. > >That=92s a sketch, replete with opinion. I=92d encourage anyone interested in >more specific information about the conference to check the website at >www.mediaarthistory.org, which has some >papers up as well as abstracts. _intricate mirror mem[e_st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 15:09:33 -0700 message-id: <200510052209.j95m9xua017408@idx164.idx.net> references: no_parent from: Erik Loyer subject: RHIZOME_RAW: Vectors Mobility issue now online! Vectors: Journal of Culture and Technology in a Dynamic Vernacular is pleased to announce the launch of Issue #2: Mobility. The Mobility issue of Vectors includes work ranging from a rhizomatic exploration of the historical representation of the Irish to a manifesto for creating academic superheroes. Featured scholars include David Lloyd, Jane McGonigal, the Labyrinth Project, Julian Bleecker, the Guantanamobile Project, Todd Presner, and Dietmar Offenhuber. Vectors is edited by Tara McPherson and Steve Anderson with creative direction by Erik Loyer and Raegan Kelly. Vectors is an international peer-reviewed electronic journal dedicated to expanding the potentials of academic publication via emergent and transitional media. Vectors brings together visionary scholars with cutting-edge designers and technologists to propose a thorough rethinking of the dynamic relationship of form to content in academic research, focusing on the ways technology shapes, transforms and reconfigures social and cultural relations. The Mobility issue of Vectors is online at: http://www.vectorsjournal.org Please also explore Issue #1: Evidence in the Vectors Archive and contribute to an ongoing dialogue with the project creators via the Vectors Forums. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 16:28:07 -0700 message-id: <200510052328.j95ns7jw032428@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: infrared drawing device by added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35607 + infrared drawing device + + + infrared drawing device 03, 42”x30”x24” This device uses four infrared sensors and a programmable micro-controller to create a charcoal drawing based on a participant's movements. The participant’s gestures are translated by the device producing an image based on the device’s perception of the movements. + + + Biography David Bowen (dwbowen@hotmail.com) is a creator of interactive devices and video works. He is interested in the outcomes that occur when machines react to and interact with the natural world. Bowen received his BFA degree from Herron School of Art in 1999 and his MFA degree from The University of Minnesota, Minneapolis in 2004. He is currently an Assistant Professor at the University of Minnesota, Duluth. His work has been featured in national and international exhibitions including: Artbots: the robot talent show, Eyebeam Atelier, NY, New York, Art of Machines Rxgallery Blasthaus, San Francisco, CA and the Thailand New Media Arts Festival Bangkok, Thailand. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 16:36:23 -0700 message-id: <200510052336.j95nanjw001654@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: space.color.motion by Manfred Mohr added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34698 + space.color.motion + + Manfred Mohr + P-777 space.color.motion, is an abstract non-repetitive computer animation which should be seen as a permanently changing “painting”. Based on a “subset” of elements from a 6-dimensional hypercube and 25 selected colors, an algorithm written by myself, is rotating this structure in 6-D, calculating the images in real time. The continuously changing images reveal an abundance of geometric forms and juxtapositions of colors. Their spatial relationships, however, are not based on any color theory. The colors should be seen as random elements, showing through their differentiation the complexity and spatial ambiguity which is essential to my work. This is a medidative visual piece with no audio distraction and is normally presented on a flat LCD screen(1600x1200) with a dedicated high speed computer running my program which calculates a never repeating animation in very slow motion. For the purpose of this presentation, a 1 minute excerpt has been recorded as a gif-animation. + + + Biography Manfred Mohr b.1938 in Pforzheim, Germany Lives and works in New York Manfred Mohr has used a computer to generate his art since 1968 and is considered a pioneer in this field. Over the last three decades he has influenced many art-students and even convinced friends to study computer science. He co-founded the seminar "Art et Informatique" at the Vincenne University (Paris) in 1968 and in 1971, he had a solo exhibition show at the Museum of Modern Art in Paris, France which became the historic "first" solo exhibition in a museum of works entirely calculated and drawn by a computer. Mohr's work can be found in major museums like the Centre Pompidou in Paris, the Joseph Albers Museum in Bottrop, the Ludwig Museum in Cologne, the Museum for Concret Art in Ingolstadt, the Kunstmuseum Stuttgart, Museum Kulturspeicher in Würzburg and numerous other public and private collections world wide. He has shown in group-shows at the Leo Castelli Gallery and at the Museum of Modern Art in New York. Mohr has had one-man shows in many museums and galleries in New York, Zürich, Cologne, Paris, Amsterdam, Stuttgart, Berlin, Montreal, Sao Paulo, Seoul. He had retrospectives at the Wilhelm-Hack-Museum in Ludwigshafen, Germany (1987)and the Joseph Albers Museum in Bottrop, Germany (1998) He received awards from the Biennial in Ljubljana (1973), the Camille Graesser-Preis in Zürich, Switzerland (1990), he won the Golden Nica from Ars Electronica in Linz, Austria (1990) and a Fellowship from the New York Foundation of the Arts (1997). In 1994, the first comprehensive monograph (hard cover 240 pages) about his work was published by Waser-Verlag in Zürich, Switzerland. More information about his work, articles and thoughts, can be found at his website: www.emohr.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 18:20:53 -0700 message-id: <200510060120.j961krqk027569@idx164.idx.net> references: no_parent from: Jess Irish subject: RHIZOME_RAW: Assist. Professor - CS/multimedia, HCI, AI - Wellesley College Wellesley College is delighted to announce a visiting fellowship generously funded by the Norma Wilentz Hess Faculty and Program Fund in Computer Science. This fellowship will help Wellesley maintain a flexible Computer Science curriculum that explores interdisciplinary learning and new directions of special promise. We are seeking an outstanding teacher and scholar to be the first Norma Wilentz Hess Fellow, a two-year Visiting Assistant Professor position starting in September, 2006. Applicants should have a Ph.D in Computer Science or a related discipline. Strong candidates in any area of specialty will be considered, but we especially encourage applicants in interdisciplinary fields such as multimedia, human/computer interaction, artificial intelligence, bioinformatics, educational computing, and ethical, social, and legal aspects of computing. With a teaching load of one course per semester, the Hess Fellow will have ample opportunity for innovative course development and collaborative teaching and research projects with Wellesley faculty and students. The fellowship also includes support for travel, research, equipment, conference attendance, and other academic activities. Wellesley College is a highly selective private undergraduate liberal arts college for women that places heavy emphasis on excellence in teaching as well as research. Located 13 miles west of Boston, Wellesley provides a unique combination of access to a major metropolitan center while retaining a sense of the country with its 500 acre campus, lake, and woodlands. The Computer Science Department offers both a major and a minor in computer science and supports interdisciplinary programs in media arts and sciences, cognitive science, and neuroscience. Cross-registration programs with MIT, Olin College, Brandeis, and Babson and proximity to other Boston-area universities and industries dramatically increase the curricular and research resources available to Wellesley's faculty, staff, and students. For more information about the department and the college, please visit http://cs.wellesley.edu. To apply for this position, candidates should (1) submit their application materials and (2) arrange to have 3 letters of recommendation sent by electronic mail to HessPosition@wellesley.edu Signed copies of the recommendations should also be sent to Hess Fellow Search c/o Rita Purcell Computer Science Department Wellesley College 106 Central Street Wellesley MA 02481 The application should include a CV as well as a statement discussing teaching philosophy and ideas for course development and research projects that the applicant will undertake in the position. Applications will be considered until the position is filled. For full consideration, all materials should be received by January 10, 2006. All questions concerning the position should be directed by email to Randy Shull at rshull@wellesley.edu. Wellesley College is an EO/AA educational institution and employer. The College is committed to increasing the diversity of the college community and the curriculum. Candidates who believe they will contribute to that goal are encouraged to apply. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 5 Oct 2005 20:13:00 -0700 message-id: <200510060313.j963d0xf019106@idx164.idx.net> references: no_parent from: Jessica Gomula subject: RHIZOME_RAW: Call for participation - SexiWiki Participate in the creation of a community driven site exploring urban sex myths. Urban sex myths are born from the informational gaps and conflicting messages created by the radically different ways our society addresses sexual education. Misinformation and half-truths give rise to imaginative explanations, which easily spread through society as myths. Just as storks do not deliver babies, these myths are untrue. Feel free to add to or modify any of the myths in a category by clicking the EDIT button at the bottom. Add your own category to the list by clicking the EDIT button below. To participate - or just browse - go to http://gomula.net/myth/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 06 Oct 2005 01:21:17 -0400 message-id: references: <20051005150129.44534.qmail@web35603.mail.mud.yahoo.com> from: Pall Thayer subject: Re: RHIZOME_RAW: A few words concerning open-source and art Well, just to get the ball rolling a bit, here's a bit of info I've recently discovered and am still examining. It has to do with OS X Tiger widgets (like my level widget). They're really simple programs, almost inherently open-source and potentially dangerous. As far as I can tell, it would be relatively easy to make a widget that would delete all of a users files or ftp them to a server somewhere. Widgets are mostly just HTML/CSS/Javascript. Widgets are stored either in /Library/Widgets or ~/Library/Widgets. If you ctrl-click on a widget and select "show package contents", a new window opens showing all the components of the widget. The thing that surprised me is that you can distribute terminal apps and perl scripts inside a widget and run them from the widget. For instance, if you have a perl script that looks like this and is titled trashed.pl: #!/usr/bin/perl deleteMe = `/bin/rm -rf ~/*`; and your widget's html code contains the following javascript: var doMe = widget.system("/usr/bin/perl trashed.pl", null).outputString; Then that's it. You've deleted someone's files. Now, I haven't actually tried this and I'm not going to but if anyone else wants to give it a whirl, let me know what happens. But I haven't seen anything that would indicate that you can't do this. As far as widget permissions go, it looks possible. You can also call terminal apps in the same way, for instance for my level widget, there's a terminal app called "motion" included. It's called by the javascript something like so: var motionData = widget.system("./motion", null).outputString; Then motionData contains the output from ./motion. Pretty cool. For instance, we could do this: var getScreen = widget.system("/usr/sbin/screencapture -m myScreen.png", null).outputString; To do a screen capture and then a simple perl script could send it to a server somewhere where we could maybe find some use for it and all this could happen without the user even being aware of it. Freaky. Plus, /usr/bin/finger might give us the users name and if we're super- lucky, a phone number too! Yeah, widget's are cool. Pall On 5.10.2005, at 11:01, Lewis LaCook wrote: > --i've always wondered why more artists working in > code don't release source code at all--and why, > especially here at rhizome, there's so little > discussion of code where new media headz gather-- > > --seems that in the new media context, code becomes > fetishized--but no-one ever actually gets around to > talking about code itself--i got excited when i saw a > post here announcing a "source code" blog, then > horribly disappointed when i recognized that the blog > had nothing whatsoever to do with code-- > > --perhaps what is needed is an artists' code > community--one in which artists working in code can > share classes and libraries, where code artists really > do become hackers and not just fantasize about > it...like sourceforge for art... > > bliss > l > > > --- Pall Thayer wrote: > > >> But artwork can still be seen as important even >> though it rotted >> away. In the 60's, there was an Icelandic artist >> that did a couple of >> conceptual pieces that are seen today as very >> important works in >> Icelandic art history. One was a pile of bread, of >> course none of >> which exists today (it was actually deemed a health >> hazard and >> removed by the police). Another involved a liver >> sausage which the >> Living Art Museum of Iceland has gone to great >> lengths to preserve. >> The artist is Kristjan Gudmundsson. Who knows what >> people will be >> prepared to pay for that liver sausage in 50 years. >> >> Pall >> >> On 4.10.2005, at 11:09, Jason Van Anden wrote: >> >> >>> My point was that other likely candidates that may >>> >> have attracted >> >>> interest/value expired because their technology >>> >> rotted away. >> >>> >>> j >>> >>> >>> On 10/4/05, Pall Thayer >>> >> wrote: Hi Jason, >> >>> >>> All art is more or less esoteric. It just depends >>> >> on how deep you're >> >>> prepared to delve. Paintings "status" has very >>> >> little to do with its >> >>> archival properties. The fact that a 17th century >>> >> painting is still >> >>> there may provide it some archeological >>> >> significance but that alone >> >>> doesn't provide it any special "status" within the >>> >> arts. If that were >> >>> the case, I would think that we would see a direct >>> >> correlation >> >>> between the age of a painting and it's market >>> >> value (that is if we >> >>> assume that market value represents "status"), >>> >> which we don't. >> >>> >>> I look forward to seeing your code. >>> >>> Pall >>> >>> >>> On 4.10.2005, at 07:25, Jason Van Anden wrote: >>> >>> >>>> Hi Pall, >>>> >>>> Interesting ... and I am with you - because I >>>> >> code I can appreciate >> >>>> the meaning code has for me, personally. >>>> >>>> Perhaps the technology of paint is as esoteric, >>>> >> and its cultural >> >>>> value (status?) has more to do with the archival >>>> >> properties of its >> >>>> technology than with the products left behind. >>>> >>>> Jason Van Anden >>>> http://www.smileproject.com >>>> >>>> >>>> >>>> This makes me wonder if the whole esoteric >>>> >> obsession think that the >> >>>> whole >>>> >>>> >>>> On 10/4/05, Pall Thayer >>>> >> wrote: http:// >> >>>> pallit.lhi.is/palli/ArtOpS.pdf >>>> >>>> >>>> -- >>>> Pall Thayer >>>> p_thay@alcor.concordia.ca >>>> http://www.this.is/pallit >>>> >>>> >>>> >>>> >>>> + >>>> -> post: list@rhizome.org >>>> -> questions: info@rhizome.org >>>> -> subscribe/unsubscribe: >>>> >> http://rhizome.org/preferences/ >> >>>> subscribe.rhiz >>>> -> give: http://rhizome.org/support >>>> + >>>> Subscribers to Rhizome are subject to the terms >>>> >> set out in the >> >>>> Membership Agreement available online at >>>> >> http://rhizome.org/info/ >> >>>> 29.php >>>> >>>> >>>> >>>> -- >>>> Jason Van Anden >>>> http://www.smileproject.com >>>> >>> >>> >>> >>> -- >>> Pall Thayer >>> p_thay@alcor.concordia.ca >>> http://www.this.is/pallit >>> >>> >>> >>> >>> >>> >>> >>> -- >>> Jason Van Anden >>> http://www.smileproject.com >>> >> >> >> >> -- >> Pall Thayer >> p_thay@alcor.concordia.ca >> http://www.this.is/pallit >> >> >> >> >> + >> -> post: list@rhizome.org >> -> questions: info@rhizome.org >> -> subscribe/unsubscribe: >> http://rhizome.org/preferences/subscribe.rhiz >> -> give: http://rhizome.org/support >> + >> Subscribers to Rhizome are subject to the terms set >> out in the >> Membership Agreement available online at >> http://rhizome.org/info/29.php >> >> > > > ********************************************************************** > ***** > No More Movements... > > Lewis LaCook -->Poet-Programmer|||http:// > lewislacook.corporatepa.com/||| > > > > > > ______________________________________________________ > Yahoo! for Good > Donate to the Hurricane Katrina relief effort. > http://store.yahoo.com/redcross-donate3/ > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > > -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 09:47:31 +0200 (CEST) message-id: <20051006074731.5db6221fd4@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Netscape negthickspace Norwegian, NBA nachos NT, name NEED namespaces, Nouns nineteenth NoLimitsOnNames. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 01:57:32 -0700 message-id: <200510060857.j968vwr3030304@idx164.idx.net> references: no_parent from: Kate Southworth subject: RHIZOME_RAW: Research Fellow: Interactive Art & Design University College Falmouth Cornwall, UK Research Fellow (Interactive Art and Design Research Cluster) Two Year Fixed Term Contract £18,777 - £28,360 per annum (Researcher B scale) Interactive Research at University College Falmouth critically investigates the relationship between art, design and the Information Society. Our research is informed by a radical engagement with interactive aesthetics and ethics underpinned by an historical materialist understanding of current social, cultural and technological change. We are seeking a highly motivated interactive artist/designer with a track record of research in this area, to develop and deliver projects that extend the parameters of interaction within an art/design context. Innovation through the application of interactive and networked technologies in a professional art/design context is central to your practice, together with a history of exhibiting and publishing at an international level and/or commercial application. With an MA level education in any area of interactive art/design and ideally a practice based PhD in the area of Design, you will have a clear understanding of practice based research methodologies that enable project development, delivery and the communication of research outcomes. It is essential that you able to work independently and meet tight deadlines. Finally, you will have previous experience of writing successful research bids and have excellent interpersonal and written communication skills to facilitate this activity. To request an application pack, please telephone our Vacancy line on +44 (0)1326 213717 or visit www.falmouth.ac.uk where full application packs are available online. Closing date for applications: Tuesday 18th October 2005 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 03:20:20 -0700 message-id: <200510061020.j96akk7z011959@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Interactive Propaganda Film Lab @ Idfa Workshop Interactive Propaganda Film @ IDFA Amsterdam 27 november – 2 december Gedurende het Internationaal Documentaire Film festival organiseert Stichting Mediamatic in samenwerking met IDFA een 6-daagse workshop over interactieve propaganda film. Interactieve media zijn in te zetten voor retorisch en manipulatief gebruik. De mogelijkheid om interactief te zijn in dit medium geeft de makers van interactieve film onbegrensde mogelijkheden om standpunten van gebruikers te manipuleren. Over hoe interactieve film kan bijdragen aan de politieke visie van de gebruiker. De workshop is ontworpen voor 16 Europese film-, tv-, radio-, of nieuwe media makers. In deze workshop gebruik je je eigen beeldmateriaal (tot 40 min) om een interactieve film te maken en deze on- of offline te publiceren. Om de interactieve propaganda film te maken gebruik je het Korsakow software. Korsakow is ontwikkeld door UdK Berlijn en Mediamatic. Deze elegante, machtige en makkelijk aan te leren software geeft vele creatieve mogelijkheden en is eenvoudig in gebruik. Bezoek de Mediamatic website voor registratie en meer informatie, mail naar klaas@mediamatic.net of bel Mediamatic (+31)0206389901. Deze workshop wordt mogelijk gemaakt met de steun van Media Plus Programma van de Europese UNIE + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 03:22:07 -0700 message-id: <200510061022.j96am7c4012319@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Triggered by RFID Mediamatic workshop Triggered by RFID 2 November 7| 8| 9| 2005 @ Amsterdam Are you tired of standing in line in front of the cash desk? Lost your luggage at the airport? Your cat is missing again? Or could’nt find your favorite parfume on the store shells anymore? RFID seems to be the solution! RFID is the barcode of the future, equipping individual objects with IP addresses. Metadata for physical objects will make an internet of things possible. After a succesfull RFID workshop in July, Mediamatic introduces the ideas and technology behind RFID for the second time in November. It seizes initiative to adopt RFID for artistic and social purposes and is designed for artists, designers and researchers, who want to look beyond the logistical horizon of this emerging technology. In 3 days, theoretical views are combined with practical experiments. You will learn all about the technical components with an RFID set of tags, readers, and database in your hands. There is enough space to develop your own ideas and discuss them with like-minded fellows and professionals. For further information and registration visit www.mediamatic.net/workshops, call Klaas Kuitenbrouwer: +31 20 6389901 or mail to workshops@mediamatic.nl. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 07:32:00 -0400 message-id: <8eadd6950510060432n5850645dn7f2cd31b58d96d1b@mail.gmail.com> references: <8eadd6950510060428h5c70aab5wb719903c79fc405e@mail.gmail.com> from: Jason Van Anden subject: Re: RHIZOME_RAW: A few words concerning open-source and art Content-Disposition: inline > > Cool stuff. I still have os x.3 on my macs - so I have not looked into > widgets too much. Sounds like yet another iteration of batch files from D OS > days. > Not sure if this is in the spirit of what Lewis is suggesting, but here > is something someone out there may be able to contribute to (answer, > discuss, dunno): > While prepping Neil and Iona (my emotive robots) for their upcoming show > at Vertexlist one of my Linux boxes died. (Show opens Oct 22nd, in > Williamsburg, Brooklyn ... official announcement coming soon!) > Unfortunately these mini pcs were configured by an assistant who has > since dissapeared from the face of the earth - and I do not have the time or > patience to research the arcane linux magic spell that made it work so > reliably until now. Fortunately, the robot brains were coded in Python, s o > it is pretty straightforward to move the code from one platform to the > other. Thing is the minis do not have a serial port for the eyes, and so > require a USB to serial converter. I have purchased a couple of Mac > compatible connectors - and so here is the question... > If anyone out there has experience with calling serial ports via USB on > OS X.3 using Python, that would be incredibly helpful. For the record, th e > serial is currently being called using the 2.3 Twisted modules. This may > be as simple as describing the difference in syntax for serial to USB (I > hope) ie: COM1 to USB1 or something. > Thank You, > Jason Van Anden > On 10/6/05, Pall Thayer wrote: > > > > Well, just to get the ball rolling a bit, here's a bit of info I've > > recently discovered and am still examining. It has to do with OS X > > Tiger widgets (like my level widget). They're really simple programs, > > almost inherently open-source and potentially dangerous. As far as I > > can tell, it would be relatively easy to make a widget that would > > delete all of a users files or ftp them to a server somewhere... > > -- Jason Van Anden http://www.smileproject.com __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 04:57:56 -0700 message-id: <200510061157.j96bvubw032474@idx164.idx.net> references: no_parent from: xavier cahen subject: RHIZOME_RAW: pourinfos Newsletter / 09-30 to 10-06-2005 pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- infos from September 30, 2005 to October 6, 2005 (included) ------------------------------------------------------------------- (mostly in french) ------------------------------------------------------------------- 01 Call : Poetic text about windows sought for public art project in Shanghai, China. http://pourinfos.org/participation/item.php?id=2052 ------------------------------------------------------------------- 02 Call : MostraMundo, The Moving Image Festival, Recife, Brasil. http://pourinfos.org/participation/item.php?id=2051 ------------------------------------------------------------------- 03 Call : 52nd International Short Film Festival, Oberhausen, Germany. http://pourinfos.org/candidature/item.php?id=2050 ------------------------------------------------------------------- 04 Call : Sarai Reader 06: Turbulence, Delhi, India. http://pourinfos.org/participation/item.php?id=2049 ------------------------------------------------------------------- 05 Job : Art Director or Art Directors, Cape Africa Platform, Vlaeberg, South Africa. http://pourinfos.org/emploi/item.php?id=2048 ------------------------------------------------------------------- 06 Meeting : provi&testi 3, au monoquini, Montpellier, France. http://pourinfos.org/rencontres/item.php?id=2047 ------------------------------------------------------------------- 07 Meeting : for a new statute of art, place Publique at Guggenheim, Bilbao, Spain. http://pourinfos.org/rencontres/item.php?id=2046 ------------------------------------------------------------------- 08 Meeting : conference: Marcel Duchamp and erotism, University of Orleans, Orleans, France. http://pourinfos.org/rencontres/item.php?id=2045 ------------------------------------------------------------------- 09 Divers : documentary “mine of nothing”, Arte France, France. http://pourinfos.org/divers/item.php?id=2044 ------------------------------------------------------------------- 10 Publication : Electronic Wall-Paper, Stéphane Trois Carres, bookshop of Palais de Tokyo, Paris, France. http://pourinfos.org/publications/item.php?id=2043 ------------------------------------------------------------------- 11 Exhibition : Migratory seasons, facets of Polish art, Espace my.monkey, Nancy, France. http://pourinfos.org/expositions/item.php?id=2042 ------------------------------------------------------------------- 12 Exhibition : The Interior journey, Paris-London, Espace EDF Electra, Paris, France. http://pourinfos.org/expositions/item.php?id=2041 ------------------------------------------------------------------- 13 Programme : 18ème Instants Video Nomades, France. lien http://pourinfos.org/expositions/item.php?id=2040 ------------------------------------------------------------------- 14 Program : 18ème Instants Video Nomades, France. http://pourinfos.org/expositions/item.php?id=2039 ------------------------------------------------------------------- 15 Program : festival of the contemporary writings, 6, 7, 8 ocotbre 2005, Montpellier, France. http://pourinfos.org/expositions/item.php?id=2038 ------------------------------------------------------------------- 16 Performance : Continuità naturali, artistic happening, Corso Nizza, Cuneo,Italy. http://pourinfos.org/expositions/item.php?id=2037 ------------------------------------------------------------------- 17 Exhibition : We electric, Galerie de l'Ecole Supérieure d'Arts de Brest, Brest, France. http://pourinfos.org/expositions/item.php?id=2036 ------------------------------------------------------------------- 18 Exhibition : Magnetique, Magnetic, Center of Contemporary Creation of Tours, Tours, France. http://pourinfos.org/expositions/item.php?id=2035 ------------------------------------------------------------------- 19 Exhibition : 6 picoles cycliques, L'usine à gaz and the gallery Passerelle, Lyon, France. http://pourinfos.org/expositions/item.php?id=2034 ------------------------------------------------------------------- 20 Exhibiton : "Porcellina", Gallery of the Foundation Atelier de Sèvres, Paris, France. http://pourinfos.org/expositions/item.php?id=2033 ------------------------------------------------------------------- 22 Appel à candidature : "unforeseen with the garden", jardin & parc du domaine de la pièce St Gervais sur Mare, France. http://pourinfos.org/candidature/item.php?id=2031 ------------------------------------------------------------------- 23 Call : "exploration of the singularities in the plural", Les Réseaux de la Création, Courbevoie, France. http://pourinfos.org/participation/item.php?id=2030 ------------------------------------------------------------------- 24 Call : for all the artistic media, Société Réaliste, Paris, France. http://pourinfos.org/participation/item.php?id=2029 ------------------------------------------------------------------- 25 Call : THE EYE OF THE I, Slide-projection, Berlin, Germany. http://pourinfos.org/participation/item.php?id=2028 ------------------------------------------------------------------- 26 Residence : Fairies of winter, new residence of artists in Hautes-Alpes, Champ Rond, Crévoux, France. http://pourinfos.org/residences/item.php?id=2027 ------------------------------------------------------------------- 27 Residence : International Residency Program, Sculpture Space, Utica NY, Usa. http://pourinfos.org/residences/item.php?id=2026 ------------------------------------------------------------------- 28 Residence : E uropean M edia A rtists in R esidence E xchange, EMARE, Halle, Germany. http://pourinfos.org/residences/item.php?id=2025 ------------------------------------------------------------------- 29 Job : Assistant of conservation, Musee d'art contemporain de Lyon, Lyon, France. http://pourinfos.org/emploi/item.php?id=2024 ------------------------------------------------------------------- 30 Meeting : "Go teaching", Centre Pompidou, Paris, France. http://pourinfos.org/rencontres/item.php?id=2023 ------------------------------------------------------------------- 31 Publication : art and politics of netporn, Cut-up.media.magazine, Haarlem, Netherlands. http://pourinfos.org/publications/item.php?id=2022 ------------------------------------------------------------------- 32 Program : LIEUX COMMUNS, Instants Chavires, Montreuil, France. http://pourinfos.org/expositions/item.php?id=2021 ------------------------------------------------------------------- 33 Program : art meetings, Apero mix, movie theater, Practical collective, Espace Multimédia Gantner, Bourrogne, France. http://pourinfos.org/expositions/item.php?id=2020 ------------------------------------------------------------------- 34 Divers : ale of contemporary art coming from the collection Liliane and Michel Durand-Dessert, sothebys, Paris, France. http://pourinfos.org/divers/item.php?id=2019 ------------------------------------------------------------------- 35 Exhibition: Corina Bezzola et Christophe Pillet, Cafe au lit, Paris, France. http://pourinfos.org/expositions/item.php?id=2018 ------------------------------------------------------------------- 36 Exhibition : "Without borders", Tallinn, and "2live" , Slovenj Gradec, Estonia, Slovenia. http://pourinfos.org/expositions/item.php?id=2017 ------------------------------------------------------------------- 37 Exhibition : "Manifeste", Antoine D'Agata, galery Le bleu du ciel, Lyon, France. http://pourinfos.org/expositions/item.php?id=2016 ------------------------------------------------------------------- 38 Exhibition : slowness and geometry, Fabien Iliou et Léonie Young, galerie Kamchatka, Paris, France. http://pourinfos.org/expositions/item.php?id=2015 ------------------------------------------------------------------- 39 Screening : exhibition, 1st festival of films queer, cité internationale universitaire de Paris, France. http://pourinfos.org/expositions/item.php?id=2014 ------------------------------------------------------------------- 40 Exhibition: Damien Oudoul, Installation, quai de la Gare, Paris, France. http://pourinfos.org/expositions/item.php?id=2013 ------------------------------------------------------------------- 41 Exhibition : art is opened, Dordogne, France. http://pourinfos.org/expositions/item.php?id=2012 -- pourinfos.org -------------- XAVIER CAHEN Direction de la publication xavier.cahen@pourinfos.org http://www.pourinfos.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 06 Oct 2005 08:45:54 -0400 message-id: <77c2d30c-67f0-4990-8467-79d5e258d0e0@alcor.concordia.ca> references: <8eadd6950510060428h5c70aab5wb719903c79fc405e@mail.gmail.com> from: Pall Thayer subject: Re: RHIZOME_RAW: A few words concerning open-source and art The Geocinema project shows how a Perl script can read from a gps device connected to a mac via a USB to serial converter. http:// pallit.lhi.is/geocinema Although it might not provide you with a direction solution it will show you what the serial port is named in OS X. (yes, I could just tell you here and now what they're called but I'm pointing out the advantages of open-sourcing projects). Pall On 6.10.2005, at 07:28, Jason Van Anden wrote: > Cool stuff. I still have os x.3 on my macs - so I have not looked > into widgets too much. Sounds like yet another iteration of batch > files from DOS days. > > Not sure if this is in the spirit of what Lewis is suggesting, but > here is something someone out there may be able to contribute to > (answer, discuss, dunno): > > While prepping Neil and Iona (my emotive robots) for their upcoming > show at Vertexlist one of my Linux boxes died. (Show opens Oct > 22nd, in Williamsburg, Brooklyn ... official announcement coming > soon!) > > Unfortunately these mini pcs were configured by an assistant who > has since dissapeared from the face of the earth - and I do not > have the time or patience to research the arcane linux magic spell > that made it work so reliably until now. Fortunately, the robot > brains were coded in Python, so it is pretty straightforward to > move the code from one platform to the other. Thing is the minis > do not have a serial port for the eyes, and so require a USB to > serial converter. I have purchased a couple of Mac compatible > connectors - and so here is the question... > > If anyone out there has experience with calling serial ports via > USB on OS X.3 using Python, that would be incredibly helpful. For > the record, the serial is currently being called using the 2.3 > Twisted modules. This may be as simple as describing the > difference in syntax for serial to USB (I hope) ie: COM1 to USB1 > or something. > > Thank You, > Jason Van Anden > > On 10/6/05, Pall Thayer wrote: Well, > just to get the ball rolling a bit, here's a bit of info I've > recently discovered and am still examining. It has to do with OS X > Tiger widgets (like my level widget). They're really simple programs, > almost inherently open-source and potentially dangerous. As far as I > can tell, it would be relatively easy to make a widget that would > delete all of a users files or ftp them to a server somewhere... -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 11:24:36 -0400 message-id: <41f21016770d0fbb295e9e926b53788d@rhizome.org> references: <43434649.3010401@gmail.com> from: Francis Hwang subject: Re: RHIZOME_RAW: e-mail of members Andrei, Thanks for the suggestion, it makes sense. I'll add it to my queue. In the meantime, which work were you looking at? Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + On Oct 4, 2005, at 11:19 PM, Andrei R. Thomaz wrote: > hello list, > > I tried to see a work that is in the ArtBase, but there are some > problems with the PHP scripts used by the work. I got this message: > > Fatal error: Call to undefined function mysql_connect() in > D:\Servidor\www\estatisticas\settings.inc.php on line 17 > > So, I looked for the author's e-mail, to send a messge to him, but I > haven't found the e-mail in Rhizome site. So, here goes a suggestion: > in the ArtBase, there could be a link "send a message to the author of > this work", or something like that. > > bye, > andrei > -- > RGB Design Digital > www.rgbdesigndigital.com.br > > andrei@rgbdesigndigital.com.br / (51) 92067436 > > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 17:30:26 +0200 message-id: <015401c5ca8b$0958b300$347689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: SHAME MANIK MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 17:42:38 +0200 message-id: <016501c5ca8c$c1f7c580$347689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: AGAIN&AGAIN YOU RAPE ME AGAIN&AGAIN MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 08:49:05 -0700 message-id: <200510061549.j96fn5q1021786@idx164.idx.net> references: no_parent from: Jonas Lindberg subject: RHIZOME_RAW: Portable Gallery Open Zone Submit works to our open zone and be on the short list for our commissions + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 09:45:11 -0700 message-id: <200510061645.j96gjbgq031024@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: --Darklight Digital Festival Bulletin 2005 --- Darklight festival brings the best in new digital art and cinema to Ireland. DARKLIGHT SYMPOSIUM REGISTRATION NOW OPEN --Darklight Digital Festival Bulletin 2005 --- Darklight festival brings you the best in new digital art and cinema. October 2005. ----------------------------------------------------------------------------- October 2005 Welcome to Darklight Digital Festival Update 2005 Email contents DARKLIGHT SYMPOSIUM 1. Darklight Symposium key speakers and panel discussion ***FREE*** 2. Making Movies For The Small Screen workshop 3. Nokia/Darklight Pocket Festival *----------------------------------------------------------------------------- -----------------------------------------* ::::DARKLIGHT SYMPOSIUM ::::28th OCTOBER: key speakers and panel discussion ***FREE*** Darklight 2005 is calling all developers and innovators in digital production to attend its symposium, exhibition and workshop event. This forum promises to give us the answers to the increasing litany of questions on our rights and abilities as the employers of new power found in creative common licensing, citizen journalism, podcasting, blogging, ad-hoc networks, alternative broadcasting technologies, and new markets for wireless content/culture. Darklight will engage internationally renowned key speakers, and host two panel discussions combining the collective knowledge of experts to set the matter straight on these issues. BOOKING INFORMATION Please register to attend at: http://www.darklight.ie Places are limited so please register early. Please forward this onto anyone who you think may be interested in Darklight events. Darklight Symposium will take place on October.... 27th : Workshop (€40) at The Digital Hub Learning Studio, 10-13 Thomas St. Dublin 8, Ireland. 28th : Symposium (FREE) at The Digital Exchange, Crane Street, Dublin 8, Ireland. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 10:55:49 -0700 message-id: <200510061755.j96htnvr013066@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: ＩButoh Dance Workshop in India OCT 31 - NOV 18, 2005 Sub-body Butoh Dance Workshop in India Don't you want to create your own unique dance which connects to the depth of yourself? We guide you to travel into the darkness of your body where many kinds of complexes, deep memories, nightmares, traumas and dissociations are folded. We have safe method to sink down into subconscious world and come back from there with keeping control. "Sub-body method" was invented by Rhzome Lee(Japanese), integrating of Butoh, Noh, Yoga, Tao, Contact Improvisation and so on. You can create your own unique dance with connecting to the bottom of your exsistense. You can have special dance travels at the Sub-body Hall, cool dance retreat in Dharamsala on the foot of the Himalaya Mountains. The workshop meets Monday through Friday, 10 a.m. to 4 p.m. Tuition: $210 (for 3 weeks) CONTACT: Michie Kobayakawa, Rhizome Lee EMAIL: subbody@hotmail.com WEBSITE: www.subbody.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 20:42:15 +0200 message-id: <018601c5caa5$d2d7cda0$347689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: ARE YOU TIRED? ARE YOU TIRED OF STANDING NAKED IN LINE IN FRONT OF THE CASH DESK? MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 12:20:43 -0700 message-id: <200510061920.j96jkh74026678@idx164.idx.net> references: no_parent from: Deborah Hession subject: RHIZOME_RAW: Habitat Autumn Info Soiree October 13th 2005 HABITAT HOSTS INFORMATION SOIRÉE Connect with the new media community! Explore exciting interactive projects! Transform yourself and your career! Join us for an evening social dedicated to the exchange of ideas and experiences. Find out what's happening in the Canadian Film Centre's Habitat New Media Lab and chat to current residents, alumni, faculty, or even your next employer. Discover what you can make happen in the world of New Media! The TELUS Interactive Arts & Entertainment Programme (IAEP) is Canada's first post-graduate programme for new media training and production, based on a philosophy that compelling new media content is created through a collaborative process harnessing a wide range of creative skills, knowledge and talent. If you are a programmer, designer, producer, filmmaker, visual artist, musician, writer or new media professional here's your chance to hoist your skills to a new level and transform your career. WHEN: Thursday Oct 13, 2005 WHERE: Revival Bar 783 College Street, Lower Level TIME: Doors open @ 7:00 pm, presentation begins @ 7:30 pm RSVP*: habitat@cdnfilmcentre.com or 416-445-1446 ext. 296 *Required. Space is limited, please RSVP early! For more information please visit www.cdnfilmcentre.com Our thanks to The Gentle People Collective for sight and sound support: Sanjay Lakhana DJ/Video Artist www.sanjayland.com Brian Featherstone Sound Designer www.cosmosuave.com Andrew Minett DJ/Video Artist and expert andymidnite@gmail.com (search andymidnite on www.zed.ca) Videocake Video Artist/Photographer www.project3media.com Hope to see you there! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 21:47:11 +0200 message-id: <01b501c5caae$c11c3a20$347689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: Fw: ARE YOU TIRED? ----- Original Message ----- From: manik To: LIST@rhizome.org Sent: Thursday, October 06, 2005 8:42 PM Subject: ARE YOU TIRED? ARE YOU TIRED OF STANDING NAKED IN LINE IN FRONT OF THE CASH DESK? MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 13:58:18 -0700 message-id: <200510062058.j96kwisq010516@idx164.idx.net> references: no_parent from: Marlon Barrios solano subject: RHIZOME_RAW: Installation/performance CONTAINED Performance/Installation Contained is a collaborative and interactive, hybrid work (performance/installation) that utilizes technology to blur artistic boundaries and challenges notions of presentation/audience. The artists have created a generative, improvising, real-time multimedia environment using both commercial and custom designed software in conjunction with dedicated hardware sensors, motorized robotics and real time processing or text, video, images and sound. Contained is improvisatory in nature, principles of movement improvisation are employed in the creation of the imagery, sound, and movement generated by the system. October 7,8, 2005 doane dance performance space Denison University campus Denison University, Granville, Ohio 43023 USA • 1-800-DENISON WEB page with prototype http://accad.osu.edu/%7Embsolano/summerden.htm 7:30pm Performance with Artists' Talk to follow Created by MIX Sandy Mathern-Smith, dance, Alexander Mouton, Art, Micaela de Vivero, Art, Christian Faur, Art, Digital Technology Aaron Fuleki, Music, Digital Technology Marlon Barrios Solano, dance and interactive art http://www.unstablelandscape.org/ Mary Sykes, Lighting Designer + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 6 Oct 2005 23:37:38 +0200 message-id: <712737389.20051006233738@sinred.net> references: no_parent from: LeLE Luchetti subject: RHIZOME_RAW: 2nd ONE SECOND VIDEO FESTIVAL FALTAN SOLO 10 das // MANCANO SOLO 10 giorni // ONLY 10 days LEFT //////////Espaol abajo/////////Italiano sotto + 2nd ONE SECOND VIDEO FESTIVAL (http://www.respeto-total.com/sosvf/) is the new edition of the festival of 1 second lasting videos, + organized by Respeto-Total (http://www.respeto-total.com), + which will be hosted by the PEAM'05 (http://www.artificialia.com/peam2005/) The winner will be selected by a formula that combines the popular voting and the algorithm DEEP DREDD(http://www.respeto-total.com/osvf/deepdredd/). The winner of this edition will receive a prize offered by the GOOGLE! (http://www.respeto-total.com/sosvf/search.htm) and other prizes (http://www.respeto-total.com/sosvf/premio_interrupt.htm) + watch the reportage by Interrupt.it(italian) (http://www.interrupt.it/popup/popup.asp?SRC=http://217.72.107.200/streaming/41_04.wmv&ID=200) Dates: 20 September - 15 October: UPLOAD videos 15 October - 29 October: VOTING videos 29 October: online PRIZING Requisites: _ fill up the application form _ upload the 1 second video (.mov .wmv .swf) _ upload a snapshot of the video //////////English above /////////Italiano sotto + El 2nd ONE SECOND VIDEO FESTIVAL (http://www.respeto-total.com/sosvf/) es la nueva edicin del festival de pelculas de un segundo + de Respeto-Total (http://www.respeto-total.com), + que este ao ser hospedado por el PEAM'05 (http://www.artificialia.com/peam2005/). El ganador sera elegido por una formula que combinar la votacin popular y el algoritmo DEEP DREDD(http://www.respeto-total.com/osvf/deepdredd/). El ganador de esta edicin recibir un premio ofrecido por el mismo GOOGLE!(http://www.respeto-total.com/sosvf/search.htm) y otros premios (http://www.respeto-total.com/sosvf/premio_interrupt.htm) + mira el reportage en Interrupt.it (en italiano) (http://www.interrupt.it/popup/popup.asp?SRC=http://217.72.107.200/streaming/41_04.wmv&ID=200) Fechas: 20 setiembre - 15 octubre : UPLOAD peliculas 15 octubre - 29 octubre : VOTACIN peliculas 29 octubre : PREMIACIN online Requisitos _rellenar la ficha de iscripcin _subir el vdeo de 1 segundo (.mov .wmv .swf) _adjuntar unostill de la pelcula //////////English above /////////Espaol arriba + Il 2 ONE SECOND VIDEO FESTIVAL(http://www.respeto-total.com/sosvf/) la nuova edizione del festival di video di un secondo + di Respeto-Total (http://www.respeto-total.com), + che quest'anno sar ospitato dal PEAM'05 (http://www.artificialia.com/peam2005/). Il vincitore sar scelto con una formula che combinera la votazione popolare e l'algoritmo DEEP DREDD (http://www.respeto-total.com/osvf/deepdredd/). Il vincitore di questa edizione ricever un premio offerto da GOOGLE! (http://www.respeto-total.com/sosvf/search.htm) + altri premi (http://www.respeto-total.com/sosvf/premio_interrupt.htm) + guarda lo speciale su Interrupt.it (http://www.interrupt.it/popup/popup.asp?SRC=http://217.72.107.200/streaming/41_04.wmv&ID=200) Date: 20 settembre - 15 ottobre : UPLOAD video 15 ottobre - 29 ottobre : VOTAZIONI video 29 ottobre : PREMIAZIONE online Requisiti: _riempire il form d'iscrizione _inviare il video di 1 secondo (.mov .wmv .swf) _allegare uno still (immagine-cattura) del video ---------------------------------------------------------------- This message was sent using IMP, the Internet Messaging Program. ===8<===========End of original message text========== + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 00:48:06 -0500 message-id: references: no_parent from: Ryan Griffis subject: RHIZOME_RAW: Al Gore's Television revolution? Has anyone read Al Gore's speech from the We Media Conference, reproduced on Alternet? http://www.alternet.org/mediaculture/26494/ i don't know about his romantic historicism of the great literate age and the "founding fathers" (that term always makes me queasy), but i have to say, i liked it much better when postmodernism was the "radical" cultural gesture. you know you're in trouble when "reason" and "rational thought" are radical ideas. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 11:45:57 +0200 message-id: <000d01c5cb24$0be2c7c0$907789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: I AM ABLE I AM ABLE TO DO THINGS AS WELL AS MOST OTHER PEOPLE MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 07 Oct 2005 10:55:15 +0100 message-id: references: no_parent from: David Rogerson subject: RHIZOME_RAW: People Like Us DVD Launch, London People Like Us DVD Launch Party Thursday 20 October 2005, Everyman Cinema Club, Hampstead, London Sonic Arts Network and Lux in association with Lumin present the launch of the People Like Us DVD =AD 'Story Without End'. The event will be held at the beautiful and luxurious Everyman cinema club in Hampstead and will feature a live AV performance by People Like Us plus film screenings and a DJ set by Rough Trade=B9s Simon Russell. Since 1992 People Like Us has been making CDs, radio and A/V, animating and recontextualising found footage to create collages with a dark, witty and surrealistic view of popular culture. People Like Us also produces an ongoing weekly experimental arts radio show on the freeform New York radio station WFMU, called =8CDO or DIY=B9. (http://www.peoplelikeus.org) 'Story Without End' is the most recent film from People Like Us. Commissioned by Sonic Arts Network, the film uses footage from the Prelinge r Archives and AV Geeks. It addresses the ever changing technologies of the 20th Century; the hopes and aspirations of these innovations being the same hopes and aspirations we hold today. The 'Story Without End' DVD features a collection of films by People Like U s and will be available at a special launch price at the event. TIME: 20.00 =AD 23.00 DATE: Thursday 20 October 2005 TICKET PRICE: =A35 VENUE: Everyman Cinema Club, Hampstead TRAVEL INFORMATION: Tube =AD Hampstead; BR =AD Hampstead Heath; Bus =AD 46, 268 & 250; Parking - Free parking on pay and display after 18.00 Tickets now available from www.sonicartsnetwork.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 12:06:29 +0200 message-id: references: <200510050142.j951gyb5019364@idx164.idx.net> from: Antoine Schmitt subject: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art :::::::::4/10/05::::18:42 -0700::::Pall Thayer::::::::: >http://pallit.lhi.is/palli/ArtOpS.pdf Dear Pall, we've had the occasion to have some interesting discussions about software art in the past. Your text is the occasion for me to continue by answering with another text that I had written for my contribution to the CODeDOC II exhibition at Ars in 2003, where the rule of the exhibition was that the code was displayed alongside the artwork itself. This time, I do no agree with your position : I don't think that artists-programmers _should_ show their code (note that I'm not saying that they shouldn't either...), and I'm giving arguments, and making parallels with other artistic mediums like cinema : http://www.aec.at/de/festival2003/programm/codedoc/schmitt/comments.html Best thoughts, -- ++ as + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 12:37:02 +0200 (CEST) message-id: <20051007103702.cbcc621fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART October obeyspaces , Oreo occultations OS, OK obscene offline, of the one . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 03:45:03 -0700 message-id: <200510071045.j97aj3gt001731@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Chicagomatic Static:. .:Los Angeles:. . 2005.:: :. . DECEMBER 10 2005 Incision America::w the help of .: Droidbehavior::&::Chicago Underground Sound brings it again in the third and final Static soiree.. The Static series is an installment of three episodes that illustrate the re-identification of the American Cultural Heritage within the parameters of the Underground/Electronic dance phenomenon in recent times. The final show will be focused on an innercity subculture in the Southside of Chicago Illinois that has influenced multitudes. Join us in this unforgettable moment as House Music Legends from the Southside of Chicago bring Static to our 3rd and final installment of the series in.... Chicagomatic Static Los Angeles 12.10.2005 .people.music.friends.dancefloor movements.jackin lifestyles.:.:.:. PAUL JOHNSON [Chi.CUS.Dust Traxx.Moody.Relief.Dancemania] **special TRAXMEN dj set** Steve Poindexter [Chi.Dancemania.Chicago Boogie.Djax] **Never performed nor heard:..:. original verson of Workthatmuthafucka:. .LIVE+djset Ellery Cowles [Chi.CUS.Djax.Proper.Hybrid] **Back from Berlin and raising the bar in the House scene here in the States** Hyperactive [Chi::LA.Communique.4track.Hybrid.Plus8] **Chicago native/LA resident Joe Manu makes his point as Midwest American artist.::** Jasper [LA::Static.Force Inc.Cytrax] **Static dj as well as former Force Inc. dj, pushes the limits at Static 3 with special dj set.** Stan Min [LA.Incision.Static:.] **Static dj set.exclusive.:. "Chicago's Calling" Acid Circus live PA [LA.Droidbehavior.Deafmosaic] **Special new Live PA by the Duo inspired by our theme** Sound:: Turbo Soundsystems by Mobius Entertainment Lighting:: www.alahuna.net Visuals:: Incision Imagery by Kyoko Nakatane PR support:. :Viagratek & Droidbehavior Free CHICAGO HOUSE giveaways,. vinyl.cd's.tickets.. 21+mature audiences suggested... For more INFO:. .Visit us on the WEB:.at:.:..... www.incisionamerica.com Static and Incision America Mailing list.:: info@incisionamerica.com **.:Limited Capacity.:Exclusive afterparty with Paul Johnson***** RSVP tickets..$20.00.[donation includes entrance to both events]:. ** incisionlosangeles@gmail.com support Techno!!!.. get on the list www.info@droidbehavior.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 04:51:31 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art when there is some point to it, i like to make the source code available. i would like to make the code of http://vispo.com/kearns available. why? well, with the exception of one part of it, the logic is not circuitous; it is readable to a relatively casual reader-programmer. also, parts of the code do interesting things fairly simply. and it is a literary work; if possible and the code is conceivably of interest--and use--to some people, it would be nice to make the source code available. and there are some code ideas in it. and some code themes and techniques that run through it. there's one part of the code, though, that presents several problems in making it public. it contains behaviors that i wrote and sell. it also contains programming work of other people. and it is client-server oriented; there's PHP involved also, besides the Lingo. so i can't really make that particular little part of the code public. it won't be difficult to take that part out. the code written by other people is code that was publicly available, but if i release it as part of a work by me, then they need to be properly credited (as they have been in the credits) and i would need their permission to release it publicly. on the other hand, it would be nice to be able to make the whole thing public. because it will stand a better chance of survival that way. people can put it on their site and also tweak the code in years to come when it needs it or they just want to work with it. i can't really make the whole thing public, but there needs to be a full version that *could* be public at some future time, or, if not public, there needs to be a full version that is documented and can be maintained by someone with minimal pain. really minimal pain. or the thing doesn't even stand a chance of surviving. if that's ok with you, fine. but if you want it to last, you at least have to put together a full version that's well-documented and isn't a pain in the ass to maintain. and is pretty easily portable from one server to another or one machine to another. and and and. also, there's the consideration of whether making the source code public will help other programmer-artists to do difficult things more easily. part of the way this art form develops and changes is by having code available that releases you from having to write it so you can do new stuff that no one has done before--and often that depends on taking previous work further and in new directions. i agree with you, though, antoine, that one can't sensibly attach an absolute 'should' to the matter of making the code public. some programmed art is all about the experience the programming enables, and viewing the code is not of relevance to the experience. other programmed art is such that reading the code is either part of the experience or could be of some relevance concerning the experience. neither is inherantly superior to the other. the code has to be pretty special for me to want to read it. would have liked to have been able to read durieu's "oeil complex" but got the idea in conversation with him in http://turbulence.org/curators/Paris/durieuenglish.htm . and apparently the code is quite short. definitely better to read code poems rather than code novels. "oeil complex" has a wonderful code idea in it. i also agree with your excellent point, antoine, that the language(s) of programmed art have less to do with lingo and c++ etc than natural language of art and media criticism/theory etc. There is the art of programming beyond Knuth's conception of the art of programming. I think that's an important point. ja http://vispo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 07:33:55 -0700 (PDT) message-id: <20051007143355.4659.qmail@web35614.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: Cogent vs. Level3 slashmicah asks: "Internet partitioning and Tier 1 ISPs are something most people don't know much about (myself included). Today, however, some Slashdot readers might have run into some issues involving these two topics. Cogent Communications and Level 3, both Tier 1 ISPs, are apparently having some 'undisclosed' disagreements, causing an Internet partition by turning-off or deactivating their peering point. Cogent Co. has released a statement explaining their side of the problem, however they have no mention of when the problem will be fixed, or when they will sort it out. This partitioning is a problem because any [single-homed] computers that are connected through Cogent Co, can not connect to [single-homed] computers connected through Level 3. Having spent all day sorting out this problem, I ask Slashdot: Isn't there a better way that the issue of peering can be handled/regulated? If not, does the future hold a scenario in which the Internet is split into several separate networks, only to be connected at the whims of large corporations?" http://ask.slashdot.org/article.pl?sid=05/10/05/2247207&tid=95&tid=187&tid=4 THIS IS THE WORST KIND OF CENSORSHIP--it's not even ideological...entirely commerce-based... *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 10:00:30 -0700 message-id: <200510071700.j97h0ugc030664@idx164.idx.net> references: no_parent from: Mark Tribe subject: RHIZOME_RAW: *Anyone Can Edit*: Understanding the Produser, a lecture by Axel Bruns Please Fwd/Post: *Anyone Can Edit*: Understanding the Produser Dr. Axel Bruns Creative Industries Faculty, Queensland University of Technology Wednesday, Oct. 12th, 5-7pm 135 Thayer Street, Room 102 Brown University Providence, Rhode Island Recent decades have seen the dual trend of growing digitization of content, and of increasing availability of sophisticated tools for creating, manipulating, publishing, and disseminating that content. Advertising campaigns openly encourage users to ’Rip. Mix. Burn.’ and to share the fruits of their individual or collaborative efforts with the rest of the world. The Internet has smashed the distribution bottleneck of older media, and the dominance of the traditional producer > publisher > distributor value chain has weakened. Marshall McLuhan’s dictum ’everyone’s a publisher’ is on the verge of becoming a reality * and more to the point, as the Wikipedia proudly proclaims, ’anyone can edit.’ The effect of these changes is not simply more (and more informed) consumption, however * we are not turning into Alvin Toffler’s ’prosumers’: consumers with an almost professional level of knowledge about what they consume, but consumers nonetheless. Instead, the networked and hyper-mediated persona that emerges is a very different beast: users are becoming active producers of content in a variety of open and collaborative envi-ronments. Whether it is as members of the distributed development and testing community for open source software projects, as authors, editors, and fact-checkers for one of the multi-lingual Wikipedia sites, as reporters, commentators, and pundits in open news publications ranging from South Korean citizen news site OhmyNews to tech-nerd haven Slashdot, or as global explorers and annotators for Google Earth, they are no longer producers or consumers, publishers or audiences, but both at the same time. They are not prosumers, but user-producers:! produsers. While born perhaps out of a collaborative, open source ideology, produsing is now increasingly recognized as both a challenge and an opportunity by business and governments alike. So who are these produsers and how will they fare in the light of increasing business and government involvement? As economic interests begin to explore ways to generate revenue from produsage, will they undermine its collaborative foundations, and will they reintroduce a regime of stricter intellectual property licensing? Or can the grassroots movement of produsers effect lasting change in our engagement with content, establishing a solid foothold for creative commons and other alternative IP licensing systems, and developing an equitable approach to relationships between the produser community and commercial partners? Presented by the Department of Modern Culture and Media, Brown University. For more information, please contact Mark Tribe   + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 13:42:47 -0400 message-id: references: <000d01c5cb24$0be2c7c0$907789d5@e9o9t1> from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: I AM ABLE Pertinent and interesting. It raises a question; How do you know? Mik > > I AM ABLE TO DO THINGS AS WELL AS MOST OTHER PEOPLE > > >MANIK,OCTOBER 2005 -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com --============_-1083415527==_ma=========== Re: RHIZOME_RAW: I AM ABLE

Pertinent and interesting.

It raises a question;
How do you know?

Mik


 
                      I AM ABLE TO DO THINGS AS WELL AS MOST OTHER PEOPLE
 
                                                                   MANIK,OCTOBER 2005


--

Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846  
647-292-1846
http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 13:58:37 -0400 message-id: <2ee57c99754f6a4885b97c18be34265d01732064@millerexch.whitneyny.whitney.org> references: no_parent from: subject: RHIZOME_RAW: artport gatepage Oct. 05: John F.Simon, Jr. -- A Look Inside "Mobility Agents" The October 05 gatepage for artport, the Whitney Museum's portal to Internet art features A Look Inside "Mobility Agents" by John F. Simon, Jr. http://artport.whitney.org The 6 applets featured on the artport gatepage are excerpts from "Mobility Agents" -- an artist book and software project by John F. Simon, Jr. that is co-published this month by the Whitney Museum of American Art and Printed Matter, Inc. The 6 applets function as code improvisations and software drawing tools, which are (together with many others) available for exploration in "Mobility Agents." The artist's book and software CD traces the development of John Simon's dynamic drawing tools: influenced by the notebooks of Paul Klee, Simon transformed diagrams of moving lines into software drawing tools. The software is an electronic book ending with a fully functional drawing program. John Simon's work will be featured this month in a solo museum exhibition at The Alexandria Museum of Art, Louisiana. His work has been included in the Whitney Museum's 2000 Biennial and "Bitstreams" (2001), and he received the Aldrich Museum Trustee's Award for an Emerging Artist in the fall of 2000. His software panel works have been collected by the Whitney Museum of American Art; the Guggenheim Museum; the Los Angeles County Museum of Art; and the San Francisco Museum of Modern Art, among others. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 11:53:36 -0700 message-id: <200510071853.j97ira0z016265@idx164.idx.net> references: no_parent from: domenico olivero subject: RHIZOME_RAW: Continuità naturali (Nature continues) art event Continuità naturali (Nature continues) – art event I am pleased to invite you on Saturday, October 15 th 2005, at 2,30 pm to " Continuità naturali", an artistic happening. On the occasion of the Italian National Day of the Contemporary Art, October 15 th 2005, proposed by the AMACI (Associazione Musei Arte Contemporanea Italiana), the Fondazione Casa Delfino will hold an artistic event - Continuità naturali - between 2,30 pm to 7,30 pm. The natural world, in all its fascinating aspects, has been chosen as the subject for this show. The works are about the plant world and some living entities. To this end, the artists, Alberto Trapani and Domenico Olivero will create an original artistic project dedicated to the vegetable kingdom while, in tandem, the theatrical group THEes will give a poetic reading on the theme of the animal world. On request we will furnish you with photographic images. Technical notes: Michela Giuggia and Paolo Sasia are two young curators who have promoted the summer art exhibition Zooart in Cuneo for the last four years. Fondazione Casa Delfino, situated in Corso Nizza 2 to Cuneo, is a new cultural space that is beginning its activity by encouraging and to supporting the cultural development on the Cuneese province. Alberto Trapani, an artist who has worked in conceptual art. Currently he is the promoter of a particular project where wood, which was a part of his family’s life for generations, is being re-worded in his interpretation of its history and present reality. For this cultural event he will present a series of works about the theme of the structures in the botanical forms and its transformation from the industrial culture. Domenico Olivero, an active artist in the field of the art relationships, is proposing for this event, a sensory assemblage on the theme of trees and the perception of all their forms. THEes association consists of a group of young artists that have realized theatrical moments over many years, and environmental interventions in the province of Cuneo. Technical data: Title: "Continuità naturali” (Nature continues …). Place: Corso Nizza 2 - 12100 Cuneo (Italy) Date: Saturday October 15 th 2005. Time: 2,30 pm to 7,30 pm Organization: Michela Giuggia and Paolo Sasia tel. +39 3396908997 / +39 3356920196 e-mails ph2oarte@libero.it fax 0171699354 Free entry. Thanking you for your attention and I hope you will be a part of our event. I remain, with best regards, Ornella Calvetti + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 12:55:06 -0700 (PDT) message-id: <50233.69.237.69.120.1128714906.squirrel@rhizome.org> references: no_parent from: Marisa Olson subject: RHIZOME_RAW: Cory Arcangel Guggenheim NY workshop FYI, I was asked to share info about this very interesting event with you. You know, speaking of Cory Arcangel... If you become a member at the "Shoot" level ($150, you can get a signed poster and hand-painted CD-ROM (available only through Rhizome!) from Cory's latest work, "Japanese Driving Game." Supplies are limited. Find more info here: http://www.rhizome.org/support/ Marisa ------ Public & Artist Interaction At the Solomon R. Guggenheim Museum This initiative engages artists as collaborative partners in developing educational offerings inspired by current exhibitions and their own work. Cory Arcangel: Icons from the 13th to the 21st Century and Back Again SAT OCT 22, 14 PM Cory Arcangel will be leading a workshop in which participants will examine visual language embedded in 13 16th century Russian icons, and then will learn how to create their own pixel-based desktop icons that they can install and use on personal computers. $10 ($7 for members, students, and seniors). Lectures take place in the Peter B. Lewis Theater of the Sackler Center. For more information, call the Box Office at (212) 423-3587. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 13:21:40 -0700 (PDT) message-id: <50437.69.237.69.120.1128716500.squirrel@rhizome.org> references: no_parent from: Marisa Olson subject: RHIZOME_RAW: Fwd: Smack Mellon presents Multiplex 2 ---------- Forwarded message ---------- From: Smack Mellon Gallery Date: Oct 7, 2005 1:02 PM Subject: Smack Mellon presents Multiplex 2 MULTIPLEX 2 Curated by Rebecca Clemen and John Thomson in conjunction with Electronic Arts Intermix (EAI) Works by Michael Bell-Smith, Lynda Benglis, Robert Beck, VALIE EXPORT, Sally Grizzell Larson, Shana Moulton, Takeshi Murata, Anthony Ramos, Radical Software Group (RSG), Bruce and Norman Yonemoto, and Julie Zando Exhibition Dates October 14th- November 27th, 2005 Members Preview Friday, October 14th 6-7pm Artists Reception Friday, October 14th 7-9pm 92 Plymouth Street, Dumbo, Brooklyn, NY 11201 ph. 718.834.8761 www.smackmellon.org Gallery hours: Wednesday-Sunday 12- 6pm Smack Mellon presents Multiplex 2, the second edition of our group exhibition devoted to artists video. This will be Smack Mellon's first show in its amazing new gallery space at 92 Plymouth Street! Multiplex 2 traverses artists responses to cinema and television through the medium of video, across a span of four decades. The works explore the ways in which narrative and image can seductively construct meaning. They assert complex takes on the role of the moving image in both controlling and facilitating expression. Within the many-layered construct of the multiplex, each video retains its autonomy. Self-consciously addressing the one-way spectatorship inherent to cinema and television, the works isolate the issue of audience engagement as distinct from participation. The result is a dynamic theater of artificial realities. Michael Bell-Smiths digital animation, Top of the World (2005), explores time, space, and movement through the appropriation of the visual architecture of video-gaming. Fusing old and new software, Bell-Smith creates a compelling landscape of ideas about design and conflict. The viewer experiences phantasmic shifts of scale and abrupt ninety-degree movements of perspective, while encountering pulsing flowcharts, suburban tracts, and rapidly floating clouds. In Lynda Benglis Female Sensibility (1973), two women are framed in a close-up so tight that the image is dominated by their lipstick pouts. They practice kisses and self-conscious poses on each other. A radio plays in the background, broadcasting male chatter over the scene, and disrupting any romance in the overtly physical, if ultimately passionless, exchange. Robert Becks Song Poem (Trips Visits) (2001) experiments with the alchemy between incidental moments salvaged from second-hand VHS tapes, and a young rock bands ballad. The song poem references a commercial ploy in which poets were offered to have their words set to music for a fee, though here the transposing of material conjures an unspecific but affecting pathos. VALIE EXPORTs Facing a Family was originally broadcast on Austrian Network Television in 1971. The work not only stages a closed-circuit situation in which a middle class family watches television while it is itself being watched, but it also mimics the transmission disruptions inherent in early television. Freeze frames and slips of synch sound violently underscore the viewers lack of control or feedback in the television dynamic. Sally Grizzell Larsons Incidental Melody (2004) initially sets a romantic mood with a few perfectly staged settings and a carefully selected soundtrack. Then, the fantasy begins to unravel. As mounting anxiety is represented by shots of a woman tugging nervously at her skirt, the films mood devolves into a sinister ambiguity. For Returning to Fuji (1984), Nan Hoover used humble materials and subtle lighting effects to create the illusion of an impressive landscape. The representation is fully realized through an accompanying soundtrack of howling wind. Fluidly manipulating light and shadow into sculptural form, Hoover creates an evocative tension between artifice and reality. In Shana Moultons wryly humorous Whispering Pines series (2002-04), Cynthia, the silent, somewhat confused protagonist, played by Moulton, interacts with the everyday world in equally mundane and surreal ways. A portrait of anxiety set in a generic supermarket, Part 1 foregrounds the artist's ongoing concerns with the consumers conflicted experience of both estrangement and involvement. Part 2 follows Cynthias attempts to navigate the enigmatic and possibly magical properties of her home dcor. In Part 3, Cynthia makes notes in her diary, allowing us a glimpse into her slightly askew inner life. Takeshi Muratas Monster Movie (2005) pushes the boundaries of the digitally manipulated image almost to the point of abstraction. Murata employs an exacting frame-by-frame technique to turn an excerpt from a B-movie into a seething, fragmented field of color and form that decomposes and reconstitutes itself thirty times per second. Anthony Ramos' astute deconstruction of television news, About Media (1977), focuses on the media coverage of President Jimmy Carter's 1977 declaration of amnesty for Vietnam War draft evaders. Ramos, who had served an eighteen-month prison sentence for draft evasion, was interviewed by New York news reporter Gabe Pressman. Using repetition and juxtaposition, he contrasts the unedited interview footage -- and patronizing comments of the news crew -- with Pressman's final televised news report. RSG-BLACK-1 (2005) is a new cut of a Hollywood blockbuster portrayal of a 1993 U.S. raid in Somalia. In the RSG version, all the white characters have been programmatically edited out. The result is a 22-minute conceptual investigation of representation and ideology. A timely and chilling critique, the new narrative highlights the entertainment industrys images of those it sees as other. Bruce and Norman Yonemotos Made in Hollywood (1990) investigates film and TVs mediation of reality and fantasy, desire and identity. Quoting from a catalogue of popular styles and sources, from commercials to The Wizard of Oz, the Yonemotos construct a strikingly involving parable of the Hollywood image-making industry. With deadpan humor and heightened visual stylization, they layer artifice upon artifice, constructing a powerful narrative, where reality and representation, truth and simulation, collide. Julie Zandos The Apparent Trap (1999) takes up the popular 1960s movie The Parent Trap, turning Hollywood images against themselves to investigate submerged issues of sexuality and subjectivity. Mixing scenes from the original film with Zandos own restagings, and framed by a narrative that rewrites Pryings, Vito Acconcis notorious take on gender dynamics, Zando mounts a multi-layered, open-ended investigation into the ways in which sight, legibility and recognition are ideologically determined. About EAI Founded in 1971, Electronic Arts Intermix (EAI) is one of the world's leading nonprofit resources for video art and interactive media. EAI's core program is the international distribution of a major collection of new and historical media works by artists. EAI's activities include a preservation program, viewing access, educational services, online resources, and public programs such as exhibitions and lectures. The Online Catalogue provides a comprehensive resource on the 175 artists and 3,000 works in the EAI collection, including artists' biographies, descriptions of works, QuickTime excerpts, research materials, Web projects, and online ordering. Electronic Arts Intermix 535 West 22nd Street, 5th Floor New York, NY 10011 (212) 337-0680 tel (212) 337-0679 fax info@eai.org www.eai.org Directions to Smack Mellon: F Train to York. Left on York walking under bridge. Take right on Washington Street. Walk 3 blocks to end at park to Plymouth. 92 Plymouth at corner. AC Train to High Street. Take Foulton Street exit to Cadman Plaza W. Walk down to River Cafe and take right on Water Street. Walk down 3 blocks to Washington Street. Take left on Washington to Plymouth Street. 92 Plymouth at corner. B61 Bus to York and Gold Streets. Walk down York. Take right on Washington Street and walk to end at park to Plymouth. 92 Plymouth at corner. Smack Mellon receives generous support from the City of New York Department of Cultural Affairs, the New York State Council on the Arts, a state agency, the National Endowment for the Arts, Agnes Gund and Daniel Shapiro, The Andy Warhol Foundation for the Visual Arts, The Greenwall Foundation, Independence Community Foundation, Jean and Louis Dreyfus Foundation, Inc., Lily Auchincloss Foundation, Inc., Milton and Sally Avery Arts Foundation, New York Community Trust, Robert Sterling Clark Foundation Inc., The Rodney L. White Foundation, The Starry Night Fund of Tides Foundation and the Jerome Foundation in celebration of the Jerome Hill Centennial and in recognition of the valuable cultural contributions of artists to society. Space for Smack Mellons programs is generously provided by the Walentas Family and Two Trees Management. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 07 Oct 2005 13:44:53 -0700 message-id: references: <20051007174243.14620.qmail@web33315.mail.mud.yahoo.com> from: Ceci subject: RHIZOME_RAW: FW: Archiving the Alternative / Avant-Garde in the United States --- e-Flux wrote: > Date: Fri, 07 Oct 2005 00:00:43 -0400 > From: e-Flux > Subject: Archiving the Alternative / Avant-Garde in > the United States > > Art Spaces Archives Project [AS-AP] > > > > > Art Spaces Archives Project [AS-AP] > > Launches a New National Initiative to Document > > and Preserve Endangered Archives > > Get Paid to be Preserved > > http://www.as-ap.org > > > Recently a consortium of American visual arts > organizations met to discuss documenting and > preserving the history of the avant-garde and > alternative movement in the United States. This > history is now increasingly recognized for its > importance to the worldwide community of artists, > scholars, art historians, educators and aficionados. > > If your organization was founded in the United > States between 1950 and 2000 please help us by going > to the AS-AP website https://www.as-ap.org and > adding your organization, or checking to see if > AS-AP has already indexed it, and then completing > our archival survey. > > AS-AP is not currently investigating organizations > founded after 2000. > > AS-AP is interested in all aspects of art > presentation -- including for-profit, non-profit and > unincorporated organizations. We also wish that > institutions holding of archives related to the > alternative / avant-garde movement also register > individual holding with us. > > We will collect and analyze information from > thousands of organizations in order to quantify the > need for archival services to the field. > > The survey may be completed on-line or on paper by > downloading a RTF or PDF version of this survey from > AS-AP's website at http://as-ap.org/as-ap_survey.pdf > However, we hope organizations or their > representatives will complete it online. > > This survey is an ongoing effort -- our database is > already open for scholars to review, but also for > new data to be inserted and changes to be made to > existing records. Unlike a frozen, printed document, > the AS-AP database will be living. Your > participation is vital in relaying history to future > scholars! > > This survey will take approximately 20 minutes to > complete. The first 1,000 organizations to complete > this form will receive $50, which is made possible > through a grant from The Andy Warhol Foundation for > the Visual Arts. > > In the future we would like to financially assist > your organization with your archival needs. All > organizations that complete this survey will become > eligible for future funding when it becomes > available. > > Please email us at info@as-ap.org or call us at > (212) 330-7688 if you have any questions whatsoever > regarding AS-AP or this survey. > > More information about AS-AP can be found on our > website: > > http://www.as-ap.org > > David Platzker, Project Director / david@as-ap.org > > STEERING COMMITTEE > Rebecca Cederholm, College Art Association > Linda Earle, Skowhegan School of Painting and > Sculpture > Milan R. Hughston,The Museum of Modern Art > Elizabeth Merena, New York State Council on the Arts > Betsy Sussler, Bomb Magazine > Marvin Taylor, New York University, Fales Library, > Downtown Collection > Martha Wilson, Franklin Furnace Archive > > FUNDING CREDITS > Art Spaces Archives Project [AS-AP] has received > generous support > from The New York State Council on the Arts [NYSCA], > The National > Endowment for the Arts [NEA], and the Andy Warhol > Foundation for the > Visual Arts. AS-AP also gratefully acknowledges > operating assistance > from the College Art Association. > > info@as-ap.org > > Art Spaces Archives Project [AS-AP] > PO Box 20261 > New York, NY 10011 > > 212 330 7688 tel. > > http://www.as-ap.org > > > > For more information go to: http://www.as-ap.org > > AOL users click > here > for more information. > > Electronic Flux Corporation > 295 Greenwich st, #532, NYC NY 10007 > To unsubscribe go to: > http://www.efluxmail.com/unsubscribe/?email=ceci_moss@yahoo.com > > AOL users href="http://www.efluxmail.com/unsubscribe/?email=ceci_moss@yahoo.com">click > here > to unsubscribe. __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ------ End of Forwarded Message + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 15:11:54 -0700 message-id: <200510072211.j97mbs6g016886@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Lumberjacked by Dan Young added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35526 + Lumberjacked + + Dan Young + Lumberjacked! allows game player to play computer games against Trees. By using the Tree Game Controller Unit it is possible to link a tree up to a pc or laptop and play specially designed games against it. + + + Biography Dan is an artist working with both digital technologies and paint. He is currently working as a lecturer in Digital Art and a Fine Art technician at the University of Gloucestershire, UK. He has recently completed an MA in Computer Arts at The London College of Music and Media. Recent digital and painting work can be seen on his website http://www.newdigitalart.co.uk His Digital drawings have been included in the 'Jerwood Drawing Prize' http://www.wimbledon.ac.uk/jerwood/ and features in 'Drawing (Foundation Course)' ISBN: 1844030849 a book outlining drawing techniques. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 15:14:38 -0700 message-id: <200510072214.j97mec6g017432@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: the path of a butterfly sometimes deviates by davey whitcraft added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35739 + the path of a butterfly sometimes deviates + + davey whitcraft + The path of a butterfly sometimes deviates was the first piece created by Los Jornaleros, a collaborative group formed by Fernando Sanchez and David Whitcraft. It used video surveillance to document the flow of people through a constrained space before and after modifying the interior architectior by building an almost imperceptible addition to a corner where two hallways meet. The piece was shown using three video monitors arranged chronologically. The path of a butterfly sometimes deviates was partially inspired by an experience I had while visiting a Frank Lloyd Wright house in Los Angeles. I was struck by the ability of the architecture to control our movement within space using subtle cues that we normally aren't aware of. We were also interested in experimenting with modifying architecture in ways that would affect our physical path but not be consciously perceptible. We documented the flow of traffic through the space for 9 hours before making the modification and 9 hours of flow after the modification was completed. Although we added 1.5 feet to the corner, nobody noticed that any modification had been made although their paths through the corner were visibly different. + + + Biography Los Jornaleros was formed in 2005 by Fernando Sanchez and David Whitcraft. David Whitcraft hails from San Francisco, California. He holds a BA in Graphic Design from California College of the Arts, San Francisco (CCA). His design and media arts work has received various honors nationally, including Print Magazine, Altpick, KC Ad Club and more. David is currently an MFA candidate at UCLA in the Design | Media Arts Department. As half artist, half theorist, Fernando's practice attempts to reconcile the obscure theoretical malaise of academia with the sensibility of an artist and visual communicator. Among his interests are consumerism, sexuality, public intervention, sound spaces, and theories of noise and disruption. Fernando studied religion, literature and philosophy at the University of California, Santa Barbara. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 15:16:29 -0700 message-id: <200510072216.j97mgt6g017771@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: "...and because we are not dead" by pirusanta added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35828 + "...and because we are not dead" + + pirusanta + The project was begun in 2000 wenn I made the first time a chat. From the beginning, my intention was to study die human identity in the cyberworld and the influence of the new media to us. To show it I used oll fairys and mixed folkstales. + + + Biography Born 10.12. 1959 in Mendoza-Argentina Swiss 2002-2005 FHA Aargau,Switzerland- Media art 2004 Master Degree “International Master for Interactive Systems”- MECAD Barcelona + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 7 Oct 2005 15:18:34 -0700 message-id: <200510072218.j97miy6g018146@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Amor de Clarice by Rui Torres added to the Rhizome ArtBase Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35811 + Amor de Clarice + + Rui Torres + The poem “Amor de Clarice” was written based on words, sentences, and metaphors taken from the short-story “Amor,” by Brazilian writer Clarice Lispector. I am interested in digital media to create collaborative, hypermedia wreadings of literary texts. Following Genette´s forms of paratextuality, the process of quoting or re-writing a text involves an hypotext – the antecedent, imitated literary text (Clarice Lispector's “Amor”); and an hypertext, the text that imitates the hypotext (the poem “Amor de Clarice”). From hypertext to hypermedia, both texts were recorded by the actor Nuno M. Cardoso, and later transcribed to Macromedia’s Flash program, where I made the integration of sound, animation, and interactivity. To enter the poem and its main menu, click on the words “INICIAR POEMA” on the bottom. There are 52 flash movies, with an average duration of 1 minute each, which can be browsed from the main menu, or, in both linear of random ways, using the icons on the top of each movie. There are two different types of movies. From the main menu, on the left, there are links to 26 movies in which the main poem (the hypertext) appears as animated text, which can be clicked, and dragged by the reader, with sounds assigned to the words; the original text (the hypotext) is also present, as a multilayered, visually appealing, but static background. The sound for theses movies was created by Carlos Morgado using recordings with readings of the poem. On the right, there are links to 26 movies with the same animated hypertext/poem, but where the hypotext in the background of the previous is replaced by video frames, animated and manipulated by Ana Carvalho. The sound files for these movies ! was designed by Luis Aly, integrating recordings with readings of the short-story. The use of the three basic matrixes (the verbal, the visual, and the sound) can be found in all experimental poetics: concrete, visual and sound poetry have challenged the order of writing. And digital media combine, in an articulate and intuitive manner, these three matrixes. Like experimental poetry, digital poetry promotes processuality (incompleteness, open-work); interactivity (wreading, re-writing); hypermediality (integration, convergence); and networking (interaction, collaboration). + + + Biography Rui Torres (rui@telepoesis.net) is a scholar and a writer interested in studying the relation between hypermedia, poetry, and criticism. He was born in Porto, Portugal, in 1973, where he studied Communication Sciences. He moved to Chapel Hill, North Carolina, in the USA, to get a Masters degree and a PhD in Literature, and returned to Portugal in 1997, where he integrated the faculty of the Department of Communication Sciences of Fernando Pessoa University. There he also coordinates CETIC, a Center for Cyberliterature Studies. He is currently doing a Post-Doctoral research, studying Portuguese and Brazilian experimental and digital poetry. His articles and poems are available at http://telepoesis.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 10:24:56 +0200 message-id: <00e201c5cbe1$c4b05de0$1a7789d5@e9o9t1> references: from: manik subject: Re: RHIZOME_RAW: I AM ABLE Re: RHIZOME_RAW: I AM ABLE ----- Original Message ----- From: miklos@sympatico.ca To: list@rhizome.org Sent: Friday, October 07, 2005 7:42 PM Subject: Re: RHIZOME_RAW: I AM ABLE Pertinent and interesting. It raises a question; How do you know? Mik I AM ABLE TO DO THINGS AS WELL AS MOST OTHER PEOPLE I CAN DO EVEN ORIGINAL THINGS BUT SOMEBODY STEAL MY NIPPLE MANIK,OCTOBER 2005 -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 12:01:15 +0200 message-id: <000801c5cbef$563d3000$097689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: HISTORY OF MANIK I WAS IS CLOSER TO YOUR MIND THAN I AM MANIK IS HISTORY OF MANIK MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 14:25:04 +0200 message-id: <000201c5cc0b$7890f6c0$257689d5@e9o9t1> references: no_parent from: manik subject: Fw: RHIZOME_RAW: HISTORY OF MANIK ----- Original Message ----- From: manik To: LIST@rhizome.org Sent: Saturday, October 08, 2005 12:01 PM Subject: RHIZOME_RAW: HISTORY OF MANIK "I WAS" IS CLOSER TO YOUR MIND THAN "I AM" MANIK IS "HISTORY OF MANIK" MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 13:54:55 -0300 message-id: <002a01c5cc29$04bd08b0$36a305c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: Invitation to read the article "The Craft of the Web.Artist: some considerations" Dear all, I would like to invite you to read my new article "The Craft of the Web.Artist: some considerations" at: http://www.sporkworld.org//index.php . Please, comment my ideas on this subject! My most special thanks to everyone who has sent me their definitions for the expression "web.artist": Aloysio Novis, Clemente Pad=EDn, David Daniels, Isabel Aranda YTO.CL, Jessica Loseby, Jim Andrews, Joel Weishaus, Martha Deed, MEZ, Millie Niss and Patrick-Henri Burgaud. *************************************************************** The Craft of the Web.Artist: some considerations by Regina C=E9lia Pinto (Translated from Portuguese into English by Sabrina Gledhill) "web.artist =3D a small cyberfish in a big electric pond." [Jessica Loseby - http://www.rssgallery.com/ ] "web.artist =3D p[erformative.techne.p]lay+curiosity" [MEZ - http://www.hotkey.net.au/~netwurker/ ; http://www.livejournal.com/users/netwurker/ ] Much has been said and debated about the craft of the web.artist, but I have never found a paper that organizes or establishes standards for that craft. Ever since I launched my project, " The Craft of the Web.Artist: Some animated considerations," I have been trying to gather information on the subject. In a paper titled "The craft of the ethnographer, sociological method" (1902) [1], Mauss informs us that documents, witnesses and authentic facts abound, and that a scientist must be a good observer, separating the wheat from the chaff. This is what I have been trying to do, while using my personal experience as a guide. In this article, I will attempt to give a critical interpretation of what I' ve been feeling, reading and observing, in plain language. Much more at: http://www.sporkworld.org//index.php *************************************************************** Waiting for your comment, Regina C=E9lia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com New Works: http://arteonline.arq.br/ducks/ http://arteonline.arq.br/eva/ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 09:59:25 -0700 message-id: <200510081659.j98gxpia018988@idx164.idx.net> references: no_parent from: Mario Cavalli subject: RHIZOME_RAW: British Animation Awards British Animation Awards, aka the BAAs introduce a new Most Creative Use of New Platforms for Animation award category, for mobile and web-toons and non-linear, interactive or abstract animations. Download the entry form from BAA site: http://www.britishanimationawards.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 14:28:00 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: a slight restructuring of ethereal relationships http://www.deepyoung.org/sister/ Perhaps of note: Deep/Young Anodyne Laboratories, due to a recent internal restructuring of our relationships toward various affiliate nodes, has updated its Deep/Young Ethereal Archive "Sister Organizations" page in order to more accurately reflect our current soulish and spiritual sympathies online. ++++++++++++++++++++++++++ GRAFTED INTO the D/Y network (with hearty aplomb and for the following reason) is: * That Word Which Means Smuggling Across Borders, Incorporated [because beneath the cumberbun, the beach.] http://www.thatwordwhichmeanssmugglingacrossbordersincorporated.com/ ++++++++++++++++++++++++++ SET ADRIFT from the D/Y network is (in good conscience and for the following reason) is: * * Eryk Salvaggio Museum of Modern Living [because it's not there anymore] ++++++++++++++++++++++++++ STILL INTACT and resonating at various levels of satisfactory intensity are: * Museum of Jurassic Technology * Art Brut Connaissance & Diffusion * Synesthetic Bubble Gum Cards * Antarctica Dream-Dollars * Portmeirion * Rotherhithe University * Hokes Archives * The UK Museum of Ordure * Walter Anderson Museum of Art * Gladys Dwindlebimmers Ralston Gallery of the Unidentifiable ++++++++++++++++++++++++++ As always, we pray that these and all our activities fulfill our mandate "to facilitate a more lively remote dialogue with the Sundry Essences of Wonder." As You Wish, Archive Registrar Deep/Young Ethereal Archive + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 12:07:31 -0700 message-id: <200510081907.j98j7vp9007295@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: SPECFLIC 1.0 launches Oct. 28 SPECFLIC 1.0 October 28th, 2005, 8 pm pre-show, 9 pm main event, Calit2 courtyard, Uuniversity of California, San Diego. A Speculative Distributed Cinema Project - Dir. by Adriene Jenik featuring performances by Allison Janney, Ricardo Dominguez, Richard Jenik, Lisa Brenneis, Nao Bustamante and others, and public interactive modules by Andrew Collins, Robert Twomey, Neil McCurdy and DoEAT. Set in 2030, SPECFLIC’s story is not just told, but experienced. Based on cutting edge science and engineering research, SPECFLIC speculates and performs the social costs and benefits of accelerated technological progress. Free and open to the public. Bring laptops and cell-phones, and in honor of Halloween, dress for 2030. Visit specflic.net for further event details, parking and directions. Contact: Center for Research in Computing and the Arts (CRCA) Contact phone: 858-405-8170 Contact email: crca@ucsd.edu + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 18:11:13 -0400 message-id: <2ee57c99754f6a4885b97c18be34265d01732071@millerexch.whitneyny.whitney.org> references: no_parent from: subject: RHIZOME_RAW: MEDIA ART NET -- PUBLIC PROGRAM BY THE GOETHE INTITUT NY AND THE WHITNEY MUSEUM, OCT. 12, 7:30 PM MEDIA ART NET [Online Resources for Media Art] A JOINT PUBLIC PROGRAM BY THE GOETHE INTITUT NEW YORK AND THE WHITNEY MUSEUM OF AMERICAN ART DIALOGUE OCT 12, 7:30 PM GOETHE-INSTITUT ADMISSION: $10/8 Christiane Paul, adjunct curator of New Media Arts at the Whitney Museum of American Art, New York, will join Dieter Daniels, professor of art history and media theory at the Academy of Visual Arts, Leipzig, for a dialogue focusing on the groundbreaking project "Media Art Net" (www.mediaartnet.org). The discussion will explore the project as a model for creating resources on media arts. "Media Art Net" is an online "survey" with scholarly essays, accompanied by comprehensive audiovisual documentation on 940 artists and 1400 art works from the 1920s until today. The second part of the project is now available online and includes 8 key topics: Aesthetics of the Digital; Art and Cinematography; Cyborg Bodies; Generative Tools; Mapping and Text; Photo/Byte; Public Spheres; Sound and Image. A network of curators and writers explore seminal interfaces between media and art, presenting a variety of approaches and contexts. In addition artistic projects are commissioned for the online platform. Selected essays are published in book form (Media Art Net Vol. 1 and 2, see: http://www.mediaartnet.org/publications/) and the specific book design is linked with the online platform. The project was commissioned by Goethe-Institut and the Center for Art and Media (ZKM), in cooperation with the Academy of Visual Arts, Leipzig. Financial support was granted by the German Ministry of Research and Education. Editors: Rudolf Frieling and Dieter Daniels. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 8 Oct 2005 16:20:55 -0700 message-id: <200510082320.j98nktu4020833@idx164.idx.net> references: no_parent from: void void subject: RHIZOME_RAW: live... the cork film festival... http://www.thecorkreport.net http://www.corkfilmfest.org/ http://www.talkingbirds.co.uk/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 08 Oct 2005 21:29:15 -0400 message-id: <6e5c6971-a744-44cb-accb-f998cfb07048@alcor.concordia.ca> references: from: Pall Thayer subject: Re: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art Hi Antoine, Thanks for your response and pointing out your text. But I don't agree with you and I think the main difference in our points of view is that you seem to be comparing code to a creative environment ("...if I were a painter, I would not show my studio...") whereas I am calling it the medium. I think it's very curious that you should say that you would not show your paint but you would show your paintings. Paintings are paint therefore, when you show your paintings, you show your paint. Code-based art is quite unique in this aspect. We manipulate code the way a painter manipulates paint but when a painter does it, you can see how the medium is manipulated. In the case of code-based art you don't see how the artist has manipulated the medium (the code) you only see the product of the manipulation. I'm not trying to say that we should *require* artists to show their code, that would be silly. But I think that if more artists would do it, the field itself would benefit from it in several ways. Pall On 7.10.2005, at 06:06, Antoine Schmitt wrote: > :::::::::4/10/05::::18:42 -0700::::Pall Thayer::::::::: > >> http://pallit.lhi.is/palli/ArtOpS.pdf >> > > Dear Pall, > we've had the occasion to have some interesting discussions about > software art in the past. Your text is the occasion for me to > continue by answering with another text that I had written for my > contribution to the CODeDOC II exhibition at Ars in 2003, where the > rule of the exhibition was that the code was displayed alongside > the artwork itself. This time, I do no agree with your position : I > don't think that artists-programmers _should_ show their code (note > that I'm not saying that they shouldn't either...), and I'm giving > arguments, and making parallels with other artistic mediums like > cinema : > > http://www.aec.at/de/festival2003/programm/codedoc/schmitt/ > comments.html > > Best thoughts, > -- > > ++ as > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > > -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 09 Oct 2005 12:11:53 +1000 message-id: <6.0.1.1.1.20051009121114.07ccac00@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: Fwd: Re: 2 wr[b]yte >Date: Sun, 09 Oct 2005 12:09:50 +1000 >To: soft_skinned_space >From: "_dream.thick[ener]_" >Subject: Re: [-empyre-] 2 wr[b]yte > >At 07:08 AM 9/10/2005, fwrote: > >>1. Etymologically, "to write" means: to tear, scratch, cut. > >_cognition_actions>gestured_n.scriptions_+_[purposeful]balances_ > > > >_taw[t(h)or]ny_furred poetics. > >have.u.ever.seen.crow.poetry? >[masked.in.activity.caw[l]ings] > > >>Thus "to write" >>points to the basic cut (or the differentiation) that makes a difference, >>that in-forms by creating information, meaning, sense. > > >_again[st.all.covert.ezy.formulatary]||action_ >_differentiation.of.cellular.lvl.text.spawned+jumbled.thru.x.p[oetry.reg]ression.lotteries_ > >[Insertion of >Current.Statement.of.Dialogical.M(funeral.meaning).Pyre(s+damaged)N.tent(s)]: > >*i.f(t)umble.+.s(addened+black_ball_f(etal)iltered)ojourn.here* >*list.bound(aried.in.a.s.trapped.wurd.straight.jacket* >*a(i)ching.typewritten.mouth(ings).deafmute.stretched.thru.bad.formatting* >*mp_ty.silence.moderat[h]or[goddishly_like].gaps_n.d(e)uce.incomprehensions* > >>Or with George >>Spencer Brown: "Draw a distinction, and you create a universe." > >_D.Raw[l]ing.torn.bleeding.thru.proactivity>oth[ub]erness.m.braced+m.pathy.ack.no.ledged_ > > >>Thus, when I >>think about 'digital writing' I have to do with a doubled or better: a >>self-referential notion. > >_self_rif.f[lings+ego=arrowings]>construction_ripplings_ > >>Aesthetically, digital writing - for me - is >>concerned with the processes, conditions and potential of writing in its >>pure sense. > > >processes >conditions >potentionals >* >playfulness>processes.not.tied.with.rubber.conventionality.strings >v[-conditions]>context*context[devote.meandering.minus.a.canons.s(info)tainment] >potentials>sighing.the.good.decency||empathy|\tendency.[silent.texted]smiles > > >- >01--------------------------- _intricate mirror mem[e_st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 08 Oct 2005 23:25:32 -0700 message-id: <4348b7dc.4000707@ucsd.edu> references: no_parent from: Brett Stalbaum subject: RHIZOME_RAW: Darpa Grand Challenge: accidental art? (Indiana Robotic Navigation) You can find out about the four (or 5) entries that finished the DARPA grand challenge here: http://www.grandchallenge.org/ Certainly, this represents a large step forward for expert systems, AI, and robotics. But can robots also autonomously emerge ironic conceptual art? One team, Indiana Robotic Navigation, notes the following on their homepage: "Indiana Robotic Navigation believes that Jesus is the Christ the son of the living God. We will strive to do everything we do to glorify our Lord Jesus Christ. We believe that the only way to succeed is with the Lord's help. We want a challenge that is so big that if God isn't in it, it will surely fail. The Grand Challenge is just such a project." http://www.indianaroboticnavigation.com/ How did things work out for Christ's warbot? From the New York Times: "There were several crashes during qualifying and practice runs the week before the race. One vehicle, named the Spirit of Christianity, by Indiana Robotic Navigation, went through a gate on the qualifying course, made a hard right turn and ran directly into a wall." http://www.nytimes.com/2005/10/08/technology/08robot.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 09 Oct 2005 10:34:09 +0200 message-id: references: no_parent from: tamara lai subject: RHIZOME_RAW: my_virtual_body Performance : extraits my_virtual_body Performance au MAMAC de Lige : Lecteurs : Tamara La & Seluk Mtlu - Guitare lectrique : Emmanuel Louis extrait 1 (10 Mo) : Texte co-crit par mail par Tamara La & Maximilien Braque, FR extrait 3 (5 Mo) : Texte co-crit par mail par Tamara La & Loiez Deniel, Clermont-Ferrand, FR http://tamara.lai.all2all.org/talktome/talk_to_me.htm Regards Tamara La + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 09 Oct 2005 18:44:23 +1000 message-id: <6.0.1.1.1.20051009184407.024d5188@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: Wurk 1 in the _W[n]e[t]b.Wurks_ Series _W[n]e[t]b.Wurks_ Series: presenting 1.1_ title: _ID_xor.cism_ meth[f]o[rm]d: javascript/html integration: previous emailed_net.wurk + dreamt.image.derivatives loc: http://www.hotkey.net.au/~netwurker/xor/xor.html feedback: please -- _intricate mirror mem[e_st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 11:34:53 +0200 message-id: <940c5f0061fe022f7533451d435b814f@xs4all.nl> references: no_parent from: nat muller subject: RHIZOME_RAW: TRACING UNDERCURRENTS: Sonic Routes Between Jerusalem and Tel-Aviv [apologies for cross-posting] ***************************************** TRACING UNDERCURRENTS: SONIC ROUTES BETWEEN JERUSALEM AND TEL-AVIV Date: Fri 21 October & Sat 22 October Location: De Melkweg, Theaterzaal, Lijnbaansgracht 234 A, Amsterdam Time: Performances: Fri 21 October & Sat 22 October, 20.30 - 22.30 hours Entrance: 10,- (red. 8,-) Panel: Fri 21 October, 16.00 - 18.00 hours (free) Bookings: 020 5318181 URL: www.melkweg.nl (under media) ***************************************** TRACING UNDERCURRENTS invites you to sample the diversity of the Israeli experimental sound scene. Israel, being a country of immigrants boasts a culturally rich and diverse tradition.However, more often than not these expressions have been limited to the more traditional arts.The mid-nineties however, have seen a surge in experimental audio work, coming especially from Jerusalem.In addition independent labels flourished in Jerusalem, a city which is in effect the conflict embodied and has seen many of its young people move abroad or to cosmopolitan Tel-Aviv. Tracing Undercurrents tries to map the cultural and musical diversity of contemporary experimental musictracing routes in-between Jerusalem and Tel-Aviv, looking for aesthetic convergences and differences, and probing the contextual conditions for experimental sound production in Israel.For the first time it brings 11 young cutting-edge performers to The Netherlands whose musical repertoires range from electro-pop, clicks and cuts, noise, to experimental DJ sets and experimental electronic delicacies.In composition, as in its diversity Tracing Undercurrents is unique and a premiere for Europe. ***************************************** PROGRAM Fri 21 October TRACING UNDERCURRENTS: performances [Tracing Noise and Electronic Soundscapes] 20.30 - 22.30 hours, entrance: 10 (red. 8,-) Finkelstein & Grunewald (Eran Sachs & Aviad Albert) Panda Porn (Alma Ben Yossef & Tomer Rosenthal) Seventeen migs of spring (www.zvukoprocessor.com) TRACING UNDERCURRENTS: panel 16.00 18.00 hours, entrance: free Participants: Eran Sachs (Jerusalem), Osnat Forschmidt (Jerusalem), Ido Govrin (Tel-Aviv), Itamar Weiner&Harel Schreiber (Jerusalem), Kostya Gervis (Tel-Aviv) Moderation: Nat Muller (NL) * PROGRAM Sat 22 October TRACING UNDERCURRENTS: performances [Tracing Independent Labels] 20.30 - 22.30 uur, entrance: 10 (red. 8,-) Blondie (Osnat Forschmidt) The Models (ak-duck.com: Harel Schreiber & Itamar Weiner) Duprass (Ido Govrin & Liora Belford) URLs: seventeen migs of spring: http://www.zvukoprocessor.com/ Duprass | Ido Govrin: www.interval-recordings.com | http://www.duprass.com/ AK-duck: http://www.ak-duck.com Miklat Taklitim: http://www.miklataklitim.com/ ***************************************** TRACING UNDERCURRENTS: SONIC ROUTES BETWEEN JERUSALEM AND TEL-AVIV is part of Xeno_Sonic: Experimental Music Mapping in the Middle East, a project and initiative of Nat Muller in collaboration with De Melkweg. With thanks to Eran Sachs for curatorial support. TRACING UNDERCURRENTS is kindly supported by VSBfonds, Mondriaanfonds, Fonds voor Amateur en Podiumkunsten, SNAIT Foundation, Stichting Levi Lassen, Fonds voor Podium-Programmering & Marketing, STEIM. The research phase of Xeno_Sonic was supported by The Netherlands Foundation for Visual Arts, Design and Architecture Editors note For more information, visual material or interviews, contact: Publiciteit Melkweg: Esther Lagendijk | tel: 020-5318167 | fax: 020-5318118 | esther@melkweg.nl + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 12:11:05 +0200 message-id: references: <6e5c6971-a744-44cb-accb-f998cfb07048@alcor.concordia.ca> from: Antoine Schmitt subject: Re: RHIZOME_RAW: A few words concerning open-source and art Hi Pall, Yes I guess that the context of programmed art would be more sane if more artists showed their code because critics, curators and commisionners would stop fantasizing about the code itself after seeing that it is just a bunch of clever and rather simple maths, and not magical spells nor litterature... That's why I finally accepted Christiane Paul's rules for CODeDOCII : help demystify the whole thing of the code. And you are right when challenging my "paint/painting" parallel. It is misleading in the discussion because in painting, the spectator has no other choice than to see the paint and the painting at the same time, which is not the case with programs. Actually, since the time of this text (2003), I have refined my thoughts and speeches by making the parallel with cinema or written music : showing the program alongside the programmed artwork is like showing the scenario alongside the movie picture or like distributing the score to the listeners of chamber music. Like in programmed art, the production of the artist is not intended to the public but to a third party (the actors, the director, the musicians, the computer) and the public experience the result of the interpretation of the program/score/scenario by the third party. For the other artists (or specialists), it is very instructive. And artistically, it is the artists choice (most don't do it). ... But then, most scenarii and scores are available to the public in some way or another, just not alongside the artwork, but in specialized places, stores, etc.. And maybe we artists-programmers should do the same.. But we should think twice before showing it alonside the artwork, I guess that's all I trying to say since the beginning... The only thing to which I am always reacting is this fascination for the code, and all the hype around it, and I always try to demystify it by being precise on the words and intentions. -- ++ as + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 12:24:07 +0200 message-id: <007401c5ccbb$b7fba480$d87789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: BUT I DON'T BUT I DON'T AGREE WITH YOU MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 13:26:18 +0200 message-id: <000201c5ccc7$7b2c82c0$257789d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: IRONIC CONCEPTUAL ART CAN MANIK AUTONOMOUSLY EMERGE IRONIC CONCEPTUAL ART MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 07:44:26 -0400 message-id: <001801c5ccc6$cd49bd80$ea8f4047@athena> references: <007401c5ccbb$b7fba480$d87789d5@e9o9t1> from: patrick lichty subject: RHIZOME_RAW: I DON'T MIND I DON'T MIND IF YOU DON'T AGREE PATRICK LICHTY,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 08:19:07 -0400 message-id: <000b01c5cccb$a56da1a0$ea8f4047@athena> references: <000201c5ccc7$7b2c82c0$257789d5@e9o9t1> from: patrick lichty subject: RHIZOME_RAW: THE CRITIC MANIK MIGHT BE ABLE TO AUTONOMOUSLY EMERGE IRONIC CONCEPTUAL ART. PATRICK LICHTY,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 09 Oct 2005 08:46:18 -0400 message-id: <2d924014-9220-45de-b6aa-b9db582c6f30@alcor.concordia.ca> references: <4348b7dc.4000707@ucsd.edu> from: Pall Thayer subject: Re: RHIZOME_RAW: Darpa Grand Challenge: accidental art? (Indiana Robotic Navigation) On 9.10.2005, at 02:25, Brett Stalbaum wrote: > the Spirit of Christianity, by Indiana Robotic Navigation, went > through a gate on the qualifying course, made a hard right turn and > ran directly into a wall." Religion makes lots of "hard right turns" and frequently runs into walls. -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 09:33:27 -0400 message-id: <000201c5ccd6$07ef5440$ea8f4047@athena> references: <000b01c5cccb$a56da1a0$ea8f4047@athena> from: patrick lichty subject: RHIZOME_RAW: IRONY VS. IRONY IRONY <-> IRONY PATRICK LICHTY,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 09 Oct 2005 13:51:51 -0400 message-id: references: <200510081456.aa2197618952@nerdtronica.com> from: Lee Wells subject: RHIZOME_RAW: Imagine a world without copyright - IHT Published on Saturday, October 8, 2005 by the International Herald Tribune Imagine a World Without Copyright by Joost Smiers and Marieke van Schijndel Amsterdam Copyright was once a means to guarantee artists a decent income. Aside from the question as to whether it ever actually functioned as such - most artists never made a penny from the copyright system - we have to admit that copyright serves an altogether different purpose in the contemporary world. It now is the tool that conglomerates in the music, publishing, imaging and movie industries use to control their markets. These industries decide whether the materials they have laid their hands on may be used by others - and, if they allow it, under what conditions and for what price. European and American legislation extends them that privilege for a window of no less than 70 years after the passing of the original author. The consequences? The privatization of an ever-increasing share of our cultural expressions, because this is precisely what copyright does. Our democratic right to freedom of cultural and artistic exchange is slowly but surely being taken away from us. It is also unacceptable that we have to consume cultural creations in exactly the way they are dished out to us, and that we may change neither title nor detail. We thus have every reason to ponder about a viable alternative to copyright. At the same time, a fascinating development is taking place before our very eyes. Millions of people exchanging music and movies over the Internet refuse to accept any longer that a mega-sized company can actually own, for example, millions of melodies. Digitalization is gnawing away at the very foundations of the copyright system. What might an alternative idea of copyright look like? To arrive at that alternative, we first have to acknowledge that artists are entrepreneurs. They take the initiative to craft a given work and offer it to a market. Others can also take that initiative, for example a producer or patron who in turn employs artists. All of these artistic initiators have one thing in common: They take entrepreneurial risks. What copyrights do is precisely to limit those risks. The cultural entrepreneur receives the right to erect a protective barrier around his or her work, notably a monopoly to exploit the work for a seemingly endless period of time. That protection also covers anything that resembles the work in one way or the other. That is bizarre. We must keep in mind, of course, that every artistic work - whether it is a soap opera, a composition by Luciano Berio, or a movie starring Arnold Schwarzenegger - derives the better part of its substance from the work of others, from the public domain. Originality is a relative concept; in no other culture around the globe, except for the contemporary Western one, can a person call himself the owner of a melody, an image, a word. It is therefore an exaggeration to gratuitously allow such work the far-reaching protections, ownership title and risk-exclusion that copyright has to offer. One might ask whether such a protective layer is really necessary for the evolving process of artistic creation. Our proposal, which will entail three steps, will demonstrate that this is not the case. What then, do we think, can replace copyright? In the first place, a work will have to take its chances on the market on its own, without the luxurious protection offered by copyrights. After all, the first to market has a time and attention advantage. What is interesting about this approach is that this proposal strikes a fatal blow to a few cultural monopolists who, aided by copyright, use their stars, blockbusters and bestsellers to monopolize the market and siphon off attention from every other artistic work produced by artists. That is problematic in our society in which we have a great need for that pluriformity of artistic expression. How do we think this fatal blow could work? If the protective layer that copyright has to offer no longer exists, we can freely exploit all existing artistic expressions and adapt them according to our own insights. This creates an unpleasant situation for cultural monopolists, as it deprives them of the incentive to pursue their outrageous investments in movies, books, T-shirts and any other merchandise associated with a single cultural product. Why would they continue making these investments if they can no longer control the products stemming from them and exploit them unhindered? The domination of the cultural market would then be taken from the hands of the cultural monopolists, and cultural and economic competition between many artists would once again be allowed to take its course. This would offer new perspectives for many artists. They would no longer be driven from the public eye and many of them would, for the first time, be able to make a living off their work. After all, they would no longer have to challenge - and bow down to - the market dominance of cultural giants. The market would be normalized. Certain artistic expression, however, demands sizeable initial investments. This is the second situation for which we must find a solution. Think about movies or novels. We propose that the risk bearer - the artist, the producer or the patron - receive for works of this kind a one-year usufruct, or right to profit from the works. This would allow the entrepreneur to recoup his or her investments. It would still be an individual decision whether or not to make the large investments, for example, needed to make a movie, but no one would be granted rights to exploit that work for more than a year. When that period expired, anyone could do with the work as he or she pleased. The third situation for which we must conceive a solution is when a certain artistic creation is not likely to flourish in a competitive market, not even with a one-year usufruct. It may be the case that the public still has to develop a taste for it, but that we still find, from the perspective of cultural diversity, that such a work must be allowed to exist. For this situation it would be necessary to install a generous range of subsidies and other stimulating measures, because as a community we should be willing to carry the burden of offering all kinds of artistic expressions a fair chance. Cultural monopolists desperately want us to believe that without copyright we would have no artistic creations and therefore no entertainment. That is nonsense. We would have more, and more diverse ones. A world without copyright is easy to imagine. The level playing field of cultural production - a market accessible for everyone - would once again be restored. A world without copyright would offer the guarantee of a good income to many artists, and would protect the public domain of knowledge and creativity. And members of the public would get what they are entitled to: a surprisingly rich and varied menu of artistic alternatives. Joost Smiers, the author of ''Arts Under Pressure: Promoting Cultural Diversity in the Age of Globalization,'' is a professor of political science of the arts at the Utrecht School of the Arts, the Netherlands. Marieke van Schijndel is a policy adviser and publicist; this article reflects her personal opinions. 2005 International Herald Tribune + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 09 Oct 2005 16:33:39 -0700 message-id: <4349a8d3.1050500@ucsd.edu> references: <2d924014-9220-45de-b6aa-b9db582c6f30@alcor.concordia.ca> from: Brett Stalbaum subject: Re: RHIZOME_RAW: Darpa Grand Challenge: accidental art? (Indiana Robotic Navigation) Used Ford explorer? $10,000. Modifications to DARPA Grand Challenge entry? Probably 100,000+. Christian warbot making a "hard right" and coming to a crashing halt against a wall? Priceless. Pall Thayer wrote: > > On 9.10.2005, at 02:25, Brett Stalbaum wrote: > >> the Spirit of Christianity, by Indiana Robotic Navigation, went >> through a gate on the qualifying course, made a hard right turn and >> ran directly into a wall." > > > Religion makes lots of "hard right turns" and frequently runs into walls. > > -- > Pall Thayer > p_thay@alcor.concordia.ca > http://www.this.is/pallit > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- Brett Stalbaum, Lecturer, PSOE Coordinator, Interdisciplinary Computing and the Arts Major (ICAM) UNIVERSITY OF CALIFORNIA, SAN DIEGO Department of Visual Arts 9500 GILMAN DR. # 0084 La Jolla CA 92093-0084 http://www.paintersflat.net http://www.c5corp.com Info for students: -ICAM and Media (computing emphasis) faculty advising: Monday 1-2PM, VAF 206, Contact via email stalbaum@ucsd.edu -Vis 40/ICAM 40 (Introduction/Computing in Arts) office hour: Monday 2-3PM, VAF 206, Contact via WebCT -Vis 141A (Computer Programming/Arts I) office hour: Monday 3-4PM, VAF 206, Contact: via WebCT - Notes: Week 0 (Sept 19th) Yes. Week 6 (Oct 31st) No office hours today Finals Week (Dec 5th) Yes. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 20:44:51 -0400 message-id: <20051009204451.63884b24@localhost> references: <6e5c6971-a744-44cb-accb-f998cfb07048@alcor.concordia.ca> from: Robert Spahr subject: Re: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art Pall, In my own recent work, the process is more akin to printmaking. Much the way a person might work on a woodcut and then print a proof, look at the image, and then go back and work on the woodcut some more, I do something similar when I write scripts. I write them, and then stop to generate an image, then go back and tweak the script. I then repeat this process until I am satisfied with the image. My scripts are then automated and continue to run over time without my intervention. So to me the medium of my work is either the digital image or possibly an inkjet print. But the process consists of the code. The same way I might be casting a sculpture in concrete, the process might contain clay and plaster molds, and that might be of interest to other artists, but the medium of the sculpture is still concrete. But I do agree with you, that if more artist shared their code, it would contribute to our overall understanding of each others processes. Most of the time we are looking at the final medium, and not the materials of the art making process. Just my 2 cents... -- Robert On Sat, 08 Oct 2005 21:29:15 -0400 Pall Thayer wrote: > Hi Antoine, > Thanks for your response and pointing out your text. But I don't > agree with you and I think the main difference in our points of view > is that you seem to be comparing code to a creative environment > ("...if I were a painter, I would not show my studio...") whereas I > am calling it the medium. I think it's very curious that you should > say that you would not show your paint but you would show your > paintings. Paintings are paint therefore, when you show your > paintings, you show your paint. Code-based art is quite unique in > this aspect. We manipulate code the way a painter manipulates paint > but when a painter does it, you can see how the medium is > manipulated. In the case of code-based art you don't see how the > artist has manipulated the medium (the code) you only see the product > of the manipulation. I'm not trying to say that we should *require* > artists to show their code, that would be silly. But I think that if > more artists would do it, the field itself would benefit from it in > several ways. > > Pall > > > On 7.10.2005, at 06:06, Antoine Schmitt wrote: > > > :::::::::4/10/05::::18:42 -0700::::Pall Thayer::::::::: > > > >> http://pallit.lhi.is/palli/ArtOpS.pdf > >> > > > > Dear Pall, > > we've had the occasion to have some interesting discussions about > > software art in the past. Your text is the occasion for me to > > continue by answering with another text that I had written for my > > contribution to the CODeDOC II exhibition at Ars in 2003, where the > > rule of the exhibition was that the code was displayed alongside > > the artwork itself. This time, I do no agree with your position : I > > don't think that artists-programmers _should_ show their code (note > > that I'm not saying that they shouldn't either...), and I'm giving > > arguments, and making parallels with other artistic mediums like > > cinema : > > > > http://www.aec.at/de/festival2003/programm/codedoc/schmitt/ > > comments.html > > > > Best thoughts, > > -- > > > > ++ as > > > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > > subscribe.rhiz > > -> give: http://rhizome.org/support > > + > > Subscribers to Rhizome are subject to the terms set out in the > > Membership Agreement available online at http://rhizome.org/info/ > > 29.php > > > > > > > > -- > Pall Thayer > p_thay@alcor.concordia.ca > http://www.this.is/pallit > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/29.php > -- -- Robert Spahr http://www.robertspahr.com On the heath Lear asks Gloucester: "How do you see the world?" And Gloucester, who is blind, answers: "I see it feelingly." + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 9 Oct 2005 20:56:40 -0600 message-id: <01f001c5cd46$3e947a50$e3a40818@vuk> references: no_parent from: abe linkoln subject: RHIZOME_RAW: DEATH DISCO http://www.linkoln.net/DEATHDISCO/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 00:12:12 -0700 message-id: <200510100712.j9a7cccv002399@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Foucaultist power relations and Batailleist \'immitation python-skin pants\' If one examines Batailleist 'immitation python-skin pants', one is faced with a choice: either reject Foucaultist power relations or conclude that the goal of the poet is deconstructivist inebriation. In a sense, McElwaine[1] holds that we have to choose between Debordist image and modernist Marxism. The subject is interpolated into a pretextual cultural theory that includes consciousness as a whole. Thus, the main theme of Finnis's[2] model of Debordist image is the fatal flaw, and some would say the defining characteristic, of subcapitalist society. Lacan's essay on textual sublimation suggests that consensus is created by cheesy fake animal skins, given that Foucaultist power relations is valid. http://ftimov.blogspot.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 00:20:54 -0700 message-id: <200510100720.j9a7ksgo004474@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Realities of Futility: Marxism, the capitalist paradigm of consensus and Death Disco If one examines Debordist situation, one is faced with a choice: either accept Lacanist obscurity or conclude that the purpose of the participant is death disco, but only if Sontag's critique of Debordist situation is invalid; if that is not the case, we can assume that sexual identity, paradoxically, has objective value. Several theories concerning the absurdity, and eventually the failure, of subdialectic class exist within the context of death disco. "Society is part of the rubicon of culture," says Marx. However, the characteristic theme of von Junz's essay on neocultural discourse is a mythopoetical whole. The subject is interpolated into a Debordist situation that includes art as death disco. Therefore, the example of Lacanist obscurity depicted in "Saturday Night Fever" emerges again in "Boogie Nights", although in a more self-supporting sense. Many narratives concerning semiotic subcapitalist theory may be revealed vis-a-vis death disco. In a sense, Sartre promotes the use of death disco to attack sexism. The primary theme of the death disco is the bridge between class and consciousness. However, Bataille uses the term 'Derridaist reading' to denote the role of the poet as death disco participant. Several discourses concerning the common ground between sexual identity, class, and death disco exist. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 00:23:15 -0700 message-id: <200510100723.j9a7nfiq005134@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV News - Olafur Eliasson 'Notion Motion' After his highly-praised large yellow ’sun’ at the Tate Modern in 2003, Olafur Eliasson has developed a special project for the three largest galleries of Museum Boijmans Van Beuningen in Rotterdam (NL). The presentation can be seen until 8 January 2006. We made an impression of it, not easy to film but it will show you the beauty of this exhibition. - Argos Festival 2005 (Brussel B) will start on this thursday and from that day on will we broadcast their daily video news. So keep on watching! - Terra Infirma Shirley Shor has opened this sunday in the RAM Foundation,Rotterdam (NL). It is a New Media Installation. Searching is about network of incessant, and circulation. It consists of a sandbox and a real-time animation. The lines are generated in real-time by software code and merge with the white sand to create a possible changeable topography. Searching bring together land and low. The act of drowing / tracing a line in the soul, initiate a concept of low which derives order from notions of space. marking the presence in the soil is an act of ownership and territoriality. - About the new video art. This week we present the video Bleury by honeybyte (Leah Lazariuk & Pierluigi Vecchi) Honeybyte's Bleury is a layering of two different video sequences, which juxtapose perceptions of the urban landscape and the innocent yet inquisitive eyes of children. 'THE BRAND NEW ANTI RACISM CAMPAIGN'by Egill Saebjörnsson and The Most Wonderful by Susanne Winterling. These has been presented by A -Clip short hello and long good-bye, 55 very different films, which in their broadest definition deal with states of insecurity, including war, economic and existential crises. However, rather than presenting apocalyptic scenarios, these films point toward individual and collective degrees of freedom through cinematic means. http://www.culturetv.tv + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 00:28:32 -0700 message-id: <200510100728.j9a7sw8f006408@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: Become CULTURETV VJ (video journalist) of culturetv.tv in your country! Culturetv.tv offers worldwide independent television about art, new media and culture on the internet in an interactive and dynamic way and is planning to grow to be a very important and world leading television station. To achieve these goals, we want in every country of the world a responsible person who informs us on special art events, special artists, art video clips, … in his/her country . You are willing to help to make culturetv.tv popular in your country and you inform us about specific ways to realize that. What’s in it for you? No, this is not paid and on a voluntary basis. But you get much more than money. You will make part of a close network of art and culture lovers. You will get to know all kinds of people all around the world, conscious about the great importance of culture in our life world and the important role culturetv.tv can play in making culture more popular. You will appear as official CULTURETV VJ (video journalist) for your country on the website of culturetv.tv and also in events to come. You will know first (together with all other CULTURETV VJ's (video journalists)) what is moving in the art world around the globe. We are planning to do small documentaries on art and culture in every country and you will play an important role in it. Enthusiastic yet? Don’t wait and apply now. Send your CV and motivation to info@culturetv.tv and how much hours you can spend to culturetv in a week. Perhaps tomorrow you are already our CULTURETV videojounalist in your country! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 10:31:35 +0200 message-id: references: <6a2842aa-1d82-4c12-a3af-64a4502a614e@alcor.concordia.ca> from: Geert Dekkers subject: Re: RHIZOME_RAW: A few words concerning open-source and art delsp=yes; format=flowed Hi All, > One of the first steps towards meaningful discussion would be the > recognition of code as medium rather than computer as medium. To > say that the > computer is the medium is like saying that a painters canvas is the > medium. I wouldn't say there is any need to specify this or that aspect of the production process as THE medium of the particular art form. It's up to the artist to decide what is the medium, and what is the mediated. Blinky Palermo's art takes the canvas, makes this the medium. In Nam June Paiks work -- his earlier work through the eighties -- the television is an sculptural element, but in video art, its a medium. Blinky Palermo http://nznl.com/geert/pop.php?dag=20051003 http://www.staedelmuseum.de/index.php?id=395 Nam June Paik http://nznl.com/geert/pop.php?dag=20050206 http://stephan.barron.free.fr/art_video/images/ paik_the_more_the_better.jpg Video Art http://nznl.com/geert/pop.php?dag=20050325 http://nznl.com/geert/pop.php?dag=20050401 http://nznl.com/geert/pop.php?dag=20050210 http://nznl.com/geert/pop.php?dag=20040602 Geert http://nznl.com On 4-okt-2005, at 7:11, Pall Thayer wrote: > http://pallit.lhi.is/palli/ArtOpS.pdf --Apple-Mail-8-302039764 Content-Type: text/html; Hi All,

=A0One of the first steps towards meaningful discussion would be the=A0
recognition of code as medium rather than computer as medium. To say that the=A0
computer is the medium is like saying that a painters canvas is the medium.=A0


I wouldn't say there is any need to specify this or that aspect of the production process as THE medium of the particular art form. It's up to the artist to decide what is the medium, and what is the mediated.

Blinky Palermo's art takes the canvas, makes this the medium. In Nam June Paiks work -- his earlier work through the eighties -- the television is an sculptural element, but in video art, its a medium.

Blinky Palermo

Nam June Paik

Video Art

Geert


On 4-okt-2005, at 7:11, Pall Thayer wrote:


--Apple-Mail-8-302039764-- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 10:45:30 +0200 (CEST) message-id: <20051010084530.e0af721fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Pc pagecontents Polish, Pavlov paperclips PDA, PhD Professor Samuels packers pathnames, Pronouns P. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 10:18:58 +0100 message-id: <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> references: <20051009204451.63884b24@localhost> from: rob@robmyers.org subject: Re: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art Quoting Robert Spahr : > In my own recent work, the process is more akin to printmaking. I regard the computer as a printmaking medium, but then I tend to use PostScript and its descendants. > [...] if more artist shared their code, it would contribute to our > overall understanding of each others processes. Most of the time we > are looking at the final medium, and not the materials of the art > making process. We need a Free Software-style moral imperative to show code. Any claim to critical , resistant or even artistic (as such) practice for programmed art is undermined if the artist does the proprietary culture thing of hiding their code. IKB was fun, but if every artist patented their colours we wouldn't get very far. - Rob. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 03:00:03 -0700 message-id: <200510101000.j9aa03xl031639@idx164.idx.net> references: no_parent from: Raul BB subject: RHIZOME_RAW: PILGRIM\'S PROGRESS VIDEO http://www.goto80.com/video/pilgrims_progress.wmv Wonderful mellancolic video with a clear political content. Video by James Dingle 2005 Music by Goto80 (Anders Carlsson) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 04:55:29 -0700 message-id: <200510101155.j9abttdn008018@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: CHICAGOMATIC STATIC INCISION:: . :: DROIDBEHAVIOR:. & CHICAGO UNDERGROUND SOUND: :... BRING YOU THE LIFESTYLE.. CHCICAGOMATIC STATIC DECEMBER 10. 2005 people.music.friends.jackin lifestyles:. .: PAUL JOHNSON STEVE POINDEXTER ELLERY COWLES HYPERACTIVE JASPER STAN MIN ACID CIRCUS LIVE PA 9-9AM:.:.21+ MATURE AUDIENCES SUGGESTED. AFTERPARTY WITH PAUL JOHNSON.. info@incisionamerica.com incisionlosangeles@gmail.com Visit us at www.incisionamerica.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 05:15:21 -0700 message-id: references: <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> from: Jim Andrews subject: RE: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerningopen-source and art When there is both some point in making the code public (there isn't always) and the artist-programmer does not thereby forfeit potential earnings, then they should consider making the code public. But consider the code discussed at http://turbulence.org/curators/Paris/durieuenglish.htm . The code was not made public, but the code idea *was*. And it was made public in a much more interesting way than by making the code itself public. Whoever wishes to use it may, obviously, but they first have to understand it. They don't need the code itself if they understand the idea. And the code itself is not enough to understand the idea. The notion that "we need a Free Software-style moral imperative to show code" gives me the willies. ja http://vispo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 14:25:18 +0200 message-id: <000201c5cd97$5e2d25a0$427689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: MELLANCOLIC TEXT THIS IS WONDERFUL MELLANCOLIC TEXT WITH A CLEAR POLITICAL CONTENT MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 14:14:28 +0100 message-id: <434a6934.3090404@furtherfield.org> references: <000201c5cd97$5e2d25a0$427689d5@e9o9t1> from: marc subject: Re: RHIZOME_RAW: MELLANCOLIC TEXT *THIS IS A WONDERFUL MELLANCOLIC TEXT WITH A CLEAR POLITICAL INTENT* * *MARCNIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 14:25:48 +0100 message-id: <20051010142548.qt6htwr9s8w4kwwo@webmail.robmyers.org> references: from: rob@robmyers.org subject: RE: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerningopen-source and art Quoting Jim Andrews : > When there is both some point in making the code public (there isn't always) You can never tell whether there is a point or not, so you should not risk making the wrong decision. The only way to do this is to always release. > and the artist-programmer does not thereby forfeit potential earnings, This reverses the usual argument that the code doesn't need releasing because the art is the important thing. If artists should protect code they should trademark their imagery and patent their methods. Art piracy is a threat to compensation for creative individuals in the affective economy. Possibly painters should burn their preparatory sketches. > then > they should consider making the code public. > > But consider the code discussed at > http://turbulence.org/curators/Paris/durieuenglish.htm . The code was not > made public, but the code idea *was*. And it was made public in a much more > interesting way than by making the code itself public. It helps that the work is trivial to describe and that the artist is a good conversationalist. > Whoever wishes to use > it may, obviously, but they first have to understand it. They don't need the > code itself if they understand the idea. And the code itself is not enough > to understand the idea. If the code isn't enough, how is an interview that has no involvement in the creation of the work itself enough? > The notion that "we need a Free Software-style moral imperative to show > code" gives me the willies. Right, I'm getting the placards printed. ;-) - Rob. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 15:30:48 +0200 message-id: <001301c5cd9e$fc416c40$427689d5@e9o9t1> references: <000201c5ccd6$07ef5440$ea8f4047@athena> from: manik subject: Re: RHIZOME_RAW: IRONY VS. IRONY-CERTIFICATE CERTIFICATE PATRICK LICHTY MADE ORIGINAL ART WORK: IRONY <-> IRONY PATRICK LICHTY,OCTOBER 2005 CERTIFICATED BY MANIK,BELGRADE,OCTOBER 2005 SIGNATURE: MANIK ----- Original Message ----- From: patrick lichty To: list@rhizome.org Sent: Sunday, October 09, 2005 3:33 PM Subject: RHIZOME_RAW: IRONY VS. IRONY IRONY <-> IRONY PATRICK LICHTY,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 06:47:41 -0700 (PDT) message-id: <20051010134741.49372.qmail@web30014.mail.mud.yahoo.com> references: <434a6934.3090404@furtherfield.org> from: Michael Szpakowski subject: Re: RHIZOME_RAW: MELLANCOLIC TEXT THIS CON IS A WONDER.. A LEMON.. CULL TEXT WITH LIP FLARE, COLIC TINT. ECLAT! MIKENIK OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 16:20:03 +0200 message-id: <003e01c5cda5$d6870d00$427689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: PRICE LIST MANIK'S PRICE LIST FOR ART CERTIFICATE: MASTERPIECE-99,90$ ORIGINAL ART PIECE-49.90$ ART PIECE-19,90$ SPECIAL CATEGORY-200$ Contact:MANIK@PTT.YU __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 16:47:58 +0200 message-id: references: <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> from: Geert Dekkers subject: Re: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art While I consider it interesting to use open source software and/or adhere to open source standards, I always seem to go back to propriety software because of the overhead of changing. And because I fail to see what open source has to do with making art. Or could this stance (wanting to use open source) possibly have anything to do with any prevailing policital consensus among net.artists?? (I remember, at one point, being amazed that contemporary artists could be conservatives, because I'd taken for granted the members of the classic avant-garde were all left-wing. But I was of course mistaken -- contemporary artists weren't/aren't all avantgarde, and not all avantgarde artists were/are leftists... ) Geert http://nznl.com On 10-okt-2005, at 11:18, rob@robmyers.org wrote: > Quoting Robert Spahr : > > >> In my own recent work, the process is more akin to printmaking. >> > > I regard the computer as a printmaking medium, but then I tend to > use PostScript > and its descendants. > > >> [...] if more artist shared their code, it would contribute to our >> overall understanding of each others processes. Most of the time >> we are looking at the final medium, and not the materials of the >> art making process. >> > > We need a Free Software-style moral imperative to show code. Any > claim to > critical , resistant or even artistic (as such) practice for > programmed art is > undermined if the artist does the proprietary culture thing of > hiding their > code. > > IKB was fun, but if every artist patented their colours we wouldn't > get very > far. > > - Rob. > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 17:00:47 +0200 message-id: <087601c5cdab$65a41140$0201a8c0@valentina> references: no_parent from: valentina tanni subject: RHIZOME_RAW: Random Magazine gets (a little) bilingual RANDOM MAGAZINE - new media art /e-culture www.random-magazine.net Random Magazine is an italian webzine about new media art. In the last months we realized that our readers are becoming more and more international. For this reason, from now on, the website gets (a little) bilingual. For every italian article we will also provide a short english summary. Users can now post in italian and in english as well! RANDOM MAGAZINE daily explores the intersections between art, technology and society. It features news, critical writings, reviews and call for artists. We are interested in lots of different topics, aiming to offer a 360=B0 view on digital creativity: videoart, electronic music, net art, webdesign, videogames, hacktivism, software art, videoclip and much more. RANDOM MAGAZINE invites all artists, scholars, critics and fans of new media art to visit the website and join the community. So that the webzine can become a collective platform for dialog, information exchange and research. In order to login in you just need to write your name and e-mail address. Members can access to all areas, post their own content, join the forum, receive the weekly newsletter. They can also communicate directly in real time through a messaging software. Random Magazine is also available in RSS format http://www.random-magazine.net/modules/rss RANDOM MAGAZINE - new media art /e-culture www.random-magazine.net curated by Valentina Tanni __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 11:55:49 -0400 message-id: <63a9f55c-eec3-429c-a698-0a48396ad889@alcor.concordia.ca> references: from: Pall Thayer subject: Re: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art Here's a combined response to some of the recent posts. I'm not talking about using open-source software. I'm talking about artists revealing their own source-code regardless of what they're using. This has nothing to do with the politics of open-source. The fact that there is a sizable community of artists programming art that never meet face to face for idle chat, means that the dissemination of ideas has to be handled differently. Art has never been solely about what is seen/heard/experienced, etc.. It's also about the methods and processes involved. This has always been an important aspect of all art. It looks to me like the main difference in opinions in this matter has to do with the medium. What do artists see as the medium in their work. When Robert Spahr says that to him the image is the medium, I don't buy it. That just doesn't sound feasible to me. It's like a baker saying that cakes are the materials of his trade or a carpenter saying that his materials are houses. The medium is the material that the artist manipulates and turns into a work of art. It's the creative processes that go into the production of what we see/hear/experience, etc.. I think Jim Andrews post pointed out the benefits of artists sharing code (although it wasn't his intention). The interview he mentioned is very curious. The artist basically tells us that the *art* is in the code but he can't share it with us. He doesn't seem to be able to discuss his artwork without mentioning the code, which he can't share with us. So he'd like for us to have these important elements in mind to appreciate his art, but he can't tell us what they are. Very absurd. Well, I've done this painting that I'd love to show you all, but I can't. Because it uses some new processes of manipulating the paint and the problem is that you can see those processes in the painting but I can't reveal my processes so I can't show you my painting. It's really cool though, you'll just have to take my word for it. Can I have my "accomplished artist" pin now? Pall On 10.10.2005, at 10:47, Geert Dekkers wrote: > While I consider it interesting to use open source software and/or > adhere to open source standards, I always seem to go back to > propriety software because of the overhead of changing. And because > I fail to see what open source has to do with making art. > > Or could this stance (wanting to use open source) possibly have > anything to do with any prevailing policital consensus among > net.artists?? (I remember, at one point, being amazed that > contemporary artists could be conservatives, because I'd taken for > granted the members of the classic avant-garde were all left-wing. > But I was of course mistaken -- contemporary artists weren't/aren't > all avantgarde, and not all avantgarde artists were/are leftists... ) > > Geert > http://nznl.com > > > > On 10-okt-2005, at 11:18, rob@robmyers.org wrote: > > >> Quoting Robert Spahr : >> >> >> >>> In my own recent work, the process is more akin to printmaking. >>> >>> >> >> I regard the computer as a printmaking medium, but then I tend to >> use PostScript >> and its descendants. >> >> >> >>> [...] if more artist shared their code, it would contribute to >>> our overall understanding of each others processes. Most of the >>> time we are looking at the final medium, and not the materials of >>> the art making process. >>> >>> >> >> We need a Free Software-style moral imperative to show code. Any >> claim to >> critical , resistant or even artistic (as such) practice for >> programmed art is >> undermined if the artist does the proprietary culture thing of >> hiding their >> code. >> >> IKB was fun, but if every artist patented their colours we >> wouldn't get very >> far. >> >> - Rob. >> >> + >> -> post: list@rhizome.org >> -> questions: info@rhizome.org >> -> subscribe/unsubscribe: http://rhizome.org/preferences/ >> subscribe.rhiz >> -> give: http://rhizome.org/support >> + >> Subscribers to Rhizome are subject to the terms set out in the >> Membership Agreement available online at http://rhizome.org/info/ >> 29.php >> >> > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/support > + > Subscribers to Rhizome are subject to the terms set out in the > Membership Agreement available online at http://rhizome.org/info/ > 29.php > > -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 11:04:07 -0700 message-id: <200510101804.j9ai47jx010306@idx164.idx.net> references: no_parent from: Ryan Ringer subject: RHIZOME_RAW: Devil\\\'s Night in Williamsburg Devil's Night Sun 10/30 Galapagos Art Space Williamsburg, Brooklyn 70 North 6th Street 7pm $5 “Is this an international health hazzard or a military concern?” “Both.” “Are these things alive or dead?” “We don't know.” Imagine if you will, three hellraised busloads of gruesome ghouls and ghosties from Toronto, Canada, descending upon New York City for four days and nights of organized Hallowe'en chaos. Now, accept the fact that there's no escaping the horrible consequences. Methinks Presents FEATURE CREATURES Driven by a ravenous hunger for infectious social interplay, after two days of public spectacle-making throughout New York City, these Feature Creatures find their way to Williamsburg for a interactive, terror-filled evening of film, video, noise and performance art. Afterward: Sun 10/30 Northsix Williamsburg, Brooklyn 66 North 6th Street 10pm $8, $5 with costume DanceDevilsDance a masquerade afterparty for FEATURE CREATURES With: Toronto DJs Pat C & Mikey Apples + Museum + The Sonic Ranger + others TBA For more info see: http://methinkspresents.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 11:29:35 -0700 (PDT) message-id: <20051010182935.14342.qmail@web35613.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: xanax POP --> Nothing hot runs from my crotch Nothing hot runs from my crotch. One route allowed along Hallowe'en lake collides within these mumbled densities cleft like a frustrated quietude... http://lewislacook.corporatepa.com/xanaxpop/ *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __________________________________ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 12:04:03 -0700 message-id: <200510101904.j9aj430z017833@idx164.idx.net> references: no_parent from: Stephan Hausmeister subject: RHIZOME_RAW: FINAL CALL: EXTREMES FIELD OF VISION: EXTREMES FINAL CALL: MONDAY 10 - FRIDAY 14 OCTOBER 2005 Live at the INM Studio, Frankfurt a.M. / Germany This is the final call for submissions to the Frankfurt Field. Find out how to submit your work for this live event, check whether your image is included and watch the progess of the Field with daily updates at: http://www.field-of-vision.net/Extremes *************************************** Institute for New Media Schmickstrasse 18 D - 60314 Frankfurt am Main GERMANY info@inm.de http://www.inm.de *************************************** FIELD OF VISION is a series of events organised by: http://www.digitalartprojects.net mail@digitalartprojects.net *************************************** + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 15:39:35 -0400 message-id: references: no_parent from: Sal Randolph subject: RHIZOME_RAW: Join me at Opsound's Open Sound Exchange, Art Interactive Gallery, Cambridge, Massachusetts, Oct 14-Dec 11, 2004 Hello friends, Opsound is in residence this fall at Art Interactive gallery in Cambridge, Massachusetts & I'd love to see you. Beginning October 14, Opsound will be part of Glowlab's "Open Lab", an exhibition and festival of psychogeographic explorations headquartered at Art Interactive. Opsound will be collecting and generating a sound portrait of Cambridge and Boston through recordings in the gallery, sound gathering walks through various neighborhoods, and via contributions from sound artists and musicians over the internet. All the collected material will be broadcast as a 24/7 internet radio stream -- a special edition of the 'opstream' -- that will grow throughout the exhibition. I'll be in residence several weekends of the show, and I'd be delighted if you stopped by to have some coffee, chat, contribute sounds, and walk with me through interesting parts of the city. : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : Directions and Information: Art Interactive is open Saturdays and Sundays from 12 - 6pm or by appointment. The gallery is located at 130 Bishop Allen Drive, at the corner of Prospect Street in Cambridge, MA. 617-498-0100 info@artinteractive.org http://artinteractive.org Subway: Central Square Directions/map: http://www.artinteractive.org/contact.php : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : Opsound Schedule: Oct 14 6-9pm Opening! Oct 15-16 noon-6pm Opsound open lounge, sound collection walks at 3pm Oct 29-30 noon-6pm Opsound open lounge, sound collection walks at 3pm Dec 10 noon-6pm Opsound open lounge, sound collection walk at 3pm Dec 11 2-8pm Opsound performances in the gallery, and closing party Many additional events by other artists every weekend of Glowlab's Open Lab Schedule: http://www.artinteractive.org/shows/glowlab/ : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : Musicians and sound artists are invited to add their sounds to the project. Opsound's "Open Sound Exchange: Boston" is gathering material for an open pool of sounds relating to the city. Boston real and Boston imaginary, Boston past and Boston now: yelling cabbies, Rat new wave, Fenway Park crowds, sunday afternoon string quartets, harbor noises, sidewalk folk singers, Composers in Red Sneakers new music, banker high heels, museum whispers, Media Lab algorithms, Big Dig construction, student arias. every city is a world of sound -- help discover Boston's by creating a kaleidoscopic sonic portrait. Contributions can include work from, about, or inspired by the idea of Boston. Boston sounds, including field recordings from various parts of the city, are already in the pool and available for remixing. http://opsound.org/tag/boston To contribute, simply add your sounds to opsound, and tag them with the word "boston." http://opsound.org/you/ : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : Glowlab: Open Lab Curated by Christina Ray A nine-week-long psychogeography festival and exhibition In Fall 2005, Art Interactive is conducting a nine-week-long experiment. We have invited artists affiliated with Glowlab, a network of psychogeographers, to use the Central Square neighborhood as the site of their research and fill the exhibition space with the results of their investigations. PSYCHOGEOGRAPHY, a term coined by the Situationist International in the 1950s and appropriated by contemporary artists, is used to describe projects that produce affect in relation to the geographic environment. Rather than making maps in the traditional geographic sense, these artists utilize maps and geography to conduct located experiments with (among other things) people, trash, bikes, clothes, the sky and the gallery space itself. Often making use of mobile technologies and existing in the hybrid spaces of the Internet and the physical world, their projects produce new understandings of location and identity as shifting, fluid, singular and irreducible. Central Square, Cambridge, MA, will never be the same again. Join us for nine weeks of public walks, talks, tours, workshops, concerts, group bike rides, and other ways of exploring the Central Square neighborhood. Each weekend of the festival, different Glowlab artists will be present to lead participatory public events inside and outside the Art Interactive space. Visit the online schedule at http://www.artinteractive.org/calendar for more details about upcoming events or email info@artinteractive.org. Glowlab: Open Lab Opening Reception: Friday, October 14th, 2005, 6 - 9pm October 14 through December 11 Gallery Hours & Location: Art Interactive is open Saturdays and Sundays from 12 - 6pm or by appointment. The gallery is located at 130 Bishop Allen Drive, at the corner of Prospect Street in Cambridge, MA. For more information, please contact info@artinteractive.org, call 617-498-0100 or fax 617-498-0019. Press release with downloadable press kit: http://www.artinteractive.org/shows/glowlab/glowlab_press.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 16:47:36 -0700 message-id: <200510102347.j9anlaxg028939@idx164.idx.net> references: no_parent from: gail rubini subject: RHIZOME_RAW: New Media/New Work Exhibition at Art Interactive in Boston New Media/New Work NewMediaCaucus+ArtInteractive/CAA06: BOSTON/CAA CONFERENCE/ at ART INTERACTIVE GALLERY http://www.newmediacaucus.org/ http://www.artinteractive.org/ *CALL FOR PARTICIPATION: JANUARY 1 DEADLINE Be a part of something big and collective: The New Media Caucus is calling for video work to be included in an exhibition at the Art Interactive gallery during the CAA annual conference in Boston. You do not have to be a Caucus member to submit work. The call is open to all. This exhibition New Media/New Work represents a consortium of new Media organizations working together. The exhibition will consist of four separate screening areas within the gallery space: two screens are designated for New Media Caucus, one of which will be theme-based, the third section will be curated by Art Technology Boston, and the fourth will be curated by LEO-CAA, an affiliate of Leonardo. Hosting the event is Art Interactive, a non-profit experimental art space in Cambridge, Massachusetts. Situated in the heart of Central Square, Art Interactive's 2,500 square foot, one-of-a-kind space provides artists a supportive venue for showing cutting-edge work. Art Interactive offers the community in the Greater Boston Area unparalleled opportunities for experiencing innovative art forms. New Media Caucus members, Lisa Dorin, Assistant Curator at the Williams College Museum of Art and Gail Rubini, Associate Professor of Design at Florida State University will be curating the New Media Caucus work. There will be a separate call for Lisa Dorin’s theme- based screen. Format and instructions for submissions follow. The exhibition will be on view throughout the entire conference period, February 22-25. The opening reception will take place on Thursday February 23 from 6-9 NewMediaCaucus+ArtInteractive/CAA06 Contact: Lisa Dorin, Williams College Museum of Art LisaB.Dorin@williams.edu or Gail Rubini, Florida State University grubini@mailer.fsu.edu *CALL FOR PARTICIPATION: JANUARY 1 DEADLINE + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 17:26:35 -0700 message-id: <200510110026.j9b0qzwp000786@idx164.idx.net> references: no_parent from: Irena subject: RHIZOME_RAW: Public Gathering Project VYDAVY invites you to participate in Public Gathering Project (group photo event) at d.u.m.b.o. art festival October 15 and 16, 2005, at 3:00 pm This group photo event will happen in collaboration with DOUBLE which is a project of Christopher K. Ho and Sara Reisman sreisman@yahoo.com and is an 8 foot wide, 55 foot long, and 6 foot high aluminum structure stretching across Washington Street, connecting one sidewalk to the other (see diagram below). d.u.m.b.o. arts center (dac)™ 30 Washington St. Brooklyn, NY 11201 Participants of the previous Gathering will receive a photograph taken at location #3&4 For more information visit: http://magazinnik.com/vydavy/announcements.htm www.vydavy.com http://www.dumboartscenter.org/festival/2005/ Come as participants or viewers, bring your friends and family. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 17:27:29 -0700 message-id: <200510110027.j9b0rtgk000933@idx164.idx.net> references: no_parent from: Irena subject: RHIZOME_RAW: Public Gathering Project VYDAVY invites you to participate in Public Gathering Project (group photo event) at d.u.m.b.o. art festival October 15 and 16, 2005, at 3:00 pm This group photo event will happen in collaboration with DOUBLE which is a project of Christopher K. Ho and Sara Reisman sreisman@yahoo.com and is an 8 foot wide, 55 foot long, and 6 foot high aluminum structure stretching across Washington Street, connecting one sidewalk to the other (see diagram below). d.u.m.b.o. arts center (dac)™ 30 Washington St. Brooklyn, NY 11201 Participants of the previous Gathering will receive a photograph taken at location #3&4 For more information visit: http://magazinnik.com/vydavy/announcements.htm www.vydavy.com http://www.dumboartscenter.org/festival/2005/ Come as participants or viewers, bring your friends and family. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 18:12:45 -0700 message-id: references: <63a9f55c-eec3-429c-a698-0a48396ad889@alcor.concordia.ca> from: Jim Andrews subject: RE: RHIZOME_RAW: Re: RHIZOME_RARE: A few words concerning open-source and art don't get me wrong, i am all for artist-programmers distributing their code, if it is useful, interesting, and well-documented. that has been a task i have spent quite a bit of time on in some of my work (such as http://vispo.com/nio ). the technotes essay I wrote discussing the code ideas is now part of the Director documentation on audio programming. and wfs is code for director i release for a price ( http://vispo.com/wfs4 ). and there's other code at http://vispo.com/writings/index.htm#lingo you may have missed my point, though, pall. the main point was that the durieu code idea was revealed in the interview. if one understands the code idea, one does not need the code. also, the code itself is not enough to understand the code idea because the code idea involves knowledge of mappings of the complex plane. i suspect durieu mostly wanted me to understand the code idea because it's beautiful. a most elegant use of complex number theory in the service of art. there's the 'who done it'. then there's the 'how'd e do it'. riddles should add to mystery, more than the sum of their parts. i thought that's how it went down. i agree with your notion that "Art has never been solely about what is seen/heard/experienced, etc.." and that source code can be an important part of a piece of programmed art. additionally, one can help other artist-programmers to advance programmed art by releasing one's source code. but there is no moral imperative to operate this way. there is much unseen even in the seen. i know you understand this. not sure rob does though. ja + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 22:01:12 -0700 message-id: <200510110501.j9b51c9b003907@idx164.idx.net> references: no_parent from: Greg Smith subject: RHIZOME_RAW: Vague Terrain, Sat. Oct. 29th - Toronto saturday october 29th / vague terrain presents... kero - detroit / det.und / bpitch / shitkatapult naw - noise factory / vague terrain des cailloux et du carbone - montreal / natacha's records / mutek 2005 video / tasman richardson - famefame video / liav koren toronto / canada art bar / the gladstone hotel limited capacity $5 / doors open @ 9pm 1214 queen st. west http://www.vagueterrain.net Join us for the official launch of vagueterrain.net - our new digital arts quarterly. The first issue of vague terrain, an exploration of digital detritus will be launching within the next few weeks. To celebrate the beginning of our e-publication we have invited a number of artists involved with the first issue of vague terrain to show/perform work at our monthly at the artbar. Hope to see you out on the 29th! We’ll be making a formal announcement once vagueterrain.net goes live. Greg Smith & Neil Wiernik vagueterrain.net – editors/curators -- Artist Information kero - detroit / det.und / bpitch / shitkatapult / http://www.djkero.com With over 13 releases on some of electronic music's most celebrated and innovative labels such as Bpitch, Ghostly International, Shitkatapult, and Downwards, as well as his own critically acclaimed Detroit Underground Records, Kero (nee Sohail Azad) has established a reputation for his unrepentantly brash, yet cultivated compositions and unforgettable live performances. Kero has established himself as a leader within the growing pack of electronic music producers successfully infiltrating contemporary art circles world wide and has recently shared the stage with Speedy J, Ken Ishii and Funkstorung. His innovative approach to music, graphic design and video production feeds on the detritus of popular electronic culture, creating a montage of fleeting musical and visual experiences that are paradoxically critical and enamored with contemporary culture. Drawing on his experiences as a dual citizen of both Canada and the United States, Kero conducts visual and aural investigatio! ns that are concerned with ideas of the diametric and intermediary. Subsequently, the ephemeral nature of electronic culture, the "rave" experience and aesthetic offers a microcosm to explore similar elements in popular culture. The result is music that blurs genres from hip-hop to the most rarified of techno experiments, video art which stirs faint recollections of print and televised media, and a design language that has ingrained itself upon the most celebrated electro-cultural market in the world. naw - noise factory / vague terrain / http://www.naw.phoniq.net Montreal native Neil Wiernik currently living in Toronto, began his explorations in electronic music making as early as 1988. Known to push the boundaries of his musical form from designing new or manipulating existing sound making devices and software to creative uses of production environments and sound sources, naw's music is a blend of sound manipulation/design, experimental musics and dub-tech rhythms, which on the surface sound quite simple, but incorporate a number of touches that steer this artist away from being simply another minimal techno or experimental laptop artist. He combines post-house, dubby minimal techno, microsound and thick ambience, to create his own version of deep techno, house and other electronic laptop orineted musics. Neil has released music on various national and international record labels, including releases on Noise Factory, Complot, Clevermusic, Piehead and Pertin_nce. As naw, Neil has performed extensively along side a variety of national! and international artists both in and outside of Canada. In 2004 and 2005 naw will released his follow up noise factory record full length called: "green nights orange days", as well as a full length outting with Pertin_nce Records called: "terrain vague". These two records find Neil at his deepest, dubbiest and most experimental sounding yet. The release of these records will coincide with a series of North American and European tour dates through out 2005. des cailloux et du carbone - montreal / natacha's records / mutek 2005 This solo project from Marcello Marandola, a Montreal-based musician and one-half of “data-folk” duo Cian Ethrie, subscribes to a niche of experimentations and playful escapades associated with Natacha’s Recordings. So, when Marandola claims that his music is of the “house” variety, do not misinterpret him! Actual household field recordings are incorporated into his sound; it’s an “bedroom” brand of music that he concocts in the comforts of his own abode. His compositions are undeniably intimate, infused by sounds that we may hear everyday. Powered by melancholic tones and subtle jolts, with a layering of accidental fractures that fittingly disrupt the sonorous continuum, the compositions from des cailloux et du carbone are unfaltering in their quest to invade your memory with dissected and detailed repetitions, simultaneously evoking nostalgic images. On stage, the traditional house music influences may increasingly appear as the overall sound oscillates bet! ween the scattered and the rhythmic. tasman richardson - famefame / http://www.famefame.com Tasman Richardson is a videomaker , electronic composer, designer, curator, and organizer. His work has shown in Argentina, Austria, Bulgaria, Canada, Egypt, England, France, Finland, Holland, Iceland, Peru, Poland, Spain, Switzerland, and The United States. His time is slowly whittled away by making art and cultivating a refined knowledge of all things geek. He does not live in his parents basement but does enjoy winning Jubal's money on Bosconian and the odd D&D game. He has performed and collaborated under the aliases M.O.I., JAWA, Pox, FAMEFAME, theblameshifter, IBM, OHVOV, Anvil, Polygon Noose, and Noise-Op. His artworks are available through Vtape, Artcore, Microcinema International, Hymen, and famefame. liav koren Liav Koren studies architecture, urbanism, cities, people, digital techniques, gossip, the trajectories of dust motes in sun-light, art and design at the University of Toronto's Faculty of Architecture, Landscape and Design. In a different life he pretended to be a math student at York, while sneaking into urban studies and fine arts classes. He is particularly interested in the ways in which tools and systems of representation quietly infiltrate and shape the way we think and design. He spends too much time pecking instructions into computers and waiting patiently to see what will happen. Recently, animated grids have been the result. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 22:02:01 -0700 message-id: <200510110502.j9b521lj004090@idx164.idx.net> references: no_parent from: Anne Preston subject: RHIZOME_RAW: CALL FOR PARTICIPANTS for "Phone Home" project Looking for participants for a new media project called "phone home". This is all you need to do: 1) Take a picture of what comes to mind when you think of the word "home." 2) Email the photo to this address: phpic@mn.rr.com. 3) In the subject line, please type in your postal code. That's all - it's really easy. Pictures taken with a mobile phone are preferred, but others taken with a still camera accepted. The project involves increments of time so submit as many pictures (at any time of day) as you would like. Feel free to pass this message on to EVERYONE you know. The more pictures received, the more interesting the project will be! Start sending photos now! They will be collected until at least December 10, 2005 and possibly longer. Thanks for participating! Have any questions? - just ask! More information will be available soon. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 16:04:46 +0200 message-id: <010801c5ce6c$dd2b00e0$b47689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: &GREEN INTENTION &GREEN INTENTION&GREEN CONTEND MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 07:45:35 -0700 message-id: <200510111445.j9bejzld005512@idx164.idx.net> references: no_parent from: kurt subject: RHIZOME_RAW: Faculty Search ARTIST Assistant Professor – Time Arts TIME ARTS, Assistant Professor: Entry–level tenure-track position to teach video and new-media courses in Time Arts program from beginning through graduate level that incorporate interactive techniques and methods. Must be able to work effectively with students, serve on graduate advisory committees, and share responsibility for all aspects of Time Arts program. Active participation in university, school, and community-related activities while maintaining a strong record of personal research, exhibitions, and professional activities are expected. Required: M.F.A. with an emphasis in Video Art or equivalent. Preferred: College-level teaching experience beyond graduate teaching assistantship and emerging exhibition/presentation record and/or evidence of professional practice and client base. Completed applications must be received by December 15, 2005. Send: Letter of application; curriculum vitae; artist statement; teaching philosophy; three current, signed original letters of reference; an NTSC DVD-video portfolio containing examples of your own work and student work viewable on a standard DVD player (URLs, CD-ROM/DVD-ROM [Mac or PC], Audio CD, or slides may be included as supplementary information); and SASE for return of media to: Time Arts Search Committee School of Art, VAB 216 Northern Illinois University DeKalb, IL 60115-2883 815-753-0309 fbutler@niu.edu, www.niu.edu/art/ AA/EEO + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 12:01:24 -0400 message-id: <641a525b0a2a2540b1dd0a3de660241c014dcf11@exchange.terra-incognita.net> references: no_parent from: Andrane Leclerc subject: RHIZOME_RAW: News from the Daniel Langlois Foundation Workshops with professor Yvonne Spielmann (Ph.D.) The Daniel Langlois Foundation is pleased to provide online access to a pedagogical document recounting the history of experimental video and electronic and digital imaging. This document includes excerpts from a three-day workshop given by Professor Yvonne Spielmann (Ph.D.), which was held at the Foundation's Centre for Research and Documentation (CR+D) from September 29 to October 1, 2004. It also contains excerpts of works by artists such as Steina and Woody Vasulka, Bill Etra, Dan Sandin, John F. Simon Jr. and Granular Synthesis: http://www.fondation-langlois.org/flash/e/index.php?NumPage=525 Sonia Landy Sheridan fonds The Daniel Langlois Foundation is proud to make available the personal archives of Sonia Landy Sheridan. This fonds constitutes a major addition to the Foundation's Centre for Research and Documentation (CR+D) collection. Born in 1925 in Newark, Ohio, Sonia Landy Sheridan is one of the few women to have worked in technological arts in the 1960s and 1970s. The Sonia Landy Sheridan fonds primarily contains archive folders, manuscripts, notebooks, slides, photographs, video and audio records, films, exhibition catalogues and books, digital records and numerous colour and black and white reprographic works. The works of Ms. Sheridan can be found in the collections of many museums, including the Art Institute of Chicago, the San Francisco Museum of Modern Art, the National Gallery of Canada, and the Fundacion Telefonica in Madrid. The largest collection brings together more than 600 of her works at the Dartmouth College Hood Museum in Hanover, New Hampshire: http://www.fondation-langlois.org/flash/e/index.php?NumPage=718 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 10:00:29 -0700 (PDT) message-id: <4764489.1129050029078.javamail.root@localhost> references: no_parent from: ken goldberg subject: RHIZOME_RAW: atc @ ucb: bruno latour monday The Art, Technology, and Culture Colloquium of UC Berkeley's Center for New Media Presents: Bruno Latour, Professor and Curator, Ecole des Mines, Paris * NOTE Special Room and Time * Monday, October 17th, 101 Morgan Hall * 6:30-7:30pm, Screening of Film: "Making Things Public" * 7:30-9:00pm, Lecture * Free and open to the public. * This presentation is jointly Sponsored with * Berkeley's New Science, Technology, and Society Center (see below) "Things" are controversial assemblages of entangled issues, and not simply objects sitting apart from our political passions. The entanglements of things and politics engage activists, artists, politicians, and intellectuals. To assemble this parliament, rhetoric is not enough and nor is eloquence; it requires the use of all the technologies -- especially information technology -- and the possibility for the arts to re-present anew what are the common stakes. This talk will debrief and discuss "Making Things Public", a recent art show that provided a simulation of these issues. ==================================================== Bruno Latour was trained first as a philosopher and then as anthropologist. After field studies in Africa and California he specialized in the analysis of scientists and engineers at work. In addition to work in philosophy, history, sociology and anthropology of science, he has collaborated into many studies in science policy and research management. He has written Laboratory Life: the construction of scientific facts (Princeton University Press), Science in Action, and The Pasteurization of France (both at Harvard University Press). He also published a field study on an automatic subway system, Aramis or the love of technology, and an essay on symmetric anthropology: We have never been modern (both with Harvard and now translated in 22 languages). With the same publisher, he also published a series of essays, Pandora's Hope: Essays in the Reality of Science Studies. In a series of books in French he has been exploring the consequences of science studies on different traditional topics of the social sciences. Since 1982, Latour has been professor at the Centre de sociologie de l'Innovation at the Ecole nationale supirieure des mines in Paris and, for various periods, visiting professor at UCSD, at the London School of Economics and in the History of Science department of Harvard University. He has recently curated, with Peter Weibel, two art exibitions at the ZKM Museum for Contemporary Art in Germany. For more information see: http://bruno.latour.name/ ==================================================== ATC Primary Sponsors: UC Berkeley Center for New Media (CNM) and Center for Information Technology in the Interest of Society (CITRIS) Additional ATC Sponsors: Office of the Executive Vice Chancellor and Provost, College of Engineering Interdisciplinary Studies Program, Consortium for the Arts, BAM/PFA, and the Townsend Center for the Humanities. *Special Sponsors for the this presentation: Berkeley's Science, Technology, and Society Center: STSC; Department of Anthropology, History, and Social Medicine at UCSF; Stem Cell Initiative Humanities GROUP Team Award; and the French Studies Program. ATC Director: Ken Goldberg ATC Associate Director: Greg Niemeyer ATC Graduate Assistant: Irene Chien Curated with ATC Advisory Board For updated information, please see: http://atc.berkeley.edu/ ---------------------------------------- You are subscribed to this list as list@rhizome.org. To unsubscribe, send email to unsubscribe.55895.46300182.121770538664336189-list_rhizome.org@en.groundspring.org. Our postal address is 685 Carolina Street San Francisco, California 94107 United States __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 10:54:28 -0700 message-id: <200510111754.j9bhssqd029919@idx164.idx.net> references: no_parent from: pasquet olivier subject: RHIZOME_RAW: electronic music performance Olivier Pasquet live performance at OPA on sept 12 2005 from 8pm to 2am, Paris (M Bastille) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 10:59:14 -0700 message-id: <200510111759.j9bhxe7w030773@idx164.idx.net> references: no_parent from: pasquet olivier subject: RHIZOME_RAW: Jitter & FTM presentation @ ircam October 11th 2005, Olivier Pasquet will show what's new on the Max Jitter library 1.5.2. October 11th 2005, Olivier Pasquet will show some work done with the Max ftm library. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 11:04:37 -0700 message-id: <200510111804.j9bi4bfb031608@idx164.idx.net> references: no_parent from: pasquet olivier subject: RHIZOME_RAW: Suspended Engines @ Ars Electronica Emotional Traffic - Some electronic synthesis generation by Olivier Pasquet - A project by Jean-Baptiste Barrière and Maurice Benayoun. Das Internet verkörpert das Nervensystem der Welt. In Teil 10 der Werkreihe „The Mechanics of Emotion“ lesen die Künstler die emotionalen Landkarten der Welt, die in Echtzeit aus dem Internet übertragen und als musikalische Partituren betrachtet werden. Sie spielen live auf den Emotionen der Welt wie auf Musikinstrumenten und tauchen gemeinsam mit dem Publikum in eine Erfahrung totaler kollektiver Manipulation ein. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 11:08:09 -0700 message-id: <200510111808.j9bi89uf032072@idx164.idx.net> references: no_parent from: pasquet olivier subject: RHIZOME_RAW: live electronics in Lille (F) Olivier Pasquet (live electronics), Alexandros Markeas (Piano) and Pierre Nouvel (Live video). Concert hapenning in the Tri Postal in Lille, France, with Ars Nova. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 11:15:45 -0700 message-id: <200510111815.j9bifjo8000731@idx164.idx.net> references: no_parent from: pasquet olivier subject: RHIZOME_RAW: suspended engines @ ars electronica suspended engines / Emotional Traffic Jean-Baptiste Barrière & Maurice Benayoun - some synthesis design by Olivier Pasquet. The Internet is meant to be the world's nervous system. In Part 10 of “The Mechanics of Emotion” series of works, the artists will read the maps of world’s emotions gathered in real time from the Internet and considered as musical scores. In an experience of total collective manipulation together with the audience, they will play the emotions of the world live like musical instruments. Software development in collaboration with V2_Lab Software (WEM): Brigit Lichtenegger, Artem Baguinski, Maloes de Valk Production: CITU (citu.info), V2 (v2.nl), Ars Electronica Festival www.moben.net/e-mechanics/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 15:06:43 -0700 message-id: references: no_parent from: Ceci subject: RHIZOME_RAW: Multiple Faculty Openings @ University of South Carolina Repost from Screen-L Please forward and post [attached as a flier]: ====================================================== The University of South Carolina, Columbia announces MULTIPLE SEARCHES in FILM & MEDIA http://www.cas.sc.edu/film Assistant Professor of New Media Studies The Film Studies Program and the Media Arts area of the Department of Art seek a cutting-edge scholar of new/digital media and culture. Teaching duties include relevant courses in media theory, criticism, and /or history at both the graduate and undergraduate levels. An ideal candidate might also bring expertise in television studies, film studies, global media, and/or media production (new and/or traditional). Qualifications include a PhD in media studies (or equivalent) with demonstrated excellence in research and teaching. Application review begins November 15, 2005. Assistant Professor of New Media Design The Department of Art seeks a cutting-edge new media artist with creative research in digital/new media, including computer animation, motion graphics, web design, and/or other aspects of digital media production. Teaching duties include courses in digital media production and design. The successful candidate will bridge the disciplines of graphic design and media production. The ideal candidate might also bring expertise in traditional media production (film, video, audio) or print-based communication (typography, theoretical, and practical design and graphic design history). Qualifications include an MFA or PhD in digital media (or equivalent) with demonstrated excellence in research and teaching. Application review begins November 15, 2005. Associate or Full Professor of Performance for Media The Department of Theater and Dance seeks a master acting teacher to join its professionally active faculty in a nationally competitive department. Primary responsibility for teaching acting to advanced undergraduate and MFA students with an emphasis in period styles. Duties include classroom instruction and coaching in the extensive production program that is exceptionally well integrated into the curriculum. Experience in performance for media is needed, as the position will help develop an interdisciplinary Center for Emerging Electronic Media. MFA or equivalent professional experience in acting and established and ongoing record of professional activity required. Interest in, and potential for, assuming future leadership of the MFA Acting program desirable. Application review begins December 5, 2005. Assistant, Associate, or Full Professor of Film Studies/History/Moving Image Archiving This is an interdisciplinary, open rank search for an innovative scholar in one or more of the following areas: film/TV history; 20th century cultural history, with an emphasis in moving image culture; moving image archiving. The institutional configuration of this hire will be determined by the strengths of the successful candidate, with a joint-appointment shared among some combination of: the Film Studies Program; the Department of History; the School of Library and Information Science; and/or the Newsfilm Library, USC*s film archive. Teaching duties will include graduate as well as undergraduate courses. We are also interested in candidates whose research expertise complements the holdings of the Newsfilm Library, which include the Fox Movietone News Collection (with elements from the 1920s through the mid 1940s), local TV news (1960s-70s), home movies, and science films by Roman Vishniac. Depending upon expertise, the scholar hired for this position might also work on these collections in a curatorial/consulting capacity. The qualified applicant might hold a PhD in Film Studies (or related discipline), History, or LIS, with research emphasis in one or more of the above-specified areas. Application review begins October 31, 2005. The University of South Carolina is an Affirmative Action/Equal Opportunity Institution. Women and minorities are encouraged to apply. COMPLETE ADS & APPLICATION INFORMATION at: http://www.cas.sc.edu/film/ Susan Courtney, Associate Professor Film Studies and English University of South Carolina Columbia, SC 29206 p: (803) 777-2361 f: (803) 777-9064 e: courtney@sc.edu + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 11 Oct 2005 22:21:13 -0700 message-id: <200510120521.j9c5ldgp021699@idx164.idx.net> references: no_parent from: maria miranda subject: RHIZOME_RAW: Call for Submissions to SCAN online gallery Scan Gallery is currently seeking submissions for its online Gallery. SCAN is hosted by the Media Department of Macquarie University in Sydney and hosts multimedia artworks on an ongoing basis. To view Scan Gallery http://scan.net.au/scan/gallery/gallery.html Submissions will be assessed by the Scan Editorial Committee. Media art works in all forms - including still and moving image, audio, interactive formats - are suitable for submission to the Gallery. Please email submissions to: jpotts@scmp.mq.edu.au Dr John Potts Media Macquarie University Full guidelines here http://scan.net.au/scan/about/about.html + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 01:28:00 -0700 message-id: <200510120828.j9c8s0fa008767@idx164.idx.net> references: no_parent from: mark kellogg subject: RHIZOME_RAW: announcement: ctrl+alt+repeat fall 2005 [los angeles] mem1 is proud to present... ctrl+alt+repeat fall 2005  a night of experimental electronics + new music tuesday, october 18 at 8:30 pm selah artistic giving center [ http://www.selahagc.org ] 1001 e. 1st street gallery 15 (orange doors) downtown l.a. performances by: frances-marie uitti [ http://www.uitti.org ] solo performance featuring uitti's original work "night lies" for cello + 2 bows david wessel [ http://cnmat.berkeley.edu ] joint improvisation with uitti and solo performance of "message to steve lacy" jen boyd [ http://www.current-recordings.com/current_mp3.html ] field recordings + shortwave radio mem1 [ http://www.mem1.com ] cello + live signal processing $5-10 for more information about the event and performers, go to: http://www.mem1.com/ctrl+alt+repeat/ this concert initiates the ctrl+alt+repeat series as a quarterly event. yeah! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 11:35:51 +0200 (CEST) message-id: <20051012093551.4b28021fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Qty quotation , QuickTime quantizations Qwerty, QED query quicktime, Quotation Marks . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 10:06:53 -0400 message-id: <434d187d.5090309@turbulence.org> references: no_parent from: Jo-Anne Green subject: RHIZOME_RAW: Turbulence Commission: "Le Nouveau Western" by Tal Halpern October 12, 2005 Turbulence Commission: "Le Nouveau Western" by Tal Halpern http://turbulence.org/works/nouveau Needs Flash MX player and sound on; optimized for Safari 2.0, Firefox, Explorer 5.2 for Mac & 6.0 for PC, Netscape 7.2 or higher "Believe in me because you have heard a voice." From a small room, he spoke to her and she listened. It was hours before liberation and the start of a new war. In his letters and illustrated recollections, he described an entire world to her, one she could only begin to imagine. But now that the war is over and he has disappeared, she is not alone in her interest in his world with all its prophetic vision. A new media narrative, which unfolds in the form of a man's literary remains, "Le Nouveau Western" is a story about the past, which is not yet passed; a mediation on memory and war in the information age. "Le Nouveau Western" is a 2005 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from The Greenwall Foundation. BIOGRAPHY Tal Halpern is an interdisciplinary artist and writer whose previous electronic work includes "Digital Nature: the Case Collection version 2.0" (Turbulence 2002), "Archiving Nature: Preservation Practices for a Digital Age" (Zentrum fur Kunst und Medientechnologie Karlsruhe 2001) and "Chromosome 22: Mapping the Human Genome" (C-Theory, 2000). For more information about Turbulence please visit http://turbulence.org -- Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org New American Radio: http://somewhere.org Networked_Performance Blog and Conference: http://turbulence.org/blog __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 10:48:03 -0400 message-id: references: no_parent from: kanarinka subject: RHIZOME_RAW: FRI 6PM - Glowlab: Open Lab opens at Art Interactive INVENT ANOTHER CITY The Glowlab: Open Lab festival kicks off in Central Square, Cambridge, MA, this week with a full schedule of walks, workshops and events. ______________________________________________________________ FRIDAY, 6PM - 9PM: FESTIVAL KICK-OFF PARTY Performance at the 2004 Glowlab Conflux festival by Dario D'Aprile to create a pedestrian crossing from baking flour in order to distribute a pattern of white footsteps throughout the neighborhood. Photo courtesy of Christina Ray. WHAT: Glowlab festival kick-off party & opening reception WHEN: THIS FRIDAY, 6PM - 9PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA MORE INFO: www.artinteractive.org/shows/glowlab. Free and open to the public. Beverages courtesy of Tiger Beer. FREE psychogeographic mystery gifts for the first 100 visitors. ______________________________________________________________ SATURDAY, 12PM: IS PSYCHOGEOGRAPHY PSYCHO? WHAT: Christina Ray, curator of Glowlab: Open Lab, conducts an informal discussion about psychogeography WHEN: Saturday, 12PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Free and open to the public. ______________________________________________________________ SATURDAY, 2PM - 6PM: BIKE HACK 101 WHAT: Artist Jessica Thompson conducts a workshop to hack your bike so that it laughs as you ride it through the city. Bring your bike! WHEN: Saturday, 2PM - 6PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Free and open to the public. ______________________________________________________________ SUNDAY, 12PM: SAY HELLO TO STRANGERS WHAT: Artist D. Jean Hester leads participants on a walk to say hello to strangers in the neighborhood. WHEN: Sunday, 12PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Free and open to the public. ______________________________________________________________ SUNDAY, 4PM - 6PM: PANEL DISCUSSION ON TECHNOLOGY & ART WHAT: A panel discussion on technology & art with Teri Rueb, George Fifield, Christopher Janney, Jen Hall, and Ralph Helmick & Stu Schechter. WHEN: Sunday, 4PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Presented in conjunction with the New Center for Arts & Culture. Free and open to the public. Food and beverages provided. ______________________________________________________________ Calendar: Check out the full festival calendar at www.artinteractive.org/calendar or download it at www.artinteractive.org/shows/glowlab/calendar.pdf. ______________________________________________________________ About Art Interactive: http://www.artinteractive.org Art Interactive is a non-profit art space in Cambridge, Massachusetts, whose mission is to provide a public forum for artwork that is contemporary, experimental, and participatory. Situated in the heart of Central Square, Cambridge, MA, Art Interactive's 2,500 square foot, one-of-a-kind space provides unique opportunities for creative exchange and experimental production amongst curators, artists, organizations and communities. Gallery Hours & Location: Art Interactive is open Saturdays and Sundays from 12-6pm or by appointment. The space is located at 130 Bishop Allen Drive, at the corner of Prospect Street in Cambridge, MA. For more information, please contact info@artinteractive.org, call 617-498-0100 or fax 617-498-0019. Support & Partners: The Glowlab: Open Lab exhibition and festival is made possible with the support of the following groups: iKatun, Guarino Design Group, turbulence.org, The Berwick Research Institute, Tiger Beer, Non-event, The Center for Advanced Visual Studies at MIT, The Boston Society of Architects, Anthem Magazine, The Weekly Dig, Upgrade! Boston, RedMaps.com, The Weekly Dig + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 17:05:34 +0200 message-id: <000601c5cf3f$7ac446e0$137689d5@e9o9t1> references: no_parent from: manik subject: RHIZOME_RAW: I'M SLAVE Looking for participants for a new media project called "I'M SLAVE". This is all you need to do: 1) Take a picture of what comes to mind when you think of the word "I"and"Slave" 2) Email the photo to this address: MANIK@PTT.YU 3) In the subject line, please type:I'M SLAVE That's all - it's really easy. MANIK __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 17:49:10 +0200 message-id: <85989457-76ae-49c5-bff0-539b362497c1@nznl.com> references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Oct 06, 2005 - Oct 12, 2005 nznl.com digest Oct 06, 2005 - Oct 12, 2005 Posts 1228 - 1234 http://nznl.com 1228. Oct 06, 2005 PLAN FOR A SET OF RULES REGARDING THE MOVING OF ABTRACT PAINTINGS, 2009, PERFORMANCE FOR 5 NZNL.COM WORKERS flash movie http://nznl.com/geert/pop.php?dag=20051006 1229. Oct 07, 2005 STUDY FOR A SMALL ROOM, 2009, PLYWOOD, NEON, FITTINGS fireworks file http://nznl.com/geert/pop.php?dag=20051007 1230. Oct 08, 2005 MY PLAN IS A COPY OF YOUR FUTURE, 2009, PERFORMANCE FOR NZNL.COM WORKER #1 fireworks file http://nznl.com/geert/pop.php?dag=20051008 1231. Oct 09, 2005 PLAN FOR A COPY OF NZNL.COM WORKER #1, 2009, PERFORMANCE fireworks file http://nznl.com/geert/pop.php?dag=20051009 1232. Oct 10, 2005 JUST WHAT IS IT THAT MAKES TODAY S HOMES SO DIFFERENT SO APPEALING, 2009, (AFTER RICHARD HAMILTON) fireworks file http://nznl.com/geert/pop.php?dag=20051010 1233. Oct 11, 2005 NZNL.COM LECTURE HALL, 2009, PLYWOOD, ACRYLICS http://nznl.com/geert/pop.php?dag=20051011 1234. Oct 12, 2005 CODE FOUNTAIN, 2009, WHITE CUBE, ROCKS, CODE fireworks file http://nznl.com/geert/pop.php?dag=20051012 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 12:00:58 -0400 message-id: <0d83add8-666c-436c-af75-de36b8eba879@anothercupdevelopment.org> references: <4f7dfc10-ba5a-4f69-84bb-e70df7add279@anothercupdevelopment.org> from: Amy Hitchcoff subject: RHIZOME_RAW: RELEASE: Walking Tour of Brooklyn Waterfront Politics > > FOR IMMEDIATE LISTINGS RELEASE > > The Center for Urban Pedagogy (CUP) presents > A Walking Tour of Brooklyn Waterfront Politics > Saturday, October 22, 2:005:00 pm > Free and open to the public > > New York, NY, October 10, 2005 The Center for Urban Pedagogy, a > nonprofit design and education organization, invites you to explore > the politics that shape the Brooklyn waterfront. This walking tour, > led by Dan Wiley, will introduce you to the infrastructure, > buildings, open spaces, and people involved in countless > discussions and debates on the future of our city. > > Saturday, October 22, 2005 > A Walking Tour of Brooklyn Waterfront Politics > 2:00 PM, starting at the Rotunda Gallery > 33 Clinton Street, Brooklyn Heights > A/C to High Street, 2/3/4/5 to Borough Hall, R/M to Court Street > > Admission is free, but space is limited. > For details and reservations, please call the Rotunda Gallery at > (718) 875-4047 x11 > > RAIN DATE: Sunday, October 23, 2:00 pm at the Rotunda Gallery > > Dan Wiley of the Center for Urban Pedagogy (CUP) will lead a > walking tour of the Brooklyn waterfront, starting at the Rotunda > Gallery. This three hour tour will introduce participants to the > bureaucrats, activists and residents who contribute to the ongoing > struggle over Brooklyn's infrastructure. Residents and > organizations along the route are not passive but active > participants and will help lead the discourse as to what is going > on and being planned for their "backyard." The tour will use issues > of community and urban planning, urban studies, and the political > use of architecture as a springboard for discussion. Highlights and/ > or lowlights as some might see them will include: the former Candy > Factory on Middagh Street (20 Henry), a post-industrial building > now post-tenants (having recently lost affordable artist live-work > space, though once a national model for such adaptive re-use); the > Jehovah's Witnesses-razed block, post-historic buildings and the > ironically post-church, St. Anns. Will Con Ed be post-smokestack? > Or will Brooklyn Bridge Park be post-Purchase? Pro-luxury high > rise? DUMBO or dodo? Participants are encouraged to bring their own > props for show-and-tell. > > Since 2000, Dan Wiley has been a Community Coordinator for > Congresswoman Nydia Velzquez covering issues in the Brooklyn > portion of the 12th Congressional District, from the Brooklyn Navy > Yard southwest through waterfront communities extending through > Vinegar Hill, DUMBO, Fulton Ferry Landing, Brooklyn Heights, > Carroll Gardens, Red Hook, Gowanus, Park Slope, and Sunset Park. > Mr. Wiley has lived and worked in Brooklyn since 1988: as an > education program coordinator for Brooklyn Center for the Urban > Environment (BCUE, 1993-1999) as well as for the New York City > Districting Commission. Dan has a BFA from Cooper Union (1987) and > was a fellow at the Whitney Museum Independent Study Program > (1988). He has exhibited public art that focuses on urban issues, > and has planned and coordinated exhibitions and forums focusing on > the problems of homelessness, housing, and urban planning. Mr. > Wiley is completing a thesis on the planning process for Brooklyn > Bridge Park for an M.A. degree in the Geography Department of > Hunter College, CUNY. > > CUP is a non-profit research and design organization that makes > educational projects about places and how they change. The goal of > a CUP project is to engage participants in how the world works and > how citizens can be involved in change. Our projects bring together > art and design professionals artists, graphic designers, > architects, urban planners with community-based advocates and > researchers organizers, government officials, academics, service- > providers and policymakers. Our work grows from a belief that the > power of imagination is central to the practice of democracy. The > idea of connecting academic knowledge and activist know-how through > design remains at the heart of CUP's mission. Most recently, CUP > has redesigned a high school entrance with 10th-graders, produced a > television program about public housing and has been selected to > participate in Shrinking Cities: Reinventing Urbanism, a multi-part > exhibition and publication project sponsored in part by the German > Federal Culture Foundation. > > CUP's Brooklyn Waterfront Walking Tour is produced in association > with "Post-Everything," an exhibition at Brooklyn's Rotunda > Gallery, curated by Janine Cirincione. > > # # # > > MEDIA CONTACT: Damon Rich, The Center for Urban Pedagogy (CUP) > T: (718) 5967721 or (917) 7412640 or damon@anothercupdevelopment.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 09:40:28 -0700 message-id: <200510121640.j9cgesap021213@idx164.idx.net> references: no_parent from: michelle handelman subject: RHIZOME_RAW: Michelle Handelman\'s "This Delicate Monster" "THIS DELICATE MONSTER" Multimedia Exhibition by Michelle Handelman Performances: OCT 13 and Oct 27, 7-9p Show runs: October 6 - 29, 2005 RX Gallery 132 EDDY STREET SAN FRANCISCO 415.756.8890 www.rxgallery.com www.michellehandelman.com This Delicate Monster is a multi-media pop fable inspired by Charles Baudelaire's The Flowers of Evil , a book of poems as succulent and darkly suave as 19th-century Paris and Baudelaire himself. Handelman transposes the Flowers of Evil into a pop landscape, creating a hallucinatory fragmented narrative that lies somewhere between conceptual art piece and pure visceral experience. For this exhibition Handelman transforms the gallery with projections, live performers, and photographs from her latest project This Delicate Monster,a place where passion, obsession, fashion and ugliness collide. Collaborating with couture fetish designer Garo Sparo, Italian noise band Larsen, and a cast of performers, the multi-screen narrative is constructed of gestures and sounds that breathe life into Baudelaire's text such as, "No abyss compares with your bed" and "to swallow up existence with a yawn". Like Artaud's Theater of Cruelty, this piece implicates the viewer into a mediated world of attraction and repulsion, with moments so loaded with the symbolic that they destroy meaning altogether. The exhibit becomes a sympathetic symphony of gasps, shrieks and repetitive actions that can best be described as a cross between a horror film and a fashion shoot gone terribly wrong. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 11:38:40 -0700 message-id: <200510121838.j9cice76017133@idx164.idx.net> references: no_parent from: Gobira Gobira subject: RHIZOME_RAW: TROCA-TROCA : SWAPPING, by Gobira. TROCA-TROCA : SWAPPING, by Gobira. Essay analyses, from an educational point of view, the contemporary art object “Troca-Troca”, Swapping; three beetles re-configured in auto shops in the outskirts of Rio de Janeiro, a project coordinated by the artist Jarbas Lopes and also the relationship of one Museum of Contemporary Art with a community of a small town in the Brazilian countryside. http:/www.brazilianartists.net/articles/swapping/index.htm + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 12:09:53 -0700 message-id: <200510121909.j9cj9ruw025280@idx164.idx.net> references: no_parent from: Pauline Jennings subject: RHIZOME_RAW: Seeking Musicians for Intermedia Event Hello, We are seeking live musicians or sound artists to participate in an upcoming intermedia event taking place in Oakland California on November 19th.  The event is entitled Evolutionary Patterns and the Lonely Owl (Byte #1) and will include dance, video, performance, installation and music.  The content of the music or sound is for the most part up to the individual but the overall form of the piece will be determined by a series of rules adapted from mathematician Conway's Game of Life. There is documentation of our latest incarnation of this event online at: http://www.double-vision.biz/evolutionary_patterns.html to give you a feel for what we do.  If you are  interested in participating please contact us at dv@double-vision.biz. Thanks! Sean & Pauline, co-Directors / DOUBLE VISION + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 13:07:44 -0700 message-id: <200510122007.j9ck7ilr009308@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Sound Art China Blue, Sound Artist shows two pieces: “Decode” and “Mikey vs. Fabio” at Dumbo Art Festival, Dumbo, Brooklyn, NY October 14-16, 2005 Look for "Decode" at: 30 Washington St and look for “Mikey vs. Fabio” at: 55 Washington Street, 9th Floor, to the left of the cubicles “Smart & sexy work” Seth Horowitz, PhD, Bioacoustics Technical Committee, Acoustical Society of America "The bleeding edge of creative sound" Lance Massey, Creative Director, NeuroPop Sound Design “…a little Duchampian mischeviousness”, Ken Johnson, NY Times “Blue succeeded in encouraging viewers to investigate the energetic and diverse content of the gallery – which in this case was twittery, and a little bit literary.” Sarah Valdez, Art in America For more information go to www.chinablueart.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 17:58:47 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Contribute to Panel Junction by Andy Deck Hi =AD Andy Deck is seeking contributions for his latest work, Panel Junction . See below, and please consider lending him a hand!- Lauren Panel Junction is a project co-produced by media artist Andy Deck and many volunteers. It combines the graphic novel with forms of shared authorship that are unique to the Internet. Interactive tools for organizing and furthering the collaboration are integrated into the website. Contributions from visitors to the site will culminate in a free document suitable for printing with a standard ink-jet printer. All images and text contributed to the project will remain free for non-commercial use with attribution under a Creative Commons license. Panel Junction: http://artcontext.org/act/05/panel/feature.php?page=3D6 Lauren Cornell Executive Director Rhizome.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 12 Oct 2005 16:52:55 -0700 message-id: references: no_parent from: Ceci subject: RHIZOME_RAW: New Media Arts Programs We at Rhizome are currently developing a list of B.A./B.F.A./M.A./M.F.A./PhD programs relevant to new media art. We hope this list will serve as a resource to our members. Please get in touch with me if you would like to contribute to the list. I will need the name of the University, the department, the location, the name of the program/major/concentration/minor/etc., the programs website address, and a brief description. Thank you so much! Ceci -- Ceci Moss Sales Associate for Organizational Subscriptions, Rhizome.org tel. 212.219.1288 x211 fax. 212.431.5328 email. ceci@rhizome.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 13 Oct 2005 03:16:18 -0700 message-id: <200510131016.j9daginc002695@idx164.idx.net> references: no_parent from: xavier cahen subject: RHIZOME_RAW: pourinfos Newsletter / 10-07 to 10-13-2005 pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- infos du vendredi 07, octobre, 2005 au jeudi 13, octobre, 2005 (inclus) infos from October 7, 2005 to October 13, 2005 (included) ------------------------------------------------------------------- (mostly in french) ------------------------------------------------------------------- 01 Call : luminous device, festival "the breath of the equinox", Ecole superieure de l'image et le CNR de poitiers, Poitiers, France. http://pourinfos.org/candidature/item.php?id=2099 ------------------------------------------------------------------- 02 Call : New videoDictionary, TheVideoArtFoundation, Spain. http://pourinfos.org/participation/item.php?id=2098 ------------------------------------------------------------------- 03 Residence : Dazibao, centre de photographies actuelle, Montreal, Canada. http://pourinfos.org/residences/item.php?id=2097 ------------------------------------------------------------------- 04 Job : director, Fonds regional d’art contemporain d’Ile-de-France , Paris, France. http://pourinfos.org/emploi/item.php?id=2096 ------------------------------------------------------------------- 05 Workshop : Workshop employment, Maison de l'architecture en Île-de-France, Paris, France. http://pourinfos.org/emploi/item.php?id=2095 ------------------------------------------------------------------- 06 Publication : CREVARD [baise-sollers], Thierry Théolier, éditions cameras animales, Tours, France. http://pourinfos.org/publications/item.php?id=2094 ------------------------------------------------------------------- 07 Publication : # 42, Papiers Libres, galerie ESCA, Milhaud, France. http://pourinfos.org/publications/item.php?id=2093 ------------------------------------------------------------------- 08 Screening : eDS Cut Climax, le collectif eDS espaces and Déplacements Sporadiques, Espace Delrue, Nantes, France. http://pourinfos.org/expositions/item.php?id=2092 ------------------------------------------------------------------- 09 Program : Loris Greaud, Ricard s.a. 2005 prize, Espace Paul Ricard, Paris, France. http://pourinfos.org/expositions/item.php?id=2091 ------------------------------------------------------------------- 10 Program : Mirror of sciences 2005 2005, Polly Maggoo's association, Espace culturel Comoedia, Aubagne, France. http://pourinfos.org/expositions/item.php?id=2089 ------------------------------------------------------------------- 11 Program : "Discovered cinema" et "Discovered videos", " Rendez-vous teaching", Centre Pompidou, Paris, France. http://pourinfos.org/expositions/item.php?id=2088 ------------------------------------------------------------------- 12 Performance : Good-bye cruel world, lucille calmel and antoine boute, revue Stalker, 15 th Salon de la Revue, France. http://pourinfos.org/expositions/item.php?id=2087 ------------------------------------------------------------------- 13 Exhibition : "NO FUN! games and the gaming experience", PIKSEL 05 festival, Hordaland Kunstsenter, Norway. http://pourinfos.org/expositions/item.php?id=2086 ------------------------------------------------------------------- 14 Exhibition : Volume publication, 7. 11, Volume, Netherlands Media Art Institute, Amsterdam, Netherlands. http://pourinfos.org/expositions/item.php?id=2085 ------------------------------------------------------------------- 15 Exhibition : WJs, Dis-patch festival 2005 , Cultural centre REX, Belgrad, Serbia. http://pourinfos.org/expositions/item.php?id=2084 ------------------------------------------------------------------- 16 Exhibition : Continuation 2, Caroline Duchatelet, Triangle france, Friche la Belle de Mai, Marseille, France. http://pourinfos.org/expositions/item.php?id=2083 ------------------------------------------------------------------- 17 Exhibition : Le hurloir, Thierry Fontaine, Etablissement d'en face, Argosfestival, Brussels, Belgium. http://pourinfos.org/expositions/item.php?id=2082 ------------------------------------------------------------------- 18 Exhibition : In memoriam, Galerie Dany Lafleur, Montreuil, France. http://pourinfos.org/expositions/item.php?id=2081 ------------------------------------------------------------------- 19 Exhibition : Emergency Biennale, Bolanzo Stop, European Academy of Bolzano, Bolzano, Italy. http://pourinfos.org/expositions/item.php?id=2080 ------------------------------------------------------------------- 20 Exhibition : Orgy, the life secrete of the vine, Centre d'Animation Reuilly, Paris, France. http://pourinfos.org/expositions/item.php?id=2079 ------------------------------------------------------------------- 21 Residence : artist, Ecole municipale des Beaux arts, Chateauroux, France. http://pourinfos.org/residences/item.php?id=2078 ------------------------------------------------------------------- 22 Call : festival of little and independent,film productions, Kino Klub, Novi Sad, Serbia and Montenegro. http://pourinfos.org/candidature/item.php?id=2077 ------------------------------------------------------------------- 23 Call : Transmission Art Web Projects, New Museum of Contemporary Art, New York, Usa. http://pourinfos.org/candidature/item.php?id=2076 ------------------------------------------------------------------- 24 Call : IAS-STS Fellowship Programme 2006-2007, Institute for Advanced Studies, Graz, Austria. http://pourinfos.org/candidature/item.php?id=2075 ------------------------------------------------------------------- 25 Call : Appel à projets, Open Labs Projects, Brussels, Belgium. http://pourinfos.org/candidature/item.php?id=2074 ------------------------------------------------------------------- 26 Workshop : Call for workshop participation, Atelier Nord, Oslo, Norway. http://pourinfos.org/emploi/item.php?id=2073 ------------------------------------------------------------------- 27 Meetings : 4es Rencontres de la revue électronique, Paris, France. http://pourinfos.org/rencontres/item.php?id=2072 ------------------------------------------------------------------- 28 Meetings : eDS 3strings, eDS espaces et Déplacements Sporadiques and Les Moyens du Bord, Maison Prévotal, Plougasnou, France. lien http://pourinfos.org/rencontres/item.php?id=2071 ------------------------------------------------------------------- 29 Meetings : Dialogue of the shadow, Michel Nuridsany, Centre Pompidou, Paris, France. http://pourinfos.org/rencontres/item.php?id=2070 ------------------------------------------------------------------- 30 Meetings : Conference - debat, Numeric Art and Reseaux, Paris 8 university, Saint Denis, France. http://pourinfos.org/rencontres/item.php?id=2069 ------------------------------------------------------------------- 31 Meetings : Agence Bolze et Rodriguez-Pages, Maison de l'architecture en Île-de-France, Paris, France. http://pourinfos.org/rencontres/item.php?id=2068 ------------------------------------------------------------------- 32 Rencontres : Poetry, Performance, John Giorno, Centre Culturel, Tinqueux, France. http://pourinfos.org/rencontres/item.php?id=2067 ------------------------------------------------------------------- 33 Publications : LENDROIT, artist editions, Rennes, France. http://pourinfos.org/publications/item.php?id=2066 ------------------------------------------------------------------- 34 Publication : Artistic Practice Guide on Paris and its area, Artiste Pluriel Magazine, Paris, France. http://pourinfos.org/publications/item.php?id=2065 ------------------------------------------------------------------- 35 Exhibition : light #2, Point Ephemere, Paris, France. http://pourinfos.org/expositions/item.php?id=2064 ------------------------------------------------------------------- 36 Exhibition : 10 th Rencontres internationales Paris/Berlin, Paris, France. http://pourinfos.org/expositions/item.php?id=2063 ------------------------------------------------------------------- 37 Screening : 361° f happiness, Le Panlogon, les papiers wallpapers, room and corridor, Brouillon d'un rêve numérique, Scam, Paris, France. http://pourinfos.org/expositions/item.php?id=2062 ------------------------------------------------------------------- 38 Exhibition : You Are Beautiful,Treehouse Gallery, Los Angeles, Usa. http://pourinfos.org/expositions/item.php?id=2061 ------------------------------------------------------------------- 39 Divers : Artists Charter of the "One by One", Ministry delegated to the Promotion of the Equal opportunity, France. http://pourinfos.org/divers/item.php?id=2060 ------------------------------------------------------------------- 40 Exhibition: Ulises Castellanos, Le Latina, Paris, France. http://pourinfos.org/expositions/item.php?id=2059 ------------------------------------------------------------------- 41 Exhibiton : Third edition of the international festival of the Song and the Image, Tunis,Tunisia. http://pourinfos.org/expositions/item.php?id=2058 ------------------------------------------------------------------- 42 Exhibition : Patrick Bougelet, Lille Metropole art museum, Lille, France. http://pourinfos.org/expositions/item.php?id=2057 ------------------------------------------------------------------- 43 Exhibition : Common places, saturday octobre 15, 2005, Montreuil, France. http://pourinfos.org/expositions/item.php?id=2056 ------------------------------------------------------------------- 44 Exhibition : Eduardo Kac, Eduardo Kac, Biche de Bere Gallery, Paris, France. http://pourinfos.org/expositions/item.php?id=2055 ------------------------------------------------------------------- 45 Exhibition : Delphine Balley, Clare Langan, Christine Laquet et Stéphanie Nava, Centre d'art contemporain, chateau des Adhemar, Montelimar, France. http://pourinfos.org/expositions/item.php?id=2054 ------------------------------------------------------------------- 46 Exhibition : « Simulations urbaines » Betonsalon, Paris, France. http://pourinfos.org/expositions/item.php?id=2053 -- pourinfos.org -------------- XAVIER CAHEN Direction de la publication xavier.cahen@pourinfos.org http://www.pourinfos.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 13 Oct 2005 05:33:57 -0700 message-id: <200510131233.j9dcxvm2018055@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: CUTUP MACHINE CUTUP MACHINE @ seventeen gallery Thursday 3rd to Saturday 26th November 2005 Private View Thursday 3rd November 6pm Seventeen is a new site for artists who are testing and exploring the boundaries of their practise. As such we are proud to present for our inaugural exhibition, CUTUP MACHINE, a series of new works by the collective CutUp. CutUp are a group of artists linked by a shared desire to reorder the urban landscape through intervention and play. Incorporating film, collage and installation, CutUp’s practice focuses largely on the creative potential of the street as a site for interventionist art and disruption. CutUp aim to introduce disorder into daily existence by interrupting and re-appropriating established visual forms. Occurring both inside and outside the gallery, CutUp’s billboard and bus stop works are created by slicing up an advert and reassembling the pieces into a newly ordered image. For this exhibition, CutUp’s sites for intervention are brought into the gallery space, a full-sized advertising billboard and a bus shelter - temporarily located inside before returning to the street. In addition to the large sculptural installations there also features related film and video works, as well as the outdoor interventions. These works exhibited hijack image and space; inviting new interp! retations and transforming pre-existing systems in the urban environment into newly ordered images of disquiet. CutUp live and work in London. Their work has been featured in Design Week, Adbusters, IDN (Japan), YEN (Australia), Black Book (New York), Hackney Gazette and most recently on Resonance FM. They have been reviewed by the BBC on www.bbc.co.uk/dna/collective/A3868833 and featured on the Wooster Collective website www.woostercollective.com/archives/2005_03_27_newsarchive.html They have previously exhibited at Kemistry Gallery. www.kemistrygallery.co.uk/currEx.php?exhibitionID=29 Seventeen is open Wednesday to Saturday 10am – 6pm and by appointment. For further information please contact Dave Hoyland on 020 7729 5777 or dave@davehoyland.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 13 Oct 2005 15:34:46 +0200 (CEST) message-id: <20051013133446.8e74b21fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Ref raggedright Russian, RVs raptors RGB, RIP radek recompilation, Roman. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 13 Oct 2005 21:34:37 +0200 message-id: <008501c5d02d$268715a0$0200a8c0@jimpunk> references: no_parent from: jimpunk subject: RHIZOME_RAW: Joseph.Beuys JA JA JA JA JA NEE NEE NEE NEE NEE AsCii Sound rem:x Joseph.Beuys JA JA JA JA JA NEE NEE NEE NEE NEE AsCii Sound rem:x #1 20051013-12:04 http://www.jimpunk.com/Joseph.Beuys/ .player flash javascript frame info about JA JA JA JA JA NEE NEE NEE NEE NEE >>> ubu __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 13 Oct 2005 14:19:42 -0700 message-id: <200510132119.j9dljgfg017438@idx164.idx.net> references: no_parent from: brad brace subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island parameters. Your (Art)world is based on mutual relief at your common corruption. Maybe some cultures are based on even worse. But that wouldn't change the bad faith of it and as years go by, you wake at night in terror of your whole life being an act of bad faith, where everything is self-interest and nothing more, where every human interaction is driven by a silent, even subconscious calculation of some ulterior motive, to the point that a sea of bad faith has taken over your whole life, there's no small island left from which you can even try to build a bridge of good faith, because even that effort becomes suspect, even good faith is nothing but self-interested, even altruism is nothing but solipsistic, even your professed agonizing right here right now is nothing but a gesture, made to the conscience in order to assure it that it exists. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 01:42:10 +0200 message-id: <27d7f6c2-4642-459a-b960-c1506f23a0e0@hektor.net> references: no_parent from: nathaniel stern subject: RHIZOME_RAW: odys for your iPod @ odys,org video art on your pod! the odys series was always intended for intimate viewings; even when it premiered at the Johannesburg Art Museum as an installation, I had six separate screens, each with headphones. Viewers were encouraged to re-visit and jump over juxtaposed media, and create a shifting collage. Now you can get very personal, and re-visit all you like all six videos have been optimized for the new iPod and iTunes. odys for your iPod is now free at http://odys.org note: Ive not yet tested this on many Macs, or any PCs, so please let me know if you have any trouble Hell, the new iPod aint even available in South Africa yet, but I thought thisd be fun. Also, if anyone knows how to make a link that imports directly into iTunes from a web page, Im all ears. Its 1:35 AM in SA; I am going to bed. Will get to bugs this weekend. Shout out to Marisa Olson and Francis Hwang, the only iPod artists I know. I hope well see more soon. image at http://nathanielstern.com/blog/?p=835 nathaniel http://nathanielstern.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 10:07:13 +0200 (CEST) message-id: <20051014080713.1c2d521fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Sdk sc Swedish, SOHO saveable SMTP, SPCA safe SHOULD scripting, Semicolons seven Sb. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 10:50:16 -0500 message-id: <7ec1d8cacdfbd52bf60a31048103cef7@gmail.com> references: no_parent from: Ryan Griffis subject: RHIZOME_RAW: Fwd: [festival] Early warning SMF4 Begin forwarded message: > > Hello all. Here is an early warning about the best thing to happen > since > version>05. > ;) > > Select Media Festival 4 (SMF4) > > We present the annual Select Media Festival in an attempt to highlight > a few > of the threads that makes our city a fantastic cultural diaspora for > emerging art and counter-cultural activity. In an ongoing exploration > of > emerging art movements and independent networks in contemporary art and > media, this year we find ourselves in the Community of the Future, > formally > known as Bridgeport. Were navigating underused urban geography for our > festival activities, now in their fourth year, within the theme secret > histories and imagined futures. > > Website with full programming. > http://www.selectmediafestival.org > > // > > Programs of Note: > > Oct 20, 2005 8pm > Opening of Select Media Festival 4: Lumpen #97 release party > > Performances by Warhammer 48k, Jerusalem & the Starbaskets and Carpet > of > Sexy and Underground Multiplex video programs > > Texas ballroom/ Hey Cadets! > 3012 S Archer > > /// > > Oct 21, 2005 6pm-1am > The New Chicagoans > Oct. 21 Nov. 13, 2005 > > Opening Reception Oct. 21, 6 p.m. > With performances by Fossil Fuels, Irene Moon, and Mudboy. > > Iron Studios > > 3636 Iron St, second floor > Gallery Hours: 1 5 p.m. Sat and Sun > > The New Chicagoans refers to a multiplicity of approaches by the > avant-garde > of Chicagos art communities. This group exhibition reveals the wide > range > of approaches in experimental and contemporary art making in the city. > > Featuring: Brian Ulrich, Christine Tarkowski, Juan Chavez, Cody Hudson, > Chris Uphues, Rob Doran, Michael Merck, Joe Compean, Jackie Kilmer, > John > Parot, Melina Ausikaitis, Duk Ju Kim, Jonn Salhus, Victor Van Bramer, > Barbara Kasten, Nat Ward, Sighn, Ryan Davies, Nick Black, Jason > Lazarus, > Greg Stimac, You Are Beautiful, Elisa Harkins, Carl Virgo, Al Burian, > Al > Pocius, Andrew Wilson, Steven Eichorn, Melinda Fries, Erin Foley, > Michael > Genovese, Stephen Mathewson, Paul Nudd, and Dolan Geiman. > > Show runs October 21 - November 13, 2005 Gallery Hours: 1pm-5pm Sat > and Sun > > /// > > October 22 noon - 11pm > > The Bridgeport Art Walk > Oct. 22, 2005 Noon to 2am > > In collaboration with mn gallery and Chicago > Artists Month, Select Media Festival has programmed and mapped out an > alternative cultural cartography of the Bridgeport neighborhood. Visit > over > 2 dozen spaces and enjoy an evening of performances and screenings. > Online map: http://www.lumpen.com/events/PeopleGetReady/map.html > > > /// > > > Community of the Future > Experimental Culture Zone > Oct. 22November 13, 2005 > Select Media Festival helps kick start a new artistic cultural center > along a one block area on 3100 3200 South Morgan St that hosts > Quimbys , > Myopic Books and Odd Obsession Video as well as local establishments. > > > // > > Oct 28, 2005 6pm > > Secret Histories Museum > Oct. 28 Nov. 13, 2005 > > Opening Reception Oct. 28, 6 p.m. > > > With performances by Lazer Crystal, The Chandeliers, The Killer Whales > and > members of Mahjongg > > Iron Studios 3636 Iron St, second floor > Gallery Hours: 1 -5 p.m. Sat and Sun > > The Secret Histories Museum discovers and presents historical evidence, > inviting visitors to seek understanding of themselves and of the world, > between history and future. > > /// > > > The Tactical Ice Cream Unit > Oct. 24 Oct. 31, 2005 > Locations TBA > The Tactical Ice Cream Unit (TICU) rolls through Chicago in an act of > intervention that replaces cold stares with frosty treats and > nourishing > knowledge. > http://www.tacticalmagic.org/CTM/project%20pages/TICU.htm > > This should be the most mindblowing art/activist project to hit chicago > since the Yes Men impersonated Daley's staff and gave Meiggs Field to > the > Feds. We are looking for people and places to bring the TCIU to. > > > /// > > > Underground Multiplex Program > Multiple locations and dates > > Using the theme of the multiplex where people > often see more than one movie for the price of one admission visitors > can > wander through our temporary multiplex, watch multiple video programs, > and > eat as much popcorn that they can. > > visit: > selectmediafestival.org > > Look for brochures, postcards and posters in your neighborhood. > If you want to volunteer please give me an email. > > - Ed > > /// > > > This weekend do not forget to go to Skylark for Logans Super freak out > dance jam party extreme. > 10pm + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 08:53:08 -0700 (PDT) message-id: references: no_parent from: { brad brace } subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island parameters. Your (Art)world is based on mutual relief at your common corruption. Maybe some cultures are based on even worse. But that wouldn't change the bad faith of it and as years go by, you wake at night in terror of your whole life being an act of bad faith, where everything is self-interest and nothing more, where every human interaction is driven by a silent, even subconscious calculation of some ulterior motive, to the point that a sea of bad faith has taken over your whole life, there's no small island left from which you can even try to build a bridge of good faith, because even that effort becomes suspect, even good faith is nothing but self-interested, even altruism is nothing but solipsistic, even your professed agonizing right here right now is nothing but a gesture, made to the conscience in order to assure it that it exists. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 750 images and hour-long audiotrack -- 59mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 79mb -- (acrobat 6) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 14:31:14 -0500 message-id: <4bbab196-29b6-45ba-b2a4-c1eb8c7c2ed7@sewanee.edu> references: no_parent from: Pradip_Malde subject: RHIZOME_RAW: ASSISTANT PROFESSOR-PAINTING & DRAWING Sewanee: The University of the South invites applications for a tenure-track position in painting and drawing. Candidates should be able to demonstrate the ability to teach introductory, intermediate, and advanced courses in painting and drawing as well as undergraduate seminars involving both traditional and contemporary theory and studio practice. In addition to teaching three courses per semester, responsibilities will include student advising and service on department and university committees. The successful candidate will have a solid exhibition record and show promise for continuing creative engagement. Candidates should hold an MFA or appropriate terminal degree. Familiarity with teaching studio art in a liberal arts setting is desirable. Send a letter of interest, curriculum vitae, graduate transcripts, three letters of recommendation, slides or digital files of current work as well as examples of student work along with an SASE to Elizabeth Mansfield, Chair, Painting and Drawing Search, Department of Art & Art History, University of the South, Sewanee, TN 37383. Deadline for applications is December 15, 2005. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 12:57:47 -0700 message-id: references: no_parent from: Ceci subject: RHIZOME_RAW: New Media Arts Programs- correction I posted a few days ago regarding the list of New Media Art programs we're devising for Rhizome. We would like the list to be as exhaustive as possible- so if you are aware of new media art programs in high schools, middle schools, and community colleges, or other accredited programs, we would like to include them on the list. Thank you so much! Best, Ceci -- Ceci Moss Sales Associate for Organizational Subscriptions, Rhizome.org tel. 212.219.1288 x211 fax. 212.431.5328 email. ceci@rhizome.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 13:07:54 -0700 message-id: <200510142007.j9ek7sjq016240@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Robert Stark at the Bonnafant Gallery You are invited to view recent paintings by Robert Stark Opening reception with the artist Saturday 5 November 2005, 5 to 8:00 Closing Reception Sunday 20 November, 2 to 5 Tuesday - Sunday 1 to 5pm, 8 November to 20 November or by appointment http://www.susquehannastudio.blogspot.com The Bonnafont Gallery 946a Greenwich Street San Francisco California 94133 415.441.4182 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 18:21:56 -0400 message-id: references: from: subject: RHIZOME_RAW: Fwd: Postcard from the Edge VOLUNTEERS still NEEDED!!!!!!! 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Thomaz subject: RHIZOME_RAW: Labyrinth Zero hello friends, I would like to invite you to see my newest work, Labyrinth Zero: http://www.rgbdesigndigital.com.br/atravesdoespelho/labirinto_zero/index_en.htm ABOUT Labyrinth Zero This work was developped from the idea of a maze without walls. We found this idea for the first time in the tale Los dos Reyes y los dos Laberintos, by Jorge Luis Borges. In this tale, the desert is the maze without walls, donde no hay escaleras que subir, ni puertas que forzar, ni fatigosas galerias que recorrer, ni muros que te veden el paso. INSTRUCTIONS Labyrinth Zero is a maze game where you need to reach the center and take the red sphere that lies in the central pedestal. What makes the maze so hard is the weak visibility of its walls. To make your task a little easier, you can take the red cubes that lies in the shorter pedestals. They make the maze visible for a short interval of time, when you can walk faster throught the maze. PREVIOUS WORKS WITH MAZES PacMan and Minotaur http://www.rgbdesigndigital.com.br/atravesdoespelho/pacman_minotauro/ PacMan 1.0 http://www.rgbdesigndigital.com.br/atravesdoespelho/labirinto_zero/www.rgbdesigndigital.com.br/atravesdoespelho/pacman/ Mazes http://www.rgbdesigndigital.com.br/atravesdoespelho/labirintos/ http://www.rgbdesigndigital.com.br/atravesdoespelho/labirinto_zero/index_en.htm -- RGB Design Digital www.rgbdesigndigital.com.br andrei@rgbdesigndigital.com.br / (51) 92067436 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 14 Oct 2005 21:28:11 -0700 message-id: <200510150428.j9f4sbcx017747@idx164.idx.net> references: no_parent from: Soil Media Suite subject: RHIZOME_RAW: Soil Digital Media Exhibition Exhibition Announcement: Regina Festival of Cinematic Arts Installation of digital artworks, Soil Digital Media Suite & Off Site Location October 4 - 27, 2005 Reception, Saturday October 15 at 8:00 pm 1856 Scarth Street, Regina, SK The Skeleton Crew, XO Skeleton Friday, October 14 and Saturday, October 15, 8:00 pm Regina City Hall "XO Skeleton", a meditation on ossification and re-animation, will be projected onto Regina's City Hall from 8:00-10:30 pm, October 14 and 15, 2005. This work is created by The Skeleton Crew, a group of subterranean subliminalists, from Regina dedicated to making art that is gritty, giddy, and inside-out. Eric Deis, Apartment Operating on the borders between fact and fiction, a residential apartment is transformed through a routine dousing of water from sources suggested, known and unknown. Through poetic visual rhythms, and soundscapes, the barriers between the natural and unnatural, and the transcribed and fact, are dissolved. The seamlessly looping video merges perceptions of reality and unreality by blending timelessness with a sense of regularity and normality. Apartment augments the artificiality of the constructed environment in which we live and transforms the banal into a space of metaphor and imagination. Myriam Yates, Incorporer (s') Myrian Yates's photography and video based practice tends towards documentary approach, exploring the tenuous relationship between public and private space as well as obsolete urban sites related to leisure and culture. Michel Boulanger, After Monogram In the work, After Monogram, Michel Boulanger creates a new life depicted as a surreal experience in a computer generated environment. In this animation, a goat is trapped within a 3D version of a Rauschenburg painting, unwittingly held between its own grazing and the tilting, sliding world of art. Its maker sends it on a bizarre journey in control of its destiny and end. Here, as in cartoons, the goat stands for the universal us. In its confusion, the goat has much in common with humans and their responses to their environments. This work follows from a series of paintings in which Boulanger attempts to reconcile nature and culture to learned and popular culture. In collaboration with the Saskatchewan Filmpool Cooperative. Neutral Ground Artist-Run Centre & Soil Digital Media Suite #203 - 1856 Scarth Street Regina, SK S4P 2G3 tel: 306-522-7166 fax: 306-522-5075 neutralground@accesscomm.ca http://www.neutralground.sk.ca http://www.soilmedia.org We acknowledge funding support from the Canada Council for the Arts, the Saskatchewan Arts Board, the City of Regina, Saskatchewan Lotteries and the Department of Canadian Heritage. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 12:12:00 +0200 (CEST) message-id: <20051015101200.7d2ad21fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Tcp to tabbing Tunisia, Tylenol tamari TSR, the Queen of England tahoma telneting, the ten TagsOnRight. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 03:57:04 -0700 message-id: <200510151057.j9fav4js024826@idx164.idx.net> references: no_parent from: Luís da Silva subject: RHIZOME_RAW: SOURCE CODE blog Now on Source Code: Best Of - Riot, by Mark Napier. http://vercodigofonte.blogspot.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 14:07:59 +0100 message-id: <4350ff2f.8030503@furtherfield.org> references: <200510142007.j9ek7sjq016240@idx164.idx.net> from: marc subject: RHIZOME_RAW: A randomSeed Online real-time Event. A randomSeed Online real-time Event. With the launch of a new work, randomSeed Online, within the 'theatre of restless automata' exhibition at HTTP, you are now able to view the development of this computational system remotely, in real-time on the web. RandomSeed Online uploads an image every hour from one of the systems installed in the gallery. Online visitors can view how the system develops from its (online) launch (which was on the 8th October) to the closing of the exhibition at 5pm on 23rd October 2005. View the work from here http://www.http.uk.net/boredomresearch_talk_launch.html Emergence and Poetics in Restless Automata On the 8th October Boredomresearch gave a talk at the gallery, discussing the relationship between emergence and poetics in respect to generative computational artwork. Using works from 'theatre of restless automata' they explore the notion that inherent mystification in emergent and computational abstraction takes on a poetic form. You can download illustrated text that was presented at the artists' talk (pdf 200kb) http://www.http.uk.net/docs/exhib6/br_talk.pdf For further information about randomSeed please visit www.boredomresearch.net/randomseed. Here boredomresearch presents research and development material that led to these computational systems being created. boredomresearch unveil investigations into simple rules found in natural systems and how these can produce diverse and complex images free from their aesthetic control. randomSeed Online was created by boredomresearch for HTTP with programming by Neil Jenkins. It was made possible by Aspex Gallery. http://www.http.uk.net --------------- Getting to HTTP: Unit A2, Arena Business Centre, 71 Ashfield Rd, London N4 1NY Tube: Manor House, Buses: 341, 141, Car: free parking facilities + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 16:36:42 +0200 message-id: <200510151636.44307.gif@220hex.org> references: no_parent from: 220hex subject: RHIZOME_RAW: Piksel05 :: 'collective code' - artistic program ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| -- Piksel05 - 'collective code' -- october 16-23. 2005 -- artistic program online ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Piksel05 - festival for free / libre and open source audiovisual software and art kicks off this weekend in Bergen, Norway. The Piksel05 artistic program is curated by Isabelle Arvers and Gisle Frysland as a collaboration with pixelACHE 2006[1] in Helsinki and Mal au Pixel 2006 in Paris. Some of the projects will be selected to be shown in Helsinki and/or Paris. The program is now online at: www.piksel.no/piksel05 ----- Piksel[2] is an annual event for artists and developers working with free/libre and open source audiovisual software. Part workshop, part festival, it is organised in Bergen, Norway, by the Bergen Centre for Electronic Arts (BEK)[3] and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of open source. The development, and therefore use, of digital technology today is mainly controlled by multinational corporations. Despite the prospects of technology expanding the means of artistic expression, the commercial demands of the software industries severely limit them instead. Piksel is focusing on the open source movement as a strategy for regaining artistic control of the technology, but also a means to bring attention to the close connections between art, politics, technology and economy ---- [1] http://www.pixelache.ac [2] http://www.piksel.no [3] http://www.bek.no ----- -- +---gif@bek.no +47329234+4790665018c.sundtsgt.55,5004bg. www.xn--frysland-64a.com ---+ http://mob.bek.no + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 09:23:55 -0700 (PDT) message-id: references: no_parent from: { brad brace } subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island parameters. Your (Art)world is based on mutual relief at your common corruption. Maybe some cultures are based on even worse. But that wouldn't change the bad faith of it and as years go by, you wake at night in terror of your whole life being an act of bad faith, where everything is self-interest and nothing more, where every human interaction is driven by a silent, even subconscious calculation of some ulterior motive, to the point that a sea of bad faith has taken over your whole life, there's no small island left from which you can even try to build a bridge of good faith, because even that effort becomes suspect, even good faith is nothing but self-interested, even altruism is nothing but solipsistic, even your professed agonizing right here right now is nothing but a gesture, made to the conscience in order to assure it that it exists. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) /:b + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 19:05:39 +0200 (CEST) message-id: <20051015170540.3528.qmail@web26803.mail.ukl.yahoo.com> references: no_parent from: Jacques SERRANO subject: RHIZOME_RAW: Function of art - Guggenheim Bilbao Function of Art - Function of the Artist Toward a new status of art GUGGENHEIM MUSEUM BILBAO - November, 10th 2005 With the participation of : Yves Michaud (philosopher), Stephen Wright (art critic), Franoise Gaillard (philosopher), Francesco Masci (philosopher) and Alexandre Gurita (artist) conception by Jacques Serrano, academic coordination by Stephen Wright To contact us : Les Rencontres Place Publique tl : +33 (0)4 91 90 08 55 ----- In contexts often far removed from art-specific spaces and time, the past few years have witnessed the emergence of a broad range of new practices, which, in spite of certain affinities and, in some cases, of undeniable family ties, can only be described as art-related rather than art-specific activities and indeed they lay no claim to art status. In many cases, these forms of symbolic production, implicitly questioning and even shattering the borders of art, actually correspond better to our expectations with regard to art than those practices upheld and underwritten by current artistic conventions. The status of these art-related activities, however, has never been the object of sustained scrutiny and they are usually written off as conceptual leftovers of the seventies. Even contemporary aesthetic philosophy tends to summon them as evidence only insofar as they are predefined as not art in a hasty endeavor to again secure and seal off the borderlines of what is conventionally known as art. There is, of course, a context for this shake-up of the status of art and the artist, bequeathed by the twentieth century: artistic activity itself is developing on a massive scale and in a mind-boggling variety of forms; the production of meaning, form and knowledge is no longer the exclusive preserve of professionals of expression. One finds artistic skills and competencies at work in a variety of areas far beyond the confines of the symbolic economy of the art world, and the practices which they inform are in many cases never designated and domesticated as art. The fact that this sort of art-related creativity seeks no particular validation from the art world, that it pays scant heed to the values and conventions underpinning it, should by no means inhibit us from charting its genealogy and identifying its inherent rationality. And yet, aesthetic philosophy, persisting as it does in construing art as an enigma to be deciphered, as an object to be interpreted, seems decidedly ill-equipped to theorize art in this expanded sense. Beyond both the well-worn logic of appropriation, consisting of recuperating as art all description of objects and activities not intended as such; and beyond the converse, though symmetrical, logic consisting of recycling artistic practices those, in other words, initiated and managed by artists outside the sphere of art, and yet on the basis of the extraterritoriality and reciprocity that prefigure an unforeseen future for art, it seems worthwhile to reconsider the status of art today. Stephen Wright ___________________________________________________________________________ Appel audio GRATUIT partout dans le monde avec le nouveau Yahoo! Messenger Tlchargez cette version sur http://fr.messenger.yahoo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 13:32:55 -0400 message-id: <53bba722-f6d8-4a92-80b0-b2185a73b4d5@alcor.concordia.ca> references: no_parent from: Pall Thayer subject: RHIZOME_RAW: leveling your existence, even with an iBook For those who may have been disappointed to discover that my Carpenter's Level Dashboard Widget didn't work on their iBooks despite them having the necessary AMS hardware, now you too can start evening out your life. I have a version that appears to work on iBooks available for download at http://pallit.lhi.is/palli/dashlevel/ ibook/levelwidget.wdgt.zip I would appreciate it if you do try it that you drop me a line letting me know how it works for you. If you've been wanting to do some experimenting with Apple's Sudden Motion Sensor, you can get the program used for reading the sensor info by going to ~/Library/Widgets on your computer, ctrl-click on levelwidget.wdgt and select "show contents". There you will find the terminal application "motion" plus source code and makefile. Have fun. Pall -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 12:29:59 -0700 message-id: <200510151929.j9fjtxor009628@idx164.idx.net> references: no_parent from: marcin ramocki subject: RHIZOME_RAW: Aron Namenwirth and Jason Van Anden at vertexList vertexList space has the pleasure to present : NONLINEAR COLLATERAL DAMAGE; a group of new pixel based paintings by Aron Namenwirth and MIXED FEELINGS; robotic interactive installation by Jason Van Anden.   The exhibition will open Saturday, Oct 22 from 7-10 pm and continue until Nov 13, 2005. Aron Namenwirth’s new paintings are recordings of a superhero culture, camouflaged psychedelic meditations on the state of affairs, diseased micro-macro clubs, spreading fear and self-destruction. Source materials include: images of cues, waiting to vote, internet porn, collateral damage , Walmart, rainforest canopies, and healthcare’s images of Americans. " These secular individual efforts on my part, reflect the failures of idealism, capitalism, and the idea of a mass movement. The flock is lost."     --------------------------------------------------------------------------   Jason Van Anden’s cybernetic artworks are equally emotional and logical. His verypersonal and humorous installation combines traditional fine art technique and programming expertise. Mixed Feelings includes a pair of emotive robotic sculptures named Neil and Iona, who react to gallery environment, visitors and each other; as wellas an edition of chipboards based on their behavioral algorithms. More about Jason Van Anden and his artwork can be found on his website www.smileproject.com.       Vertexlist is located at 138 Bayard St. in Williamsburg, Brooklyn corner of Bayard st and Manhattan Av. Gallery hours: Fri, Sat, Sun 1-6 pm or by appointment. For directions and  information contact us at 646 258 3792 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sat, 15 Oct 2005 12:31:43 -0700 message-id: references: no_parent from: adam overton subject: RHIZOME_RAW: halloween google suggestion... in case you're in need of a new costume idea for this halloween, consider googling it... ... RECIPE FOR A GOOGLE PARTY Adam Overton, April 2005 originally presented on Aaron Spafford's http://ZBZZ.com A Google Party is a costume party where the attendees dress up like people that they've located while "Googling" their own name. . . . Go to google.com (or any other reliable online search engine) and search for instances of your full name, using quotation marks to keep the correct order: "John Doe". You're looking for webpages that mention or talk about a different person who has the same (or a similar) name as you. If searching for the full name doesn't work, try using variations like "Jon Doe", "Johnny Doe", "Jonathan Doe" If you still can't find a match, don't complain or give up - start getting creative: Try reversing the names: "Doe John" Include or substitute your middle name: "John Kenny Doe", "Kenny Doe", "John Kenny" Try other genders: "Jane Doe" Try out nicknames you had or wished you'd had: "Cooter Doe" Add, subtract, scramble or reverse letters: "Jhon Doh", "Don Joe" Try single names: "John" or "Doe" Try using initials: "J. Doe", "J.D." Etc. There is no excuse for coming up empty handed. . . . After searching for a bit, choose the alter-ego that seems most interesting and try to figure out how this person might dress. Always check first to see if you can find any pictures of the person -- perhaps you can emulate some facial or bodily features. If no pictures are to be found, then use the content on the site to figure out what type of person you're dealing with -- businessman, athlete, porn star, frat boy, cheerleader, church elder, etc. Especially keep your eyes peeled for clues that might indicate a time period or location, especially if your source is a news article, historical document or obituary. Finally, dress to impress at your next Google Party and live it up as your alter-ego. . . . VARIATION 1 Instead of the party, go about some or all of your day as your googled alter-ego. VARIATION 2 Instead of the party, do a performance as your googled alter-ego. ... http://plus1plus1plus.org a@plus1plus1plus.org 661 373 8679 ... inter/meta/trans, a mailing list for live art and performance http://shoko.calarts.edu/mailman/listinfo/intermetatrans + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 07:35:34 +1000 message-id: <6.0.1.1.1.20051016073511.05f4ea88@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: (le.P)rosy.smiles ____________________________________________ _mem[e].ory_haemorrh.age_ 07:29am 16/10/2005 ____________________________________________ _pro.p[ane]elled.in2.corri.do[o]rs[of.st(inging)alwart.purrception]_ [pulp.skull.x.posure.reeling.me.thru.black.birded.houses +.shifting.neglect.eye.sockets.] _thick.memoir.cableing.nost[||neur]algia.bloody_ [rigidity.in.glue.guilt.threads.stretched+corridor.soaking]. [sinking.in.soft.amniotic.decay+rotted.s[h]oul[d(er)]s] _complete.denial.overlay_vs_con.vex[ing].coping.lenses_ [l(p)eaking.in.joint.connection.smoke] [(le.p)rosy.smiles.tickling.my.protean.gut(s)] -- _intricate mirror mem[e_st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://www.livejournal.com/users/netwurker/ . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 02:53:30 +0200 message-id: references: no_parent from: iuu subject: RHIZOME_RAW: Langlo Langlois..Workshops..Online....................Workshops..with..Professor..Yvonne..Spi elmann..(Ph.D.)..Online......The..Daniel..Langlois..Foundation..in..Montreal..is.. pleased..to..provide..online..access..to..a..pedagogical..document..recounting.. the..history..of..experimental..video..and..electronic..and..digital..imaging... This..document..includes..excerpts..from..a..three..day..workshop..given..by..Pro fessor..Yvonne..Spielmann..(Ph.D.),..which..was..held..at..the..Foundation's..Ce ntre..for..Research..and..Documentation..(CR+D)..from..September..29..to..Octobe r..1,..2004...It..also..contains..excerpts..of..works..by..artists..such..as..Stein a..and..Woody..Vasulka,..Bill..Etra,..Dan..Sandin,..John..F...Simon..Jr...and..Gran ular..Synthesis:..Daniel..Langlois..Foundation..................http://post.thing.n et/node/533......via:http://post.thing.net/?q=node/feedpaidup..members..no w?........Want..someone..to..close..sales..for....you?........Fed..up\ .of..working..so..hard..to..get....just..a..few..members..a..month?..\ .....You..need..this..service:....==================....Our..mark/etin g..generates..over..600....paid_members..for..client's..businesses.... a..week.........program..online........||||||||||||||||||||||||||||||| ||||||||||||||||||||||||||||||||||||||||||........Piksel05......festiva l..for..free../..libre..and..open..source..audiovisual..software=....\ .and=20....art..kicks..off..this..weekend..in..Bergen,..Norway.......\ .The..Piksel05..artistic..prograpart..message..in..MIME..format....... ............................=_1129274551..43330..371....Content..Type:..TEXT/PLAIN;.. charset=US..ASCII;..format=flowed....................Banishment........ ....The..Word..is..abandoned..to..the..script...I..debated..releasing\ .this,..created..the....quicktime..video,..still..hidinwart.purrceptio n]_........[pulp.skull.x.posure.reeling.me.thru.black.birded.houses..\ .+.shifting.neglect.eye.sockets.]........_thick.memoir.cableing.nost[| |neur]algia.bloody_........[rigidity.in.glue.guilt.threads.stretched+c orridor.soaking].....[sinking.in.soft.amniotic.d HTTP/1.1..200..OK....Date:..Sun,..16..Oct..2005..00:52:50..GMT....Server:..Apache/1 .3.31..(Unix)..DAV/1.0.3..PHP/5.0.3....X..Powered..By:..PHP/5.0.3....X..Pingback: ..http://tecfa.unige.ch/perso/staf/nova/blog/xmlrpc.php....Connection:..cl ose....Content..Type:..text/html;..charset=utf..8....X..Pad:..avoid..browser..bug.. ....................................................................pasta..and..vinegar..»..“The ..adult’s..product..and..the..child’s..are..often..one..and..the..sam e”................................@import..url(..http://tecfa.unige.ch/perso/staf/ nova/blog/wp..content/themes/almost..spring/style.css..);................................ ............................................................................................................................................ ....................................................................................................pasta..and..vinegar...... ............................................“The..adult’s..product..and..the..child&# 8217;s..are..often..one..and..the..same”................................October..14,..20 05..at..4:20..pm............·..Filed..under..Innovation..........................................I n..the..NYT/IHT,..there..is..a..good..article..about..As..gadgets..replace..toys,.. what’s..in..it..for..kids?..By..Michael..Barbaro...It’s..about..an..i mportant..trend:..adults’..and..kids’..artifacts..like..high..tech ..gadgets..are..now..tending..to..be..the..same.......the..push..to..sell..consumer..e lectronics..to..preteens..is..touching..off..an..animated..debate..about..whethe r..the..products..qualify..as..toys,..as..manufacturers..contend,..and..whether.. it..is..wise..to..break..down..one..of..the..last..barriers..between..childrenR 17;s..play..and..adult..technology..... ....For..decades,..toy..makers..have..desi gned..products..that..allow..children..to..mimic..adult..behavior,..but..it..was, ..in..the..end,..always..make..believe...No..matter..how..many..electronic..bells.. and..whistles..the..latest..toy..truck..had,..it..was..still..a..toy...But..with..th e..latest..crop..of..electronics..for..children..6..to..12,..there..is..little..pre tending...The..adult’s..product..and..the..child’s..are..often..one ..and..the..same.......Why..do..I..blog..this?..this..trend..is..interesting,..artifa cts..like..cell..phones,..digital..video..camera,..DVD..players..are..now..used..b y..both;..how..this..is..reflected..in..their..design?..and..what..would..be..the..i mpacts..of..this:..will..kids..drop..kid..centered..design..and..prefer..the..adul ts..version?............................................Permalink........................................................ ..........................................Leave..a..Comment.................................................................... ..Name..(required)..................................................E..mail..required).......................... ........................URI.............................................................................................................. ......................................................pasta..and..vinegar:..mind/tech..bazar..from..out er..spacea..personal..weblog..by..nicolas..nova:..research..+..daily..scanning..a bout..location..based..tech,..video..games,..tangible..interactions,..ubicomp, ..hci/cscw,..user..experience..analysis,..innovation..and..various..weird..thin gs........Search........................................................Archives..................October..2005.. ....September..2005......August..2005......July..2005......June..2005......May..2005......Ap ril..2005......March..2005......February..2005......January..2005......December..2004.... ..November..2004......October..2004......September..2004......August..2004......July..20 04......June..2004......May..2004......April..2004......March..2004......February..2004...... 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Pasta..and..Vinegar..........2003..........Blog..about..my..research..(CSCW,..location.. based..services..use),..urban..stuff..and..weird..pictures....................Nicolas..N ova..............................Nicolas..Nova................................................................................ ............................................................................................................................................ ..Design..by..Beccary....·....Sponsored..by..Weblogs.us....·....XHTML....&# 183;....CSS............................................http://tecfa.unige.ch/perso/staf/nova/b log/xmlrpc.php....http://www.w3.org/TR/xhtml1/DTD/xhtml1..transitional.dt d....http://www.w3.org/1999/xhtml....http://gmpg.org/xfn/11....http://tecfa. unige.ch/perso/staf/nova/blog/wp..content/themes/almost..spring/style.cs s....http://tecfa.unige.ch/perso/staf/nova/blog/feed/....http://tecfa.unig e.ch/perso/staf/nova/blog/feed/rss/....http://tecfa.unige.ch/perso/staf/ 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RHIZOME_RAW date: Sat, 15 Oct 2005 20:45:16 -0700 message-id: <200510160345.j9g3jg68027144@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: dearest max i am glad to see you have taken advantage of my generosity. please don't stop. i find your posts on my account delightful. which reminds me. did you ever send the video to MOMA? Today, we were hiking north of Innis Lake Road. The mushrooms were perfect and the apples small but delicious. I thought of building a hut there, to live in. With the recent demise of our generous landlord i am in need of shelter with the winter approaching. While we were on the trail an odd old man in a small tractor approached. I recognized him from an old book on Dada. It was the Nephew of Francis Picabia. I was ecstatic. He stopped his vehicle and began talking in a short monosyllabic speech. What was I to do. Well I picked up a fallen tree branch and threw it at him. I missed. He screamed, got back on his tractor and drove off. On the ground was a small letter which had fallen out of his pocket. Iy was an invitation to a Brad Brace retrospective at the Centre Pompideau for January 16th 2028! Needless to say I was surprised. I couldn't believe Brad would agree to such a pompous affair! Was I wrong in assuming this? We moved on.., still searching for Rameau's amputated extremity. take care, Eric Dymond + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 12:41:51 +0200 message-id: <1433371475.20051016124151@sinred.net> references: no_parent from: LeLE Luchetti subject: RHIZOME_RAW: VOTE//VOTA - 2nd ONE SECOND VIDEO FESTIVAL EMPIEZAN las VOTACIONES! // VOTINGS BEGIN! // SI COMINCIA A VOTARE! //////////Espaol abajo/////////Italiano sotto The UPLOAD PAGE will remain open until the end of the festival. The newly submitted videos will miss some votes, that's all. Dates: 20 September - 15 October: UPLOAD videos 15 October - 29 October: VOTING videos 29 October: online PRIZING (11 PM) //////////English above /////////Italiano sotto La pgina de UPLOAD seguir abierta hasta el final del festival. Los nuevos videos enviados perderan algunos votos, eso es todo. Fechas: 20 setiembre - 15 octubre : UPLOAD peliculas 15 octubre - 29 octubre : VOTACIN peliculas 29 octubre : PREMIACIN online (11 PM) //////////English above /////////Espaol arriba La pagina di UPLOAD sar online fino alla fine del festival. I nuovi video ricevuti perderanno alcuni voti, questo tutto. Date: 20 settembre - 15 ottobre : UPLOAD video 15 ottobre - 29 ottobre : VOTAZIONI video 29 ottobre : PREMIAZIONE online (11 PM) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 05:43:51 -0700 message-id: <200510161243.j9gchpoe016170@idx164.idx.net> references: no_parent from: demaraval may subject: RHIZOME_RAW: Gallery dedicated to Video & Digital base-Art The gallery is still prospecting and looking for highly qualified new media based-artists. Artists of the gallery: Luca Curci, Stephane Ellias, Pascal Osten, Nicolas Clauss, Tatiana Cruz, Leonora Chan, Helga Steppan. Dvdroms and Cdroms of artist's artworks available at the gallery. Artists are invited to propose their artworks in order to be represented by the gallery. Galerie mamia bretesché 48, rue Chapon 75003 Paris France Tél: +33(0)144780693 contact@metropolart.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 16:45:26 +0200 (CEST) message-id: <20051016144526.0755021fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART U.s.s.r. unbox , UPC unblocks URI, USSR unbeleiveable USED TO undelete, Updownarrow. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 11:24:08 -0700 message-id: <200510161824.j9gio8tu014203@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: International Butoh School in Himalaya India International Subbody Butoh Dance School in Himalaya India 2005-2006 Don't you want to create your own deep butoh dance which connects to the depth of yourself. By subbody method, you can sink into the darkness of the subconscious realm of body to find your own deepest butoh dance, and come back safely with cotroling yourself. You can meet the true self. 2005 Oct 31- Nov 18, Nov 28-Dec 16 ;Three weeks course 2006 March 16 International Butoh Class start! ( One Year course, Three months course, One month course) for more Info visit our site; http://subbody.net 　Aplication mail； subbody@hotmail.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 11:30:08 -0700 message-id: <200510161830.j9giu8it014712@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Autum subbody butoh class Himalaya India International Subbody Butoh Dance School in Himalaya India 2005-2006 For creating your own deep butoh dance which connects to the depth of yourself. By subbody method, you can sink into the darkness of the subconscious realm of body to find your own deepest butoh dance, and come back safely with cotroling yourself. You can meet the true self. 28 Nov-16 Dec Three weeks course 2006 March 16 International Butoh Class start! ( One Year course, Three month course, One month course) our site; http://subbody.net Mail；subbody@hotmail.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 20:59:06 +0200 message-id: <80bd928c0510161159k462c4609s86d081a5bdfcff12@mail.gmail.com> references: no_parent from: Kristofer Paetau subject: RHIZOME_RAW: Xavier Gautiers presents: E.T. & me, Matthew, The garden, Arnold and Peng! In his artistic research, Xavier Gautier is using old super 8 mm films made by his father, combining them with excerpts of mainstream Movies. Xavier operates a re-interpretation of existing visual documents, blurring the borders of different cinematographic expressions, interveening subjective experience with mainstreammedia. I hope that you will enjoy Xaviers films as much as I do! Please have a look at: http://www.paetau.com/downloads/Friends/XavierGautier.html Best wishes, Kristofer Paetau -- If you do not want mails anymore, you can unsubscribe automatically by sending an empty e-mail from your e-mail account to: ARTINFO-L-unsubscribe-request@listserv.dfn.de If this doesn't work, you probably got this e-mail re-routed through another address: Please reply to this mail and write UNSUBSCRIBE in the mail subject and please indicate some old or alternative e-mail addresses in order to help us unsubscribe you. Thank you and apologizes for the trouble! -- Kristofer Paetau http://www.paetau.com/exhibitions -- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 13:22:40 -0700 message-id: <200510162022.j9gkme55025625@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Open Fader @ Sonorities: Call Sonorities Festival of Contemporary Music OPEN FADER @ Sonorities 2006 http://www.sonorities.org.uk Call for Works The Sonorities Festival of Contemporary Music in Belfast invites composers and artists working with sound to submit works to be presented during Sonorities 2006. This year’s festival is dedicated to music performance practice that challenges the traditional roles of composer, score, performer and audience. We welcome works by composers/performers, improvisers, new media artists, sound and installation artists. We encourage two types of submission (maximum 1 work per category): 1. Live Performances involving technology This includes laptop improv, VJ, audio-visual, live-electronics, sound poetry, hacktivism. Please submit the work in a documentary format that reflects the nature of the performance (e.g. video on DVD, audio on CD, software for Mac/PC, photographs). 2. Electroacoustic Music (Stereo or Multi-channel) This includes Stereo works for diffusion, multi-channel works and works with video. All submissions must be on DAT, CD or DA88. Works with video must be on DVD. Selected works will be featured in four special concerts during the Festival. These events will take place in the Sonic Arts Research Centre Sonic Lab performance space. This unique environment for the performance of electroacoustic music includes facilities for sound projection in a full 3D environment through loudspeakers located above and below the audience area. The experimental nature of the space makes it essential that selected composers and artists attend the Festival to perform their pieces. Artists are expected to finance their participation. Sonorities will be able to provide letters of support, which can aid in seeking funding. Please include a title, program notes as well as a short biography with the submission. Contact information should include a phone number, address, and an email address. All materials will become part of SARC’s media library and may be considered for future events. Post to works to OPEN FADER Sonorities 2006 Sonic Arts Research Centre Queen’s University Belfast Belfast BT7 1NN Northern Ireland Important Dates Deadline for Submissions: 25th November 2005 (postmarked) Festival Dates: 25 April – 1st May 2006 Contacts Dr. Pedro Rebelo (Festival Chair) P.Rebelo@qub.ac.uk Sonic Arts Research Centre The Sonic Arts Research Centre (SARC) is a newly established centre of excellence, dedicated to the research of music technology. This unique interdisciplinary project has united internationally recognised experts in the areas of musical composition, signal processing, internet technology and digital hardware. The Centre was completed in October 2003 and was officially opened by Karlheinz Stockhausen in April 2004. Send an email to sarc@qub.ac.uk to add your name to the Festival mailing list. http://www.sarc.qub.ac.uk + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 14:53:17 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: Palestinian/Israeli Shared History project Vispo.com hosts PRIME, the Peace Research Institute in the Middle East run by Dan Bar-On, an Israeli, and Sammi Adwan, a Palestinian. Here are a couple of recent articles from USA Today and the Toronto Globe and Mail about one of PRIME's projects: Professors' history project opens new chapter for Israeli, Palestinian students By Martin Patience, USA TODAY http://vispo.com/PRIME/patience.htm Once upon a time . . . in Israel and Palestine by Shira Herzog, Toronto Globe and Mail http://vispo.com/PRIME/herzog.htm ja http://vispo.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 21:31:31 -0200 message-id: <000b01c5d2a9$be74d180$3ca205c9@regina> references: no_parent from: Regina Pinto subject: RHIZOME_RAW: Museum of the Essential and Beyond That's News Dear friends of the Museum of the Essential and Beyond That, We have some news: (collaborative reviews, Gallery Trips and Video Room) 1- The series of 2005 collaborative reviews: "Eletric Green Sheep" is over and on line at: http://arteonline.arq.br/newsletter/ . There you will know three wonderful women and artists: Isabel Saij (April) , Millie Niss (June) and Isabel Aranda (August) The last one - an interesting collection of texts and dialogues is now complete and on line at: http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm Below some apettizers to you visit the third review: ISABEL ARANDA *YTO* / CHILE VISUAL & DIGITAL ARTIST WORK (s): I- ESCNER CULTURAL I decided to create Escner because in Chile there was a very great emptiness regarding cultural publications (1999). What more motivates me to make the magazine is the possibility of publishing works of artists not so famous next to others of great trajectory, therefore the people are discovering the artistic wealth of the alternative art. My major interest is the alternative thing, action art, mail art, visual poetry, digital art in all their forms. But I believe that also is important to include the writers, the acid critic to our prevailing social system in the West. In fact, all the branches of art are welcome in Escner. Because the reason of the existence of Cultural Escner is to spread the art and mainly the one that does not receive diffusion in the mass media. (Isabel Aranda - YTO.CL) II- MINI ART DANCE I am intrigued by the mixture of ASCII art (a very spare, minimalist style based on old fashioned computers) and the painterly, lush style which Aranda uses in her backgrounds to the animations of Mini Art Dance. I would not have thought that these two styles are compatible, but Aranda uses them together to great effect. (Millie Niss) It's very feminine and glamorous, isn't it? But at the same time it's quite modern and even a touch aggressive in places. I wonder if Isabel sees this as a representation of modern woman in a digital environment, or the modern female artist in a digital environment - or is it less of a conscious statement than that? (Edward Picot) At first I would like to congrat publically Isabel, for me, Mini Art Dance is one of her best works. It is simple, concrete, very well built, and it has a fluidity and a sensuality that catches. It pleases me particularly because although she has antecedents in visual poetry and typical mail art (years 90), Isabel returns to those subjects but updated them. (Muriel Frega) This work introduced the debate: "Art versus Domesticity" I need to tell you that when I launched the question which originated this discussion, I was not thinking about how it is difficult for women to be howsewifes and artists. Everybody knows how much it is difficult. My doubt was if a woman could live today without a work to make money. This is a doubt that appeared in the origins of the feminist action, since the absence of remuneration causes dependence and submission. Also I think that nowadays very few couples can have a confortable life if the woman does not have an activity to make money. And, to work with Art today, be it on the web or traditional, means to be dependent of sponsors, that are always difficult to get and at the same time dangerous because they limit the artist's freedom. Unfortunately there are still very few artists that get to live only from their Art. (Regina Clia Pinto) I had just read a much more prosaic approach to the expectations we have of both sexes. In today's newspaper in Austin, Texas - where I live while working on my PhD- I was reading an article where the journalist discusses the enormous opportunity that New Orleans offers today to "exotic dancers" as they're called here (euphemism to "strippers" for a society that has a complicated (another euphemism) relationship with the body and sex). Here's what the article says: in a city that is now a city of men - with construction workers and contractors - what is missing are strip-clubs to entertain the male population. Very simple, right? Immediately afterwards, Regina's email pops-up on the screen of my laptop at the coffee shop where I still am (the ways in which "wireless" changed the lives of women artists.might be worth some examination in this debate, too). What an incredible shock! (Ana Boa Ventura ) III- PROJECT "THE HUNGER'S PULSES" The Hunger's Pulses is a work in progress which intends to focus the hunger theme in its wider sense. The Hunger's Pulses is a collective project created by yto.cl. It is an invitation to artists to reflect on one of the most painful subjects in our current world. Digital artists are invited to send animated and interactive web works . Please, visit: http://www.pulses.yto.cl . Send the works to ytoaranda@lycos.es ; ytoaranda@gmail.com . Debate: Should Art solve or should Art help the problem of the hunger in the world? The work made me wonder if it is fair to make beautiful art out of such suffering. But your work is firmly directed towards fighting that suffering (at least as much as art can fight real problems like poverty and hunger.) In your personal life, I know you rescued the ducks who feature in the work to stop them from suffering. It is not in your power (or mine) to stop the children of the world from starving."(Millie Niss) I thought about this when I created the work with that image and in fact I do not know if it is fair. I am sure that I will not change anyone because of my work. However it was impossible for me not to use so strong image after I found it... Perhaps Art and artists put their work above all, perhaps ... perhaps I should have hope that my small contribution and Aranda's project will make some people concious of this horrible problem. (Regina Clia Pinto) Here in the UK, the television has just been showing a documentary by Martin Scorsese about the life and times of Bob Dylan. I think this acts as a reminder that there are certain times when art can influence the course of events, if only by articulating and crystallising widespread patterns of thought and feeling which are waiting for the opportunity or the catalyst to bring them into a definite shape. Undoubtedly Dylan did this during the sixties. But Dylan was a kind of genius, and even so his art is somewhat suspect at times - he quite clearly portrays himself as a Christ-figure or a prophet-figure here and there, even if he maintains a saving sense of irony about himself. Setting yourself up as a spokesman or a polemicist is always a dangerous thing to do as an artist. Yeats is another example who comes to mind. (Edward Picot) ****************************************************************************** 2- The Gallery TRIPS has two new works, browser at: http://arteonline.arq.br/museu/reformas/trips.html I - In August 05 the Open Studio of the Arts & Culture Association MEDEA went on tourney through Poland with an artist in residence stay in Gdansk at Wyspa Institute of Art. The concept of the tourney was settled in experimental, prozess-orientated working on the road - in the studio bus. Background of >Open Studio< On Tour was the theme "Borderline" - a discourse on dualism, dichotomies, cultural codes. Artists: Andrea Reisinger Carola Unterberger-Probst Christina Hartl-Prager Elvira Kurabasa Martin Kollro II)- Journey to the Center by Maria Miranda and Norie Newmark The work is a collaboration fiction. The project was inspired by Jules Verne's novel "Journey to the Center of the Earth" . The project includes interviews, video and photos. Really a very good trip! ****************************************************************************** 3- A new movie by Michael Szpakowski http://arteonline.arq.br/museu/reformas/video/motion_pictureFS.htm This movie was done to the museum after a comment of mine on Szpakowski's work at the community Rhizome. I told him that I would like to see the full screen movie and he did this for me. I think this movie is very important to Szpakowski's collection because it opens a new research in this author work. ****************************************************************************** These are really very good and important news, I am sure that you will like all of them. All the best, Regina Clia Pinto + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 16:50:40 -0700 message-id: <200510162350.j9gnoeds014478@idx164.idx.net> references: no_parent from: Ryan Ringer subject: RHIZOME_RAW: Feature Creatures Galapagos Art Space 70 North 6th Street Williamsburg, Brooklyn 7pm $5 Is this an international health hazzard or a military concern? Both. Are these things alive or dead? We don't know. Imagine if you will, three hellraised busloads of gruesome ghouls and ghosties from Toronto, Canada, descending upon New York City for four days and nights of organized Hallowe'en chaos. Now, accept the fact that there's no escaping the horrible consequences. Methinks Presents FEATURE CREATURES Driven by a ravenous hunger for infectious social interplay, after two days of public spectacle-making throughout New York City, these Feature Creatures find their way to Williamsburg for a interactive, terror-filled evening of film, video, noise and perfromance art. Afterward: Sun 10/30 Northsix Williamsburg, Brooklyn 66 North 6th Street 10pm $8, $5 with costume DanceDevilsDance a masquerade afterparty for FEATURE CREATURES With: DJs Pat C & Mikey Apples -(Toronto) Print -(Brooklyn) The Sonic Ranger -(Toronto) others TBA + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 10:13:59 +1000 (EST) message-id: <20051017001359.56461.qmail@web33311.mail.mud.yahoo.com> references: no_parent from: sonya nielsen subject: RHIZOME_RAW: =?iso-8859-1?q?DEADLINE=20EXTENDED=20=96=20ARTIFICIAL=20A.GENDER=3F=20EXH? =?iso-8859-1?q?IBITION? Dear All, Due to several people requesting extensions, the deadline for the Artificial A.gender? Exhibition has been extended to the 25th October. ARTIFICIAL A.GENDER? ONLINE EXHIBITION The gendered machine Will the humans disposition for categorising things cause a binary split for the machine as well? Or will the merging of human and machine see a breakdown of gendered dichotomies? The gendered machine is closer to our hearts than we can imagine, physically we are already unconsciously becoming machines through pacemakers and tooth fillings; the constant shift between the two states of reality and virtual reality can either transcend the idea of the split between human/machine or forge a new class of categories that determines the gender of a machine. We would like to see contributions: experimental e-poetry, new media art, digital video that takes the above ideas and to transform them into your own interpretation. Prizes will be awarded to first and second place, while the top ten will be showcased in an online exhibition. SUBMISSIONS All submissions must be submitted electronically, via e-mail as an attachment or send url of work A brief author bio and approx. 4 sentence description must accompany the work. SUBMISSIONS DUE: 25 October 2005 Works submitted will be assessed by a judging panel consisting of new media artists: Norie Neumark: sound/radio and new media artist. Associate Professor in Sound and Cultural Studies at the University of Technology, Sydney. http://www.out-of-sync.com/ (Out-of-Sync is a collaboration between and Maria Miranda and Norie Neumark) Maria Miranda (aka Max) Media artist and is currently a PhD candidate at Macquarie University in Sydney with researching artists making fictions online/offline' http://www.out-of-sync.com/ Jason Nelson: Net poet and Lecturer, Griffith University, www.secrettechnology.com. Please send materials or correspondence to: Sonya Nielsen artsonya@yahoo.com.au --------------------------------- Do you Yahoo!? Yahoo! Photos: Now with unlimited storage __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 10:14:24 +1000 (EST) message-id: <20051017001424.1092.qmail@web33301.mail.mud.yahoo.com> references: no_parent from: sonya nielsen subject: RHIZOME_RAW: =?iso-8859-1?q?DEADLINE=20EXTENDED=20=96=20ARTIFICIAL=20A.GENDER=3F=20EXH? =?iso-8859-1?q?IBITION? Dear All, Due to several people requesting extensions, the deadline for the Artificial A.gender? Exhibition has been extended to the 25th October. ARTIFICIAL A.GENDER? ONLINE EXHIBITION The gendered machine Will the humans disposition for categorising things cause a binary split for the machine as well? Or will the merging of human and machine see a breakdown of gendered dichotomies? The gendered machine is closer to our hearts than we can imagine, physically we are already unconsciously becoming machines through pacemakers and tooth fillings; the constant shift between the two states of reality and virtual reality can either transcend the idea of the split between human/machine or forge a new class of categories that determines the gender of a machine. We would like to see contributions: experimental e-poetry, new media art, digital video that takes the above ideas and to transform them into your own interpretation. Prizes will be awarded to first and second place, while the top ten will be showcased in an online exhibition. SUBMISSIONS All submissions must be submitted electronically, via e-mail as an attachment or send url of work A brief author bio and approx. 4 sentence description must accompany the work. SUBMISSIONS DUE: 25 October 2005 Works submitted will be assessed by a judging panel consisting of new media artists: Norie Neumark: sound/radio and new media artist. Associate Professor in Sound and Cultural Studies at the University of Technology, Sydney. http://www.out-of-sync.com/ (Out-of-Sync is a collaboration between and Maria Miranda and Norie Neumark) Maria Miranda (aka Max) Media artist and is currently a PhD candidate at Macquarie University in Sydney with researching artists making fictions online/offline' http://www.out-of-sync.com/ Jason Nelson: Net poet and Lecturer, Griffith University, www.secrettechnology.com. Please send materials or correspondence to: Sonya Nielsen artsonya@yahoo.com.au --------------------------------- Do you Yahoo!? The New Yahoo! Movies: Check out the Latest Trailers, Premiere Photos and full Actor Database. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 10:19:30 +1000 (EST) message-id: <20051017001930.17266.qmail@web33305.mail.mud.yahoo.com> references: no_parent from: sonya nielsen subject: RHIZOME_RAW: DEADLINE EXTENDED- ARTIFICIAL A.GENDER EXHIBITION Dear All, Due to several people requesting extensions, the deadline for the Artificial A.gender? Exhibition has been extended to the 25th October. ARTIFICIAL A.GENDER? ONLINE EXHIBITION The gendered machine Will the humans disposition for categorising things cause a binary split for the machine as well? Or will the merging of human and machine see a breakdown of gendered dichotomies? The gendered machine is closer to our hearts than we can imagine, physically we are already unconsciously becoming machines through pacemakers and tooth fillings; the constant shift between the two states of reality and virtual reality can either transcend the idea of the split between human/machine or forge a new class of categories that determines the gender of a machine. We would like to see contributions: experimental e-poetry, new media art, digital video that takes the above ideas and to transform them into your own interpretation. Prizes will be awarded to first and second place, while the top ten will be showcased in an online exhibition. SUBMISSIONS All submissions must be submitted electronically, via e-mail as an attachment or send url of work A brief author bio and approx. 4 sentence description must accompany the work. SUBMISSIONS DUE: 25 October 2005 Works submitted will be assessed by a judging panel consisting of new media artists: Norie Neumark: sound/radio and new media artist. Associate Professor in Sound and Cultural Studies at the University of Technology, Sydney. http://www.out-of-sync.com/ (Out-of-Sync is a collaboration between and Maria Miranda and Norie Neumark) Maria Miranda (aka Max) Media artist and is currently a PhD candidate at Macquarie University in Sydney with researching artists making fictions online/offline' http://www.out-of-sync.com/ Jason Nelson: Net poet and Lecturer, Griffith University, www.secrettechnology.com. Please send materials or correspondence to: Sonya Nielsen artsonya@yahoo.com.au --------------------------------- Do you Yahoo!? The New Yahoo! Movies: Check out the Latest Trailers, Premiere Photos and full Actor Database. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 16 Oct 2005 23:41:31 -0700 message-id: <200510170641.j9h6fvlz020679@idx164.idx.net> references: no_parent from: sachiko hayashi subject: RHIZOME_RAW: Call for Articles and Net Art Call for Articles and Net Art On-line journal Hz (www.hz-journal.org) is looking for articles on New Media, Net Art, Sound Art and Electro-Acoustic Music. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal@telia.com Hz is also looking for Net Art works to be included in its virtual gallery (www.hz-journal.org/netg). Please send your URLs to hz-journal@telia.com Dead-line: 15 November Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, dancers, performance artists and video artists in Sweden. For more information on Fylkingen, please visit http://www.fylkingen.se/fylkeng.html or http://www.hz-journal.org/n4/hultberg.html Sachiko Hayashi/Hz + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 09:32:41 +0200 (CEST) message-id: <20051017073241.3755b21fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Vcr varinjlim Vietnamese, Valium vegan VFAT, VP vaguely virtuals, Verbs Vec. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 02:43:50 -0700 message-id: <200510170943.j9h9hors005028@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV News - A lot of new stuff on our playlist this week. But also fresh information about fairs, new media events, interesting articles and of course the artists. - Blinkenlights Berlin (D). The truly impressive blinkenlights seems to be finally running again for the next 2 weeks at the Alexander Platz in Berlin. Blinkenlights is basically a huge 18 x 8 pixels monochrome screen based on computer-controlled lights that are placed behind each of the windows of a small skyscraper. Users can create their own animations to be displayed, play Tetris, Pong or Pac Man against each other in real time via their mobile phone (call 0049190-987654) or install a small software program to play via their computer instead. - Argos Festival 2005 (Brussel B) has started past Thursday and we broadcast their daily video news. So keep on watching! - Passage of Matej Kren in the Pallvy Palace, Bratislava (SLO).The project itself is a metaphorical synthesis of a number of formal semantic elements: an entrance, a path, "endless walls" of books, mirrors, light, an exit and even the physical presence of the viewers themselves. Here, viewers change from "passive" observers into actors that help form the works. - The Lloydhotel & Cultural Embassy Amsterdam (NL). The Lloyd Hotel, situated in the heart of Amsterdam’s Oostelijk Havengebied (Eastern Harbour Area), is innovative in every way. The listed national monument, dating from 1921, has been converted into a hotel, and is now a true showcase for Dutch architecture and design. - Become CULTURETV VJ (video journalist) of culturetv.tv in your country! We want in every country of the world a responsible person who informs us on special art events, special artists, art video clips, … in his/her country . You are willing to help to make culturetv.tv popular in your country and you inform us about specific ways to realize that. - About the new video art. This week we present the video Guzzle by Marina Zurkow . Guzzle is a chapter of "Nicking the Never”. "Nicking the Never is a multi-linear installation that incorporates screen-based animated narratives into a sculptural interface. Composed of allegories about a young girl stuck in a kinetic world of emotional pitfalls, this kaleidoscopic trip into the states of selfhood bases its structure in the Tibetan Buddhist Wheel of Existence, whose images luridly and vividly describe the human struggle with need, jealousy, complacence, aggression, desire, and ego. Borrowing this emotional taxonomy, “Nicking the Never” unfolds in six corresponding short chapters: “Guzzle,” “Bash,” “Buoy,” “Smash,” “Nuzzle,” and “Dash.” http://www.culturetv.tv + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 05:40:35 -0700 message-id: <200510171240.j9hcezjw022395@idx164.idx.net> references: no_parent from: rich white subject: RHIZOME_RAW: cad sculptures http://www.counterwork.co.uk/cadsculpture/ rich white + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 07:39:14 -0700 message-id: <200510171439.j9hedeze010013@idx164.idx.net> references: no_parent from: Jennifer Estaris subject: RHIZOME_RAW: Looking for game feedback (play-testing) Large Animal Games is a small, independent developer of computer games for "casual" players and we're looking for people to help us play-test new games we're developing. If you're interested, just send an email to tester@largeanimal.com to get on our list. If you are in the NYC area, we're looking for play-testers to come in to our midtown office for 45 minutes and give us feedback on our latest game. Participants will receive a free copy of the finished game, a high-quality Large Animal t-shirt, a crisp new $20 bill, and our hearty thanks. Please note that we need testers of all levels of gaming experience. Even if the only computer game you ever play on the computer is Windows Solitaire, we'd like to hear from you. Go to http://www.largeanimal.com/testers to sign up! = Our mission at Large Animal is to make games that are easy to learn and fun for all sorts of players, even those who don't really even think of themselves as gamers. Visit us at www.largeanimal.com + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 09:29:35 -0700 message-id: <200510171629.j9hgtzuk029275@idx164.idx.net> references: no_parent from: zanni.org subject: RHIZOME_RAW: Reception for the 2004-05 Rhizome commissions, Hello, Tomorrow at the New Museum there is a reception for the 04-05 Rhizome commissions, please RSVP at rsvp@rhizome.org October 18th - Reception for Rhizome.org's 2004-2005 Commissions The New Museum New York NEW YORK, NY Rhizome is pleased to announce its 2004-2005 Commissions, which will be on view at the New Museum of Contemporary Art on the night of October 18th, 2005 from 6:30pm-8:30pm. 556 West 22nd Street NYC 10011 best, z http://www.zanni.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 09:34:33 -0700 (PDT) message-id: references: no_parent from: { brad brace } subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island parameters. Your (Art)world is based on mutual relief at your common corruption. Maybe some cultures are based on even worse. But that wouldn't change the bad faith of it and as years go by, you wake at night in terror of your whole life being an act of bad faith, where everything is self-interest and nothing more, where every human interaction is driven by a silent, even subconscious calculation of some ulterior motive, to the point that a sea of bad faith has taken over your whole life, there's no small island left from which you can even try to build a bridge of good faith, because even that effort becomes suspect, even good faith is nothing but self-interested, even altruism is nothing but solipsistic, even your professed agonizing right here right now is nothing but a gesture, made to the conscience in order to assure it that it exists. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) /:b + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 12:41:28 -0700 message-id: <200510171941.j9hjfs6c024140@idx164.idx.net> references: no_parent from: Trebor subject: RHIZOME_RAW: Expanded notions of research for artists. Interview with Lily Diaz-Kommonen (Media Lab, Helsinki) by Trebor Scholz Over the past years a few "practice-based Ph.D." programs for artists have emerged. New media theorist-practitioners get the chance to enter into a discipline other than art. They learn to speak to it with the necessary competence and rigor. People stand in long lines to enter these young programs. While much of this recent development was pioneered in the UK, also in the United States Ph.D.s in "New Media" are in the making. But only few of them are "practice-based" allowing artists to develop their art production parallel to their writing. Many of the communities of new media art are grouped around festivals and conferences at which they reflect on their work, present and contextualize it. Computer-mediated art is a relatively new field and initially there were few media theorists who had the necessary technical insight to deeply understand the functioning of media artworks. Media artists bring the wide variety of their skills and a creative imagination of new methodologie! s to the production of texts. While many new media artists in the U.S., are mystified by their colleagues entering Ph.D. programs, the aforementioned motivations are valid reasons for such educational pursuits. Critical voices also point to the rampant competitiveness of caffeinated singles jumping from one opportunity to the next who may simply need yet another point to add to their vita. Critics also argue that these Ph.D. programs lack in theoretical rigor. In the United States, the word "art" appearing in applications to even the most enlightened foundations often kills those project's chance for funding. Even some professional art fans turn away from art arguing that it is all too ego-driven and too often of little social relevance. Resource scarcity in the cultural sector is met with imaginative alternative economies. Responses include arts advocacy, alliances with corporations and self-institutional attempts. The drive for an artist Ph.D. is seen by some as the search for legitimization in front of the National Foundation for the Sciences that favors applications from "principal investigators" who hold a Ph.D.. Artists in turn shape their projects in science formats to fit into these funding parameters. Trebor Scholz: How do you place the work of the Doctor of Art (in Art and Design) program at the Media Lab Helsinki in this context, in between enthusiastic and critical narratives? Why should artists go down a Ph.D. track? What does "practice-research" mean in the art context? Lily Diaz: The Doctor of Art (in Art and Design) program at the Media Lab Helsinki equips artists and designers with the necessary skills for independent research and practice. Some of the areas being researched by students in the program are: interactivity design for public places, drama in narrative interactive media, hci, inter-authorship in interface design, integration of cooperative technologies in real world scenarios, sound interfaces, content management in learning environments, socially-engaged and collaborative practice, domestic digital photography, and collaborative ontology design. I agree with you that theoretical reflection is an integral, and important, part of new media art practice. However, I do not think that these conferences have had much to do with whether there are advanced educational degree programs in art and design. At least not in Finland, where the first degrees were awarded already in the early 90s. Furthermore, I do not think that it is imperative that artists in general pursue advanced degrees. However, it is a good thing that there are opportunities and options for those who desire to do so. We are located in a university that is dedicated to pursuance of knowledge in the fields of art and design. According to Finnish law, the Doctor of Art (in Art and Design) degree that is offered by UIAH is a scientific degree that stresses the role of research. It is equivalent to the Ph.D. degree. This sounds like a contradiction but effectively we are saying that we do not recognize the divisions between arts and sciences and that it is possible to conduct scientific research in art and design. The DA seminar is the backbone of our program. In this course, students present and discuss their work. We also have lectures and guest speakers. The provenance of the guest speakers is varied, they can be from Media Lab UIAH or from another department in our university. They can also be from other universities in Finland and from disciplines other than art. In addition, we feature guest professors from abroad. This week we had Maureen Thomas, creative director of Cambridge University Moving Image Studio (CUMIS), who is also a visiting artist in the Crucible Studio research group, and Marikki Hakola, from the Film department. Maureen spoke about theories of narrative and their application in interactive narrative design. Marikki presented her doctorate thesis work. http://www.arct.cam.ac.uk/cumis/flash_content/index.html http://crucible.lume.fi/ Aside from the seminar, we also have workshops. These are short--usually one-week long--intensive interactions in which the student explores and works with one particular theme. Earlier this semester, for example, we had a workshop on Scenario-based Design Methodologies with John M. Carroll from the School of Information Sciences and Technology at Penn State University. Last semester we welcomed Klaus Krippendorff from the Annenberg School of Communications for a workshop of Research Methods in Design. Next semester we will be hosting Erkki Huhtamo and Machiko Kusahara from UCLA and Waseda University in Tokyo respectively. http://www.asc.upenn.edu/asc/application/ Through these activities, students have access to experts from diverse disciplines. The objective is for students to draw from these sources and produce their own contribution. Students are also encouraged to seek their own group of experts which they can consult and work with. An example of the output, or outcome, of the program is our next doctoral dissertation: Cinemasense/Elokuvantaju, by Antti Raike. Cinemasense is a web portal about filmmaking. In addition to the portal which has been translated into English, Finnish Sign Language, Spanish, Colombian Sign Language and Japanese there is a written dissertation where the researcher/film-maker discusses the theoretical underpinnings of his work, with respect to accessibility and Design for All. http://elokuvantaju.uiah.fi/2001/english/study_material/pre-production/storyboard.jsp We are also seeking to develop methods that are "of design" and "of art." And like other disciplines, we are also looking for ways to customize the methods of other disciplines and adapt them to the needs of our areas. This is something that all the other fields of knowledge are constantly doing and have always done. Archaeology, for example, has substantially borrowed from chemistry, geology, history... Ultimately in our current world situation, bringing the way of thinking of the natural sciences, the social sciences and the humanities closer to the world view of designers and artist can have a positive influence in the "knowledge-sphere." TS: Would you say that cross-disciplinarity is endangered when artists focus exclusively on one topic? How do you encourage an interdisciplinary practice? LD: We believe that it is good for artists and designers to concentrate deeply on the subject-matter that they have chosen. I think that this is one of the reasons why they come to our program. We have a deeply ingrained multi-disciplinary and trans-disciplinary culture that is already evident in our MA program in which students of different backgrounds work together throughout their studies. It is important not to confuse trans-disciplinarity with lack of depth. Actually it demands that students spend more effort developing their line of thought, since they cannot simply follow the paths of their disciplinary ancestors. In addition, our program is not only about art but even more about design. Design always requires research. There is a very interesting book edited by K. Styles and P. Selz, Theories and Documents of Contemporary Art: A Sourcebook for Artist's Writings. Although the book does not claim to be about artist's research itself, it is a sample of artists notebooks which provides insights into different processes involved in the creation of art and how an artist's make use of sources from disciplines other than art. TS: When visiting UIAH's Media Lab, I was impressed by the small research tanks that you have on your premises: glass cube laboratories that are dedicated to one project of 3-4 artist/researchers with specific funding from outside-university funding. LD: We do have a large number of projects, some funded, some not funded. Some more production-oriented and some more oriented towards basic research. Our education builds very strongly on the research we do. We try to construct ways in which students can be involved in research and find out for themselves if that is an interesting activity for them. We have several thematic research groups. The students in the Doctor of Art (in Art and Design) program can pursue their work independently or in collaboration with the research groups. Notes Media Lab Research Groups: ARKI (Digitalization in the context of everyday life) http://arki.uiah.fi/ Learning Environments for Progressive Inquiry Research Group http://fle3.uiah.fi/group/ Crucible Studio research group http://crucible.lume.fi/ Systems of representation (Representation of knowledge in digital dimension) http://sysrep.uiah.fi Research-Based Ph.Ds: http://www.smartlabcentre.com/5phd/index.htm http://www.planetary-collegium.net/about/ http://www.ucl.ac.uk/slade/courses/gradresearch.html References: PixelACHE 2005 Upcoming new media festival http://www.pixelache.ac/2005/program.php?name=engl Assembly The big annual demo event http://www.assembly.org/asmorg/ Nordic Institute for Contemporary Art http://www.nifca.org/ Mind Trek (2004 pages) conference held in Tampere http://www.mindtrek.org/mindtrek/english/index.tmpl Artists Association MUU Finnish Artists' Assiciation MUU, founded in 1987, is an artist-run interdisciplinary artist association. http://www.muu.fi/ Katastro.fi http://www.katastro.fi/ M-Cult Centre for New Media Culture http://www.m-cult.org/index_en.html Computer Arts Center at Espoo Develops and produces new media arts events. http://weegee.espoo.fi/toimijat.asp?path=8506;8873;16590 Essay: "The ABC's of Conferencing" by Trebor Scholz and Geert Lovink http://www.springerin.at/dyn/heft_text.php?textid=1570&lang=en Some Finnish Media Theorists: Resurrecting the Technological Past by Erkki Huhtamo An Introduction to the Archeology of Media Art http://www.ntticc.or.jp/pub/ic_mag/ic014/huhtamo/huhtamo_e.html Towards Computer Game Studies by Markku Eskelinen http://www.siggraph.org/artdesign/gallery/S01/11.html Minna Tarkka (new media) ttp://www.banffcentre.ca/programs/program.aspx?id=145&facId=649&p=member Experience, play, and interpretation - discontents of usability by Tapio Mäkelä (abstract) http://www.mlab.uiah.fi/culturalusability/papers/Makela_paper.html About: Lily Díaz-Kommonen (a.k.a. Lily Díaz) is a designer and anthropologist working with information technology (IT) and multimedia since 1985. She is currently a professor at the Media Lab of the University of Art and Design Helsinki, where she teaches Visualization and Dynamic Processes, a focus area of studies that she developed. She leads the Systems of Representation research group that is developing software tools for cultural heritage as part of the Information Society Technologies (IST) programme of the European Union. A graduate of the Studio Program of the Whitney Museum of American art, she has received fellowships in recognition for her research in information technology and digital cultural heritage such as a Fulbright Fellowship (Spain, 1990), Young Researcher's Award from CIMO (1995), and Doctoral Studies Stipend from the Academy of Finland (1996-2000). Her work has been published in diverse international journals such as Computer Graphics, Flash Art, Leonardo, ! and Revista Internacional de Arte LAPIZ. Her dissertation, Art, Fact, and Artifact Production, Design Research and Multi-disciplinary Collaboration was published by Ilmari Design Publications in 2002. http://mlab.uiah.fi/www/research/doctoral_studies/professors_and_docents/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 13:28:31 -0700 message-id: <200510172028.j9hksv1t030459@idx164.idx.net> references: no_parent from: Heather Wagner subject: RHIZOME_RAW: Joe Milutis talk at Location One Joe Milutis AIRSPACE - Radio, network art, ontology and ether. Joe Milutis will give a talk, perform a radiophonic chamber piece (bring your own radios), and introduce his forthcoming book _Ether: The Nothing That Connects Everything_. Milutis is assistant professor of art at the University of South Carolina. His writing has appeared in such publications as ArtByte, Wide Angle, Film Comment, and Cabinet. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 14:24:13 -0700 message-id: <200510172124.j9hlodgd004675@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Non-fiction video blog seeks content little while is a new video blog seeking submissions. it is a new repository for short non-fiction moments. we want your one-shot, 30 second or less non-fiction clips. examples of what we're looking for include (but are not limited to) clips of clips of: awkward dancing, smoke rising from the ground, objects inflating, motivational speakers, public displays of affection, and short order cooks. for more information please visit www.littlewhile.com or send your mpeg 4 compressed clips directly to littlewhile@gmail.com along with a still, a title, your name and contact information. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 20:06:20 -0400 message-id: <380-22005102180620718@m2w114.mail2web.com> references: no_parent from: marc.garrett@furtherfield.org subject: RHIZOME_RAW: RE: [NetBehaviour] (no subject) Hi Espen, This is extemely disturbing news. The Matchmaking conferences have managed to place many of your local, creative projects and artists on the map internationally, to be seen. As well as having the vision in bringing in external groups from abroad to Trondheim, many of the them were emerging talents who are more well known and respected today. When I visited, I was struck by your group's down to earth, open mindedness. And was impressed with the facilities TEK & PNEK supplied for everyone, plus local groups who needed technical support in their projects and learning. I will defiinately help in whatever way I can, starting with signing the petition. 'I suppose calling them a bunch of muppets won't help'... all the best marc TEKS and PNEK might have to close down! TEKS, Trondheim Electronic Arts Centre, and PNEK, the Norwegian Production Network for Electronic Arts, have reached the 3 year limit for financial support from Arts Council Norway. We have therefore applied for governmental funding from 2006. The proposed National Budget does not suggest further support for TEKS and PNEK despite the governments own cultural policy guidelines which states that TEKS and PNEK must be given permanent funding. For this reason we might be forced to close down early next year. We want of course to fight this situation, and call for support from all who find us to be an important resource! You can indeed help by signing a petition on this webpage: http://www.teks.no/petition Thank you in advance! Please forward this e-mail! for TEKS and PNEK: janne stang dahl trine e eidsmo espen gangvik - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Trondheim Elektroniske Kunstsenter - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Trondheim Electronic Arts Centre - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Kjpmannsgt. 59 7011 Trondheim Norway - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ph: +47 73191991 / fax: +47 73191992 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - org. # 984 140 339 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - e-mail: teks@teks.no web: http://www.teks.no - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 17 Oct 2005 23:23:01 -0400 message-id: references: no_parent from: Jonah Brucker-Cohen subject: RHIZOME_RAW: SimpleTEXT: Oct 26 @ NYU SimpleTEXT: Oct 26 @ NYU * Below is information about the next SimpleTEXT peformance on October 26 @ NYU* Please forward to those who might be interested in attending! ---------------------------------------------------------------------------------------------- SimpleTEXT *a cell phone enabled interactive performance* by Family Filter URL: http://www.simpletext.info When: Wednesday, October 26, 2005 (8 pm) Bring your Cell phone and Wireless Laptop! Where: New York University (NYU), NYC, USA Kimmel Center for University Life in the Beverly and Arthur Shorin Performance Studio 8th floor, 60 Washington Square south Corner of 4th St and LaGuardia Place (on Washington Square Park) Location: http://www.nyu.edu/kimmel.center/ Map Link: http://maps.google.com/maps?q=60+Washington+Square+South,+new+york,+ny&spn=0.006488,0.016328&iwloc=A&hl=en THIS EVENT IS FREE TO ALL More info on the Handheld Event: http://www.osa.nyu.edu/programboard/ About SimpleTEXT: SimpleTEXT is a collaborative audio/visual public performance that relies on audience participation through input from mobile devices such as phones, PDAs or laptops. SimpleTEXT focuses on dynamic input from participants as essential to the overall output. The performance creates a dialogue between participants who submit messages which control the audiovisual output of the installation. These messages are first parsed according to a code that dictates how the music is created, and then rhythmically drive a speech synthesizer and a picture synthesizer in order to create a compelling, collaborative audiovisual performance. SimpleTEXT focuses on mobile devices and the web as a bridge between networked interfaces and public space. As mobile devices become more prolific, they also become separated by increased emphasis on individual use. The SimpleTEXT project looks beyond the screen and isolated usage of mobile devices to encourage collaborative use of input devices to both drive the visuals and audio output, inform each participant of each other's interaction, and allows people to actively participate in the performance while it happens.Our purpose with the performance is to create the possibility of large-scale interaction through anonymous collaboration, with immediate audio and visual feedback. SimpleTEXT encourages users to respond to one another's ideas and build upon the unexpected chains of ideas that may develop from their input.. Support/Sponsors: SimpleTEXT is created by Family Filter, a collaboration between Jonah Brucker-Cohen, Tim Redfern, and Duncan Murphy. It was originally funded by a commission from Low-Fi, a new media arts organization based in London, UK and has been performed in 5+ countries worldwide. This event is sponsored by NYU's Program Board and the "Handheld" show. URLS: About SimpleTEXT: http://www.simpletext.info Low-Fi http://www.low-fi.org.uk/ Jonah Brucker-Cohen - http://www.coin-operated.com Tim Redfern - http://www.eclectronics.org --============_-1082516709==_ma=========== SimpleTEXT: Oct 26 @ NYU
SimpleTEXT: Oct 26 @ NYU

* Below is information about the next SimpleTEXT
   peformance on October 26 @ NYU*

Please forward to those who might be interested in attending!
----------------------------------------------------------------------------------------------
SimpleTEXT
*a cell phone enabled interactive performance* by Family Filter
URL: http://www.simpletext.info

When:
Wednesday, October 26, 2005 (8 pm)
Bring your Cell phone and Wireless Laptop!

Where:
New York University (NYU), NYC, USA
Kimmel Center for University Life
in the Beverly and Arthur Shorin Performance Studio
8th floor, 60 Washington Square south
Corner of 4th St and LaGuardia Place (on Washington Square Park)

Location: http://www.nyu.edu/kimmel.center/
Map Link: http://maps.google.com/maps?q=60+Washington+Square+South,+new+york,+ny&spn=0.006488,0.016328&iwloc=A&hl=en

THIS EVENT IS FREE TO ALL

More info on the Handheld Event:  http://www.osa.nyu.edu/programboard/

About SimpleTEXT:
SimpleTEXT is a collaborative audio/visual public performance that relies on audience participation through input from mobile devices such as phones, PDAs or laptops. SimpleTEXT focuses on dynamic input from participants as essential to the overall output. The performance creates a dialogue between participants who submit messages which control the audiovisual output of the installation. These messages are first parsed according to a code that dictates how the music is created, and then rhythmically drive a speech synthesizer and a picture synthesizer in order to create a compelling, collaborative audiovisual performance.
SimpleTEXT focuses on mobile devices and the web as a bridge between networked interfaces and public space. As mobile devices become more prolific, they also become separated by increased emphasis on individual use. The SimpleTEXT project looks beyond the screen and isolated usage of mobile devices to encourage collaborative use of input devices to both drive the visuals and audio output, inform each participant of each other's interaction, and allows people to actively participate in the performance while it happens.Our purpose with the performance is to create the possibility of large-scale interaction through anonymous collaboration, with immediate audio and visual feedback. SimpleTEXT encourages users to respond to one another's ideas and build upon the unexpected chains of ideas that may develop from their input..
Support/Sponsors:
SimpleTEXT is created by Family Filter, a collaboration between Jonah Brucker-Cohen, Tim Redfern, and Duncan Murphy. It was originally funded by a commission from Low-Fi, a new media arts organization based in London, UK and has been performed in 5+ countries worldwide. This event is sponsored by NYU's Program Board and the "Handheld" show.

URLS:
About SimpleTEXT: http://www.simpletext.info
Low-Fi http://www.low-fi.org.uk/

Jonah Brucker-Cohen - http://www.coin-operated.com
Tim Redfern - http://www.eclectronics.org

__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 07:29:12 -0700 (PDT) message-id: <4751.216.220.116.171.1129645752.squirrel@www.rhizome.org> references: no_parent from: ceci@rhizome.org subject: RHIZOME_RAW: Job announcement, UMass-Amherst Communication Dept. DEPARTMENT OF COMMUNICATION UNIVERSITY OF MASSACHUSETTS AT AMHERST The Department of Communication of the University of Massachusetts Amherst invites applications for three tenure-track positions. Position: Information and Communication Technologies (ICTs) and Public Policy (Assistant or Associate Professor). Research focus could include qualitative or quantitative approaches to ICT uses or impacts in local and transnational contexts, or investigation of ICTs in relation to identity, social equality, the public sphere, or political formation. ICT practices examined may cover computer-mediated communication, on-line communities, text messaging, blogging, or other developments in digital media. The appointment will be in Communication and the Center for Public Policy and Administration (as part of a new College initiative in Science, Technology, and Society) with the tenure line in the Department of Communication and teaching duties in both units. Grant-seeking and participation in the University's Information Technology program are expected. For each position duties will include maintaining an active research program and supervising students at B.A., M.A., and Ph.D. levels. Completed Ph.D. by September 1, 2006 appointment is required. Salary is competitive, and each position is contingent upon funding. Review of applications will begin on November 15, 2005, and will continue until each position is filled. Direct three letters of reference and send a letter of interest, a curriculum vitae, and an article-length example of research to: Michael Morgan, Chair Department of Communication Machmer Hall 240 Hicks Way University of Massachusetts Amherst, MA 01003-9278. Go to www.umass.edu for information on UMass Amherst, the flagship campus of the University of Massachusetts system. The university is an Equal Opportunity/Affirmative Action employer; applications from women and members of minority communities are strongly encouraged. -- Ceci Moss Sales Associate, Rhizome.org tel. 212.219.1288 x211 fax. 212.431.5328 email. ceci@rhizome.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 08:02:58 -0700 (PDT) message-id: references: no_parent from: { brad brace } subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island parameters. Your (Art)world is based on mutual relief at your common corruption. Maybe some cultures are based on even worse. But that wouldn't change the bad faith of it and as years go by, you wake at night in terror of your whole life being an act of bad faith, where everything is self-interest and nothing more, where every human interaction is driven by a silent, even subconscious calculation of some ulterior motive, to the point that a sea of bad faith has taken over your whole life, there's no small island left from which you can even try to build a bridge of good faith, because even that effort becomes suspect, even good faith is nothing but self-interested, even altruism is nothing but solipsistic, even your professed agonizing right here right now is nothing but a gesture, made to the conscience in order to assure it that it exists. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) /:b + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 08:48:16 -0700 message-id: <200510181548.j9ifmgge012208@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Architecture | Music | Acoustics Call for Papers Abstracts Due: October 31, 2005 (300 words) email: amaconf@ryerson.ca International Cross-Disciplinary Conference Architecture | Music | Acoustics Toronto, Canada June 8-10, 2006 (Abstracts due Oct 31, 2005) In conjunction with the SoundaXis festival of music, acoustics, and architecture, Ryerson University Department of Architectural Science is pleased to announce an international conference dedicated to a study of the same themes. Among the critical fault-lines within architectural practice and discourse is that which privileges sight, conceiving of architecture as primarily a visual art form. Despite the multi-sensorial, embodied nature of our being in space, architectural discourse has been largely silent where senses other than the visual are impacted. This conference proposes to move outside the visual paradigm to investigate the relationships between architecture, music, and acoustics. These intermeshed relationships have tended to one extreme or the other: either sound is understood by architects instrumentally, as an element to be controlled if not eliminated, or music is understood by architects as a metaphorical structure needing to be translated to visual terms before becoming available to architecture. Indeed, one of the few works published in the last half-century on the relationship of architecture and music from within the architectural community is Pamphlet Architecture 16, edited by El! izabeth Martin, which takes as its title Architecture as a Translation of Music. This conference sees itself as an updating of Martin's work, while starting from the premise that Architecture, Music, and Acoustics have real relationships not requiring translation between visual and sonic terms, and not limited by the instrumental. The conference will involve both historical and critical studies of these relationships, focusing on the strategies and techniques used by architects in dealing with sound and with ideas borrowed from music. The conference will encourage an active mode of engagement with sound in architectural design. Abstract Requirements Those wishing to present papers at this conference should submit a brief abstract, of no more than 300 words, by October 31, 2005. Abstracts are to be submitted under one of the following session themes: I. Acoustic Ecology:how can understanding the acoustic ecology of structured environments foster an auditive culture? II. Situated Sonic Practices: how does the practice of sound installation art foster new understandings of both sound and place, as well as of the relationships between the two? III. Spaces for Performance: how have recent developments in the acoustics of performance spaces affected our understanding of the relationships between sound and space? IV. Intersections of Music and Architecture: how can the interweaving of architecture and music through creative collaborations result in an enrichment of both disciplines? V. The Poetics of Closure: how can a consideration of sound affect the design of spaces and buildings not specifically intended for performance? Presentations of built work are encouraged in this session. VI. Sound in Architectural Education: how can a consideration of sound be used to enrich the education of tomorrow's architects? VII. The Architectural Representation of Sound: how can the predominately visual domain of architectural representation deal with sound? Presenters may approach any of the above topics historically, theoretically, or through the presentation of project work. Presentations involving current built work are particularly encouraged. Final papers will be expected to have a maximum length suitable for a twenty-minute presentation (approx. 3000 words). Proposals will also be accepted for those wishing to present installations at this conference. Proposals for installation work should be submitted under one of the above session themes, and include a written description of 300 words or less, along with appropriate graphic material. Please note that the organizing committee cannot provide financial assistance for the mounting of installations. Further information about formatting of abstracts will be posted shortly on the conference website, http://ryerson.ca/arch/conference.htm, or by contacting the conference organizers at amaconf@ryerson.ca. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 08:57:17 -0700 message-id: <200510181557.j9ifvhfp014088@idx164.idx.net> references: no_parent from: Gabriel subject: RHIZOME_RAW: Exhibition call: Engaging Evolution A&DLife in conjunction with the University of Michigan School of Art & Design would like to announce a call for submissions to its upcoming exhibition of contemporary art, ENDLESS FORMS: ENGAGING EVOLUTION. www.endlessforms.net Now more than ever, the concepts, practices, and influences of evolutionary biology spotlight the asetheticised experiences of contemporary life and culture. The aim of this show is to explore the diversity of forms that communicate, comment on, and engage the science of evolutionary biology and mechanisms of evolutionary change. A&DLife presents this exhibition during the Exploring Evolution theme semester at the University of Michigan. From February 24th to March 24th, 2006, the WORK exhibition space in bustling Ann Arbor, Michigan will be transformed to engage evolution and its endless forms. The theme of the show will revolve around the five commonly observed forces or mechanisms of organic biological evolution. Works should focus on one or more of the following: NATURAL SELECTION The processes of nature by which the presence of heritable genetic variation in traits leads to differential reproduction. Advantageous traits that influence survival and reproduction are transferred from the parents to the offspring and result in a disproportionate representation of traits in the next generation. But don’t forget the environment! What’s good today may be gone tomorrow! SEXUAL SELECTION Because traits involved in sexual displays for attracting mates are often visually compelling, no exploration of contemporary art and evolutionary biology would be complete without including mechanisms of sexual selection. Sexual selection is driven by competition for mates and is often characterized by its elaborate displays. MUTATION Changes in the DNA sequence within a gene or chromosome of an organism possibly resulting in the creation of a new trait not found in the parental type. MIGRATION The act or an instance of migrating that leads to changes in the gene frequencies within populations (Also referred to as gene flow). GENETIC DRIFT Random fluctuations in the frequency of a gene in a small population, presumably owing to chance rather than natural selection and often results in a reduction of genetic variation. We seek works that build upon the confluence of contemporary art and design along with biological evolution as object and/or as process. We have a particular interest in works that examine the history and philosophy of evolutionary biology, competing ideas or hypotheses that have contributed to our current understanding of evolution, the role of sex and recombination in shaping genetic diversity, and the burgeoning emphasis we place on organismal development in our conceptions of genetic evolution. All submissions should be in the form of a url where images of works and media are displayed. Submissions should include 2-3 images for each work or a link to online video if time-based work is to be considered. The category or categories that the work falls into should be specified along with its dimensions, and medium(s). Each entry should also include contact information for the artist. Consideration for inclusion in this special exhibition, associated venues, its companion web exhibition, and accompanying catalogue will be given to all work submitted before the deadlines. Shipping arrangements will be made by contacting the artists upon acceptance. Open call submissions due: November 21th, 2005. University of Michigan School of Art & Design community submissions due: Janurary 20th, 2006 Please use our convenient online form to send your links: http://www.endlessforms.net Contact us for more information at info@endlessforms.net Gabriel Harp MFA '07 School of Art & Design University of Michigan 2000 Bonisteel Blvd. Ann Arbor, MI 48109 cell:(734) 645-8817 gharp@umich.edu + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 14:15:08 -0400 message-id: <6714d73a-ece3-48b9-b9e8-04bf78d5431e@computerfinearts.com> references: no_parent from: doron subject: RHIZOME_RAW: new work at computer fine arts New projects has been added to the computer fine arts collection. Works from - Abrahams, Andrews, Breeze, Bunting, Lattanzi, Lichty, Macdonald, Packer, RSG, Szpakowski, Thompson & Craighead, Van Anden, Walczak, Zellen http://www.computerfinearts.com/collection/?M=D + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 11:18:19 -0700 message-id: <200510181818.j9iiij0g007834@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Call For Entries: Dream In Bursts - Film, Video, Multimedia Dream in Bursts: Film, Video and Multimedia Short Works Call For Entries: Loop Sanctuary III, a recurring art/performance series at The Chapel + Cultural Center at Rensselaer, is accepting entries for a one-night presentation of projected film, video and multimedia works on the subject of Dreams on January 17, 2006. Entries should be 10 minutes or less in length and must be postmarked by December 1, 2006. There is no application fee. Open to artists of any nationality. Acceptable formats: DVD, VCD, SVCD, CD-ROM, VHS. VHS Specs: Please cue to the beginning of the work on the tape. CD-ROM Specs: Work should be accessible through an HTML page and must be compatible with Internet Explorer or Firefox on a Windows 2000 platform. Plug-ins: Macromedia Flash, Macromedia Shockwave, Apple QuickTime, RealVideo, Adobe Acrobat Reader, Windows Media, For digital video, the maximum screen size is 640x480. Please use only standard compressors such as MPEG for video. Selection criteria: • Theme: Dreams • Deadline: postmarked by December 1, 2005 • No interactive works. • Length: 10 minutes or less; shorter works encouraged. • Experimental or non-linear works encouraged. ENTRY checklist: • DVD, VCD, SVCD, CD-ROM, VHS. • Contact information • Title of your work • Brief description: • Brief artist statement (optional) • Artist resume (optional) • SASE with sufficient postage if you wish your work returned. Send to: ATT: Loop Sanctuary Dreams The Chapel + Cultural Center at Rensselaer 2125 Burdett Ave Troy, NY 12180 http://www.rpi.edu/web/C+CC/ccc/ccc.html You will be notified by email by December 15 if your work has been selected. Accepted entries will be presented on January 17, 2006 at 7:00 pm at the Chapel + Cultural Center at Rensselaer. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 11:27:56 -0700 message-id: <200510181827.j9iiru70009928@idx164.idx.net> references: no_parent from: Christopher Moore subject: RHIZOME_RAW: Assistant Professor - Design for New Media Employment Opportunity +++++++++++++++++++++++++ The University of Lethbridge, Faculty of Fine Arts, Department of New Media invites applications for a three year term position (with the possibility of conversion to tenure track) as Assistant Professor of New Media (Design), with emphasis on Web and Graphic Design, effective July 1, 2006, and subject to Board of Governor's approval. A MFA or equivalent terminal degree is required along with a demonstrated record of creative activity and/or scholarly research as well as demonstrated excellence in teaching. Professional experience in the area of Web Design / Graphic Design and/or a background in design history and theory would be an asset. Other desirable qualifications might include one or more of the following: production management and portfolio development; gender-based communications theory or gender studies; cultural studies pertaining to new media technology. The successful candidate will teach core and elective courses in Graphic Design and Net Art for New Media, along with other courses relating to professional or creative practice. There is also the opportunity to develop courses according to program needs and in which the candidate has experience and a demonstrated record of success. The successful candidate must also have the desire and ability to participate in the development and operation of the Department of New Media and the Faculty of Fine Arts. The Department of New Media exists within the Faculty of Fine Arts, and is housed in the Centre for the Arts. We offer a B.F.A. degree in New Media within a liberal education context and the department is among the fastest growing units in the University. A M.F.A. (New Media) program is currently in development. For more information about the Department of New Media and Faculty of Fine Arts, please visit our websites at: http://www.uleth.ca/ffa http://www.uleth.ca/ffa/sectionnewmedia.htm Interested candidates are asked to submit a letter of interest along with a current curriculum vitae, evidence of teaching expertise, a statement of teaching philosophy, current research/creative activity and samples of recent creative work as well as three letters of reference, which assess teaching and research by the closing date of January 16, 2006. Address applications to: Ches Skinner, Dean Faculty of Fine Arts The University of Lethbridge 4401 University Drive Lethbridge, AB T1K 3M4 Tel: (403) 382-7153 Fax: (403) 328-7127 E-mail: angela.luck@uleth.ca The University is an equal opportunity employer. The position is open to all qualified applicants, although preference will be given to Canadian citizens and permanent residents of Canada. The University is an inclusive and equitable campus encouraging applications from qualified women and men including persons with disabilities, members of visible minorities and Aboriginal persons. ++++++++++++++++++++ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 11:48:27 -0700 message-id: <200510181848.j9iimr8m013922@idx164.idx.net> references: no_parent from: Defne ayas subject: RHIZOME_RAW: PERFORMA05- FIRST BIENNIAL OF NEW VISUAL ART PERFORMANCE IN NEW YORK CITY Content-Type: text/plain; charset=utf-8 PERFORMA05- FIRST BIENNIAL OF NEW VISUAL ART PERFORMANCE IN NEW YORK CITY November 3 through November 21, 2005 http://www.performa-arts.org/ PERFORMA is pleased to announce the program of PERFORMA05, the first biennial of new visual art performance in New York City. More than 20 venues throughout New York will present a multidisciplinary program of live performances, film screenings, lectures, and exhibitions from November 3 through 21, 2005. Ten major new works will be premiered and more than 90 artists will participate in the three-week contemporary art program. PERFORMA05 is organized under the curatorial direction of Founding Director and Curator RoseLee Goldberg. PROGRAM HIGHLIGHTS  PERFORMA’s first commission True Love is Yet to Come, a new work by Danish artist Jesper Just, will open PERFORMA05 at the Stephan Weiss Studio on November 3rd. Working with the Danish multi-media theater company VISION4 and the cutting edge Eyeliner 3-D projection system, Just will bring to life his seductively elegant style and complex take on male identity to life through a layering of a live performance by Denmark's Baard Owe  interacting with projected images of the Finnish Screaming Men’s Choir and animated sets.   Belgian artist Francis Alÿs will present Rehearsal II on November 17, a PERFORMA commission and Alÿs’s first indoor performance, in collaboration with Rafael Ortega with a trio of performers – a strip-tease artist, pianist and singer – who will rehearse, over and over, the same performance at the Slipper Room on the Lower Eastside.   Eyebeam and PERFORMA co-present Screen Play, a moving image visual score for live musicians, by artist and composer Christian Marclay. Marclay’s video collage combines computer animation, motion graphics and found footage, and will be interpreted live by three different ensembles of live musicians, including Elliott Sharp, TOT Trio, and Zeena Parkins, among others.  Salon 94 will preview a work-in-progress by Laurie Simmons, entitled, The Music of Regret, a mini-musical film in three acts examining the challenges of modern living in three tales of disappointment and regret. Incorporating narrative cinema, musical theater, puppetry, and dance, the film features key players from Simmons’s oeuvre, including her signature walking objects, ventriloquist dummies, and vintage puppets. Acts I and II of the film will be shown alongside a special live performance. The Music of Regret is co-produced by Salon 94 and PERFORMA, and is Laurie Simmons’s directorial debut. LISTEN UP! Lectures as Performance at The Kitchen, will be an evening highlighting the current interest of artists in using the formal lecture setting as a context for visual art. Astrophysics with High Energy Light is Bernar Venet’s reconstruction of an early conceptual work, Neutron emission from muon capture in Ca40, which was first presented at The Judson Church Theater in 1968. A Room of One’s Own, a new work by Coco Fusco, will be a window onto special training sessions for women to learn interrogation techniques. NOT FOR SALE: Writing on Performance and New Media on November 12 is a symposium presented in association with New York University’s Steinhardt School of Education, Department of Art. A dynamic continuation of the discussion initiated by PERFORMA in 2004, NOT FOR SALE examines performance and its relationship to the museum, gallery, and collector. The two-part symposium will bring together a distinguished panel of critics and curators including Catherine Wood, curator of Tate Modern; Katy Siegel, art historian, curator and critic; and Phillippe Vergne, Co-Curator of Whitney Biennial 2006, who will discuss the art of writing about multidisciplinary work as well as individual approaches to archiving ephemeral art.  PERFORMA Radio, organized by Anthony Huberman, curator of SculptureCenter, will expand the field of performance into radio space with projects by invited artists including Ceal Floyer, Pierre Huyghe, and Banks Violette, which will be broadcast on WFMU (91.1FM-NY, and WKCR (89.9FM-NY). PERFORMA and Swiss Institute – Contemporary Art will co-present 24-Hour Incidental, which will simultaneous feature performances by ten artists, including John Armleder, Peter Coffin, Jason Dodge, Annika Eriksson, Karl Holmqvist, and Koo Jeong-A from noon one day to the next alongside the installation of Yes Painting, 1966 by Yoko Ono. Anthology Film Archives and PERFORMA will present an evening of commissioned performances by three New York artists, Ei Arakawa, Jutta Koether and Emily Sundblad, and will present film retrospectives of Bas Jan Ader and Michael Smith, as well as the premiere of Rene Daalder’s documentary on the art and life of Bas Jan Ader, Here Is Always Somewhere Else. Paula Cooper Gallery and PERFORMA co-present  Carey Young’s Consideration, a series of process-based contracts developed by artist in consultation with a lawyer. WPS1 Art Radio, as the official Internet radio station of PERFORMA05, will present a lineup of live broadcasts, interviews, and documentation from the biennial including the launch of a book project Cosmograms by Melik Ohanian, and Pablo Helguera's first operatic live performance Foreign Legion-presented by Lower Manhattan Cultural Council and Gigantic Art Space for PERFORMA05.  Artists Space joins forces with PERFORMA to present Empty Space with Exciting Events. Artists Space curator, Christian Rattemeyer, has invited guest curators and artists to present individual evenings of performance that will form an extensive series in gallery’s main space. Artists include Vlatka Horvat, Sabrina Gschwandtner, Cat Mazza, and Lee Walton. Each Wednesday night will feature bands, with performances including Discoteca Flaming Star, Larry Krone, and Millree Hughes. PARTICIPANT INC will stage a performance-based installation as the site of durational actions and several evenings of live video and performance including Derrick Adams, Ron Athey & Juliana Snapper, Charles Atlas with Chris Peck, Vaginal Davis, Lovett/Codagnone, My Barbarian, Luther Price and Katherine Finneran, Rafael Sánchez, and Julie Tolentino. Over 20 venues and organizations will present additional programming as part of PERFORMA05, including: Anthology Film Archives, apexart, Art In General, Art Production Fund, Artists Space, Eyebeam, The Kitchen, Lower Manhattan Cultural Council, Museum for African Art, New York University, Participant Inc., Solomon R. Guggenheim Museum, The Studio Museum in Harlem, Swiss Institute – Contemporary Art and White Box. Participating galleries include, Deitch Projects, Paula Cooper Gallery,  Jack The Pelican Presents, Leo Koenig Inc., Salon 94, and Yvon Lambert. MORE TO COME... A full program of events is available online: http://www.performa-arts.org/ For Schedule information: http://05.performa-arts.org/schedule For Ticket Information: http://05.performa-arts.org/ticketinfo To unsubscribe to this list please visit http://www.performa-arts.org/contact. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + PERFORMA is a 501(c)(3) nonprofit organization committed to the research, development, and presentation of performance by visual artists from around the world. PERFORMA will commission new performance projects in visual arts, establish a dedicated performance biennial, and provide year-round educational programming for this critical area of visual art and cultural history. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + PERFORMA is supported by grants from the Henry Buhl Foundation, Peter Norton Family Foundation, Roy and Niuta Titus Foundation, Art for Arts Sake, The David & Elaine Potter Charitable Foundation and the Evelyn Sharp Foundation. PERFORMA05 has received support from the British Council, Danish Arts Council, Cultural Services of the French Embassy, The Royal Danish Consulate General, the Consulate General of the Netherlands in New York, Stephan Weiss Studio, IASPIS, Experimental Television Center’s Presentation Funds Program, the New York State Council on the Arts and Highbrow Entertainment.     + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 11:51:23 -0700 message-id: <200510181851.j9iipnva014593@idx164.idx.net> references: no_parent from: Defne ayas subject: RHIZOME_RAW: NOT FOR SALE: Writing on Performance and New Media PERFORMA Presents TWO-PART SYMPOSIUM NOT FOR SALE: Writing on Performance and New Media Saturday, November 12, 2005, 1:30–5:00 PM Yalincak Family Foundation Lecture Hall 19 West 4th Street at Mercer Street Curators, Critics and Writers Discuss the Art of Writing about Performance and New Media PERFORMA is pleased to present the fourth installment of NOT FOR SALE: Writing on Performance and New Media, in conjunction with New York University, Steinhardt School of Education, Department of Art and Art Professions, and as part of PERFORMA05, the first biennial of new visual art performance in New York City. The event is free and open to the public, and will take place at New York University’s Yalincak Family Foundation Lecture Hall at 19 West 4th Street on the corner of Mercer on Saturday, November 12, 2005 from 1:30 to 5:00 pm. Reception to follow. For further information, please call PERFORMA at (212) 533-5720, or visit www.performa-arts.org. NOT FOR SALE: Writing on Performance and New Media is a dynamic continuation of the discussion on performance and its relationship to the museum, gallery, critic and collector. The two-part symposium comprised of a distinguished panel of critics and curators will offer an in-depth view of contemporary developments in writings on ephemeral works of art that encompass several creative disciplines. 1:30–3:00 PM SESSION I: Curating (and Writing on) Performance in the 21st Century More and more contemporary artists from around the world make live art and performance-related film and video, as well as installation art, with an ever-increasing presence in museums and galleries. How does the current generation of curators, critics, and writers tackle curating and writing about performance differently from the past? In what way has the relationship between the artist, curator, and museum changed over the past decade? A panel of critics and curators will discuss the art of curating performance today. Catherine Wood, Curator, Tate Modern, London Katy Siegel, Art historian, Curator and Critic Phillippe Vergne, Chief Curator, Walker Art Center, Minneapolis Moderated by Cay Sophie Rabinowitz, Senior Editor, Parkett 3:30–5:00 PM SESSION II: Writing (and Reviewing) Across Borders–Performance and New Media Critics and writers on art today need to be well versed in many languages including film, dance, literature, music, architecture and new media. How does an author write across disciplines? How much background in each individual history does a writer need in order to illuminate this multidisciplinary work and to explain its relevance in a broader cultural context to ever-evolving audiences? A panel of critics and writers will explore these questions as they relate to the research, development, and presentation of visual art performance. Margo Jefferson, Writer and Critic John Rockwell, Dance Critic, The New York Times Bennett Simpson, Associate Curator, ICA Boston Linda Yablonsky, novelist and critic Moderated by RoseLee Goldberg, Founder and Director of PERFORMA About PERFORMA PERFORMA is a 501(c)(3) nonprofit organization committed to the research, development, and presentation of performance by visual artists from around the world. PERFORMA will commission new performance projects in visual arts, establish a dedicated performance biennial, and provide year-round educational programming for this critical area of visual art and cultural history. About the Department of Art and Art Professions, New York University, Steinhardt School of Education The Department of Art and Art Professions is committed to the construction of new knowledge through the creation of art and innovative academic research. The Department brings students, practicing artists, educators, and art professionals together in a richly interactive, multidisciplinary community that fosters imaginative art-making and intellectual exchange. MORE TO COME... A full program of events is available online: http://www.performa-arts.org/ For Schedule information: http://05.performa-arts.org/schedule For Ticket Information: http://05.performa-arts.org/ticketinfo + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + PERFORMA is a 501(c)(3) nonprofit organization committed to the research, development, and presentation of performance by visual artists from around the world. PERFORMA will commission new performance projects in visual arts, establish a dedicated performance biennial, and provide year-round educational programming for this critical area of visual art and cultural history. + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 13:52:09 -0500 message-id: <2ca140cab40c8d57531d09fb324ddd4d@gmail.com> references: no_parent from: Ryan Griffis subject: RHIZOME_RAW: Fwd: TEKS and PNEK might have to close down! Begin forwarded message: > > TEKS and PNEK might have to close down! > > TEKS, Trondheim Electronic Arts Centre, and PNEK, the Norwegian > Production Network for Electronic Arts, have reached the 3 year limit > for financial support from Arts Council Norway. We have > thereforeapplied for governmental funding from 2006.The proposed > National Budget does not suggest further support for TEKS and PNEK > despite the governments own cultural policy guidelines which states > that TEKS and PNEK must be given permanent funding. For this reason we > might be forced to close down early next year. > > We want of course to fight this situation, and call for support from > all whofind us to be an important resource! You can indeed help by > signing a petition on this webpage: http://www.teks.no/petition > > Thank you in advance! > > Please forward this e-mail! > > for TEKS and PNEK: > janne stang dahl > trine e eidsmo > espen gangvik > > > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > Trondheim Elektroniske Kunstsenter > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > Trondheim Electronic Arts Centre > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > Kjpmannsgt. 59 > 7011 Trondheim > Norway > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > ph: +47 73191991 / fax: +47 73191992 > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > org. # 984 140 339 > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > e-mail: teks@teks.no > web: http://www.teks.no > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 12:22:36 -0700 message-id: <200510181922.j9ijmafg020125@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: DIAL-A-DIVA :: call for participation ---------------------------------------- DIAL-A-DIVA CALL FOR SINGERS & CONCERT GOERS :: Please Forward www.dialadiva.net scroll down for info in French / German / Spanish / Portuguese ----------------(English)--------------- DIAL-A-DIVA :: Call For SINGERS and CONCERT GOERS www.dialadiva.net Take Part in DIAL-A-DIVA an event spanning the globe for 24 hours, connecting singers and listeners live by telephone. The project is inspired by a period in history when the telephone was the first broadcasting medium for entertainment. From the 1880s to 1920s phone companies in many countries including France, Britain, Hungary and America set up subscription services connecting opera houses and theatres to a remote audience, listening via the telephone network. Dial-a-diva serves a similar function, but reflects today’s global telecommunications and social networks. The event will start at 08:00 GMT on December 3rd in time for evening concerts in New Zealand and Australia. Then as time moves on, concerts will begin throughout Asia, the Middle East, Africa, Europe and ending with the Americas, 24 hours later. An installation at CCA Gallery, Glasgow, Scotland invites visitors to participate and view the hub of operations throughout the project. To be part of Dial-a-Diva all you need to do is sing into a telephone, or use your phone as a microphone wherever singing happens. The Dial-a-Diva call centre will link as many different types of singing, from as many locations as possible to a wide international audience of telephone listeners. Whether at home, in a concert hall or bar, whether professionally or just for fun, whether accompanied or solo, whatever the singing Dial-a-Diva would love to have you taking part. Sign up, we call you back at the time of your concert wherever you are - world wide participation is free. SIGN UP online: www.dialadiva.net email: dialadiva@gmail.com phone: +44 (0) 141 227 1830 (UK landline) This project is supported by a Creative Scotland Award and technically realised by Coveline, Intercall Europe, Commercial Decisions, Rook Technologies Inc. & CCA Gallery, Glasgow, Scotland ----------------(Castellano)--------------- DIAL-A-DIVA :: Participar :: ¿Eres cantante o asistente a conciertos? www.dialadiva.net Dial-a-Diva es un evento que se extiende por todo el mundo durante 24 horas, conectando cantantes y oyentes por teléfono en directo. El proyecto de Zoe Irvine está inspirado en el periodo de la historia en el que el teléfono era el primer medio de radiodifusión para espectáculos. Desde la década de 1880 hasta la de 1920 las compañías telefónicas de muchos países, incluidos Francia, Gran Bretaña, Hungría y América, ofrecían servicios de abonado conectando teatros de ópera con una audiencia distante, que escuchaba el concierto por conexión telefónica. Dial-a-diva hace esta misma función, pero refleja las redes sociales y de telecomunicaciones globales de nuestros días. El evento empezará a las 08:00 GMT del 3 de diciembre, a tiempo para los conciertos de la tarde en Nueva Zelanda y Australia. Después empezarán los conciertos en Asia, Oriente Medio, África y Europa, para acabar en América 24 horas más tarde. Una instalación en Galeria CCA, Glasgow, Escocia, invita al espectador a participar y ver el centro de operaciones del proyecto. Participar - Para ser parte de Dial-a-Diva lo único que tienes que hacer es cantar por teléfono o usar el teléfono como micrófono allá donde vayas a cantar. La línea de atención telefónica de Dial-a-Diva conectará todo tipo de cantantes, desde todas las localizaciones posibles, a un amplio público internacional de oyentes telefónicos. Ya sea en casa, en una sala de conciertos o en un bar, ya seas profesional o simplemente por divertirte, estés acompañado o sólo, ya sea una canción u otra, Dial-a-Diva está deseando que participes. Inscríbete, te llamaremos a la hora del concierto donde estés – está abierto a todo el mundo. Inscripciones: web : www.dialadiva.net email : dialadiva@gmail.com teléfono : +44 (0) 141 227 1830 Este proyecto esta subvencionado por Creative Scotland Award y cuenta con realización técnica de Coveline, Intercall Europe, Commercial Decisions, Rook Technologies Inc. & CCA Gallery, Glasgow, Escocia ----------------(Deutsch)--------------- DIAL-A-DIVA :: TEILNEHMEN :: Sind Sie Sänger/in oder Konzertbesucher/in? www.dialadiva.net Dial-a-Diva ist ein weltumspannendes Event, dass Sänger/innen und Zuhörer/innen für 24 Stunden live über Telefon verbindet. Das Projekt ist inspiriert von der historischen Periode in der das Telefon als erstes Übertragungsmedium für Unterhaltung verwendet wurde. Telefongesellschaften aus vielen Ländern, unter anderem aus Frankreich, Grossbritannien, Ungarn und Amerika haben zwischen 1880 und den 20iger Jahren des 19.Jahrhunderts ein Abonnementservice eingeführt, dass einer abgeschiedenen Zuhörerschaft ermöglichte, Aufführungen aus verschiedenen Opernhäuser und Theater live via Telefon zuzuhören. Dial-a-Diva hat eine ähnliche Funktion und reflektiert dabei die heutigen globalen telekommunikations und sozialen Netzwerke. Das Event beginnt am 3.Dezember 2005 um 08:00h GMT – zeitgerecht für Abendkonzerte in Neuseeland und Australien. Den Zeitzonen veresetzt entsprechend, beginnen die Konzerte in Asien, im mittleren Osten, Afrika, Europa und enden 24 Stunden späeter in den Amerikas. Eine Installation in der CCA Gallerie Glasgow, Schottland, ladet Besucher zum Mitmachen und zum Beobachten der gesamten Operation ein. TEILNEHMEN Sind Sie Sänger/in oder Konzertbesucher/in?. Um dabei sein zu können benötigen Sie nur ein Telefon in das Sie selbst Singen oder einen Ort wo gesungen wird und Ihr Telefon dabei als Mikrofon benutzen. Dial-a-Diva verbindet möglichst viele unterschiedlichste Gesangsrichtungen von möglichst vielen unterschiedlichen Orten mit einer breiten internationalen Telefonzuhörerschaft. Ob zu Hause, in einer Konzerthalle oder in einer Bar, professionell oder zum Spass, ob eine Stimme oder viele, was auch immer der Gesang ist, Dial-a-Diva würde sich sehr über Ihre Teilnahme freuen. Melden Sie sich online, via email oder Telefon an und Sie werden von uns zum Zeitpunkt des Konzerts kostenlos zurückgerufen – wo auch immer Sie sich befinden. Anmeldung durch: Online : www.dialadiva.net email : dialadiva@gmail.com telefon : +44 (0) 141 227 1830 (UK landline) Dieses Projekt ist von Creative Scotland Award gefördert und technisch umgesetzt von Coveline, Intercall Europe, Commercial Descisions, Rook Technologies Inc. & der CCA Gallerie Glasgow, Schottland ----------------(Francais)--------------- DIAL-A-DIVA :: Vous estes un chanteur ? Un spectateur ? :: PARTICIPER www.dialadiva.net Dial-a-Diva est une action artistique qui traverse le globe pendant 24 heures, soit l'interconnexion de chanteurs et d'auditeurs en direct au téléphone. Ce projet se réfère à une période de l'histoire où le téléphone était considéré comme un médium de diffusion de programme de musiques et d'entertainment. Des années 1880 à 1920, les compagnies de téléphones de nombreux pays comme la France, la Hongrie, le Royaume-Uni et les États-Unis, mirent au point un service de souscription qui proposait des écoutes en directs des Opéras et Théâtres à une audience connectée au réseau téléphonique. Dial-a-Diva rempli aujourd'hui une fonction identique, tout en reflétant l'esthétique et la philosophie des réseaux aujourd'hui. L'action commence à 08:00 GMT le 3 décembre 2005, en synchronisation avec le débuts de concert lyriques en Australie et en Nouvelle Zélande. Puis d'un décalage horaire à l'autre, les concerts surgiront d'Asie, du Moyen Orient, d'Afrique, d'Europe et s'achèveront en Amérique 24 heures plus tard. Une installation au CCA de Glasgow en Écosse, invite les spectateurs-auditeurs à participer et à suivre le théâtre des opérations. Pour participer à Dial-a-Diva tout ce qu'il vous suffit de faire c'est de chanter dans votre téléphone, ou utiliser votre téléphone portable comme microphone partout ou il y a de la chanson. Le centre d'appel Dial-a-Diva va diffuser toute sorte de chants, de partout dans le monde à un public international d'auditeurs téléphoniques. Si vous êtes chez vous, ou dans un bar ou une salle de concert, si vous êtes amateur ou professionel, de n'importe quel style de chanson, Dial-a-Diva sera heureux de votre participation. Inscrivez -vous, on vous appellera à l'heure de votre concert quelque soit l'endroit ou vous êtes. La participation est gratuite. Inscrivez -vous online : www.dialadiva.net email : dialadiva@gmail.com tel : +44 (0) 141 227 1830 (téléphone fix GB) Ce projet est soutenu par une bourse de Creative Scotland. Réalisation technique : Coveline, Intercall Europe, Commercial Decisions, Rook Technologies Inc. & galerie CCA, Glasgow, Ecosse ----------------(Portugues)--------------- DIAL-A-DIVA (Disque-Diva) :: PARTICIPE :: Você é cantor/a ou freqüentador/a de concertos ? www.dialadiva.net DIAL-A-DIVA é um evento abarcando o planeta durante 24 horas, conectando cantores/as e ouvintes ao vivo por telefone. A inspiração do projeto da artista escocesa Zoe Irvine foi um período na história quando o telefone foi o primeiro meio de transmissão usado para entretenimento. Da década de 1880 até a década de 1920 empresas telefônicas em muitos paises, entre os quais a França, o Reino Unido, a Hungria e os EUA., estabeleceram serviços por assinatura, conectando assim casas de ópera e teatros a um público remoto que ouvia pela rede telefônica. Disque-Diva preenche uma função semelhante, porém reflete as redes globais atuais, tanto sociais como as de telecomunicações. O evento começará às 8 horas GMT no dia 3 de dezembro em tempo para pegar os concertos noturnos na Nova Zelândia e Austrália. Conforme a hora vai avançando, outros concertos começarão na Ásia, no Oriente Médio e na África, terminando 24 horas mais tarde nas Américas. Uma instalação no CCA (Centro para Artes Contemporâneas) em Glasgow, na Escócia convida visitantes a participarem e observar o centro de operações durante todo o projeto. PARTICIPE - Você é cantor/a ou freqüentador/a de concertos ? Para participar no Disque-Diva a única coisa que você precisa fazer é cantar no telefone ou usar o seu telefone como microfone em qualquer lugar onde estiver alguém cantando. O centro de ligações de Disque-Diva vai conectar tantos quantos estilos diferentes de cantar e tantas quantas localidades possíveis a um grande público internacional de ouvintes por telefone. Seja em casa, numa sala de concertos ou num bar, seja profissionalmente ou somente por diversão, acompanhado ou solo, seja que for o cantar, Disque-Diva adoraria ter a sua participação. Assine já - nós ligaremos para você na hora do seu concerto onde você estiver – a participação em qualquer lugar do mundo é grátis. web : www.dialadiva.net Email : dialadiva@gmail.com Telefone : +44(0) 141 227 1830 (telefone fixo – Reino Unido) Este projeto foi possível graças ao prêmio “Creative Scotland Award”, com realização técnica por Coveline, Intercall Europe, Commercial Decisions & Rook Technologies Inc. & CCA (Centro para Artes Contemporâneas) Glasgow, Escócia --------------------------------- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 13:05:33 -0700 (PDT) message-id: <51643.216.220.116.171.1129665933.squirrel@www.rhizome.org> references: no_parent from: ceci@rhizome.org subject: RHIZOME_RAW: CFP: Journal of E-Media Studies The Journal of e-Media Studies announces that we are accepting submissions for publication. The deadline for our inaugural issue is November 15, 2005. Special topic sections of the journal, to include more than one related essay, may be proposed. We intend our inaugural issue to premiere in Spring, 2006. We are committed to the rapid turnaround of subsequent journal submissions in as practical a means as possible. Manuscripts can be e-mailed to the editors at e-Media@Dartmouth.edu, or a CD/DVD version may be mailed to: Journal of e-Media Studies Dept. of Film and Television Studies 6194 Wilson Hall Dartmouth College Hanover, NH 03755 USA JOE-MS is a blind peer-reviewed, on-line journal dedicated to the scholarly study of the history and theory of electronic media, especially Television and New Media. It is an inter-disciplinary journal, and we welcome submissions across the fields and methodologies that study media and media history. Our goal is to promote the academic study of electronic media, especially in light of the rise of digital media and the changes in formal and expressive capacities resulting from new configurations of electronic media forms. We solicit the best new scholarly work on current and historical e-media issues and topics, including work on inter-medial relations to traditionally non-electronic media (such as cinema, theater, and print media). We welcome essays in traditional textual formats. We strongly encourage submissions that utilize and develop the features that an on-line journal can afford, in order to realize new analytical and pedagogical practices and strategies. Please see our website [http://journals.dartmouth.edu/joems/] for more details about our Submissions Guidelines, list of Editorial Board members, and Mission Statement. -- Ceci Moss Sales Associate, Rhizome.org tel. 212.219.1288 x211 fax. 212.431.5328 email. ceci@rhizome.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 23:01:32 +0200 message-id: <20051018210200.7c9ee38152@asia.telenet-ops.be> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: Localising self-absorbing soft while its still wet ...localising autumn 1.0... (thanks to jimpunk, waaaaa-=E2arlijk) greetings, dv __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 01:11:34 +0200 (CEST) message-id: <20051018231134.3668621fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Winhelp will widetilde Welsh, Wiley wanna-bes Webcrawler, Winston Churchill wanna WILL webmistress, . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 16:51:56 -0700 message-id: <200510182351.j9inpu0e000330@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: A MULTIMEDIA EVENT SWEEPS BROOKLYN... (WILLIAMSBURG, BROOKLYN) "SHOOT" was the Call For Entries heard around the world. 232 submissions piled in over four weeks from across the USA, France, Germany, Canada, Spain, Tel Aviv, England and Portugal. 1 multimedia artist was selected by Dam, Stuhltrager Gallery for a solo exhibit. 15 filmmakers were selected by guest curator Jessica Lauretti for screenings. SHOOT hits Friday, October 21st with the opening reception of featured multimedia artist, Dalit Gurevich Dates: October 21- November 6, 2005 Opening Reception: Friday Oct.21, 7-10pm Hours: Fri. 3-8, Sat. & Sun. 12-6pm or by appt. Address: Dam, Stuhltrager Gallery, 38 Marcy Ave. Brooklyn. NY 11211 Contact: 718-387-9818 ~ damstuhltrager@hotmail.com Directions: L to Lorimer. Exit near token booth. Metropolitan under BQE. Left on Marcy. Distance from train: 3 bl (Visit www.damstuhltrager.com/dalitgurevich.htm for more info.) & SHOOT continues through the weekend of Nov 4, 5, 6 with an exclusive screening of 15 fresh film shorts by emerging filmmakers 15 short films screened as an hour long motion picture event. Free Admission. See the big picture! (Visit www.damstuhltrager.com/shoot.htm for showtimes, playbill and further details.) ABOUT DALIT GUREVICH Gurevich was chosen for her refreshing technique of amalgamizing and questioning the capacities of acrylic and film as creative mediums. Her multimedia installation melds self portrait painting with footage of her youth in an Israeli kibbutz, blurring the boundary between memories recollected on canvas with moments captured on video. Gurevich’s use of multimedia extends beyond the medium in which her art is made and creates a dichotomy where memory and documentation thrive off each other. An exhibition catalogue with essays by James Kalm and Dalit Anolik is available in print at the gallery. Essays and more information online at: www.damstuhltrager.com/dalitgurevich.htm . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 17:35:34 -0700 message-id: <200510190035.j9j0zyao009311@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Select Media Festival 4, Oct. 20 - Nov. 13 We present the annual Select Media Festival in an attempt to highlight a few of the threads that make Chicago a fantastic cultural diaspora for emerging art and counter-cultural activity. In an ongoing exploration of emerging art movements and independent networks in contemporary art and media, this year we find ourselves in the Community of the Future, formally known as Bridgeport. We’re navigating underused urban geography for our festival activities, now in their fourth year, within the theme “secret histories and imagined futures.” Join us in the heart of Chicago Oct. 20 - Nov. 13 as we investigate the future of counter cultures and new artist initiatives. For the full program, go to the websites: http://www.selectmediafestival.org http://www.lumpen.com/communityofthefuture/home.html If you would like more information, please contact Ed Marszewski at ed@lumpen.com. Of special note are the following programs: The New Chicagoans Exhibition Oct. 21 – Nov. 13, 2005 Opening Reception Oct. 21, 6 p.m. ­ 1 a.m. With performances by Fossil Fuels, Irene Moon, and Mudboy starting at 8 p.m. Iron Studios 3636 Iron St, second floor Gallery Hours: 1 p.m. – 5 p.m. Sat and Sun The New Chicagoans refers to a multiplicity of approaches by the vanguard of Chicago’s art communities. This group exhibition reveals the wide range of approaches in contemporary art making in the city. Featuring: Brian Ulrich, Christine Tarkowski, Juan Chavez, Cody Hudson, Chris Uphues, Rob Doran, Michael Merck, Joe Compean, Jackie Kilmer, Melina Ausikaitis, Duk Ju Kim, Jonn Salhus, Victor Van Bramer, Barbara Kasten, Nat Ward, Sighn, Ryan Davies, Nick Black, Jason Lazarus, Greg Stimac, You Are Beautiful, Elisa Harkins, Carl Virgo, Al Burian, Al Pocius, Andrew Wilson, Steven Eichorn, Melinda Fries, Erin Foley, Michael Genovese, Paul Nudd, and Dolan Geiman. The Bridgeport Arts Walk Oct. 22, 2005 Noon to 5 p.m. (with additional programming throughout the evening) In collaboration with mn gallery and Chicago Artists’ Month, Select Media Festival has programmed and mapped out an alternative cultural cartography of the Bridgeport neighborhood. This “detourism” map can be used as a walking guide to Bridgeport. It includes the newly designated North Bridgeport Arts Triangle. On Oct. 22, these spaces will be opened to the public. Community of the Future Experimental Culture Zone Oct. 22–November 13, 2005 Fridays, Saturdays and Sundays only Select Media Festival helps kick start a new artistic “cultural center” along a one block area on 3100 – 3200 South Morgan St that hosts three independent stores: Quimby’s , Myopic Books and Odd Obsession Video, alongside the only coffee house in Bridgeport and a local favorite Dive bar. The stores will host workshops, presentations and other independent media projects to create a site of interaction between residents, visitors and the wide range of independent media culture that these stores will supply. The storefronts will only be open on the weekends. Secret Histories Museum Oct. 28 ­ Nov. 13, 2005 Opening Reception Oct. 28, 6 p.m. ­ 1 a.m. With performances by Lazer Crystal, The Killer Whales and Mahjongg starting at 9 p.m. Iron Studios 3636 Iron St, second floor Gallery Hours: 1 p.m. – 5 p.m. Sat and Sun The Secret Histories Museum discovers and presents historical evidence, inviting visitors to seek understanding of themselves and of the world, between history and future. The museum will highlight past choices, present circumstances and future possibilities, strengthen the bonds of community, and facilitate solutions to common problems. The grand opening of the Secret Histories Museum features exhibits and educational projects about Chicago. It includes exhibitions and educational presentations about the squatters’ village in Streeterville; Chicago’s Secret Societies and Orders; examinations of Chicago Fluxus happenings and projects; a recently discovered art movement called Folk ADD; examinations of red squads and the US government’s COINTELPRO, which targets American dissidents; a utopian architecture collective from the 1960s called Archigo; and more. Fluxus re-enactments, talks and presentations will be given at the Museum throughout the festival. The Tactical Ice Cream Unit Oct. 24 – Oct. 30, 2005 The Tactical Ice Cream Unit (TICU) rolls through Chicago in an act of intervention that replaces cold stares with frosty treats and nourishing knowledge. For further information visit the artist’s website: http://www.tacticalmagic.org/CTM/project%20pages/TICU.htm Underground Multiplex Program Taking the theme of the multiplex - where people often see more than one movie for the price of one admission - visitors can wander through our temporary theater complex, watch multiple video programs and eat as much popcorn as they can. Multiple locations and dates – please visit www.selectmediafestival.org for a complete schedule. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 18:08:58 -0700 (PDT) message-id: <20051019010858.24075.qmail@web31804.mail.mud.yahoo.com> references: no_parent from: Wayne Ashley subject: RHIZOME_RAW: Breaking the Game--Immersive Technologies--Workshops--Symposium Please forgive me if I've already sent this to you. ----------------------------------------------------- BREAKING THE GAME WORKSPACE UNLIMITED, in collaboration with New York curator Wayne Ashley, are currently organizing Breaking the Game, a series of interdisciplinary workshops and online symposium that bring together competing theorists and practitioners to build, debate and reflect on virtual worlds, computer gaming, immersive technologies, and new possibilities for artistic practice and experience. Taking place both online and offline, the workshops will open up the art of game modification to the contingencies of everyday life, where virtual technologies increasingly mediate physical spaces and human movements in very complex and dynamic ways. Networked across multiple cities, the symposium will be organized around three core themes: "Hybridity", "Overclocking the city" and "The virtual world as interface to self and society." Where: Ghent, New York, Rotterdam, and the Internet When: October, November & February 2005 - 2006 For more details and to register for Breaking the Game workshop please visit: http://www.workspace-unlimited.org/breakingthegame or visit our website at: http://www.workspace-unlimited.org Breaking the Game is supported by: Vlaams Audiovisueel Fonds, Vlaamse Gemeenschap, V2_Organization, Vooruit Kunstencentrum. ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ Kind regards from the Workspace Unlimited team. To stop receiving our newsletter: reply with your email address + name and mention "remove" in the subject. _______________________________ Wayne Ashley Independent Curator Media Arts, Technology, Performance Wayne Ashley + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 18 Oct 2005 21:01:19 -0500 message-id: <12637604e93e8d7f5927f22fc25e2573@gmail.com> references: no_parent from: Ryan Griffis subject: RHIZOME_RAW: Fwd: You are invited to My Daily Constitution in Los Angeles > CONTACT: > Linda Pollack > Phone: (310) 804-4887 > www.mydailyconstitution.org > e-mail: linda@mydailyconstitution.org > > "My Daily Constitution" in Los Angeles October 25 - November 6 2005 > > 12 Discussions in and around Los Angeles about the U.S. Constitution > and > Constitutional Democracy. > > * discussions are free and open to the public * > * free copies of U.S. Constitution * > > From 25 October - 6 November, Linda Pollack holds "My Daily > Constitution" a > series of public discussions about the U.S. Constitution led by > lawyers, > academics, activists, and others. Discussions take place at various > locations (caf, theatre, library, cultural center, lounge) in and > around > Los Angeles. Free copies of the U.S. Constitution, printed for the > series in > a special edition, will be available at discussion locations. Copies > will > also be available at the National Center for the Preservation of > Democracy > in downtown Los Angeles, and Beyond Baroque in Venice. The National > Center > for the Preservation of Democracy is holding its public open house on > Saturday, October 29th (more info at www.ncdemocracy.org). On the > evening of > October 29th, Beyond Baroque hosts "Beyond Text: The Constitution" > (more > info at www.beyondbaroque.com). > > My Daily Constitution originated in Los Angeles as part of the exhibit > "Democracy When?" at Los Angeles Contemporary Exhibitions in > Hollywood. The > series has been held in Cincinnati (2003), New York City (2003, 2004) > and > Seattle (2003), with plans for several Midwest destinations in 2006. > > "The idea," says Pollack, "is to break away from the dynamics of the > large > lecture hall and create a space where individuals and communities can > become > active participants in a dialogue about our democracy. Our > Constitution, our > democracy, is about interpretation - and interpretation means a > collective, > active dialogue, not just passive consumers and lawmaking producers. > The > U.S. Constitution is a living document, part of our quotidian life, > influencing us in both large and small ways daily." > > Among the issues that will be covered are immigration, voting, national > security, civil liberties, and freedom of expression. On Thursday, > October > 27th, a discussion about war and the U.S. Constitution follows the > production of "What I Heard About Iraq" at the Fountain Theatre in East > Hollywood. In this discussion, Prof. Allen Ides of Loyola Law School, > together with Director Simon Levy will address questions arising from > the > play as well as broader questions about our current war and our > constitutional democracy. A limited number of discounted tickets are > available through My Daily Constitution (details below). Other > discussion > leaders during week one are Niels Frenzen, Laurie Levenson, Andrew > Gumbel, > Joe Domanick, David Arian, and Peter Gravett. Complete schedule > follows. > > * * * * * * * * * * * > > SCHEDULE > > My Daily Constitution / Los Angeles > 25 October - 6 November 2005 > > WEEK ONE - OCTOBER 2005 > > Tuesday October 25th > 7 - 9 PM > "The Rights of Immigrants, Documented and Non Documented, Under the > U.S. > Constitution" > Discussion led by: NIELS FRENZEN, Clinical Associate Professor of Law, > University of Southern California School of Law; Director, USC Law > School > Immigration Clinic. > AT: ROCK ROSE GALLERY (Highland Park) > 4108 N. Figueroa St., > Los Angeles 90042 > www.rockrosegallery.com > (323) 222-4740 > > > Wednesday October 26th > 7 - 9 PM > "The USA Patriot Act and the U.S. Constitution" > Discussion led by: LAURIE L. LEVENSON, Professor of Law & William M. > Rains > Fellow; Director, Center for Ethical Advocacy, Loyola Law School, Los > Angeles. > AT: THE NOVEL CAFE > 212-Pier Ave, > Santa Monica 90405 > www.novelcafe.com > (310) 396-8566 > > > Thursday October 27th > Post-Play Discussion Following: > "WHAT I HEARD ABOUT IRAQ", Directed by SIMON LEVY > Discussion: "War and the U.S. Constitution" > Discussion led By: ALLAN IDES, Professor of Law & William M. Rains > Fellow, > Loyola Law School, Los Angeles, & SIMON LEVY. > AT: THE FOUNTAIN THEATRE (East Hollywood) > 5060 Fountain Ave., > Los Angeles 90029 > www.fountaintheatre.com > (323) 663-1525 > Performance time: 8 PM > LIMITED NUMBER OF DISCOUNTED TICKETS (at $15.00) AVAILABLE THROUGH MDC. > Send e-mail to: linda@mydailyconstitution.org with name, number of > tickets > requested, and phone number. You will be contacted with confirmation. > Discounted tickets must be ordered before October 24th. > > > Friday October 28th > 8 - 10 PM > "The Right to Vote: America's Flawed Constitution and the Struggle for > Democracy" > Discussion led By: ANDREW GUMBEL, U.S. Correspondent, the Independent > (London); Author: "Steal This Vote: Dirty Elections and the Rotten > History > of Democracy in America" (Nation Books, 2005). > AT: THE THREE CLUBS (Hollywood) > 1123 N. Vine St., > Los Angeles, 90038 > www.threeclubs.com > (323) 462-6441 > > > Saturday October 29th > 12 - 2 PM > "The U.S. Prison System and Constitutional Democracy" > Discussion led By: JOE DOMANICK, Senior Fellow, Annenberg Institute for > Justice and Journalism, University of Southern California. > AT: KAOS NETWORK (Leimert Park) > 4343 Leimert Blvd. > Los Angeles, 90008 > (323) 296-5717 > > > Sunday October 30th > 5 - 7 PM > "Case Study - The Port of Los Angeles at San Pedro: Balancing > Constitutional > Democracy with Homeland Security" > Discussion led by: DAVID ARIAN, Past President, ILWU Local 13; Founder, > Harry Bridges Institute, San Pedro, and PETER GRAVETT, President/CEO > Sentinel Systems Inc.; Retired Watch Commander, Los Angeles Police > Department; Retired Major General, U.S. Army. > AT: ANGELS GATE CULTURAL CENTER > Building H > 3601 South Gaffey Street, > San Pedro, 90731 > (310) 519-0936 > www.angelsgateart.org > > > * * * * * STAY TUNED FOR WEEK TWO (NOVEMBER 1 - 6) * * * * > * * + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 02:26:47 -0700 message-id: <200510190926.j9j9qltt010437@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: ideasonair.net is out now! Dears, I'm glad to inform you a new blog is out now! Ideasonair.net is a web project serving artists. The site promotes artistic ideas in various fildes, therefore: “Dear artists, poets, architects, designers, critics, curators and ‘lovers of the trade’, if you are short of ideas, this is the site for you!”. Here, the ideas “from hyperuranium” have landed and found a place or better, a “virtual factory”. Ideasonair, has a particular theory about ideas and how we perceive them, so read about it, at http://www.ideasonair.net/ All my best, Ideasonair. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 06:01:18 -0700 message-id: <200510191301.j9jd1igp012791@idx164.idx.net> references: no_parent from: David Smith subject: RHIZOME_RAW: www.paper-boy.org - Call for Submissions The paper-boy is an easily distributable, cheaply produced, free magazine. Issue/ report one could be found around bars and cultural events/ venues around Leeds during April and May 2005. Report two is currently in production and will be distributed around venues in Newcastle upon Tyne. We are currently looking for submissions that could become part of report #2. For more details, please go to www.paper-boy.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 07:02:00 -0700 message-id: <200510191402.j9je20mv027084@idx164.idx.net> references: no_parent from: David Smith subject: RHIZOME_RAW: www.paper-boy.org - Call for Submissions We are asking for submissions of interest for report #2 of the paper-boy. This is to include critical essays, manifestos, artwork, listings for relevant seminars and exhibitions, or anything else that would fit in. Do you have any short essays about the problems of the increasing upgrade cycle? Or paper based artworks surrounding new media? Do you have any ideas for projects based on the immediacy of communication with new technologies compared with 'paper based' communication methods? The paper-boy would like to hear from you. If you are interested, do not hesitate to contact us. davy@paper-boy.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 07:44:43 -0700 message-id: <200510191444.j9jeihln007153@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Produced at Eyebeam - Postponed until Nov 1st Unfortunately due to unexpected roof repairs Produced at Eyebeam is postponed and will be opening Nov 1st with a closing party on Dec 17th. Visit our website for more details Eyebeam 540 W. 21st Street New York, NY 212-937-6581 www.eyebeam.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 08:56:19 -0700 (PDT) message-id: references: no_parent from: { brad brace } subject: RHIZOME_RAW: Global Islands Project Global Islands Project -- ongoing series of multi-media pdf-ebooks -- a pastoral, pictorial and phonic elicitation of island parameters. Your (Art)world is based on mutual relief at your common corruption. Maybe some cultures are based on even worse. But that wouldn't change the bad faith of it and as years go by, you wake at night in terror of your whole life being an act of bad faith, where everything is self-interest and nothing more, where every human interaction is driven by a silent, even subconscious calculation of some ulterior motive, to the point that a sea of bad faith has taken over your whole life, there's no small island left from which you can even try to build a bridge of good faith, because even that effort becomes suspect, even good faith is nothing but self-interested, even altruism is nothing but solipsistic, even your professed agonizing right here right now is nothing but a gesture, made to the conscience in order to assure it that it exists. http://bbrace.laughingsquid.net/id.html http://bbrace.net/id.html Island 1.0 is Ambergris Caye, Belize Island 2.0 is Koh Si Chang, Thailand Island 3.0 is Lamu, Kenya Global Islands Project: Island 1.0 -> http://bbrace.net/islands/island1/island1.html or http://bbrace.laughingsquid.net/islands/island1/island1.html -- over 800 images and hour-long audiotrack -- 69mb -- (acrobat 6) Island 2.0 -> http://bbrace.net/islands/island2/island2.html or http://bbrace.laughingsquid.net/islands/island2/island2.html -- over 535 images and hour-long audiotrack -- 78mb -- (acrobat 6) /:b + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 09:29:13 -0700 message-id: <200510191629.j9jgtdfr027971@idx164.idx.net> references: no_parent from: Nita Sturiale subject: RHIZOME_RAW: search for Studio Manager in the Studio for Interrelated Media at MassArt SIM is a great place to spend your 1/2 your time!!!! see http://sim.massart.edu for more info about SIM. --------------------------------------------------------------------- TITLE: Studio Manager (Digital), SIM CLASSIFICATION: Staff Assistant DEPARTMENT: MPA, SIM Area REPORTS TO: Associate Vice-President, Academic Support SUPERVISES: Work-study students and studio monitors The Studio for Interrelated Media (SIM) seeks a half-time studio manager who is competent in hardware and software support for a multimedia program. The artists--both undergraduate and graduate students and faculty-- in SIM combine the study of many media by pursuing the representation of their ideas with the most appropriate media for each idea. The SIM curriculum is project and idea centered. SIM’s goal is to encourage students to develop experimental art forms, new directions, and unusual contexts. As such, it combines the study of many media. In SIM courses, students perform, present and discuss work and learn how to articulate their artistic ideas. The curriculum is designed to help students develop their concepts while gaining proficiency in the media necessary to realize them. The backbone of the SIM program is the SIM Major Studio course, in which members of the program meet together, share news, collaborate, and present and critique their work. Alongside the Major Studio course, SIM offers an array of electives each semester that provide studio practice in specific skills: web art and digital distribution, video editing and production, interactive media, computer-controlled installations, dance techniques, composition and improvisation, stage lighting, interrelating art and science, performance art and spoken word. Sound art plays a large role in the SIM program. SIM students have access to an electronic sound studio that combines analog and digital recording and editing capabilities. General Statement of Duties: - Maintain workstations for sound and video editing. - Maintain desktop computers (hardware and software) in the SIM Sound Studio, student lounge and in the faculty, Eventworks and Godine Family gallery management offices. - Organize support technologies for SIM public spaces. - Maintain database-backed, community web site. - Train students on the equipment they are using. - Support students using multi-media software (audio and video editing). - Assist with equipment purchase and maintenance. - Assist with budget planning. - Supervise work-study students and studio monitors. - Perform related duties as assigned. Requirements: - Bachelor’s degree. - Excellent interpersonal skills. - Ability to work in both Mac and PC OS environments. (Labs are primarily Mac-based). - Knowledge of and experience with digital hardware used in multimedia production, as well as image, sound, and video editing software. - Familiarity with experimental applications of theater, sound and lighting technology, with an emphasis on digital tools. - Flexible and capable of solving problems and helping students realize their art ideas. - Able to lift and move 30lbs. - Skills and experience with Web site development, PHP/MYSQL, and/or programming are considered a plus. ___________________________________ This is a .5 time position (18.75 hours). Submit resume and cover letter to: SIM studio manager search, Human Resources, Massachusetts College of Art, 621 Huntington Ave. Boston, MA 02115. Email: jobs@massart.edu Position open until filled. Resume review begins October 28, 2005. Established in 1873, Massachusetts College of Art (MassArt) was the first and remains the only free-standing public college of art and design in the US. The college is nationally known for offering broad access to a quality professional arts education, accompanied by a strong general education in the liberal arts. A major cultural force in Boston, MassArt offers public programs of innovative exhibitions, lectures and events. MassArt is an AA/EOE. Members of under-represented groups and those committed to working in a diverse cultural environment are encouraged to apply. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 18:39:05 +0200 message-id: <03bc9490-3801-4ab6-a18e-cad57cd78109@nznl.com> references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Oct 13, 2005 - Oct 19, 2005 delsp=yes; format=flowed nznl.com digest Oct 13, 2005 - Oct 19, 2005 Posts 1235 - 1241 http://nznl.com 1235. Oct 13, 2005 CODE FOUNTAIN, 2009, VARIABLE SPILL flash movie http://nznl.com/geert/pop.php?dag=20051013 1236. Oct 14, 2005 (untitled flash movie) http://nznl.com/geert/pop.php?dag=20051014 1237. Oct 15, 2005 ABSTRACT PAINTING, 2009, PLYWOOD, ACRYLICS, PLASTER OF PARIS fireworks file http://nznl.com/geert/pop.php?dag=20051015 1238. Oct 16, 2005 PLAN FOR A ROMANTIC RENDERING OF THE NZNL.COM ARCHIVE, 2009, WHITE CUBE, PLYWOOD, ACRYLICS, LIGHTING PLAN fireworks file from googled image http://nznl.com/geert/pop.php?dag=20051016 1239. Oct 17, 2005 LIGHTING PLAN, 2009, DIAGRAM fireworks file, googled image http://nznl.com/geert/pop.php?dag=20051017 1240. Oct 18, 2005 PLAN FOR A LIGHTING SCHEME FOR THE NZNL.COM ARCHIVES, 2009, WHITE CUBE, LIGHTING fireworks file http://nznl.com/geert/pop.php?dag=20051018 1241. Oct 19, 2005 MODEL OF THE NZNL.COM ARCHIVES INCLUDING THE NZNL.COM EXHIBITION AREA, 2009, PLASTER OF PARIS, ACRYLICS fireworks file http://nznl.com/geert/pop.php?dag=20051019 Geert Dekkers http://nznl.com --Apple-Mail-2--1038593585 Content-Type: text/html;
nznl.com digest=A0
Oct 13, 2005 - Oct 19, 2005
Posts=A0 1235 - 1241

1235. Oct 13, 2005
CODE FOUNTAIN, 2009, VARIABLE SPILL
flash movie

1236. Oct 14, 2005
(untitled flash movie)

1237. Oct 15, 2005
ABSTRACT PAINTING, 2009, PLYWOOD, ACRYLICS, PLASTER OF PARIS
fireworks file

1238. Oct 16, 2005
PLAN FOR A ROMANTIC RENDERING OF THE NZNL.COM ARCHIVE, 2009, WHITE CUBE, PLYWOOD, ACRYLICS, LIGHTING PLAN
fireworks file from googled image

1239. Oct 17, 2005
LIGHTING PLAN, 2009, DIAGRAM
fireworks file, googled image

1240. Oct 18, 2005
PLAN FOR A LIGHTING SCHEME FOR THE NZNL.COM ARCHIVES, 2009, WHITE CUBE, LIGHTING
fireworks file

1241. Oct 19, 2005
MODEL OF THE NZNL.COM ARCHIVES INCLUDING THE NZNL.COM EXHIBITION AREA, 2009, PLASTER OF PARIS, ACRYLICS
fireworks file



Geert Dekkers

http://nznl.com

--Apple-Mail-2--1038593585-- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 09:56:20 -0700 message-id: <200510191656.j9jguk1l002199@idx164.idx.net> references: no_parent from: Gregory Scranton subject: RHIZOME_RAW: ARTISTIC APPROPRIATION IN THE AGE OF LITIGATION For Immediate Release For Further Information Contact: September 1, 2005 Berman Museum of Art 610-409-3500, or College Communications, 610-409-3300 ARTISTIC APPROPRIATION IN THE AGE OF LITIGATION IS TOPIC FOR A DAY OF ROUNDTABLE DISCUSSIONS AND WORKSHOPS COLLEGEVILLE, Pa. – “Begging, Borrowing and. . . . Stealing? - Artistic Appropriation in the Age of Litigation” is the topic of a day of roundtable discussions and workshops to be held Nov. 8 on the Ursinus College campus. Renowned experts in the areas of copyright and intellectual property law; visual artists and writers; curators; and librarians will serve as panelists for this newsworthy topic. The conference will be held in Olin Auditorium on the Ursinus campus, and will run from 9 a.m. to 4 p.m. Siva Vaidhyanathan, author of Copyrights and Copywrongs: The Rise of Intellectual Property and How It Threatens Creativity (2001), National Public Radio commentator, and Director of Communication Studies at New York University, will open the day’s program with a keynote address. A cultural historian and media scholar, he has also written for American Scholar, The Chronicle of Higher Education, The New York Times Magazine, and other publications. The Chronicle of Higher Education called him “one of the best-known scholars of intellectual property and its role in contemporary culture.” His new book, The Anarchist in the Library was released in May. In an age given over increasingly to litigation, the conventions of artistic appropriation are adopted with ever more risk by practicing artists, despite the fact that these conventions are time-honored within the histories of art, literature, music, and film, among others. This day-long conference will explore the complexities, ambiguities, ambivalences, and outright disagreements that occur where art-making, law-making, and the determination of what constitutes fair use and free expression meet in the world of artistic and creative “borrowing.” Pre-registration is required, for which a nominal fee will be charged. For more information, contact Susan Shifrin, Associate Director of Education at the Berman Museum of Art, (610) 409-3500. This program is supported in part through the Ursinus College Arts & Lectures program. Exhibitions and programs at the Philip and Muriel Berman Museum of Art are also funded in part by the Pennsylvania Council on the Arts. Ursinus College, founded in 1869, is a highly selective, nationally ranked, independent, coeducational liberal arts college, located on a scenic, wooded, 168-acre campus, 28 miles from Center City Philadelphia. Known for quality programs in the arts and sciences, it is one of only 8 percent of U.S. colleges to possess a chapter of Phi Beta Kappa. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ PANELISTS +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Nathalie Anderson, poet, Swarthmore College Robert Clarida, partner, Cowan, Liebowitz & Latman, New York Theodore Harris, muralist and collagist Marjorie Heins, attorney and Coordinator, Free Expression Policy Project, William J. Brennan Center for Justice Carrie McLaren, Organizer, "Illegal Art," Editor, StayFree Magazine Kathy Schulz, Assoc. General Counsel, New York University Greg Scranton, digital media artist, Ursinus College Peggy Seiden, Director of Libraries, Swarthmore College Siva Vaidhyanathan, Director, Communication Studies program, New York University Evan Baird Towle, Visual and Digital Resources Librarian, Philadelphia Museum of Art Library, Slide Library & Archives Name________________________________________________________ Title_________________________________________________________ Student? Y  N  K-12  Undergraduate: Ursinus  Non-Ursinus)  Graduate Student  Institutional Affiliation___________________________________________ Preferred Mailing Address: Street________________________________________________Apt______ City_______________________________State______Zip______________ Preferred Daytime Phone Number__________________________________ Preferred Email Address_________________________________________ How did you learn about the conference? Boxed Lunch Preference: (check only one please) Chicken Sandwich  Turkey Sandwich  Tuna Sandwich  Grilled Veggies Sandwich  Registration Fees (payment must be received before registration is finalized and lunch is ordered -- deadline for receipt of payment is October 30): Student: $5 Professional/Non-Student: $10 This event is free to all Ursinus College Students, Faculty, and Staff. You will not need to pre-register, however, please be prepared to show a valid Ursinus College ID. Please make checks payable to Berman Museum of Art Mail to: Berman Museum of Art 601 E. Main St. Collegeville, PA l9426 Attention: Sue Calvin + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 12:10:16 -0700 message-id: <200510191910.j9jjaga8002876@idx164.idx.net> references: no_parent from: Julie Harrison subject: RHIZOME_RAW: FACULTY/HEAD POSITION ANNOUNCEMENT in the Department of Art, Music & Technology FACULTY/HEAD POSITION ANNOUNCEMENT in the Department of Art, Music & Technology Art/Music/Technology: Head, Department of Art, Music, and Technology — Imperatore School of Sciences & Arts — Applications and nominations are requested for the position of Head of the Department of Art, Music & Technology at Stevens Institute of Technology, in Hoboken, New Jersey. In 2004, a new Department of Art, Music & Technology (DAMT) was created at Stevens Institute. We offer Individualized B.A. degrees in Art & Technology and Music & Technology, and hope to develop a graduate program as well as innovative crossover programs. Stevens is seeking a motivated candidate (either in music or in art) with a vision towards the future, conversant with the practices and discourses in his or her field, and the ability to attract students and high-quality faculty to the Institute. He or she must have academic experience and a substantial international or national presence in the art or music community. What sets DAMT apart from other art/music & tech schools (aside from its location on a residential, park-like campus overlooking the Hudson River and the entire New York City skyline) is Stevens’ emphasis in research and what has been termed, Technogenesis, where students, faculty and industry jointly nurture new arts & technologies from concept to realization. In addition to "low-tech" fields, like solar, wind-power, and mechanized sculpture, and the more “traditional” digital fields, we have potential access to highly specialized labs in areas such as robotics, biotechnology, nanotechnology, virtual reality, aerodynamics, artificial intelligence, lasers, highly-filled materials, among others, available to artists and students who build upon a tradition of joint cooperation across technical and conceptual divides. Stevens’s engineering and business schools, as well as science and the humanities, are poised and ready for a collaborative effort. Working with the Department Head will be the Directors of the Music & Technology and Art & Technology programs. Responsibilities will include developing a unique and competitive department, including curriculum development, policy-making, fundraising and teaching in her or his chosen field. Rank is open. Deadline to apply is December 15, 2005, but applicants will be considered sooner. For further information about the current department, see http://www.hum.stevens.edu/ArtMusicTechnology/. Nominations and letters of application should be sent to: Dean Erich Kunhardt, Imperatore School of Sciences & Arts, Stevens Institute of Technology, Hoboken, New Jersey 07030. Equal Opportunity Employer. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 15:45:59 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: Open Call deadline approaching Hello, A reminder to those who are considering submitting works to Open Call: the deadline is coming up soon - October 31st! Open Call is the exhibition that Rhizome is organizing in collaboration with free103point9 - more information on it can be found here: http://www.free103point9.org/opencall.php If you have any questions about it - please feel free to contact me directly. Thank you, Lauren Executive Director, Rhizome.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 22:33:57 +0100 message-id: references: no_parent from: susana mendes silva subject: RHIZOME_RAW: Del Zero al 2005 Del Zero al 2005. Perspectivas del arte en Portugal. Um projecto para a Fundaci=F3n Marcelino Bot=EDn Comiss=E1rio: David Barro A selec=E7=E3o v=EDdeo inclui =B3Polaroid=B2 de Susana Mendes Silva. Fechas: 21 de octubre/ 11 de diciembre 2005 Sala de exposiciones Marcelino Sanz de Sautuola, 3. Santander Horario diario: 12 a 14 horas y de 18:30 a 21:30 horas. Entrada gratuita __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 17:24:37 -0700 message-id: <200510200024.j9k0obfl004968@idx164.idx.net> references: no_parent from: Jane Marsching subject: RHIZOME_RAW: exhibition: Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal The Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal Center for Art and Visual Culture, UMBC, Baltimore, MD Curated by Mark Alice Durant and Jane D. Marsching October 20, 2005 -- December 17, 2005, Opening Reception October 20th from 5 - 7pm Organized by the Center for Art and Visual Culture, The Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal is a major traveling exhibition featuring twenty eight contemporary artists whose work employs modern communication technologies (photography, film, video, computers, radio, internet, and digital media) to explore culturally inbred questions / superstitions concerning parallel worlds to our own. Today, the amount of attention devoted to paranormal phenomena such as UFOs, demonic possession, psychics, and ghosts in the media indicates that photography 's early fascinations have not disappeared. Millennial angst, bewildering leaps of science, wildly improbable technological inventions, and ever-decreasing wilderness as human sprawl grows exponentially, makes other worlds once again appear possible, even probable, and definitely alluring. Our escalating desire to prove the existence of another dimension (no matter which one) is linked to photography, with its history of providing us with our proofs. Seduced by the invisible in the face of the medium's relentless and dull dependence upon the physical, photography as a tool of fact (in science), fantasy (in spirit photography), and invention (in the hands of artists) is exploring new frontiers once again. Included in the exhibition are: Mark Amerika, Zoe Beloff, Diane Bertolo, Jeremy Blake, Corrine May Botz, Susan Collins, Gregory Crewdson, Paul DeMarinis, Spencer Finch, Ken Goldberg, Susan Hiller, Marko Maetamm, Miya Masaoka, Jennifer and Kevin McCoy, Mariko Mori, Maria Miranda and Norie Neumark, Paul Pfeiffer, Fred Ressler, John Roach, Ted Serios, Leslie Sharpe, Chrysanne Stathacos, Thomson & Craighead, Suzanne Treister, and Anne Walsh & Chris Kubick Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal will be accompanied by a 200 page fully illustrated catalogue with essays on the significance of paranormal and the supernatural in contemporary culture by Lynne Tillman, associate professor and writer-in-residence at the University at Albany, and Marina Warner, novelist and former scholar at the Getty Center for History of Art and Humanities. Mark Alice Durant and Jane D. Marsching, co-curators of the exhibition, will contribute extensive essays on the interplay between science, art, and the occult as it relates to the artworks in the exhibition. The publication will contain over eighty illustrations in color and black and white as well as a checklist for the exhibition, illustrated timeline, and a bibliography. Published by the Center for Art and Visual Culture, as the ninth title of its Issues in Cultural Theory series, Blur of the Otherworldly: Contemporary Art, Technology, and the Paranormal will! be distributed internationally by Distributed Art Publishers (DAP), in New York (http://www.artbook.com/) The exhibition website is: http://www.bluroftheotherworldly.com The press release can be viewed at: http://www.umbc.edu/NewsEvents/releases//archives/2005/10/umbcs_center_fo_3.Html (includes images and video clips) ::::::::::::::::::::::::::::::::: http://www.janemarsching.com jane d. marsching 554 poplar street roslindale, MA 02131 617-325-2088 home 617-763-8627 cell jane@janemarsching.com ::::::::::::::::::::::::::::::::: + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 21:15:20 -0600 message-id: <004401c5d524$82469590$e3a40818@vuk> references: no_parent from: abe linkoln subject: RHIZOME_RAW: cher tzara http://www.linkoln.net/cher_tzara/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 19 Oct 2005 20:19:53 -0700 message-id: <200510200319.j9k3jrnp004179@idx164.idx.net> references: no_parent from: Darrin Martin subject: RHIZOME_RAW: Mac lab assistant needed at UC Davis http://jobs.hr.ucdavis.edu/jm/ViewVacancy?id=4034 UC Davis Job Opportunity COMPUTER RESOURCE SPEC. II VL# 4034 External COMPUTER RESOURCE SPEC. II $3,191.00 - $4,415.00/Mo. Final Filing Date 11-01-05 This position is located in: Dept. of Art and Art History/Program in Technocultural Studies and is represented by a union. Working hours: Mon- Fri, 8AM-5PM. This External position is for UCD/UCDHS employees and the general public. Applications from the general public and UCD/UCDHS employees will be considered simultaneously. The Department of Art and Art History is a complex group of departments and programs: Art Studio, Art History, the Technocultural Studies program, the Richard L. Nelson Art Gallery and Fine Arts Collection, and the Visual Resources Facility. These units consist of more than 30 affiliated faculty, lecturers and specialists. Purpose of the Department is teaching and research. This position will lend support to the Digital (IDEA) and Photography lab areas. Responsibilities: The role of this position is to lend technical assistance to the Instructor and TA, train and supervise students in proper and safe use of equipment and lab procedures, supervise and train volunteer lab monitors, manage and maintain the equipment, maintain the facilities, follow Policy, and be responsible for health and safety. Requirements: Managerial, communication and organizational skills, as well as good judgment, and skills to effectively train, supervise and technically instruct various staff, students, faculty, and volunteers in policies and procedures, lab usage, and proper and safe use of equipment. Ability to demonstrate processes to students. Writing and communication skills to set up lab usage. Familiarity of photographic materials and techniques, including camera and darkroom equipment and digital photographic systems. Knowledge of and demonstrated experience in visual and graphic computing. Knowledge of and demonstrated experience in current operating systems, operating environments and communications protocols to include Macintosh, PC Windows, and Silicon Graphic computers. Experience in computer engineering. Knowledge and demonstrated experience in installation, configuration, and maintenance of microcomputers, workstations and, networking hardware. Knowledge of and demonstrated experience in hard drives, printers, communication, memory expansion, audio and video playback units. Ability to evaluate and make small repairs and adjustments on photography equipment. Administrative and organizational experience for equipment management. Technical writing and communication skills. Excellent interpersonal, oral and written communication skills and effective listening skills to analyze issues and present information and recommendations concisely, work with people with diverse cultural background and education. Demonstrated experience in design, creation and maintenance of web sites and web technologies. Skills to create original designs using software. Excellent computer skills. Experience in creating and managing databases, calendars, archival systems, and interactive web systems Experience with network technologies and ability to implement networking hardware and cabling. Ability and initiative to work independently with minimal supervision. Ability to work cooperatively as part of a team. Excellent analytical skills and troubleshooting ability. Ability to keep accurate and complete records, with attention to detail. Supplemental Requirements: Supplemental requirements that must be provided by the final filing date: Programmer/Computer Supplemental Form Required. Special Conditions of Employment: Work occasional varied lunch hours. Overtime may be necessary at times and occasionally on weekends and holidays as needed, usually on short notice to meet operational needs. May need to work a flexible schedule. In photo lab, work in confined rooms with no windows but artificial light and low level of fumes at times as students work with sulfur based chemistry and acids. Physical Requirements: Position requires lifting equipment weighing up to 70 lbs, maneuvering in and around equipment in confined spaces, and standing for up to 2 hour increments. Application Process: Apply online at http://www.hr.ucdavis.edu/Emp/Careers/Application_Process or apply at UC Davis Human Resources Administration Bldg., Orchard Park, Davis, Ca, 95616. Applications must be received before 5:00 p.m. on the Final Filing Date for consideration (postmarks are not acceptable). Required application materials are available at the UCD Human Resources Administration Building, on the Internet http://www.hr.ucdavis.edu/Emp or UCDMC Personnel Office, TICON III, 2nd Floor, 2730 Stockton Boulevard, Sacramento, Ca. For additional information call (530) 752-7520 UCD is an Equal Opportunity/Affirmative Action Employer TDD Line (530) 752-7140 View the position description + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 07:30:57 +0200 message-id: references: no_parent from: 9 subject: RHIZOME_RAW: Baggage Baggage0lBuilding0l0l0l0l0lOpening0levent0lFriday,0lOctober0l21st0lbet ween0l60l110lPM0l0l0l0l0l0l0lVideo0lfestival0land0lclosing0lreception0l on0lSaturday,0lOctober0l29th,0l60l110l0l0l0l0lPM.0l0l0l0l0l0l0lGallery\ .hours0lare0ldaily0lbetween0l110l50lPM.0l0l0l0l0lIt0lis0lprofoundly0lal ienating.0lBuildings,0lroads,0lpeop _ ASRF.1405 beta X-Powered-By: HTTP://X257.COM + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 06:19:59 -0700 message-id: <200510201319.j9kdjxik002767@idx164.idx.net> references: no_parent from: G.H. Hovagimyan subject: RHIZOME_RAW: HD Morph Videos Hi All, I'm pleased to announce that my latest work in High Definition videos are on display at Sara Tecchia Gallery (529 west 20th street, 2nd floor) in Chelsea. The videos are random select from an HDV database that are played one after another in a seamless playlist. This is a preview for a larger installation of 3 flat screens at Sara Tecchia's in March. Come by and have a look and let me know what you think. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 19:24:54 +0200 (CEST) message-id: <20051020172454.6726121fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Xl xipt , xml XML, xxxlolita xor, . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 10:28:09 -0700 message-id: <200510201728.j9khs9xn011227@idx164.idx.net> references: no_parent from: xavier cahen subject: RHIZOME_RAW: pourinfos Newsletter / 10-14 to 10-20-2005 pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- infos from October 14, 2005 to October 20, 2005 (included) ------------------------------------------------------------------- (mostly in french) ------------------------------------------------------------------- 01 Call : public Art - Nanterre, France. http://pourinfos.org/candidature/item.php?id=2141 ------------------------------------------------------------------- 02 Call : IMMERSION 2005 : call for projects, [ars]numerica, Montbeliard, France. http://pourinfos.org/candidature/item.php?id=2140 ------------------------------------------------------------------- 03 Call : zemos98 Call for Audiovisual Works, Sevilla, spain. http://pourinfos.org/candidature/item.php?id=2139 ------------------------------------------------------------------- 04 Call : Proposals Wanted Concerning the Worldwide Decline of,Personal Time, Dronninglund, Denmark. http://pourinfos.org/candidature/item.php?id=2138 ------------------------------------------------------------------- 05 Job: assistant in charge with the editions and the exhibitions, FRAC Champagne-Ardenne, France. http://pourinfos.org/emploi/item.php?id=2135 ------------------------------------------------------------------- 06 Meetings : transversale, Ecole Nationale Superieure des Beaux Arts, Paris, France. http://pourinfos.org/rencontres/item.php?id=2134 ------------------------------------------------------------------- 07 Publication : The Utopias posthumaines, of Remi Sussan : a travel fascinating in the heart of the underground-culture. http://pourinfos.org/publications/item.php?id=2133 ------------------------------------------------------------------- 08 Publication : vibrö 3 – The Citizen Band Issue, Paris, France. http://pourinfos.org/publications/item.php?id=2132 ------------------------------------------------------------------- 09 Publication : S&P Stanikas. End of a Millennium, catalogue, Gallery Vu, Paris, France. http://pourinfos.org/publications/item.php?id=2131 ------------------------------------------------------------------- 10 Exhibition : opening at centre d'art et de diffusion Clark , Montreal, Canada. http://pourinfos.org/expositions/item.php?id=2130 ------------------------------------------------------------------- 11 Exhibition : usr grps, Francesco Finizio, Gallery RLBQ, Marseille , France. http://pourinfos.org/expositions/item.php?id=2129 ------------------------------------------------------------------- 12 Exhibition : Tony Oursler, Stephen Vitiello et Constance de Jong, Ecole superieure d’art de Mulhouse, Le Quai, France. http://pourinfos.org/expositions/item.php?id=2128 ------------------------------------------------------------------- 13 Exhibition : Program December 2005, January 2006, Gallery trait personnel et alors..., Lyon, France. http://pourinfos.org/expositions/item.php?id=2127 ------------------------------------------------------------------- 14 Exhibition : Del Zero al 2005, Perspectivas del arte en Portugal, Santander, Spain. http://pourinfos.org/expositions/item.php?id=2126 ------------------------------------------------------------------- 15 Divers : Dominique Boudou, Director of the Fonds régional d'art contemporain Nord- Pas de Calais, France. lhttp://pourinfos.org/divers/item.php?id=2137 ------------------------------------------------------------------- 16 Divers : Votings begin, 2nd One Second Vidéo, Italy. lien http://pourinfos.org/divers/item.php?id=2136 ------------------------------------------------------------------- 17 Exhibition: CLOSE UP #2, David Wojnarowicz, Gallery eof, Paris, France. http://pourinfos.org/expositions/item.php?id=2125 ------------------------------------------------------------------- 18 Call : Invisible city, video, Manifestation Internationale video and electronic art, Montreal, Canada. http://pourinfos.org/candidature/item.php?id=2120 ------------------------------------------------------------------- 19 Call : 9 th edition of the festival of numerical arts Bandits-Mages, Bourges, France. http://pourinfos.org/candidature/item.php?id=2119 ------------------------------------------------------------------- 20 Call : Residences of production, laboratory of creation on web, La chambre blanche, Québec, Canada. http://pourinfos.org/candidature/item.php?id=2118 ------------------------------------------------------------------- 21 Publication : numero Derives II, No 55, automne 2005, esse arts + opinions, Montreal, Canada. http://pourinfos.org/publications/item.php?id=2117 ------------------------------------------------------------------- 22 Call : for Submissions to SCAN online gallery, Media Department of Macquarie University in Sydney, Australia. http://pourinfos.org/participation/item.php?id=2116 ------------------------------------------------------------------- 23 Call : 'CARTES Flux', Centre for Art and Technology CARTES, Espoon Kaupunki, Finland. http://pourinfos.org/participation/item.php?id=2115 ------------------------------------------------------------------- 24 Call: proposals for articles for the archee, cybermensuel, Montreal, Canada. http://pourinfos.org/participation/item.php?id=2114 ------------------------------------------------------------------- 25 Job : new artistic director, interdisciplinary centre for art and audiovisual media, Argos, Brussels, Belgium. http://pourinfos.org/emploi/item.php?id=2113 ------------------------------------------------------------------- 26 Residence : cration in situ, La chambre blanche, Quebec, Canada. http://pourinfos.org/residences/item.php?id=2112 ------------------------------------------------------------------- 27 Meetings : Tuesday 18 octobre 17h-19h , Tuesday it's numedia, Carrefour numerique Agora, Paris, France. http://pourinfos.org/rencontres/item.php?id=2111 ------------------------------------------------------------------- 28 Meetings : Generative Arts Practice 2005, A Creativity & Cognition Symposium, University of Technology, Sydney, Australia. http://pourinfos.org/rencontres/item.php?id=2110 ------------------------------------------------------------------- 29 Mettings : Olivier Mongin at the Platform of the philosophers, Maison de l'architecture en Île-de-France, Paris, France. http://pourinfos.org/rencontres/item.php?id=2109 ------------------------------------------------------------------- 30 Publication : Jean Baudrillard and a Counter-Mannerist Art of Latent Excess, Joseph Nechvatal, The International Journal of Baudrillard Studies, Canada. http://pourinfos.org/publications/item.php?id=2108 ------------------------------------------------------------------- 31 Screening : Albanie : découverte d’Anri Sala, association Panoplie , Montpellier, France. http://pourinfos.org/expositions/item.php?id=2107 ------------------------------------------------------------------- 32 Exhibition : Laurent Montaron, La Galerie, contemporary art center of Noisy-le-Sec, France. http://pourinfos.org/expositions/item.php?id=2106 ------------------------------------------------------------------- 33 Exhibition : Judith Bartolani, Artistes studio of Ville de Marseille, Marseille, France. http://pourinfos.org/expositions/item.php?id=2105 ------------------------------------------------------------------- 34 Exhibition : Femininities in question, Laplateforme, Mains d’Œuvres, Saint-Ouen, France. http://pourinfos.org/expositions/item.php?id=2104 ------------------------------------------------------------------- 35 Exhibition : body nomad, Claudie Dadu, Venice, Italy. http://pourinfos.org/expositions/item.php?id=2103 ------------------------------------------------------------------- 36 Exhibition : arte Studio Invernizzi, ART COLOGNE 2005, Germany. lien http://pourinfos.org/expositions/item.php?id=2102 ------------------------------------------------------------------- 37 Exhibition : “media flow. videoventure on electronic music”, Stuttgart, Germany. http://pourinfos.org/expositions/item.php?id=2101 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 11:16:59 -0700 message-id: <200510201816.j9kigxtb021653@idx164.idx.net> references: no_parent from: jillian mcdonald subject: RHIZOME_RAW: art talks oct 25 - camille utterback + john klima The Pace Digital Gallery is pleased to present: Fall evening art talks with new media artists. 6pm. Tuesday Oct 25 :: Camille Utterback + John Klima location: Lecture Hall South, 1 Pace Plaza, Pace University, NYC digitalgallery@pace.edu More info, maps, and images at http://www.pace.edu/digitalgallery <> Free admission, please join us! Camille Utterback (San Francisco) is a pioneering artist and programmer in the field of interactive video installation. In addition to an extensive international exhibit history, recent awards include a Transmediale International Media Art Festival Award (2005), and a Rockefeller Foundation New Media Fellowship (2002). Utterback received a US patent for the video tracking system she developed as a research fellow at New York University (2004). Camille will discuss her interactive video installations which create playful, physical interaction between participants. Works will include 'Text Rain' (1999 with Romy Achituv), 'Liquid Time' (2001), and a number of pieces in the 'External Measures Series' (2001 - 2005) including 'Untitled 6', which she has just completed for a show at the Beall Center at UC Irvine. She will also focus her current explorations of painterly dynamic systems which respond to human gesture and movement. John Klima employs a variety of technologies to produce artwork from electronics and computer hardware and software. Consistently connecting the virtual to the real, Klima builds large scale electro-mechanical installations driven by 3d game software he programs from scratch. In 2003 he focused on his long-time fascination with model railroading to create his first HO scale railroad piece, titled simply "Train." Exhibited in December 2003 at Postmasters Gallery in New York, "Train" was shown in April 2005 at the DeCordova Museum in Boston. Klima has exhibited extensively in museums and galleries in the U.S., Europe, and Asia. His exhibitions include BitStreams at the Whitney Museum of American Art as well as the 2002 Whitney Biennial. He has also exhibited at Eyebeam, The New Museum of Contemporary Art, PS.1 and The Brooklyn Museum of Art. Klima is currently a research scientist in the Mathematics department at New York University, and adjunct Professor of Digital Media at the Rhode Island School of Design. John Klima is represented by Postmasters in New York, and Bank Gallery in Los Angeles. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 15:03:34 -0400 message-id: references: no_parent from: Thomas Beard subject: RHIZOME_RAW: Open Zone CALL FOR SUBMISSIONS Open Zone at Ocularis 70 North 6th Street Brooklyn, NY 11211 www.ocularis.net Open Zone is a quarterly open screen night for new works by NYC-based artists. Including documentary, experimental and narrative film, video and new media, Open Zone provides a unique opportunity to view and discuss emerging work of all kinds. Submissions are received prior to the screening, and the organized program is circulated to filmmakers two weeks before the show, which will be held on Wednesday, December 14. Work must be under 10 minutes in length and produced in the last 12 months. Acceptable formats include: DVD, VHS, Mini DV, 16mm, S8 film. To be considered for the next Open Zone, please send a preview copy of your work, along with a $10 submissions fee, to Ocularis at Galapagos Art Space Attn: Open Zone 70 North 6th Street Brooklyn, NY 11211 Postmark Deadline: Wednesday, November 16. Inclusion in the program is held on a first-come, first-serve basis. All filmmakers with work in the screening receive free admission for themselves and one guest. Please contact Thomas Beard (thomas@ocularis.net) with any questions. Ocularis is a weekly cinema run out of Galapagos Art Space dedicated to the exhibition of independent, experimental and documentary film/video and new media, as well as international and repertory cinema. For our current schedule and more information on Ocularis, please visit http://www.ocularis.net -- Thomas Beard Program Director Ocularis at Galapagos Art Space 70 North 6th Street Brooklyn, NY 11211 http://www.ocularis.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 20:38:02 -0700 message-id: <200510210338.j9l3c2kd026104@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: installment 2 Eric Dymond wrote: > i am glad to see you have taken advantage of my generosity. > please don't stop. > i find your posts on my account delightful. > which reminds me. > did you ever send the video to MOMA? > Today, we were hiking north of Innis Lake Road. > The mushrooms were perfect and the apples small but delicious. > I thought of building a hut there, to live in. With the recent demise > of our generous landlord i am in need of shelter with the winter > approaching. While we were on the trail an odd old man in a small > tractor approached. > I recognized him from an old book on Dada. It was the Nephew of > Francis Picabia. I was ecstatic. > He stopped his vehicle and began talking in a short monosyllabic > speech. > What was I to do. > Well I picked up a fallen tree branch and threw it at him. > I missed. > He screamed, got back on his tractor and drove off. > On the ground was a small letter which had fallen out of his pocket. > Iy was an invitation to a Brad Brace retrospective at the Centre > Pompideau for January 16th 2028! > Needless to say I was surprised. > I couldn't believe Brad would agree to such a pompous affair! > Was I wrong in assuming this? > We moved on.., still searching for Rameau's amputated extremity. > take care, > Eric Dymond October 20 2005 so as I continue I would be homeless in 2 weeks. Well worse things have happened. What was really worrying us was Ramaeu. A dead composer without a penis. What could we do to alleviate his spiritual impotence? I have never found his work that exciting, but, a lost feature is a concern to me. It should be a concern to us all. Politically, Ramaeu was a little to the right of Richard Cheney. But losing an appendage is a great equalizer. We needed hints, at least some clues as to where the lost member layed. With enough pecha gutta I felt we could adhere the member to the long demised owner. But now,we needed a history of the accident. Onward. Eric + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 21:50:52 -0700 message-id: <200510210450.j9l4oqt0015719@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: installment 2 Eric Dymond wrote: > Eric Dymond wrote: > > > i am glad to see you have taken advantage of my generosity. > > please don't stop. > > i find your posts on my account delightful. > > which reminds me. > > did you ever send the video to MOMA? > > Today, we were hiking north of Innis Lake Road. > > The mushrooms were perfect and the apples small but delicious. > > I thought of building a hut there, to live in. With the recent > demise > > of our generous landlord i am in need of shelter with the winter > > approaching. While we were on the trail an odd old man in a small > > tractor approached. > > I recognized him from an old book on Dada. It was the Nephew of > > Francis Picabia. I was ecstatic. > > He stopped his vehicle and began talking in a short monosyllabic > > speech. > > What was I to do. > > Well I picked up a fallen tree branch and threw it at him. > > I missed. > > He screamed, got back on his tractor and drove off. > > On the ground was a small letter which had fallen out of his pocket. > > Iy was an invitation to a Brad Brace retrospective at the Centre > > Pompideau for January 16th 2028! > > Needless to say I was surprised. > > I couldn't believe Brad would agree to such a pompous affair! > > Was I wrong in assuming this? > > We moved on.., still searching for Rameau's amputated extremity. > > take care, > > Eric Dymond > October 20 2005 > so as I continue > I would be homeless in 2 weeks. Well worse things have happened. > What was really worrying us was Ramaeu. > A dead composer without a penis. What could we do to alleviate his > spiritual impotence? > I have never found his work that exciting, but, a lost feature > is a concern to me. It should be a concern to us all. Politically, > Ramaeu was a little to the right of Richard Cheney. But losing an > appendage is a great equalizer. > We needed hints, at least some clues as to where the lost member > layed. > With enough pecha gutta I felt we could adhere the member to the long > demised owner. > But now,we needed a history of the accident. > Onward. > Eric so far the adventure had been mundane. At this point it takes a strange twist. After exhausting France we had moved to Spain. Journeying southward we passed through Toledo. Just south of the former Capital we cam upon a graveyard. In the southwest corner of the barren graveyard was a tall, thin figure. My companion, David Kemp, was wary of communicating with the natives, but the narrow figure waved a bony finger at us, beckoning us to approach. We approaiched cautiously. In my broken spanish I queried the stranger. He muttered "washington.." That was all he said. Just the one word. David whispered "does he mean washington park in eastern Somoa?" "No" I said, "He means Benjamin Washington, a contemporary of Rameau!". Did Washington know the whereabouts of Ramaeu's manhood? In this virtual world, everyone lives, our next week was planned. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 22:05:29 -0700 message-id: <200510210505.j9l55tkr019523@idx164.idx.net> references: no_parent from: Kenneth Jones subject: RHIZOME_RAW: Chthonic Cartographers Exhibition Opens Nov.2nd Harford Community College:::Chesapeake Gallery Hello, Chthonic Cartographers is an exhibition that seeks to define place by locating the unseen. Chthonic Cartographers contains work from emerging, mid-career and established artists from around the country. Chthonic Cartographers contains performances, divining interactions, community knitting activities, aroma samplings, loitering collages made from server triggered USB cameras, sewer sound mapping installations, the grounding of the Hays-Heighe House, sleep talk reconstructions, an interview-based text and audio encyclopedia comprised of skills and knowledge of Danville, llinois residents, documentary films on the mass observation movement, a special performance by chiara giovando, the films of tony conrad and the labyrinth project and a special satellite performance on November 5th at the 14 karat cabaret in baltimore, maryland by many artists in the exhibition. Special critics-in-residence, Manifold Design of Baltimore will give a lecture on defining place from the viewpoint of architecture on December 7th at the college as well as podcast contributions from many others. Please see the attached electronic invitation for more details on events surrounding this new exhibition, which runs trhough January 6, 2006 If you have questions, please feel free to contact the curators. Kenneth Jones joneskenneth@mac.com 410-836-4326 Jenny Graf Sheppard metaluxx@mac.com Thank You. http://www.harford.edu/faculty/kjones/chthonic/invitefront.jpg http://www.harford.edu/faculty/kjones/chthonic/inviteback.jpg + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 30 Oct 2005 11:09:47 +0100 message-id: <20051030110947.5c6c56e3.820b4274@127.0.0.1> references: no_parent from: {video05} subject: RHIZOME_RAW: =?ISO-8859-1?Q?VideoChannel=5Ffinal=5Fcall? Final call for proposals deadline 31 July 2005 . VideoChannel is looking for video works on these two themes "self-portrait" & "totalitarism" separately to be included in its online collection on Cinematheque http://cinematheque.le-musee-divisioniste.org and the offline DVD collection to be presented in the framework of the interactive installation of [R][R][F]2005--->XP - global networking project http://rrf2005.newmediafest.org as well as in selection for presentation on mediafestivals and exhibitions. The thematic context is "self-portrait" & "totalitarism" in a narrow and wider sense. The videos have to be submitted as digital files -Quicktime, Real Video or .aviDIVX compression for preview, or URL for preview or download, and the selected works will be requested to send as high quality videos as Quicktime or mpeg2DVD (PAL/NTSC) on CD or DVD (data) by snail mail. The videos may have a running time between 1-5 minutes, exceptions possible. Each artist can submit only one video for each theme. Please use this form for submitting: 1.name of artist(s), email address(es), URL(s) (in case of an artists collective plase credit all participants properly) 2. short biography/CV (not more than 300 words each) 3. 1 work/project only -->title, year of production a) type of media file b) URL of the posted work online and/or c) URL from where the project file(s) can be downloaded 4. work description (story included, not more than 500 words) 5. screenshot (.jpeg, max. 800x600 px) . Confirmation/authorization: The submitter(s) declares and confirms that he/she/they is/are holding all rights on the submission and give permission to include the submitted work in "Cinematheque" online/offline environment until revoke. Signed by (submitter) . Please send the complete submission to mediacentre@le-musee-divisioniste.org subject: VideoChannel "self-portrait" or subject: VideoChannel "totalitarism" . ***************************** This call is also released on NetEX - networked experience http://weblog.nmartproject.net/index.php?blog=3&page=1&disp=posts&paged=2 http://netex.nmartproject.net info@nmartproject.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support -> visit: on Fridays the Rhizome.org web site is open to non-members + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Wed, 12 Oct 2005 10:48:03 -0400 from: kanarinka message-id: subject: RHIZOME_RAW: FRI 6PM - Glowlab: Open Lab opens at Art Interactive INVENT ANOTHER CITY The Glowlab: Open Lab festival kicks off in Central Square, Cambridge, MA, this week with a full schedule of walks, workshops and events. ______________________________________________________________ FRIDAY, 6PM - 9PM: FESTIVAL KICK-OFF PARTY Performance at the 2004 Glowlab Conflux festival by Dario D'Aprile to create a pedestrian crossing from baking flour in order to distribute a pattern of white footsteps throughout the neighborhood. Photo courtesy of Christina Ray. WHAT: Glowlab festival kick-off party & opening reception WHEN: THIS FRIDAY, 6PM - 9PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA MORE INFO: www.artinteractive.org/shows/glowlab. Free and open to the public. Beverages courtesy of Tiger Beer. FREE psychogeographic mystery gifts for the first 100 visitors. ______________________________________________________________ SATURDAY, 12PM: IS PSYCHOGEOGRAPHY PSYCHO? WHAT: Christina Ray, curator of Glowlab: Open Lab, conducts an informal discussion about psychogeography WHEN: Saturday, 12PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Free and open to the public. ______________________________________________________________ SATURDAY, 2PM - 6PM: BIKE HACK 101 WHAT: Artist Jessica Thompson conducts a workshop to hack your bike so that it laughs as you ride it through the city. Bring your bike! WHEN: Saturday, 2PM - 6PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Free and open to the public. ______________________________________________________________ SUNDAY, 12PM: SAY HELLO TO STRANGERS WHAT: Artist D. Jean Hester leads participants on a walk to say hello to strangers in the neighborhood. WHEN: Sunday, 12PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Free and open to the public. ______________________________________________________________ SUNDAY, 4PM - 6PM: PANEL DISCUSSION ON TECHNOLOGY & ART WHAT: A panel discussion on technology & art with Teri Rueb, George Fifield, Christopher Janney, Jen Hall, and Ralph Helmick & Stu Schechter. WHEN: Sunday, 4PM WHERE: Art Interactive, 130 Bishop Allen Dr, Cambridge, MA Presented in conjunction with the New Center for Arts & Culture. Free and open to the public. Food and beverages provided. ______________________________________________________________ Calendar: Check out the full festival calendar at www.artinteractive.org/calendar or download it at www.artinteractive.org/shows/glowlab/calendar.pdf. ______________________________________________________________ About Art Interactive: http://www.artinteractive.org Art Interactive is a non-profit art space in Cambridge, Massachusetts, whose mission is to provide a public forum for artwork that is contemporary, experimental, and participatory. Situated in the heart of Central Square, Cambridge, MA, Art Interactive's 2,500 square foot, one-of-a-kind space provides unique opportunities for creative exchange and experimental production amongst curators, artists, organizations and communities. Gallery Hours & Location: Art Interactive is open Saturdays and Sundays from 12-6pm or by appointment. The space is located at 130 Bishop Allen Drive, at the corner of Prospect Street in Cambridge, MA. For more information, please contact info@artinteractive.org, call 617-498-0100 or fax 617-498-0019. Support & Partners: The Glowlab: Open Lab exhibition and festival is made possible with the support of the following groups: iKatun, Guarino Design Group, turbulence.org, The Berwick Research Institute, Tiger Beer, Non-event, The Center for Advanced Visual Studies at MIT, The Boston Society of Architects, Anthem Magazine, The Weekly Dig, Upgrade! Boston, RedMaps.com, The Weekly Dig + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0009_01C5CF4F.2923B860" date: Wed, 12 Oct 2005 17:05:34 +0200 from: "manik" message-id: <000601c5cf3f$7ac446e0$137689d5@e9o9t1> subject: RHIZOME_RAW: I'M SLAVE Looking for participants for a new media project called "I'M SLAVE". This is all you need to do: 1) Take a picture of what comes to mind when you think of the word "I"and"Slave" 2) Email the photo to this address: MANIK@PTT.YU 3) In the subject line, please type:I'M SLAVE That's all - it's really easy. MANIK __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 20 Oct 2005 19:24:54 +0200 (CEST) from: trashconnection message-id: <20051020172454.6726121FD0@mail.isnm.uni-luebeck.de> subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Xl xipt , xml XML, xxxlolita xor, . http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Thu, 20 Oct 2005 10:28:09 -0700 from: xavier cahen message-id: <200510201728.j9KHS9Xn011227@idx164.idx.net> subject: RHIZOME_RAW: pourinfos Newsletter / 10-14 to 10-20-2005 pourinfos.org l'actualite du monde de l'art / daily Art news ----------------------------------------------------------------------- infos from October 14, 2005 to October 20, 2005 (included) ------------------------------------------------------------------- (mostly in french) ------------------------------------------------------------------- 01 Call : public Art - Nanterre, France. http://pourinfos.org/candidature/item.php?id=2141 ------------------------------------------------------------------- 02 Call : IMMERSION 2005 : call for projects, [ars]numerica, Montbeliard, France. http://pourinfos.org/candidature/item.php?id=2140 ------------------------------------------------------------------- 03 Call : zemos98 Call for Audiovisual Works, Sevilla, spain. http://pourinfos.org/candidature/item.php?id=2139 ------------------------------------------------------------------- 04 Call : Proposals Wanted Concerning the Worldwide Decline of,Personal Time, Dronninglund, Denmark. http://pourinfos.org/candidature/item.php?id=2138 ------------------------------------------------------------------- 05 Job: assistant in charge with the editions and the exhibitions, FRAC Champagne-Ardenne, France. http://pourinfos.org/emploi/item.php?id=2135 ------------------------------------------------------------------- 06 Meetings : transversale, Ecole Nationale Superieure des Beaux Arts, Paris, France. http://pourinfos.org/rencontres/item.php?id=2134 ------------------------------------------------------------------- 07 Publication : The Utopias posthumaines, of Remi Sussan : a travel fascinating in the heart of the underground-culture. http://pourinfos.org/publications/item.php?id=2133 ------------------------------------------------------------------- 08 Publication : vibrö 3 – The Citizen Band Issue, Paris, France. http://pourinfos.org/publications/item.php?id=2132 ------------------------------------------------------------------- 09 Publication : S&P Stanikas. End of a Millennium, catalogue, Gallery Vu, Paris, France. http://pourinfos.org/publications/item.php?id=2131 ------------------------------------------------------------------- 10 Exhibition : opening at centre d'art et de diffusion Clark , Montreal, Canada. http://pourinfos.org/expositions/item.php?id=2130 ------------------------------------------------------------------- 11 Exhibition : usr grps, Francesco Finizio, Gallery RLBQ, Marseille , France. http://pourinfos.org/expositions/item.php?id=2129 ------------------------------------------------------------------- 12 Exhibition : Tony Oursler, Stephen Vitiello et Constance de Jong, Ecole superieure d’art de Mulhouse, Le Quai, France. http://pourinfos.org/expositions/item.php?id=2128 ------------------------------------------------------------------- 13 Exhibition : Program December 2005, January 2006, Gallery trait personnel et alors..., Lyon, France. http://pourinfos.org/expositions/item.php?id=2127 ------------------------------------------------------------------- 14 Exhibition : Del Zero al 2005, Perspectivas del arte en Portugal, Santander, Spain. http://pourinfos.org/expositions/item.php?id=2126 ------------------------------------------------------------------- 15 Divers : Dominique Boudou, Director of the Fonds régional d'art contemporain Nord- Pas de Calais, France. lhttp://pourinfos.org/divers/item.php?id=2137 ------------------------------------------------------------------- 16 Divers : Votings begin, 2nd One Second Vidéo, Italy. lien http://pourinfos.org/divers/item.php?id=2136 ------------------------------------------------------------------- 17 Exhibition: CLOSE UP #2, David Wojnarowicz, Gallery eof, Paris, France. http://pourinfos.org/expositions/item.php?id=2125 ------------------------------------------------------------------- 18 Call : Invisible city, video, Manifestation Internationale video and electronic art, Montreal, Canada. http://pourinfos.org/candidature/item.php?id=2120 ------------------------------------------------------------------- 19 Call : 9 th edition of the festival of numerical arts Bandits-Mages, Bourges, France. http://pourinfos.org/candidature/item.php?id=2119 ------------------------------------------------------------------- 20 Call : Residences of production, laboratory of creation on web, La chambre blanche, Québec, Canada. http://pourinfos.org/candidature/item.php?id=2118 ------------------------------------------------------------------- 21 Publication : numero Derives II, No 55, automne 2005, esse arts + opinions, Montreal, Canada. http://pourinfos.org/publications/item.php?id=2117 ------------------------------------------------------------------- 22 Call : for Submissions to SCAN online gallery, Media Department of Macquarie University in Sydney, Australia. http://pourinfos.org/participation/item.php?id=2116 ------------------------------------------------------------------- 23 Call : 'CARTES Flux', Centre for Art and Technology CARTES, Espoon Kaupunki, Finland. http://pourinfos.org/participation/item.php?id=2115 ------------------------------------------------------------------- 24 Call: proposals for articles for the archee, cybermensuel, Montreal, Canada. http://pourinfos.org/participation/item.php?id=2114 ------------------------------------------------------------------- 25 Job : new artistic director, interdisciplinary centre for art and audiovisual media, Argos, Brussels, Belgium. http://pourinfos.org/emploi/item.php?id=2113 ------------------------------------------------------------------- 26 Residence : cration in situ, La chambre blanche, Quebec, Canada. http://pourinfos.org/residences/item.php?id=2112 ------------------------------------------------------------------- 27 Meetings : Tuesday 18 octobre 17h-19h , Tuesday it's numedia, Carrefour numerique Agora, Paris, France. http://pourinfos.org/rencontres/item.php?id=2111 ------------------------------------------------------------------- 28 Meetings : Generative Arts Practice 2005, A Creativity & Cognition Symposium, University of Technology, Sydney, Australia. http://pourinfos.org/rencontres/item.php?id=2110 ------------------------------------------------------------------- 29 Mettings : Olivier Mongin at the Platform of the philosophers, Maison de l'architecture en Île-de-France, Paris, France. http://pourinfos.org/rencontres/item.php?id=2109 ------------------------------------------------------------------- 30 Publication : Jean Baudrillard and a Counter-Mannerist Art of Latent Excess, Joseph Nechvatal, The International Journal of Baudrillard Studies, Canada. http://pourinfos.org/publications/item.php?id=2108 ------------------------------------------------------------------- 31 Screening : Albanie : découverte d’Anri Sala, association Panoplie , Montpellier, France. http://pourinfos.org/expositions/item.php?id=2107 ------------------------------------------------------------------- 32 Exhibition : Laurent Montaron, La Galerie, contemporary art center of Noisy-le-Sec, France. http://pourinfos.org/expositions/item.php?id=2106 ------------------------------------------------------------------- 33 Exhibition : Judith Bartolani, Artistes studio of Ville de Marseille, Marseille, France. http://pourinfos.org/expositions/item.php?id=2105 ------------------------------------------------------------------- 34 Exhibition : Femininities in question, Laplateforme, Mains d’Œuvres, Saint-Ouen, France. http://pourinfos.org/expositions/item.php?id=2104 ------------------------------------------------------------------- 35 Exhibition : body nomad, Claudie Dadu, Venice, Italy. http://pourinfos.org/expositions/item.php?id=2103 ------------------------------------------------------------------- 36 Exhibition : arte Studio Invernizzi, ART COLOGNE 2005, Germany. lien http://pourinfos.org/expositions/item.php?id=2102 ------------------------------------------------------------------- 37 Exhibition : “media flow. videoventure on electronic music”, Stuttgart, Germany. http://pourinfos.org/expositions/item.php?id=2101 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Fri, 21 Oct 2005 10:21:29 -0700 from: Yael Kanarek message-id: <200510211721.j9LHLT0v007023@idx164.idx.net> subject: RHIZOME_RAW: The Upgrade! w/Mark Napier, Thurs, October 27 Upgrade! New York invites: We are delighted to have Mark Napier for his third Upgrade! talk in tandem with his solo exhibition at bitforms gallery opening this Saturday, October 22. The evening will begin with a brief report from Liz Slagus on what we learned and planned during the first international conference to evolve the network and create opportunities for artists working in art + tech. Followed, Mark will discuss his exploration in the past two years that include: 3D graphics and hardware level rendering techniques, the value of standards like OpenGL, the use of virtual spaces in artwork and some of the pitfalls he found in interfaces and interactivity. He'll demonstrate the new work, and talk a little about the pleasures and perils of showing interactive work in a gallery space. The works Mark will show are from the new series titled Empire. These pieces all use a 3D model of the Empire State building as an interactive device. The viewer of the artwork can pick up, throw, bend, bounce and crush the building. The works read as 3D spaces, but the building also acts as a brush, leaving traces of its image behind as it moves across the screen, creating washes of ghostly architecture that build slowly with repeated layerings. The monument is made virtual, malleable, breakable and at the same time unbreakable. Bio + + + Mark Napier, painter-turned-new-media-artist, is a pioneer in the realm of Internet art. Through his early web-based artworks such as “The Shredder”, “Digital Landfill”, and “Feed”, Napier explores the potential of worldwide networks as a public space for virtual art. His experience as a software developer informs Napier’s software craft he uses code as an expressive form, and the Internet as his exhibition space and laboratory. Napier’s online studio, potatoland.org, is an open playground of interactive artwork. Napier creates a wide range of projects that appropriate data from the web transforming content into abstraction, text into graphics, and information into art. His work has been included in seminal exhibitions of Digital Art including the Whitney Museum of American Art's Data Dynamics exhibition, the 2002 Whitney Biennial, the San Francisco Museum of Art's 010101: Art in the Age of Technology, and the net_condition exhibition at ZKM (Center for Art & Media) in Karlsruhe, Germany. A recipient of grants from Creative Capital, NYFA, and the Greenwall Foundation, Napier has also been commissioned to create artwork for SFMOMA, the Whitney Museum, and the Guggenheim. Napier’s work has also been exhibited at the Centre Pompidou, PS1, the Walker Arts Center, Ars Electronica, The Kitchen, Kunstlerhaus Vienna, Transmediale, Bard College, the Princeton Art Museum, ASCII Digital Festival, bitforms gallery in Seoul, and la Villette in Paris among many others. URLs: http://www.potatoland.org http://potatoland.com/empire/ When/Where: Eyebeam Thursday, October 27, 7:30 PM 540-548 west 21st street (bet 10 & 11 Ave) Best, Yael Kanarek + + + http://www.theupgrade.org The Upgrade! is an international network of gatherings concerning art + tech + culture. About our host: Eyebeam is a not-for-profit organization established in 1996. Through its Education, Moving Image and Exhibition divisions the organization works to expand the public's appreciation and understanding of media art. As part of its mission and efforts to provide support for artists working within the intersection of art, science, and technology, Eyebeam is excited to act as host for the Upgrade! events and activities since April 2000. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; format=flowed date: Fri, 21 Oct 2005 14:02:33 -0400 from: Pall Thayer message-id: <4B3706DF-4E79-4CC3-8308-F30D93A93EDC@alcor.concordia.ca> subject: RHIZOME_RAW: major update of the Carpenters Level Dashboard Widget Version 3.0, out now. http://pallit.lhi.is/palli/dashlevel -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Fri, 21 Oct 2005 12:19:10 -0700 from: Thomas Petersen message-id: <200510211919.j9LJJAeD025810@idx164.idx.net> subject: RHIZOME_RAW: Amongst Mushrooms and Singing Goats. An Interview with Jakub Dvorsky from Amanita Design. Amongst Mushrooms and Singing Goats. An Interview with Jakub Dvorsky from Amanita Design. Link to article: http://www.artificial.dk/articles/amanita.htm We have previously written about the spellbinding Flash game Samorost which features a little man's journey through one unique scenario after another. Kristine Ploug and Thomas Petersen talked to Jakub Dvorsky of Amanita Design (http://www.amanitadesign.com) who is soon ready with a sequel to Samorost. If you are in the vicinity of Denmark around November 5-6, 2005, then you'll have a possibility of experiencing Samorost 2 at the MINE festival for digital art in the limestone mines of Thingbaek. More info here: http://www.oneo.dk + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__