newsgroups: RHIZOME_RAW date: Sat, 13 Aug 2005 18:03:07 -0700 message-id: <200508140103.j7e137xp002697@idx164.idx.net> references: no_parent from: Teresa Lopez subject: RHIZOME_RAW: Funding for Orificio, an art publication from Puerto Rico Orificio is an annual art publication from Puerto Rico. For its publication, Orificio, is dependent on funding from the local culture agency. Once a year Orificio gets distributed among the university's art departments, local libraries and other art institutions for FREE (can you believe that!). It is a totally non profit project since its "funding" of $3,500 only covers printing costs. The effort of production, editing, correcting text and the designing of Orificio is done for free by myself, artist Teresa Lopez, as is the collaborating artists who participate at no cost. This year things are very bad politically and economically in Puerto Rico. For all of you that are not aware of this fact, it may be noted that Puerto Rico is the longest lasting colony in the world. The United States of America, yes, the one country that goes around preaching freedom anywhere in the world, is the Great Imperialist that "enslaves" our island and its habitants. In addition to this, the local administrators of the colony in power are absolutely corrupt and have mismanaged all goverment agencies to the point of economical ruin. Because of all of these things politically and economically, all funding for already ready to be published Orificio is held up. Goverment cannot even pay for itsd own employees this year! We are asking for any advise and any help in putting us back into print. Please send suggestions and any other information that might gets us close to our goal of printing and distributing this fall!!! Please help us print this 4th edition of Orificio! Thanks for your attention, Teresa Lopez Director, Orificio orificio_2000@yahoo.com You can visit our page at: www.geocities.com/orificio_2000 for more info. Sorry, we are working on a bilingual site edition, but it is not ready as of yet! For the time being you can read us in Spanish! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php sticking to one (fairly obscure) criteria is totally fine, even cool, but it still isn't producing the results we want (or nobody would mention NYT reviews for example). it behooves us to recognize as many criteria as possible, not worry about whether any criteria is "right" or not. and unless there are still a lot of "procedural" programmers out there, we should be leading the pack thinking non-linearly. and thinking in terms of (1 bit) dichotomies is a step we can move beyond.. -- ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ PLASMA STUDII art non-profit stages * galleries * the web PO Box 1086 Cathedral Station New York, USA 10025 (on-line press kit) http://plasmastudii.org + -> 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 date: Sat, 13 Aug 2005 18:03:39 -0700 message-id: <200508140103.j7e13dpb002831@idx164.idx.net> references: no_parent from: Teresa Lopez subject: RHIZOME_RAW: Funding for Orificio, an art publication from Puerto Rico Orificio is an annual art publication from Puerto Rico. For its publication, Orificio, is dependent on funding from the local culture agency. Once a year Orificio gets distributed among the university's art departments, local libraries and other art institutions for FREE (can you believe that!). It is a totally non profit project since its "funding" of $3,500 only covers printing costs. The effort of production, editing, correcting text and the designing of Orificio is done for free by myself, artist Teresa Lopez, as is the collaborating artists who participate at no cost. This year things are very bad politically and economically in Puerto Rico. For all of you that are not aware of this fact, it may be noted that Puerto Rico is the longest lasting colony in the world. The United States of America, yes, the one country that goes around preaching freedom anywhere in the world, is the Great Imperialist that "enslaves" our island and its habitants. In addition to this, the local administrators of the colony in power are absolutely corrupt and have mismanaged all goverment agencies to the point of economical ruin. Because of all of these things politically and economically, all funding for already ready to be published Orificio is held up. Goverment cannot even pay for itsd own employees this year! We are asking for any advise and any help in putting us back into print. Please send suggestions and any other information that might gets us close to our goal of printing and distributing this fall!!! Please help us print this 4th edition of Orificio! Thanks for your attention, Teresa Lopez Director, Orificio orificio_2000@yahoo.com You can visit our page at: www.geocities.com/orificio_2000 for more info. Sorry, we are working on a bilingual site edition, but it is not ready as of yet! For the time being you can read us in Spanish! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Aug 2005 00:27:56 -0700 message-id: <200508140727.j7e7ruyc009073@idx164.idx.net> references: no_parent from: Anita Bacic subject: RHIZOME_RAW: Calls for txt messages of nursery songs/games Send in your favourite nursery rhyme or childhood song by text message! Would you like to be part of an exhibition that explores the connections we make on an intimate, but global scale? 160 Characters is an exhibition of children’s nursery rhymes and songs from around the globe. This exhibition will present fragments of childhood memories from many different cultures. To become part of the exhibition simply visit www.onesixty.net, complete the online form and send your rhyme or song via text message to the mobile number on the website. You can choose to send just one line of the song or use up to three text messages to transmit more. Also feel free to use contemporary text messaging abbreviations. The messages will be collated and presented as part of a multimedia installation and eventually on the internet. Twenty texts will be selected for presentation in individual retro slide viewers as part of the installation. This work explores the technological connections between us, via the use of shared memories of childhood nursery games and songs. Visit www.onesixty.net for more information. Text messaging in your own original language is encouraged. Anita Bacic Sydney, Australia www.onesixty.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 > first point. > > Besides most web works are made to be viewed by a person sitting > all alone in front of his/her screen in his/her own surroundings/ > intimacy. I do think that changing the visiting conditions (walking > around between computers, going physically from one object to > another) changes the 'content' of a lot off works. So again the > article might be the mirror of the show. > > best Annie Abrahams > ps > I have not seen the show (I live in France). Could anyone describe > the show, an url, photo's? > + > -> 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 > > + -> 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 date: Sun, 14 Aug 2005 13:30:12 +0200 message-id: references: from: tamara lai subject: RHIZOME_RAW: FW: Art ------ Message transf=E9r=E9 De=A0: "Leonel Moura" R=E9pondre =E0=A0: Date=A0: Sun, 14 Aug 2005 12:12:44 +0100 =C0=A0: Objet=A0: Art Leonel Moura at the Stedelijk Museum Amsterdam > August 25 ROBOTS! Upcoming exhibition Bioart with Suzanne Anker, Harold Cohen, Christa Sommerer & Laurent Mignonneau, Leonel Moura, Ken Rinaldo and Casey Reas Galeria Ant=F3nio Prates, Lisboa > September 23 personal site contact or remove ------ Fin du message transf=E9r=E9 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 14 Aug 2005 09:23:43 -0700 message-id: <200508141623.j7egnhsb026916@idx164.idx.net> references: no_parent from: Kenneth Jones subject: RHIZOME_RAW: Adjunct Faculty Opportunity Harford Community College Adjunct Faculty Needed NOW! Harford Community College Bel Air, Maryland http://www.harford.edu 30 minutes North of Baltimore 75 minutes South of Philadelphia The Visual Communications/Digital Arts Program of the Visual,Performing + Applied Arts Division is seeking adjunct faculty to teach the following courses this semester. Semester starts September 8, 2005 through December 15, 2005. Pay commensurate with experience. Both classes run on Thursdays, once per week for a 15 week. Classes are taught in the new Joppa Arts Complex in the new Macintosh Digital Arts Labs using current software. Harford Community College is located in Bel Air, Maryland on a 350 acre campus. The college has an enrollment of over 6500 students. Submit current CV to Dean, Paul Labe at plabe@harford.edu Please call Dean, Paul Labe at 410-836-4326 for more information. ________________________________________________________________________ Course descriptions are as follows. Both classes run on Thursdays. ______________________________________________________________________ ART 232 INTERACTIVE DESIGN This course is designed to expand the students’ knowledge, skills and aesthetics in the use of digital media. Through a series of lectures, demonstrations, visual/communication problem-solving projects and critiques, students will learn to plan, design and communicate using interactive media. Emphasis is placed on theprocesses and techniques for creating intuitive and aesthetically engaging graphical user interfaces. Two lecture and two laboratory hours per week. Prerequisites: ART 101 and ART 103 or permission of instructor. Coursefee. - Software to be listed in schedule of classes CRN 40704 01 15 Weeks 6:00 - 9:50 PM Thur. Joppa Hall, Rm. 003 ART 230 2D COMPUTER ANIMATION This course expands the students’ knowledge, skills and aesthetics in the use of digital media. Through a series of lectures, demonstrations, visual/conceptual problem-solving projects and critiques, students learn the principles and techniques for creating 2-D computer animations. Topics include vector-graphic animation, bit-mapped animation, and the use of montage, collage, motion and transformations as forms of expression. Two lecture and two laboratory hours per week. Prerequisites: ART 101 and ART 120 or permission of instructor. Course fee. - Software to be listed in schedule of classes CRN 40703 01 15 Weeks 12:45 - 4:35 PM Thur. Joppa Hall, Rm. 003 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > + > 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 -> 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 + -> 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 date: Sun, 14 Aug 2005 14:42:27 -0300 message-id: <42ff8283.3060706@gmail.com> references: no_parent from: Andrei R. Thomaz subject: RHIZOME_RAW: Pertinent Relations / =?ISO-8859-1?Q?Rela=E7=F5es_de_Pertin=EA? =?ISO-8859-1?Q?ncia? [portugues version below] Dear friends, I would like to invite you to see my newest work: http://www.rgbdesigndigital.com.br/relacoes/ This work is a development of the exhibition Pertinent Relations, occurred in november of 2005. The exhibited works were composed by photographs, and used the diagrams of sets operations (union, intersection, difference), used in books of scholar mathematics, to combine the images. Now, what is proposed is the random generation of the compositions, from images sent by viewers. Our goal is to investigate if the suggestion of narratives is still present, and to watch the relations among the images that compositions will suggest, without having control about them. Instructions At this moment, the work is composed by 5 animations that use images choosed each time they are exhibited. To change the images, just click on Reload, in your browser, or press F5. To change the animations, use the arrows below the animation, in the right corner. Finally, to send a image, click in Send Images. To avoid that inadequate images be sent, the images sent for the viewers must be approved by me before they are used in the work.Caros amigos, ------------------------------------------------------------------------------ gostaria de convid-los a acessar meu mais novo trabalho: http://www.rgbdesigndigital.com.br/relacoes/ SOBRE O TRABALHO Este trabalho um desenvolvimento da exposio Relaes de Pertinncia, apresentada pela primeira vez em novembro de 2005. Os trabalhos desta exposio eram compostos por fotografias, utilizando como esquema de combinao os diagramas de operaes entre conjuntos (unio, interseco, diferena), utilizados nos livros de matemtica escolar. Agora, o que se prope que as composies sejam geradas aleatoriamente, a partir de imagens enviadas pelos visitantes. Nosso objetivo investigar se a sugesto de uma narrativa permanece, e observar as relaes entre as imagens que sero sugeridas pelas composies, sem termos controle sobre as imagens de cada composio, especificamente. Instrues Neste momento, o trabalho composto por 5 animaes que utilizam imagens sorteadas a cada vez que so acessadas. Para trocar as imagens, basta clicar em Atualizar, ou teclar F5. Para trocar de animao, utilize as setas no canto inferior direito. Por fim, para enviar uma imagem, utilize o formulrio disponvel na pgina Enviar Imagens. Para evitar que material inadequado seja enviado, as imagens enviadas ficam numa lista de espera at serem aprovadas pelo autor do trabalho. []'s 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: Sun, 14 Aug 2005 15:11:12 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast #50: Hold My Bones http://deepyoung.org/radio/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Sun, 14 Aug 2005 15:12:06 -0700 message-id: <200508142212.j7emc67g025093@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: Rhizome Announces Marisa S. Olson as Editor and Curator at Large Super cool. Congrats! Jason Van Anden + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 15 Aug 2005 10:53:22 +0200 message-id: references: <3815-22005801418201890@k7g7e5> from: tamara lai subject: RHIZOME_RAW: FW: Invitation ------ Message transfr De: "Gino d'Artali" Socit: C.A.U.S.E. Date: Sun, 14 Aug 2005 20:20:18 +0200 : tamara.lai@skynet.be Objet: Invitation Dear Artist and or Poet, Recently C.A.U.S.E. has been invited to compose an art- and poetry exhibition in support of a Equadorian campaign aiming to create awareness about Ninos Trabajadores (working children), and moreso to inspire their parents to avoid such kind of child abuse i.e. domestic violence that often comes with or eventually is part of children's lives in such situations. The organising organisation is the PMT, Programa Del Muchacho Trabajador del Banco Central del Equador, and the resulting exhibition, in 2006, to travel to Quito (inauguration), Ibarra, Esmeraldas and Riobamba, all cities situated in Equador. Where possible the exhibition in future will also be presented in Belgium and other countries, under organisational supervision of C.A.U.S.E.. We hereby would like to invite you to participate at this very important and necessary event. Please visit the following websites for more information: www.the-cause.org and the D.I.S.A. link. For general information: www.bce.fin.ec/PMT/WEBPMT/PAGINAS/main.htm www.museos-ecuador.com/bce/html/default.htm Your support is highly needed and appreciated. Domestic i.e. sexually oriented violence and child abuse is a huge social problem and any support for C.A.U.S.E. and its affiliates is one more voice helping. Thank you! Sincerely, Gino d'Artali Director C.A.U.S.E. Susan V. d'Artali Assistant www.the-cause.org ------ Fin du message transfr + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 15 Aug 2005 03:02:57 -0700 message-id: <200508151002.j7fa2vwp028315@idx164.idx.net> references: no_parent from: bryan chung subject: RHIZOME_RAW: Faculty position in the School of Creative Media, City University of Hong Kong Position for Associate Professor/Assistant Professor in New Media and Interactivity, School of Creative Media City University of Hong Kong is one of eight higher education institutions directly funded by the Government of the Hong Kong Special Administrative Region through the University Grants Committee (Hong Kong). It aims to become one of the leading universities in the Asia-Pacific region through excellence in teaching and research. In two studies, City University of Hong Kong is ranked among the top 200 universities in the world, and among the top ten universities in the Greater China region. The mission of the University is to nurture and develop the talents of students and to create applicable knowledge in order to support social and economic advancement. The student population is approximately 23,000 enrolled in over 100 programmes at the associate degree, undergraduate and postgraduate levels. The medium of instruction is English. The University invites applications and nominations for the post of Associate Professor/Assistant Professor in New Media and Interactivity. The School was founded in 1998, and since then has developed strengths in media/cultural studies, video production, computer animation and computer graphics. It offers an exciting multi-disciplinary research and teaching environment in which technical and creative faculty collaborate on a variety of projects. Its current priority is to expand and consolidate the digital media emphasis, including computer graphics, computer animation, multimedia and interaction. There are several openings and appointees are expected to undertake teaching and research in the areas of new media and interactivity. The qualified candidate is expected to work within a wide spectrum of new media and technological platforms. He/She should demonstrate competence in adopting a cross-disciplinary approach in teaching and research in order to contribute creatively and professionally in the School, and for the benefit of the community and the industries. Areas of focus Interactive media design and production Interaction design, ergonomics, human cognition,usability Game design, production, distribution Multimedia performance, entertainment design Pervasive computing, mixed reality, locative media, embedded computing Courses to be taught Basic electronics for art students Mathematics and physics for interactive media Object-oriented programming for art students Theories of interactivity Physical and embedded computing Pervasive computing User research in technology deployment Kinetic and interactive typography Show control and entertainment design Game design and production Image processing, theories and applications Mixed reality applications Mobile and locative applications Spatial design and virtual environment Network based media Information design and visualization Duties The appointed faculty is required to teach 5 courses in an academic year. He/She is also expected to actively work on research projects which can produce professional, scholarly and creative outputs. Administrative work related to admissions, student matters, facilities, curriculum, industry liaison, etc. will be assigned to the appointee according to his/her expertise and experience. Requirements The qualified candidate should possess a PhD/MFA or equivalent in the School’s areas of focus. Teaching experience at university level is essential. A strong and well presented portfolio that can demonstrate the candidate’s skills and knowledge in the subject areas is required. Successful candidates are expected to have proven track records of strength in the areas of focus, which can be in the form of publication, exhibition records, product development, clients’ reference, etc. Salary and Conditions of Service Salary offered will be highly competitive and commensurate with qualifications and experience. Appointment will be on a fixed-term gratuity-bearing contract. Fringe benefits include annual leave, medical and dental schemes, and housing benefits where applicable. Information and Application Further information about the posts and the University is available at http://www.cityu.edu.hk, or from the Human Resources Office, City University of Hong Kong, Tat Chee Avenue, Kowloon, Hong Kong [Fax : (852) 2788 1154 or (852) 2788 9334/E-mail: hrojob@cityu.edu.hk]. Please send your application enclosing a current C.V. to the Human Resources Office. Please quote the reference of the post in the application and on the envelope. The University reserves the right to consider nominations, and to fill or not to fill the position. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php 1997 Caitlin Masley West Gallery, University of Arizona Museum, Tucson, Arizona SELECTED GROUP EXHIBITIONS 2005 Madness is Divinest Tense; Cohen and Leslie Gallery, New York Something is Somewhere; curated by Anat Ebgi, Monya Rowe Gallery, New York 2004 Between Interconnectedness, Curated by Suzanne Kim, Smack Mellon Gallery, New York Open Range, Curated by Sima Familant and Augusto Arbizo. Greenberg Van Doren Gallery, New York 2003 Copenhagen Art Fair, Gallerie 5, Copenhagen, Denmark 2002 Socrates Emerging Artist Grant Exhibition; Socrates Sculpture Park, New York Proper Villains, curated by David Hunt, Untitled Space, New Haven, CT 2001 Tomorrow Cuchi Fritos, Essex Street Market curated by Omar Lopez-Chahoud, New York (catalog) Art By Curated by Dara Meyers-Kingsley Sylvia Heisel, New York 2000 Picturing Architecture: From Space to Place Curated by Lynn Somers; Amelie Wallace Gallery, SUNY College of Old Westbury, Old Westbury, NY la Folie curated by Hans Ulrich Obrist, Carolyn Christov-Bakargi & Laurence Bosse. Villa Medici, French Cultural Institute, Rome, Italy (catalog) Float Sara Meltzer Gallery, New York (catalog) Never, Never Land Curated by Omar Lopez Chahoud Florida Atlantic University Gallery, Boca Raton, FL, Tampa Museum of Contemporary Art, Spring 2001; Rutgers-Camden Center for the Arts, Tampa Greater New York PS.1 Contemporary Art Center/MOMA affiliate, Long Island City, New York Focus on Pain, on Destruction, Power, Death…Venetia Kapernakas Fine Art, Inc., New York, 1999 Architorture Curated by Paul Ha White Columns, New York Projected Narratives Downtown Arts Festival Judson Church & Baby Jupiter, New York, New York tele[o] Ecran Total & ERBAN, Nantes, France Hypervision Elizabeth Cherry Contemporary Art, Tucson, Arizona 1996 Really, No Strings Attached Center for Creative Photography, Tucson, Arizona Greed vs. the Good Girl Tucson Performing Arts Center, Tucson, Arizona Blue Light Special Metropolis Space, Phoenix, Arizona Transferred States Rhode Island School of Design, City College of New York and University of Arizona Sitting: An Exploration of Connections and Places South Broadway Cultural Center Albuquerque and Tucson/ Pima Art Center Tucson, Arizona (catalog) Prints Hilltop Gallery, Nogales, Mexico 1994 Confrontations…and other sweet medicines Third Floor South Gallery, Baltimore, Maryland Participarte Progetto Cuspide Projects, Venice, Italy COLLECTIONS Pfizer Corporate Collection The Progressive Corporation Collection The Meltzer Private Collection BIBLIOGRAPHY 2005 Feldman, Hannah and Body-Gendrot, Sophie; Urbansime Magazine. New Photos, Artist Project, Cabinet Magazine. 2004 Et, Per se. Journel for the Arts, image publication, Baghdad drawing #2, volume 2, Spring 2004 Agro, Ombretta “Sidewalk Project” Carnet Magazine,January 2004 Feldman, Hannah, Urbanisme Magazine. Spring/Summer 2004 2003 Kelly, James J. The Sculptural Idea. Feldman, Hannah. Catalogue essay. 2002 Larsen, Soren. Around Town, Time Out New York, January 23. 2001 Hunt, David; Pratt, Kevin; Lopez-Chahoud, Omar. Point of Failure (catalogue). 2000 Braff, Phyllis. “Picturing Architecture” New York Time Online, November 26. Hunt, David Float New York: Sara Meltzer Gallery. Norese, Giancarlo La Folie Rome: French Cultural Institute. Shulevitz, Judith. “Culturebox: Young American Art: A Web Tour” Slate, April 24th. 1999 Vincent, Martin, City Life. February 1999, pg 45. Anastas, Rhea. “Art as Disposable Architecture” catalogue essay. Grennan, Simon. Catalogue essay. 1998 Guiliano, Mike. Masley “Strikes up the Bland”, Howard County Times, August 20, 1998, No. 15, PG 36. + -> 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 date: Mon, 15 Aug 2005 08:43:10 -0400 message-id: <2b823d65-76a9-48ed-9e79-6b38f9750534@computerfinearts.com> references: no_parent from: doron subject: RHIZOME_RAW: DVblog new site we moved to a new site > http://dvblog.org/ DVblog.org is a Vlog and platform for artists and scholars for presenting and publishing stand-alone and other quicktime works. We invite artists to send us links to quicktime works. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Chers lecteurs, pourinfos sera suspendu du 3 juillet au 15 septembre 2005 Bonnes vacances ou activites... à bientôt... Xavier ------------------------------------------------------------------- 01 Exhibition : Nancy Rubins, Le Frac Bourgogne, Dijon, France. http://pourinfos.org/expositions/item.php?id=1893 ------------------------------------------------------------------- 02 Call : Web Biennial 2005, Istanbul Contemporary Art Museum, Turkey. http://pourinfos.org/participation/item.php?id=1891 ------------------------------------------------------------------- 03 Call : " The most beautiful people of the world ", Michel Szulc-Krzyzanowski, Paris, France. http://pourinfos.org/participation/item.php?id=1890 ------------------------------------------------------------------- 04 Call : free*, image revue, photographs and contemporary art, zai-batsu, Lyon, France. http://pourinfos.org/participation/item.php?id=1888 ------------------------------------------------------------------- 05 Call : ARTS & SCIENCES 2005, ENSTA, Paris, France. http://pourinfos.org/participation/item.php?id=1892 ------------------------------------------------------------------- 06 Call : Call for Poets / Invito ai poeti - La Biennale di Venezia 2005, Italy. http://pourinfos.org/participation/item.php?id=1894 ------------------------------------------------------------------- 07 Call : " Hello ", Cecile Briand & Isabelle Mayaud, Paris, France. http://pourinfos.org/participation/item.php?id=1887 ------------------------------------------------------------------- 08 Call : " Landscape, in the end...", call for a ludic economy, KRN, France. http://pourinfos.org/participation/item.php?id=1886 ------------------------------------------------------------------- 09 Call : emerging artists, Circuit, Eyebeam, New York, USA. http://pourinfos.org/candidature/item.php?id=1885 ------------------------------------------------------------------- 10 Call : print Workshop, l'Atelier 2, Villeneuve d'Ascq, France. http://pourinfos.org/candidature/item.php?id=1884 ------------------------------------------------------------------- 11 Meeting : poetic evening and song of Dhrupad India, at the Nicolas Schöffer studio, Paris, France. http://pourinfos.org/expositions/item.php?id=1881 ------------------------------------------------------------------- 12 Performance : Intravertie, Parkinprogress 2nd edition, Marly-le-Roy, France. http://pourinfos.org/expositions/item.php?id=1880 ------------------------------------------------------------------- 13 Exhibition : The Table of the Elements, Contemporary art museum of Grand-Hornu (MAC's), Hornu , Belgium. http://pourinfos.org/expositions/item.php?id=1879 ------------------------------------------------------------------- 14 Exhibition : Kirsten Everberg et Monique van Genderen at the Consortium, Angela Bulloch at Usine, Dijon, France. http://pourinfos.org/expositions/item.php?id=1878 ------------------------------------------------------------------- 15 Performance : The v' U and the promise, Casa do Bonesco, Chateau d'Esquelbecq, Wormhout, France. http://pourinfos.org/expositions/item.php?id=1877 ------------------------------------------------------------------- 16 Exhibition : Site Specific Sculpture, work of students, School : Ecole superieure des beaux-arts de Tours, France. http://pourinfos.org/expositions/item.php?id=1876 ------------------------------------------------------------------- 17 Exhibition : walk of Contemporary art in valley of the Lot, Oltis-Calvignac Association, the Abatoires, Toulouse, France. http://pourinfos.org/expositions/item.php?id=1875 ------------------------------------------------------------------- 18 Exhibition : program, international art center of art and landscape, Ile de Vassivière, France. http://pourinfos.org/expositions/item.php?id=1874 ------------------------------------------------------------------- 19 Exhibition : performance, " Dangerous connections " 7, Miss china beauty, Paris, France. http://pourinfos.org/expositions/item.php?id=1883 ------------------------------------------------------------------- 20 Various : Meeting of the Commission Culture and Education of the European Parliament on june 16/17, 2005. http://pourinfos.org/divers/item.php?id=1873 ------------------------------------------------------------------- 21 Call : Be on the agency catalogue on line, Rencontre Service, Paris, France. http://pourinfos.org/participation/item.php?id=1852 ------------------------------------------------------------------- 22 Call : Spark Video Canada, Call for entries, London, Canada. http://pourinfos.org/participation/item.php?id=1851 ------------------------------------------------------------------- 23 Publication : Hide this sex which I could not see, Essais, Dis Voir Editions, Paris, France. http://pourinfos.org/publications/item.php?id=1849 ------------------------------------------------------------------- 24 Publication : Semaine 26.05, Analogues Edition, march-april 2005, Arles, France. http://pourinfos.org/publications/item.php?id=1848 ------------------------------------------------------------------- 25 Workshop : The seminar weeks, eipcp, Vienna, Autriche. http://pourinfos.org/emploi/item.php?id=1847 ------------------------------------------------------------------- 26 Meeting : Digitales vision, Demain des l'aube, Pompidou Center, Paris, France. http://pourinfos.org/rencontres/item.php?id=1846 ------------------------------------------------------------------- 27 Meeting : the European university of summer of the Ministry for National Education, Boulogne-Billancourt, France. http://pourinfos.org/rencontres/item.php?id=1845 ------------------------------------------------------------------- 28 Various : Happy journey to the postcard's country!, The cARTed Picture Show, Siouville, France. http://pourinfos.org/divers/item.php?id=1844 + -> 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 date: Mon, 15 Aug 2005 08:22:44 -0700 message-id: <200508151522.j7ffmizm003263@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV News and playlist We've had an extremely busy week here at CULTURETV covering the ins and outs of the global art world. And also developing new features such as VOD. But let's not forget the high quality art videos, which has been added to the playlist: the impressions of the Biennale of Venice and the exhibition Soul in Brugge, Belgium. New art videos: 'Hollywood'by Ulrike Feser / Wolfgang Stahr / Silvan Linden (D). The earth trembles, cars and palms tilt, small cardboard box living houses break, the resident puppet population flies into a surrealistic sky. '13terStock' by Florian Thalhofer and Kolja Mensing. A one minute overview of their interactive documentary film '13terStock'. Writer Kolja Mensing and film maker Florian Thalhofer have spent the summer on the Grohner Dune, a high rise house building complex on the outskirts of Bremen (D). Screenkiss by Jillian Mcdonald is a web project/video featuring several popular actors including Daniel Day Lewis, Vincent Gallo, Johnny Depp, and Angelina Jolie. Macdonald inserts herself into existing film scenes as stand-in for the actresses being kissed by or engaged in other gestures of romance with these actors. 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 uri: http://systemsapproach.net/505.VIRI/ contact: joncates AT criticalartware.net comments, critiques, analysis, remixes, detournements + replies always welcome. // jonCates # http://rhizome.org/member.rhiz?user_id=1019968 # http://www.myspace.com/systemsapproach # http://del.icio.us/jonCates # http://www.newmedianowandthen.blogspot.com + -> 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 date: Mon, 15 Aug 2005 16:39:02 +0100 message-id: <20050815-16390222-1404-5@wiss-blade5> references: no_parent from: subject: RHIZOME_RAW: STATE-OF-THE-ART FILM GIVE AWAY PRESS RELEASE 15/08/05 STATE-OF-THE-ART VENDING MACHINE GIVES AWAY FANTASTIC NEW SHORT FILMS MADE FOR MOBILES Had enough of the Crazy Frog? Annoyed by the relentless ring tone TV advertising? Not sure about using WAP or buying anything using your mobile? You are not alone. Blink, a West Yorkshire based creative technology organisation has come up with a simple solution to this problem in Bluevend. A wall-mounted vending machine which uses Bluetooth technology to transfer quality content directly to your videophone. Bluevend is making its debut at The Point Hotel as part of the Edinburgh International Film Festival celebrations between 17 and 28 August 2005. Come along and select from a diverse mix of twenty free shorts of up to one minute in length commissioned by Pocket Shorts. Pocket Shorts films are made for a neglected mobile phone audience desperate for quality viewing on the move. Films on offer Among the mix of live action and animated shorts by creative graduates from the North of England is Evil Fun With Zimmy by Andy Sykes a sixty second tale about disappointment with novelty soap. My Inner Short by Matthew Austin is a series of four fifteen second shorts based on the most popular text messages such as 'Where are You?' and 'Good Luck'. Also Andrew Quinn and Gary McKeown 'present While You Are Waiting', a series of four fifteen second live action soundscapes revealing that rhythm is all around even when we are making a cup of tea. 1of2pages Want to make your own mobile films? Pocket Shorts is funded by NESTA and funds mobile filmmaking in the North of England and Scotland. The next round of commissions of up to 2000 will be announced soon. Find out more at POCKET SHORTS presentation Filmhouse Cinema Lothian Road Edinburgh Tue 23 Aug - 5:45pm With a panel of industry experts and a premiere screening of the North of England Pocket Shorts, this event promises a unique insight into the prospects, pitfalls and the pocket-sized wonders of this burgeoning new field. Bluevend creator Lisa Roberts Director of Blink said, " Blink's two new initiatives Pocket Shorts and Bluevend offer opportunities to filmmakers and film lovers. Bluevend is only in Edinburgh for twelve days so don't miss this rare chance pick up your free films." Ends Notes for the Editor Pocket Short is a BLINK initiative funded by NESTA www.bluevend.com www.bluevend.blogspot.com www.pocketshorts.co.uk www.edfilmfest.org.uk www.nesta.org.uk www.textually.org/picturephoning www.filmhousecinema.com For further press information or samples, please contact Lisa Roberts : Director of Blink www.blinkmedia.org : lisa@blinkmedia.org 07779 649 027 : 01484 301805 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 15 Aug 2005 10:38:03 -0700 message-id: <200508151738.j7fhc3ep029385@idx164.idx.net> references: no_parent from: rich white subject: RHIZOME_RAW: new work in progress work in progress. feedback welcome. http://www.counterwork.co.uk/untitled/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Mon, 15 Aug 2005 11:07:57 -0700 message-id: <200508151807.j7fi7v53004216@idx164.idx.net> references: no_parent from: Thomas Petersen subject: RHIZOME_RAW: 10*10 - 10 questions for 10 Nordic artists. 10*10 10 questions for 10 Nordic artists. Current artist: Nils Claesson. Full interview: http://www.artificial.dk/articles/10x10nils.htm Artificial sets out to dig an alternative route through the activities on the Nordic scene for computer based art. We wanted to find a way to sidestep the restrictions in our own particular outlook so we are therefore launching an unpredictable series of interviews, which will hopefully help us uncover the hidden potentials out there. Initially we handed Norwegian artist Trine Eidsmo a set of 10 questions and she passed them on to an artist of her choice. After answering the same questions, this artist chooses a new artist ... and so forth. The only criteria for the participants are that they live and work in Scandinavia and create computer based art. In the end, 10 Nordic artists will have answered 10 questions about their art, working process and much more. Trine chose to pass the questions on to Swedish artist Nils Claesson. Nils is a new media artist from Sweden. He also participated in the establishment of the media lab CRAC (creative room for art and computing, www.crac.org) and was head of the lab in 2002-2005 and manager of PNEK (Production Network for Electronic Art, www.pnek.no) from 2001 to 2002. He is very active in Eastern Europe and is one of the initiators of the RAM project (Re-approaching New Media). Here is what he wrote: http://www.artificial.dk/articles/10x10nils.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 Please send it to the following e-mail address: vjtheory@yahoo.co.uk 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 -> 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 date: Mon, 15 Aug 2005 11:51:03 -0700 message-id: <200508151851.j7fip3hz016936@idx164.idx.net> references: no_parent from: Julie Andreyev subject: RHIZOME_RAW: INTERACTIVE FUTURES 06: Audio Visions (Victoria, Canada) (9/23/05; 1/26/06-1/29/06) INTERACTIVE FUTURES 06: Audio Visions Victoria Independent Film and Video Festival - http://www.vifvf.com/ Co-sponsored by Open Space Artist-Run Centre - http://www.openspace.ca/ Parallel event – Digital Art Weeks, Summer 2006, Swiss Federal Institute of Technology – http://www.jg.inf.ethz.ch/Group/Front Conference hotel - Laurel Point Inn - http://www.laurelpoint.com/ Victoria, British Columbia, Canada, Thurs Jan. 26 - Sun. Jan. 29, 2006. CALL FOR PAPERS, PANELS, PERFORMANCES, & INSTALLATIONS INTERACTIVE FUTURES is a forum for showing recent tendencies in new media art as well as a conference for exploring issues related to technology. The theme of this year's event is Audio Visions. IF06 will explore new forms of audio-based media art from a diverse body of artists, theorists, and sound practitioners. Sound poetry, web-based audio and multimedia, mobile audio performance, new forms of music theatre, synaesthetic performance, hybrid forms, sound-based installation, video and sound, and environmental sound are all of interest to Audio Visions. The proliferation of audio technologies, audio-visual collaboration, and hybrid forms of live performance in the new millennium is striking. Audio artists are exploring the areas of mobility, virtuality, performance, and audience interaction from an experimental point-of-view. Audio Visions invites scholars, sound-artists, and performers of all stripes to submit paper, panel, performance or installation proposals in one of the three following categories. 1. "Sound and Vision" lecture and panel series - Scholars, artists, and practitioners working in audio or audio-visual-based new media are encouraged to submit proposals for IF06. We are interested in a broad range of audio including: computational, interactive or generative audio; the creation of digital audio tools; synchronization between sound and visuals; performative art that explores language, voice and body; streaming radio and mobile sound works. Presentations should be, in part, demonstrative. We recognize that sound art is evolving and that categories have become increasingly irrelevant - we encourage proposals that push the boundaries of the traditional conference paper. 2. "Earshot" performance series – "Earshot" is seeking experimental audio-based performances that challenge assumptions about audio forms and performance conventions. Avant-garde, post-avant-garde, techno, electro-acoustic, synaesthetic production, liminal art and hybrid performance are all within our desired range. "Earshot" is primarily interested in new types of electronic audio-visual performance as well as models for audience participation in sound works. "Earshot" will run performances at Open Space for each night of IF06. 3. "Tangible Frequencies" installations – We are interested in audio installation works that consider site, space, vision, volume and perception and how physical location 'matters' to the reception of audio frequencies. IF06 has identified areas within Open Space Gallery to function as controlled locations for sound installations.* We welcome proposals that respond to the particular characteristics of these locations through their acknowledgement of private and/or public space and use. Installations may provide audio continuity to the existing locations, or respond as intervention and critique. INTERACTIVE FUTURES is part of the Victoria Independent Film and Video Festival and applicants are encouraged to check the Festival website for more information on the broader program. CONFIRMED SPEAKERS / ARTISTS • Greg Hermanovic of Derivative software is a visionary software-engineer involved in the creation of real-time visual tools. In 2003 he received an Academy Award for the pioneering of modeling in the film industry with PRISMS and Houdini. Greg coordinated the realtime animation at SIGGRAPH 98's Interactive Dance Club, and directed special effects for Michael Snow's Corpus Callosum. Derivative’s Touch software, a range of tactile interfaces, brings advanced realtime animation tools to a diverse cross-section of artists, including Richie Hawtin and Rush. Greg will perform live visuals with Toronto-based DJ Tom Kuo. • Tom Kuo uses a grounding in techno to pursue a varied range of precise electronic strains. Tom was recently named one of Toronto’s Top Ten DJs by NOW magazine. • Atau Tanaka is known for his work in interactive music, including performances with biosignal gesture systems. He has conducted research at IRCAM in Paris and was Artistic Ambassador of Apple Computer Europe. His work with sensor-based musical instruments and network audio installations have received prizes and support from Ars Electronica, the Fraunhofer Institute, the Japan Foundation, and the Daniel Langlois Foundation. His current research at Sony CSL Paris focuses on harnessing collective musical creativity on mobile devices. • Jürg Gutknecht is a computer scientist with a passion for new hybrid art forms. He has actively participated in culturally-oriented "wearable computing" projects, including "Instant Gain in Grace" (motion tracking of a Butoh dancer), "Going Publik" (distributed orchestra based on mobile electronic scoring), and "On the Sixth Day" (multi-channel video system for interactive storytelling). Together with Sound Artist, Art Clay, he organizes the Digital Art Weeks which offers performances and provides courses in the areas of computer-aided art and music. • Art Clay is a specialist in the performance of self-created works with the use of inter-media, and has appeared at international festivals. Recently, his work has focused on large-scale performative music-theater works and public art spectacles using mobile devices. • Jim Andrews publishes vispo.com. It is the centre of his work as a visual poet, audio artist, programmer, and critic. His work in interactive audio and word-based web media has been published and shown widely in such venues as rhizome.org, turbulence.org, and the trAce Online Writing Centre. Since 1999, he has been creating interactive audio at vispo.com/vismu. SUBMISSION GUIDELINES INTERACTIVE FUTURES is interested in artistic and theoretical work that relates to audio performance, production and hybrid forms. • Papers, Panels, and Presentations can include DVDs, audio CDs, video tapes, games, web-sites, etc. and should be 45-minutes in length. • Proposed artwork for exhibition may take the form of performances ("Earshot"), installations ("Tangible Frequencies"), or audio-related screenings ("Earshot" or "Tangible Frequencies"). • Applications should not exceed 500 words. Applicants should indicate one of the three festival categories in the subject of the message. Please include a 200 word max bio. • All proposals must be submitted in text only format either as an attachment or within the body of the email message. • Please present examples of your work as a URL to a web-site. • If your presentation requires specific technologies please describe your needs in detail. Proposals should be submitted electronically to ONE of the following persons: • "Sound and Vision" lecture and panel series - Randy Adams runran@runran.net • "Earshot" performance series - Steve Gibson sgibson@finearts.uvic.ca • "Tangible Frequencies" installations - Julie Andreyev lic@telus.net * SPECIAL NOTE FOR INSTALLATION ARTISTS APPLYING TO “TANGIBLE FREQUENCIES”: Open Space has the following areas available to install sound installations: • Parallel gallery (opens onto the street) • Bathrooms (2) • Back Stairs (opens onto the back alley) • Main gallery (low volume or headphones only) A floor plan for Open Space can be downloaded at http://www.openspace.ca/img/floorplan.pdf Please indicate a preference for one of the above areas in your proposal. Artists should keep in mind that Open Space is a shared space and therefore low volume will be required. Other venues may be organized by special arrangement if louder volume is required. FUNDING INTERACTIVE FUTURES does not have funding for travel or accommodation. Presenters and artists are expected to apply for travel funding from their home institutions and/or granting bodies. INTERACTIVE FUTURES is applying for funding for performance and installation artists exhibiting at Open Space. If this funding is obtained, performance and installation artists will receive a modest fee according to CARFAC (http://www.carfac.ca/) regulations. All presenters and artists will be given a pass to all INTERACTIVE FUTURES events and will have access to the “Hospitality Suite” at the Festival hotel (food and drinks). All presenters and artists will be eligible for the conference rate at Festival Hotels (between $40-110 per night). DEADLINE FOR ALL PROPOSALS: Friday, September 23, 2005. Notification of acceptance of proposals will be sent out on or before October 7, 2005. EQUIPMENT ACCESS Laurel Point Inn – Presentations The following equipment will be made available for all presenters: • Mac computer with Monitor, keyboard, DVD/CD-ROM drive. • Data/Video Projector. • VHS Player. • Sound system with amp and two speakers. • Wireless high-speed internet access. Open Space – Performances and Installations The following equipment is available for artists at Open Space. Artists should be aware that equipment will have to be shared and therefore should not propose to use all of the below devices simultaneously. Installations and performances should be easy to set-up and take down. Wherever possible artists should apply their own technology. • 2 Data/Video Projectors. • VHS Player. • DVD Player. • 3-4 Macintosh computers. • Sound system with amp, 16-channel mixing board, mics, and four speakers. • Cable modem internet connection. For a full list of resources available at Open Space go to: http://www.openspace.ca/space/resources.htm CONTACTS: Victoria Independent Film and Video Festival Director: Kathy Kay director@vifvf.com INTERACTIVE FUTURES Co-Curators: Steve Gibson sgibson@finearts.uvic.ca Julie Andreyev lic@telus.net INTERACTIVE FUTURES Paper Editor: Randy Adams runran@runran.net OPEN SPACE New Music: Tina Pearson newmusic@openspace.ca Victoria Independent Film and Video Festival: Mailing Address - PO Box 8419, Victoria, BC, V8W3S1, Canada. Office Address - 808 View Street, Victoria, BC, V8W1K2, Canada. Tel: (250)389.0444. Fax: (250)389.0406. E mail: festival@vifvf.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, 15 Aug 2005 14:36:01 -0600 message-id: <00c701c5a1d8$f4e05e80$2aa30818@vuk> references: no_parent from: abe linkoln subject: RHIZOME_RAW: blog-art update all and anonymous comments turned on http://blog-art.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 + -> 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 date: Mon, 15 Aug 2005 16:28:00 -0500 message-id: <624623420a90b96f3e036f172fad9784@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: stunning Begin forwarded message: > New Scientist > US shoots ahead in stun gun design > 13 August 2005 > David Hambling > > > Weapons designed to fire "electric bullets" into crowds are being > developed > for > police and border protection agencies in the US. > > The Homeland Security Advanced Research Projects Agency, the domestic > equivalent of the defence agency DARPA, has launched an "innovative > less-lethal devices for law enforcement" programme to radically expand > the > capabilities of electric shock weapons. > > Existing stun weapons, such as the Taser, typically fire a pair of > darts > trailing current-carrying wires to shock the target, with a maximum > range of > about 7 metres. The HSARPA programme aims to develop wireless weapons > that > can be used over greater distances in spaces such as "an auditorium, a > city > street or a sports stadium". > > Lynntech of College Station, Texas, is developing a projectile that > can be > fired from a shotgun or 40-millimetre grenade launcher. Grenade > launchers > are already used by riot police to fire tear gas and baton rounds. On > impact, the device sticks to the target and delivers an 80,000-volt > shock > for 7 seconds, using a pulsed delivery similar to that used by Tasers. > Further shocks can be triggered via remote control. > > Brian Hennings, system integration group leader at Lynntech, would not > reveal how the projectile sticks to the person, although other weapons > designed to adhere often use hooks or barbs. "The biggest problem was > making > the device non-lethal at minimum range, yet effective at maximum > range," he > says. > > Hennings claims Lynntech has solved this by ensuring that its round's > kinetic energy is low enough to meet the safety requirement at close > range. > As the projectile does not rely on impact with the body to > incapacitate the > person, it does not need to be fired at very high velocity. The > weapon's > maximum range is measured in tens of metres, the company says. > > Meanwhile, Mid Technology Corporation of Medford, Massachusetts, is > proposing the Piezer. Rather than conventional stun-gun circuitry, with > batteries linked to transformers and a capacitor, the Piezer contains > piezoelectric crystals, which produce a voltage when they are > compressed. > The Piezer would be fired from a 12-gauge shotgun, stunning the target > with > an electric shock on impact. Shotguns are already used to fire > less-lethal > "beanbag" rounds to subdue suspects, but these have short range. Mid > claims > the Piezer could be effective at 40 to 50 metres. > > Using a different principle again is the Inertial Capacitive > Incapacitator > (ICI) being developed by the Physical Optics Corporation of Torrance, > California. It uses a thin-film charge storage device that is charged > during > manufacture and only discharges when it strikes the target. It can be > incorporated into a ring-shaped aerofoil that can be fired from a > standard > grenade launcher at low velocity, while still maintaining a flat > trajectory > for maximum accuracy. The company claims this should reduce the impact > force. > > The first prototypes are expected to be delivered to HSARPA by the end > of > the year. But Tobias Feakin of the Non-lethal Weapons Research Project > at > the University of Bradford in the UK warns that manufacturers' claims > should > not be taken at face value. "Without thorough independent testing we > cannot > ascertain their usefulness, effectiveness or safety," he says. > >> From issue 2512 of New Scientist magazine, 13 August 2005, page 30 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 16 Aug 2005 00:53:46 +0300 message-id: <011801c5a1e3$d30649e0$0a00a8c0@peura> references: no_parent from: Juha Huuskonen subject: RHIZOME_RAW: =?iso-8859-1?Q?Pikseli=C4HKY_//_PixelACHE_//_Mal_au_Pixel_2006_-_Call_for? =?iso-8859-1?Q?_Projects!? CALL FOR PROJECTS - Deadline 10 September 2005! - - - PikseliHKY // PixelACHE // Mal au Pixel 2006 Festival of electronic art and subcultures Helsinki & Paris, April 2006 www.pixelache.ac * The Dot Org Boom continues (Le Boom DotOrg!) * PixelACHE will continue as an annual festival but we have decided to focus on one theme in two consecutive festival editions, over a time period of two years. PixelACHE 2006 will thus continue exploring the PixelACHE 2005 theme: The Dot Org Boom, the non-profit grassroot new media revolution. The essential ingredients of this rapidly growing phenomenon are open source community, open content initiatives, media activist networks and myriads of NGOs around the world. In addition to projects related to The Dot Org Boom, we are also looking for projects from following areas: * Experimental interaction and electronics * VJ culture and audiovisual performances * Grassroot networks and politics of media / technology * Experimental games and gaming experience The submitted projects don't have to be existing pieces of work, we are also looking for interesting prototypes and project concepts. The call for proposals is open for everyone: artists and designers, researchers and engineers, architects and activists, amateurs and professionals, etc. - - - * Mal au Pixel 2006 - Bienvenue Paris! * PixelACHE festival is based in Helsinki but has so far traveled to New York, Montreal and Stockholm. PixelACHE 2006 will add one more destination to the list - Paris! The confirmed collaborators for Mal au Pixel 2006 are Mains d'Ouvres, Confluences with AVRIL.DOT Festival and Ars Longa. PixelACHE in Helsinki is organised together with Kiasma Museum of Contemporary Art and several other collaborators. PikseliHKY // PixelACHE // Mal au Pixel events have been initiated and are coordinated by Piknik Frequency, a non-profit media culture organisation (www.piknik.org). - - - * Project submission * Instructions and submission form for PixelACHE 2006 are available on the PixelACHE website, www.pixelache.ac/2006/call. From the site you can also find plenty of documentation from previous events, photos, videos, etc.... >>> The deadline for submissions is 10 September 2005! NOTICE! If you have sent a proposal in October 2004 (for PixelACHE 2005 & 2006), your proposal is still valid and in consideration for PixelACHE 2006. Updated versions of project descriptions are welcome. - - - See you next spring in Helsinki or Paris! :) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php AgentControl.Connected = True ' necessary for IE3 AgentControl.Characters.Load "Genie", "http://agent.microsoft.com/agent2/chars/genie/genie.acf" Set Robby2 = AgentControl.Characters("Genie") Robby2.LanguageID = &H0409 Robby2.Get "State", "Showing, IdlingLevel3" Robby2.Get "Animation", "Greet, GreetReturn" Robby2.Show Robby2.Get "Animation", "Greet, GestureDOwn" Robby2.Get "State", "Hiding" Robby2.Play "Greet" Robby2.Speak "..." Robby2.Speak "Happy new art making day to you" Robby2.Hide End Sub + -> 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 date: Mon, 15 Aug 2005 21:10:23 -0700 message-id: <200508160410.j7g4anwj028937@idx164.idx.net> references: no_parent from: MaryJo Rosania subject: RHIZOME_RAW: can I have your autograph? In order to get to the essence of a particular archetype we must first peels apart the layers. My requests for common people’s autographs through the mail breaks down the hierarchy established by the cult of celebrity. The choice of vehicle and words used is left to the decision of the autographee and therefore the actual art material is out of my control. The participants of this project determine how they will make their mark, what type of trace to leave. In order to get to this essence I must first make visible the layers and trace the steps that create archetypes such as femininity, masculinity and in recent work fame/success and insanity. Autographs can be in any form - electronic, paper, sent via post or email. To date I have received emails, photographs, signed business cards, IDs and drivers licenses and even the autographs of make believe creatures. I have signatures from young and old, relatives and strangers and it has only been two months. What the actual autograph contains is up to the maker as well - it is how you represent yourself. This project will continue for an indefinite length of time, samples of the autographs will be posted on www.maryjorosania.com in the upcoming weeks. send your autograph to: postmaster@maryjorosania.com email to send an autograph via postal mail. for more information visit: www.maryjorosania.com thank you. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php pamela anderson proboscis dali giger ian hamilton finlay eratosthenes . . . i'm using director to make this. director is pretty good for image processing and compositing. and advanced google image search will do things like return just black and white or greyscale images. so these can be used as masks and also be processed over time. things like that are in the future for this image engine. also, as you may know, i like to do interactive audio work. but like visuals too with them. this piece will eventually be the image engine for some interactive audio works. you've seen the visual music prevalent on the screen these days. mostly its music videos or abstract patterns that respond to amplitude. nice, but i'd like something else. this is v 0.1 of an image engine for audio works. this can combine the strong abstract dimensions of what you think of when you think of visual algorithmic art with the relevantly representational. and it opens into the social/collective in interesting ways. also, it frees me up from making pictures in the normal ways. i prefer to write images. riffing on the google global image database with a few well-chosen keywords and a lot of 'image display schemas' (there is only one now: one after another, simplest possible) could generate lots of significantly different dbcinema pieces. there's a dowload manager, a media manager, a query manager, and an image display manager at this point. various other managers to go along with lots of 'image display schema'. and other things that you normally find in a browser, like history and so on. would also be nice to be able to edit pieces. all down the road. 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 -> 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 date: Mon, 15 Aug 2005 23:05:35 -0700 message-id: <200508160605.j7g65z4u019759@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Re: Re: Re: Re: Re: R2D2: Conceptual Art ryan griffis wrote: but Ryan, don't you think that Kuspitt( who's earlier writings I read carefully and enjoyed) was trying to align himself, and his endorsements, with the "NEW", but his failed critical position was attempting to take advantage of the very nomadic culture that we have created? Why do I need his valdation? What is Nomadic in Kuspitt? Seriousely. I see nothing. Kuspitt didn't acknowledge digital media until the post 911 world. Guttari was correct,very prescient in this area, anticipating what passes for a newly found nation including the need to escape older connnivances.It's a long road, and full of difficulties,but I don't see how old art historians will help the development of our needs (where does Kuspitt fit in? could he survive here on Rhizome.., I doubt it).From reading the article I have the opinion that he just discovered digital art, what a surprise!Who knew..? (see Soft Subversions and the Three Ecologies, and any other Deleuze/Guttari texts etc.. for our needs) Perhaps it has come as a shock to the New York Intellegentstia that we have gone back overseas and to the West Coast (Howard Rheingold and the EEF) for our inspiration. Shame..., shame on us all. Reminds me of an old minimalist article on east coast/west coast..., but who cares what coast you are now nearest too? Eric > On Aug 9, 2005, at 9:50 PM, Eric Dymond wrote: > > > which brings me back to the article by Kuspitt. It is as if the > > history of art has been imposed upon a network of > thinking/conjecture > > that yields only art historical narratives. He is very, very wrong > > here assumimg that we care about his narrative. We don't. I don't > care > > about Duchamp( and Robert Smithson would agree, were he alive) that > > Duchamp was interested in alchemy, not machines and the filters > they > > apply. > > We did not end up here because the weight of art history was upon > us, > > we found ourselves here, accidents happen. > > not in disagreement really... but it's interesting that you distance > yourself from Art History via Duchamp, yet look for (speculative) > support from Smithson - hardly a personality outside of Art History > (esp at the moment). > i also think it's a bit counter productive to argue against Kuspit's > interest here... his career has been as a critic of contemporary art > with an emphasis on psychoanalysis and object relations, so i don't > see > the point in attacking his decision to consider developing ideas and > practices through his own lens. if you're not participating in the > Art > World proper (as many of us aren't), you can probably safely ignore > him > as he will you. or you can also read him as a critic and historian of > a > more mainstream practice. if you want to argue _with_ him, then you > enter into that dialogue knowingly and willingly. in that vein, > challenges to his, or anyone's, timeline is welcome to me. > personally, i found his take on the work of "institutional critique" > and authoritative consciousness in the 80s pretty interesting. > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 16 Aug 2005 01:27:13 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: print.google.com What do you think of this: http://print.google.com ? Info about it at http://print.google.com/googleprint/about.html Certainly one can see the business model very plainly here. 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 Rhizome=B9s online archive, the ArtBase; coordinating the Guest Curator program; and organizing public programs and gallery exhibitions that furthe r Rhizome=B9s mission of supporting the =B3creation, presentation, discussion and preservation of contemporary art that uses new technologies in significant ways.=B2 Olson brings excellent editorial and curatorial experience as well as an expansive knowledge of new media art to bear on the position. She previousl y worked as Associate Director of SF Camerawork, Curator at Zero:One, and Director of Media Arts at GenArtSF. As an Independent Curator, she has organized important programs at festivals and venues internationally, including the Getty Museum, the upcoming Performa Biennial, and SFMOMA, where she was co-founder and Editor of SMAC!, the quarterly journal of the SF Media Arts Council. Olson has written extensively on new media art for magazines, academic journals, and exhibition catalogues =B3Marisa brings a tremendous amount of experience and energy to the organization,=B2 said Lauren Cornell, Rhizome=B9s Executive Director. =B3I am thrilled to have her on board and in the position to direct Rhizome=B9s critical voice.=B2 Olson added, =B3the organization has been an important part of my life since I became a member in the mid-nineties. While they prepare to celebrate their tenth anniversary, it=B9s my honor to join Rhizome=B9s staff , board, and my fellow members in further contributing to the important field of media art.=B2 Olson is also an actively exhibiting and performing artist who is a PhD candidate at UC Berkeley. =B3Marisa is very active and well-respected in the field, and has over the years demonstrated a deep commitment to the Rhizome community in particular,=B2 said Cornell. =B3The fact that she is based primarily in San Francisco and also very connected to artists, writers and venues internationally will help confirm Rhizome=B9s presence on the West Coast and abroad.=B2 ### About Rhizome.org Rhizome.org is an online platform for the global new media art community. Our programs support the creation, presentation, discussion and preservatio n of contemporary art that uses new technologies in significant ways. We foster innovation and inclusiveness in everything we do. CONTACT: Lauren Cornell Executive Director Rhizome.org 210 11th Avenue, 2nd Floor New York, NY 10001 Email: laurencornell@rhizome.org Tel: (212) 219-1288 x208 Fax: 212.431.5328 URL: http://rhizome.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 16 Aug 2005 11:10:30 +0200 (CEST) message-id: <20050816091030.b7de64022f@ws2.ou-data.net> references: no_parent from: h subject: RHIZOME_RAW: Because Because,8given8the8same8idea,8no8two8people8will8materialize\ .a8concept8in8exactly8the8same8manner."8888kerry8james8mars hall8888One8of8the8cool8things8about8teaching8is8that8you 8can8give8the8same8concept8as8an8assignment8and8get8back81 28different8implementat _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 with an emphasis on psychoanalysis and object relations, so i don't see the point in attacking his decision to consider developing ideas and practices through his own lens. if you're not participating in the Art World proper (as many of us aren't), you can probably safely ignore him as he will you. or you can also read him as a critic and historian of a more mainstream practice. if you want to argue _with_ him, then you enter into that dialogue knowingly and willingly. in that vein, challenges to his, or anyone's, timeline is welcome to me. personally, i found his take on the work of "institutional critique" and authoritative consciousness in the 80s pretty interesting. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 16 Aug 2005 10:40:24 +0100 message-id: <4301b488.6020406@mac.com> references: from: Rob Myers subject: Re: RHIZOME_RAW: print.google.com Jim Andrews wrote: > What do you think of this: http://print.google.com ? > > Info about it at http://print.google.com/googleprint/about.html > > Certainly one can see the business model very plainly here. I think the UN should do it. ( ;-) ) What others think: http://www.boingboing.net/2005/08/12/chilled_by_publisher.html http://www.corante.com/copyfight/archives/2005/08/15/google_print_is_as_google_print_does.php http://www.corante.com/copyfight/archives/2005/08/15/google_print_library_shoulda_coulda_woulda.php http://www.corante.com/copyfight/archives/2005/08/12/siva_vaidhyanathan_google_is_right_to_hit_pause_on_library_plans.php http://www.corante.com/copyfight/archives/2005/08/12/google_sells_out_users_to_publishers.php - 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, 16 Aug 2005 13:22:24 +0200 (CEST) message-id: <20050816112224.09b1422000@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Webcrawler was whiledo Welsh, Walt walker WAP, Winston Churchill wandering WILL webmaster, . 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, 16 Aug 2005 13:26:17 +0200 message-id: <70da871235e522725b54a804d855b0fd@d41d8cd98f00b204e9800998ecf8427e.typo3> references: no_parent from: Benjamin Fischer subject: RHIZOME_RAW: MONDO CANNIBALE: 19. Stuttgarter Filmwinter | Call for Entries, Deadline: September 1, 2005 German version see below - Sorry for crossposting! - MONDO CANNIBALE: 19th Stuttgart Filmwinter | Call for Entries, Deadline: September 1, 2005 - Wand 5 (Link: http://www.wand5.de), an association promoting film and media culture, invites artists to present their work at the 19th Stuttgart Filmwinter. We are interested in media- and film works for children, either. The exhibition of the media installations and the contributions in the field of new media take place in cooperation with the Wrttembergische Kunstverein. Contributions may be submitted via our entry form (Link: http://www.filmwinter.de/index.php?id=929&L=3) until the 1st of September 2005. - MONDO CANNIBALE: 19. Stuttgarter Filmwinter | Ausschreibung, Deadline 1. September 2005 - Wand 5 e.V. (Link: http://www.wand5.de), der Verein zur Frderung der Film- und Medienkultur ldt KnstlerInnen ein, ihre Arbeiten auf dem 19. Stuttgarter Filmwinter zu prsentieren. Wir sind ebenfalls an Medien- und Filmkultur fr Kinder interessiert. Die Ausstellung der Medieninstallationen und der Beitrge im Bereich Neue Medien findet im und in Zusammenarbeit mit dem Wrttembergischen Kunstverein statt. Wettbewerbsbeitrge knnen bis zum 1. September 2005 ber das Anmelde-Formular (Link: http://www.filmwinter.de/index.php?id=929&L=2) eingereicht werden Gruss / Best regards, Benjamin Fischer -- Benjamin Fischer | http://www.typedown.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 All the best, Marisa On 8/12/05, Lauren Cornell wrote: > FOR IMMEDIATE RELEASE > > Rhizome.org Announces Marisa S. Olson as Editor and Curator at Large > > NEW YORK, NY, August 12, 2005 - Rhizome.org, a leading online resource for > new media art, announced today that Marisa S. Olson will be the new Editor > and Curator at Large effective August 15th. > > As Editor, Olson will manage Rhizome's two publications, Net Art News and > the Rhizome Digest; she will also develop special editorial projects and > oversee the content published on Rhizome's front page. In her role as > Curator at Large, a new position created specifically for her, Olson will > promote new media art on Rhizome's behalf in diverse contexts throughout the > country and internationally. She will also be responsible for growing > Rhizome's online archive, the ArtBase; coordinating the Guest Curator > program; and organizing public programs and gallery exhibitions that further > Rhizome's mission of supporting the "creation, presentation, discussion and > preservation of contemporary art that uses new technologies in significant > ways." > > Olson brings excellent editorial and curatorial experience as well as an > expansive knowledge of new media art to bear on the position. She previously > worked as Associate Director of SF Camerawork, Curator at Zero:One, and > Director of Media Arts at GenArtSF. As an Independent Curator, she has > organized important programs at festivals and venues internationally, > including the Getty Museum, the upcoming Performa Biennial, and SFMOMA, > where she was co-founder and Editor of SMAC!, the quarterly journal of the > SF Media Arts Council. Olson has written extensively on new media art for > magazines, academic journals, and exhibition catalogues > > "Marisa brings a tremendous amount of experience and energy to the > organization," said Lauren Cornell, Rhizome's Executive Director. "I am > thrilled to have her on board and in the position to direct Rhizome's > critical voice." Olson added, "the organization has been an important part > of my life since I became a member in the mid-nineties. While they prepare > to celebrate their tenth anniversary, it's my honor to join Rhizome's staff, > board, and my fellow members in further contributing to the important field > of media art." > > Olson is also an actively exhibiting and performing artist who is a PhD > candidate at UC Berkeley. "Marisa is very active and well-respected in the > field, and has over the years demonstrated a deep commitment to the Rhizome > community in particular," said Cornell. "The fact that she is based > primarily in San Francisco and also very connected to artists, writers and > venues internationally will help confirm Rhizome's presence on the West > Coast and abroad." > > > ### > > About Rhizome.org > > Rhizome.org is an online platform for the global new media art community. > Our programs support the creation, presentation, discussion and preservation > of contemporary art that uses new technologies in significant ways. We > foster innovation and inclusiveness in everything we do. > > CONTACT: > Lauren Cornell > Executive Director > Rhizome.org > 210 11th Avenue, 2nd Floor > New York, NY 10001 > > Email: laurencornell@rhizome.org > Tel: (212) 219-1288 x208 > Fax: 212.431.5328 > > URL: http://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, 16 Aug 2005 13:41:53 +0200 message-id: references: no_parent from: subject: Re: RHIZOME_RAW: print.google.com There was an interesting article about these matters in MIT's Technology review, available here: http://www.technologyreview.com/articles/05/05/issue/feature_library.asp Can't say what i think here, Google's got the copyright. dv -----Original message----- From: "Jim Andrews" jim@vispo.com Date: Tue, 16 Aug 2005 10:27:17 +0200 To: list@rhizome.org Subject: RHIZOME_RAW: print.google.com > What do you think of this: http://print.google.com ? > > Info about it at http://print.google.com/googleprint/about.html > > Certainly one can see the business model very plainly here. > > 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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php ART 230 2D COMPUTER ANIMATION This course expands the students knowledge, skills and aesthetics in the use of digital media. Through a series of lectures, demonstrations, visual/conceptual problem-solving projects and critiques, students learn the principles and techniques for creating 2-D computer animations. Topics include vector-graphic animation, bit-mapped animation, and the use of montage, collage, motion and transformations as forms of expression. Two lecture and two laboratory hours per week. Prerequisites: ART 101 and ART 120 or permission of instructor. Course fee. - Software to be listed in schedule of classes 40703 01 15 Weeks 12:45 - 4:35 PM Thur. Joppa Hall, Rm. 003 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 16 Aug 2005 14:20:04 +0200 message-id: references: no_parent from: tamara lai subject: RHIZOME_RAW: IL LUOGO DELLA NATURA Services and Storage at Paradise Plantation PRESS RELEASE IL LUOGO DELLA NATURA Services and Storage at Paradise Plantation Inauguration Sunday September 25, 2005 - Bolognano (PE) Il Luogo della Natura (The Place of Nature) is a subterranean construction of about 800 sq.mt. on two levels, entirely built of reinforced concrete. designed and constructed by Lucrezia De Domizio Durini, an important underground facility at Joseph Beuys Paradise Plantation in Bolognano, a small Italian town in the Abruzzo region. Joseph Beuys (1921-1986) was one of the most emblematic and significant personalities in the contemporary art vanguard after World War II; he participated in the first events organized by the Fluxus group and then focused all his work in the area of performances and the defense of the environment, with a strong political, social, humanitarian and economic commitment. In the last years of his life he visited Italy many times, particularly Abruzzo, where he found a fertile terrain for his ideas among the people, and the ideal location for the expression of his beliefs as a man and as an artist. The last great masterpiece of Beuys is his Defense of Nature, a colossal operation developed in Italy in a context in which unbridled nature plays a primary role, reflecting the expansion of human thought and energy. Mans relationship with nature has always been a constant theme in Beuys work: the defense of nature viewed as environmental concern and interpreted above all in the anthropological sense, Defense of Man, of Human Values, of Creativity. Centro d Intercomunicazione Culturale Direttore Baronessa Lucrezia De Domizio Durini Palazzo Durini 65020 Bolognano (PE) - Tel/fax 0039.085.888.01.54 illuogodellanatura@tiscali.it www.asa-art.com/luogodellanatura/1.html The philosophy of the German master is active and pedagogical, expressing with different languages the two primary concepts: the creative energy that every human being possesses, and solidarity, the free collaboration among men of different origins, social strata, cultures, economic and religious backgrounds, his famous Living Sculpture. Lucrezia De Domizio Durini collaborated actively and constantly with Joseph Beuys in the last 15 years of his life and, since his death (23.1.1986), has devoted all her energy to spreading the philosophy of Beuys in the world, using every possible medium. Il Luogo della Natura (The Place of Nature) is devoted to Cultural intercommunication among various disciplines, open to many possible languages, and is the active and theoretical heritage of Beuys. It is an unusual project in the world of art, in which the two primary concepts of man, Science and Economics, are the foundations of a program of thought and work. A place of study, research and training, where it is possible to unify, through the system of instruction, the visual and theoretical components. A vast library, a photographic archive, videos, films and rare art documents provide the tools for consultation and information, facilitating the organization of conferences, seminars, debates on various social topics with a multimedia approach. It is a pedagogical and philological project of a highly professional kind that, through the presence of international intellectuals in various disciplines, will create job opportunities for young people who wish to proceed in this direction. The management consists of a Chairman, a Director, a Co-director and 5 commissioners, all people involved with international culture, and it is associated with several foreign cultural organizations. Il Luogo della Natura (The Place of Nature) is an integral part of the Harpsichord Society, created by Joseph Beuys in 1980, a place open to autonomous cultural projects proposed by public institutions, national and international cultural and intellectuals in various fields. Il Luogo della Natura (The Place of Nature) is the name of the physical building. Its subtitle, Services and Storage at Paradise Plantation, is both conceptual and practical, indicating the reciprocal willingness among peoples to give and take in a broad cultural collaboration. Paradise Plantation houses two works of contemporary art: Dharma of E.N.E.L. created by the artist Marco Bagnoli using the five power company pylons that cross the plantation, and Mnadi the driveway to the underground room, created by Vitantonio Russo. Il Luogo della Natura. (The Place of Nature) Services and Storage at Paradise Plantation is dedicated to HARALD SZEEMANN and his family: his wife Ingeborg Lscher and their daughter Una. In memory of Buby Durini and Joseph Beuys. The entire construction and design project is documented in detail in a book with the same name as the building, available in two versions, in English and Italian, published by Silvana Editoriale Milan, and a film by Stefano Odoardi as well as a musical CD composed by Emanuel Dimas de Melo Pimenta are also available. Associated Cultural organizations: ASA Art and Technology, London Tribunal Europen de lEnvironnement, London - Experimental Intermedia Foundation, New York. PRESS DAY 13th september 2005 Ore 11.00 Palazzo della Triennale -V.le Alemagna 6 - Milano P.S. For further information and photographs contact the SEM press office. PRESS OFFICE: STUDIO EVENTI MAGISTER- Via San Marco 33 Milano Tel. 02.36571601 Fax 02.36571605 - email: studiomagister@tiscali.it + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 16 Aug 2005 08:10:26 -0700 message-id: <200508161510.j7gfaq2r004230@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Artists Commission - \'Mapping\' (London) London based media arts organisation, Independent Photography invite proposals from artists for a new commission as part of its Peninsula programme. Artist Commission: Mapping September 05 - February 06 Context – the Peninsula programme Peninsula is a 2-year programme of artists’ commissions working with the diverse communities and environments of the Greenwich Peninsula. The focus for the programme is exploring change and identity of the environment and its inhabitants. The area has seen much change, and is due to undergo further dramatic development. There are diverse and separated communities, some old and some emerging and the programme seeks to engage residents to explore new territories, cross boundaries and make new links and connections that can be sustained in the future. These explorations will be made through a range of contemporary artist’s commissions engaging with approaches to participative collaboration, public art, mapping, psycho geography, intervention, community information and digital technologies. A wireless infrastructure will be created to allow participants and the wider community to engage with the programme on many levels, and technical support available for artists working with new digital tools. Mapping ‘Mapping’ is to be the launch project for Peninsula, to be exhibited / presented as the first of Peninsulas major projects at the programme’s launch event in March 2006. As an artistic and investigative strategy, this commission seeks to explore the key themes of Peninsula: exploring environment, identities, change, crossing boundaries, and making connections. It also seeks to begin describing the Peninsula to a wider audience. IP is keen to explore mapping as an approach for local people to create new understandings of their environment. This commission is for a project that engages a diverse group of residents on the Peninsula to undertake journeys through the environment, producing resultant mapping of those journeys that can then be explored via different media by audiences both on-line and via print media. Key to the artist’s role is the stimulation of imaginative approaches to mapping that encourages participants to engage with Peninsulas themes. IP is keen to engage a variety of ‘groups’ as participants, including young people, and would ask the artist to consider approaches to encompass this. Artist profile. The Commission seeks an artist who is developing a unique and critical approach to mapping as part of their practice. Experience of engaging with diverse communities as part of this practice is also required, with an enthusiasm for working closely with Peninsula residents to explore and communicate experiences of the environment in creative and original ways. A track record of working participatively with technology is desirable, but the focus should be on mapping and / or exploration of environment / identity as a practice. An engagement with technology could be from a critical perspective. Technical support would be provided for the artist should they wish to employ / develop new digital tools as part of the work. Timescale The Commission is scheduled to take place between September 2005 and February 2006. IP is planning a launch of the Peninsula programme in March 2006. Artists are asked to respond to this timescale with a draft work schedule as part of their proposal. Budget 9,000 UK pounds to include artists fees, materials, products / outcomes. Artists are asked to respond with a draft budget as part of their proposal. Application deadline: Friday September 9th 2005 For a full Commission Brief and application details, please contact: Isabel Lilly / Andrew Robinson Independent Photography Rothbury Hall Azof Street London SE10 0EF isabel@independentphotography.org.uk andy@independentphotography.org.uk tel. 020 8858 2825 www.independentphotography.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, 16 Aug 2005 08:19:07 -0700 message-id: <200508161519.j7gfj7cb006664@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Artists Commission - \\\'Community Media\\\' (London) London based media arts organisation Independent Photography invites proposals from artists for a new commission as part of its Peninsula programme. Artist Commission: Community Media Project, Stage 1 Sept 05 - Jan 06 Context - the 'Peninsula' programme Peninsula is a 2-year programme of artists’ commissions working with the diverse communities and environments of the Greenwich Peninsula. The focus for the programme is exploring change and identity of the environment and its inhabitants. The area has seen much change, and is due to undergo further dramatic development. There are diverse and separated communities, some old and some emerging and the programme seeks to engage residents to explore new territories, cross boundaries and make new links and connections that can be sustained in the future. These explorations will be made through a range of contemporary artist's commissions engaging with approaches to participative collaboration, public art, mapping, psycho geography, intervention, community information and digital technologies. A wireless infrastructure will be created to allow participants and the wider community to engage with the programme on many levels, and technical support available for artists working with new digital tools. Community Media Project The Community Media Project is planned as an on-going project throughout the life of Peninsula. It seeks to provide residents with an opportunity to use digital technologies to network and exchange information; to choose, build and activate tools that can sustain communication between them throughout andpost 'Peninsula'. The aim is to provide local residents with a networked forum for: - Information on local issues and interests that they want to know about, and those that are linked to the major changes taking place over the next 2 years - Having a voice with which to discuss and communicate their interests and concerns, both amoungst themselves and to a wider audience. - Disseminating the information and artworks produce through all of the Peninsula projects Stage 1 Brief This Commission is for the first stage of the Community Media Project (CMP). Part of the initiation of Peninsula includes the installation of a wireless infrastructure linking the communities. As part of this, workshops, advice and information will engage with residents to help them make use of this technology (antenna building, provision of wireless cards etc). The brief for this first stage of the CMP is to: 1. Engage local residents to find out what they would like to do within the context of this opportunity, and develop the most appropriate tools and skills for doing so with them. 2. Form a group of residents with which to explore these possibilities through an artistic project 3. Leave a legacy of basic skills and ideas for the future with which the group can expand and develop with other artists. Artist profile. The Commission seeks an artist who has experience of engaging with diverse communities and working closely with them to explore needs and interests and how these might be facilitated with networked digital tools. An understanding of community information and communication issues is also important, with a vision for accessible creative solutions that participants have a stake in creating and developing. Timescale The Commission is scheduled to take place between September 2005 and January 2006. IP is planning a launch of the Peninsula programme in March 2006. Artists are asked to respond to this timescale with a draft work schedule as part of their proposal. Budget 4,500 UK pounds. To include artists fees, materials, products/outcomes, but not equipment which has a separate budget. Artists are asked to respond with a draft budget as part of their proposal. Application deadline: Friday September 9th 2005 For a full Commission Brief and application details, please contact: Isabel Lilly / Andrew Robinson, Independent Photography Rothbury Hall, Azof Street, London SE10 0EF isabel@independentphotography.org.uk andy@independentphotography.org.uk t. 020 8858 2825 http://www.independentphotography.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, 16 Aug 2005 10:54:49 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: print.google.com > There was an interesting article about these matters in MIT's > Technology review, available here: > http://www.technologyreview.com/articles/05/05/issue/feature_library.asp > > Can't say what i think here, Google's got the copyright. > > dv Thanks. Millions of walking corpses coming our way? 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, 16 Aug 2005 14:54:23 -0400 message-id: references: from: subject: Re: RHIZOME_RAW: print.google.com check out Siva V's take on it: http://newsgrist.typepad.com/underbelly/2005/08/google_print_au.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 > I am thrilled to have accepted the post of Editor and Curator-at-Large > for Rhizome. It is an honor to be following in the footsteps of such > esteemed colleagues as Alex Galloway, Rachel Greene, and Kevin > McGarry, and I hope to live up to their good examples. > > As you may know, I've been a member of the Rhizome community for > several years and I have grown, learned, and become so inspired by the > conversations we've had online and through my relationships with > Rhizome staff members, past and present. > > As Editor, I don't really seek to rock the boat as far as list-based > discussions go. I've always admired Rhizome's largely self-governed, > organic sensibility and it's not my intention to change those things > that I've always loved about it. My effort, in steering the Digest and > Net Art News publications, and continuing to participate in Raw > dialogue, is to continue promoting the ideas, projects, and events in > which the Rhizome community is involved. Rhizome's always been a great > place to exchange thoughts, opportunities, and announcements, and all > of us at Rhizome are committed to furthering your ability to do so. > > It is amazing to think that Rhizome is approaching its tenth > anniversary! One of the most exciting things to me, personally, about > coming on board, is that Rhizome not only has a great past but also a > great future. I know this sounds like PR mumbo jumbo, but the vision, > energy, and ambition that Lauren and Francis have for enhancing > Rhizome is palpable and contagious. Working with them is going to be > such a treat! > > We all know that Rhizome's members are a huge part of what make it > such a viable, thriving resource and as I begin settling in to this > position, I hope to have more direct communication with each of you. > I'd like to welcome your feedback on the ways in which you would like > to see Rhizome grow, and your suggestions for how you might be > involved in that growth. Until then, I look forward to our continued > chats on Raw. > > All the best, > Marisa > > > On 8/12/05, Lauren Cornell wrote: >> FOR IMMEDIATE RELEASE >> >> Rhizome.org Announces Marisa S. Olson as Editor and Curator at Large >> >> NEW YORK, NY, August 12, 2005 - Rhizome.org, a leading online resource for >> new media art, announced today that Marisa S. Olson will be the new Editor >> and Curator at Large effective August 15th. >> >> As Editor, Olson will manage Rhizome's two publications, Net Art News and >> the Rhizome Digest; she will also develop special editorial projects and >> oversee the content published on Rhizome's front page. In her role as >> Curator at Large, a new position created specifically for her, Olson will >> promote new media art on Rhizome's behalf in diverse contexts throughout the >> country and internationally. She will also be responsible for growing >> Rhizome's online archive, the ArtBase; coordinating the Guest Curator >> program; and organizing public programs and gallery exhibitions that further >> Rhizome's mission of supporting the "creation, presentation, discussion and >> preservation of contemporary art that uses new technologies in significant >> ways." >> >> Olson brings excellent editorial and curatorial experience as well as an >> expansive knowledge of new media art to bear on the position. She previously >> worked as Associate Director of SF Camerawork, Curator at Zero:One, and >> Director of Media Arts at GenArtSF. As an Independent Curator, she has >> organized important programs at festivals and venues internationally, >> including the Getty Museum, the upcoming Performa Biennial, and SFMOMA, >> where she was co-founder and Editor of SMAC!, the quarterly journal of the >> SF Media Arts Council. Olson has written extensively on new media art for >> magazines, academic journals, and exhibition catalogues >> >> "Marisa brings a tremendous amount of experience and energy to the >> organization," said Lauren Cornell, Rhizome's Executive Director. "I am >> thrilled to have her on board and in the position to direct Rhizome's >> critical voice." Olson added, "the organization has been an important part >> of my life since I became a member in the mid-nineties. While they prepare >> to celebrate their tenth anniversary, it's my honor to join Rhizome's staff, >> board, and my fellow members in further contributing to the important field >> of media art." >> >> Olson is also an actively exhibiting and performing artist who is a PhD >> candidate at UC Berkeley. "Marisa is very active and well-respected in the >> field, and has over the years demonstrated a deep commitment to the Rhizome >> community in particular," said Cornell. "The fact that she is based >> primarily in San Francisco and also very connected to artists, writers and >> venues internationally will help confirm Rhizome's presence on the West >> Coast and abroad." >> >> >> ### >> >> About Rhizome.org >> >> Rhizome.org is an online platform for the global new media art community. >> Our programs support the creation, presentation, discussion and preservation >> of contemporary art that uses new technologies in significant ways. We >> foster innovation and inclusiveness in everything we do. >> >> CONTACT: >> Lauren Cornell >> Executive Director >> Rhizome.org >> 210 11th Avenue, 2nd Floor >> New York, NY 10001 >> >> Email: laurencornell@rhizome.org >> Tel: (212) 219-1288 x208 >> Fax: 212.431.5328 >> >> URL: http://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 > -- 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, 16 Aug 2005 12:28:51 -0700 message-id: <200508161928.j7gjsp3c007569@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Deadline for Teaching Artists Positions at Eyebeam Eyebeam is now accepting applications for Teaching Artists to lead classes in the Spring 2005 After-School Atelier (ASA) Program and the Girls-Eye View Program. Selected teaching artists will direct 9-week long courses (ASA), October 10 - December 15, 2005, or 3-week long courses (Girls-Eye View), present the student work at the program wrap-up events and present his/her work and process alongside student work in Eyebeam's exhibition space. Teaching Artists receive a stipend, a budget for materials, lab hours to work on their independent projects and may work with a technical assistant (depending on the size and needs of the class, to aid with the trouble-shooting and classroom logistics). For more information about Eyebeam and the programs visit our website: http://www.eyebeam.org/production/production.php?page=teaching To complete an online application please visit: http://www.eyebeam.org/production/onlineapp/join_detail.php?program_id=307083 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 16 Aug 2005 13:41 message-id: references: no_parent from: carlos katastrofsky subject: RHIZOME_RAW: boingboing article i wonder if someone read this article: http://www.boingboing.net/2005/08/08/vienna_netart_commun.html there are some discussions going on here in vienna about this, ranging from "idiotic nerd stuff" to "the solution to all our problems"... has anybody heard of somehow similar projects ? any experiences? and: this sentence: "more than 100 net.art groups" (from the article) tempts me to call vienna the net.art capital of the world ;-) ... seems everybody is a net.artist here... regards, carlos + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Subscribers to Rhizome are subject to the 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, 16 Aug 2005 23:56:43 +0200 message-id: <20050816215708.kffe8289.amsfep18-int.chello.nl@vilt> references: from: Dirk Vekemans subject: RE: RHIZOME_RAW: print.google.com >> Can't say what i think here, Google's got the copyright. >> >> dv >Thanks. > >Millions of walking corpses coming our way? >ja >http://vispo.com No, no, don't you know yet? Jack Bauer's found a cure in the nick of time, something to do with silver bullets or so, i'm not sure, too busy anyway, building the second NkdeE Closet (or Cabinet: here's the first one http://www.vilt.net/nkdee/east/index.jsp#closet ), it's gonna be pretty advanced this time, a true digital collage, with an 'antique' Pentium II laptop built inside the door, i just seperated the screen from the machine, had to break some of the casing and all but you know what: it still works! Screen surgery is possible! When it's done i'll have interior decorating, carpentry, painting, boat-varnish, literature, net-art and a collection of religious brass miniatures in a box. Perhaps i'll install a bittorrent client on its laptop and have it serve ya all free P2P poetry performances, live from kessel-lo? Anyone done that yet? Got to hurry now, before Curt puts it on his list... dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee ps: there's sth on 'digital collage', commenting on Colin Beardon's very informative work on the subject at my IAV blog: http://nkdee.blogspot.com/2005/08/digital-collage-case-for-object.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, 16 Aug 2005 15:23:46 -0700 message-id: <200508162223.j7gmnkot028594@idx164.idx.net> references: no_parent from: Jonathan Zalben subject: RHIZOME_RAW: Organized Color Intoxication, Installation ORGANIZED COLOR INTOXICATION A Multimedia Installation by Jonathan Zalben With artwork by James De La Vega at the exhibition in East Harlem Wednesday, 8/17/05 through Saturday, 8/20/05 from 7:30 to 9:30 P.M. at 178 East 104th Street between Lexington and 3rd Avenue Tuesday, 8/23/05 from 7:30 to 9:30 P.M. at Le Petit Versailles Garden, 346 East Houston at Ave. C Thursday, 8/25/05 from 7:30 to 9:30 P.M. at DeColores Garden, 311 8th Street between Ave B and C Friday, 8/26/05 from 7:30 to 9:30 P.M. at La Plaza Cultural, 9th Street and Avenue C Phone: 917-674-8812 The event is free and open to the public. For more information, please visit http://www.jonathanzalben.com Organized Color Intoxication is a multimedia installation featuring video projections, original music, and audience participation. It is a poetic exploration of the internet and interactivity. Digital videos of the Lower East Side are processed through the computer to create an antiquing effect. Stringed instruments are altered by the audience, while the video monitors and adjusts to the acoustics of the music. One focus is to create a sense of analog media through digital technology. This project is sponsored in part by the New York City Department of Cultural Affairs / Manhattan Community Arts Fund administered by the Lower Manhattan Cultural Council and by an Experimental Television Center Finishing Funds Grant, through the New York State Council on the Arts and mediaThe foundation. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Tue, 16 Aug 2005 15:36:15 -0700 message-id: <200508162236.j7gmafhf000771@idx164.idx.net> references: no_parent from: Julie Rasmussen subject: RHIZOME_RAW: 25.35 at TRANSPORT GALLERY - reception this Saturday 8/20/05 Transport Gallery presents 25.35, an exhibition of work from the Graduate Sculpture / Intermedia program at California State University, Long Beach.The multi-media work of six artists from the Graduate Sculpture/Intermedia program opens with 25.35 on Saturday, August 20, 2005 at Transport Gallery in downtown Los Angeles. Kendell Carter, Jeffrey Foye, Liz Harvey, Jeffrey James Mohr, Jean Robison, and Jocelyn Schneider Foye will addresses a variety of contemporary themes while each showcasing their individual style. Curated by Erik Geschke, this exhibition will run through September 24 2005 with an opening reception on August 20, 2005 from 6:00pm to 10:00pm. Transport Gallery is located at 1308 Factory Place, Los Angeles CA 90013 213.623.4099 (near Alameda and 6th street, Downtown LA) http://transportgallery.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 -->Cinematheque - selections & calls -->Concerthall - call -->Agricola de Cologne - updates -->NetEX - external calls ******************************* [NewMediaArtProjectNetwork] - www.nmartproject.net http://netex.nmartproject.net/index.php?blog=1 # launched the 6th edition of "Project Features" http://features.nmartproject.net spotlighting the net piece "Loogie.net News" by Marc Lee (Switzerland more on http://netex.nmartproject.net/index.php?blog=1&cat=56 ******************************** A Virtual Memorial Memorial project against the Forgetting & for Humanity www.a-virtual-memorial.org http://netex.nmartproject.net/index.php?blog=5 # A Virtual Memorial features on its main site--> Memorial days in July---> 2 July 1976 - North and South Vietnam were reunited --> Hanoi as the capital. 11July 2005 - World Population Day (UNFPA) 20 July 1944 - would-be-assassination of Graf Stauffenberg against Hitler 21 July 1964- Neil Armstrong enters the moon as the first human being # Subject Identity - between dogma & experiment? # Roots 1 - Artist of the Month:: Alejandro Jaimes-Larrarte Roots 2 - Mirror at the bottom - artists portraiting themselves Roots 3 - Graffiti-Fields of Identity Roots 4 - Gender Identity Roots 5 - Subjective Identity Roots 6 - Objective Identity Roots 7 - Loss of Identity Roots 8 - Identity of Art Roots 9 - Multiple Identitiy Roots 10 - [dis]tortion_projected # *The Features of the Month are monthly changing collections of multimedia works and links which form in the totality of the composition an artwork of theirown to be created on a webpage of theirown within the Memorial project.* # A Virtual Memorial added recently a new memorial environment, ie. Tsunami Memorial http://tsunami.a-virtual-memorial.org On ongoing call invites artists to submit their reflections in solidarity with the victims of this disaster in Southeast Asia. It was participating in MAF'05 - New Media Art Festival Bangkok/Thailand http://thailand.culturbase.org/maf05 25 - 29 June 2005 # All details of A Virtual Memorial Newsletter on: http://netex.nmartproject.net/index.php?blog=5 ************************************************ [R][R][F]2005--->XP - updates http://rrf2005.newmediafest.org http://netex.nmartproject.net # until 03 July "Women: Memory of Repression in Argentina http://argentina.engad.org participated in Saln de Arte Digital - IV Edicin - Maracaibo 2005 http://www.salondeartedigital.com/ * on 16 July "Hilchot Shchenim Chapter C" at Israeli Digital Art Lab Holon/Israel www.digitalartlab.org.il comes to an end. * on 02 July EAST'05 - Making Things Better at Norwich Gallery Norwich/UK started including [R][R][F]2005--->XP, duration until 20 August www.east05.net, ww.makingthingsbetter.org * [R][R][F]2005--->XP is participating in prog:ME - 1st Electronic Art Festival Rio de Janeiro/Brazil 19 July - 28 August -www.progme.org # More details details on: http://netex.nmartproject.net *************************************** JavaMuseum - Forum for New Media Technology in Contemporary Art www.javamuseum.org http://netetx.nmartproject.net/index.php?blog=7 # is featuring during June, July and August the complete net based work by Tiia Johannson, who died much too young, only 36 years old in June 2002 in her hometown Tallinn, capital of Estonia. The "Tiia Johannson Memorial" on JavaMuseum http://www.javamuseum.org/tiia_johannson/memorial.html is keeping vivid the memory of this talented artist more on http://netex.nmartproject.net/index.php?blog=7&cat # Visit also the final show of the 1st phase, entitled "Extasy" More than forty artists are representedwith works originating from 2003 & 2004. access via www.javamuseum.org . All details on: http://netex.nmartproject.net/index.php?blog=7 ****************************************** Cinematheque at MediaCentre http://cinematheque.le-musee-divisioniste.org http://netex.nmartproject.net/index.php?blog=3 * VideoChannel is proud to include a curatorial contribution from Turkey. Sinasi Gunes curates the artists ---> Fatih Balci, zge Yilmaz, Burak Bedenlier, Vicdan Nalbur Tasdemir, Sinasi Gnes and Nancy Atakan http://rrf2005.newmediafest.org/vchannel.html * VideoChannel will be presenting "SELECTION'03" - including 10 video artists curated by Agricola de Cologne as an installation during "Hic et Nunc", a contemporary art show including an entire region in the North of Venice (Italy) 11 June - 17 July, and at prog:ME - 1st Electronic Art Festival Rio/Brazil www.progme.org 19 July - 28 August The selected work can be also viewed online directly also on http://rrf2005.newmediafest.org/vchannel.html * "SELECTION'04 of VideoChannel" including 10 video artists curated by Agricola de Cologne is presented in the framework of EAST'05-Making Things Better at Norwich Gallery (UK) 02 July - 20 August http://rrf2005.newmediafest.org/vchannel.html more on http://netex.nmartproject.net/index.php?blog=1&cat=56 * SELECTION'02 - compilation of 20 videos by VideoChannel will be streaming online also after the end of "Hilcot Shchenim Chapter C at Israeli Digital Art Lab www.digitalartlab.org.il on 16 July --->http://cinematheque.le-musee-divisioniste.org/video_channel/video/s2/select02.html [DSL broadbandwidth Internet connection required!!] # Cinematheque launched further a suite of calls---> themes/subjects: interactive cinema, self-portrait, totalitarism, identity of colour, gay, lesbian, transgender identity get all details, rules and entry forms on http://netex.nmartproject.net/index.php?blog=3 or http://netex.nmartproject.net/index.php?blog=8&cat=54 . ******************************************** Concerthall at MediaCentre http://concerthall.le-musee-divisioniste.org http://netex.nmartproject.net/index.php?blog=3&cat=14 # is currently preparing the 3rd edition of SoundLab Channel to be launched in September in the framework of [R][R][F]2005--->XP - global networking project http://rrf2005.newmediafest.org * SoundLab Channel has been selected to participate in FILE Hipersonic Festival Sao Paulo/Brazil - 5 November # For this purpose an open call had been released addressed to soundartists from all parts on the globe more on http://netex.nmartproject.net/index.php?blog=3&cat=14 ********************************************** Agricola de Cologne www.agricola-de-cologne.de http://netex.nmartproject.net/index.php?blog=6 # His moving picture "Message from Behind a Wall" was presented on Synch Festival Electronic Music and Digital Arts www.synch.gr 1-3 July Athens/Greece --->streaming version on http://movingpictures.agricola-de-cologne.de/volume11/wall.html # The net based piece "Inability of being Nude" http://www.nmartproject.net/agricola/mpc/volume11/nude.html had been selected for Digitraffic@Germany in the framework of SENEF 2005 Seoul/South Korea - www.senef.net 01 July - 01 September # All details on: http://netex.nmartproject.net/index.php?blog=6 ************************************************ NetEX - networked experience http://netex.nmartproject.net http://netex.nmartproject.net/index.php?blog=8 # released recently several calls in the external section--> Videology Volgograd/Russia, Electronic Art Festival Patagonia/Argentina and more on http://netetx.nmartproject.net/index.php?blog=8&cat=25 # further a couple of calls for the internal section---> Cinematheque, Concerthall, etc more on http://netex.nmartproject.net/index.php?blog=8&cat=54 ************************************************ # This newsletter can also be found 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 -> 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 date: Tue, 16 Aug 2005 19:54:13 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: Simnuke: The Exhibiton (Review in SFist) Simnuke: The ExhibitonBy Sarah Hromack (aka Forward Retreat www.forwardretreat.com) http://www.sfist.com/archives/2005/08/09/simnuke_the_exhibiton.phpimage: http://www.sfist.com/attachments/sfist_sarah/dominic_sunset_comp.jpg Co-organized by curators Sasha Cronin-Harris and Max Carlson, theSimnuke exhibition serves as the gallery component to the SimnukeProject, a self-described "reaction to 60 years of the Atomic Age."The project kicked off on July 16th (the 60th anniversary of"Trinity," the first atomic detonation) with a nuclear simulation.(See Molly Go Lightly's coverage of the live event here.) Simnuke's most substantial statements are made by those who havechronicled the physical and cultural effects of the atomic bomb.Photographers Yusuke Yamahata and Carole Gallagher documented theaftermath of detonations in Japan and the United States, respectively.Taken while serving as a photographer in the Japanese army, Yamahata'snow-iconic images are stored in our national memory bank as memorialsto the horror inflicted upon Nagasaki in 1945. Sixty years later,these photographs still provoke involuntary chills with theirstraight, photojournalistic capturing of human devastation. Scenes ofdestructionof singed civilians, charred corpses, and ruinedvillagesdemand respect for the past and careful consideration ofstill-present nuclear possibilities. In 1983, Gallagher abandoned a successful New York photography careerfor Utah, where she spent the next seven years documenting the livesof radiation survivors, conducting extensive interviews with thosewhose lives were radically altered by the nuclear testing conducted bythe US government from 1951-1963. Though the cancers, birth defects,and other serious health problems caused by radiation exposure didcause a veritable freak show of physical aberrations, Gallaghereschewed artistic exploitation for a focus on survivor's own stories,providing a forum for those deemed as a "low-use segment of thepopulation" by the Atomic Energy Commission when deciding where,exactly, to test their bombs. Published by MIT press in 1993, AmericanGround Zero is Gallagher's finished documentary of this heinous sliceof U.S. history. Continuing in the exhibitions' strong documentary vein, Joy Garnett'sDominic Sunrise is a particularly elegant split-screen DVDinstallation compiled of declassified footage from the US Departmentof Energy's Historic Films Preservation Archive. Named after a ratherspectacular explosion off of the Pacific coast in 1962, DominicSunrise posits an apocalyptic post-detonation landscape against thepowersmachine and otherwisethat made such rampant testing possible.Garnett has carefully spliced these old films, some decaying with age,to form a spookily seductive, even lyrical conversation between manand his destructive tendencies. A collection of printed ephemera rounds out the exhibition. Megan ShawPrelinger, proprietor of San Francisco's Prelinger Library, hasarranged a curio cabinet filled with documents that, in her words,"trace the evolution of public consciousness about the atomic threatin the U.S." Though these documents held exceptional weight during theaftermath of World War II, their graphic layouts are now so dated,kitschy to the point of hilarity (if it weren't for their content,that is.) Robert Dohrmann draws on this design sense in hislarge-scale vinyl banners, printed as faux advertisements for imaginedfilms on nuclear disaster. With titles such as "Doomtown: The Movie,"and "The Great Atomic Power," we might assume that these movies, ifactually made, would approach nuclear proliferation with the campydegree of hysteria displayed in so many 1950's horror flicks. Comic book artist Garret Izumi pokes a similarly serious sort of funat nuclear madness in "Critical Mass," his 1995 comic marking "fiftyyears of nuclear arms." Izumi and Dohrmann meld a strong graphicsensibility with the written word; their added dash of wry humorbalances against the overriding seriousness of the exhibition's theme,encouraging discussion while making light of the same sort of fearmongering that still leads to nuclear panic. Visit Simnuke at Rx Gallery until 25 August, on Wednesdays andThursdays from 3 to 9 p.m., and on Fridays and Saturdays from 5 to 9p.m. New "happy" gallery hours are from 5 to 8 pm on Thursdays andFridays. This means drink specials, we can only assume. links:Simnukehttp://www.simnuke.org Simnuke Event covered by Molly Go Lightly w/ photos by William Francis in SFisthttp://www.sfist.com/archives/2005/07/18/simnuke_report.php Prelinger Libraryhttp://www.home.earthlink.net/~alysons/library.html Rx Galleryhttp://www.rxgallery.com/ The Bomb Projecthttp://thebombproject.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 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.8.8/37 - Release Date: 01/07/2005 + -> 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 date: Tue, 16 Aug 2005 17:01:41 -0700 (PDT) message-id: <49489.68.45.64.147.1124236901.squirrel@www.rhizome.org> references: no_parent from: Jessica Ivins subject: RHIZOME_RAW: Mediatopia.2 fresh! http://mediatopia.net Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by a diverse group of neoteric artists, creatives and thinkers. Their fresh, networked interfaces look to a variety of means to utilize the internet, as playground, platform or paintbrush. Mediatopia.net is a recurring network mediated culture space for art, technology and writing. We still believe in networked culture. Mediatopia.net Jessica Ivins Carlos Katastrofsky Michael Takeo Magruder Jillian Mcdonald Mike Mike Carrie Paterson Christina Ray and Dave Mandl Geoffrey Thomas Lara Bank Aerostatic and Andrew Bucksbarg Produced by Adhocarts.org, a non-profit arts organization Curated by Lara Bank and Andrew Bucksbarg ---- FOR IMMEDIATE RELEASE August 10th, 2005 Mediatopia.2 fresh! http://www.mediatopia.net Artists create art in cyberspace, but can you hang it on a wall? Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by a diverse group of neoteric artists, creatives and thinkers. Their fresh, networked interfaces look to a variety of means to utilize the Internet, both as creative medium and as a channel to share and distribute their output. The Internet, with its network functionality and potential for user interaction, is their creative playground: a form to manipulate and a means of social or political expression. Mediatopia.2 fresh! is a net-based opportunity for artists to gain exposure for their culture work. Mediatopia.2 fresh! is produced by Adhocarts.org, a non-profit media-arts organization. Lara Bank and Andrew Bucksbarg worked together to curate a program from recent work submitted internationally that uses the Internet as a playground, platform or paintbrush. Jessica Ivinss Retrotype historically traces female representation in video games through an interface that allows the participant to personalize and question the object of their gaze. Do you live in East L.A. and long to live closer to celebrities in a gated community? Carlos Katastrofsky performs Neighborhood and Area Research for you, so you can discover who your IP address neighbors are in cyberspace. On the Internet, distance is collapsed as ideologues are brought closer together. Michael Takeo Magruders , is an abstract filtering of headline news that reevaluates and deprograms information by re-visualizing it into a Buddhist-like flow. Jillian McDonalds interface art, Stand By Your Guns, blends our compulsion toward spectacle with elements of broadcast media, game play, the celebrity, masculinity and the gun. What could be more powerful? Take the complex genetic mixture and dispersion of humanity over time and location, composite this and then make an ideal copy. Mike Mikes commerce-like site asks us is this The Face of Tomorrow? Carrie Patersons Everywhere at Once, and Not Just Once creates a twisted, fictional blog that chronicles the experiences of a girl in a boarding school- reader discretion advised. Psychogeography seeks to understand how our physical environment affects our emotions and behavior. One Block Radius by Christina Ray and Dave Mandl is an obsessive documentation of a city block in Manhattan that creates a detailed archive of the area, blending media interface, database, surveillance and real reality programming. Geoffrey Thomass quiet, contemplative works use game-like, animated environments and narrative to exemplify and make sense of moments of loneliness, loss and the tension between passionate response and the cool, scientific analysis in relations. The curators, both artists in their own right, include samples of their own work on the site as well. Together these disparate works signify the production, both singularly and collaboratively, of persons whose concerns go beyond the instance of capital and reach outward to the cultural center of what digital media can mean for human expression and communication. Their work is a mirror before us that traces both our success and failure: together and separate in the network. These words may wish to provide an overview or representation of their work, but fail to provide the one thing these artists considered as they created their work- your interaction. This interaction forms a means to destabilize the relation of the author or creator, bringing in the user as an active director or participant in the process. Artists work created for the Internet poses problems for persons, museums or galleries who would collect and display it. Internet Art is not easily installed in these traditional spaces, and although digital information does not degrade, the technology that expresses it is constantly changing and upgrading. Software evolves, computers and their operating systems change, as well as progressive modifications to the human-computer interface, making it difficult to collect and archive this kind of work. Net-based art is ephemeral under these circumstances. Artists who create net.art, have another problem at hand as well. How do you create value for something that is distributed on a network and available to anyone with a computer and connection? Historically, most art, aside from live performance, is based upon its being a one-of-a-kind object that maintains or even gains value as a collected piece. This makes raising funds for or selling this work a difficult proposition. Rachel Greene, author of Internet Art, writes, Internet Art has less to do with objects of social prestige, and little, at least currently, to do with the cosmopolitan art businesses that thrive in New York, Cologne, London and other culture capitals. These limitations have given artists who work with the Internet a kind of freedom and revelry of exploration, as well as a particular tool for cultural and institutional critique. Many artists see the Internet as a cause to really challenge fundamental elements of humanity: identity, methods of communication, technology, politics and the institution. These artists understand that people expanded by the Internet all over the world, are brought together in cyberspace. The Internet was launched in 1989 by the British scientist Tim Berners-Lee. As the use of the Internet grew, so did a community of artists who began to utilize it as a creative medium by the mid 1990s. Some of the early practitioners of Internet Art were Post-Communist East Europeans and organizations like the Ljudmila Media Center in Slovenia, supported by George Soross Open Society Institute. Much of the practice of Internet Art also saw support in media arts festivals in Europe during this time. Internet Art has grown over the years as the Internet has seen increased use and is now getting more recognition from the traditional formats of museums and galleries. Artists will continue to participate in the social uses of new technology. They will take part in future network technologies and cultures, where the Internet will be augmented by shared virtual space. People on the network will come together in synthetic worlds to create, communicate and recreate. This is already occurring in online multi-player games and environments like Second Life (http://secondlife.com), which include their own economies. Objects and land can be bought and sold and complex social transactions take place in these ephemeral, digital realms that exist on servers. Some artists, such as Chris Burke, are hacking online multi-user games for other purposes, such as a talk show in game space (http://www.thisspartanlife.com). Artists have a long history of socially relevant communication from within the culture they are steeped. Mediatopia.net and its supporting organization, Adhocarts, offer perspective to this process in the continually shifting phenomena of cyberspace. Mediatopia.net is produced by Adhocarts (http://adhocarts.org), which sponsors a variety of expressions that fall on the lines of interconnecting disciplines, theories, technologies and cultures. Adhocarts.org is a non-profit collaboration supporting arts and culture by producing avenues for creative expression and thought both online and off. Adhocarts.org was founded in 2000 and exists as a catalyst for work that uses technology and hypermedia, such as net.art, installation, digital video, writing and live art. We still believe in net-based culture. Mediatopia.net Press contact: Andrew Bucksbarg Assistant Professor of Telecommunications Indiana University 1229 East Seventh Street Bloomington, Indiana 47405-5501 USA 812-219-5310 Abucksba@indiana.edu -- Jessica Ivins Jessica@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, 16 Aug 2005 20:33:16 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: Simnuke: The Exhibiton (Review in SFist) Simnuke: The ExhibitonBy Sarah Hromack (aka Forward Retreat www.forwardretreat.com) http://www.sfist.com/archives/2005/08/09/simnuke_the_exhibiton.php image: http://www.sfist.com/attachments/sfist_sarah/dominic_sunset_comp.jpg Co-organized by curators Sasha Cronin-Harris and Max Carlson, theSimnuke exhibition serves as the gallery component to the SimnukeProject, a self-described "reaction to 60 years of the Atomic Age."The project kicked off on July 16th (the 60th anniversary of"Trinity," the first atomic detonation) with a nuclear simulation.(See Molly Go Lightly's coverage of the live event here.[below]) Simnuke's most substantial statements are made by those who havechronicled the physical and cultural effects of the atomic bomb.Photographers Yusuke Yamahata and Carole Gallagher documented theaftermath of detonations in Japan and the United States, respectively.Taken while serving as a photographer in the Japanese army, Yamahata'snow-iconic images are stored in our national memory bank as memorialsto the horror inflicted upon Nagasaki in 1945. Sixty years later,these photographs still provoke involuntary chills with theirstraight, photojournalistic capturing of human devastation. Scenes ofdestructionof singed civilians, charred corpses, and ruinedvillagesdemand respect for the past and careful consideration ofstill-present nuclear possibilities. In 1983, Gallagher abandoned a successful New York photography careerfor Utah, where she spent the next seven years documenting the livesof radiation survivors, conducting extensive interviews with thosewhose lives were radically altered by the nuclear testing conducted bythe US government from 1951-1963. Though the cancers, birth defects,and other serious health problems caused by radiation exposure didcause a veritable freak show of physical aberrations, Gallaghereschewed artistic exploitation for a focus on survivor's own stories,providing a forum for those deemed as a "low-use segment of thepopulation" by the Atomic Energy Commission when deciding where,exactly, to test their bombs. Published by MIT press in 1993, AmericanGround Zero is Gallagher's finished documentary of this heinous sliceof U.S. history. Continuing in the exhibitions' strong documentary vein, Joy Garnett'sDominic Sunrise is a particularly elegant split-screen DVDinstallation compiled of declassified footage from the US Departmentof Energy's Historic Films Preservation Archive. Named after a ratherspectacular explosion off of the Pacific coast in 1962, DominicSunrise posits an apocalyptic post-detonation landscape against thepowersmachine and otherwisethat made such rampant testing possible.Garnett has carefully spliced these old films, some decaying with age,to form a spookily seductive, even lyrical conversation between manand his destructive tendencies. A collection of printed ephemera rounds out the exhibition. Megan ShawPrelinger, proprietor of San Francisco's Prelinger Library, hasarranged a curio cabinet filled with documents that, in her words,"trace the evolution of public consciousness about the atomic threatin the U.S." Though these documents held exceptional weight during theaftermath of World War II, their graphic layouts are now so dated,kitschy to the point of hilarity (if it weren't for their content,that is.) Robert Dohrmann draws on this design sense in hislarge-scale vinyl banners, printed as faux advertisements for imaginedfilms on nuclear disaster. With titles such as "Doomtown: The Movie,"and "The Great Atomic Power," we might assume that these movies, ifactually made, would approach nuclear proliferation with the campydegree of hysteria displayed in so many 1950's horror flicks. Comic book artist Garret Izumi pokes a similarly serious sort of funat nuclear madness in "Critical Mass," his 1995 comic marking "fiftyyears of nuclear arms." Izumi and Dohrmann meld a strong graphicsensibility with the written word; their added dash of wry humorbalances against the overriding seriousness of the exhibition's theme,encouraging discussion while making light of the same sort of fearmongering that still leads to nuclear panic. Visit Simnuke at Rx Gallery until 25 August, on Wednesdays andThursdays from 3 to 9 p.m., and on Fridays and Saturdays from 5 to 9p.m. New "happy" gallery hours are from 5 to 8 pm on Thursdays andFridays. This means drink specials, we can only assume. links:Simnuke http://www.simnuke.org Simnuke Event covered by Molly Go Lightly w/ photos by William Francis in SFist http://www.sfist.com/archives/2005/07/18/simnuke_report.php Prelinger Library http://www.home.earthlink.net/~alysons/library.html Rx Gallery http://www.rxgallery.com/ The Bomb Project http://thebombproject.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, 16 Aug 2005 23:08:40 -0500 message-id: references: <200508160605.j7g65z4u019759@idx164.idx.net> from: ryan griffis subject: RHIZOME_RAW: Re: R2D2: Conceptual Art On Aug 16, 2005, at 1:05 AM, Eric Dymond wrote: > ryan griffis wrote: > but Ryan, don't you think that Kuspitt( who's earlier writings I read > carefully and enjoyed) was trying to align himself, and his > endorsements, with the "NEW", but his failed critical position was > attempting to take advantage of the very nomadic culture that we have > created? Why do I need his valdation? oh yeah, don't get me wrong... i'm not saying that you or any of us here need Kuspit's validation. i guess that's what i'm getting at, that even looking at his sudden interest as conferring any kind of authority might be counterproductive. my own position is one of disinterest. like you, i find some of his early writing really useful, and think that he lost me way before his interest in anything digital. i saw him give a talk on Louise Bourgeois that was downright painful. i don't know what his motivations are, and i don't think it matters much either. i can't imaging that he _needs_ to align himself with anything. i imagine he does what interests him (and those who read his stuff still). > Perhaps it has come as a shock to the New York Intellegentstia that we > have gone back overseas and to the West Coast (Howard Rheingold and > the EEF) for our inspiration. Shame..., shame on us all. Reminds me of > an old minimalist article on east coast/west coast..., but who cares > what coast you are now nearest too? speaking of Smithson... did you ever see that video he and Nancy Holt made about East Coast vs West Coast artists. Pretty funny. much more so than the infamous Robert Irwin - Frank Stella conversation. If only Tupac and Biggie could have laughed at themselves like that. ;) anyway... speaking of coasts, what about the coast in the middle (the Great Lakes)? as a recent LA expat and regularly nomadic person, i can say nomadism is way over romanticized. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 17 Aug 2005 07:39:14 +0200 (CEST) message-id: <20050817053914.2d7c521fd4@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Xmas xdef , xml XORing, xtravaganza 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 > read). > > http://www.onlamp.com/pub/a/onlamp/2005/06/30/artofprog.html > > Jason Van Anden > http://www.smileproject.com > + > -> 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 > *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ____________________________________________________ Sell on Yahoo! Auctions no fees. Bid on great items. http://auctions.yahoo.com/ + -> 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 date: Tue, 16 Aug 2005 23:58:35 -0700 message-id: <200508170658.j7h6wzoq018563@idx164.idx.net> references: no_parent from: basak senova subject: RHIZOME_RAW: NOMAD presents: ctrl_alt_del sound-art festival, istanbul 2005 |||||||||||||||||||||||||||||||||||||||||||||||||||||| ctrl_alt_del news letter #1 NOMAD presents: ctrl_alt_del – sound-art festival, istanbul 2005 ctrl_alt_del was the first sound-art festival realized in Turkey, in September 2003. It was a collaboration between NOMAD, Marres, Hedah, and Istanbul Technical University Center for Advanced Musical Studies (MIAM). All through the month of September 2003, several events were realized in two cities, Istanbul and Maastricht: (i) an introductory presentation, a CD launch, performances by two artists from the Netherlands and Turkey in Marres (Maastricht); (ii) a panel and workshop series at Istanbul Technical University, Faculty of Architecture and MIAM; (iii) a series of performances in Babylon, Istanbul during the opening of the 8th International Istanbul Biennial; (iv) a panel, and performance series at Marres.; (v) an exhibition at Marres; (vi) an audio CD which was distributed in Europe through Lowlands, and the international distribution of the CD-ROM was carried out by NOMAD. ctrl_alt_del aimed at introducing Turkey to sound-art via sound-art’s pioneering names, toget! her with panels and workshops. More then 30 people from 16 different countries contributed to the project in 2003. ctrl_alt_del will take place in the “positionings” section of the 9th International Istanbul Biennial. The project will launch on September 16th, 2005 with an opening night performance in the city at Balans Music hall, then will continue on the Bosphorus, the Golden Horn, Istanbul Technical University’s MIAM studios, laboratories, library and concert hall till September 22nd. The 2005 programme for the ctrl_alt_del project has been developed by Başak Şenova, Emre Erkal, Pieter Snapper, Erhan Muratoglu and Paul Devens. The festival’s three-folded conceptual frame - “the city”, “noise” and “open source”- will be worked into performances, a boat tour, sonic mapping, workshops, and presentations The project has received support from NOMAD Project Channel, Istanbul Technical University MIAM (Center for Advanced Musical Studies), Goethe Institut, Istanbul, Mondriaan Foundation, Consulate-General of the Netherlands, MOAB Foundation, Amsterdam, Radio Helsinki, Graz, EKW 14.90, Israel National Lottery Council for the Arts, Israeli Center for Digital Art, Holon, STEIM, Studio for Electro-Instrumental Music, Interspace-Sofia, Sabreen Studio, Ford Foundation, Middle East and North Africa, Kadir Has University, REC Magazine, Bant Magazine, e-tasarım and Senkron Publishing. ctrl_alt_del’s 2005 participants are: Zafer Aracagök (TR), Sakir Oguz Büyükberber (NL), DJ Selim Cenkel (TR), Banu Cennetoglu (TR), Eyal Danon (IL), Paul Devens (NL), every kid on speed - Antonio Dimitrov (MK), Galia Dimitrova (BG), Emre Erkal (TR), Tal Hadad (FR), Boris Hegenbart (DE), Robert van Heuman (NL). Petko Dourmana (BG), Can Karadogan (TR), Uri Katzenstein (IL), Sarp Keskiner (TR), REC (TR), Reuben De Latour (NZ), MIAM: Kerem Aksoy, Deniz Arat, Barkin Engin, Erdem Helvacioglu, Burak Tamer, Tolga Tuzun, Murat Yakin (TR), Phillip Misselwitz (DE), Wissam Murad (Palestine), Erhan Muratoğlu (TR), DJ Negma (TR), Klaus Obermeyer (DE), Matthieu Prat (FR), Wassim Qassis (Palestine), REC: Orçun Bastürk, Liz Fando, Tonguç Gökalp, Randiman Kakara, Saska (TR), Binya Reches (IL), Sabreen Studio (Filistin), Ran Slavin (IL), Basak Senova (TR), Pieter Snapper (US/TR), Can Turkinan (TR) and open call: Muni Monde, Özdemir Bayrak, Kerem Güzel, Koray Kantarcioglu (TR) and ! Solar Duo (TR/FI). http://project-ctrl-alt-del.com blog- http://www.nomad-tv.net/ctrl_alt_del http://www.nomad-tv.net |||||||||||||||||||||||||||||||||||||||||||||||||||||| NOMAD presents: ctrl_alt_del – işitsel-sanat festivali, istanbul 2005 Eylül 2005’te düzenlenecek olan ctrl_alt_del, 2003’te Türkiye’de düzenlenen ilk işitsel sanat festivali olarak, NOMAD*ın, Hollanda’dan Marres ve Hedah ve İstanbul Teknik Üniversitesi MIAM (Müzik İleri Araştırmalar Merkezi)’nin de işbirliğiyle gerçekleştirdiği bir etkinliktir. Eylül 2003 ayı içinde, İstanbul ve Maastricht’te gerçekleşen etkinlikler: (i) Marres’de (Maastricht) tanıtım toplantısı, projenin CD tanıtımı, Türk ve Hollandalı sanatçıların performansları; (ii) İstanbul Teknik Üniversitesi Mimarlık Fakültesi ve Müzik İleri Araştırmalar Merkezi (MIAM)’da bir panel ve bir seri atölye çalışması; (iii) 8. Uluslararası İstanbul Bienali açılışı sırasında İstanbul’da Babylon’da bir dizi performans; (iv) Marres”de bir panel ve performanslar dizisi; (v) Marres’de bir sergi; (vi) projenin CD’sinin Avrupa’daki dağıtımı Lowlands tarafından; (vii) CD-ROM’un uluslararası dağıtımı ise ! NOMAD tarafından yapılmıştır. ctrl_alt_del Türkiye’yi işitsel sanat ile buluşturma hedefini, bu dalın öncü isimlerini performanslar ve atölye çalışmaları aracılığı ile gerçekleştirmiştir. 2003 yılındaki bu festivale 16 ülkeden 30 isim katkıda bulunmuştur. ctrl_alt_del, 9. Uluslararası İstanbul Bienali’nin “konumlamalar” kapsamı içindedir. 16-22 Eylül 2005 tarihleri arasında, Balans Müzikhol’de, Boğaz ve Haliç’te, İstanbul Teknik Üniversitesi MIAM stüdyolarında, laboratuvarlarında, kütüphane ve konser salonunda yer alacaktır. ctrl_alt_del projesinin 2005 yılı programı Başak Şenova, Emre Erkal, Pieter Snapper, Erhan Muratoglu ve Paul Devens tarafından geliştirilmiştir. Kavramsal çercevesini oluşturan “kent”, “gürültü” ve “açık kaynak” temaları, performanslar, gemi turu ve işitsel haritalandırma, atölye çalışmaları ve sunuşlarla işlenecektir. Proje NOMAD Proje Kanalı, İstanbul Teknik Üniversitesi MIAM (Müzik İleri Araştırmalar Merkezi), Goethe Institut, İstanbul, Mondriaan Foundation, Amsterdam, Consulate-General of the Netherlands, MOAB Foundation, Radio Helsinki, Graz, EKW 14.90, Israel National Lottery Council for the Arts, Israeli Center for Digital Art, Holon, STEIM, Studio for Electro-Instrumental Music, Interspace-Sofia, Sabreen Studio, Ford Foundation, Orta Doğu ve Kuzey Afrika Şubesi, Kadir Has Üniversitesi, REC Dergisi, Bant Dergisi, e-tasarım ve Senkron Matbaacılık katkılarıyla gerçekleşmektedir. ctrl_alt_del projesinin 2005 yılı katılımcıları: Zafer Aracagök (TR), Şakir Oğuz Büyükberber (NL), DJ Selim Cenkel (TR), Banu Cennetoğlu (TR), Eyal Danon (IL), Paul Devens (NL), every kid on speed - Antonio Dimitrov (MK), Galia Dimitrova (BG), Emre Erkal (TR), Tal Hadad (FR), Boris Hegenbart (DE), Robert van Heuman (NL). Petko Dourmana (BG), Can Karadoğan (TR), Uri Katzenstein (IL), Sarp Keskiner (TR), REC (TR), Reuben De Latour (NZ), MIAM: Kerem Aksoy, Deniz Arat, Barkın Engin, Erdem Helvacıoğlu, Burak Tamer, Tolga Tuzun, Murat Yakın (TR), Phillip Misselwitz (DE), Wissam Murad (Filistin), Erhan Muratoğlu (TR), DJ Negma (TR), Klaus Obermeyer (DE), Matthieu Prat (FR), Wassim Qassis (Filistin), REC: Orçun Baştürk, Liz Fando, Tonguç Gökalp, Randıman Kakara, Saska (TR), Binya Reches (IL), Sabreen Studio (Filistin), Ran Slavin (IL), Başak Şenova (TR), Pieter Snapper (US/TR), Can Turkinan (TR) ve açık çağrı: Muni Monde, Özdemir Bayrak, Kerem Güzel,! Koray Kantarcıoğlu (TR) and Solar Duo (TR/FI). http://project-ctrl-alt-del.com blog- http://www.nomad-tv.net/ctrl_alt_del http://www.nomad-tv.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, 17 Aug 2005 12:04:41 +0200 message-id: <20050817120441.50241b7f.ae28980@127.0.0.1> references: no_parent from: {netEX} subject: RHIZOME_RAW: =?ISO-8859-1?Q?RRF=5Fin=5F=20August? [R][R][F]2005--->XP http://rrf2005.newmediafest.org global networking project by Agricola de Cologne is presenting in August 2005 different projects on EAST'05 - Making Things Better - Norwich Gallery /UK 02 July - 20 August - www.makingthingsbetter.org prog:ME - 1st Electronic Art Festival Rio de Janeiro/Brazil - 18 July - 28 August- www.progme.org 2nd Media Art Festival Yerewan/Armenia 09-30 August - www.accea.info see also "Women: Memory of Repression in Argentina" http://argentina.engad.org or Selection'03 by VideoChannel http://rrf2005.newmediafest.org/vchannel.htm ******************************************* info released by NetEX - networked experience http://netex.nmartproject.net . 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, 17 Aug 2005 09:18:40 -0700 message-id: <200508171618.j7hgiebi020860@idx164.idx.net> references: no_parent from: Gregory Chatonsky subject: RHIZOME_RAW: STANDARD, device for public phones STANDARD, dispositif pour cabines publiques / device for public phones Qui êtes-vous? Who are you? Téléphonez au 0 810 01 10 05 et participez à la Nuit Blanche 2005 à Paris. Phone to (33 1) 810 01 10 05 and participate to Nuit Blanche 2005 in Paris. + infos: www.incident.net/works/standard Gregory Chatonsky + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + Subscribers to Rhizome are subject to the 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, 17 Aug 2005 09:19:22 -0700 message-id: <200508171619.j7hgjm8l021053@idx164.idx.net> references: no_parent from: Gregory Chatonsky subject: RHIZOME_RAW: STANDARD,device for public phones STANDARD, dispositif pour cabines publiques / device for public phones Qui êtes-vous? Who are you? Téléphonez au 0 810 01 10 05 et participez à la Nuit Blanche 2005 à Paris. Phone to (33 1) 810 01 10 05 and participate to Nuit Blanche 2005 in Paris. + infos: www.incident.net/works/standard Gregory Chatonsky + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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 -> 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 date: Wed, 17 Aug 2005 09:31:00 -0700 message-id: <200508171631.j7hgv0c3024293@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: ACTORS needed for performance art show at PS 122 NEW YORK We are looking for actors, men and women between the ages of 20-30 who are outgoing, cute, sexy and willing to adapt to unusual circumstances. You will not have to remember lines, but will play a pivotal role in a major performance piece which has been chosen to open the new season at the prestigous PS122 in the East Village. The directors of this performance have a history as fine artists and have performed their installations in many important galleries including PS 1 MOMA, and were a part of the Whitney Biennial 2002. This performance is participatory, with the audience playing a major part. Your roles will be to navigate the audience through the installation, as well as appear in the performance itself. You will need to be a little spontaneous, feel good about interacting with the audience.DATES: You will need to be available from and inclusive of 2-6th September for an orientation and two rehearsals, then performances from 7-15 September The performances are every evening at 7pm and we will need you there from 6:30 until 9 or 9:30. For taking part in this production you will receive the honorarium of membership from PS122 which entitles you to discounts and other privileges at New York's best known experimental venue. You will be listed in the program and will be considered a major part of the production. If you are interested and available for the dates mentioned, please send via email a brief resume, a photo of yourself and why you think this sound like the right thing for you in a paragraph or so.. This is an equal opprtunity job, all ethnic backrounds are considered, we are most interested in people who are excited, ambitious and want to take part in a production that is out-of-the-box and will most likely gain much press. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + 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 -> 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 date: Wed, 17 Aug 2005 20:08:16 +0200 message-id: <9b2c7fdb-fe07-47fa-86aa-7c1f7ae56bd1@nznl.com> references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Aug 11, 2005 - Aug 17, 2005 nznl.com digest Aug 11, 2005 - Aug 17, 2005 Posts 1171 - 1177 http://nznl.com 1171. Aug 11, 2005 GLASS, 2009, WHITE CUBE, ABSTRACT PAINTINGS, GLASS fireworks file http://nznl.com/geert/pop.php?dag=20050811 1172. Aug 12, 2005 3 BLOBS IN THE PROCESS OF BECOMING AN ABSTRACT PAINTING, 2009, WHITE CUBE, BLOBS fireworks file http://nznl.com/geert/pop.php?dag=20050812 1173. Aug 13, 2005 PLAN FOR A BLIND SPOT, 2009, WHITE CUBE, BLIND SPOT fireworks file http://nznl.com/geert/pop.php?dag=20050813 1174. Aug 14, 2005 (untitled flash movie) http://nznl.com/geert/pop.php?dag=20050814 1175. Aug 15, 2005 ALL THE BOOKS I SHOULD HAVE READ BUT DIDN'T AND WILL NEVER NOW, 2009, DUMMIES, SUPERIMPOSED TITLES, WHITE CUBE, BOOK SHELF fireworks file http://nznl.com/geert/pop.php?dag=20050815 1176. Aug 16, 2005 PLAN FOR THE YEAR 2011, 2009, LIST web page http://nznl.com/geert/pop.php?dag=20050816 1177. Aug 17, 2005 PLAN FOR A WHITE CUBE UNTOUCHED BY ENCOMPASSING DISASTER, 2009, WHITE CUBE, SENSURROUND flash movie http://nznl.com/geert/pop.php?dag=20050817 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 17 Aug 2005 11:09:54 -0700 message-id: <200508171809.j7hi9sfp017497@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: hackitectura by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34865 + hackitectura + + + hackitectura is a posse of architects, hackers and social activists experimenting in the emerging territories of recombining spatial cyborgs composed by physical spaces, ICT networks and bodies + + + Biography Hackitectura (Barcelona, Spain) is a group of computer programmers, musicians and video artists from Barcelona who use the Pure Data (PD) tools for their work. Pure Data is also an applicaton (tool), which makes it possible for a person to design its own tools, and is suitable for live performances and/or streaming. The Hackitectura have by themselves designed a tool for interactive co-creation with technologically underqualified individuals. The group are totally anticorporate sci-fi citizens. Their actions include an international event that interconnected four cities on three continents, and everything was happening in real time, with free tools and open hands. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 17 Aug 2005 13:57:47 -0700 message-id: <200508172057.j7hkvlnt008151@idx164.idx.net> references: no_parent from: Stacy Switzer subject: RHIZOME_RAW: Tactical Ice Cream Unit at Grand Arts Grand Arts presents Center for Tactical Magic Tactical Ice Cream Unit September 2 – October 15, 2005 Opening reception & ice cream social: Friday, September 2, 2005 6:00 – 9:00pm Artist Talk: Saturday, September 3, 2005 2:00pm PRESS RELEASE August 2, 2005 Grand Arts is pleased to present the latest project from the Bay Area-based Center for Tactical Magic, the Tactical Ice Cream Unit. Combining a number of successful activist strategies (Food-Not-Bombs, Copwatch, Indymedia, infoshops, etc.) into one mega-mobile, the TICU is the Voltron-like alter ego of the cops’ mobile command center. Incorporating an alternative strategy of utopian potlatch, the Tactical Ice Cream Unit is envisioned primarily as a mobile distribution center for free ice cream and information produced by local community groups. Although the TICU appears to be a mild-mannered vending vehicle, it harbors a host of high-tech surveillance devices, including a 12-camera video surveillance system, GPS with satellite internet, and a media center capable of disseminating live audio/video. More than creating an undercover Mission: Impossible aesthetic, the TICU’s full surveillance suite provides grassroots access to mobile communications technologies. Whether used to produce independent community news or to monitor corporate dumping or police activity, the TICU will investigate the limits of “neutral technologies”. At various times the TICU will invite visitors to explore the interior, view documentation of the street operations, or collaborate on “missions”. In addition to it’s regular cruising of local neighborhoods and streets, community groups may suggest uses for the Tactical Ice Cream Unit such as beach clean-up, block parties or supporting a strike. The Unit is prepared to augment any event and should the TICU wander into the vicinity of a rally, protest or civil uprising, the Unit is equipped to serve as a mobile oasis, where the activists can quench their thirst, reload their cameras, document unfolding events, and protect themselves from various airborne dispersants. In short, the TICU seeks to protect, provide, energize, invigorate and educate its audience. Whether lurking in a corporate park or chillin’ in a neighborhood park, the Tactical Ice Cream Unit promises to attract people from all walks of life, thus serving as a mobile nexus for community activities while providing frosty treats and food-for-thought. The Center for Tactical Magic is an organization dedicated to the extensive research, development, and deployment of the pragmatic system known as Tactical Magic. A fusion force summoned from the ways of the artist, the magician, the ninja, and the private investigator, Tactical Magic is an amalgam of disparate arts invoked for the purpose of actively addressing Power on individual, communal, and transnational fronts. The Tactical Ice Cream Unit would like to extend an invitation to you to join an elite corps of embedded journalists during our ground operations in Kansas City. A few, select journalists will be permitted to ride along with the TICU crew as we begin our civic tour of duty. Participating members of the TICU Embedded Journalist Corps (EJC) will gain a behind-the-scenes and in-the-streets look at the Tactical Ice Cream Unit. This revolutionary, new project designed by the Center for Tactical Magic is preparing to take to the streets by August 20. Contact us if you feel you are up to the challenge! For further information, contact: April Calahan-McDonald Grand Arts Assistant Director (816) 421-6887 gallery@grandarts.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, 18 Aug 2005 00:25:24 +0200 message-id: <20050817222555.cruw2457.amsfep20-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: The Scroll The Release from Seasoning of the Cathedral Scroll & subsequent Burning of its Seasoning Cover (flash file 1237 kb) greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee The structure of the story is based on four main elements: EarthBase 1, is the mobile research station build to protect the explorer as he recouperates, and to be the headquarters of his research after his rehabilitation. Chief Willy Underfoot is the rescue beacon built out of the wreckage of his ill-fated craft, that he uses to contact the past in hopes of rescue. Red Toby and Scarlet O’Hara are the Exploratory Earth Rovers that he builds to explore the planet beyond his own reach, and the Hunter Gatherer mission is a mission to map his connection to the communities of Earth, and hopefully help him find a secure place within them. EarthBase 1 is a custom made nylon tent designed to evoke a scientific research station. It is the home of all other CBTSA elements, including the Earth Rovers, though they may from time to time be wandering the earth on mission. Chief Willy Underfoot is a converted Weber Grill, equipped with a GPS, Microcontroller and Webserver that allows it to serve its location to the web. The web page served displays the latitude and longitude of the beacon, and entreats viewers to visit the CBTSA at that location. Red Toby and Scarlet O'Hara are inflatable red spherical rovers one large, one smaller, equipped with several sensors that are accessible by GSM technology. Curious explorers or visitors to EarthBase 1 can retrieve images from the rovers using their cellphones. The Hunter Gatherer Mission is an ongoing series of expeditions in which we have deployed a fleet of Exploratory Rovers into the environment surrounding EarthBase 1 to gather physical samples and photographs from the indigenous population. Each HG Rover is piloted by close friends and relations of the CBTSA into their respective communities. These pilots collect samples from their own friends and acquaintances and return them to the CBTSA. To date, more than ten missions have been launched from our facilities at EarthBase 1, yielding more than 200 samples. By this method we can create a detailed image of the societies and cultures within our reach. All of these elements woven together tell the story of someone who has lost his way, but has not given in to despair. It is intended to explore ideas of perception, about constructing realities that support our own desires and expectations rather than allowing ourselves to be constrained by constructs designed to benefit others. Our experience in life is our own to create, and our ability to do so is limited only by our will and imagination. + + + Biography Charles Truett has been exploring space for over 34 years. Currently living and working in Brooklyn, New York, Charles studied painting at the University of Illinois, Chicago, and received his MFA from the Parsons School of Design in New York City. + -> 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 date: Wed, 17 Aug 2005 23:53:23 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: dangers in marketing How many sick kids in Ronald MacDonald hospitals died of fright when the Ronald MacDonald clown walked into their room? -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +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 into the game screen. Other projects such as Robot Lab's "Jukebots" were repurposed car manufacturing robots that spin and scratch records on turntables. It was nice to see a combination of hi-tech robotics next to the very "low-tech" medium of vinyl (especially since many of the kids attending the event might not even know what a "vinyl record" was. Also on the floor was "Musicbox", a souped up version of the classic music windup toy where instead of metal pins, used bright LEDs On the subject of kids, the Future of Exploration pavilion featured "STINKY" a submersible robot built by the Falcon robotics team at Carl Hayden High School in Arizona. Their project was featured in WIRED in an article called "La Vida Robot", as their hand-crafted robot beat MIT researchers in the "national underwater bot championship". Nearby, in the "Transportation" pavilion, was the "Moller Skycar", a flying car that looks like a 1950s red baron bomber. Videos playing beside it showed the car in action, but I have a feeling you have to be present at a test flight to really believe in it as the future of transportation. The "Future of Health" pavilion was perhaps the most bizarre of all the collections of projects on display. Here you could see a set of real-live "cloned" cats. Also on display was Luminetx's "Veinviewer", an infrared light that when projected on the patient identifies which veins are suitable for injection or blood withdrawal. Also the "Power Assist Suit" by Japan's Kanagawa Institute of Technology is a full-body hydraulic outfit that assists senior citizens or handicapped people by calculating how much air to release to the "muscles" based on sensor input from the wearer's limbs. There was even a cyborg of Science fiction writer Phillip K. Dick that understood natural language enough for visitors to ask him questions. Unfortunately, I didn't get a chance to ask what the next Hollywood inflated-budget remake of his novels would be? Oh well, maybe next time. Across the room from Health was the "Future of Design", which featured projects that attempted to seamlessly integrate technology into everyday experience. Sweden's Interactive Institute showed their "Energy Curtain" an augmented curtain that stores energy from the sun on flexible solar panels during the day and lights up the opposite side at night. Also integrating technology into fabric was "Urban Chameleon", a set of computationally enhanced skirts that monitored air quality, movement, and touch and displayed them on the surface of the garments. Adding interaction into the mix, the "Future of Communication" featured projects that examined how technology will (and has already) change (d) the way we connect to people over distance and within close proximity. The "Acceleglove" by students at George Washington University, is a glove that translates sign language into written characters and speech to allow for a type of "dictation tool" for the deaf. Also here was "Mobile Feelings" by artists Christa Sommerer and Laurent Mignonneau. The project consisted of two gourds that that allowed each user to share their pulse rates with each other across a minimal distance. Finally, the "Security" pavilion focused on projects that demonstrated how "secure" we might be if we had devices that could detect unwanted visitors from miles away and conduct automated background checks on them as they approached. One of the more interesting projects was "Brain Fingerprinting", a device with electrodes that monitors brain activity and can detect when the person recognizes an image they had previously seen. Forget lie detectors, in the future nothing will be a secret. As this year's NextFest came to a close, the question remained as to how much of this "techno fetishism" stuff will ever make it to market? When will I be able to walk into my local car dealer and take a test "fly" in the Moller Sky Car? If the future is closer than we think, this might be something that will happen in our lifetime. If not, we might find out what's "next" by dreaming it up in a bathroom stall. In any case, Wired's world fair of sorts was a good reminder that we are heading towards the future at an accelerated pace. The question that still needs addressing is: What will we do once we get there? -- Jonah Brucker-Cohen + -> 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 date: Wed, 17 Aug 2005 22:26:49 -0700 message-id: <20050817222649.3c49cb2849c6d1d315f7c3b20f1b9c0f.ea560e11f5.wbe@email.email.secureserver.net> references: no_parent from: eduardo@navasse.net subject: RHIZOME_RAW: Teknokultura Revista on-line Teknokultura Revista on-line Convocatoria /Call for submisions 2005-2006 English Teknokultura, on-line journal of the University of Puerto Rico's Social Sciences Faculty (Ro Piedras Campus), announces its opening for contributions to evaluate articles and electronic art relevant to the integration of technology to daily lives and labor. Book and website reviews, literary work, and cartoons associated to these themes will also be evaluated. For this issue will be given special consideration to works related to wireless technology. The articles should be in the following the format: a.. 15-20 pages, double space,font size 12 b.. PC format (Word, RTF or open office) c.. Follow APA style (American Psychological Asossioation) d.. Include Abstract (100-200 words aprox.) e.. Contributions could be summited in Spanish, English or portuguesse All materials should be sent to Heidi J. Figueroa Sarriera, Editor, to the following e-mail address: teknok@rrpac.upr.clu.edu For more information please contact Heidi J. Figueroa Sarriera by phone at 787-764-0000 x. 7917, send email to hfiguero@coqui.net or visit our site: http://teknokultura.rrp.upr.edu/contactanos/call%20for%20contributions.htm Espaol La revista online Teknokultura, de la Facultad de Ciencias Sociales de la Universidad de Puerto Rico, Recinto de Ro Piedras, anuncia la convocatoria para evaluar artculos y obras de arte electrnico relacionados a la integracin de la tecnologa a la vida cotidiana y el mundo del trabajo. Tambin recibimos reseas de libros, actividades y websites, piezas literarias y caricaturas asociadas a estos temas. Para este numero se dar especial consideracin a trabajos relacionados a tecnologas inalmbricas (wireless) En el caso de artculos de discusin, el formato debe ser el siguiente: a.. Tener de 15 a 20 pginas a doble espacio, tamao de letra 12 b.. Estar escrito en plataforma PC (RTF, Word o Open Office) c.. Utilizar la convencin de publicacin APA (American Psychological Association) d.. Incluir un abstract o resumen (100-150 palabras aprox.) e.. Las contribuciones de los proyectos podrn ser en espaol, ingls o portugus. El material debe ser enviado a la atencin de Heidi J. Figueroa Sarriera, Editora, al siguiente correo electrnico: teknok@rrpac.upr.clu.edu Para informacin adicional puede comunicarse con Heidi J. Figueroa en el telfono 787-764-0000 ext. 7917, hfiguero@coqui.net o viste nuestro site: http://teknokultura.rrp.upr.edu/contactanos/call%20for%20contributions.htm Heidi J. Figueroa Sarriera e-ditora de Teknokultura Universidad de Puerto Rico Recinto de Ro Piedras Facultad de Ciencias Sociales PO Box 23345 San Juan, Puerto Rico 00931-3345 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Wed, 17 Aug 2005 23:27:57 -0700 message-id: <200508180627.j7i6rvsu027797@idx164.idx.net> references: no_parent from: Anje Roosjen subject: RHIZOME_RAW: kloone4000 DNA Workshop by Adam Zaretksy REGISTER NOW FOR PARTICIPATION IN DNA WORKSHOP OCTOBER 4, 2005 kloone4000 Hybrid DNA Isolation Art Lab, workshop by Adam Zaretsky (USA) Location: retort project space, Aalsmeerweg 103 Amsterdam Date: October 4th 2005, 1- 4 PM Participation fee: 5 euro Registration by email: reservation required: send your name, profession, email address and telephone number to kloone@showgirls-international.com kloone4000 Hybrid DNA Isolation Art Lab How to Extract DNA from Anything Living in the Laboratory or in your Kitchen, a Compare and Contrast Laboratory and Hobbyist Workshop DNA (deoxyribonucleic acid) is found in all living cells. These cells can be of plant, animal, fungus, bacterial protozoa and even viral particles. Many varieties of samples can be taken from various food, pets, pests, human bodies, laboratories and free or not so free living portions of the outdoors. Some recently alive ‘materials’ that you think might not have DNA are worth testing through extraction. Different cellular or multicellular organisms can be encouraged to grow by giving them food and an otherwise sterile and comfortable place to live. The definition of food and comfort is dependant on which living being it is that you want to sample. Sometimes ‘volunteer’ organisms can be attracted to an experimental food laden ‘homes.’ Participants are requested to bring one or more samples of living, growing, raw or recently alive materials (specifications will follow after registration) for Isolation and Purification of the DNA of these samples. Details of the procedure are available online: http://gslc.genetics.utah.edu/units/activities/extraction/ Adam Zaretsky will guide this hands-on lab and discussion on extracting and Isolating Hybrid DNA. Professor Adam Zaretsky is a bio-artist, working as a research affiliate in Arnold Demain's Laboratory for Industrial Microbiology and Fermentation in the Massachusetts Institute of Technology's (MIT) Department of Biology. He received a Master of Fine Arts in 1999 from the School of the Art Institute of Chicago, where he studied and researched with 'transgenic' artist Eduardo Kac. Since then, he has worked with such pioneers of bio-art as Joe Davis, Oron Catts and Ionat Zurr. Zaretsky also taught an art and biology studio class in fall 2001 as a visiting artist at San Francisco State University. Besides the bio-art installations on which he is working, Zaretsky has created a large body of digital artworks, collage and photography. kloone4000 is a research project by artists and scientists about cloning, an exhibition, lecture programme, debates and workshops in Retort project space: Aalsmeerweg 103 Amsterdam. September 1 - October 15 2005. opening September 16 2005 6 p.m. http://www.kloone.anjeroosjen.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, 17 Aug 2005 23:34:59 -0700 message-id: <200508180634.j7i6yxmc030859@idx164.idx.net> references: no_parent from: Anje Roosjen subject: RHIZOME_RAW: opening kloone4000 project Amsterdam 6 pm kloone4000 is about to solve a tricky problem. kloone4000 thinks genomics is a mysterious word. kloone4000 wants to tempt artists and scientists into cross-fertilization. kloone4000 is curious about the reactions of the public. kloone4000 sees major opportunities for the imagination in cloning. The art- and science project kloone4000 will focus this fall on this controversial matter by encouraging artists (oa. Adam Zaretsky, Koen Vanmechelen) and scientists (ao. Inez de Beaufort, Robert Zwijnenberg) to cooperate in a research project, an exhibition and a series of lectures. Kloone4000 presents work of artists who are fascinated by images of the future and the possibilities of technology and science. Their interest in genetic research is a basis for cooperation and cross fertilisation with scientists who are interested in the possibilities of imagination. Loréne Bourguignon makes androgynous double portraits of herself and her father. Netty van Osch has found the beauty of children with congenital deformations in her ceramic installations. Shunji Hori researches in his photography, installations and video work the urge to physically fuse in love relations. Anje Roosjen makes paintings of extremely symmetrical twins based on altered photographs of children. Among the other participating artists are Wim Hardeman, Lisa Holden (manipulated photography), Silvia B., Chrystl Rijkeboer and Joanneke Meester (objects). Guest artists are ao. Erika Biddle (US), Caitlin Masley (US), Olga Ast (US), Rune Peitersen (DK), Agnes Maes (BE) and Koen Vanmechelen (BE). Recurring topics are identity and projection of identity, the relation of the individual to the mass population, perfecting the body and beauty standards and the power and magic of visionary images of the future. Original perspectives on ethics, philosophy and gen technology will find their way into the lecture- and discussion programme, which is organized in cooperation with the Arts and Genomics Centre. This allows the public to get a feel for the topics and the interdisciplinairy work style. There will be a.o. lectures by the Belgian artist Koen Vanmechelen about his project Cosmopolitan Chicken, professor of medical ethics Inez de Beaufort, philosopher dr. Bas Haring (known from his television program Stof), Taco Stolk about Genetic Design as specialization at art academy, professor of philosophy Hub Zwart and philosopher of technology Martijntje Smits. Microbiologist Bertus Beaumont, from the university of Auckland (New-Zealand), will reflect on current events and answer ‘difficult’ questions in the kloone4000 weblog. The american bio-artist Adam Zaretsky will do a DNA hybrid isolation workshop for artists. Kloone4000 is besides an exhibition and lectures also particulary a research project in which the individual interests and fascinations of artists are joined, relevant experts are invited to allow the work to evolve and get to know each others work area. Projects within this research are The tragedy of beauty, Who is my father?, who is my mother?, Am I my twin and Art as knowledge. The results of the research will be visible in the project space as an installation that can change every day. The project space functions on weekdays as an open studio, which is freely accessible for the public. Dates project: 1 September to 15 October 2005 Opening: 16 September 2005, including a lecture by Koen Vanmechelen Closure event: 15 October 2005, including final debate Location: project space Retort, Aalsmeerweg 103, 1059 AG Amsterdam, Holland Hours: Mo to Sa 11 am – 7 pm (check hours for lectures) Website: http://www.kloone.anjeroosjen.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, 18 Aug 2005 04:06:21 -0700 message-id: <200508181106.j7ib6l4g017887@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: New Media Arts Research Blog This blog is part of my MA thesis and preparation for my PhD. I am writing about the following topics: >Historical representation within New Media Arts >Sub-realities, or mentally superficial experienced realities >New Media Technologies and their impact on society >My own definitions within the framework of my research >The musical compositional characteristics of art >Mobile Technology >Subjectivity of art >Ageing science + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php - Wyomings Powder River Basin - A Visit To Dupont On The Brandywine - Colorado Springs: Global Positioning, Time, and More - Reflections On Chicago - Dutch Crater On Hold - CLUI Land Use Database Upgrades ---- Also, on Display at CLUI/LA: Southern California Landscape Information Display http://www.clui.org/clui_4_1/ondisplay/socaland/index.html ---- Thank you for your continued interest in the Center for Land Use Interpretation! ---- The CLUI Los Angeles Exhibit Hall is open noon to five PM, Fridays, Saturdays, and Sundays, or by appointment. Admission is free. Directions: http://www.clui.org/clui_4_1/contact/contact.html + -> 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 date: Thu, 18 Aug 2005 04:07:05 -0700 message-id: <200508181107.j7ib75kt018110@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: New Media Arts Research Blog www.silviokohs.com This blog is part of my MA thesis and preparation for my PhD. I am writing about the following topics: >Historical representation within New Media Arts >Sub-realities, or mentally superficial experienced realities >New Media Technologies and their impact on society >My own definitions within the framework of my research >The musical compositional characteristics of art >Mobile Technology >Subjectivity of art >Ageing science + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Thu, 18 Aug 2005 08:51:01 -0700 message-id: <200508181551.j7ifp1ou022431@idx164.idx.net> references: no_parent from: Marc-Charles McNulty subject: RHIZOME_RAW: Call for proposals for A/V 2006 season Interested in showing your work at A\V? We are currently seeking sound and visual artists to fill our 2005-2006 season. We are particulary interested in integrated sound/visual installation, but welcome proposals for work in any media. The deadline for submissions of proposals for shows January-June 2006 is October 1, 2005. For more information, please visit our website: http://www.avspace.org/ Online sumbissions form: http://www.avspace.org/submissions.php About A\V: Our mission is to reflect the wide range of the contemporary arts today, from photography, painting, and sculpture, to contemporary classical and electronic music, to noise art, multimedia installation, and public art. Equal parts art gallery, concert hall, and computer music studio, we aim to provide an open and flexible space that welcomes a diversity of genres and breaks down the distinctions between high and low art. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php they were ongoing and up-to-date news messages. With Loogie.net an article can be arranged to your own discretion and you can infiltrate it with your own input. Thus words can be replaced in articles: Whether you let the pope beatify your favorite pop star instead of mother Theresa or you offering yourself to work as a negotiator for Palestine, it is open to you. The text will not only be read out and sent away - it will also remain stored and be indexed by Google e.g. and in such a way it will misinform and confuse other users. Loogie.net News is highly unusual in that it offers news messages compiled solely by computer algorithms without human intervention. . About the artist . Marc Lee *1969, in Zurich Exhibitions (Selection): 2004 Algorithmic Revolution, ZKM Medeinmuseum, Karlsruhe, Germany Tainment, Neue Gesellschaft fr Bildende Kunst (NGBK), Berlin, Germany Switch Award 2004, Museum for Communication, Bern, Switzerland "News, i'm Lovin it", Foyer of the TV Productioncenter (TPC), Zrich, Switzerland Garage 2004 Festival, Stralsund, Germany Wozownia Art Gallery, Presented from the Transmediale Festival, Torun, Poland Virtually Swiss, Presentiert von [plug_in] Forum fr neue Medien Basel fr Jiff Mind, Jeonju, Korea Transmediale.04 Festival "Fly Utopia!", Berlin, Germany Loogie.net TV,6 days and each day 2 hours Live on TV, OKB Chanel, Berlin, Germany 2003 Art Bit Collection, ICC, Tokyo, Japan loogie.net, [plug_in] Forum for new Media, Basel, Switzerland Ars Electronica, CODE Campus, Linz, Austria Metaworx in Basel, Geneva and Zrich, Switzerland Viper 03 Art Festival, Basel, Switzerland 2002 Open_Source_Art_Hack, Zenith Media Lounge, New Museum, New York, USA digital-is-not-analog 2002, Campobasso, Italy Transmediale.02 Festival "Go Public!", Berlin, Germany Read_Me Festival 1.2 Macros-Center, Moscow, Russia Kontrollfelder, hartware Dortmund, Germany Art Bit Collection, ICC, Tokyo, Japan Awards (Selection): 2003 Foerderpreis 2003, Award of University of Art and Design, HGK Zurich, Switzerland Honorary Mentions, media art festival Ars Electronica Prices, Linz 2002 Transmediale Award 2002 in the category "Software", Berlin Transmediale Public Vote Award 2002 in the categories "Interaction" and "Software", Berlin Read_Me Festival 2002, "Honorary Mention", Moscow Viper Swiss Award 2002 "for Newcomers", Basel ******************************************* "Project Features" http://features.nmartproject.net which will feature during 2005 each month another exciting art project using net based media for artistic expression. . The 1st issue was featuring in January 2005 --> Doron Golan (USA) and his streaming video "Tale of Crow" (2004) . The 2nd issue was featuring in February 2005---> Simon Fildes and Katrina McPherson (UK) and their interactive piece, entitled: "Ardnamurchan Zillij" (2004) . The 3rd issue was featuring in March 2005---> Mary Flanagan (USA) and her interactive net piece, entitled: "[six.circles]" (2004) . The 4th issue was featuring in April/May 2005---> Emily Hermant (CA) and her interactive net piece, entitled: "The Lies Project" (2004) . The 5th issue was featuring in June 2005---> Geert Dekkers (the Netherlands) and his interactive weblog, entitled: "a drawing a day on nznl.com" (ongoing) # all projects and more details on http://features.nmartproject.net . ***************************************************** This release can be found also on NetEx - networked experience http://netex.nmartproject.net/index.php?blog=1&cat=56 ***************************************************** "Project Features" http://features.nmartproject.net is curated by Agricola de Cologne . [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net experimental platform for Art and New Media operating from Cologne/Germany . contacts and artists proposals: 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 date: Thu, 18 Aug 2005 11:41:07 -0500 message-id: <2a50523b395096a38ce2c7bab597cbe6@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: early visual media http://www.visual-media.be/death-humour.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 _Gee.[w]eights+Tee.Nine[ohoneone]s _rhett[butleresque].whore.ic[kiness.as.affectivity.is.sucked.down.a.hollywood.colonialised.straw] _f[awn]ootage.looped.in.mon.eyed.repe[d]ata_ _distract/destract/co-opt/largess/trauma/dawning/draconian/dealings/justified/pain_[a]bouts .observation.[st(a)r.(g)ait]jacketing ......................[[vs]]........................ .social.wurdage.in.a.commentary.cu[s]p http://www.hotkey.net.au/~netwurker/ . + -> 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 date: Thu, 18 Aug 2005 12:59:47 -0400 message-id: references: <200508082046.j78kkaak032236@idx164.idx.net> from: Francis Hwang subject: Re: RHIZOME_RAW: Place In Place Of: Berlin Cool project. I've visited Berlin a few times, and I find it an astounding place. (You could pigeonhole me as another Brooklyn hipster who thinks Berlin is cool 'cause it's all Euro and post-Imperial and electroclash and whatnot. But, hey, be nice.) But where's the RSS feed? If it doesn't have an RSS feed, I'm going to forget it exists. Francis Hwang Director of Technology Rhizome.org phone: 212-219-1288x202 AIM: francisrhizome + + + On Aug 8, 2005, at 4:46 PM, jeremy beaudry wrote: > My colleague and I are newly settled in Berlin as artists-in-residence > at the Karl Hofer Gesellschaft through the end of August. We'd like > to share with you an online documentation / critical inquiry project > which we have been maintaining during our time here: > > http://berlin.placeinplaceof.net/ > > Essentially, it is two-column blog which we are using to post > synchronic investigations / interpretations of our experience of > Berlin -- expect as much media as we can feasibly cram into a web > page: text, image, audio, video, etc. As the beta version of more > expansive place blog project I'm developing, this is definitely a work > in progress and, as such, there may be glitches -- any feedback > regarding these and the project in general would be greatly > appreciated. > > Best. > > Jeremy Beaudry > > - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - > jeremy beaudry > http://meaning.boxwith.com > http://opensource.boxwith.com > http://BERLIN.placeinplaceof.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 > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 18 Aug 2005 11:11 message-id: references: no_parent from: carlos katastrofsky subject: RHIZOME_RAW: blog of calls a few days ago i started a weblog listing calls for submission in a variety of fields affiliated with media, art and theory: http://blog.subnet.at/calls regards carlos + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Reel Venus Film Festival is an eclectic 3 Day showcase of current mainstream and alternative Film and Video Shorts which have been directed by women filmmakers and video artists from the US and abroad. Notable filmmakers and video artists whose work has screened to date are: Monika Bravo, Barbara Hammer, Marie Losier, Annie J. Howell, Eva Saks, Benita Raphan, Ruth Sergel, Dawn Westlake, Shari Frilot, Kyra Garrigue, Moira Tierney, Frances Nkara and Hima B. For this year's schedule, please check out the following websites: www.symphonyspace.org www.reelvenus.com -------------------------------------------------------------------- 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 -> 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 date: Thu, 18 Aug 2005 20:15:49 +0200 message-id: references: from: Jeremy Beaudry subject: Re: RHIZOME_RAW: Place In Place Of: Berlin > > But where's the RSS feed? If it doesn't have an RSS feed, I'm going > to forget it exists. > Ahhhh. Duly noted and remedied. I've created a feed here: http:// berlin.placeinplaceof.net/index.xml -- although, please excuse my inelegant handling of article links by pointing them all to the site index url. I'm working out how to handle archiving the posts and how users can access / remix / configure them according to their preferences. Funny, I've run into a few Brooklyn hipsters here... Thanks. jb - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - jeremy beaudry http://meaning.boxwith.com http://opensource.boxwith.com http://BERLIN.placeinplaceof.net On Aug 18, 2005, at 6:59 PM, Francis Hwang wrote: > Cool project. I've visited Berlin a few times, and I find it an > astounding place. (You could pigeonhole me as another Brooklyn > hipster who thinks Berlin is cool 'cause it's all Euro and post- > Imperial and electroclash and whatnot. But, hey, be nice.) > > But where's the RSS feed? If it doesn't have an RSS feed, I'm going > to forget it exists. > > Francis Hwang > Director of Technology > Rhizome.org > phone: 212-219-1288x202 > AIM: francisrhizome > + + + > On Aug 8, 2005, at 4:46 PM, jeremy beaudry wrote: > > >> My colleague and I are newly settled in Berlin as artists-in- >> residence at the Karl Hofer Gesellschaft through the end of >> August. We'd like to share with you an online documentation / >> critical inquiry project which we have been maintaining during our >> time here: >> >> http://berlin.placeinplaceof.net/ >> >> Essentially, it is two-column blog which we are using to post >> synchronic investigations / interpretations of our experience of >> Berlin -- expect as much media as we can feasibly cram into a web >> page: text, image, audio, video, etc. As the beta version of more >> expansive place blog project I'm developing, this is definitely a >> work in progress and, as such, there may be glitches -- any >> feedback regarding these and the project in general would be >> greatly appreciated. >> >> Best. >> >> Jeremy Beaudry >> >> - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - >> - - - >> jeremy beaudry >> http://meaning.boxwith.com >> http://opensource.boxwith.com >> http://BERLIN.placeinplaceof.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 >> >> > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > > + Cognitive process and discourseNarrative 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 movementImage 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 -> 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 date: Thu, 18 Aug 2005 14:46:44 -0400 message-id: references: no_parent from: US Department of Art & Technology subject: RHIZOME_RAW: Situational Tour : Crawford, Texas US Department of Art & Technology Washington, DC Office of the Press Secretary, press@usdat.us For Immediate Release: August 18, 2005 SITUATIONAL TOUR : CRAWFORD, TEXAS A Report on America's Mom and Her Challenge to the President AUGUST 18 - 20, 2005 http://www.usdat.us/secretary CRAWFORD, Texas - The US Department of Art & Technology announces the SITUATIONAL TOUR of Crawford, Texas, August 18 - 20, 2005 - http://www.usdat.us/secretary. US DAT Secretary-at-Large Randall M. Packer will report on the ongoing saga of America's Mom, Cindy Sheehan, and her challenge to the President's extravagant lies and deception. The Secretary-at-Large will be accompanied by Yauger, his Under Secretary of the Bureau for the Transformation of Reality. An astonishing phenomenon has occurred in the flatlands of Texas - the peace movement invaded the President's sleepy ranch paradise. It all started when Cindy Sheehan, a mom from California, lost her son and decided the War in Iraq was not so noble after all. Employing the Department's state-of-the-art mobile communications system to provide immediate coverage of the unfolding challenge to the world's most powerful man, US DAT invites a global audience to follow the critical lens of the Secretary-at-Large. The SITUATIONAL TOUR of Crawford, Texas is a segment in the ongoing series, "A Season in Hell," the Department's declaration of these perilous times in post-apocalyptic America. Visit the US DAT Website to view the Secretary-at-Large's Blog-Chronicles; the Media Deconstruction Kit, live manipulation of Fox News; Scorched Audio, weekly sonic commentary; and the Revolution of Everyday Life, cellular reportage from the aesthetic edge, in which the revolution is being forged constantly in the everyday clandestiny of acts and dreams. US Department of Art & Technology A Season in Hell http://www.usdat.us/secretary ****** The US Department of Art & Technology http://www.usdat.us The US Department of Art and Technology is the United States principal conduit for facilitating the artist's need to extend aesthetic inquiry into the broader culture where ideas become real action. It also serves the psychological and spiritual well-being of all Americans by supporting cultural efforts that provide immunity from the extension of new media technologies into the social sphere. ***** # 01-148 Warning: You are entering a virtual United States Government System, which may be used only for artistic and socially motivated purposes. The Government may monitor and critique usage of this system, and all persons are hereby notified that use of this system constitutes consent to such monitoring and critical analysis. Unauthorized attempts to upload information and/or appropriate information on these web sites are encouraged and are subject to review under the Computer Art and Aesthetics Act of 1986 and Title 18 U.S.C. Sec. 1001 and 1030. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 18 Aug 2005 12:09:01 -0700 message-id: <200508181909.j7ij91ja023693@idx164.idx.net> references: no_parent from: andrew bucksbarg subject: RHIZOME_RAW: Mediatopia.2 fresh! FOR IMMEDIATE RELEASE August 18th, 2005 Mediatopia.2 fresh! http://www.mediatopia.net Artists create art in cyberspace, but can you hang it on a wall? Mediatopia.2 fresh! assembles an exciting mix of recent net-based work by a diverse group of neoteric artists, creatives and thinkers. Their fresh, networked interfaces look to a variety of means to utilize the Internet, both as creative medium and as a channel to share and distribute their output. The Internet, with its network functionality and potential for user interaction, is their creative playground: a form to manipulate and a means of social or political expression. Mediatopia.2 fresh! is a net-based opportunity for artists to gain exposure for their culture work. Mediatopia.2 fresh! is produced by Adhocarts.org, a non-profit media-arts organization. Lara Bank and Andrew Bucksbarg worked together to curate a program from recent work submitted internationally that uses the Internet as a playground, platform or paintbrush. Jessica Ivin’s Retrotype historically traces female representation in video games through an interface that allows the participant to personalize and question the object of their gaze. Do you live in East L.A. and long to live closer to celebrities in a gated community? Carlos Katastrofsky performs Neighborhood and Area Research for you, so you can discover who your IP address neighbors are in cyberspace. On the Internet, distance is collapsed as ideologues are brought closer together. Michael Takeo Magruder’s , is an abstract filtering of headline news that reevaluates and deprograms information by re-visualizing it into a Buddhist-like flow. Jillian McDonald’s interface art, Stand By Your Guns, blends our compulsion toward spectacle with elements of broadcast media, game play, the celebrity, masculinity and the gun. What could be more powerful? Take the complex genetic mixture and dispersion of humanity over time and location, composite this and then ma! ke an ideal copy. Mike Mike’s commerce-like site asks us is this The Face of Tomorrow? Carrie Paterson’s Everywhere at Once, and Not Just Once creates a twisted, fictional blog that chronicles the experiences of a girl in a boarding school- “reader discretion advised.” Psychogeography seeks to understand how our physical environment affects our emotions and behavior. One Block Radius by Christina Ray and Dave Mandl is an obsessive documentation of a city block in Manhattan that creates a detailed archive of the area, blending media interface, database, surveillance and real reality programming. Geoffrey Thomas’s quiet, contemplative works use game-like, animated environments and narrative to exemplify and make sense of moments of loneliness, loss and the tension between passionate response and the cool, scientific analysis in relations. The curators, both artists in their own right, include samples of their own work on the site as well. Together these disparate works signify the production, both singularly and collaboratively, of persons whose concerns go beyond the instance of capital and reach outward to the cultural center of what digital media can mean for human expression and communication. Their work is a mirror before us that traces both our success and failure: together and separate in the network. These words may wish to provide an overview or representation of their work, but fail to provide the one thing these artists considered as they created their work- your interaction. This interaction forms a means to destabilize the relation of the author or creator, bringing in the user as an active director or participant in the process. Artist’s work created for the Internet poses problems for persons, museums or galleries who would collect and display it. Internet Art is not easily installed in these traditional spaces, and although digital information does not degrade, the technology that expresses it is constantly changing and upgrading. Software evolves, computers and their operating systems change, as well as progressive modifications to the human-computer interface, making it difficult to collect and archive this kind of work. Net-based art is ephemeral under these circumstances. Artists who create “net.art,” have another problem at hand as well. How do you create value for something that is distributed on a network and available to anyone with a computer and connection? Historically, most art, aside from live performance, is based upon its being a one-of-a-kind object that maintains or even gains value as a collected piece. This makes raising funds for or selling this work a difficult proposition. Rachel Greene, author of Internet Art, writes, “Internet Art has less to do with objects of social prestige, and little, at least currently, to do with the cosmopolitan art businesses that thrive in New York, Cologne, London and other culture capitals.” These limitations have given artists who work with the Internet a kind of freedom and revelry of exploration, as well as a particular tool for cultural and institutional critique. Many artists see the Internet as a cause to really challenge fundamental elements of humanity: identity, methods ! of communication, technology, politics and the institution. These artists understand that people expanded by the Internet all over the world, are brought together in cyberspace. The Internet was launched in 1989 by the British scientist Tim Berners-Lee. As the use of the Internet grew, so did a community of artists who began to utilize it as a creative medium by the mid 1990s. Some of the early practitioners of Internet Art were Post-Communist East Europeans and organizations like the Ljudmila Media Center in Slovenia, supported by George Soros’s Open Society Institute. Much of the practice of Internet Art also saw support in media arts festivals in Europe during this time. Internet Art has grown over the years as the Internet has seen increased use and is now getting more recognition from the traditional formats of museums and galleries. Artists will continue to participate in the social uses of new technology. They will take part in future network technologies and cultures, where the Internet will be augmented by shared virtual space. People on the network will come together in synthetic worlds to create, communicate and recreate. This is already occurring in online multi-player games and environments like Second Life (http://secondlife.com), which include their own economies. Objects and land can be bought and sold and complex social transactions take place in these ephemeral, digital realms that exist on servers. Some artists, such as Chris Burke, are hacking online multi-user games for other purposes, such as a talk show in game space (http://www.thisspartanlife.com). Artists have a long history of socially relevant communication from within the culture they are steeped. Mediatopia.net and its supporting organization, Adhocarts, offer perspective to this process in the continually shifting phenomena of cyberspace. Mediatopia.net is produced by Adhocarts (http://adhocarts.org), which sponsors a variety of expressions that fall on the lines of interconnecting disciplines, theories, technologies and cultures. Adhocarts.org is a non-profit collaboration supporting arts and culture by producing avenues for creative expression and thought both online and off. Adhocarts.org was founded in 2000 and exists as a catalyst for work that uses technology and hypermedia, such as net.art, installation, digital video, writing and live art. We still believe in net-based culture. Mediatopia.net Press contact: Andrew Bucksbarg Assistant Professor of Telecommunications Indiana University 1229 East Seventh Street Bloomington, Indiana 47405-5501 USA 812-219-5310 Abucksba@indiana.edu Oganicode.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 to be part of the project. Voicemosaic shows a screen that maps participation as it arrives from several different geographical areas, in different languages and different times, and from this something is meant to be produced. Reviewer: Joachim Desarmenien. Direct link: http://www.furtherfield.org/displayreview.php?From=Index&review_id=144 All reviews: http://www.furtherfield.org/displayreviews.php Reviewers at Furtherfield: http://www.furtherfield.org/reviewersbio.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 18 Aug 2005 12:11:32 -0700 message-id: <200508181911.j7ijbwgk024291@idx164.idx.net> references: no_parent from: andrew bucksbarg subject: RHIZOME_RAW: Faculty Positions Two Faculty Positions Department of Telecommunications Indiana University, Bloomington Indiana University’s Department of Telecommunications seeks two new tenure-track Assistant Professors. Applicants should hold the Ph.D., M.F.A, L.L.M. or other appropriate terminal degree and present a promising program of either (1) scholarly research using social scientific, legal, or historical methods related to electronic media / communications or (2) creative activity in interactive new media. Promising candidates must also be able to teach effectively in one or more of the department’s undergraduate areas of concentration: Media and Society, Design and Production or Industry and Management. Graduate teaching is also possible. We offer a B.A. in Telecommunications as well as M.A., M.S. and Ph.D. degrees. Undergraduates can also pursue certificates in New Media and Interactive Storytelling and in Game Studies. There are established M.A. and M.S. programs in Immersive Mediated Environments (MIME). Joint M.S. / M.B.A. and M.S. / J.D. degrees are offered in conjunction with the Schools of Business and Law. Our Institute for Communication Research offers support for faculty research including assistance with stimulus design/creation and data collection using an array of methodologies (psychophysiology, focus groups, personal interviews, and computer-assisted survey/experiment administration). We also have digital audio, video and multimedia production technologies. Salaries, fringe benefits and research and teaching opportunities are consistent with peer Research I institutions. Current research faculty include experts in media psychology and sociology, media economics, political communication, organizational communication, digital games, and media law, policy and technology. Creative faculty emphasize digital and analog media production and digital gaming and interactive storytelling. While we especially seek people in law and policy, management, media psychology, interactive storytelling, game design, 3D modeling, and international communications, our overall objective is to attract the best applicants in the field, regardless of interests, who either enhance current strengths or extend our reach. More about the positions, the department, and our faculty and programs can be found at http://www.indiana.edu/~telecom/. and http://www.indiana.edu/~icr/index.htm. Applicants should submit (1) a cover letter summarizing their qualifications for the position and explaining how they will add to, supplement or complement existing department strengths, (2) a current vita, (3) selected research publications and/or a portfolio documenting recent creative work (as applicable), and (4) evidence of effective teaching. Three letters of recommendation should be submitted directly by recommenders. Direct questions and applications to Professor Walter Gantz, Chair, Department of Telecommunications, Radio-TV Center, 1229 E. 7th Street, Bloomington, IN 47405-5501. Professor Gantz can be reached by phone at (812) 855-1621, fax at (812) 855-7955 or via e-mail at gantz@indiana.edu. Start date is August 15, 2006. Review of applications will begin October 21, 2005 and will continue until the positions are filled. Indiana University is an Equal Opportunity / Affirmative Action Employer. We strongly encourage applications from women and minority candidates as well as from two-career couples. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + Subscribers to Rhizome are subject to the 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, 18 Aug 2005 12:57:59 -0700 message-id: <200508181957.j7ijvx55003370@idx164.idx.net> references: no_parent from: Lucia Leao arc.en_joy + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 21 Aug 2005 01:57:22 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: Jared Tarbell's online generative art Here is some unusually good generative visual art available for viewing on the Net: http://www.complexification.net/gallery . This is work by Jared Tarbell of New Mexico. I find this work quite exciting. Many of you have probably seen this work before. I have too, but only tonight have something to say about it. What I like about it is the fusion of algorithm and art. Of course there is much generative algorithmic visual art, but this work is rather distinguished in its particular fusion. For instance, Box.Fitting.Img is both beautiful visually and, also, the work grows from an algorithm that one may easily infer from watching the piece. It starts with 5 boxes. The color of the boxes is determined by the color of the pixel of an underlying, invisible image. Though as the piece grows, one gets other indications of the underlying image. In any case, a box grows until it touches another box. Then it stops growing and other boxes start growing in the interstices remaining. Very simple algorithm. Plain to see. But brilliantly so, really, and unusual in its visual results. And much of his work is this way: the algorithms are evident if you watch closely. They are simple but often generative of unusual results. And his sense of color and shape is finely drawn. No clumsy grab bag goin on here. The sense of composition is fascinating. Composition within a pseudo-random generative process. Another wonderful part of the work is that all the source code is available to view. It's all done in a language called Processing invented not too long ago by Casey Reas and Ben Fry. Java based. Some other strong work is emerging from this language such as Martin Wattenberg's, and Marek Walczak's "Thinking Machine" at http://www.turbulence.org/spotlight/thinking , which we have discussed a bit on the list. In Tarbell's work we see the strong abstract quality of generative computer visuals. Strong abstract and dynamic properties/mode/process/aesthetic. Also we see the value of the source code to the artist-programmer community. Another *very* strong site by Tarbell is http://levitated.net/daily . 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 > But the war game's participants -- including former CIA director R. > James > Woolsey, former Marine Corps commandant Gen. P.X. Kelley and former EPA > administrator Carol Browner, soon realized the U.S. government had few > options in the short term to prevent an economic crash in this country > and > worldwide. > > When the exercise's planners first met last year, oil was in the > $40-a-barrel range. As they fantasized where oil prices would be for > the war > game's start in an imagined late 2005, they said, they set them at $58 > but > worried they were being absurdly pessimistic. Yesterday, the closing > price > for a barrel of oil was $59.42. > > The war game players also referred several times to other real-life > events > of today. A major feature of the exercise was how China's voracious > appetite > for oil is driving up world prices, and only yesterday it was > announced the > Beijing government, in a bold and unprecedented act, is bidding to buy > the > U.S. oil company Unocal. > > The exercise was organized by two nonprofit groups that focus on the > national security implications of U.S. dependence on foreign oil: the > National Commission on Energy Policy and Securing America's Future > Energy > (SAFE). The scenarios were dreamed up by a team of former oil industry > executives and government officials, including Rand Beers, a White > House > counterterrorism official who quit in 2003 to protest the Iraq war. > > The underlying situation dramatized in the exercise -- and accepted by > most > energy analysts -- is that tolerances are so tight between supply and > demand, that even small disruptions in the delivery of oil and natural > gas > can cause cascades of unpleasant developments. > > The war game contemplated that when oil prices spiked and the Cabinet > met to > consider its options, it realized it had almost no clout to influence > events. > > The standard response, drawing on the Strategic Petroleum Reserve, was > symbolic at best. The president should not give in to Saudi offers > that the > kingdom would lower prices if he stopped pressing for Saudi democracy, > the > participants agreed. Within weeks conditions were worsening -- the > Valdez > oil terminal was on fire, as was a major Saudi oil port, and Western > technicians were being killed there. > > Foreign oil firms soon pulled tens of thousands of workers out of Saudi > Arabia. Suddenly lacking technical expertise, Saudi facilities could no > longer play their decades-long role of guaranteed "swing" provider of > oil in > response to disruptions elsewhere. As the global recession deepened, > there > was no "central banker" of oil to smooth out temporary dislocations. > > The participants concluded almost unanimously that they must press the > president to invest quickly in promising technologies to reduce > dependence > on overseas oil, such as hybrid cars powered by gasoline and plug-in > electricity; and cars that run on fuels derived from prairie grasses, > animal > waste and other products. They all agreed these projects would take > years to > yield any benefit but should not wait for the kind of crisis they were > dramatizing. > > "If you want to put a frown on the face of [Saudi] Wahhabis, talk about > 100-mile-per-gallon vehicles," Woolsey said. "We don't need a Manhattan > Project to do it." > > + -> 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 date: Sun, 21 Aug 2005 08:43:10 -0300 message-id: <002601c5a645$8399dbe0$70a205c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: WEBFaces' Cartography, The code of cheek to cheek, ... > Many Faces of Eve Dear all, I would like to invite you to visit my new electronic, colorful and ilustrated book "Many Faces of Eve" at: http://arteonline.arq.br/eva/ Below ten reasons to show you why you have to visit "Many Faces of Eve". ;-) This book is: 1- An almost pop provocative work about gender 2- The code of cheek to cheek 3- The apple in the dark - Clarice Lispector 4- The semiotic of the woman who thinks that is dressed with elegance but... 5- The Adam rib and how I almost could be another woman... 6- Eve got the grape 7- Venus, Body, Image, Myth 8- Face is language, face is information 9- WEBFaces' Cartography 10- Myself as Saint Clara, according Marcelo Frazo. Now, more seriously: "Many Faces of Eve" (http://arteonline.arq.br/eva/ ) closes the circle which I started last year with "The Milky Way" (http://arteonline.arq.br/via_lactea/ ) and continued with "Alice in the Wonderbalcony", Sheep's Parade and the series of collaborative reviews of the 2005 museum newsletter. Key words of "Many Faces of Eve": WOMEN, IDENTITY, GENDER, HUMOR Resolution: 1024 X 768, Flash Player 7.0, available pop up windows Constructive criticism will be welcome! Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com (A NEW Blog - The Big Sheep! Big What?) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + Subscribers to Rhizome are subject to the 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, 21 Aug 2005 08:25:10 -0700 (PDT) message-id: <20050821152511.86544.qmail@web30508.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: NET:REALITY exhibition HI below is a press release for a show some of us are in here in the UK. After 20/21 it tours round the UK pretty much until 2007. Hope some of you can make it or at least check out the site. best michael NET:REALITY : : : : : Artwork by: Simon Biggs, Glorious Ninth, Neil Jenkins, Jess Loseby, Michael Takeo Magruder, Stanza and Michael Szpakowski : : : : : Blurring the boundaries between the tangible gallery and the transitory Internet, Net:Reality merges the ethereal notions of cyber space with the aesthetics of a physical exhibition. Seven leading UK artists engaged in Internet and New Media practice have been commissioned to create artworks that simultaneously exist virtually and physically. Rather than having a 'theme' for the artworks, the common denominator is the media itself and the unifying connections between the web (Net) and the physical (Reality) elements of the compositions. The artists in Net:Reality have each interpreted and implemented the amorphous relationships between these distinct spaces to create an exhibition of artworks diverse in concepts and aesthetics - harnessing the Internet and the gallery environment to investigate subjects ranging from emerging technologies to social science. : : : : : Off-line until 29 October 2005 at: 20-21 Visual Arts Centre Church Square, Scunthorpe DN15 6TB, UK open: Tues.-Sat., 10am-5pm telephone: +44 (0)1724 297070 On-line permanently at: www.net-reality.org : : : : : Net:Reality is supported by Arts Council England and curated by Michael Takeo Magruder in partnership with 20-21 Visual Arts Centre, Scunthorpe and Q Arts, Derby. The exhibition was generated from an idea by Michael Takeo Magruder and Jess Loseby. for further information contact: Michael Takeo Magruder www.takeo.org email: m@takeo.org or mtakeomagruder@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: Sun, 21 Aug 2005 18:52:18 +0200 (CEST) message-id: <20050821165218.395f32b48b@ws11.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: ell,\.\ ell,\.\.\.\.http://uk.geocities.com/wall_street_profiteers\./2361399.h tml\.\.\.\.Lindsay\.Moran\.\.essage\.in\.MIME\.format...\.\.\.\.------ ------=_1124311255-79044-159\.\.Content-Type:\.text/plain;\.charset=IS O-8859-1;\.format=flowed\.\.Content-Transfer-Encoding:\.quoted-printab le\.\.\.\.salut\.cl=E9ment\.!\.tu\.vas\.bien\.?\.\.\.\.Le\.17\.ao=FBt\ .05\.=E0\.18:40,\.ctgr-pavu.com\.a\.=E9critessage\.in\.MIME\.format... \.\.\.\.------------=_1124528582-79044-183\.\.Content-Type:\.text/plai n;\.charset=iso-8859-2\.\.\.\.BANFF\.NEW\.MEDIA\.INSTITUTE,\.\.DATABAS E\.OF\.VIRTUAL\.ART\.\.and\.LEONARDO/ISAST\.produce\.:\.\.\.\.\.\.REFR ESH!\.\.1st\.INTERNATIONAL\.CONFERENCE\.ON\.\.THE\.HISTORIES\.Oesis\.a nd\.preparation\.for\.my\.PhD.\.I\.am\.writing\.about\.the\.following\ .topics:\.\.\.\.\.Historical\.representation\.within\.New\.Media\.Arts \.\.\.\.\.Sub-realities,\.or\.mentally\.superficial\.experienced\.real ities\.\.\.\.\.New\.Media\.Technologies\.and\.their\.impact\.on\.socie ty\.\.\.\.\.My\.own\.20HORGOS(T=FAr=FAPalitanya),2005. augusztus1920.\\.\..Bovebbinform=E1ci=F3kahonlapon: www.symposion.org.yu/dottk\.\.om(Loddsz=E9talegyeket,k=ED m=E9ldak=E9kdiszn=F3t,=\.\.E9sjuss=tov=E1bb!) 20\.\.=E2=80=9CA\.pattern\.that\.reverses\.the\.1990s\.institution al\.expansion\.of\.media=\.\.\.culture\.and\.media\.art?=E2=80=9D\.\.P ossibly,\.and\.if\.so,\.to\.whose\.benefit?\.What\.were\.institutions\ .hoping\.to\.gai=\.\.n\.from\.this\.expansion\.in\.the\.first\.place,\ .and\.did\.they?\.\.Might\.36\.hours,\.compare\.this\.to\.\.only\.two\ .or\.three\.hours\.of\.Viagra\.action!\.The\.active\.ingredient\.is\.\ .Tadalafil,\.same\.as\.in\.brand\.Cialis.\.\.\.\.Simply\.dissolve\.hal f\.a\.pill\.under\.your\.tongue,\.10\.min\.before\.\.intercourse\.for\ .the\.best\.erections\.you've\.ever\.had!\.Cialis\.al3/nbsp;Tue,29Jun2 00406:27:36GMTnbsp;nbsp;ckxx/nbsp;Tue,29J|\.\.|un200406:27:36GMTnbsp;n bsp;gjsw/nbsp;Tue,29Jun200406:27:36GMTnbsp;nbsp|\.\.|;hgxx/nbsp;Tue,19 Apr200503:24:42GMTnbsp;nbsp;hgxy/nbsp;Tue,29Jun200406|\.\.|:27:38GMTnb sp;nbsp;hkzyjsxy/nbsp;Tue,29Jun200404g\.\.ZC1yaXZlIGEgYy1hciENCg0KDQot LS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0t\.\.LS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0NCk tpLWNrcyBpbiBmYXMtdGVyIHRo\.\.ZW4gdi1pLWEtZ3JhIG9yIGxldi1pdC1yYSENCi0t LS0tLS0tLS0tLS0tLS0t\.\.LS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLQ0KDQ p3aXRoIHdvci1s\.\.ZHdpZ4\.empiretech\.\.failcheck\.\.Always\.Complaini ng\.Like\.BeforeAlways\.Complaining\.Like\.Before\.\.\.\.\.\. _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Sun, 21 Aug 2005 13:06:16 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: NEWSgrist: New Season, New Links Content-Disposition: inline new season, new links: http://newsgrist.typepad.com/ continues touring through Spanish museums and stops between 12 July and 28 July at Contemporary Art Centre Prraga, Murcia /Spain. "Violence without bodies" includes also Agricola de Cologne's interactive net play Compressed Affair http://www.nmartproject.net/agricola/mpc/collections/compressed_affair1htm Of particular relevance is the online part curated by Remedios Zafra, not only due to the focus on "violence on women", but basically because it represents one of a few examples, that net based art is recognized as an equal form of contemporary art working among all the existing traditional forms, a status which has net based art, not yet generally. So, this show has an emancipatory character in different concern und deserves particular attention, including net based works by Francesca da Rimini, Natalie Bookchin, Margot Lovejoy, Tina La Porta, Young-Hae Chang Heavy Industries, Igor Stromejer etc, see also list further ahead. "Prison of Love" - Cultural stories on Gender Violence (Crcel de amor. Relatos culturales sobre la violencia de gnero) . A presentation curated by Berta Sichel, Virginia Villaplana and Remedios Zafra, and Rosa M Peris, director of the Women Institute. . http://www.carceldeamor.net/ . The show "Prison of Love", presenting multiple perspectives and views on violence in couple and family- their limits and energy expressing the changing and heterogenous relations between the cultural analysis, the political critics and the artistic production, - is structured in 5 parts interrelating with each other. eg a cycle of films and videos, an Internet based online part, conferences and meetings and the edition and an action by Anglica Liddell. The online part of the show, entitled "Violence without Bodies" ("Violencia Sin Cuerpos") http://www.carceldeamor.net/vsc is curated by Remedios Zafra, and consists of a selection of netart works about gender violence including following aspects and related artworks/artists--> 1. "SYMBOLIC VIOLENCE IN MYTHS": (Evas and Princesses contra Cyborgs) Brutal Myths. An herbal healing of misogynius (1996), Sonya Rapoport y Marie-Jose Sat; Mythic Hybrid (2002), Prema Murthy Make me a man (1997), Sonya Rapoport; Eden.Garden 1.1 (2001), Auriea Harvey y Michael Samyn; [ i want to share you - what are you doing to me? ] (2001), Intima (Igor Stromajer). . 2. Narrated violence (when body does not exist): Compressed Affair (2001), Agricola de Cologne; Parthenia "A Global Monument Violence Domestic Victims" (1995) Margot Lovejoy; The Intruder (1999), Natalie Bookchin; Dollspace (1997, 2001), Francesca da Rimini . 3. Does body matter? (cybersex and videogame) Tomb Raider (1999), Robert Nideffer. Tunnel (1996), Melinda Rackham. BindiGirl (1999); Prema Murthy; Cunnilingus in North Korea (2003); Young-Hae Chang Heavy Industries (Young-hae Chang y Marc Voge); Mutation.Fem (2000), Anne-Marie Schleiner. . 4. New Visibility of the Prevailed- (feministe online practices contra the hegemony of being able to camouflage)-: Smart Mom (1998-1999), Faith Wilding y Hyla Willis; voyeur_web (2001), Tina La Porta; El lugar de las mujeres en el Metro de la Ciudad de Mxico (2001), Cindy Gabriela Flores; Guerrilla Girls (Website), Guerrilla Girls; No-pasatiempo (2004), Cristina Buenda. . The comprehensive project site http://www.carceldeamor.net/vsc includes a number of texts ( in Spanish only) and the access to the selected art works. . After the presentation of "Prison of Love" at National Museum Centro de Arte Reina Sofia, Madrid/Spain - 31 March until 8 May 2005 - the travelling show will be presented in other Spanish museums until the end of 2005, starting at -->National Museum Centro de Arte Reina Sofia, Madrid/Spain 31 March until 8 May 2005 -->Hospital de San Juan de Dios. Centro de Arte Contemporneo, Almagro/Spain - 12 May - 19 June -->Centro Prraga, Murcia /Spain - 12 - 28 July -->Centro de Arte Caja Burgos, CAB/Spain - 8-30 September -->Artium, Centro-Museo Vasco de Arte Contemporneo, lava/Spain - 30 September -16 October -->Centre d'Art la Panera, Lleida/Spain - 3 - 29 November -->Filmoteca Canaria del Gobierno de Canarias. Tenerife y Las Palmas de Gran Canaria. 28 November - 4 December . Links--> "Crcel de amor" (Prison of Love) http://www.carceldeamor.net/ "Violencia Sin Cuerpos" (Violence without Bodies) http://www.carceldeamor.net/vsc Press release on W3art.es (Spanish) http://w3art.es/weblog_archivos/000244.php Press release as PDF (Spanish) http://w3art.es/mncars/archivo/folleto%20Carcel%20de%20amor.pdf **************************************************** These info are provided by NetEX - networked experience http://netex.nmartproject.net and can be found also released on http://netex.nmartproject.net/index.php?blog=6 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 -> 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 date: Sun, 21 Aug 2005 19:24:47 +0200 (CEST) message-id: <20050821172447.b50552c056@ws5.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: HTTP/1 HTTP/1.1-200-OK--Date:-Sun,-21-Aug-2005-17:24:14-GMT--Server:-Apache-- Vary:-Accept-Encoding--test:-%{HOSTNAME}e--Last-Modified:-Tue,-16-Aug- 2005-00:10:13-GMT--ETag:-"8d987e-6ec3-43012ee5"--Accept-Ranges:-none-- Content-Length:-28355--Keep-Alive:-timeout=15,-max=100--Connection:-Ke ep-Alive--Content-Type:-text/html-----------blog-art---------body{marg in:0px;padding:0px;background:#f6f6f6;color:#000000;font-family:"Trebu chet-MS",Trebuchet,Verdana,Sans-Serif;}-----a{color:#DE7008;}-----a:ho ver{color:#E0AD12;}-----#logo{padding:0px;margin:0px;}-----div#mainClm {float:right;width:66%;padding:30px-7%-10px-3%;border-left:dotted-1px- #E0AD12;}-----div#sideBar{margin:20px-0px-0px-1em;padding:0px;text-ali gn:left;}-----#header{padding:0px-0px-0px-0px;margin:0px-0px-0px-0px;b 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This()-{Q='';x=document;y=window;if(x.selection)-{Q=x.selection.create Range().text;}-else-if-(y.getSelection)-{-Q=y.getSelection();}-else-if -(x.getSelection)-{-Q=x.getSelection();}popw-=-y.open('http://www.blog ger.com/blog_this.pyra?t='-+-escape(Q)-+-'&u='-+-escape(location.href) -+-'&n='-+-escape(document.title),'bloggerForm','scrollbars=no,width=4 75,height=300,top=175,left=75,status=yes,resizable=yes');void(0);}---- ----------------------blog-art----------curators:-marisa-s.-olson-and- abe-linkoln------------------------------Saturday,-August-13,-2005---- ------ -------Johanna-Marxer's-"Minute-Library"------------http:/ /www.minutelibrary.com/present/index.php-------#-posted-by-Marisa-S.-O lson-@-6:55-PM 1-comments- --------------------- ------ -"x257.com"------------http://x257.com/-------#-posted-by-Marisa-S.-Ol son-@-6:54-PM 1-comments- -----------------------Wednesday,- August-10,-2005---------- -------"postsecret"------------http://p ostsecret.blogspot.com/-------#-posted-by-Marisa-S.-Olson-@-12:21-AM&n bsp;2-comments- --------------------- -------893-"YOU-are-th e-magic,-YOU'RE-right-where-i-wanna-be!"------------http://umeancompet itor.blogspot.com/-------#-posted-by-Marisa-S.-Olson-@-12:20-AM 2 -comments- --------------------- -------"blogebrity"-------- ----http://blogebrity.com/-------#-posted-by-Marisa-S.-Olson-@-12:19-A M 2-comments- --------------------- -------http://del.i cio.us/tag/art------------http://del.icio.us/tag/art-------#-posted-by -Abe-W.-Linkoln-@-12:18-AM 3-comments- ---------------------  -------freeway-blogger------------http://www.freewayblogger.com/ -------#-posted-by-Abe-W.-Linkoln-@-12:16-AM 0-comments- --- ------------------ -------marc-horowitz-"national-dinner-tour"--- ---------http://www.ineedtostopsoon.com/-------#-posted-by-Marisa-S.-O lson-@-12:16-AM 0-comments- --------------------- ----- --ze-frank-"ze's-blog"------------http://www.zefrank.com/zesblog/----- --#-posted-by-Marisa-S.-Olson-@-12:15-AM 0-comments- ------- -------------- -------david-lynch-"daily-report"------------http: //www.davidlynch.com/dailyreport/index.html-------#-posted-by-Abe-W.-L inkoln-@-12:14-AM 1-comments- --------------------- --- ----jason-corace-"yesterday's-song"------------http://www.boynamethor. com/-------#-posted-by-Marisa-S.-Olson-@-12:13-AM 0-comments-&nbs p;--------------------- -------eggagog-"THIS-IS-FUN-TO-MAKE-A-BLO G-ON-THE-COMPUTER-WEBSITE"------------http://thisismycomputerblog.blog spot.com/-------#-posted-by-Abe-W.-Linkoln-@-12:12-AM 0-comments-  --------------------- -------glue-factory-bob-"i-hate-horse s"------------http://horsehater.blogspot.com/-------#-posted-by-Marisa -S.-Olson-@-12:10-AM 1-comments- ---------------------  -------miss-mcdonald-"a-day-in-the-life-of-miss-mcdonalds"------------ http://www.livejournal.com/users/miss_mcdonald/-------#-posted-by-Abe- W.-Linkoln-@-12:09-AM 0-comments- ---------------------  ;-------the-mtaa-reference-resource------------http://www.mteww.com/mt aaRR/-------#-posted-by-Marisa-S.-Olson-@-12:07-AM 0-comments-&nb sp;--------------------- -------mark-amerika-"ozblog"------------ http://hypertext.rmit.edu.au/essays/vot/mark/blog/-------#-posted-by-A be-W.-Linkoln-@-12:06-AM 0-comments- ---------------------&n bsp;-------eduardo-navasse-"diary-of-a-star"------------http://www.nav asse.net/star/-------#-posted-by-Marisa-S.-Olson-@-12:05-AM 0-com ments- --------------------- -------jimpunk-and-friends-"nob log"-and-"544x378WebTV"------------http://jimpunk.blogspot.com/--http: //544x378.free.fr/(WebTV)/-------#-posted-by-Abe-W.-Linkoln-@-12:04-AM  1-comments- --------------------- -------abe-linkoln-a nd-marisa-s.-olson-"blog-art"------------http://blog-art.blogspot.com/ -------#-posted-by-Marisa-S.-Olson-@-12:03-AM 1-comments- -- ------------------- -------my-boyfriend-came-back-from-the-war-(a be-linkoln's-2004-blog-mix)------------http://myboyfriendcamebackfromt hewar.blogspot.com/-------#-posted-by-Abe-W.-Linkoln-@-12:02-AM 1 -comments- --------------------- -------marisa-s.-olson-"mar isa's-american-idol-audition-training-blog"------------http://american idolauditiontraining.blogs.com/marisa/-------#-posted-by-Marisa-S.-Ols on-@-12:01-AM 0-comments- --------------------- ------- jimpunk-and-abe-linkoln-"screenfull.net"------------http://screenfull. net/-------#-posted-by-Abe-W.-Linkoln-@-12:00-AM 1-comments-  ;-----------------------------------Contributors----Abe-W.-Linkoln--Ma risa-S.-Olson--------------------+++++++++++++++++++++++++++++++++++++ ++++++++++++------------Add-things-to-your-sidebar-here.-----Use-the-f ormat:----------Link-Text---------++++++++++++++++++++++++++++++++++++ +++++++++++++----------------------------------archives---------August -2005----------if-(location.href.indexOf("archive")!=-1)-document.writ e("Current-Posts");-----------http://blog-art.blogspot.com/atom.xml--h ttp://www.blogger.com/rsd.g?blogID=13502186--http://www.blogger.com/cs s/blog_controls.css--http://www.blogger.com/dyn-css/authorization.css? blogID=13502186--http://www.blogger.com/css/navbar/main.css--http://ww w.blogger.com/css/navbar/1.css--http://www.blogger.com/--http://www.bl ogger.com/blog_this.pyra?t=--http://www.minutelibrary.com/present/inde x.php--http://blog-art.blogspot.com/2005/08/johanna-marxers-minute-lib rary.html--http://x257.com/--http://blog-art.blogspot.com/2005/08/x257 com.html--http://postsecret.blogspot.com/--http://blog-art.blogspot.co m/2005/08/postsecret.html--http://umeancompetitor.blogspot.com/--http: //blog-art.blogspot.com/2005/08/893-you-are-magic-youre-right-where-i. html--http://blogebrity.com/--http://blog-art.blogspot.com/2005/08/blo gebrity.html--http://del.icio.us/tag/art--http://del.icio.us/tag/art-- http://blog-art.blogspot.com/2005/08/httpdelicioustagart.html--http:// www.freewayblogger.com/--http://blog-art.blogspot.com/2005/08/freeway- 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ark-amerika-ozblog.html--http://www.navasse.net/star/--http://blog-art .blogspot.com/2005/08/eduardo-navasse-diary-of-star_10.html--http://ji mpunk.blogspot.com/--http://blog-art.blogspot.com/2005/08/jimpunk-and- friends-noblog-and.html--http://blog-art.blogspot.com/--http://blog-ar t.blogspot.com/2005/08/abe-linkoln-and-marisa-s-olson-blog.html--http: //myboyfriendcamebackfromthewar.blogspot.com/--http://blog-art.blogspo t.com/2005/08/my-boyfriend-came-back-from-war-abe.html--http://america nidolauditiontraining.blogs.com/marisa/--http://blog-art.blogspot.com/ 2005/08/marisa-s-olson-marisas-american-idol.html--http://screenfull.n et/--http://blog-art.blogspot.com/2005/08/jimpunk-and-abe-linkoln-scre enfullnet.html--http://www.blogger.com--http://www.blogger.com/profile /2084836--http://www.blogger.com/profile/10817093--http://blog-art.blo gspot.com/2005_08_01_blog-art_archive.html--http://blog-art.blogspot.c om\--------http://blog-art.blogspot.com/ _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Sun, 21 Aug 2005 15:46:21 -0400 message-id: references: <20050821172447.b50552c056@ws5.ou-data.net> from: miklos@sympatico.ca subject: RHIZOME_RAW: filter; send to trash Emails like this I just filter out, send to trash. It's like the mumbling of children who've yet to learn to talk. Realising one can disturb others and get attention is the first immature step in learning to communicate. Miklos >HTTP/1.1-200-OK--Date:-Sun,-21-Aug-2005-17:24:14-GMT--Server:-Apache-- >Vary:-Accept-Encoding--test:-%{HOSTNAME}e--Last-Modified:-Tue,-16-Aug- >2005-00:10:13-GMT--ETag:-"8d987e-6ec3-43012ee5"--Accept-Ranges:-none-- >Content-Length:-28355--Keep-Alive:-timeout=15,-max=100--Connection:-Ke >ep-Alive--Content-Type:-text/html-----------blog-art---------body{marg >in:0px;padding:0px;background:#f6f6f6;color:#000000;font-family:"Trebu > -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +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: Sun, 21 Aug 2005 13:06:01 -0700 message-id: <200508212006.j7lk60mf026088@idx164.idx.net> references: no_parent from: Julie Rasmussen subject: RHIZOME_RAW: CALL FOR VENDORS for LOS ANGELES ART FESTIVAL! The Six Degrees Festival will be this September 17th in Downtown LA... We have extended our deadline for vendors to join SO, if you have some interesting product of any kind (pottery, glass, toys, purses, jewelry, candles, shoes, hats, clothing, knick-knacks, etc.....) let us know! Though you can still sign up for a few more days, we need to hear from you by this SUNDAY (8/21/05) in order to be on our flyer! Please have a look at the site, it explains the event in detail! http://sixdegreesfestival.com If you then decide you want to be a part of the festival, email a link to your site OR a description of your product for approval to: vendors@sixdegreesfestival.com Do not hesitate to contact me if you have any other questions, comments or concerns.... THANKS! JULIE RASMUSSEN jubooboo@aol.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 > dream" of a machine that can reason. so the book has a great deal > to do with > logic and language. it has a lot to do with language since the work > of the > above logicians can be seen as advances towards languages in which the > reasoning can take place. > > this book also looks, toward the end, at the unfortunate > misunderstandings > of searle and penrose. whether or not it is the case that there are > thought > processes of which humans are capable but computers are not remains > an open > question, notwithstanding things like penrose's simply fallacious > proofs > that there are. > > we be language machines, to some extent, in our reasoning/thinking. > the > degree has not been settled. > > i would recommend this book to digital artists interested in the > historical > and philosophical/epistemological underpinnings of computing. i would > particularly recommend it to writers involved intensely in the > digital, > since it concerns the contemporary interpenetration of language, > logic and > reasoning/thinking. digital artists tend to be interested in the > confluence > of arts and media. i suggest that the philosophical underpinnings > of this > confluence concern language in an extrordinary manner. > > martin davis, the author, is a distinguished logician and knows the > subject > well. he is a prof emeritus of the courant institute in ny. he has > written a > related but more technical book on 'Computability and > Unsolvability' and has > put together a book of early papers by logicians on 'The Undecidable'. > > the mathematical background required to read 'the universal > computer' is > minimal. > > 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 > -> 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 > + -> 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 date: Sun, 21 Aug 2005 23:05:23 +0200 (CEST) message-id: <20050821210523.04f8421fd8@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Bal being bar Brazil, Bangladeshi backpedal BBSs, BC babez be bitmapped, Bbb. 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 >-jeremy > director rocks hands down. it'll run about any kind of video (pre-recorded or a live feed with the coolest xtra (TTCPro, does screen shots, and shockwave), reads files from the web or local. and super easy presentation/authoring functions. (warning, using it for more than a few seconds requires a hefty mac. win version can't hold up for long. nothing for unix/linux obviously though) max with jitter sounds close, but not ideal for presentation or a lot of web functions. do the screens need to be coordinated? could you have one program (like max) handle the local feed, one like (quicktime) handle pre-recorded stuff, one (like perl) handle the web feed, and write a mother program that switches between these (in about anything)? i wish director would just come with computers, because it is by far the best stuff can be done with them. 99% of what makes computers not just boring boxes of wires. lingo should be one of the required languages in school. other programming languages do much more but are much more difficult and development takes too much. there's a lot you may want to customize (like C/C++ would let you do) in an app but especially for staged performances, it's not worth all the extra work. if you don't own a mac, but do these a few times a year, it's probably even worth getting one of those $500 mini's or something for shows, just to run director. + -> 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 date: Mon, 22 Aug 2005 00:32:09 +0200 (CEST) message-id: <20050821223209.518552c056@ws5.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: 4276797 4276797\./\.+31\.=\.\.(0)6=20\.\.\.\.48316543\.\.\.\.\.\.\.---\.\.\.\. Technical\.notice\.\.\.\.http://www.metahaven.net\.\.draws\.on\.recent \.HTML\.techology.\.It\.is\.highly=20=\.\.\.\.\.\.recommended\.to\.vie w\.this\.web\.site\.with\.Mozilla\.Firefox\.(latest=20\.\.\.\.version) ,\.Safari\.(latest\.version),\.or\.5\.boxes.\.The\.color\.of\.the\.box es\.is\.determined\.by\.the\.color\.of\.\.the\.pixel\.of\.an\.underlyi ng,\.invisible\.image.\.Though\.as\.the\.piece\.grows,\.one\.\.gets\.o ther\.indications\.of\.the\.underlying\.image.\.In\.any\.case,\.a\.box \.grows\.\.until\.it\.touches\.another\.box.\.Then\.it\.stops5,\.2005\ .\.Opening\.reception\.&\.ice\.cream\.social:\.\.Friday,\.September\.2 ,\.2005\.6:00\.–\.9:00pm\.\.Artist\.Talk:\.Saturday,\.September\.3,\ .2005\.2:00pm\.\.\.\.PRESS\.RELEASE\.\.\.\.\.\.August\.2,\.2005\.\.\.\ .Grand\.Arts\.is\.pleased\.to\.present\.the\.latest\.project\.from\.th e\.Bay\.Area-based\.Ce5080309\.\.Content-Type:\.text/plain;\.charset=u s-ascii;\.format=flowed\.\.Content-Transfer-Encoding:\.7bit\.\.\.\.I\. isn't\.going\.to\.catch\.on\.if\.there\.isn't\.a\.better\.explanation\ .of\.how\.it\.\.\.works.\.\.\.\.joseph\.mcelroy\.\.\.\.Net\.Art\.News\ .wrote:\.\.\.\.\.\.\.http://rhizome.org/\.\.\.\.htt6//season.////We//a re//particulary//interested//in//integrated//sound\.\./visual//install ation,//but//welcome//proposals//for//work//in//any//m\.\.edia.////The //deadline//for//submissions//of//prworld.//You//will//get\.\.//the//p erfect////feeling//of//being//a//m6194-79044-176\.\.Content-Type:\.tex t/plain;\.charset="us-ascii";\.format=flowed\.\.\.\.\.\.\.\.\.\.______ _______________________________________________________________\.\.\.\ .\.CTHEORY\.\.\.\.\.\.\.\.\.\.THEORY,\.TECHNOLOGY\.AND\.CULTURE\.\.\.\ .\.\.\.\.VOL\.28,\.NO\.3\.\.\.\.\.\.\.\.\.\.\.\.***\.Visit\.CTHEORY\.O ail_archive/discuss/2003/12/msg00085.htmlR|\.\.|E:[Globus-discuss]Date :Wed,3Dec200318:27:04+0800[DatePrev][DateNext][T|\.\.|hreadPrev][Threa dNext][DateIndex][ThreadIndex]RE:[Globus-discuss]Date:|\.\.|Wed,3Dec20 0318:27:04+0800To:quot;#MAKNERNFATT#quot;lt;nengfa\.pmamata.bg/index.p hp?page=live_music&ln=2&city=1Programa|\.\.|ta-freeculturalguidenbsp; ChaptersD18.08.2005H00:00:19MoviesCi|\.\.|nemasVideoamp;DVDThe atresamp;OperaPerformancesExhibitionsClassicalMusi|\.\.|cConcertsLiveM usicClubMusicExtremeAndMore...Restaur HTTP/1.1-200-OK--Date:-Sun,-21-Aug-2005-22:30:02-GMT--Server:-Apache-W eb-Server--Last-Modified:-Tue,-05-Jul-2005-23:22:08-GMT--ETag:-"7940fb -fbfd-42cb1620"--Accept-Ranges:-bytes--Content-Length:-64509--Connecti on:-close--Content-Type:-text/html----------NUMBER27-/-The-Work-of-Jon athan-J.-Harris------------function-MM_swapImgRestore()-{-//v3.0----va r-i,x,a=document.MM_sr;-for(i=0;a&&i}----function-MM_findObj(n,-d)-{-/ /v4.01----var-p,i,x;--if(!d)-d=document;-if((p=n.indexOf("?"))-0&&pare nt.frames.length)-{------d=parent.frames[n.substring(p+1)].document;-n =n.substring(0,p);}----if(!(x=d[n])&&d.all)-x=d.all[n];-for-(i=0;!x&&i --for(i=0;!x&&d.layers&&i--if(!x-&&-d.getElementById)-x=d.getElementBy Id(n);-return-x;--}----function-MM_swapImage()-{-//v3.0----var-i,j=0,x ,a=MM_swapImage.arguments;-document.MM_sr=new-Array;-for(i=0;i---if-(( x=MM_findObj(a[i]))!=null){document.MM_sr[j++]=x;-if(!x.oSrc)-x.oSrc=x .src;-x.src=a[i+2];}--}--//---------INPUT{font-family:verdana;font-siz e:11px}--SELECT{font-family:verdana;font-size:11px}--TEXTAREA{font-fam ily:verdana;font-size:11px}------------------------------------------- ---------------------------------------------------------------------- --------------------------------Past-projects-are-here---------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- -----------------------------------07/06---------------------------jus tcurio.us---------------------------launches,-an-anonymous-online-ques tion-and-answer-system,---------------------------in-collaboration-wit h-Robert---------------------------Kalin.----------------------------- ---------------------------------------------------------------07/05-- -------------------------Check-out-the-new-10x10-video-trailer,-made-f or-the-Flash---------------------------Forward-Film-Conference-in-NYC. -Full---------------------------(9.2mb)-Small------------------------- --(4.4mb)------------------------------------------------------------- -------------------------------07/02---------------------------Intervi ew---------------------------on-Voice-of-America-Radio's-Our---------- -----------------World-program,-about-10x10.-Download----------------- ----------MP3-(5mb---starts-at-9-mins,-30-secs).---------------------- ---------------------------------------------------------------------- 06/25---------------------------Barcelona's-Sonar--------------------- ------2005-Art-Festival-features-10x10-and-WordCount-in--------------- ------------it's-"Visualize"---------------------------exhib it.------------------------------------------------------------------- -------------------------06/16---------------------------BBC---------- -----------------World-TV-piece-about-the-Webby-Awards-includes-a-brie f---------------------------interview-with-me-about-10x10.------------ ---------------------------------------------------------------------- -----------06/08---------------------------10x10-is-a-finalist-------- -------------------in-the-2005---------------------------FlashForward- Film-Festival-in-the-"Technical---------------------------Merit&q uot;-category--------------------------You-can-vote-for-10x10-in-the-P eople's---------------------------Voice-Awards!-Thanks-for-your-suppor t,-everyone!---------------------------------------------------------- -----------------------------------06/06---------------------------The ---------------------------2005-Webby-Awards-are-held-at-NYC's-Gotham- Hall.-My---------------------------acceptance-speeches-(limited-to-5-w ords-each)-were:-"A---------------------------picture's-worth-100 -words"-(10x10),-and:-"I'd---------------------------just-li ke-to-say"-(WordCount).------------------------------------------ ---------------------------------------------------05/18-------------- -------------PC-Magazine---------------------------names-WordCount---- -----------------------one-of-its-top---------------------------100-si tes-of-2005.---------------------------------------------------------- ------------------------------------05/03---------------------------10 x10-and-WordCount-were-both-awarded-2005---------------------------Web by-Awards-today.-10x10-won-the-Webby-for-"Best------------------- --------Structure-and-Navigation",-and-WordCount-won------------- --------------the-People's-Voice-Award-in-the-"Arts"-------- -------------------category.-Thank-you-to-everyone-who-voted!--------- ---------------------------------------------------------------------- --------------04/29---------------------------Fabrica----------------- ----------launches-its-new-website,-designed-by-Number27.------------- ---------------------------------------------------------------------- ----------04/25---------------------------Invited-to-give-a-talk-at-St anford---------------------------University.-------------------------- --------------------------------------------------------------------04 /18---------------------------Invited-to-give-a-talk-at-Princeton----- ----------------------University.------------------------------------- ---------------------------------------------------------04/15-------- -------------------New-website-launches-for-Oral---------------------- -----Fixation-Mints,-complete-with-a-blog,---------------------------a nd-a-BYOB---------------------------Box-Builder.---------------------- ---------------------------------------------------------------------- -04/12---------------------------10x10-and-WordCount-are-each-nominate d-for-2005---------------------------Webby-Awards.-------------------- ---------------------------------------------------------------------- ---03/25---------------------------Princeton-University's-Art--------- ------------------of-Science-website-launches.------------------------ ---------------------------------------------------------------------0 3/24---------------------------El-Pais,---------------------------Spai n's-leading-newspaper,-runs-feature---------------------------on-my-wo rk-with-Yahoo!.------------------------------------------------------- --------------------------------------03/22--------------------------- Associated---------------------------Content-runs-an-article-on-the-ro le-websites-play---------------------------in-young-businesses,-and-di scusses---------------------------my-work-with-Oral-Fixation-Mints.--- ---------------------------------------------------------------------- --------------------03/09---------------------------Invited-to-give-ta lk-about-my-work-at-Hofstra---------------------------University.----- ---------------------------------------------------------------------- -------------------03/09---------------------------TVSpy,------------- --------------the-leading-website-for-TV-professionals,-runs-Q+A------ ---------------------interview-with-me-about-10x10.------------------- ---------------------------------------------------------------------- -----03/01---------------------------The---------------------------Chi cago-Tribune-publishes-feature-on-10x10,-entitled--------------------- ------"Art-created-out-of-news------------------------------every -hour-on-the-hour".---------------------------------------------- ------------------------------------------------03/01----------------- ----------Yahoo---------------------------Netrospective:-10-Years,-100 -Moments-launches,-commemorating---------------------------the-first-t en-years-of-the-Internet.--------------------------------------------- -------------------------------------------------02/22---------------- -----------Wired-News---------------------------features-profile------ ---------------------of-my-work.-------------------------------------- -------------------------------------------------------02/17---------- -----------------Return-to-New-York-City,-after-eight-months-at-Fabric a.-------------------------------------------------------------------- -------------------------01/19---------------------------Understanding -VORN-is-Yahoo's---------------------------Internet-Pick-of-the-Day.-- ---------------------------------------------------------------------- ---------------------01/10---------------------------Desktop---------- -----------------Magazine,-Australia's-leading-journal-of-graphic-desi gn,---------------------------features-Number27-in-its-"Foreign-S tudio"-section.-------------------------------------------------- -------------------------------------------01/06---------------------- -----England's-The---------------------------Guardian-newspaper-featur es---------------------------10x10-in-its-"Web-Watch"-section--------- ---------------------------------------------------------------------- --------------01/05---------------------------Invited-to-give-talk-at- Google---------------------------about-my-work,-"Words,-Pictures, -and-Spying-on-the---------------------------Love-Lives-of-Strangers&q uot;------------------------------------------------------------------ ----------------------------12/30---------------------------Laser----- ----------------------Limbo-project-featured-in-Golan----------------- ----------Levin's-article---------------------------on-computer-vision .--------------------------------------------------------------------- ------------------------12/02---------------------------10x10-is-Yahoo 's---------------------------Internet-Pick-of-the-Day.---------------- ---------------------------------------------------------------------- -------12/02---------------------------Reuters-runs-feature----------- ----------------on-10x10-(Italian-only).------------------------------ ---------------------------------------------------------------11/30-- -------------------------Understanding---------------------------Vorn- launches.------------------------------------------------------------- --------------------------------11/23---------------------------Front- page-10x10---------------------------story-in-Italy's-La-------------- -------------Repubblica.---------------------------------------------- -----------------------------------------------11/23------------------ ---------Benetton---------------------------circulates-global-press--- ------------------------release-on-10x10.-Server-melts-down-from-the-t raffic.--------------------------------------------------------------- ------------------------------11/19---------------------------CNN----- ----------------------Headline-News-interview-about-10x10.------------ ---------------------------------------------------------------------- -----------11/19---------------------------USA------------------------ ---Today--publishes-feature---------------------------article-about-10 x10.------------------------------------------------------------------ ---------------------------11/17---------------------------1970's----- ----------------------Name-Game-introduced!-#2-in-the-popular-series-& quot;Fun---------------------------with-WordCount"--------------- ---------------------------------------------------------------------- --------11/09---------------------------Virgin------------------------ ---Bites-sends-10x10-link-to-its-4.1-million-WAP-cellphone------------ ---------------customers-in-its-"Most-Wanted"-section.------ ---------------------------------------------------------------------- -----------------11/04---------------------------10x10---------------- -----------launches.-------------------------------------------------- -------------------------------------------10/29---------------------- -----LaserLimbo---------------------------created-in-Processing------- --------------------during-Golan---------------------------Levin-works hop-at-Fabrica!------------------------------------------------------- --------------------------------------10/27--------------------------- ThreatMeter---------------------------launches.----------------------- ---------------------------------------------------------------------- 10/26----------------------------WordCount-featured-in-Earthlink------ ---------------------October-newsletter.------------------------------ ---------------------------------------------------------------9/20--- ------------------------Slashdot---------------------------features-Wo rdCount.-Server-crashes-from-the-traffic!----------------------------- ----------------------------------------------------------------9/8--- ------------------------Creative---------------------------Review-Maga zine-names-WordCount-Pick---------------------------of-the-Month.----- ---------------------------------------------------------------------- ------------------9/6---------------------------Back-from-Ars--------- ------------------Electronica-2004-in-Linz,-Austria.------------------ ---------------------------------------------------------------------- -----9/2---------------------------Interviewed-on-VOA's--------------- ------------WordMaster---------------------------radio-program,-about- WordCount.-Interview-is-here.----------------------------------------- ---------------------------- ------------------------------------ -----------------News-Archives---------------------------------------- -------------------------------------------------------------------Mar k-----------------------Argo----------------------Andy---------------- -------Cameron----------------------Daniel-----------------------Hirsc hmann----------------------Robert-Kalin----------------------Joel----- ------------------Gethin-Lewis----------------------Francesca--------- --------------Granato-----------------------Juan---------------------- -Ospina----------------------Ann-----------------------Poochareon----- ------------------Martin-----------------------Redigolo--------------- -------David-----------------------Towey------------------------------ ------------------------------------------The-design-company---------- -----------I've-directed-since-2001,-working-on-dozens-of-projects-wit h---------------------clients-like-AT&T,-Yahoo!,-Princeton,-Duke,- and-Stanford---------------------Universities.--flamingtoast.net------ ----------------------- ------- ---------------------------- ---------------------------------------------------------------------- -----------------------------------------justcurio.us----------------- ------is-an-anonymous-question-and-answer-system,-open-to-anyone,----- ------------------with-one-simple-rule:-to-ask-a-question,-you-must-fi rst-answer-----------------------someone-else's-question.-Question-yie lds-answer-yields-question.-----------------------Strangers-helping-st rangers.---------------------The-questions-can-be-about-anything-̵ 2;-the-best-Beatles-----------------------album,-your-saddest-moment,- your-biggest-regret,-your-best-----------------------childhood-memory, -the-meaning-of-life,-whether-you-should-----------------------break-u p-with-your-girlfriend,-the-best-crepe-place-in-Paris,---------------- -------the-best-cure-for-loneliness.-Anything-at-all.-This-is-our----- ------------------chance-to-lean-on-each-other,-to-look-to-a-stranger- for-help,-----------------------to-discover-what-other-people-think.-- ------------------justcurio.us-is-entirely-confidential,-------------- ---------allowing-anyone-to-ask-and-answer-questions-with-complete---- -------------------anonymity.-So,-what's-on-your-mind?---------------- -----justcurio.us-is-a-collaboration-----------------------with-Robert -----------------------Kalin.--------------------justcurio.us--------- --------------|-questions-----------------------|-answers------------- ----------|-about----------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------Check-out-the-new-10x10-------------------- ---------Video-Trailer.-Download:-Full-----------------------------(9. 2mb)-Small-----------------------------(3.3mb)------------------------ ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---Fabrica-is-Benetton’s---------------------------------creativ e-think-tank,-located-in-northern-Italy.------------------------------ ---I-recently-spent-a-year-at-Fabrica,-towards-the-------------------- -------------end-of-which-I-was-asked-to-remake-Fabrica's-website.---- -----------------------------The-site-explores-notions-of-order-and-ch aos,-control---------------------------------and-changeability.-A-simp le-grid-based-design-allows---------------------------------the-work-t o-communicate-without-distraction.-Fabrica---------------------------- -----fellows,-past-and-present,-can-create-project-cards-------------- -------------------using-a-simple-web-interface,-and-their-projects--- ------------------------------then-appear-on-the-site's-front-page.-Th e-Fabrica---------------------------------logo-changes-to-reflect-the- most-recently-posted---------------------------------project,-literall y-transforming-the-identity-of---------------------------------Fabrica -with-each-new-piece-of-work.-Any-visitor----------------------------- ----to-the-site-can-scrawl-graffiti-on-any-project-page,-------------- -------------------for-all-future-visitors-to-see.-In-this-way,-any--- ------------------------------project-is-vulnerable-to-praise,-critici sm,-or-mockery,---------------------------------and-any-visitor-to-the -Fabrica-site-becomes-both---------------------------------a-critic-an d-an-artist.-An-IP-address-locator-logs------------------------------- --the-country-where-each-graffiti-is-created,-expressing-------------- -------------------the-global-outlook-of-Fabrica,-whose-community-of-- -------------------------------artists-stretches-worldwide.-fabrica.it ---------------------------------|-My--------------------------------- Fabrica-projects------------------------------------------------------ ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------U NDERSTANDING---------------------------------VORN-is-an-artwork-in-flu x.-Every-five-minutes---------------------------------it-scours-thousa nds-of-weblogs,-searching-for-the---------------------------------four -most-recently-posted-pictures-that-begin-with------------------------ ---------the-letters-'V',-'O',-'R',-'N'.-Every-five-minutes,---------- -----------------------UNDERSTANDING-VORN-changes,-filled-with-fresh-w ords---------------------------------and-pictures-from-the-blogosphere .-Commissioned---------------------------------by-Germany's-VORN------ ---------------------------Magazine,-the-piece-is-an-exploration-of-th e---------------------------------chaotic-and-thrilling-temporality-of -the-online---------------------------------reality.-From-the-chaos-ca n-emerge-extreme-ugliness---------------------------------and-extreme- beauty,-but-the-lack-of-premeditation--------------------------------- makes-it-all-very-human.-Understanding-VORN-has----------------------- ----------seen-suicide-notes,-sex-pictures,-and-love-letters,--------- ------------------------but-these-poignant-moments-inevitably-get-swal lowed---------------------------------by-time,-as-the-program-advances ,-obsessed-with---------------------------------finding-what's-new.-un derstandingvorn.org---------------------------------|-about----------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------10x10™-('ten-by-ten')---------------------- -----------is-an-interactive-exploration-of-the-words-and-pictures---- -----------------------------that-define-the-time.-The-result-is-an-of ten---------------------------------moving,-sometimes-shocking,-occasi onally-frivolous,---------------------------------but-always-fitting-s napshot-of-our-world.-Every---------------------------------hour,-10x1 0-collects-the-100-words-and-pictures--------------------------------- that-matter-most-on-a-global-scale,-and-presents---------------------- -----------them-as-a-single-image,-taken-to-encapsulate-that---------- -----------------------moment-in-time.-Over-the-course-of-days,-months ,---------------------------------and-years,-10x10-leaves-a-trail-of-t hese-hourly---------------------------------statements-which,-stitched -together-side-by-side,---------------------------------form-a-continu ous-patchwork-tapestry-of-human-life.--------------------------------- 10x10-is-ever-changing,-ever-growing,-quietly-observing--------------- ------------------the-ways-in-which-we-live.-It-records-our-wars-and-- -------------------------------crises,-our-triumphs-and-tragedies,-our -mistakes---------------------------------and-milestones.-When-we-make -history,-or-at-least---------------------------------the-headlines,-1 0x10-takes-note-and-remembers.--------------------------------tenbyten .org---------------------------------|-about-------------------------- -------|-press--------------------------------video-trailer:-full----- ----------------------------(9mb)-small------------------------------- --(4mb)--------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------Oral---------------------------------Fixation-is-a-designer-b reath-mint-company-dedicated---------------------------------to-making -everyday-objects-beautiful.-Design-by-------------------------------- -Number27.---------------------------------oralfix.com---------------- -----------------|-tins---------------------------------|-logotype---- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- --------------------------------------------------------------------Th reatMeter.com---------------------------------is-social-commentary-on- the-business-of-terrorism---------------------------------and-the-tren dy-political-strategy-of-constant-fear.------------------------------- --In-collaboration-with-Joel---------------------------------Gethin-Le wis.--------------------------------threatmeter.com------------------- --------------|-shirts------------------------------------------------ ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- -----------WordCount™-is-an-interactive-presentation------------ ---------------------of-the-86,800-most-frequently-used-English-words. ---------------------------------WordCount-recently-won-AIGA's-2003-Aw ard-for-Information---------------------------------Design.-wordcount. org---------------------------------|-about--------------------------- ------|-conspiracy---------------------------------------------------- ----------------WordCount-tracks---------------------------------the-w ay-we-use-language;-QueryCount-tracks-the-way------------------------- --------we-use-WordCount.-Or,-perhaps,-the-way-we-really-------------- -------------------use-language.--------------------------------queryc ount------------------------------------------------------------------ ------------------------------#2-in-the-popular-series-"Fun-with- WordCount"...---------------------------------the-1970's-Movie-Ch aracter-Name-Game!!!!--------------------------------1970's----------- ----------------------Name-Game--------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- --------------------------------Infographic-maps-depicting------------ ---------------------the-state-of-the-world,-developed-for-Princeton-- -------------------------------University's-INA.---------------------- ----------maps-|-non-geographic---------------------------------maps-- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------To-celebrate-the-first--------------- ------------------ten-years-of-the-Interent,-Yahoo!------------------- --------------selected-the-top-100-moments-of-the-web-from-1995------- --------------------------to-2005.-I-worked-with-Yahoo!-to-develop-&qu ot;Yahoo---------------------------------Netrospective:-10-years,-100- Moments",-the---------------------------------commemorative-micro site,-inspired-by-10x10.---------------------------------Yahoo-------- -------------------------Netrospective-|-10x10------------------------ ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------The-inaugural-Art-------------------------- ---------of-Science-Competition-at-Princeton-------------------------- ---------University-celebrates-the-aesthetics-of-science-------------- ---------------------and-the-experimental-nature-of-data-driven-art.-- ---------------------------------This-nexus-of-artistic-and-scientific -creativity-----------------------------------holds-a-special-place-in -my-heart-and-my-mind,-----------------------------------as-those-two- worlds-inform-much-of-my-own-work.-----------------------------------I -was-happy-and-honored-to-help-define-the-first----------------------- ------------annual-Art-of-Science-Competition-at-Princeton.----------- ------------------------With-some-luck,-over-the-next-few-years,-the-c ompetition-----------------------------------will-grow-into-an-interna tional-forum-for-scientific-----------------------------------artwork, -in-all-its-manifestations.----------------------------------Art------ -----------------------------of-Science-Competition------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------The-fresh-new-site-for-Oral---- -----------------------------Fixation-Mints,-a-breath-mint-company-wit h-attitude.---------------------------------Also,--------------------- ------------King-Kong-and-Lady-Liberty-get-their-fix-NYC-------------- -------------------style.--------------------------------oralfix.com-- -------------------------------|-daily-------------------------------- -blog-|-cards--------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- 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yright-©2005-Number27-----/-Jonathan-J.-Harris------------------- -------------------------http://justcurio.us--http://www.iospace.com-- http://flashforwardconference.com/--http://www.voanews.com/wm/voa/engl ish/nnow/world0702.asx--http://www.voanews.com/english/science/ourworl d.cfm--http://www.sonar.es/--http://www.sonar.es/2005/eng/multimedia_o nline.cfm--http://www.bbcworld.com/content/clickonline_archive_24_2005 .asp?pageid=666&co_pageid=2--http://www.flashforwardconference.com/fin alists/finalists_05ny.asp--http://www.flashforwardconference.com/defau lt.asp--http://www.flashforwardconference.com/peopleschoice/peoplescho ice.asp--http://www.webbyawards.com/webbys/current.php--http://www.pcm ag.com/--http://www.pcmag.com/article2/0,1759,1783198,00.asp--http://g o.pcmag.com/2005bestwebsites--http://www.webbyawards.com/webbys/curren t.php--http://www.webbyawards.com/webbys/current.php#best_navigation-- http://www.webbyawards.com/webbys/current.php#webby_entry_art--http:// www.fabrica.it--http://www.stanford.edu--http://www.princeton.edu--htt p://www.oralfix.com--http://www.oralfix.com/blog/--http://www.webbyawa rds.com/webbys/current.php--http://www.princeton.edu/artofscience/--ht tp://www.elpais.es--http://www.associatedcontent.com--http://www.assoc iatedcontent.com/content.cfm?content_type=article&content_type_id=683- -http://www.hofstra.edu--http://www.tvspy.com--http://www.tvspy.com/ne xttv/nexttvcolumn.cfm?t_nexttv_id=2521&page=1&t_content_cat_id=10--htt p://www.chicagotribune.com--http://birthday.yahoo.com/netrospective--h ttp://www.wired.com--http://www.wired.com/news/culture/0,1284,66612,00 .html?--http://www.fabrica.it--http://picks.yahoo.com/picks/20050123.h tml--http://www.desktopmag.com.au/--http://www.guardian.co.uk/--http:/ /www.guardian.co.uk/online/story/0,3605,1383606,00.html--http://www.go ogle.com--http://www.piterwilson.com/limbotime/--http://www.flong.com/ --http://www.flong.com/writings/texts/essay_cvad.html--http://picks.ya hoo.com/picks/20041202.html--http://www.reuters.com/locales/c_newsArti cle.jsp;jsessionid=f85%3A41af41db%3A7c84049fefb4633?type=internetNews& localeKey=it_IT&storyID=6974206--http://understandingvorn.org--http:// www.repubblica.it/2004/k/sezioni/scienza_e_tecnologia/tenbyten/tenbyte n/tenbyten.html--http://www.repubblica.it/--http://www.benetton.com--h ttp://www.tenbyten.org/press/benetton.html--http://edition.cnn.com/HLN /--http://www.usatoday.com--http://www.usatoday.com/tech/webguide/inte rnetlife/2004-11-19-10x10_x.htm--http://www.wordcount.org/namegame/ind ex.html--http://bites.virginmobile.com/virgin.bites/--http://www.tenby ten.org--http://www.piterwilson.com/limbotime/--http://processing.org- -http://www.flong.com--http://www.threatmeter.com--http://www.earthlin k.net/elink/issue58/home.html--http://slashdot.org/articles/04/09/20/1 059208.shtml?tid=133&tid=159&tid=1--http://www.creativereview.co.uk/-- http://www.aec.at/en/index.asp--http://www.voa.gov--http://www.voanews .com/Wordmaster/--http://www.voanews.com/Wordmaster/article.cfm?object ID=6F538098-D2E3-40CE-9D77ADE5F1464DA1&title=September%202%2C%202004%2 0%2D%20Wordcount%2Eorg--http://www.argobot.com/--http://www.romandson. com--http://www.plankman.com/--http://www.iospace.com--http://www.joel gethinlewis.com--http://www.dorasbox.com--http://www.piterwilson.com-- http://www.miserychick.net/--http://www.martinredigolo.com--http://www .oxidise.com.au--http://www.flamingtoast.net--http://justcurio.us--htt p://www.iospace.com--http://justcurio.us--http://justcurio.us/question s.php--http://justcurio.us/answers.php--http://justcurio.us/about.php- -http://www.tenbyten.org--http://www.oralfix.com--http://www.benetton. com--http://www.fabrica.it--http://www.fabrica.it/person.php?id=jjharr is--http://understandingvorn.org--http://vornmagazine.com--http://unde rstandingvorn.org--http://understandingvorn.org/about.html--http://ten byten.org--http://tenbyten.org--http://tenbyten.org/about.html--http:/ /tenbyten.org/press.html--http://oralfix.com--http://www.oralfix.com-- http://threatmeter.com--http://www.joelgethinlewis.com--http://www.thr eatmeter.com--http://www.threatmeter.com/shirts.php--http://wordcount. org--http://wordcount.org--http://wordcount.org--http://wordcount.org/ about.html--http://www.number27.org/projects/wordcount/conspiracy.html --http://wordcount.org/querycount.php--http://wordcount.org/querycount .php--http://wordcount.org/namegame/index.html--http://wordcount.org/n amegame/index.html--http://www.princeton.edu/%7Eina--http://birthday.y ahoo.com/netrospective--http://www.yahoo.com--http://birthday.yahoo.co m/netrospective--http://www.tenbyten.org/--http://www.princeton.edu/ar tofscience/--http://www.princeton.edu--http://www.princeton.edu/artofs cience/--http://www.oralfix.com--http://www.oralfix.com--http://www.or alfix.com--http://www.oralfix.com/blog--http://number27.org--------htt p://www.number27.org _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Sun, 21 Aug 2005 16:26:53 -0700 message-id: <200508212326.j7lnqras017680@idx164.idx.net> references: no_parent from: Alicia subject: RHIZOME_RAW: Call for Entries ::: SF IndieFest ::: Deadline 10.15.05 The San Francisco Independent Film Festival seeks your most delicous, twisted, unique, historical, fictional, subtitled, stop-motion, curious, cadaverous, outsider, outstanding and otherwise brilliantly-executed indie-films and videos. For more information on submitting your Features Shorts Docs & Animation films (35/16mm) & videos (BetaSP/dvd/dv/mini-dv) for the 8th Annual SF IndieFest (Feb. 2-14, 2006), check out http://www.sfindie.com . Head on over to http://www.sfindie.com/06_App.pdf to download an entry form. Send it, along with your VHS/DVDs, stills, press kits, entry fee and tidbits to: SF IndieFest 530 Divisedero St #183 SF, CA 94117 Entry fee is $20 for shorts (any film less than 50 minutes), and $30 for features. If you'd care for your entry to be returned, please include a SASE + add $5 to your entry fee. ::::Entries must be postmarked by October 15th, 2005:::: We're looking forward to seeing your latest work! -Jeff, Bruce, & Alicia at SF IndieFest + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > > each chapter looks at the work of a particular > mathematician/logician, > > starting with leibniz (1646-1716); then George > Boole (b. 1822); > > Gottlob > > Frege (b. 1848); Georg Cantor (b. 1845); David > Hilbert (b. 1862); > > Kurt Godel > > (b. 1906); Alan Turing (b. 1912). With brief > mention of a few other > > cats > > like Charles Babbage (b. 1791). > > > > the book traces the contribution of each of these > logicians to > > "leibniz's > > dream" of a machine that can reason. so the book > has a great deal > > to do with > > logic and language. it has a lot to do with > language since the work > > of the > > above logicians can be seen as advances towards > languages in which the > > reasoning can take place. > > > > this book also looks, toward the end, at the > unfortunate > > misunderstandings > > of searle and penrose. whether or not it is the > case that there are > > thought > > processes of which humans are capable but > computers are not remains > > an open > > question, notwithstanding things like penrose's > simply fallacious > > proofs > > that there are. > > > > we be language machines, to some extent, in our > reasoning/thinking. > > the > > degree has not been settled. > > > > i would recommend this book to digital artists > interested in the > > historical > > and philosophical/epistemological underpinnings of > computing. i would > > particularly recommend it to writers involved > intensely in the > > digital, > > since it concerns the contemporary > interpenetration of language, > > logic and > > reasoning/thinking. digital artists tend to be > interested in the > > confluence > > of arts and media. i suggest that the > philosophical underpinnings > > of this > > confluence concern language in an extrordinary > manner. > > > > martin davis, the author, is a distinguished > logician and knows the > > subject > > well. he is a prof emeritus of the courant > institute in ny. he has > > written a > > related but more technical book on 'Computability > and > > Unsolvability' and has > > put together a book of early papers by logicians > on 'The Undecidable'. > > > > the mathematical background required to read 'the > universal > > computer' is > > minimal. > > > > 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 > > -> 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 > > > > + > -> 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 > *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ____________________________________________________ Sell on Yahoo! Auctions no fees. Bid on great items. http://auctions.yahoo.com/ + -> 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 date: Sun, 21 Aug 2005 20:50:21 -0700 message-id: <200508220350.j7m3olr4029637@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Jared Tarbell\'s online generative art Hi Jim, Jared is coming to judge our student show at UNC Asheville this year, so that is cool. This dredged up from a thread last year on the dreaded specter of "Flash Formalism" (cf: http://rhizome.org/thread.rhiz?thread=14745&page=4 ) -- +++++++++++ http://www.complexification.net/gallery/machines/interAggregate/index.php It owes an intentional debt to Pollock not only in its palette but in its application and process. Pollock was not a "chance operations" artist, but was very deliberate in his execution. His process was an admixture of chaos and craft, and part of that craft lay in how much chaos to allow into the work, when to allow it in, and how to allow it in. Similarly, Tarbell is not using Flash (as t. whid rightly observes), but Processing which compiles into Java, and then he's going behind and hand-tweaking the compiled java. The piece is generative, but not without Tarbell's particular, intentional visaul aesthetic, not just in the final output, but in the real-time "playing out" of the piece. Whereas Pollock's "hand" in real-time painting led to the production of a static final painting, Tarbell removes this process one step further. Tarbell's "hand" in real-time coding leads to the software's "hand" in real-time "painting," which in turn leads to the output of the static piece. I! n Pollock's case, the final piece shows evidence of Pollock's energetic "performance," that is, his painting of the piece. In Tarbell's case, the performance (the software's "drawing" of the art) *is* the actual piece. This generative "playing out" in turn shows evindence of Tarbell's coding "performance" which occurs off stage, but which is nevertheless observable by viewing the intentionally open source code. So it ain't just FlashFormalism. It's "speaking" about art history; about new media's relation to art history; about the nature of time-shiftedness and instruction giving; about the balance between chaos and control; about the continuum of performance, meta-performance (literally "script writing"), and object; about the relationship between process and visual aesthetics; about the relationship between code, hand, line, and dance; about the ability of software-based media to evince an idiosynchratic personal style. Plus it looks so danged pretty. And the beauty of it (literally) is, you don't have to grok the above insights to get something out of the piece. +++++++++++ Jim Andrews wrote: > > Here is some unusually good generative visual art available for > viewing on > the Net: http://www.complexification.net/gallery . This is work by > Jared > Tarbell of New Mexico. I find this work quite exciting. Many of you > have > probably seen this work before. I have too, but only tonight have > something > to say about it. > > What I like about it is the fusion of algorithm and art. Of course > there is > much generative algorithmic visual art, but this work is rather > distinguished in its particular fusion. > > For instance, Box.Fitting.Img is both beautiful visually and, also, > the work > grows from an algorithm that one may easily infer from watching the > piece. > It starts with 5 boxes. The color of the boxes is determined by the > color of > the pixel of an underlying, invisible image. Though as the piece > grows, one > gets other indications of the underlying image. In any case, a box > grows > until it touches another box. Then it stops growing and other boxes > start > growing in the interstices remaining. > > Very simple algorithm. Plain to see. But brilliantly so, really, and > unusual > in its visual results. > > And much of his work is this way: the algorithms are evident if you > watch > closely. They are simple but often generative of unusual results. And > his > sense of color and shape is finely drawn. No clumsy grab bag goin on > here. > The sense of composition is fascinating. Composition within a > pseudo-random > generative process. > > Another wonderful part of the work is that all the source code is > available > to view. It's all done in a language called Processing invented not > too long > ago by Casey Reas and Ben Fry. Java based. Some other strong work is > emerging from this language such as Martin Wattenberg's, and Marek > Walczak's > "Thinking Machine" at http://www.turbulence.org/spotlight/thinking , > which > we have discussed a bit on the list. > > In Tarbell's work we see the strong abstract quality of generative > computer > visuals. Strong abstract and dynamic > properties/mode/process/aesthetic. Also > we see the value of the source code to the artist-programmer > community. > > Another *very* strong site by Tarbell is http://levitated.net/daily . > > 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, 21 Aug 2005 23:26 message-id: references: no_parent from: carlos katastrofsky subject: RHIZOME_RAW: update: entropy after some research and improvements "entropy" is now relaunched: http://aqua.subnet.at/carlos/projekte/media/entropy/ short, but with ads: http://www.entropy.net.tf article about entropy from neural (in italian): http://neural.it/nnews/entropy.htm feedback welcome... regards, carlos + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > >thanks. > >-jeremy > > > > > director rocks hands down. > > it'll run about any kind of video (pre-recorded or a live feed with > the coolest xtra (TTCPro, does screen shots, and shockwave), reads > files from the web or local. and super easy presentation/authoring > functions. (warning, using it for more than a few seconds requires a > hefty mac. win version can't hold up for long. nothing for > unix/linux obviously though) > > max with jitter sounds close, but not ideal for presentation or a lot > of web functions. do the screens need to be coordinated? could you > have one program (like max) handle the local feed, one like > (quicktime) handle pre-recorded stuff, one (like perl) handle the web > feed, and write a mother program that switches between these (in > about anything)? > > i wish director would just come with computers, because it is by far > the best stuff can be done with them. 99% of what makes computers > not just boring boxes of wires. lingo should be one of the required > languages in school. other programming languages do much more but > are much more difficult and development takes too much. there's a > lot you may want to customize (like C/C++ would let you do) in an app > but especially for staged performances, it's not worth all the extra > work. > > if you don't own a mac, but do these a few times a year, it's > probably even worth getting one of those $500 mini's or something for > shows, just to run director. > + > -> 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 > > + -> 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 date: Mon, 22 Aug 2005 00:28:32 -0700 message-id: <200508220728.j7m7stvi030641@idx164.idx.net> references: no_parent from: Marjan van Mourik subject: RHIZOME_RAW: CULTURETV New playlist The summer is almost gone. And a new cultural season will start soon with important shows and events. We're preparing video news flashes for you. So keep tuned in to CULTURETV. New art videos: 'Filmstrip'by Gabriel Orenstein a 3 minute video art work that was part of the "OPTIC NERVE" at the MOCA MUSEUM IN MIAMI FL USA.Optic Nerve is MOCA’s annual film festival featuring short videos and films by some of the freshest and most innovative artists in South Florida selected from an open call for submissions. 'Tech Tunnel'by DVDell& Herr K. NEW PLAYLIST ON AIR 'WHALES of the Season ' Show of Young Russian artists Moscow '13terStock' by Florian Thalhofer & Kolja Mensing (D) 'Screenkiss' by Jillian Mcdonald (CAN) 'Soul' Brugge 'TechTunnel' by DVDell& Herr K 'Hollywood' by Ulrike Feser / Wolfgang Stahr / Silvan Linden (D) 'Art Base 101 Rhizome' New Museum NY 'La Biennale of Venice' Venice (I) 'Filmstrip' by Gabriel Orenstein 'Project Rotterdam' Museum Boymans van Beuningen Rotterdam, (NL) 'Being sHe' by Chilo Eribenne (GB) 'Looking for 1 hrs. Photo' by V.Shumov & L.Romanos (USA). 'Art Out of Africa'Bertiers' Painter from Kenia 'BRINGING DEMOCRACY TO YOU' by Florian Zeyfang / Ulrich Heinke / Rolf Pilarsky (D). 'Symphony in the box/symphony in my head' by Ijosé Benin (CAN). 'A Story' by Isidore Bethel (USA) 'Una Pelicula du Cinema Retrato Reverso' by Aaron Krach & Lloyd Blander (USA). 'La Divina Comedia' by Frederic Peire (F). 25 Year Collection Deutsche Bank. 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 > information about the project and the artists involved on the > exhibition website: www.daytodaydata.com > > The web-based exhibition featuring new work by Adele Prince, Anders > Bojen & Kristoffer rum, Jem Finer and Kevin Carter also launches on > 20 July and will be viewable on the Day-to-Day Data website. > > Angel Row Gallery > Central Library Building > 3 Angel Row > Nottingham > NG1 6HP > > Exhibition Dates: Wednesday 20 July Wednesday 7 September 2005 > Launch Event: Wednesday 20 July, 6 8pm > Open: Monday Saturday, 10am 5pm, Wednesday, 10am 7pm + -> 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 date: Mon, 22 Aug 2005 01:35:04 -0700 message-id: <200508220835.j7m8z4v5012284@idx164.idx.net> references: no_parent from: Lea subject: RHIZOME_RAW: ¿blog? art project - call for submissions ¿Blog? Blog, one of the most spread forms of expression on the web, varying from personal diaries to community weblogs, professional knowledge exchange resources, political campaigns and more. In their different manifestations, blogs (moblogs, videoblogs, photoblogs, etc.), became a phenomenon influencing in many cases upon social and cultural areas: journalism, politics, alternative knowledge sources, literature, art, etc. The ¿blog? project takes blog as art and as a stage for net artworks investigating the language, the aesthetics, the impacts and the practices of blogs, blogging and the blogoesphere. In this context, it's worth mentioning the blog.art project --one of the first projects dealing with the notion of blog as art -- operating for about a year and publishing blog-defined art projects. ¿Blog? project acts (is envisioned to act) as a platform for an open discussion on the topic and as a pool for submitting works. No-org.net invites submissions of art projects making use of blog as a tool, subject, or both as well as texts investigating the blog-art interplay in a broad sense. Selected texts and artworks will be exhibited (separately) on the no-org.net website. The launch of the project will be accompanied by an opening event and the discussion, that will get documented on the no-org.net website. http://no-org.net/blogs + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 22 Aug 2005 01:42:37 -0700 message-id: <200508220842.j7m8gbag013224@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: CRYSTALPUNK WORKSHOP for SOFT ARCHITECTURE The Crystalpunk Workshop for Soft Architecture September - December 2005, Utrecht, The Netherlands generated by socialfiction.org, hosted by impakt.nl http://socialfiction.org/crystalpunk Hidden in the former utility area of a vacant 13 floor office in Utrecht, the "Crystalpunk Workshop for Soft Architecture" will evolve an empty room from nothingness into unknown states of technological enhancement. Unlike the alphabet that always knows where it is going, this workshop does not. A Room of a Crystalpunk's Own The Headmap manifesto, the Coleridgian masterpiece of independent software development for spaces and places, observed: "Every room has an accessible history, every place has emotional attachments you can open and save". New technologies can associate places with layers of free and editable content from which the past can be re-enacted, like a murder at the scene of the crime is re-enacted, to re-experience and stir vanished memories. Little minds living in software can eat any piece of data, extract meaning from it and email it to you when the right criteria has been met. Our Crystalpunk Manifesto famously drew connections between disconnected fields of knowledge and explained to the world our intention to program minds and matter simultaneously. This workshop marshals these manifestos of inspiration into real practises with scars of happy absurdi(r)ty engraved on their souls. Lexicon Crystal: The inorganic strategies of the crystalpunk are both chemically and metaphorically informed by the lessons learned from the transformation from moleculline mayhem into crystalline order. Crystal growth is adaptive, particle-noise disrupts tessellation but the crystal works its way around it softly. Roomology as crystallography? The analogy with crystals finding form permeates every aspect of this workshop: the room is filled with latent possibility, the workshop seeds these powers laying dormant, what remains after 4 months is outward form pushed and moulded and beaten into shape by events and persons working inside the room with the material produced by their own every moves inside the room. Punk: Despite appearances this workshop is not technology-driven but propelled forward by social interaction and a healthy disrespect for specialists of all kinds. Punk is not a style or a genre but a principle of self-education: taking up a technology (an electric guitar, a sensor, a programming language) ignoring all good practise, refusing to draw a line between student and teacher. Punks don't spend years practising: they immediately start a band with the intention to change the world. Workshop: Knowledge is generated collectively, collectives generate their own special flavours of knowledge. This workshop creates a social situation by providing resources to those persons unknown curious enough to come round and actively encourage those people whose past work we like. Different interests, backgrounds, talents, skills will mix, seek alliances and run amok; rapidly the room enhanced starts to generate data, ad-hoc collaborations find challenging ways for this data to be interpreted. Within the workshop countless micro-workshops will focus on specific topics, introducing high-level ideas and technologies to the uninitiated or to keep everybody up to date on the workshop's output, helping each other to make sense of the magic properties of technology. This workshop is a sustained stream of consciousness you can wash your mind/sharpen your capabilities/empower your potential with. Soft + Architecture: Buildings learn, rooms have memories, design does not need its designers, the language of time (piecemeal extensions, reinventions, rephrasings, accidents, entropy) rewrites their script. A room, by implication, refuses to be belittled into the function of a radio, it wants to be a broadcaster too. Continuous sending information to the world, a room can have a virtual identity and under this guise live a secret life. For instance: a crystalpunk moves his leg for comfort, a crystalpunk shakes her head in disagreement, sensors pick up on it, triggering a wide range of reactions known and unknown, local and faraway. To paraphrase Ezra Pound: in soft architecture each gesture creates content that has form as water poured into a vase has form. Content is recyclable, routed multiple times, finally ending up back where it initiated: causing a sound closing a door illuminating a cryxal on-screen. A crystalpunk walks through the room and, like in a crappy disco, ! the floor lights up underneath her feet, too bad he is not feeling very much like a dancing queen tonight. Soft Architecture is a home grown architectonic freak show: what the Elephant Man is to the Athletic Body, the Crystalpunk Room will be to the Smart House. Now that we have found data, what are we going to do with it?! Technologists have for decades been playing with the idea of the supposedly smart home: the entire house adaptive and responsive and proactive, providing conveniences like that resurfacing dystopian killer-app: the refrigerator that makes sure the milk never runs out. No matter how device-centric and profit-inspired these efforts are, and as such divided by a royal mile from the super-serendipity of Crystalpunk roomology, this workshop is moving in the same problem-space of obvious possibilities and unresolved puzzles of making sense from the surplus of automated data production. Everybody can generate a source of water by opening the tap, few are given to come up with conceptually stimulating ways to process the output. On Being Soft Knowledge, so it is said, is the agitator of economic growth, a good education the only insurance against unemployment. Self-education in this respect is a scrapyard challenge: without any experience you can master the use of a jet engine, but when announcing yourself at the job centre it will be back to washing plates or carrying big things if you know what I mean. But self-education is part not of the world of schools and jobs and financial solvency and mortgage opportunities, but an involuntary by-product of the personal creative urge of the kind that start with one innocent question: "what if....?". What if I make a lot of noise? On Participating The Crystalpunk Workshop of Soft Architecture workshop lives in 2 distinct spheres: in the corner of a gigantic building in a tiny Dutch city and online where as much realtime roomness is broadcasted as possible. Participation is local, you are invited to bring your laptop and start making noise, to join a workshop or to come listen to a presentation. To those faraway we must mention that, apart from this workshop, there are very few reasons for visiting Utrecht and the more we admire you for doing so. From the deepest Africa you are encouraged to turn yourself into a soft architectonic bootlegger: to render on-line data into representations formal and fluid, in monotones or RGB, spatially exact or rolling like a wave. Or perhaps you are more philosophically inclined and prone to profound reflections, or perhaps breaking things only to rebuild them is the tea you drink: the social infrastructure will be in place to work and think along wherever you are. We do not care if participants don't know anything useful, and likewise we will welcome you with as much enthusiasm if you do know something useful. We are not like an alphabet but we are neither a cheap bar: we do ask from our participants the desire to unwind their own what-if soft scenarios. If you only want free internet access Beelzebub will bite your head off and create content that has form as a main artery needing urgent medial attention has form. For a workshop that wants to shake the language and experience of roomness, 4 months is little time, but like with every education, it is never finished A fact learned can reveal itself useful only years after. Come as you are: you can be crystalpunk too. http://socialfiction.org/crystalpunk get involved via: crystalpunk |at| socialfiction |dot| 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 let art be, dv -----Original Message----- From: owner-list@rhizome.org [mailto:owner-list@rhizome.org] On Behalf Of Geert Dekkers Sent: maandag 11 juli 2005 17:48 To: Rhizome Subject: Re: RHIZOME_RAW: 'the universal computer' by martin davis Will do. Thanks. Looking for a new book. I'm actually muddling through Bertrand Russells History of Philosophy at the moment, long overdue as the book was printed in 1948 (map of Switserland printed on the inside of the flap -- wonder why -- always [stupidly] thought: "paper shortage after the war") and I have had my copy -- well, for ages... Anyway, just reached Liebniz... Cheers Geert http://nznl.com On 11-jul-2005, at 2:52, Jim Andrews wrote: > am muddling through a pretty good book at the mo i thought i'd > mention: 'the > universal computer' by martin davis (subtitled 'the road from > leibniz to > turing'). published in the year 2000. > > each chapter looks at the work of a particular mathematician/logician, > starting with leibniz (1646-1716); then George Boole (b. 1822); > Gottlob > Frege (b. 1848); Georg Cantor (b. 1845); David Hilbert (b. 1862); > Kurt Godel > (b. 1906); Alan Turing (b. 1912). With brief mention of a few other > cats > like Charles Babbage (b. 1791). > > the book traces the contribution of each of these logicians to > "leibniz's > dream" of a machine that can reason. so the book has a great deal > to do with > logic and language. it has a lot to do with language since the work > of the > above logicians can be seen as advances towards languages in which the > reasoning can take place. > > this book also looks, toward the end, at the unfortunate > misunderstandings > of searle and penrose. whether or not it is the case that there are > thought > processes of which humans are capable but computers are not remains > an open > question, notwithstanding things like penrose's simply fallacious > proofs > that there are. > > we be language machines, to some extent, in our reasoning/thinking. > the > degree has not been settled. > > i would recommend this book to digital artists interested in the > historical > and philosophical/epistemological underpinnings of computing. i would > particularly recommend it to writers involved intensely in the > digital, > since it concerns the contemporary interpenetration of language, > logic and > reasoning/thinking. digital artists tend to be interested in the > confluence > of arts and media. i suggest that the philosophical underpinnings > of this > confluence concern language in an extrordinary manner. > > martin davis, the author, is a distinguished logician and knows the > subject > well. he is a prof emeritus of the courant institute in ny. he has > written a > related but more technical book on 'Computability and > Unsolvability' and has > put together a book of early papers by logicians on 'The Undecidable'. > > the mathematical background required to read 'the universal > computer' is > minimal. > > 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 > -> 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 > + -> 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 + -> 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 date: Mon, 22 Aug 2005 05:07:09 -0700 message-id: <1124712429.4309bfedb00e9@webmail.namezero.com> references: from: www@trashconnection.com subject: Re: RHIZOME_RAW: filter; send to trash I send to trash emails like this too: "Emails like this I just filter out, send to trash. It's like the mumbling of children who've yet to learn to talk. Realising one can disturb others and get attention is the first immature step in learning to communicate. Miklos" + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php permanently at tacticalmediacookbook.net PROPOSED INSTALLATION (Art Interactive) The proposed TMC installation will consist of several computer terminals and a bookbinding station. TMC participants will be able to: 1. Browse the contents of the TMC. 2. Print desired essays and project recipes. 3. Assemble their own cookbook that they can keep for reference and future use. FS members will be on hand to conduct bookbinding workshops at the opening reception; a how-to-video will be playing for the remainder of the exhibition. CALL FOR SUBMISSIONS Finishing School is seeking (in English) concise and clear submissions relevant to the following categories: Tactical Media Theory - Tell us what tactical media is - How you use tactical media Tactical Media Project Recipes - Please try to keep the tactical media project descriptions brief, 500 word maximum Directory of Tactical Media Practitioners - Include preferred contact information and brief description of practice/concerns SUBMISSION FORMATS All submissions need to be received by December 1, 2005 to be considered for the project. Text needs to be in Word Document format Images need to be 300 dpi and in JPG or PDF format Please email questions/submissions to contact_fs@yahoo.com FAQ 1. Can I submit to more then one category? Yes. 2. Can I submit more then once in the same category? Yes. 3. When will I know if my work has been accepted? FS will post all accepted work by February 1, 2006 on the TMC site. 4. How will my submission be presented on the TMC site? All accepted submissions will be reformatted by FS into linkable and printable 8.5 x 11 inch PDF's. + -> 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 date: Mon, 22 Aug 2005 15:10:12 +0200 (CEST) message-id: <20050822131012.2ade42c056@ws3.ou-data.net> references: no_parent from: miki subject: RHIZOME_RAW: HTTP-I HTTP-In-The-House-by-Plasma-Studii----With-online-assistance-galore,-s peaking-one's-mind-is-no-longer-a-chore.-These-days-all-you-need-is-an -internet-connection.-HTTP-In-Tha-House-will-give-your-flows-a-dot-org -inflection.-Plasma-Studii's-Judson-developed-the-site-to-'shout-out-s ome-dope-rhymes,'-and-the-battle-worthy-bot-delivers,-time-after-time. -Type-in-a-URL-(on-your-Dell?)-and-HITH-produces-a-holla-for-your-homi es-to-yell.-This-site-reads-your-site's-script-all-dramatic,-and-assem bles-16-lines,-automatic.-HITH-only-needs-a-hundredth-of-your-words,-s o-'it-hacks-them-down-and-reassembles'-for-all-the-hip-hoppin'-nerdz.- Bits-and-bytes-are-run-through-a-rhyming-dictionary,-and-results-great ly-vary.-So-try-your-URL-again-and-again,-subject-yourself-to-an-HTTP- spin.-Observe-the-cut-up-given-to-Net-Art-News'-home,-Rhizome:-'class- fresh-object-positioning-hack//-href-http-yack-//-agonistics-a-languag e-game//-http-rhizome-maim.'-Judon's-engine-sifts-your-digital-silt,-a ssembles-patchwork-quilt,-remixed-to-tha-hilt.-So-bring-some-thesaurus -to-your-chorus,-or-just-reorganize-your-code.-HTTP-In-The-House-bring s-fresh-flows-to-your-node.---Marisa-S.-Olson--------------http://www. furl.net/forward.jsp?id=2768731---via:http://www.furl.net/members/SAIC ArtistsBooks/rss.xml _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Mon, 22 Aug 2005 07:21:35 -0700 message-id: <200508221421.j7melzek001413@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Internship Opportunity Internship Opportunity Fall 2005 Project Title: Conducting research on distance learning Project Description: The intern will work with the Education Associate for Access to conduct research on interactive distance learning. Based on this research, the Museum will develop a plan for acquiring interactive distance learning technology and launching its own distance learning program. Specifically, the intern will research: 1) the various technology options available for interactive distance learning and the cost of acquiring/maintaining them; 2) other museums’ distance learning programs; 3) which foundations fund other museum’s distance learning programs; 4) potential audiences for distance learning programs; and 5) best practices for marketing distance learning programs. Based on the research, the intern will work with the Education Associate for Access to develop a set of recommendations for the Museum’s distance learning program. Qualifications: The intern should have extensive research experience. S/he should be a self-starter and be able to work independently. Knowledge about the technology used in interactive distance learning. Finally, the preferred work schedule for the candidate would be 4 hours a day, three days a week. Interested candidates should forward a cover letter and resume to Maria Velez at mvelez@tenement.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 Links: http://temporarytraveloffice.net/hollywood/parking.html http://www.santander.ws/ http://www.gallery727losangeles.com Gallery 727 Info: 727 South Spring Street Los Angeles, CA 90014 213.627.9563 gallery727losangeles@yahoo.com on the border of the Fashion District and Historic Core Gallery Hours: Thursday - Saturday 12-6pm or by appointment Visit the Temporary Travel Office online http://www.temporarytraveloffice.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 date: Mon, 22 Aug 2005 10:22:59 -0700 message-id: <23e24a2605082210226dc46b2c@mail.gmail.com> references: no_parent from: Marisa S. Olson subject: RHIZOME_RAW: Fwd: World Wide Wrong --- JODI From: "Marieke Istha" Date: Mon, August 22, 2005 5:29 am To: marisa@rhizome.org World Wide Wrong JODI August 27 - October 22, 2005 Opening: Friday, August 26, 5:00 p.m. The conventions regarding how we interact with and use computers were accepted very quickly. People all over the world use the same graphic icons and interface. With notes, recycle bins and files, the desktop of a computer is a graphic reflection of a real desk. These conventions appear to simplify the use of the computer for everyone. On the other hand, they also strongly reflect a virtual reality which makes it seem that the user has control over the machine. But everyone who works with a computer knows that it's a different story. A computer can run amok, freeze up, or simply refuse to do what you want it to do. The artist pair JODI (Joan Heemskerk and Dirk Paesmans) occupy themselves specifically with disruptive miscommunication of this sort. >From the birth of the Internet, JODI were already actively involved with net art. They simulated computer crashes, viruses and error messages with programs they wrote themselves. These projects were a response to the rules of the Internet, and confront the visitor with the cleverly designed interfaces and websites by showing the flip side of the technology, the possibly ugly side. Before you know it dozens of screens or a page full of programming codes appear on the desktop. But the pair are not computer freaks constantly searching for new opportunities. The goal is not to deregulate or reprogram the computer. JODI's interest is primarily in the possibilities the medium has for communication, within which it is primarily the limitations of coded communication that they raise as issues. In the late 1990s their attention shifted from the computer itself to computer and video games. There are also many pre-programmed codes to be found in the game culture which make it easier for the player to quickly understand the game. JODI approaches such limits and simplifications with the requisite skepticism. Through simple interventions, they let us see other possibilities and applications. For instance, the color architecture of the Quake game is simply replaced by black and white fields, eliminating the player's sense of direction and dimensionality. In their latest work they are searching for the possibilities (and impossibilities) of GPS systems. Just like many older video artists such as Nam June Paik and the Vasulkas, for instance, JODI are consciously concerned with raising technical standards for discussion, and modifying them. But rather than producing predictable results, JODI go a step further by employing the unpredictability in the use of software and playing with the expectation patterns of the viewer/user. The exhibition gives an overview of JODI, from their first computer experiments on the Internet through their three-dimensional video installations of game modifications. Opening hours exhibition: Tuesday - Saturday and the first Sunday of the month: 1 - 6 p.m. Entrance 2,50 (1,50 with discount) More information / Images: Marieke Istha Communication: istha@montevideo.nl Netherlands Media Art Institute Montevideo/Time based Arts Keizersgracht 264 1016 EV Amsterdam The Netherlands www.montevideo.nl =============================== VideoCube Warning!!! Contains 220m3 video 26, 27 en 28 augustus tijdens de Uitmarkt World Wide Wrong JODI 27 augustus - 22 oktober 2005 opening vrijdag 26 augustus, 17.00 uur ============================ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 22 Aug 2005 14:06:47 -0400 message-id: <3272f302c15d63d315a9c2c0882c6843@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: New on Rhizome.org: Track your Location by city! Hey everyone, Today, the Rhizome Location feature is getting even better: We're going to start creating city nodes, too, so people can list themselves, and find other people, by cities. Right now I've just turned on cities for the United States, because that's where most of our Members live, and because it's a territory I know well, so picking appropriate names is a little easier. If you are a Member, and you live in the U.S., you can now go to http://rhizome.org/preferences and choose to be searchable under one of these cities: Baltimore Boston Chicago Denver Los Angeles Minneapolis New York Philadelphia Portland San Francisco San Jose Here, for example, is the location page for NYC: http://rhizome.org/location.rhiz?location=us_nyc Though right this minute, I'm the only person who's tagged myself as living in NYC. That should change soon, I'd imagine ... Cities will be coming for more countries soon--hopefully starting next week, once I feel confident that the overall system works fine. In the meantime, please start using it, and let me know if you have any questions or problems. Regards, 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, 22 Aug 2005 14:19:29 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: THE BLOOD MUST CONTINUE TO FLOW FOR IMMEDIATE RELEASE aug 22, 2005 Toronto THE BLOOD MUST CONTINUE TO FLOW QUEEN WEST ARTISTS JOIN ISTVAN KANTOR at the Museum of Contemporary Canadian Art THE QUEEN WEST ART-SCUM GARAGE SALE EXHIBITION ANNOUNCEMENT AND INVITATION TO A PRESS CONFERENCE TUESDAY, AUG 30, 2pm @MOCCA http://www.ccca.ca/mikidot/istvansite/garage_sale.html Istvan Kantor's most recent project INVISIBLE MONUMENT, where he will mix his blood into the concrete to be used for the construction of the new AGO, is gaining sympathy among Queen West artists. A group exhibition intitled THE BLOOD MUST CONTINUE TO FLOW, hosted by the Museum of Contemporary Canadian Art (MOCCA) located on Queen street West, will be the next demonstration of Kantor's evolving campaign to align the local art scene and public on his side. At the press conference on Tuesday, Aug 30 at 2pm., Kantor and his Konspirators will give statements on issues of artistic freedom and institutional authority to introduce the exhibition. The show will take place at the MOCCA from Aug. 30st to Sept. 4th and is open for participation to anyone interested in Kantor's critical attitude, anyone brave enough to join the garage sale style conspiracy event produced by the controversial GG Award winning art-crime mastermind himself. Among the confirmed artists-participants are Napoleon Broussau, Eldon Garnet, Louise Liliefeldt, Miklos Legrady, John Abrams, Phil Anderson, Boryana Rossa, Leif Harmsen and many others. An anti-reception with performances will take place on Thursday Sept 1st at 6pm. The Blood Must Continue to Flow THE QUEEN WEST ART-SCUM GARAGE SALE group show featuring the best and the worst aug 30 - sept 4, 2004 from 11am to 6pm anti-reception: thursday sept 1st, 6pm open talks/performances everyday from 4pm to 6pm artistic director: Napoleon Brousseau media disturbance: Miklos Legrady produced by Istvan Kantor and MOCCA (416)516-3688 amen@interlog.com www.istvankantor.com Press photographs available from mikidot@sympatico.ca Museum of Contemporary Canadian Art MOCCA 952 Queen Street West Toronto On M6J 1J8 (416)395-0067 -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +416+203+1846 +647+292+1846 + http://www.mikidot.com --============_-1087387724==_ma=========== THE BLOOD MUST CONTINUE TO FLOW
FOR IMMEDIATE RELEASE
aug 22, 2005 Toronto




THE BLOOD MUST CONTINUE TO FLOW

QUEEN WEST ARTISTS JOIN ISTVAN KANTOR
at the  Museum of Contemporary Canadian Art
THE QUEEN WEST ART-SCUM GARAGE SALE

EXHIBITION ANNOUNCEMENT  AND
INVITATION TO A PRESS CONFERENCE
TUESDAY, AUG 30, 2pm @MOCCA

http://www.ccca.ca/mikidot/istvansite/garage_sale.html


Istvan Kantor's most recent project INVISIBLE MONUMENT, where he will mix his blood into the concrete to be used for the construction of the new AGO, is gaining sympathy among Queen West artists. 
A group exhibition intitled THE BLOOD MUST CONTINUE TO FLOW, hosted by
the Museum of Contemporary Canadian Art (MOCCA) located on Queen street West, will be the next demonstration of Kantor's evolving campaign to align the local art scene and public on his side. At the press conference on Tuesday, Aug 30 at 2pm., Kantor and his Konspirators will give statements on issues of artistic freedom and institutional authority to introduce the exhibition.

The show will take place at the MOCCA from Aug. 30st to Sept. 4th and is
open for participation to anyone interested in Kantor's critical attitude,
anyone brave enough to join the garage sale style conspiracy event produced by the controversial GG Award winning art-crime mastermind himself.

Among the confirmed artists-participants are Napoleon Broussau, Eldon
Garnet, Louise Liliefeldt, Miklos Legrady, John Abrams, Phil Anderson,
Boryana Rossa, Leif Harmsen and many others. An anti-reception with
performances will take place on Thursday Sept 1st at 6pm.
The Blood Must Continue to Flow
THE QUEEN WEST ART-SCUM GARAGE SALE
group show featuring the best and the worst
aug 30 - sept 4, 2004 from 11am to 6pm
anti-reception: thursday sept 1st, 6pm
open talks/performances everyday from 4pm to 6pm

artistic director: Napoleon Brousseau
media disturbance: Miklos Legrady
produced by Istvan Kantor and MOCCA
(416)516-3688 amen@interlog.com
www.istvankantor.com
Press photographs available from mikidot@sympatico.ca


Museum of Contemporary Canadian Art MOCCA
952 Queen Street West Toronto On M6J 1J8 (416)395-0067

--

+Miklos Legrady
+
+310 Bathurst st.
+Toronto ON.
+M5T 2S3
+Canada
+416+203+1846
+647+292+1846
       +
       http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 14:22:29 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: THE BLOOD MUST CONTINUE TO FLOW FOR IMMEDIATE RELEASE aug 22, 2005 Toronto THE BLOOD MUST CONTINUE TO FLOW QUEEN WEST ARTISTS JOIN ISTVAN KANTOR at the Museum of Contemporary Canadian Art THE QUEEN WEST ART-SCUM GARAGE SALE EXHIBITION ANNOUNCEMENT AND INVITATION TO A PRESS CONFERENCE TUESDAY, AUG 30, 2pm @MOCCA http://www.ccca.ca/mikidot/istvansite/garage_sale.html Istvan Kantor's most recent project INVISIBLE MONUMENT, where he will mix his blood into the concrete to be used for the construction of the new AGO, is gaining sympathy among Queen West artists. A group exhibition intitled THE BLOOD MUST CONTINUE TO FLOW, hosted by the Museum of Contemporary Canadian Art (MOCCA) located on Queen street West, will be the next demonstration of Kantor's evolving campaign to align the local art scene and public on his side. At the press conference on Tuesday, Aug 30 at 2pm., Kantor and his Konspirators will give statements on issues of artistic freedom and institutional authority to introduce the exhibition. The show will take place at the MOCCA from Aug. 30st to Sept. 4th and is open for participation to anyone interested in Kantor's critical attitude, anyone brave enough to join the garage sale style conspiracy event produced by the controversial GG Award winning art-crime mastermind himself. Among the confirmed artists-participants are Napoleon Broussau, Eldon Garnet, Louise Liliefeldt, Miklos Legrady, John Abrams, Phil Anderson, Boryana Rossa, Leif Harmsen and many others. An anti-reception with performances will take place on Thursday Sept 1st at 6pm. The Blood Must Continue to Flow THE QUEEN WEST ART-SCUM GARAGE SALE group show featuring the best and the worst aug 30 - sept 4, 2004 from 11am to 6pm anti-reception: thursday sept 1st, 6pm open talks/performances everyday from 4pm to 6pm artistic director: Napoleon Brousseau media disturbance: Miklos Legrady produced by Istvan Kantor and MOCCA (416)516-3688 amen@interlog.com www.istvankantor.com Press photographs available from mikidot@sympatico.ca Museum of Contemporary Canadian Art MOCCA 952 Queen Street West Toronto On M6J 1J8 (416)395-0067 -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +416+203+1846 +647+292+1846 + http://www.mikidot.com --============_-1087387542==_ma=========== THE BLOOD MUST CONTINUE TO FLOW
FOR IMMEDIATE RELEASE
aug 22, 2005 Toronto




THE BLOOD MUST CONTINUE TO FLOW

QUEEN WEST ARTISTS JOIN ISTVAN KANTOR
at the  Museum of Contemporary Canadian Art
THE QUEEN WEST ART-SCUM GARAGE SALE

EXHIBITION ANNOUNCEMENT  AND
INVITATION TO A PRESS CONFERENCE
TUESDAY, AUG 30, 2pm @MOCCA

http://www.ccca.ca/mikidot/istvansite/garage_sale.html


Istvan Kantor's most recent project INVISIBLE MONUMENT, where he will mix his blood into the concrete to be used for the construction of the new AGO, is gaining sympathy among Queen West artists. 
A group exhibition intitled THE BLOOD MUST CONTINUE TO FLOW, hosted by
the Museum of Contemporary Canadian Art (MOCCA) located on Queen street West, will be the next demonstration of Kantor's evolving campaign to align the local art scene and public on his side. At the press conference on Tuesday, Aug 30 at 2pm., Kantor and his Konspirators will give statements on issues of artistic freedom and institutional authority to introduce the exhibition.

The show will take place at the MOCCA from Aug. 30st to Sept. 4th and is
open for participation to anyone interested in Kantor's critical attitude,
anyone brave enough to join the garage sale style conspiracy event produced by the controversial GG Award winning art-crime mastermind himself.

Among the confirmed artists-participants are Napoleon Broussau, Eldon
Garnet, Louise Liliefeldt, Miklos Legrady, John Abrams, Phil Anderson,
Boryana Rossa, Leif Harmsen and many others. An anti-reception with
performances will take place on Thursday Sept 1st at 6pm.
The Blood Must Continue to Flow
THE QUEEN WEST ART-SCUM GARAGE SALE
group show featuring the best and the worst
aug 30 - sept 4, 2004 from 11am to 6pm
anti-reception: thursday sept 1st, 6pm
open talks/performances everyday from 4pm to 6pm

artistic director: Napoleon Brousseau
media disturbance: Miklos Legrady
produced by Istvan Kantor and MOCCA
(416)516-3688 amen@interlog.com
www.istvankantor.com
Press photographs available from mikidot@sympatico.ca


Museum of Contemporary Canadian Art MOCCA
952 Queen Street West Toronto On M6J 1J8 (416)395-0067

--

+Miklos Legrady
+
+310 Bathurst st.
+Toronto ON.
+M5T 2S3
+Canada
+416+203+1846
+647+292+1846
       +
       http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 12:11:24 -0700 message-id: <200508221911.j7mjbov0009665@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: In search of ring tone artists Looking for artists, or suggestions for artists working with ring tones for an upcoming show at the Pacific Film Archive in Berkeley, CA. The 2 programs will explore different ways the phone has been used in cultural and creative contexts through film, video and new media works. Send suggestions/responses to Laura Deutch at ldeutch@berkeley.edu. 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 -> 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 date: Mon, 22 Aug 2005 12:11:51 -0700 message-id: <200508221911.j7mjbpnv009787@idx164.idx.net> references: no_parent from: Debora Brown subject: RHIZOME_RAW: Re: Threat to media arts in Atlanta When I originally posted this, I mistakenly said that ACA was the only NASAD accredited school in the southeast. I believe that it is correct to say that ACA is the only private independent NASAD accredited art school in the southeast. Other schools that are NASAD accredited include Georgia State University, Kennesaw State University, the University of Georgia and others in which the art school exists in the context of a larger university situation. A complete list of NASAD accredited schools can be found at http://nasad.arts-accredit.org/index.jsp?page=Member%20Lists I sincerely apologize for the error. The threat, however, is still real and serious. Please, take a moment to visit ACA100.com for information including comparisons of ACA and SCAD and links to news articles about the current situation and past SCAD dealings. If you agree that a fine arts school should not be sold to a for profit institution that does not require portfolios for admission, please take a moment to sign our petition at http://www.petitiononline.com/aca100/petition.html The final vote on this situation will be on Wednesday, August 24th. Thanks, Debora Brown Debora Brown wrote: > Atlanta has been extremely fortunate to have the Atlanta College of > Art's fine arts based Digital Video BFA program, which has flourished > under the leadership of Sara Hornbacher. That program, the only one > of its kind in the region, from the only NASAD accredited school in > the Southeast, now has an uncertain future. > > Recently, the Atlanta College of Arts' board of directors, with only > about half its members attending, voted to recommend to the Woodruff > Arts Center (home of ACA, the High Museum of Art, the Alliance > Theatre, and the Atlanta Symphony) to "merge" the school with the > Savannah College of Art and Design, which recently opened an Atlanta > campus. This is NOT a true merger. If this recommendation is > approved, the Atlanta College of Art will exist only as a community > education program, and SCAD not have to compete with the 100 year-old > ACA. > > The Atlanta College of Art offers a DIgital Video major, which > includes classes such as Installation Art, Experimental Video, and > Experimental Sound. SCAD offers a broadcast television and film, with > classes such as Scriptwriting, Steadicam, and other job vs. fine arts > oriented courses being the norm. > > http://aca.edu/maj_dvideo.htm > http://www.scad.edu/academic/majors/film/index.html > > SCAD does not require a portfolio for admission, and it only hires > faculty members on a one year at a time contract. ACA does require a > portfolio and has many dedicated faculty members that have been at the > school for 10, 20 or more years. > > Both kinds of programs are extremely important to the media community. > Both institutions should continue, independently, instead of one > school destroying the other. > > To find out the latest news on this issue and how you can help stop > this takeover, please visit http://www.aca100.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 Foundation, and founding Chair of the Mozilla Foundation. Joi Ito General Manager of International Operations for Technorati, Chairman of Six Apart Japan, Board member of Creative Commons, ICANN, the Open Source Initiative (OSI), and SocialText, and CEO of Neoteny. Jason Kottke Pioneering weblogger, designer, and technology enthusiast. Jessica Ivins ema. jessica@rhizome.org + -> 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 date: Mon, 22 Aug 2005 15:36:54 -0400 message-id: references: <200508221911.j7mjbpnv009787@idx164.idx.net> from: subject: Re: RHIZOME_RAW: Re: Threat to media arts in Atlanta Content-Disposition: inline On that note, here's some disturbing info; I received this forwarded messag e today: -----Original Message----- From: ART LIBRARIES SOCIETY DISCUSSION LIST [mailto:ARLIS-L@LSV.UKY.EDU]On Behalf Of Carol Terry Sent: Monday, August 22, 2005 12:17 PM To: ARLIS-L@LSV.UKY.EDU Subject: [ARLIS-L] Atlanta update Today the ACA100 website reports the following: "On Friday, August 19, Moira Steven, ACA Head Librarian was suspended from her job by the Woodruff Arts Center for sharing the ACA100 website address with her college and university colleagues via the list serve for their professional organization. This act was meant to 'muzzle' all ACA faculty and staff from taking an active role in our cause." Moira, we are thinking of you. Keep us posted. Carol Terry (and other AICAD librarians) ______________________________ ____________________________________ Mail submissions to arlis-l@lsv.uky.edu For information about joining ARLIS/NA see: http://www.arlisna.org/join.html Send administrative matters (file requests, subscription requests, etc) to listserv@lsv.uky.edu ARLIS-L Archives and subscription maintenance: http://lsv.uky.edu/archives/arlis-l.html Questions may be addressed to list owner (Kerri Scannell) at: scannel@uky.edu Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 23 Aug 2005 07:36:01 +1000 message-id: <6.0.1.1.1.20050823073537.02360d00@pop.hotkey.net.au> references: no_parent from: ][mez][ subject: RHIZOME_RAW: Fwd: FLORIAN CRAMER | WORDS MADE FLESH > >FLORIAN CRAMER | WORDS MADE FLESH, CODE, CULTURE, IMAGINATION > >Algorithmic instruction code can be found, centuries before the >invention of the computer, in Latin poetry, the Kabbalah, Western >composed music and several forms of experimental poetry from the 17th >to the 20th century, thus forming an important, but often neglected >historical pretext of contemporary computer arts. While these >examples are formally simple or even primitive by contemporary >standards, they are linked to a rich technological, artistic, >philosophical and >religious imagination. This extensive online publication tries to >sketch its rich and very contradictory history from Pythagorean >mathematics to contemporary digital art and culture, showing how the >idea and phantasm of the word becoming flesh is both written forth >and transformed from kabbalistic spells to computer viruses. > >Florian Cramer is a Berlin based writer who has published in the area >of code poetry, comparative studies in the literature and the arts, >modernism, text theory, literature and computing. He was Research >Fellow at PZI, Media Design Research Jan - April 2005 > >Available as a PDF, LaTeX or HTML file at: >http://pzwart.wdka.hro.nl/mdr/research/fcramer/wordsmadeflesh/ .observation.[st(a)r.(g)ait]jacketing ......................[[vs]]........................ .social.wurdage.in.a.commentary.cu[s]p http://www.hotkey.net.au/~netwurker/ . + -> 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 date: Mon, 22 Aug 2005 17:44:22 -0700 message-id: <200508230044.j7n0imfp024036@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: East Art Map by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34958 + East Art Map + + + The project "East Art Map - A (Re)Construction of the History of Contemporary Art in Eastern Europe" was initiated in 2001 by the Slovenian artist group Irwin. The "East Art Map" (EAM) aims at critically (re)constructing the history of art in Eastern Europe between 1945 and the present beyond ex-Socialist 'official' chronicles, national legend formation and fragmented information present in the West. The concept reads: "Every single move by an artist in Western European civilization is documented. Did you know there is no such thing in Eastern Europe? [...] This was so for decades, but it doesn't have to be like this anymore. We are planning to transform the legends and stories of the underground into a legal art history. [...] History is not given. It has to be constructed." + + + Biography East Art Map Online is a tool that will lead you through the last 50 years of the history of visual arts in Eastern Europe. You will get to know 250 artists/events/projects that are considered of major importance by the 24 invited art critics, curators and artists from the different ex-socialist Central, Eastern and South-Eastern countries invited to make an initial selection for the EAM. East Art Map Online is now open for contributions by its users. You are invited to participate in the selection of the ten most important artworks or crucial art projects from every country of Eastern Europe since 1945. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 22 Aug 2005 23:36:15 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: Evil Ducky and The Fountain of Doom Miklos Legrady Evil Ducky and The Fountain of Doom New Work in Photography http://www.ccca.ca/mikidot/photo/indexducky.html -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +416+203+1846 +647+292+1846 + http://www.mikidot.com --============_-1087354224==_ma=========== Evil Ducky and The Fountain of Doom
Miklos Legrady

Evil Ducky and The Fountain of Doom
New Work in Photography


http://www.ccca.ca/mikidot/photo/indexducky.html
--

+Miklos Legrady
+
+310 Bathurst st.
+Toronto ON.
+M5T 2S3
+Canada
+416+203+1846
+647+292+1846
       +
       http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 23:36:28 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: Evil Ducky and The Fountain of Doom Miklos Legrady Evil Ducky and The Fountain of Doom New Work in Photography http://www.ccca.ca/mikidot/photo/indexducky.html -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +416+203+1846 +647+292+1846 + http://www.mikidot.com --============_-1087354221==_ma=========== Evil Ducky and The Fountain of Doom
Miklos Legrady

Evil Ducky and The Fountain of Doom
New Work in Photography


http://www.ccca.ca/mikidot/photo/indexducky.html
--

+Miklos Legrady
+
+310 Bathurst st.
+Toronto ON.
+M5T 2S3
+Canada
+416+203+1846
+647+292+1846
       +
       http://www.mikidot.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 22 Aug 2005 23:37:45 -0400 message-id: references: no_parent from: Lee Wells subject: RHIZOME_RAW: Robert Moog Dies at 71; Created a Synthesizer That Revolutionized Music - nytimes The New York Times August 23, 2005 Robert Moog Dies at 71; Created a Synthesizer That Revolutionized Music By ALLAN KOZINN http://www.nytimes.com/2005/08/23/arts/music/23moog.html?hp Robert Moog, the creator of the electronic music synthesizer that bears his name and that became ubiquitous among experimental composers as well as rock musicians in the 1960's and 70's, died on Sunday at his home in Asheville, N.C. He was 71. The cause was an inoperable brain tumor, discovered in April, his daughter Michelle Moog-Koussa said. At the height of his synthesizer's popularity, when progressive rock bands like Yes, Tangerine Dream, Kraftwerk and Emerson, Lake and Palmer built their sounds around the assertive, bouncy, exotically wheezy and occasionally explosive timbres of Mr. Moog's instruments, his name (which rhymes with vogue) became so closely associated with electronic sound that it was often used generically, if incorrectly, to describe synthesizers of all kinds. More recently, hip-hop groups like the Beastie Boys and rock bands with more experimentalist leanings, from They Might Be Giants to Wilco, have revived an interest in the early Moog synthesizer timbres. Partly because of this renewed interest, Mr. Moog and his instruments were the subjects of a documentary, "Moog," which opened in the fall of 2004. In an interview last year with The New York Times, Hans Fjellestad, who directed the film, likened Mr. Moog to Les Paul and Leo Fender, who are widely regarded as the fathers of the electric guitar. "He embodies that sort of visionary, maverick spirit and that inventor mythology," Mr. Fjellestad said at the time. Mr. Moog's earliest instruments were collections of modules better suited to studio work than live performance, and as rock bands adopted them, he expanded his line to include the Minimoog and the Micromoog, instruments that could be used more easily on stage. He also expanded on his original monophonic models, which played only a single musical line at a time, creating polyphonic instruments that allowed for harmony and counterpoint. Even so, by the end of the 1970's, Mr. Moog's instruments were being supplanted by those of competing companies like Arp, Aries, Roland and Emu, which produced synthesizers that were less expensive, easier to use and more portable. (Those instruments, in turn, were displaced in the 1980's by keyboard-contained digital devices by Kurzweil, Yamaha and others.) In 1978, Mr. Moog moved from western New York to North Carolina, where he started a new company, Big Briar (later Moog Music), that produced synthesizer modules and alternative controllers - devices other than keyboards, with which a musician could play electronic instruments. His particular specialty was the Ethervox, a version of the theremin, an eerie-toned instrument created by the Russian inventor Leon Theremin, in the 1920's, that allows performers to create pitches by moving their hands between two metal rods. It was the theremin, in fact, that got Mr. Moog interested in electronic music when he was a child in the 1940's. In 1949, when he was 14, he built a theremin from plans he found in a magazine, Electronics World. He tinkered with the instrument until he produced a design of his own, in 1953, and in 1954 he published an article on the theremin in "Radio and Television News," and started the R. A. Moog Company, which sold his theremins and theremin kits. Mr. Moog was born in New York City on May 23, 1934, and although he studied the piano while he was growing up in Flushing, Queens, his real interest was physics. He attended the Bronx High School of Science, and earned undergraduate degrees in physics from Queens College and electrical engineering from Columbia University. By the time he completed his Ph.D. in engineering physics at Cornell University in 1965, his theremin business had taken off, and he had started working with Herbert Deutsch, a composer, on his first synthesizer modules. Mr. Moog was familiar with the huge synthesizers in use at Columbia University and at RCA and that European composers were experimenting with; his goal was to create instruments that were both more compact and accessible to musicians. The first Moog synthesizers were collections of modules, connected by electronic patch cords, something like those that connect stereo components. The first module, an oscillator, would produce a sound wave, giving a musician a choice of several kinds, ranging from the gracefully undulating purity of a sine wave to the more complex, angular or abrasive sounds of square and sawtooth waves. The wave was sent to the next module, called an A.D.S.R. (attack-decay-sustain-release) envelope generator, with which the player defined the way a note begins and ends, and how long it is held. A note might, for example, explode in a sudden burst, like a trumpet blast, or it could fade in at any number of speeds. From there, the sound went to a third module, a filter, which was used to shape its color and texture. Using these modules, and others that Mr. Moog went on to create, a musician could either imitate acoustic instruments, or create purely electronic sounds. A keyboard, attached to this setup, let the performer control when the oscillator produced a tone, and at what pitch. "Artist feedback drove all my development work," Mr. Moog said in an interview with Salon in 2000. "The first synthesizers I made were in response to what Herb Deutsch wanted. The now-famous Moog filter was suggested by several musicians. The so-called A.D.S.R. envelope, which is now a basic element in all contemporary synthesizers and programmable keyboard instruments, was originally specified in 1965 by Vladimir Ussachevsky, then head of the Columbia-Princeton Electronic Music Center. The point is that I don't design stuff for myself. I'm a toolmaker. I design things that other people want to use." University music schools quickly established electronic music labs built around the Moog synthesizer, and composers like Richard Teitelbaum, Dick Hyman and Walter Carlos (who later had a sex-change operation and is now Wendy Carlos) adopted them. For most listeners, though, it was a crossover album, Walter Carlos's "Switched-On Bach," that ushered the instrument into the spotlight. A collection of Bach transcriptions, meticulously recorded one line at a time, "Switched-On Bach" was meant to persuade casual listeners who regarded synthesizers as random noise machines that the instrument could be used in thoroughly musical ways. The album's sequels included the haunting Purcell and Beethoven transcriptions used in the Stanley Kubrick film "A Clockwork Orange." Rock groups were attracted to the Moog as well. The Monkees used the instrument as early as 1967, on their "Pisces, Aquarius, Capricorn and Jones Ltd." album. In early 1969, George Harrison, of the Beatles, had a Moog synthesizer installed in his home, and released an album of his practice tapes, "Electronic Sound," that May. The Beatles used the synthesizer to adorn several tracks on the "Abbey Road" album, most notably John Lennon's "Because," Harrison's "Here Comes the Sun" and Paul McCartney's "Maxwell's Silver Hammer." Among jazz musicians, Herbie Hancock, Jan Hammer and Sun Ra adopted the synthesizer quickly. And with the advent of progressive rock, in the early 1970's, the sound of the Moog synthesizer and its imitators became ubiquitous. In 1971, Mr. Moog sold his company, Moog Music, to Norlin Musical Instruments, but he continued to design instruments for the company until 1977. When he moved to North Carolina, in 1978, he started Big Briar, to make new devices, and he renamed the company Moog Music when he bought back the name in 2002. He also worked as a consultant and vice president for new product research at Kurzweil Music Systems, from 1984 to 1988. His first marriage, to Shirleigh Moog, ended in divorce. He is survived by his wife, Ileana; his children, Laura Moog Lanier, Matthew Moog, Michelle Moog-Koussa, Renee Moog and Miranda Richmond; and five grandchildren. * Copyright 2005 The New York Times Company -- 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, 23 Aug 2005 02:22:23 -0700 message-id: <200508230922.j7n9mn63029524@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Fellowship Announcement 2006- Global Arts VIllage (New Delhi, India) FELLOWSHIP ANNOUNCEMENT 2006 Global Arts Village is an emerging international residential art center in New Delhi, India. We encourage diversity and multicultural exchange among creative people of all kinds. We practice community living, sharing meals and evening activities. The Village enables artists to experience a natural, eco-friendly environment for creative work. The Global Arts Village is a three-acre property that includes gardens, a multi-purpose studio, sculpture workshop, a meditation and performance hall, a common building, a dance studio, performance spaces and accommodations. The buildings are in accordance with the ancient wisdom of Vastu, which harmonizes man-made structures with their natural environments. The Village offers residency programs to emerging, mid-career and established artists in all major creative disciplines. We are building a community that blends art, culture and consciousness. Individuals with exploratory spirits are invited to join. Fellowships / Artist-in-Residence The Global Arts Village offers full and partial fellowships, several specific fellowship opportunities and an Artist-in-residence program. All programs include accommodation (standard or duplex), laundry service, three meals per day, studio or workspace (shared or private), initial welcoming celebration (presentation of past work and project plan to local artists and other fellowship recipients), concluding exhibition opportunity and other benefits dependent on the fellowship program and the dates of stay. All recipients are asked to donate fellowship specific hours of community work per week (cooking, researching, organizing, leadership of a workshop, assisting or teaching a class, promotion, event planning). Partners of artists are invited to stay for US $ 15 per day. (Includes accommodation, meals and laundry). 45-day residencies begin on February 17, April 3, May 19, July 3, August 18, October 2, November 17 and January 1 of each year. 90-day Residencies begin on February 17, May 19, August 18 and November 17 of each year. Artist Full Fellowship (90-Day) The fully funded residency has no program fee. Recipients contribute US $ 9 for meals per day and a total of 7 hours of community work per week. Artist Partial Fellowship (90-Day) The partially funded residency includes a reduced program fee of US$ 20/day for standard accommodation and US$ 25/day for duplex accommodation. Recipients contribute a total of 7 hours of community work per week. Performing Arts Fellowship (45 / 90- Day) The Global Arts Village offers full and partial fellowships for various categories of performing arts. All recipients are asked to donate 7 hours of community work per week. Under full fellowships, only US$ 9/day has to be contributed for meals. The 45-day partial fellowship has a reduced program fee of $25/day for standard accommodation and $30/day for duplex accommodation. The 90-day partial fellowship program has a rate of $20/day for standard accommodation and $25/day for duplex accommodation. Emerging Artist Fellowship (under 27 yrs; 90-Day) These fully funded 90-day residencies are offered to creative people who have graduated from a University program. There is no program fee. US$ 9 per day has to be contributed for meals. Recipients contribute a total of 15 hours of community work per week. Student Fellowships (45-Day) Fully funded residencies are offered to students currently enrolled in a University program. There is no program fee, we only ask that US$ 9 per day be contributed for meals. Recipients contribute a total of 15 hours of community work per week. Professional Development Fellowship (45 / 90-Day) Fully-funded fellowship opportunities are offered: curators, visual art coordinators, grant writers, chefs/ culinary artists, performing arts coordinator, organic farmers, organization developers. The Fellows contribute 7 hours of communal work per week plus 15 hours of fellowship specific work. There is no program fee. Recipients contribute US $ 9 for meals per day. Site Specific Sculpture Fellowship (45-Day) This fully funded residency has no program fee. A materials allowance of US$ 200-500 is offered dependent on the project proposal. The artist is to donate the site-specific sculpture unconditionally to the Village. Artists put in 7 hours of community work per week. Recipients contribute US $ 9 for meals per day. Artist in Residence (45 / 90-Day) The entire Artist-in-residence program is subsidized. For 45 days, the program fee is US$ 35 for standard accommodation and US$ 45 for a duplex room. For a stay of 90 days, the charges are US$ 30/day for a standard room with shared studio / work space and US $ 40 for a duplex room with private studio. All artists in residence are asked to donate seven hours of community work per week. Applications are accepted on a rolling basis, there is no deadline. The application can be submitted via email or post. info@globalartsvillage.org or Global Arts Village Mehrauli - Gurgaon Road Utsav Mandir, Gitorni New Delhi, 110030, India www.globalartsvillage.org (site under revision) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 23 Aug 2005 03:14:30 -0700 message-id: <200508231014.j7naeu4m006655@idx164.idx.net> references: no_parent from: Jonas Lindberg subject: RHIZOME_RAW: Portable Gallery goes live The 23rd of August, the Portable Gallery goes live on the internet (www.portable-gallery.com) – a Nordic, cross-creative and portable art exhibition. The instigators want to inspire interdisciplinary design and media exchange in the Nordic region by featuring such collaborations by gifted locals; artists, designers, DJ:s, filmmakers and photographers. The Portable Gallery is a stab at achieving some creative democracy: Join us at the Open Zone at www.portable-gallery.com and flash your works to the world. Four of the uploaded contributions will headline the Final Show in May 2006. All the best Jonas Lindberg www.portable-gallery.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 http://www.netartreview.net/monthly/0705_2.html FEATURE.INTERVIEW: Lora McPhail and Michael Jantzen interview electronic artist Ellen Jantzen about her new body of work entitled "Artificial Evolution" L&M: What do you think are some of the most important things in life that inspire you to do the work that you do? How do you develop your hybridizations and/or elemental relationships? EJ: First of all, I create to give meaning to my life. I draw inspiration from the natural world; rock formations, seedpods, nests; shapes that resonate with reproduction, growth and repetition. I feel compelled to work in ways that create meaning. I pull from somewhere deep inside, not from a purely analytical space, so my hybridizations are very spontaneous and uncalculated. They are developed subconsciously then meaning is assigned as I refine and title each piece. FEATURE.REVIEW: Reflections on Conceptual Art and its relation to New Media, a month long conversation at Empyre BY: Eduardo Navas http://www.netartreview.net/monthly/0705_3.html I was a guest speaker on Empyre during the month of April 2005. The following text is a revision of two particular postings on Conceptual art, which I here use as launching platforms to reflect on the long debate that took place between Raul Ferrera Balanquet (CU/MX), Kate Southworth and Patrick Simons(UK), and myself. Other invited guests included Lucrezia Cippitelli (IT), Heidi Figueroa Sarriera (PR), Raquel Herrera Ferrer (ES), Lucas Bambozzi (BR), Andres Burbano (CO), and Joeser Alvarez. The conversation was fruitful in various ways, ranging from abstract theoretical propositions to more personal statements. The online exchange proved to be one of the most important experiences for me until now, because I learned that colonial ideology is more powerful than I expected. It is thanks to Raul's intervention (this is how he considered his writing) that I realized this shortly after the discussion came to a close. Such realization will be the subject of reflection for the second part of this series. In this first part I will focus on the premise proposed by Christina McPhee for the month long conversation. http://www.netartreview.net/monthly/minima_marina.pdf In an ongoing collaboration, this month NAR features another .PDF originally published in a minima:: No.12, a media and contemporary art publication based in Spain. This month features "Subjective, intimate and public" by Marina Zerbarini. The idea that only a great amount of information inflowing in a dynamic and random form could give rise to which I looked for was achieved using about 400 files, only some of which, never foreseeable nor programmable are seen by the observer. At the moment it is a "work in progress" in its 1st phase. It is a narrative project for the Internet, based on short stories by James Joyce, in which I develop the concepts of hypertext, randomness, participation and simulation of living and dynamic systems in real time. Through hypertext and by creating a matrix of potential texts/images/sounds, only some of which will be updated as a result of the interaction with users, we try to make possible a different movement, a reading transformed into a set of problems, a reading/writing which multiplies the production of senses, the reader can interpret, arrange and structure it as regards their perception and production. "Eveline" by Joyce narrates the story of a young woman who lives with her family in Dublin. The appearance of a man who would take her to live in Buenos Aires sets in motion her fantasies on the happy life she could have, in opposition to her reality and the relationship with her father. The unexpected end, if we can call it an end when referring to Joyce's writing, is open for the reader's interpretative creativity. "A sad case" is about the life of a lone man, who has a relation with a married woman spontaneously. The questions dealing with the reason why by Mr. Duffy interrupts that relationship do not have enough answers. Two histories that are related semantically to this other Eveline, a problem of gender, vast in its plurality, a visual metaphor of several readings. It raises questions related to affection, encounters, communication, passage spaces, the place of the body, to sum up: delocalised subjectivity on a network. ------ This Month Net Art Review offers more Weekly Features on Art and Mobile Tech: RAP AND MAPS: BETWEEN NETWORKS AND THE REAL BY: Molly Hankwitz http://netartreview.net/weeklyFeatures/2005_06_12_archive.html LO TECH LOCATION: TWO FROM THE 'SPECTROPOLIS' OEUVRE BY: Molly Hankwitz http://netartreview.net/weeklyFeatures/2005_06_19_archive.html An inspiring exhibition of city and mobile media, wireless art was NYC's Spectropolis 2004 festival/exhibition curated by Wayne Ashley of the Lower Manhattan Cultural Council which brought together art exploring especially, new modes of networked delivery in the city where wireless and urban space collide. The following two projects demonstrate 'location' in relation to the possibilities of mobile media to bring networked communication, free speech and free access to public space. 'Hello, hello Garci...will I still lead by 1M?' BY::Lora McPhail http://netartreview.net/weeklyFeatures/2005_06_26_archive.html This statement was the opening of the taped conversations between Philippine President Gloria Macapagal-Arroyo and Commissioner on Elections Virgilio Garcillano, which claim to prove Arroyo arranged to have the 2004 elections rigged. When the documentation went public earlier this month, the Kapisanan ng mga Brodkaster ng Pilipinas (KBP) fell under criticism from the National Telecommunications Commission (NTC) for broadcasting the audio recording, and was banned from continuing airplay. PROJECT REVIEWS:: BY:Molly Hankwitz http://netartreview.net/weeklyFeatures/2005_07_03_archive.html Debord's 'Theory of the 'Derive' is one example of artists' cracking urban experience to free the imagination in relation to 'place' and 'commodification' - a subject with endless possibility. This radical urbanism, in the context of 'locative' and 'mobile media' deserves reconsideration in today's climate of exploratory art, tracking, surveillance, and mobile 'commercial' applications. Two interesting mobile 'bus' projects explore cities, social space and networking in the context of creative spatialization and reinterpretations of navigation. + -> 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 date: Tue, 23 Aug 2005 05:04:51 -0700 (PDT) message-id: <20050823120451.7477.qmail@web30504.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: two movies http://www.somedancersandmusicians.com/Some_QuickTime_Movies/tribunal.mov loop made with footage from the wonderful Prelinger archive, new music added http://www.somedancersandmusicians.com/Some_QuickTime_Movies/keszthely.mov silent; Keszthely after the rain. 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 will be the subject of reflection for the second part of this series. In this first part I will focus on the premise proposed by Christina McPhee for the month long conversation. The theme of the month at Empyre: Do conceptual art and curatorial practice merge in post digital cultural production? How are new media art, criticism and curatorial practice a 'transgressive' ecology"? While it is true that artists part of the net.art group were influenced by a certain type of conceptualism, the premises behind conceptual art as it is understood from its origins in the New York scene is practically irrelevant in new media practice. When it is brought up it is often in allegorical form. In regards to this, we can consider a work that has been reviewed here. MTAA's One Year Performance,[1] which allegorizes Performance artist Sam Hsieh's One year performance where he stayed in a cell for a whole year. Conceptual art, mainly in the New York, developed in reaction to Greenbergian modernism; this is specific to Joseph Kosuth and his contemporaries. However conceptual practice became quite diverse and took on many approaches around the world.[2] Critical art practices since the turn of the twentieth century have relied on a materialist approach to art making.[3] To be specific, the artist looks at the subject and considers key material elements to then make them obvious to the viewer, who if the work is developed carefully, will come to question it according to the exposed contradictions, coherences, limitations, and excess, which can be read as open-ended questions, or at times as forms subject to the sublime (the latter may be problematic for some conceptualists who are critical of ideology). The artist can claim that what she has done is nothing but show what was already there, thus appearing critical and detached with proper distance, thus questioning not only what the role of the artist is, but also the idea of originality. This is what Duchamp did with his famous Urinal.[4] As it is commonly known, he did nothing but choose a work that exposed the artist's role in art practice and her/his relation to the growing industrial world. However, he was not directly questioning the material aspect of the work of art. Conceptualism did-New York conceptualism to be exact.[5] Whether moving towards or away from the object; the point is that, in conceptualism, the materiality of the object of art was in question, or at least it was the subject of reflection. Yet, if this is to be contested, what can be said about Conceptualism is that its subject was the idea as the object of art.[6] With new media we experience works that are not materialized in the conventional sense to which conceptualism reacted. This is in part because new media works are easily reproducible. What is unique about new media art is that it did not face what other mediums had faced in the past to be legitimated. Issues of originality and purposiveness were previously dealt with by other media such as photography and most importantly Film. In fact, new media was understood so quickly as a vehicle for efficient dissemination that it swiftly moved to affect previously existing media. New media is considered to have pronounced major reciprocal effects, especially in Cinema. As Lev Manovich explains: "Computer media redefine the very identity of cinema. In a symposium that took place in Hollywood in the spring of 1996, one of the participants provocatively referred to movies as "flatties" and to human actors as "organics" and "soft-fuzzies." As these terms accurately suggest, what used to be cinema's defining characteristics are now just default options, with many other available."[7] Here we notice how new media's language comes to redefine how previous media is negotiated creatively. And so, it can be stated that new media art rides on the histories of previous media thus functioning allegorically. It uses the language of film and photography--not to mention painting to create works that take on different forms according to specific contexts, and the viewers accept such work because the codes at play are already common knowledge. The power of such language allows for the actual object to disappear and eventually lets information take over. It is important to note that there is no physical object of art with many new media projects--especially Internet art. Of course we can say that we have moved on to the actual discourse and its form as information becoming the object, but when this shift happens the criticism also shifts. We can consider the role of an electronic mailing list such as Empyre in relation to intellectual capital and its new power position within the gift economy as an example where discourse becomes the object of contemplation.[8] Their description reads: "Empyre facilitates critical perspectives on contemporary cross-disciplinary issues, practices and events in networked media by inviting guests-key new media artists, curators, theorists, producers and others to participate in thematic discussions."[9] In such a list, discourse is always incomplete, ongoing (as the list moves from discussions from month to month), and full of slippages due to the immediacy of e-mail correspondences. Yet, those who participate in such lists have intellectual Capital that can be spent online to further their network connections. The lists depends on the academic institution to make it possible for those with the knowledge and the time to write, to participate in an activity where no actual pay is expected. This is important to consider in relation to early paradigms of conceptualism, which aimed to problematize institutionalization and academization of art discourse in the art institution. What actually happens with this shift from object to information is that the artist --in particular the new media artist--can develop work using a materialist approach following the parameters of conceptualism while not worrying about an object and this may be why some people confuse new media practice following a materialist analysis with Conceptualism as understood with the likes of Michael Asher or (to show the complexity of Conceptual art) Adriane Piper. However, the basic criticism that made conceptualism a specific movement of resistance is no longer there; meaning, the object of art is no longer expected to be present, or critiqued in order to call something art, in the realm of new media. This type of criticism itself has become institutionalized, becoming part of what today is called "Institutional Critique." This does not mean that there is no such thing as a conceptual online practice that of critiquing the object or the institution, only that the criticism of such practice is quite different because the object of art is information (data) that can be presented in various forms. So, the object of art (of new media) is metadata/data. Materialization of information (however this may be) is an after effect of power relations ending in careful distribution through diverse forms--for the information can be reconfigured to meet the demand of a locality according to a global market. This is the object of contemplation in new media practice and this is where artists who have made works of note in such a field have focused. And here we can find renewed forms of resistance, and new forms of criticism. To further complicate this, the new media artwork is not easily labeled as just "art"; much of it crosses over to activism, hacktivism, and pervasive media. Without going into detailed definitions of these terms, it should be pointed out that they are all activities that actually influence the political spectrum around the world. It would appear then that the lines between art for a selective audience and mass media start to blur in New Media Art practice. And this is the model that carries the conceptual trace. The reason being that in new media, and online practice because there is no actual object, the focus is by default on the idea. But this is a default and this is the major difference in the aesthetics at play; meaning that the type of resistance expected of a New York conceptual avant-garde practice is not expected of online practice. This does not mean that some artists are not critical following the tradition of previous conceptualists, it just means that such practice is actually a specific choice. The model for new media practice is dependent on ideas not forms, and this is particular to new media, just like objecthood is for painting and sculpture in the fine arts. 1 MTAA, http://turbulence.org/Works/1year/ See Review: http://www.netartreview.net/ weeklyFeatures/2005_01_09_archive.html 2 Alexander Alberro , "Reconsidering Conceptual Art, 1966-1977," Conceptual Art (Cambridge, Massachusetts, London, England: MIT Press, 1999), xvi-xxxvii. 3 http://en.wikipedia.org/wiki/Materialism 4 The pros and cons are reviewed by Thierry De Duve, see Thierry De Duve, "Contra Duchamp," Kant after Duchamp (Cambridge, Massachusetts: 1998), 454-462. 5 Joseph Kosuth, "Intentions," Conceptual Art: a Critical Anthology, 460-469. 6 Sol Le Witt, "Sentences on Conceptual Art," Conceptual Art..., 12-17. 7 Lev Manovich, "Digital Cinema and the History of a Moving Image," The Language of New Media (Cambridge, Massachusetts, London, England: 2000), 293. 8 Empyre, http://www.subtle.net/empyre/ 9 Ibid. + -> 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 date: Tue, 23 Aug 2005 06:12:29 -0700 message-id: <200508231312.j7ndctfp009859@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Life Sharing by 0100101110101101.ORG Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35060 + Life Sharing + + 0100101110101101.ORG + Life Sharing is a real-time digital self-portrait. Started in the year 2000 and active uninterruptedly until 2003, Life Sharing is 0100101110101101.ORG's personal computer turned into a real time sharing system. Any visitor has free and unlimited access to all contents: texts, images, software, 01's private mail. One can get lost in this huge data maze. Based on Linux, Life Sharing is a brand new concept of net architecture turning a website into a sheer personal media for complete digital transparency. Permanent infotainment pioneering the peer to peer mass diffusion. Privacy is stupid. + + + Biography «I'm not entirely sure if you're the most interesting people in the world or the most fucked» -- Daniel Vydra, September 1999. 0100101110101101.ORG is a couple of restless European con-artists. They have been chased from Rome to Canada by the Holy See for their fake website, www.vaticano.org; threatened by the PSINet Europe Network Abuse Team for the diffusion of a supposedly illegal book; pursued (and caught) by Symantec Corporation for being the authors of the computer virus Biennale.py. They clashed with the South Korean Ministry of Culture and Tourism for the sabotage of an exhibition, and they challenged and defeated Nike Corporation in a legal battle for a fake advertisement campaign. They invented an inexistent artist, hacked the first art gallery on the Internet, invented Life Sharing and voluntarily submitted themselves to satellite surveillance for an entire year. They have been called media scammers, myth-makers, identity thieves, extremists, as well as Internet stars, info-dandies and geniuses. Their controversial performances have been discussed in The New York Times, El Pais, Britannica, Wired, Berliner Zeitung, Le Monde, Haaretz, Flash Art and in countless other newspapers, magazines, television and radio shows around the world. Their work has been shown at Lentos Museum of Modern Art, Linz; ICC, Tokyo; Postmasters Gallery, New York; Manifesta, Frankfurt; Austrian Cultural Forum, New York; Valencia Biennial; Generali Foundation, Vienna. They received the Jerome Commission from the Walker Art Centre and an Honorary Mention from Ars Electronica. They are among the youngest artists to ever participate to the Venice Biennial. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 23 Aug 2005 08:53:40 -0700 message-id: <200508231553.j7nfretg023049@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Re: Re: Game programmer help needed for video piece! Ethan Ham wrote: > What's your contact info? Ethan, Sorry for the delay, I've been in the woods camping for the past week. You can contact me at tjokl@hotmail.com Todd + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > Through huts through Harlem through jails and gospel pews > Through the class on Park and the trash on Vine > Through Europe and the deep deep heart of Dixie blue > Through savage progress cuts the jungle line > > In a low-cut blouse she brings the beer > Rousseau paints a jungle flower behind her ear > Those cannibals of shuck and jive > They'll eat a working girl like her alive > With his hard-edged eye and his steady hand > He paints the cellar full of ferns and orchid vines > And he hangs a moon above a five-piece band > He hangs it up above the jungle line > > The jungle line the jungle line > Screaming in a ritual of sound and time > Floating, drifting on the air conditioned wind > And drooling for a taste of something smuggled in > Pretty women funneled through valves and smoke > Coy and bitchy wild and fine > And charging elephants and chanting slaving boats > Charging chanting down the jungle line > > There's a poppy wreath on a soldier's tomb > There's a poppy snake in a dressing room > Poppy poison poppy tourniquet > It slithers away on brass like mouthpiece spit > And metal skin and ivory birds > Go steaming up to Rousseau's vines > They go steaming up to Brooklyn Bridge > Steaming, steaming, steaming up the jungle line > > > The Jungle Line > Joni Mitchell > > + -> 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 date: Tue, 23 Aug 2005 18:01:15 +0200 (CEST) message-id: <20050823160115.23bea2c056@ws3.ou-data.net> references: no_parent from: Loop subject: RHIZOME_RAW: X257.C X257.COM--------http://x257.com/---via:http://del.icio.us/rss/tag/art X257.COM--------http://x257.com/---via:http://del.icio.us/rss/tag/art X257.COM--------http://x257.com/---via:http://del.icio.us/rss/tag/art X257.COM--------http://x257.com/---via:http://del.icio.us/rss/tag/art X257.COM--------http://x257.com/---via:http://del.icio.us/rss/tag/art X257.COM--------http://x257.com/---via:http://del.icio.us/rss/tag/art X257.COM--------http://x257.com/---via:http://del.icio.us/rss/tag/art _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 Participate in regular Volume events, live or on-line. Volume frequently engages with critical spatial situations worldwide, offering actions, interaction and suggesting interventions. The Events Space also offers a forum for discussion and will feature regular debates. editor in chief: Ole Bouman managing editor: Arjen Oosterman project founders: Ole Bouman, Rem Koolhaas, Mark Wigley Volume is a project by Archis + AMO + C-lab + ... Archis with Lilet Breddels, Jill Winder, Joris Stork AMO with Brendan McGetrick, Todd Reisz, Alexander Reichert, Mendel Robbers C-lab with Jeffrey Inaba Volume is materialized by 2x4/Michael Rock and Israel Kandarian for packaging, Maureen Mooren and Daniel van der Velden for graphic design, Mattmo for web design The VOLUME project continues ARCHIS, magazine for Architecture, City and Visual Culture and its predecessors since 1929. Archis magazine and Archis RSVP events form an experimental think tank devoted to the process of real-time spacial and cultural reflexivity www.archis.org Other protagonists in this project: AMO, a research and design studio that applies architectural thinking to disciplines beyond the borders of architecture and urbanism. AMO operates in tandem with its companion company the Office for Metropolitan Architecture, Rotterdam, The Netherlands www.oma.nl The Columbia Laboratory for Architectural Broadcasting, an experimental research unit devoted to the development of new forms of communication in architecture, set up as a semi-autonomous think and action tank at the Graduate School of architecture, Planning and Preservation of Columbia University. www.arch.columbia.edu VOLUME is produced by Archis Foundation, The Netherlands. + -> 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 date: Tue, 23 Aug 2005 18:25:50 +0200 (CEST) message-id: <20050823162550.b95292c056@ws5.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: HTTP/1 HTTP/1.1-200-OK--Date:-Thu,-04-Aug-2005-08:35:15-GMT--Server:-Apache-- Last-Modified:-Tue,-15-Feb-2005-00:56:00-GMT--ETag:-"ea6be2d-369-42114 8a0"--Accept-Ranges:-bytes--Content-Length:-873--Connection:-close--Co ntent-Type:-image/jpeg-------------- ---- # """#''''''''''----- --  -- -------- !!-!!''''''''''F-Y)--D4IjZ!Ƀ[]V!̈́4mw? ,$1|7eb--GqFd+-- 1Ɉ\sc.V%aUe 2L01k#-`-++kL+L*0m?S*;aUz#Ǽ. jiE5צx?69+pYP몴n@ٺH------http://www.anti -chambre.net/_dm/mmd/mass_media_device_01-01.jpg _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Tue, 23 Aug 2005 18:26:55 +0200 (CEST) message-id: <20050823162655.185474022f@ws2.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: HTTP/1 HTTP/1.1-200-OK--Date:-Thu,-04-Aug-2005-08:35:15-GMT--Server:-Apache-- Last-Modified:-Tue,-15-Feb-2005-00:56:00-GMT--ETag:-"ea6be2d-369-42114 8a0"--Accept-Ranges:-bytes--Content-Length:-873--Connection:-close--Co ntent-Type:-image/jpeg-------------- ---- # """#''''''''''----- --  -- -------- !!-!!''''''''''F-Y)--D4IjZ!Ƀ[]V!̈́4mw? ,$1|7eb--GqFd+-- 1Ɉ\sc.V%aUe 2L01k#-`-++kL+L*0m?S*;aUz#Ǽ. jiE5צx?69+pYP몴n@ٺH------http://www.anti -chambre.net/_dm/mmd/mass_media_device_01-01.jpg Automatic-door...-Japan-style----Tanaka-Seisakusyo's-new-Automatic-Doo r-is-the-most-puzzling-thing-I've-seen-this-week.----The-door-is-segme nted-into-multiple-strips-and-opens-minimally-according-to-the-shape-o f-the-individual,-animal-or-object-that-has-to-pass-through.-It-also-i ncorporates-a-security-function-that-identifies-people.-The-door-is-ac tivated-by-the-infrared-sensors-(the-small-black-areas-attached-at-the -inner-edges-of-the-strips).--------The-main-aim-of-this-invention-is- to-better-protect-a-room-from-dust,-pollen,-bugs,-germs-etc.-It-could- also-be-used-for-room-size-freezers.-In-addition,-it-helps-save-the-en ergy-needed-for-air-conditioning.----Do-me-a-favour,-don't-miss-the-vi deo!----Via-Garakuta-Ichi-and-knym.net-from-http://www.we-make-money-n ot-art.com/archives/006737.php------http://www.anti-chambre.net/feedon feeds/inc/view.element.php?id=90119---via:http://www.anti-chambre.net/ feedonfeeds/rss.php _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Tue, 23 Aug 2005 21:53:04 +0200 (CEST) message-id: <20050823195304.d47fb21fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Cd caption Chile, CFS calzones CGA, Co cable CAN cgi, Commas CMDB. 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 En la direcci=F3n: www.bedrina.com/selfshadows20 encontrar=E1s la descripci=F3n, instrucciones y plazos para participar en este ambicioso proyecto que une Tecnolog=EDa, Internet y Arte, para conseguir la mayor cantidad de fotos de sombras posible. Para ello contamos con la colaboraci=F3n de todos los participantes y te pedimos no s=F3lo tus fotos; necesitamos que se lo cuentes a todos tus amigos para hacer que la cadena crezca y recibir muchas m=E1s. Esperamos tu visita y... tus fotos!! Reenv=EDa este mensaje a todos los que puedas. La direcci=F3n de contacto es jbedrina@gmail.com Muchas gracias Selfshadows 2.0 es un proyecto de Javier A. Bedrina =A9 2005 Dear friend, I want to communicate that the time to partcipate in the Artistic Project Selfshadows 2.0 is opened. Follow the URL: www.bedrina.com/selfshadows20 and check the description, terms an d conditions to participate in this aspiring project with Technology, Interne t and Art together, and help us to get as much selfshadows photos as we can. To grow, the collaboration of everybody is needed and we ask you not only for your pictures, we need you to transmit it to your friends. We expect your visit... and photos!! Resend this email to your contacts. The email box to contact us is jbedrina@gmail.com Many thanks Selfshadows 2.0 is a project by Javier A. Bedrina =A9 2005 Agradecimientos / Acknowledgment Disculpa si has recibido este email m=E1s de una vez. Sorry if you have received this message more than once. ------ Fin du message transf=E9r=E9 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 23 Aug 2005 13:49:54 -0700 message-id: <200508232049.j7nknsgx027430@idx164.idx.net> references: no_parent from: basak senova subject: RHIZOME_RAW: ctrl_alt_del news letter #2 - ctrl_alt_del launches on September 16th, 2005 apologies for any cross-posting.. |||||||||||||||||||||||||||||||||||||||||||||||||||||| ctrl_alt_del news letter #2 ctrl_alt_del launches on September 16th, 2005 Sound-art festival ctrl_alt_del, will take place in the “positionings” section of the 9th International Istanbul Biennial. The project will launch on September 16th, 2005 with an opening night performance in the city at Balans Music hall, then will continue on the Bosphorus, the Golden Horn, Istanbul Technical University’s MIAM studios, laboratories, library and concert hall till September 22nd. The festival’s three-folded conceptual frame - “the city”, “noise” and “open source”- will be worked into performances, a boat tour, sonic mapping, workshops, and presentations. For further information: http://project-ctrl-alt-del.com blog- http://www.nomad-tv.net/ctrl_alt_del http://www.nomad-tv.net ctrl_alt_del coordinates September 16th Opening Night Balans 22:00 Ran Slavin (IL) REC featuring every kid on speed (MK) Paul Devens (NL) DJ Negma (TR) DJ Selim Cenkel (TR) DJ Reuben De Lautour (NZ/TR) (entrance- Balans: 18 YTL = 10 Euro) September 17th Boat Tour Bosphorus and Golden Horn (for the boarding and landing spot please check a week in advance: http:// www.nomad-tv.net or http://www.nomad-tv.net/ctrl_alt_del ) 11:00 Guided tour of sonic mapping and Istanbul Compilation by MIAM Barkın Engin (TR) Erdem Helvacioğlu (TR) Burak Tamer (TR) Tolga Tuzun (TR) Performances at Golden Horn Boris Hegenbart (DE) - Kadir HasUniversitesi, Cibali Uri Katzenstein (IL) & Binya Reches (IL) - Bulgar Kilisesi, Balat (boat tour: 20 Euro – Reservations recommended via info@nomad-tv.net as the space is limited) September 19th-20th-21st Presentations ITU-MIAM, Macka Campus 19.09 -13:00 InterSpace presentation by Galia Dimitrova (BG) 19.09 -13:30 REC (TR) presentation 19.09 -16:00 Phillipp Misselwitz (DE) & Klaus Obermeyer (DE) presentation - (in the context of "under.ctrl" project) 19.09 -14:00 Israeli Center for Digital Art, Holon (IL) presentation by Eyal Danon 20.09 -13:00 Sabreen (Palestine) presentation by Wissam Murad & Wassim Qassis 20.09 -13:30 NOMAD (TR) presentation by Basak Senova & Emre Erkal 20.09 -16:00 Florian Schneider (DE) presentation - (in the context of "under.ctrl" project) 21.09 -13:00 STEIM (NL) presentation by Robert van Heuman 21.09 -16:00 Banu Cennetoglu (TR) presentation - (in the context of "under.ctrl" project - closed session) September 19th-20th-21st Workshops ITU-MIAM, Macka Campus 19-20. 09 -14:00 MIAM Sound analysis and algorithmic composition environment: IRCAM software workshop by Tolga Tuzun (TR) 20.09 -14:00 NOMAD audio-visual workshop on animation by Erhan Muratoglu (TR) 19-20-21.09 -15:00 STEIM LiSa audio-visual workshop by Robert van Heuman (NL) - 3 days 19-20-21.09 -15:30 InterSpace open source workshop by Petko Dourmana (BG), - 3 days 19-20-21.09 -15:30 Bookstr & Global Heart Me ultra-localized radio broadcast and diffusion strategies workshop by Matthieu Prat (FR) & Tal Hadad (FR) 3 days September 19th-20th-21st Performances ITU-MIAM, Macka Campus Mustafa Kemal Anfisi 20:00 Kerem Aksoy (TR), Deniz Arat (TR), Sakir Oguz Buyukberber (TR/NL), Paul Devens (NL), Robert van Heuman (NL), Reuben de Lautour (NZ/TR), Wissam Murad (Palestine), Wassim Qassis (Palestine), SFR (Zafer Aracagök) (TR), Ran Slavin (IL), Pieter Snapper (US/TR), Can Turkinan (TR), Murat Yakin (TR), REC Compilation (TR) - Orçun Basturk, Liz Fando, Tonguc Gokalp, Randiman Kakara, Saska, and Open Call Compilation concerts: Muni Monde, Ozdemir Bayrak, Kerem Guzel, Koray Kantarcioğlu, Solar Duo. (All of the presentations, workshops and performances at ITU are free of charge) The 2005 programme for the ctrl_alt_del project has been developed by Başak Şenova, Emre Erkal, Pieter Snapper, Erhan Muratoglu and Paul Devens. Can Karadoğan is responsible for the logistics of ITU activities as the project coordinator and Nuşin Odelli is in charge of editing of the printed material. The project has received support from NOMAD Project Channel, Istanbul Technical University MIAM (Center for Advanced Musical Studies), Goethe Institut, Istanbul, Mondriaan Foundation, Amsterdam, Consulate-General of the Netherlands, MOAB Foundation, Radio Helsinki, Graz , ekw 14.90, Israel National Lottery Council for the Arts, Israeli Center for Digital Art, Holon, STEIM ( Studio for Electro-Instrumental Music), InterSpace, Sofia, Sabreen Studio, Ford Foundation, Kadir Has University, REC Magazine, Balans, Bant Magazine, e-tasarım and Senkron Publishing. |||||||||||||||||||||||||||||||||||||||||||||||||||||| + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 23 Aug 2005 14:18:19 -0700 message-id: <200508232118.j7nlijap032545@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Announcing ... I Love You 365 A new blog that says I Love You everyday ... from cultures high and low, or popular and not-so-popular culture: www.iloveyou365.blogspot.com Some posts so far: Recipe For Blasphemy: Saying I Love You On Eid Ladies and Gentlemen, The Jetaime (a ride-on sex machine) If Goethe Loves You ... Szeretlek I Love You Spell Ring Make Someone Fall In Love w/ You I Love Typewriters Jo Leva Zua / Ya Lev Vi Darren O'Donnell: Your Secrets Sleep With Me Ich Liebe Dich (I Love Nietzsche) How do I Love Thee? Let me count the ways. Love, Sharon Harris ~~~~~~~~~~~~~~~~ Why do I sign all my emails, "Love,Sharon"? Find out at www.iloveyougalleries.com/talk.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 -> 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 date: Tue, 23 Aug 2005 23:39:42 +0200 (CEST) message-id: <1044.82.254.139.88.1124833182.squirrel@82.254.139.88> references: no_parent from: LST subject: RHIZOME_RAW: DIY, art at home. Hi EveryBody, X257.COM invites you to take part in a digital to analog installation process. Several printed pictures will be disposed on a table in our house, probably tomorrow evening (CEST): http://x257.com/x/table004.jpg You can take part in this process by generating a picture to be printed: 1. Go to http://www.x257.com/hub 2. Click on a mail subject 3. Click on GENERATE PICTURE No 9 (only No 9 is included in this process) 4. Once you are happy with your picture, do not generate any picture No 9 (note that you can previously send a mail to one of the mailing list in order to select it in the hub and generate your picture.) Pictures generated at the time of the installation process will be printed and included in the installation. Kind regards, X257.COM + DIY + Art at home. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 23 Aug 2005 14:41:04 -0700 message-id: <200508232141.j7nlf47n005098@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Robert Moog Dies at 71; Created a Synthesizer That RevolutionizedMusic - nytimes http://www.themap.org/content/view/61/ The recent biography: http://imdb.com/title/tt0378378/ He will be missed here in Asheville. - lee wells wrote: > The New York Times > August 23, 2005 > Robert Moog Dies at 71; Created a Synthesizer That Revolutionized > Music > By ALLAN KOZINN > > http://www.nytimes.com/2005/08/23/arts/music/23moog.html?hp > > Robert Moog, the creator of the electronic music synthesizer that > bears his > name and that became ubiquitous among experimental composers as well > as rock > musicians in the 1960's and 70's, died on Sunday at his home in > Asheville, > N.C. He was 71. > > The cause was an inoperable brain tumor, discovered in April, his > daughter > Michelle Moog-Koussa said. > > At the height of his synthesizer's popularity, when progressive rock > bands > like Yes, Tangerine Dream, Kraftwerk and Emerson, Lake and Palmer > built > their sounds around the assertive, bouncy, exotically wheezy and > occasionally explosive timbres of Mr. Moog's instruments, his name > (which > rhymes with vogue) became so closely associated with electronic sound > that > it was often used generically, if incorrectly, to describe > synthesizers of > all kinds. > > More recently, hip-hop groups like the Beastie Boys and rock bands > with more > experimentalist leanings, from They Might Be Giants to Wilco, have > revived > an interest in the early Moog synthesizer timbres. Partly because of > this > renewed interest, Mr. Moog and his instruments were the subjects of a > documentary, "Moog," which opened in the fall of 2004. In an interview > last > year with The New York Times, Hans Fjellestad, who directed the film, > likened Mr. Moog to Les Paul and Leo Fender, who are widely regarded > as the > fathers of the electric guitar. > > "He embodies that sort of visionary, maverick spirit and that inventor > mythology," Mr. Fjellestad said at the time. > > Mr. Moog's earliest instruments were collections of modules better > suited to > studio work than live performance, and as rock bands adopted them, he > expanded his line to include the Minimoog and the Micromoog, > instruments > that could be used more easily on stage. He also expanded on his > original > monophonic models, which played only a single musical line at a time, > creating polyphonic instruments that allowed for harmony and > counterpoint. > > Even so, by the end of the 1970's, Mr. Moog's instruments were being > supplanted by those of competing companies like Arp, Aries, Roland and > Emu, > which produced synthesizers that were less expensive, easier to use > and more > portable. (Those instruments, in turn, were displaced in the 1980's by > keyboard-contained digital devices by Kurzweil, Yamaha and others.) > > In 1978, Mr. Moog moved from western New York to North Carolina, where > he > started a new company, Big Briar (later Moog Music), that produced > synthesizer modules and alternative controllers - devices other than > keyboards, with which a musician could play electronic instruments. > His > particular specialty was the Ethervox, a version of the theremin, an > eerie-toned instrument created by the Russian inventor Leon Theremin, > in the > 1920's, that allows performers to create pitches by moving their hands > between two metal rods. > > It was the theremin, in fact, that got Mr. Moog interested in > electronic > music when he was a child in the 1940's. In 1949, when he was 14, he > built a > theremin from plans he found in a magazine, Electronics World. He > tinkered > with the instrument until he produced a design of his own, in 1953, > and in > 1954 he published an article on the theremin in "Radio and Television > News," > and started the R. A. Moog Company, which sold his theremins and > theremin > kits. > > Mr. Moog was born in New York City on May 23, 1934, and although he > studied > the piano while he was growing up in Flushing, Queens, his real > interest was > physics. He attended the Bronx High School of Science, and earned > undergraduate degrees in physics from Queens College and electrical > engineering from Columbia University. > > By the time he completed his Ph.D. in engineering physics at Cornell > University in 1965, his theremin business had taken off, and he had > started > working with Herbert Deutsch, a composer, on his first synthesizer > modules. > Mr. Moog was familiar with the huge synthesizers in use at Columbia > University and at RCA and that European composers were experimenting > with; > his goal was to create instruments that were both more compact and > accessible to musicians. > > The first Moog synthesizers were collections of modules, connected by > electronic patch cords, something like those that connect stereo > components. > The first module, an oscillator, would produce a sound wave, giving a > musician a choice of several kinds, ranging from the gracefully > undulating > purity of a sine wave to the more complex, angular or abrasive sounds > of > square and sawtooth waves. The wave was sent to the next module, > called an > A.D.S.R. (attack-decay-sustain-release) envelope generator, with which > the > player defined the way a note begins and ends, and how long it is > held. A > note might, for example, explode in a sudden burst, like a trumpet > blast, or > it could fade in at any number of speeds. From there, the sound went > to a > third module, a filter, which was used to shape its color and texture. > > Using these modules, and others that Mr. Moog went on to create, a > musician > could either imitate acoustic instruments, or create purely electronic > sounds. A keyboard, attached to this setup, let the performer control > when > the oscillator produced a tone, and at what pitch. > > "Artist feedback drove all my development work," Mr. Moog said in an > interview with Salon in 2000. "The first synthesizers I made were in > response to what Herb Deutsch wanted. The now-famous Moog filter was > suggested by several musicians. The so-called A.D.S.R. envelope, which > is > now a basic element in all contemporary synthesizers and programmable > keyboard instruments, was originally specified in 1965 by Vladimir > Ussachevsky, then head of the Columbia-Princeton Electronic Music > Center. > The point is that I don't design stuff for myself. I'm a toolmaker. I > design > things that other people want to use." > > University music schools quickly established electronic music labs > built > around the Moog synthesizer, and composers like Richard Teitelbaum, > Dick > Hyman and Walter Carlos (who later had a sex-change operation and is > now > Wendy Carlos) adopted them. For most listeners, though, it was a > crossover > album, Walter Carlos's "Switched-On Bach," that ushered the instrument > into > the spotlight. A collection of Bach transcriptions, meticulously > recorded > one line at a time, "Switched-On Bach" was meant to persuade casual > listeners who regarded synthesizers as random noise machines that the > instrument could be used in thoroughly musical ways. The album's > sequels > included the haunting Purcell and Beethoven transcriptions used in the > Stanley Kubrick film "A Clockwork Orange." > > Rock groups were attracted to the Moog as well. The Monkees used the > instrument as early as 1967, on their "Pisces, Aquarius, Capricorn and > Jones > Ltd." album. In early 1969, George Harrison, of the Beatles, had a > Moog > synthesizer installed in his home, and released an album of his > practice > tapes, "Electronic Sound," that May. The Beatles used the synthesizer > to > adorn several tracks on the "Abbey Road" album, most notably John > Lennon's > "Because," Harrison's "Here Comes the Sun" and Paul McCartney's > "Maxwell's > Silver Hammer." > > Among jazz musicians, Herbie Hancock, Jan Hammer and Sun Ra adopted > the > synthesizer quickly. And with the advent of progressive rock, in the > early > 1970's, the sound of the Moog synthesizer and its imitators became > ubiquitous. > > In 1971, Mr. Moog sold his company, Moog Music, to Norlin Musical > Instruments, but he continued to design instruments for the company > until > 1977. When he moved to North Carolina, in 1978, he started Big Briar, > to > make new devices, and he renamed the company Moog Music when he bought > back > the name in 2002. He also worked as a consultant and vice president > for new > product research at Kurzweil Music Systems, from 1984 to 1988. > > His first marriage, to Shirleigh Moog, ended in divorce. He is > survived by > his wife, Ileana; his children, Laura Moog Lanier, Matthew Moog, > Michelle > Moog-Koussa, Renee Moog and Miranda Richmond; and five grandchildren. > > * Copyright 2005 The New York Times Company > > -- > 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, 23 Aug 2005 21:57:38 -0700 message-id: <200508240457.j7o4vcu8003831@idx164.idx.net> references: no_parent from: // jonCates subject: RHIZOME_RAW: (A) r4WB1t5 micro.Fest this SAT on 2005.08.27! goto (A) r4WB1t5 micro.Fest this SAT on 2005.08.27! http://r4wb1t5.org/2005.08.27 ========== (A) r4WB1t5 micro.Fest 2005.08.27 @ AlterSpace http://www.cayetanoferrer.com/alterspace/ 2430 N. Washtenaw #3N CHI IL .US 60647 http://r4wb1t5.org/2005.08.27/map.html ========== FREE + OPEN START 5 PM END ...(?) ========== this (A) r4WB1t5 micro.Fest will include the following [aspects/components]: ========== 9 PM - 12 AM + live realtime audio video performances: ~ Teleseen (NYC NY .US) + Chris Bravo (CHI IL .US) http://www.percepts.info ~ Amanda Gutiérrez + Ezara Hoffman + Jake Elliot (CHI IL .US) http://subaltern.org/amanda.htm http://structuredsound.net/ezara http://structuredsound.net/jake ~ view.sys|sys.view by jonCates ++ jon.satrom (CHI IL .US) http://systemsapproach.net/sys.view|view.sys http://selectall.org/---/projx/svvs ========== 5 PM - ON + mashUp boom box audio file play.bak: ~ r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r by various artists, featuring the work of: dj BC (Boston MA .US) http://www.djbc.net Evolution Control Committee (SF CA + Columbus OH .US) http://evolution-control.com Wetcat (CHI IL .US) http://www.wetcat.org http://conpact.com Powerpadd (CHI IL .US) http://www.myspace.com/powerpadd http://conpact.com + MINI MINI MORE! ========== 5 PM - ON + open frame work digitalArt img space ~ ][]P3|\|.|=r@/\/\3.\/\/()r|<][ by various artists, featuring the work of: { brad brace } (interweb ++ .US) http://bbrace.laughingsquid.net/12hr.html strepsata (CHI IL .US) http://noisydaughter.com michael beijer (Amsterdam .NL) http://michaelbeijer.tk rechen [roberto echen] (Rosario .AR) http://www.rechen.com dimitre (San Paulo .BR) http://dmtr.org/ + MINI MINI MORE! ========== 5 PM - 9 PM + artware sandbox pizza party: ~ 4r+\/\/4r3 54|\||)0x P!ZZ4 P4r+y sponsored by criticalartware, featuring the work of: os_anm by slateford aka Simon Yuill (Scotland .UK) + Tryggve Askildsen (.NO) http://www.slateford.org/os_anm/0.2 dyne:bolic! is RASTASOFT by jaromil (BABYLON) http://www.dynebolic.org Processing by Casey Reas (LA CA .US) + Ben Fry (MIT MA .US) http://processing.org ========== 5 PM - ON + physical distributions of new media projects including: ~ txt by ivan lópez (Mexico City .MX) http://textzi.net/ ========== 5 PM - ON + video installation/lecture ~ Can I get an Amen? by Nate Harrison (LA CA .US) http://nkhstudio.com ========== ALWAYS ON + interweb based blog art projects ~ _[net]blog to log][ah!rhythm][_ by mez (interweb + .AU) http://www.livejournal.com/users/netwurker ~ SCREENFULL by jimpunk and abe linkoln (interweb + .FR + .US) http://www.screenfull.net/stadium ========== http://r4wb1t5.org/2005.08.27 dirty new media + digital art boombox mash ups + remixes realtime audio video + web art install experimental musics + artware sandbox pizza party! web fliers: http://r4wb1t5.org/2005.08.27/flyers.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, 23 Aug 2005 22:03:02 -0700 message-id: references: <200508220350.j7m3olr4029637@idx164.idx.net> from: Jim Andrews subject: RE: RHIZOME_RAW: Re: Jared Tarbell\'s online generative art > http://www.complexification.net/gallery/machines/interAggregate/index.php > > It owes an intentional debt to Pollock not only in its palette > but in its application and process. i can't remember which piece of source code it was, but i saw a pollock.gif being used in one of them. in some of tarbell's pieces, there's an 'underlying' image, perhaps by pollock or someone else, that is used to determine the color, say, of some entity in the generation, e.g, in the piece i mentioned, http://www.complexification.net/gallery/machines/boxFittingImg , the color of a rectangle is probably determined via the color of the single pixel of the 'underlying' image where the rectangle originates. 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 > 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/||| ____________________________________________________ Start your day with Yahoo! - make it your home page http://www.yahoo.com/r/hs + -> 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 date: Wed, 24 Aug 2005 00:48:32 -0700 message-id: <200508240748.j7o7mwhf001786@idx164.idx.net> references: no_parent from: jeremy hight subject: RHIZOME_RAW: BINARY KATWALK LAUNCHES AUG 26 Jeremy Hight and Sindee Nakatani are proud to announce the launch of the first edition of the new media exhibition "Binary Katwalk" on Friday August 26, 2005. The works selected were chosen from many strong submissions from around the world. The url will be posted upon launch. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php The table works a bit different than the link you posted. It is loaded with infrared LEDs in the base and an camera mounted to the ceiling above the table. The camera senses the shadow your hand casts in the infrared light. I have some pictures on our blog of the table being installed so you can see the inside of the base. This set up is more similar to the eye-toy device for Playstation (http:// eyetoy.com/) than it is to a touch screen really. The link you posted was short on specific details but it seemed to have an array of motion sensors and not one large sensor (like a camera) putting it all together. Multiple sensors like a touch screen with motion sensors would allow you more accuracy but it would really depend on how many sensors you have per inch (just like a touch screen). Our interface only works with elements 1 inch square in size so our level of interaction is necessarily course. If the IC sensor based screen works the way the promise it would solve a couple of problems we have run into mostly revolving around the camera only being able to see your hand on a 2d plane. If a user turns their hand toward the table to grasp an object the camera can not see their grasping motion and therefore can't do any sort of gesture recognition. We've noticed people generally figure out the hand orientation after one or two tries or after watching the instructional video we have next to the table. Unfortunately i don't know a thing about IC-based sensors so i don't know if they can really detect motions in full 3d, or what their latency is (if any) or how fine of a grid can be made. Anyone else familiar with that type of sensor? We've done quite a bit of writing on the table and there was already a website about it online Info and pictures and concept: http://dialogtable.com/ Installation notes on our blog: http://blogs.walkerart.org/newmedia/ index.php?cat=13 The original proposal: http://dialog.walkerart.org/dialog.wac If your further interested in the topic I know Jakub has done some very involved writing on the subject, a lot of it is here (membership required): http://portal.acm.org/results.cfm?coll=portal&dl=ACM&query=Jakub +Segen&short=1 - eric On Jul 12, 2005, at 6:23 PM, ryan griffis wrote: > We make money not art has this post about touchless screens > http://www.we-make-money-not-art.com/archives/006428.php > i was just at the Walker and saw a screen based interactive > database that was touchless. it featured some "floating" slides > (like 35mm transparencies) that you could "grab" to see an expanded > view and more info. it responded to the position of your hand as > well as the state of your figures coming together to "grab" the image. > anyone else seen this? > > + > -> 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 > > + -> 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 date: Wed, 24 Aug 2005 04:10:08 -0700 message-id: <200508241110.j7oba8jd010010@idx164.idx.net> references: no_parent from: Pau Waelder subject: RHIZOME_RAW: Theatre of Restless Automata next at HTTP// Theatre of Restless Automata by boredomresearch Artist Private View: Thursday 1st September 7-9pm September 1 - 25 2005 Friday - Sunday : 12 noon - 5pm Press Release for print (pdf 2.2 Mb) Theatre of Restless Automata comprises three animated universes modelled from variations of the same computational formula. Each universe has a distinct aesthetic quality, which ranges from geometric abstraction to decorative figuration. Using computer algorithms based on scientific modelling techniques, the artists demonstrate how simple programming rules can create an infinite number of elaborate patterns. From these mosaics of pixels emerge small robotic figures (beings), which perform in a digital 'theatre of life'. In RandomSeed Systems, groups of coloured pixels develop a pattern according to algorithms inspired by the mathematical model of cell growth known as Cellular Automata. The model designed by the artists produces patterns that evolve over time along an invisible grid of regular cells in a fashion reminiscent of tapestry weaving. The result is independent from the aesthetic control of the artists: a real computational creation. Biome systems consist of a set of glass portholes hung on the wall through which viewers can peer and observe virtual universes of swarming automata. Evoking a natural world of insects and micro-organisms, the artificial creatures evolve in sealed environments called Biomes, which span an acre of terrain. Limited by the two-inch diameter of the portholes, viewers can only catch a glimpse of the toing and froing of the biomes' inhabitants. Ornamental Bug Garden 001 features a formally arranged space, which is being colonised by simple mechanisms and plants created from the same algorithm. These colonies of bug like creatures are catapulted around the ornamental garden and sometimes collide with bubble pumping lifts. A sound piece is incidentally composed from the noise of these collisions. boredomresearch are interested in building computational works, inspired by simple rules found in natural systems. They explore processes of computer modelling and the creative potential of genetic algorithms for the creation of nature-like phenomena. About boredomresearch Vicky Isley and Paul Smith have been collaborating as boredomresearch since 2000. boredomresearch have produced a number of interactive sound applications, online projects and computational soundscapes. Their work has been recently shown at Transmediale.05, Germany; FILE04, Brazil; NOW festival 2004, Nottingham, Electrohype festival in Sweden, Garage festival in Germany, Data:base Media Event in Dublin and within online exhibitions such as VIDA 7.0 Art & Artificial Life International Competition, soundtoys.net, mobilegaze.com and Dots & Line online exhibition. Ornamental Bug Garden 001 has been awarded honorary mention in Transmediale.05, International Media Arts Festival, Berlin and VIDA 7.0, International A-Life Electronic Arts Competition, Madrid. Theatre of Restless Automata has been produced in collaboration with Aspex Gallery and Peterborough Digital Arts Theatre of Restless Automata has been produced in collaboration with Aspex Gallery and Peterborough Digital Arts For press information and visuals, please contact Stéphanie Delcroix e-mail: stephanie@furtherfield.org Gallery address: Unit A2, Arena Business Centre, 71 Ashfield Rd, London N4 1NY Tube: Manor House Buses: 341, 141, Train: Haringey Green Lanes Car: free parking facilities How to get there HTTP:// is a non-profit organisation run by artists and curators of board members: Ruth Catlow, Marc Garrett + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 24 Aug 2005 06:39:05 -0700 message-id: <200508241339.j7odd58k007949@idx164.idx.net> references: no_parent from: Katie Lips subject: RHIZOME_RAW: Inside the Inbox; real people, real SMS messages, the SMS log by Treasuremytext Keywords: SMS, voyeur, publish, collaborative, mobile, blog, moblog, text message, reality text Treasuremytext.com (http://www.treasuremytext.com) is first and foremost a service that stores SMS messages making Treasuremytext.com the world’s largest SMS Inbox. Thousands of users store thousands of texts every month. Anyone and everyone can use it to aggregate their mobile content, treasure it forever and then to re-publish, re-blog, to share their personal messages with the world. The service contains RSS feeds and a ‘Slog’ a SMS log that lets anonymous viewer, or voyeurs read the personal lives of texters. Treasuremytext is a project in which thousands of users are contributing their deepest, private messages into a public space. What do people really send, and why do they want to keep this stuff forever? We want other digital artists to work with this SMS RSS capability, and if suitable reblog this SMS content, or set up their own SMS RSS channel for other projects. The project explores the relationships between communication and publication, trails of information, and data we all leave behind us continuously as we interact with software and applications and devices. Many people use the Treasuremytext project to publish their own communications and as they are doing so they are creating a mass collaborative consciousness. The public face of Treasuremytext.com is humorous; it plays with the idea of the personal and the private world of mobile communication. Many publicly displayed messages are private in nature; and by publishing, the collective authors are offering a view into their personal lives. Through this project, Kisky Netmedia (the project’s creators) are blurring the boundaries between communication ‘service’ and creative space, between application and art exhibit. Kisky demonstrates how this service is generating its own ever evolving, self-generating form, whilst also raising the bar in terms of how Netart behaves, through creating work with truly functional as well as exploratory aims. Whilst there are distinct voices amidst the noise, the theme of the collaborative content demonstrates that mobile communication, for most of us is about continual contact; request and response, affection and confirmation. Many messages are explicit, many are needy, many are mundane, but more and more, Treasuremytext.com offers a glimpse into unconnected yet ubiquitous worlds; it shows snippets of communications, conversations, detached from each other, yet vocally loud, bold statements, request, actions, aspirations, and dreams. The project is perhaps the only place where it is possible to view other people’s mobile communications. It is a demonstration of disconnected voices, all surprisingly saying similar things. The people who are creating this ‘not seen anywhere else content’ are becoming bolder at publishing their innermost thoughts anonymously to an unknown audience. Kisky develops systems and environments which enable audiences to enter, use and control traditionally closed spaces. This is particularly true of the mobile phone, which is used by many, but tightly controlled by few. Kisky uses simple web technologies to open up this space, to create new creative opportunities for users and audiences. A common themes in Kisky’s work is the notion of the audience as collaborative creator; exploring ideas of ‘passive publishing’ whereby through the act of communication, there is a communication by-product; content that may in alternative spaces be viewed as artistic content. Please feel free to use Treasuremytext.com to blog your own or existing content. Current ‘treasured text’ content is available as RSS, XML and My Yahoo feeds as well as at the ‘luxuriously’ designed site. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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 -> 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 date: Wed, 24 Aug 2005 17:42:11 +0100 message-id: <430ca363.1050908@furtherfield.org> references: from: marc subject: RHIZOME_RAW: test just doing a test... + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __ |_ \______/| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |\______/ _| \_ | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | _/ \| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |/ |// | \\|// | \\|// | \\| |/______|______\|/______|______\|/______|______\| |/// | \\\|/// | \\\|/// | \\\| |// | \\|// | \\|// | \\| |/~x~x~x~x~x~x~\|/~x~x~x~x~x~x~\|/~x~x~x~x~x~x~\| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |loveisall | | |13.07.2005 | | |01:34:20 | | | |___________| | |___________| | |___________| | | ~x~x~x~x~x~x~ | ~x~x~x~x~x~x~ | ~x~x~x~x~x~x~ | |---------------|---------------|---------------| |_ http://skyscraper.trashconnection.com _______| + -> 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 date: Wed, 24 Aug 2005 09:52:07 -0700 (PDT) message-id: <20050824165208.87258.qmail@web30508.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: New Audio: Lactation by Lewis LaCook Lactation 8.85 mb 64 kbps 0:19:19 http://lewislacook.corporatepa.com/snd/LewisLaCook_Lactation.mp3 This is dance music. Really, it is. Dancing because I am in love. (This dance music also makes use of several "EVPs," or electronic voice phenomena. The voices of ghosts, apparently, only audible when reproduced.) bliss l *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ____________________________________________________ Start your day with Yahoo! - make it your home page http://www.yahoo.com/r/hs + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 24 Aug 2005 19:05:20 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Aug 18, 2005 - Aug 24, 2005 nznl.com digest Aug 18, 2005 - Aug 24, 2005 Posts 1178 - 1184 http://nznl.com 1178. Aug 18, 2005 PLAN FOR A MODEL OF A WHITE CUBE, 2009, NZNL.COM EXHIBITION COMPLEX fireworks file http://nznl.com/geert/pop.php?dag=20050818 1179. Aug 19, 2005 VEHICLE, 2009, SHADOW flash movie http://nznl.com/geert/pop.php?dag=20050819 1180. Aug 20, 2005 ART STUDIO, 2009, NZNL.COM STUDIO VIEW fireworks file http://nznl.com/geert/pop.php?dag=20050820 1181. Aug 21, 2005 PLAN FOR A REINCARNATION AS YEW TREE, 2009, NZNL.COM FLOORBOARDS fireworks file http://nznl.com/geert/pop.php?dag=20050821 1182. Aug 22, 2005 STAIN, 2009, WHITE CUBE, STAIN fireworks file http://nznl.com/geert/pop.php?dag=20050822 1183. Aug 23, 2005 TENTATIVE SKETCH FOR AN ARTISTS STATEMENT, 2009 web page http://nznl.com/geert/pop.php?dag=20050823 1184. Aug 24, 2005 PLAN FOR THE EXECUTION OF 3 GREAT IDEAS, 2009, PERFORMANCE FOR 2 NZNL.COM WORKERS fireworks file http://nznl.com/geert/pop.php?dag=20050824 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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 -> 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 date: Wed, 24 Aug 2005 22:12:10 +0200 (CEST) message-id: <20050824201210.a899b21fd0@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART D.d.s. dagger Dutch, DVD damps DDK, DDS Doctor Mathews dailey daemons, Dashes Downarrow. 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 searchable with a form called the Wayback Machine, is also routinely used by intellectual property lawyers to help learn, for example, when and how a trademark might have been historically used or violated. That is what brought the Philadelphia law firm of Harding Earley Follmer & Frailey to the Wayback Machine two years ago. The firm was defending Health Advocate, a company in suburban Philadelphia that helps patients resolve health care and insurance disputes, against a trademark action brought by a similarly named competitor. In preparing the case, representatives of Earley Follmer used the Wayback Machine to turn up old Web pages - some dating to 1999 - originally posted by the plaintiff, Healthcare Advocates of Philadelphia. Last week Healthcare Advocates sued both the Harding Earley firm and the Internet Archive, saying the access to its old Web pages, stored in the Internet Archive's database, was unauthorized and illegal. The lawsuit, filed in Federal District Court in Philadelphia, seeks unspecified damages for copyright infringement and violations of two federal laws: the Digital Millennium Copyright Act and the Computer Fraud and Abuse Act. "The firm at issue professes to be expert in Internet law and intellectual property law," said Scott S. Christie, a lawyer at the Newark firm of McCarter & English, which is representing Healthcare Advocates. "You would think, of anyone, they would know better." But John Earley, a member of the firm being sued, said he was not surprised by the action, because Healthcare Advocates had tried to amend similar charges to its original suit against Health Advocate, but the judge denied the motion. Mr. Earley called the action baseless, adding: "It's a rather strange one, too, because Wayback is used every day in trademark law. It's a common tool." The Internet Archive uses Web-crawling "bot" programs to make copies of publicly accessible sites on a periodic, automated basis. Those copies are then stored on the archive's servers for later recall using the Wayback Machine. The archive's repository now has approximately one petabyte - roughly one million gigabytes - worth of historical Web site content, much of which would have been lost as Web site owners deleted, changed and otherwise updated their sites. The suit contends, however, that representatives of Harding Earley should not have been able to view the old Healthcare Advocates Web pages - even though they now reside on the archive's servers - because the company, shortly after filing its suit against Health Advocate, had placed a text file on its own servers designed to tell the Wayback Machine to block public access to the historical versions of the site. Under popular Web convention, such a file - known as robots.txt - dictates what parts of a site can be examined for indexing in search engines or storage in archives. Most search engines program their Web crawlers to recognize a robots.txt file, and follow its commands. The Internet Archive goes a step further, allowing Web site administrators to use the robots.txt file to control the archiving of current content, as well as block access to any older versions already stored in the archive's database before a robots.txt file was put in place. But on at least two dates in July 2003, the suit states, Web logs at Healthcare Advocates indicated that someone at Harding Earley, using the Wayback Machine, made hundreds of rapid-fire requests for the old versions of the Web site. In most cases, the robot.txt blocked the request. But in 92 instances, the suit states, it appears to have failed, allowing access to the archived pages. In so doing, the suit claims, the law firm violated the Digital Millennium Copyright Act, which prohibits the circumventing of "technological measures" designed to protect copyrighted materials. The suit further contends that among other violations, the firm violated copyright by gathering, storing and transmitting the archived pages as part of the earlier trademark litigation. The Internet Archive, meanwhile, is accused of breach of contract and fiduciary duty, negligence and other charges for failing to honor the robots.txt file and allowing the archived pages to be viewed. Brewster Kahle, the director and a founder of the Internet Archive, was unavailable for comment, and no one at the archive was willing to talk about the case - although Beatrice Murch, Mr. Kahle's assistant and a development coordinator, said the organization had not yet been formally served with the suit. Mr. Earley, the lawyer whose firm is named along with the archive, however, said no breach was ever made. "We wouldn't know how to, in effect, bypass a block." he said. Even if they had, it is unclear that any laws would have been broken. "First of all, robots.txt is a voluntary mechanism," said Martijn Koster, a Dutch software engineer and the author of a comprehensive tutorial on the robots.txt convention (robotstxt.org). "It is designed to let Web site owners communicate their wishes to cooperating robots. Robots can ignore robots.txt." William F. Patry, an intellectual property lawyer with Thelen Reid & Priest in New York and a former Congressional copyright counsel, said that violations of the copyright act and other statutes would be extremely hard to prove in this case. He said that the robots.txt file is part of an entirely voluntary system, and that no real contract exists between the nonprofit Internet Archive and any of the historical Web sites it preserves. "The archive here, they were being the good guys," Mr. Patry said, referring to the archive's recognition of robots.txt commands. "They didn't have to do that." Mr. Patry also noted that despite Healthcare Advocates' desire to prevent people from seeing its old pages now, the archived pages were once posted openly by the company. He asserted that gathering them as part of fending off a lawsuit fell well within the bounds of fair use. Whatever the circumstances behind the access, Mr. Patry said, the sole result "is that information that they had formerly made publicly available didn't stay hidden." Jessica Ivins ema. jessica@rhizome.org + -> 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 date: Thu, 25 Aug 2005 00:04:17 +0200 (CEST) message-id: <1025.82.254.137.61.1124921057.squirrel@82.254.137.61> references: no_parent from: LST subject: RHIZOME_RAW: DIY, art at home - End of session Hi EveryBody, Thanks to the 10 contributors who generate a picture. http://www.x257.com/x/table01/01.png http://www.x257.com/x/table01/02.png http://www.x257.com/x/table01/03.png http://www.x257.com/x/table01/04.png http://www.x257.com/x/table01/05.png http://www.x257.com/x/table01/06.png http://www.x257.com/x/table01/07.png http://www.x257.com/x/table01/08.png http://www.x257.com/x/table01/09.png http://www.x257.com/x/table01/10.png + Final installation : some photos (approx 150Ko each) http://www.x257.com/x/table01/001.jpg http://www.x257.com/x/table01/002.jpg http://www.x257.com/x/table01/003.jpg http://www.x257.com/x/table01/004.jpg http://www.x257.com/x/table01/005.jpg http://www.x257.com/x/table01/006.jpg http://www.x257.com/x/table01/007.jpg http://www.x257.com/x/table01/008.jpg http://www.x257.com/x/table01/009.jpg http://www.x257.com/x/table01/010.jpg http://www.x257.com/x/table01/011.jpg http://www.x257.com/x/table01/012.jpg Best, X257.COM + DIY + Art at home + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 25 Aug 2005 08:47:07 +1000 message-id: <6.0.1.1.1.20050825084549.0253ce98@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: Re: Inside the Inbox; real people , real SMS messages, online. The =?iso-8859-1?Q?=91SMS_log=92_or__=91slog=92_by_Treasuremytext.com? At 11:03 PM 24/08/2005, you wrote: >Hi there, > >I wanted to let you know about our project Treasuremytext.com and our >recent RSS blog, and public SMS features. We are hoping that digital >artists will work with the RSS SMS features to crete their own SMS logs - >or "SLOGS"! Also, the public 'SMS log' offers a fantastic insight into >what people really text. > >Keywords: SMS, voyeur, publish, collaborative, mobile, blog, moblog, text >message, reality text > >Treasuremytext.com >(http://www.treasuremytext.com) is first >and foremost a service that stores SMS messages making Treasuremytext.com >the world's largest SMS Inbox. Thousands of users store thousands of texts >every month. Anyone and everyone can use it to aggregate their mobile >content, treasure it forever and then to re-publish, re-blog, to share >their personal messages with the world. The service contains RSS feeds >and a 'Slog' a SMS log that lets anonymous viewer, or voyeurs read the >personal lives of texters. Treasuremytext is a project in which thousands >of users are contributing their deepest, private messages into a public >space. What do people really send, and why do they want to keep this stuff >forever? pays to read the terms + conditions: "4.1 Ownership of data Kisky Netmedia does not claim ownership of the materials you provide to Treasuremytext. However, by posting, uploading, inputting, providing or submitting your messages you are granting Kisky Netmedia permission to use your messages in connection with the operation of their business including, without limitation, the rights to: copy, distribute, transmit, publicly display, publicly perform, reproduce, edit, translate and reformat your messages. No compensation will be paid with respect to the use of your messages as provided herein." _intricate mirror mem[e.st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ . + -> 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 date: Wed, 24 Aug 2005 16:03:34 -0700 message-id: <23e24a2605082416036c40ada4@mail.gmail.com> references: no_parent from: Marisa S. Olson subject: RHIZOME_RAW: Digest will now go out on Fridays Hello, there. I just wanted to make an informal announcement that we're going to begin sending the Rhizome Digest out on Fridays, rather than Sundays, beginning this week. There's no super brilliant reason for this other than the fact that it works best with my schedule, as Editor, and it seems like the best weekday to summarize the week's activities, on Raw. I hope it works nicely with your inbox flow, as well. Your feedback is always welcome, of course! All the best, Marisa --------------------------------------------------- Marisa S. Olson Editor and Curator at Large, Rhizome.org marisa (at) 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 Lee Wells, born in 1971 is an artist and curator currently living and working in Brooklyn, New York. In 1995, he co-founded IFAC in Chicago Illinois as an alternative exhibition and installation space for young and emerging artists. Before moving to New York City in 2000, through IFAC, he hosted and curated over thirty events. Currently he is co-curating a project called TransVoyeur for the 2006 Liverpool Biennial in addition to organizing public art projects in Manhattan and Brooklyn. (http://www.leewells.org ) -scopeHamptons, Friday, July 15 through Sunday, July 17, 2005. -scopeHamptons will launch at Hampton Hall, 230 Elm Street, just steps away from the Southampton LIRR train station and will be serviced daily from NYC by Hampton Luxury Liner. Fair hours are daily from 12pm to 8pm. Admission is $10 and catalogs are $5 each. (For complete schedule and map, please go to www.scope-art.com) For more information in reference to this release please contact: Lee Wells @ 917 723 2524. or lee@leewells.org or 462 Broadway, suite 540, New York, NY 10013 http://www.leewells.org http://www.leewells.org/scope-art-fair/cinema-scope-program.htm ************************************************** these info are released by NetEX - networked experience http://netex.nmartproject.net/index.php?blog=6 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 -> 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 date: Thu, 25 Aug 2005 12:22:52 +1000 message-id: references: no_parent from: Komninos Zervos subject: RHIZOME_RAW: sound poetry machine - II - copshopbop http://live-wirez.gu.edu.au/Staff/Komninos/2005copshopbop/COPSHOPBOP.html komninos komninos zervos 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 > --- judsoN wrote: > >> anybody know how they do this? (these used to come >> with spam >> constantly a few years ago, now i never see em?) >> >> > http://open.thumbshots.org/image.pxf?url=http%3A%2F%2Frhizome.org >> >> (%3A = "/", try any URL you want) >> >> Java, CGI/PHP (with graphics library extensions) all >> do parts but can >> find hardly any documentation about this. >> + >> -> 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 >> > > > *********************************************************************** > **** > No More Movements... > > Lewis LaCook > -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| > > > > > ____________________________________________________ > Start your day with Yahoo! - make it your home page > http://www.yahoo.com/r/hs > > + > -> 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 > + -> 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 date: Thu, 25 Aug 2005 12:10:20 +0100 message-id: <430da71c.6090106@furtherfield.org> references: <016a4366-9440-4c1f-9cf9-27883c41f00a@nyu.edu> from: marc subject: RHIZOME_RAW: HTTP presents Theatre of Restless Automata *HTTP presents Theatre of Restless Automata * the largest solo exhibition to date by boredomresearch ====================================================== Theatre of Restless Automata 1 September - 23 October 2005 Private View: Thursday 1 September, 7-9 pm HTTP [House of Technologically Termed Praxis] Gallery address: Unit A2, Arena Design Centre, 71 Ashfield Rd, London N4 1NY Gallery open Friday - Sunday 12-5pm ====================================================== Theatre of Restless Automata comprises three animated universes modelled from variations of the same computational formula. Each universe has a distinct aesthetic quality, which ranges from geometric abstraction to decorative figuration. Using computer algorithms based on scientific modelling techniques, the artists demonstrate how simple programming rules can create an infinite number of elaborate patterns. From these mosaics of pixels emerge small robotic figures (beings), which perform in a digital 'theatre of life'. In RandomSeed Systems, groups of coloured pixels develop a pattern according to algorithms inspired by the mathematical model of cell growth known as Cellular Automata. The model designed by the artists produces patterns that evolve over time along an invisible grid of regular cells in a fashion reminiscent of tapestry weaving. The result is independent from the aesthetic control of the artists: a real computational creation. Biome systems consist of a set of glass portholes hung on the wall through which viewers can peer and observe virtual universes of swarming automata. Evoking a natural world of insects and micro-organisms, the artificial creatures evolve in sealed environments called Biomes, which span an acre of terrain. Limited by the two-inch diameter of the portholes, viewers can only catch a glimpse of the toing and froing of the biomes' inhabitants. Ornamental Bug Garden 001 features a formally arranged space, which is being colonised by simple mechanisms and plants created from the same algorithm. These colonies of bug like creatures are catapulted around the ornamental garden and sometimes collide with bubble pumping lifts. A sound piece is incidentally composed from the noise of these collisions. boredomresearch are interested in building computational works, inspired by simple rules found in natural systems. They explore processes of computer modelling and the creative potential of genetic algorithms for the creation of nature-like phenomena. ====================================================== About boredomresearch Vicky Isley and Paul Smith have been collaborating as boredomresearch since 2000. boredomresearch have produced a number of interactive sound applications, online projects and computational soundscapes. Their work has been recently shown at Transmediale.05, Germany; FILE04, Brazil; NOW festival 2004, Nottingham, Electrohype festival in Sweden, Garage festival in Germany, Data:base Media Event in Dublin and within online exhibitions such as VIDA 7.0 Art & Artificial Life International Competition, soundtoys.net, mobilegaze.com and Dots & Line online exhibition. Ornamental Bug Garden 001 has been awarded honorary mention in Transmediale.05, International Media Arts Festival, Berlin and VIDA 7.0, International A-Life Electronic Arts Competition, Madrid. Theatre of Restless Automata has been produced in collaboration with Aspex Gallery and Peterborough Digital Arts. ====================================================== HTTP [House of Technologically Termed Praxis] is one of London's foremost galleries dedicated to showing net art, new media and sound art. HTTP is a Furtherfield initiative in the vibrant and culturally diverse Green Lanes area of North London. HTTP works with a wide range of artists and audiences to explore the potential of current network technology and to promote distributed creativity. HTTP is supported by Arts Council of England. Furtherfield is an online platform for the creation, promotion and criticism of net art, new media and sound art. ====================================================== For more information about the exhibition and associated events, please visit http://www.http.uk.net/ and http://www.furtherfield.org/ For press information and visuals, please contact Stphanie Delcroix e-mail: stephanie@furtherfield.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 25 Aug 2005 04:54:14 -0700 message-id: <200508251154.j7pbserg023743@idx164.idx.net> references: no_parent from: Søren Pold subject: RHIZOME_RAW: The Algorithmic Revolution Originally published at: http://www.artificial.dk Article with images from the exhibition: http://www.artificial.dk/articles/heavy.htm THE ALGORITHMIC REVOLUTION HEAVY MACHINERY AND ABSTRACT ART IN A NEW CONTEXT AT ZKM 'Usually, a revolution is about to happen and it announces itself with a 'roar'. The Algorithmic Revolution has already happened, and, despite remaining largely unnoticed, it has been all the more effective. There is, namely, no longer any area of our social and cultural life that is not penetrated by algorithms: Cameras, cars, planes, ships, household appliances, hospitals, banks, factories, shopping malls, traffic, architecture, literature, art, music. The Algorithmic Revolution began around 1930 in science, around 1960 in art. ' (Peter Weibel, ZKM 2004). The German Centre for Art and Media (ZKM) in Karlsruhe is currently showing the exhibition The Algorithmic Revolution which presents a historical outline of this radical change in the fine arts, music, design and architecture. The exhibition draws both on the ZKM collection and selected loans. It can be experienced until December 2005. Two writers let themselves be inspired and give two different views on the exhibition in two separate articles. Here is what Soeren Pold wrote. Soeren Pold is ph.d, associate professor and head of the research project 'The Aesthetics of the Interface Culture' at the Digital Aesthetics Research Centre in Aarhus, Denmark. Translation: Sofie Paisley. ------- Inside the glass door by the entrance to the art exhibition 'The Algorithmic Revolution' at ZKM stands a giant machine, which with its weight of 1000 kg radiates equal parts white lab coats, German objectivity and wirtschaftswunder. It's a Zuse Z22 from 1957, the seventh computer from the world's first computer start-up company, Konrad Zuse AG, and the oldest functioning vacuum-tube computer. It makes a serious humming noise and its 415 electron tubes radiate, and is in this way an esthetical object in itself, drawing admiring and inquisitive glances. You can look in at the tubes, study the teleprinter and the control panel. At the same time it is a mysterious machine – you can't see what it does and how it processes its data – you can't read or follow the algorithms. It was used within building technology, aerodynamics and the construction of nuclear reactors, but some of the very first digital art was also created on it. Digital literature was made on this computer as ! early as 1959, when Theo Lutz made computer generated texts based on The Castle by Franz Kafka, which was one of the very first experiments with digital literature. But at the same time, the machine precisely indicates the dilemma and starting point of digital art: unlike the steam engine which Danish writer Johannes V. Jensen and others praised 100 years ago, the computer lacks sensuous features. Even though Zuse's vacuum-tube model can instil respect in most people, the point is the invisible and unreadable, which takes place in the computer. The computer's processing of data is invisible to most, we only see the results, and the computer's cultural influence has in this way to a large extent centred on making processes invisible and on heightening their efficiency – about complex quantities of data automatically stored and put into effect in opaque bureaucracies. The most important digital art therefore works with the relation between visible versus invisible, sensuous versus concealed, meaningful versus coded. This makes it partially step out of the sensuous, which is otherwise the domain of art. Maybe this is the reason it is so ! frequently overlooked? ALGORITHMIC IMAGES If you think digital art is a new thing – which would be easy to think from the highly sporadic treatment of the subject by Danish museums – then visiting the ZKM and the Zuse Z22 is a good idea. As the literary experiments on the Z22 points to, the first artists used the computer 40-50 years ago. As early as 1955-56, composers worked with computers and ten years later we see the first experiments with algorithmic images and animations created on the computers of the day. Frieder Nake, who was among the first three artists to exhibit visual computer art in 1965, also started his artistic experiments on Zuse Z22, but the works displayed at ZKM were made on later computers. Frieder Nake's early works are, as several of other early works, attempts at visualising algorithms and algorithmic processes. At making visible the invisible and visualising the abstract. One example of this is images that let random processes determine the number of edges on a polygon, their lengths and directions, such as Random Polygon (1965). Or the works where elements are repeated in series, but transposed by the way individual parameters are changed and influenced by coincidence. Nake's art is, similarly to other algorithmic art, a kind of art that depicts the relationship between rigid order and chance, and how new both organic and rational structures occur. ARTIFICIAL ART Frieder Nake was a math student in Stuttgart and was given permission to experiment with the computer at night in the early 1960s. The first time digital art (by Georg Nees) was exhibited in February 1965 in Stuttgart, other more traditional artists reacted with negativity according to Nake. Max Bense, the organiser, tried defending the digital art against the insulted artists as being 'artificial art'. An art that was not directly traceable back to a creative artist expressing himself or his intentions, but which was created with the help of programmed computers which most viewed (and still view) as far from the domain of art. Digital art, however, was not created in a vacuum. At the time of its appearance the most advanced parts of the art scene were preoccupied with opening art in new ways and towards new dimensions. Several of these movements, such as Op-Art, Fluxus and kinetic art, are beneficially viewed in relation to the cultural history of the computer. The exhibition establishes this obvious connection by including these contemporary movements, and it thus places digital art in an art-historic connection. At the same time, the exhibition points out that the advanced art scene of the 1960s was preoccupied with, and can with advantage be viewed in relation to the arrival and growing importance of the computer. THE ANALOGUE COUSINS OF ALGORITHMIC ART The Fluxus artists dealt exhaustedly with coincidence and with recipes or instructions as art. At the exhibition you can for example see George Brecht's 'Universal Machine' from 1965, named after the computer theoretician Alan Turing's famous description of the computer as a universal machine and not just as a calculator, which had previously been imagined. Brecht's universal machine is a box with things in it, which, when you shake the box, can be arranged randomly on some images. The box also contains some texts indicating how an interpretation of the placing of the objects in relation to the images can answer different questions for the art user. The exhibition contains several examples of the Fluxus artists' use of instructions as art, e.g. Tomas Schmidt's typewriter poem from 1964, which is a typewriter keyboard with numbers indicating which order to press down the keys in order to produce a poem. In the exhibited form the poem is unreadable – it has to be executed before it can be read – and the instruction is thus an unreadable code in the same way as a computer program. The typewriter poem, however, points out this illegibility in the algorithmic, functional language – actually, it is this awareness that is its artifice. Similarly, digital art points out the way the artist and the human sender take a step back in relation to the expression. The machine creates the expression – the artist has like the lab-coated scientist become an experimenting operator. The potential of the algorithm was also explored in other ways within contemporary analogue art. The Op-Art movement made virtual images, created by effects in perception – a kind of magic images pointing towards the installations created today by an artist such as Olafur Eliasson. Other artists were like the mobiles of the kinetic art, more preoccupied with dynamics – movements that never repeat themselves, and require an interacting user to get started. The work becomes a machine without a practical function such as Jean Tinguely's kinetic reliefs and sculptures. In this way, the subject is art, which requires a user and an unfolding before being realised. Works that are not realised until you interact with them, and which in this way to a lesser extent express something in themselves. But this is where art reflects the potential in, and the consequences of, the algorithmic revolution. The machines become expressive in a new way – they are not merely impressive objects such as steam engines, but become a part of communication itself. The artist can in return take a step back for the benefit of the user, who through the interaction realizes the work. Art in this way depicts that a new sign and a new machine has entered the world, mediating the relationship between us. THE COMPUTER'S CULTURE In the early sixties these artists already recognised that culture and society was rapidly changing, and that large humming machines such as the Zuse Z22 were an important player in this revolution. Even though it had at first been overlooked, it was also culture, social structures and art, which came out of the computer. While most people only saw white lab coats and technical usages, these visionary artists saw the seed of a new culture and a new art. And their visions still seem very fresh in spite of the many years – like visions we are maybe only now beginning to understand and appreciate. At times they are even shockingly visionary compared to the more every day interaction we have with the computer today. Perhaps the potential of the computer was more easily imagined then, when it was not as ordinary and normalised. Of course, the algorithmic revolution does not end in the 1960s. Artistically, the digital art developed into net art, software art and digital installations of our day, also displayed at the exhibition. Frieder Nake has stated that he and the other early computer artists were often frustrated about only being able to exhibit static printouts, when the actual art was the algorithmic process and its infinity of potential expressions. Later on it has of course become possible to exhibit dynamic and interactive works, such as Golan Levin or Casey Rea's generative works. Computer art has also developed into some spectacular and thought provoking installations, such as Perry Hoberman's Bar Code Hotel (1994) where the audience gets to play with a world of 3D figures via bar codes. These works have to a large extent been related to their historic roots, when shown in connection with the early algorithmic art. In this connection they are not only understood as more or less magical and spectacular works with a playing user in the centre, but also as works that unfold the algorithmic process – that take part in the algorithmic revolution. If you are still hungry for more, ZKM also houses other exhibitions reflecting a fresh look at the societal role of art, e.g. the currently interesting, but somewhat messy, 'Making Things Public' (curated by Peter Weibel and Bruno Latour). In the media museum's collection is also a series of trend setting media artworks by Bill Viola, Nam June Paik along with significant digital works by e.g. Jeffrey Shaw. It becomes apparent that also video art looks good in ZKM's digital media-artistic connection. Finally, the museum also houses a section for computer games. You can safely set aside a couple of days if you are in the southwest corner of Germany. More about Soeren Pold: www.bro-pold.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__ newsgroups: RHIZOME_RAW date: Thu, 25 Aug 2005 15:11:08 +0200 message-id: references: no_parent from: l--l subject: RHIZOME_RAW: ascii fight number 9 by Jacob Jensen For immediate release 25 august 2005 l--l.org announces ascii fight number 9 by Jacob Jensen Ascii was the the first way to do graphics on a computer and it was quite a struggle. Jacob Jensen's piece "ascii fight number 9" symbolizes this fight in a double manner: 1. It's a movie about fighting. 2. It uses ascii. Or to use Jacob's words: "ascii fight is as much about computer graphics as about struggling with it." http://www.l--l.org/asciifightnumber9 last week announced by l--l.org 100 windows by Peter Luining http://www.l--l.org/100windows + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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 -> 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 date: Thu, 25 Aug 2005 15:56:24 +0200 message-id: <430dce08.4010807@o-o.lt> references: from: subject: Re: RHIZOME_RAW: ascii fight number 9 by Jacob Jensen > http://www.l--l.org/asciifightnumber9 we call background color 4sc0-0 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > relatively simple > tasks that will enable us to release a brand new version of the web > site. We > are offering a total of approx. 165 to people who work on them. > The new site > will sport such improvements as free genre tagging, an improved > theme and far > fewer upload problems! Find out more here: > > http://www.remixreading.org/node/608 > > Not content with bringing the free culture movement to Reading, > we're now > looking at expanding into Brighton, Deptford and Bristol. Brighton is > definitely going ahead, with links being made with local record > labels, arts > departments and other arts community groups already. Deptford is > being worked > on by members of Goldsmiths College, whilst Bristol is the > realisable dream > of a Remix Reading volunteer in need of a little assistance. If you > live near > one of these areas, or you know people who'd like to get involved, > please > email us back! > > Finally, some of the Remix Reading team will be at the following > events over > the summer. If you'd like to hook up with us, or just go along > anyway (we > recommend you do!), have a look at: > > OpenTech 2005, 23 Jul, sponsored by the BBC: www.ukuug.org/events/ > opentech2005 > Fave 2005, 20 Aug, a free culture community event in Bristol: > www.fave.org.uk > > Happy remixing! > The Remix Reading team > www.remixreading.org > _______________________________________________ > rr-announce mailing list > rr-announce@lists.ibiblio.org > http://lists.ibiblio.org/mailman/listinfo/rr-announce > + -> 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 date: Thu, 25 Aug 2005 07:11:20 -0700 message-id: <200508251411.j7pebkmb027978@idx164.idx.net> references: no_parent from: kristina maskarin subject: RHIZOME_RAW: Re: Re: Re: http://www.c404.tv/ C505 wrote: > oh and newer noise from us is here. > > http://projects.c505.com/adv_index.html > > no Flash, all quicktime. > Is the tech tool and (de)coding all that matters... 2 Questions: What are you saying with the Noise and Why? + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 25 Aug 2005 10:35:23 -0400 message-id: <8373a8bf341ab84c09f21ff2bf3a57fa@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: iPod reprise Hey all, Negativland has a gallery show in New York this September, and they were kind enough to invite me to be in their show. Details follow: ---- Negativlandland September 09 2005 - October 22 2005 In celebrating their 25th anniversary, the cultural jamming and collage group Negativland parodies the theme park, catapulting us into deconstructed attractions of the gallery as entertainment destination in the exhibition, Negativlandland. Viewers will find appropriations of Disney ventures such as a reconfigured Lincoln from the Hall of Presidents, and a video remix of the Little Mermaid, merged with the angry telephone recording of a Disney studio executive. Anecdotes about the media and entertainment industries are expressed in such work as the discovery of Howland Island, and ideas of approaching stores such as Petco as an art supplies depot. Other work includes a set of limited edition prints from Negativlands 2002 Death Sentences project. Also on view will be an unauthorized special edition of a U2 vs. Negativland ipod (version 2G), created by Francis Hwang. Hwang produced this modified ipod in commemoration of the 1991 lawsuit filed by U2's record label against Negativland and SST for the release of their album "U2." The first edition of this ipod was originally offered for sale on ebay in December of 2004, and was removed from the auction website six days after Apple Computer claimed that Hwang was violating Apple's intellectual property rights. Curated by Lea Rekow Full release at: http://www.giganticartspace.com/upcoming.html 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: Thu, 25 Aug 2005 07:40:52 -0700 message-id: <200508251440.j7peeqku031764@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: ascii chewy *. .* "ascii chewy" is an animated, (soon to be) interactive ascii entity based loosly on my brussels griffon puppy named Chewy. it does it's thing using javascript and regular expressions. i am posting this as a work-in-progress, for those interested in watching how the piece, and the code, evolves in the course of its creation. http://www.smileproject.com/ascii/chewy.htm it is also an experiment of sorts using the creative commons license. feedback, as always, is appreciated. brussels griffon: http://images.google.com/images?q=brussels%20griffon + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > > your mac OS CD's come with a utility called "disk utility". it > does "defragmenting" and repairs on any internal and external > drives. keeps things running smooth. (it's been included since os > 4, i think) you can use them or the lacie cds to partition, name, > initialize drives. Disk utility does the job very well. http://www.thexlab.com/faqs/ durepairfns.html Cocktail for daily Maintennance. http://www.macosxcocktail.com/ http://www.thexlab.com a must visit site for all users of Mac. > > the only real benefit to partitioning on a mac though is that if > one sector gets damaged, the damage only effects that part. using > disk urtility, norton, or tech tool regularly makes that rare. on > a pc, a partition lets you have multiple OS'es (not mac OS'es > though), but generally on macs, there is software so you can run > windows, linux, etc almost like programs and never re-boot. so > there's little incentive to partition. but i may be wrong and > somebody else might have a good use for it. Do Not Use Norton products on a Mac. Diskwarrior for Drive problems - http://www.alsoft.com/DiskWarrior/ see X-Lab for other products. It makes sense to partition a huge drive into useable chunks as a precautionary measure as mentioned. But it does assist with caching of drive allowing it to operate more efficient also less wear on HD parts as it does not have to read whole drive every-time. If using for video editing partition as much space as possible for your capture drive then defrag this drive regularly. http://www.kenstone.net/fcp_homepage/basic_archiving_movie.html > > guess you could format one (or more) for DOS, so you could use it > cross platform. http://www.thexlab.com/faqs/sharefwdrive.html Cheers! `Rob + -> 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 date: Thu, 25 Aug 2005 12:04:22 -0400 message-id: references: no_parent from: US Department of Art & Technology subject: RHIZOME_RAW: Reportage from the Aesthetic Edge of Crawford Texas US Department of Art & Technology Washington, DC Office of the Press Secretary, press@usdat.us For Immediate Release: August 25, 2005 REPORTAGE FROM THE AESTHETIC EDGE OF CRAWFORD TEXAS SITUATIONAL TOUR COMPLETED AUGUST 18 - 25, 2005 http://www.usdat.us/secretary CRAWFORD, Texas - The US Department of Art & Technology announces the completion of the SITUATIONAL TOUR, Reportage from the Aesthetic Edge of Crawford Texas, August 18 - 25, now on view at the Department Web site - http://www.usdat.us/secretary US DAT Secretary-at-Large Randall M. Packer, accompanied by Under Secretary of the Bureau for Transformation, Yauger, traveled to the Texan flatlands to report on the ongoing saga of America's Mom, Cindy Sheehan, and her challenge to the President. However, when Sheehan departed, the Department re-tooled its mission and focused its critical eye on the dusty little town of Crawford, where battle lines have been drawn and a War declared on the Left. The SITUATIONAL TOUR surveys the surreal landscape of the President's Home Town, where a counter-offensive to the Sheehan Camp has been staged - the planting of the first cross at Fort Qualls, the new Republican stronghold. Gary Qualls, backed up by a legion of fired-up locals on horseback, a posse of Christian bikers who ride for the President, and a tolling Liberty Bell flanked by the Ten Commandments, defiantly declared, "how dare you bring your pitiful and unjust protest into my backyard of Texas and the front yard of President George W. Bush." US DAT employed its state-of-the-art communications system to provide complete multimedia coverage of the Civil War that has emerged in Crawford. The SITUATIONAL TOUR, Reportage from the Aesthetic Edge of Crawford Texas, is a segment in the ongoing series, "A Season in Hell" the Department's declaration of these perilous times in post-apocalyptic America. Visit the US DAT Web site to view the Secretary-at-Large's Blog-Chronicles; the Media Deconstruction Kit, live manipulation of Fox News; Scorched Audio, weekly, podcasted sonic commentary; and the Revolution of Everyday Life, cellular reportage, in which the revolution is being forged constantly in the everyday clandestiny of acts and dreams. US Department of Art & Technology A Season in Hell http://www.usdat.us/secretary ****** The US Department of Art & Technology http://www.usdat.us The US Department of Art and Technology is the United States principal conduit for facilitating the artist's need to extend aesthetic inquiry into the broader culture where ideas become real action. It also serves the psychological and spiritual well-being of all Americans by supporting cultural efforts that provide immunity from the extension of new media technologies into the social sphere. ***** # 01-148 Warning: You are entering a virtual United States Government System, which may be used only for artistic and socially motivated purposes. The Government may monitor and critique usage of this system, and all persons are hereby notified that use of this system constitutes consent to such monitoring and critical analysis. Unauthorized attempts to upload information and/or appropriate information on these web sites are encouraged and are subject to review under the Computer Art and Aesthetics Act of 1986 and Title 18 U.S.C. Sec. 1001 and 1030. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 25 Aug 2005 09:36:38 -0700 message-id: <200508251636.j7pgacjh013412@idx164.idx.net> references: no_parent from: kristina maskarin subject: RHIZOME_RAW: Re: Re: Conceptual Art Jim Andrews wrote: > > > But why be so concerned about the amount of time something takes to > > make, or the amount of effort? > > I'm not. If a thing is made more or less as easily as pressing a > button, > then there are a gazillion just like it made by a gazillion other > people. > > ja > http://vispo.com > > More often than not, the technology in itself becomes the message. The previous faith in the artist genius has been passed on to blind faith in media/ technology itself. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 25 Aug 2005 20:51:50 +0200 (CEST) message-id: <20050825185150.9ff8f2c056@ws5.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: Concep ConceptualArtkristinamaskarin:JimAndrewswrote:>> ;>Butwhybesoconcernedabouttheamountoftimesomethingtake sto>>make,ortheamountofeffort?>>I'mnot.I fathingismademoreorlessaseasilyaspressinga>button, >thenthereareagazillionjustlikeitmadebyagazillionother >people.>>ja>http://vispo.com>>M oreoftenthannot,thetechnologyinitselfbecomesthemessage.The previousfaithintheartistgeniushasbeenpassedontoblindfaith inmedia/technologyitself.http://rhizome.org/thread.rhiz?threa d=18194&page=2#35135via:http://wwww.rhizome.org/syndicate/raw.rssin ;charset="usascii";format=flowedDORKBOT#3Wedne sdaySeptember2120.30attheGaslab,TU/eindhoven,nethe rlandsAftertwosuccessfuldorkbotsbeforethesummer, DorkbotEindhovenisstartingupagainonSeptember21st.\ .Thepurposeofcturesgaiterscroppersassailed,heartbeatci ting.paperwork=stripedBeijingexpanding,squirrelsgraphi ng.cabalpitchedgreeneryTi=entsin,Gustavusdroppers.SP ARCsteamboatambulanceshoming,Towsleybri=lliance. Hellothere,LicensedCana _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 the Internet as their primary medium. The essays and articles from artists, critics, curators and other contributors, will be featured in the Writings section. The Online Forum is open to everyone who is interested in Internet Art and other hybridized forms of Digital or Media Art that use network technologies. Although this project is primarily focused on the latest developments in the field of Internet Art, we are also very interested in considering contributions that reflect the influence of Internet Art production on the wider fields of Media-Art, Digital Art, curatorial practice, digital pedagogy, and online publishing. 2. Call for the nomination. This year, the artworks for the exhibition and the "netarts.org 2005 prize" will be chosen by our Selection Committee. The prize fee for the top selection will be 200,000 yen. The members will make their own nominations, but we will accept nominations from the web also. Please send your nomination to us directly at our website http://www.netarts.org/ . The members of the Selection Committee are: Mark Amerika (http://www.markamerika.com/) Susan Hazen (http://www.imj.org.il/) Akihiro Kubota (http://homepage2.nifty.com/%7Ebota/) keisuke Oki (http://homepage3.nifty.com/oob/) Rick Silva (http://ricksilva.net/) You Minowa (Curator, MCMOGATK). For further information, please visit http://www.netarts.org/webmuseum.html 3. The schedule We will accept nominations by mail from 15th, July 2005 to 15th, Sept. 2005. The award-winning artwork will be selected by 30th Sept. The exhibition will be launched 1st, Nov. 2005. We will soon announce some physical events to take place in Nov. at the Machida City Museum of Graphic Arts, Tokyo. -- You Minowa Curator Machida City Museum of Graphic Arts http://www.netarts.org/ webmaster@netarts.org **************************************************************************** * ------ 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 -> 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 date: Thu, 25 Aug 2005 12:23:21 -0700 message-id: <200508251923.j7pjnlom003229@idx164.idx.net> references: no_parent from: Krabatof subject: RHIZOME_RAW: PARASITE I AM ----------------------------------- DISCLAIMER -------------------------------------- ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ §§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§ ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ PARASITE I AM. Feeding on your brain and enjoying the simiesque totalitarian classical ensemble of your dusted body made of rusted iron. Do you feed me fucking alien bastard ? Do you feel the insect's brain under your teeth ? Tastes like tetanos don't you ? ^ The juice is flowing under your branded tongue, crak, crak ,crak, mouth full of parasital poison burning your intestins ronge par la polio et la rage canine qui te devore les tripes comme une punition de ton defunt grand-oncle. Crache cretin, crache ton cerveau ramolli par le liquide sacre de la debauche virtuelle. Pain ? Feel it enjoy it drink it swal! low it ta table est pleine de pourriture comme ta carcasse en phase terminale-life is beautiful enjoy it to death hang me with the hookers acid bath is my reward for your honesty and kindness ? ahaha your brain is mine but do you realize your emptiness and your desperation of burned down society ? Be honest poor bastard ---- don't play with your soul and your inner truth. >Be proud of your ancient heritage degenere de creature morbide influencee par la phase terminale d'une productivite regagnee..... be proud of your bank account full of contaminated monetary funds stolen from the world bank. $ You will need to pull the rope harder and harder; arrache tes testicules et les tetons de ton epouse infernale que tu plongeras dans du white spirit coupe de vodka aux raviolis de viande maceree. drink--drink---drink---drink inject the poison in your veins feel the joy of loosing your twisted body: do you feel the fire ? the liquid of your brain running down in your throat `? -------! -------------- YOUR BRAIN IS NOTHING --------------------- $$$! $$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ $$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 25 Aug 2005 22:48:20 +0200 message-id: <20050825204852.wdzl8289.amsfep18-int.chello.nl@vilt> references: <200508251923.j7pjnlom003229@idx164.idx.net> from: Dirk Vekemans subject: RE: RHIZOME_RAW: PARASITE I AM How lovely. And you write songs as well? dv + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Physical: Contemporary Art Center Geneva, June 29th - July 31th, 2005 Digital: http://www.mix-m.org Images of architecture: http://www.mix-m.org/artist.asp?ref=1 For more information, contact Patrick Keller [patrick@fabric.ch] or Christophe Guignard [christophe@fabric.ch] Sincerly, fabric | ch ================================================================== fabric | ch : electronic architecture studio : http://www.fabric.ch ================================================================== + -> 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 date: Thu, 25 Aug 2005 15:31:17 -0700 (PDT) message-id: <20050825223117.96068.qmail@web81403.mail.yahoo.com> references: no_parent from: Paula Poole subject: RHIZOME_RAW: other remote location journal 8/12/05 Remote Location Journal 8/12/05 Paula Poole In a guidebook I'd checked out of the library about Utah, I'd found an off-road vehicle playground off of I-80. The author of the book was disappointed with the Great Salt Lake Desert. For us, finding a campground using that book was much more difficult than finding a moderately priced motel. However, Brett and I decided to stay at Knolls, where sand dunes from ancient Lake Bonneville are now courses for what the book referred to as motor heads. There were several vehicles here last night, but they moved on when the stars became visible. We watched the Perseid meteor shower. I kept waking up, hoping to see more. I was rewarded every few minutes. After breaking down camp, we spent some time in Wendover. We checked our installation at one of the CLUI Wendover Exhibit Halls and visited the other shows. A year later, only our documentation had fallen off the wall. In the afternoon, we set out for the Remote Location. We had the blower on in the cab of our vehicle and the windows of our Tracker were open. I heard a new noise. Brett thought it might be camping gear rattling around on the gravel road. Later, we heard a low humthe whine of a flat tire. Luckily, we weren't far from Wendover. After we found the back right tire flat and Brett was changing the tire, a lady from the TL Bar Beefmaster Ranch stopped in her truck to check on us. Brett put on the spare while I held whatever lug nuts he gave me and tried to keep things from blowing away in the wind. Another truck stopped, but we waved them on. In Wendover, we went to a station that the lady had recommended. The tire was too damaged to drive on. The spare was good, so we set out again. Achim Mohne had let us know that he'd returned to the Remote Location and made improvements to his solar beacon sculpture. We also noticed some new blue markers added to his series of orange posts marking the road to the site. Antelope crossed in front of us on the road, as they did last year. Five days of memories were fresh in my recollection. The landscape is burned into my visual memory. Mohne had attached a windmill to the light and now it whirred when the wind blew. At night, the light seemed much brighter. We set up camp with four kinds of light: propane lantern, waxing moon, art installation and stormy stars. __________________________________________________ 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 of drive allowing it to operate more efficient also less wear on HD parts as it does not have to read whole drive every-time. If using for video editing partition as much space as possible for your capture drive then defrag this drive regularly. http://www.kenstone.net/fcp_homepage/basic_archiving_movie.html > > guess you could format one (or more) for DOS, so you could use it > cross platform. > http://www.thexlab.com/faqs/sharefwdrive.html Cheers! `Rob + -> 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 date: Thu, 25 Aug 2005 17:48:16 -0700 message-id: <200508260048.j7q0mg0c016795@idx164.idx.net> references: no_parent from: Daniel Green subject: RHIZOME_RAW: Mikon Hall of Worlds MIKON HALL OF WORLDS Date: September 18, 2005 Noon-6PM Location: Collective: Unconscious, 279 Church St. at White, New York, NY USA (for more info on Collective: Unconscious goto http://www.weird.org) Mikon Hall of Worlds, listed on the Rhizome ArtBase, is computer controlled pseudo ecology of inflatable sculpture, light sculpture, water sculpture, kinetic sculpture, real-time 3d projection, and real-time MIDI sounds. Parents, children, and infants welcome. Surf to http://www.ifam.net/mikon/ for web quality photos, videos, a UK radio interview, a system schematic of the project, and more information. Mikon includes the sculpture of Alicia Mikles (http://www.ifam.net/aliciamikles), and the electro-mechanical interfaces designed by Glide, (http://www.glide-inc.com/) Mikon Press Ready Online Photos: High-resolution photos are posted at the following urls: http://www.ifam.net/mikon/mikon_images_05_04/lookingsoutheastfromnorthwest.JPG http://www.ifam.net/mikon/mikon_images_05_04/lungbageleptra.JPG http://www.ifam.net/mikon/mikon_images_05_04/new_jellies.JPG http://www.ifam.net/mikon/mikon_images_05_04/uptake_closeup.JPG http://www.ifam.net/mikon/mikon_images_05_04/worm1_emerging.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 -> 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 date: Thu, 25 Aug 2005 19:54:20 -0700 message-id: <1125024860.24139@fire.he.net> references: no_parent from: Plasma Studii subject: RHIZOME_RAW: >>"intellectual property" is just silly. no matter who claims it. >That sounds like a really silly statement. Tell us what's silly about intellectual property? was outa town. intellectual property is silly, here's why i say it ... claiming to "own" intellectual property is a lot like saying they own a rainbow, from longitude/latitude point A to point B, it's not just a doomed concept, untennable on the web, it's kinda ignorant. anyone who thinks they "own" an idea, might as well say they own the moon too. even if you don't subscribe to a "collective unconsciousness", it's a fable that ideas are invented. ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.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 Jota, Los Planetas Platoniq Cesar Rendueles Carlos Sanchez Almeida Pablo Soto Wikipedia (A project organized by the "elastic men" (Marta Peirano, Jose Luis de Vicente, Antonio Cordoba, Nacho Escolar) and Oscar Abril.) Great to see you there, Pau Alsina Barcelona -Spain + -> 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 date: Thu, 25 Aug 2005 23:26:48 -0400 message-id: <06fcbe34-1ca2-4de1-b22f-ca3259d012f5@alcor.concordia.ca> references: <1125024860.24139@fire.he.net> from: Pall Thayer subject: Re: RHIZOME_RAW: That's a pretty narrow definition of intellectual property. Yes, if you can claim to own a single idea, that's pretty silly. However, in most cases intellectual property refers to something much bigger than a single idea. If truly relevant intellectual property isn't protected, someone's going to come along and claim the prize if it's worth anything. All of the modern open licensing methods around today are about protecting intellectual property. For instance, when you GPL something, you're basically saying, "This is my idea and you can't steal it. I'll show you exactly how it's done and you can use it as much as you want, but make sure everyone knows it's mine." Creative Commons does the same thing. Intellectual property isn't silly. But of course when something generates money, things tend to get out of hand. That's when we find people wanting to hide the inner workings of their ip. McDonalds and their secret sauce, Microsofts secret formula for making consistently poor operating systems, and so forth. Pall On 25.8.2005, at 22:54, Plasma Studii wrote: >>> "intellectual property" is just silly. no matter who claims it. >>> > > >> That sounds like a really silly statement. Tell us what's silly >> about intellectual property? >> > > was outa town. > > intellectual property is silly, here's why i say it ... > > claiming to "own" intellectual property is a lot like saying they > own a rainbow, from > longitude/latitude point A to point B, it's not just a doomed > concept, untennable on the web, > it's kinda ignorant. anyone who thinks they "own" an idea, might > as well say they own the > moon too. > > even if you don't subscribe to a "collective unconsciousness", it's > a fable that ideas are > invented. > > ___________________ > PLASMA STUDII > 501(c)(3) non-profit > stage * galleries * web > POI Box 1086 > Cathedral Station > New York, NY 10025 > http://plasmastudii.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 > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php train calls out to its rails, derailing in a methodic way at great speed, or that beautiful clapping noise i remember most vividly now, the exalting monotony of this empty can of coca-cola being crushed on the highway over and over again. Go drive go drive your car *klak* go drive go drive. The rain falling in slow beats after we made love as if all the stars in the universe finally decided to agree on something." ............................................................................ About AV ........ - Yesterday, for no apparent reason, the Anke Veld writing process flipped into an active state. When active the process results in parts of the 'Anke Veld' novel being published on this site or elsewhere. You are invited to discuss/join the writing process on the Anke Veld forum at http://www.vilt.net/forum/YaBB.pl?board=av Please note that none of your contributions (as such or 'reworked' in any way) will become part of the Anke Veld Core Residue Text as contained in http://www.vilt.net/nkdee/data/nkdee.xml. The novel is being written and published under Free Art License but that doesn't mean it's a collaborative work like in what people mean when they say something is a collaborative work. I have no need/ desire of/for collaboration in that sense, i use the Free Art License because it protects my work from being appropiated by publishing processes with commercial intent. However there is/can be no strict divide between the writing process on the website, the way it functions there, and what you or i or anyone else say(s)/think(s)/write(s) about it. Because of its instantanuous publication 'Anke Veld' is a truly 'networked' novel, its existence is dependent on the network and its history/residual data. In a way, Anke Veld is as much part of reality as you are, and because of the undecisive state of the network, there's no way of telling whether this message is part of Anke Veld or not. Some say there's evidence that everything is part of Anke Veld, i find that idea rather preposturous, personally, having it is like having a bad taste in music, art or ontology. - the process is bilingual: AV is being written in (broken)English and in Dutch at more or less the same time. English and Dutch parts differ. If you want to read the whole of AV you'll have to learn Dutch at some point or have someone translate it for you. - understanding or being able to read the Dutch part is not needed to 'experience'/ 'read' /'understand' AV. Both versions can be read as standalone codes. - i'm not a native speaker, my English is in no way good enough to write literature/novels in, i'm not presuming to be some new Nabakov here, but that's not necessary: consider the English bits as part of a score, a corrupted code for a 'real' English version. It's rough/untidy/ugly but i think you can see through that. i included an English part for similar reasons as why authors used to write/ publish in Latin as well as in their native tongue. It's not because i think my writings are that important, i just think it's inevitable in our global culture that authors use both native language and English and that it's the sensible thing to do / a natural way to behave. - the Anke Veld Core Residue Text (CRT) as contained in http://www.vilt.net/nkdee/data/nkdee.xmlis what will remain of the work after the writing process has ceased to exist. It's not a 100% sure, but i take it for granted that the writing process will cease to exist when i, dv, av's authoring process, will die. None of my writings 'end' before that. - the CRT will be published on other locations (i hope) but on a personal note, you are invited to take part in its conservation/publication by downloading and saving versions of it - spreading the xml file to other places/media. Please keep in mind that the CRT is protected by the Free Art License and that it can only be published/used under the conditions stipulated therein. Please also : - always include/conserve/publish a download date when using/publishing the file - notify me if you intend to use/publish it elsewhere, i love & like to keep track of my children. greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee p.s.: rejoice, i'll be offline from 17/7 to 24/7 " + -> 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 date: Thu, 25 Aug 2005 23:03:44 -0700 message-id: <200508260603.j7q63iup013916@idx164.idx.net> references: no_parent from: Eric Dymond subject: Re: Re: RHIZOME_RAW: I think I agree with Paul on this one, (well it was going to happen eventually). In a funny way, open source, open liscencing in it's various forms, combined with computer dating has ensured the source for original documents. Painting on the other hand has suffered from false documentation, falsified provenence, simply to continue financial benefits to those involved, be it artist,collector, curator, critic etc.. How many falsely documented works from the seventies and eighties would survive machinic verification were it available then? By the end of thew sixties I believe the major players realized they could manipulate history.., and conveniently history died. It's much harder today, not that false documentation doesn't exist , but there are ways through data recovery, and verification to autheniticate original documents. It's actually pretty hard to fake a predated object given the nature of the medium. Someone may say "This work was online in 1997" but archival software and online resaerch can disprove most false claims, giving the originator an advantage over the media machine. Rhizome is a perfect case in point. Research it's published beginnings, vs. it's actual digital history, and you find discrepencies. Many sites fall into that error. Check the wayback machine form Alexa for content changes. So open source documentation can serve an important role. (note my own works , such as the Doorway (http://web.idirect.com/~artseen/door1.htm) were online in March 1996, however in the article in Leonardo (1998), via an editor changed the year in their publication to 1997..., harmless, but there is a big 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 -> 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 date: Fri, 26 Aug 2005 08:05:16 +0200 (CEST) message-id: <20050826060516.70bca2c056@ws5.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: E\.\.F\ E\.\.F\.G\.H\.I\.J\.K\.L\.M\.N\.O\.P\.Q\.R\.S\.T\.U\.V\.W\.X\.Y\.Z\.[\ .\\.]\.^\._\.`\.a\.b\.c\.d\.e\.f\.g\.h\.i\.j\.\.k\.l\.m\.n\.o\.p\.q\.r \.s\.t\.u\.v\.w\.x\.y\.z\.{\.|\.}\.~\.=7F\.=80\.=81\.=82\.=83\.=84\.=8 5\.=86\.=87=\.\.\.=88\.=89\.=8A\.=8B\.=8C\.=8D\.=8E\.=8F\.\.=90\.=91\. =92\.=93\.=94\.=95\.=96\.=97\.=98\.=99\.=9A\.=9B\.=9C\.=9D\.=9E\.=9F\. \.\. Infinite-in-Vancouver-----How-can-histories,-knowledges-and-practices- that-fall-outside-what-is-commonly-understood-as-'new-media'---19th-ce ntury-loom-technology,-ancient-religious-cosmologies,-9th-century-math ematics--inform-the-field?-This-question-is-the-central-premise-of-The -Infinite-Genealogy:-Intercultural-Approaches-to-New-Media-Art,-a-conf erence-set-to-take-place-in-May-2006-at-Simon-Fraser-University,-in-Va ncouver.-The-gathering-will-draw-scholars-from-disciplines-such-as-art -history,-media-studies,-music,-anthropology,-computer-programming,-an d-biology,-along-with-artists-working-across-these-areas-in-an-attempt -to-refresh-new-media-in-light-of-an-array-of-cultural-and-artistic-pa radigms.-'New-technologies-have-genealogies-that-extend-deep-into-hist ory-and-across-cultures,'-says-conference-organizer-Dr.-Laura-Marks,-P rofessor-in-Art-and-Culture-Studies-at-Simon-Fraser.-As-an-example,-sh e-cites-the-work-of-the-conference's-keynote-speaker,-ethnomathematica n-Ron-Eglash,-whose-work-(pictured)-shows-that-certain-early-African-a rts-are-based-in-fractal-algorithms.--Lines-of-inquiry-are-still-open. -Papers-and-artist-presentations-will-be-accepted-up-until-the-deadlin e-of-December-1,-2005.-?--Fred-Cisterna---http://rhizome.org/thread.rh iz?thread=18130&page=1----http://rhizome.org/thread.rhiz?thread=18130& page=1---via:http://www.rhizome.org/net_art_news.rss _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 (on-line press kit) http://plasmastudii.org + -> 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 date: Fri, 26 Aug 2005 00:10:12 -0700 message-id: references: <06fcbe34-1ca2-4de1-b22f-ca3259d012f5@alcor.concordia.ca> from: Jim Andrews subject: RE: RHIZOME_RAW: i chanced upon a lawyer on the lawn at a cocktail party this weekend. his group deals with intellectual property. so asked him, as we sat on the lawn, about what is patentable. j: what is patentable? algorithms? l: no, not really. what's patentable is more abstract than that. because if algorithms were patentable, it would be easy to just change it a bit to avoid the patent. j: ok. um, so what's patentable is what the algorithm does? l: no, that's not patentable. because if it were, that would disallow everyone else from doing the same thing, and we don't want that. what's patentable is down a level in abstraction from that. j: you'll have to describe that level to me. l: what's patentable is the set of general steps involved in the algorithm. not at the level of code, but of idea, concept. j: ok. what determines whether a particular idea/algorithm is patentable? l: there are three main things taken into consideration. 1. has it been done before? if so, it isn't likely patentable. 2. utility. is the idea sufficiently valuable that something besides vanity is involved in patenting it? 3. is it an obvious consequence of something previous? if so, it isn't likely patentable. this was all before a few more cocktails, so i remember it well. this concerns canadian patent law. not sure if it's the same idea elsewhere. 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 *************************************************************************** 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 -> 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 date: Fri, 26 Aug 2005 00:14:44 -0700 message-id: <200508260714.j7q7ein3022350@idx164.idx.net> references: no_parent from: jeremy hight subject: RHIZOME_RAW: Binary Katwalk exhibition has launched..... BINARY KATWALK LAUNCHED binarykatwalk.net Binarykatwalk announces the launch of its first edition. Binary Katwalk is an on-line New Media exhibition focusing on work that is experimental and would benefit from this non-traditional exhibition space. The goal of the site is to unify works over time into one expanding and unified exhibition as opposed to specific exhibitions that open and then close or go to a secondary archive. It is co-curated by Jeremy Hight and Sindee Nakatani. Come to Binary Katwalk to see the work of 5 strong artists from very different points in the spectrum of New Media. We are proud to present the work of : AGRICLOA DE COLOGNE OLIVER DYENS CATHY DAVIES LISA TAO BJORN WANGEN Screen shots available on request . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 26 Aug 2005 00:18:15 -0700 (PDT) message-id: <1699.70.34.254.38.1125040695.squirrel@webmail.34n118w.net> references: no_parent from: hight@34n118w.net subject: RHIZOME_RAW: binary katwalk exhibition has launched BINARY KATWALK LAUNCHED Binarykatwalk.net Binarykatwalk announces the launch of its first edition. Binary Katwalk is an on-line New Media exhibition focusing on work that is experimental and would benefit from this non-traditional exhibition space. The goal of the site is to unify works over time into one expanding and unified exhibition as opposed to specific exhibitions that open and then close or go to a secondary archive. It is co-curated by Jeremy Hight and Sindee Nakatani. Come to Binary Katwalk to see the work of 5 strong artists from very different points in the spectrum of New Media. We are proud to present the work of : AGRICLOA DE COLOGNE OLIVER DYENS CATHY DAVIES LISA TAO BJORN WANGEN Screen shots available on request . + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 26 Aug 2005 09:47:40 +0200 (CEST) message-id: <20050826074740.ba96121fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Edt eightpoint England, Elvis earthily EULA, Eqn eagerly eBay, End Punctuation eleven 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 -> 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 date: Fri, 26 Aug 2005 01:39:44 -0700 message-id: <200508260839.j7q8di4u031212@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Media Art Conference 2006 Call for Papers Call for Papers Do we have an Image Problem? Performance and Media Art caught between Art History and Visual Culture Studies. The first Media Art Conference in Osnabrück will take place from the 15th to the 17th of May 2006 as a three-day specialist symposium at the University of Osnabrück and is sponsored by Department of Kultur- und Geowissenschaften. It will be held immediately following the 19th European Media Art Festival (EMAF, 10th to 14th May 2006), one of the largest media art events in Europe. The conference will focus on the growing affinity between art forms produced, experienced and distributed by the media on the one hand and the highly debated iconic or pictorial turn on the other. One of the central issues will be to question whether the recently developed aesthetic terminology can sufficiently deal with the time- and action-oriented art forms of performance and media art. In addition to a number of distinguished experts invited to present papers, the speakers will include young scholars as well as contributors selected on the basis of the abstracts they submitted to this call for papers. Enclosed you will find further information concerning the background and objectives of the conference. Please do not hesitate to ask us questions at any time. We would be very pleased to include you among the speakers or authors for our planned publication. Topics for Talks and Articles 1. Performance and media art in the context of the contemporary debate between art history and Visual Culture Studies and where art history is positioning itself in relation to Visual Culture Studies, Media Studies and Cultural History. 2. Media art, art history’s cultural orientation and the scientific modus operandi given the wide range of methodologies and the overlap of genres. 3. Examples of art historical and media studies descriptions and analysis of performance and media art. In addition to a description of content, the abstracts for papers (c. 400 words) should clearly demonstrate both their relevance to the theme of the conference and their originality. A publication of the conference findings is planned. All contributions will be considered. Please submit your abstracts by 30 October 2005 to the EMAC office: Media Art Conference Osnabrück Universität Osnabrück Fachbereich Kultur- und Geowissenschaften Kunstgeschichte Katharinenstraße 5 49069 Osnabrück Germany Juniorprofessor Dr. Slavko Kacunko (Organisation) skacunko@uni-osnabrueck.de Priv. Doz. Dr. Habil. Dawn Leach (Organisation) dr.leach@kunstakademie-duesseldorf.de Björn Brüggemann (Büro) bjbruegg@uni-osnabrueck.de Phone: +49 (0)541 969-6041 Fax: +49 (0)541 969-4103 Reference-Text The first Media Art Conference in Osnabrück will direct attention to timely questions confronting art history, in particular the multimedia aspects concerning the production, critical appraisal and dissemination of performance and media art. Thus the following aspects will be addressed: · art history’s repositioning itself in relation to Visual Culture Studies, Media Studies and Cultural history · the development of a modus operandi which takes into consideration a wide range of methodologies and the interpenetration of different genres · the description and analysis of media art in the face of the instable status of the work concept in Media Art, and art in general The key issues to be addressed by the first Media Art Conference in Osnabrück can be summarised by the following question: Given the increasingly complex demands which the wide range of visual, media, critical, performance, cultural and gender studies exert on the teaching and research environment, how can the history of art maintain its ability to deal aptly with representations, new media and art and simultaneously incorporate interdisciplinary strategies? By focussing on time- and action-oriented art forms, the traditional discourse will be broadened to include the following questions: Can an (inter)active beholder play an integral role in the making of a work of art without jeopardising its intrinsic artistic value or reducing the “autonomy of the work of art” to a mere attribute? Where exactly do performance and media art fit into the already inflated body of terminology for denoting images? A glance at the large number of university graduates dealing with art and visual culture (Berlin, Frankfurt, Karlsruhe, Basel) documents the current popularity of the image-discourse. Similarly, the flood of specialist literature in recent years as well as related conferences (e.g. Art Historians Day, Bonn 2005) confirm this trend. If we take a look at the origins of performance and media art in the 1960s and 1970s and the subsequent development of the iconic/pictorial turns, the suspicion arises that recent efforts to expand the boundaries of art history to absorb current visual culture occurred in part to circumvent the challenges posed by these new art forms. By investigating art forms which defy traditional definition while exploring the definitions themselves, this conference will attempt to graft these two ambivalent discourses. At the same time it will lay the foundations for a reinterpretation of the relevant academic fields. An impressive series of arguments presented by artists, art historians and experts in media studies address the need to conjoin these conflicting fields of study. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 26 Aug 2005 05:36:57 -0700 message-id: <1125059817.9932@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: this is a great post. it's nice to see it clearly laid out. however, it isn't the technical level, function or definition of IP as it is practiced that's questionable. this really is just the outer surface of what i'm referring to. my beef is with claiming ideas are generated by the individual who also receives them. therefore, at most, it's sort of a "finders keepers" or "whoever gets there first". while, i also believe we are responsible for our ACTIONS. there is no way for us to fully understand or be so cock-sure of where our thoughts come from. the assumption is they come from us alone. but that's a little like assuming the earth must be the center of the universe. not only didn't the belief sprout from any observation, the proofs are convoluted constructions after-the-fact to support the opinion. it certainly doesn't discount free-will, but either way, you end up thinking what you think. whether you decide or another force dictates or some phenomena influence your thoughts, the result is exactly the same. so there's no point in arguing it. thus there's no point in making laws about it. one could certainly create a program that cycles through every 6-10 word combination in the dictionary and auto-submit it to a patent office. most of the submissions would be non- sense, but theoretical, you will have patented every idea that isn't yet. (the one's that already are may make no $ or be thrown out, depending on the diligence of the office.) first one to write this program wins. (most religions profess some sort of collective consciousness, but it is also a belief, sans religion. the idea that all the thoughts are amassed, that our brains connect (via prayer, high frequency waves, etc) to more or less or various parts of it. it's nmot a bullet-proof proof but neither unprovable nor is the antithesis provable.) On Aug 26, 2005, at 3:10 AM, Jim Andrews wrote: i chanced upon a lawyer on the lawn at a cocktail party this weekend. his group deals with intellectual property. so asked him, as we sat on the lawn, about what is patentable. j: what is patentable? algorithms? l: no, not really. what's patentable is more abstract than that. because if algorithms were patentable, it would be easy to just change it a bit to avoid the patent. j: ok. um, so what's patentable is what the algorithm does? l: no, that's not patentable. because if it were, that would disallow everyone else from doing the same thing, and we don't want that. what's patentable is down a level in abstraction from that. j: you'll have to describe that level to me. l: what's patentable is the set of general steps involved in the algorithm. not at the level of code, but of idea, concept. j: ok. what determines whether a particular idea/algorithm is patentable? l: there are three main things taken into consideration. 1. has it been done before? if so, it isn't likely patentable. 2. utility. is the idea sufficiently valuable that something besides vanity is involved in patenting it? 3. is it an obvious consequence of something previous? if so, it isn't likely patentable. this was all before a few more cocktails, so i remember it well. this concerns canadian patent law. not sure if it's the same idea elsewhere. 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 ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.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, 26 Aug 2005 05:52:40 -0700 (PDT) message-id: <20050826125240.31985.qmail@web32701.mail.mud.yahoo.com> references: no_parent from: joni taylor subject: RHIZOME_RAW: Conference Report: Garage Festival Conference Report: Garage Festival July 22 August 8, Stralsund, Germany By Joni Taylor The small harbourside town of Stralsund - situated on the Ost, or Baltic sea may seem like an unlikely place for an electronic media festival, but the Garage Festival is now in its ninth year and doesnt seem to be slowing down. What started out with some local artists (spearheaded by director Carsten Stabenow) using a parents storage garage as a temporary studio has developed into a 4-week event showcasing digital art and a performance line-up to rival most major electronic music festivals. And yes, it does still take place in the original garage. So amidst the fresh herring, brotchen rolls, and the nightly production of a larger-than-life open-air staging of West Side Story, programmers, noise artists, fringe scientists, video makers, and artists gathered again, this year, to develop and present ideas to their fellow participants. Their playful theme, Forget it, don't trust your archives, was a statement about the sheer mass of material that digital artists can accumulate, and a question about how much of it is actually relevant to their practice. As Stabenow points out, Thanks to digitization we are relieved of the tedious obligation to decide what is worth preserving - we therefore save everything and decide later what we need. The informal environment of Garage is integral to its success. Many of the projects (including the Free Soil project presented by Nis Rmer and myself) were progressive and site-specific, taking place during the festival itself. The week allowed us to conduct research on the environment of the Baltic Sea, make field trips, and interview local scientists and activists. Dokumat 5000, by Nicolas Roy (DE), was a roving, documentary-making robot, a triffid-like figure outfitted with a video camera. During the festival, it filmed selected snippets and self-edited eerie glimpses of street scenes and passers-by. Jan Zimmermanns (DE) work documented a month spent pressing one-off vinyl records in his ad-hoc container studio, and in a mix of new and ancient arts, Alexej Paryla (DE) carved 10 collected fingerprints in stone, to be mounted somewhere in the city. He told me, We are the only ones who dont actually use this data. Another ongoing project was presented by Radio Copernicus. The Polish/German collaborative set up a permanent radio station above the garage, broadcasting online and occupying a local frequency. The open forum gave artists an additional opportunity to present their projects, such as the Foofoofoo software developed by Anna Ramos and Roc Jimenez (E). Their program offered to capture the soundtrack of your life by collecting all of the sound files on your system and creating just one audio track. Stralsund - like many East German towns over the last decade - is experiencing a symptom known as shrinking, with many residents moving away and consequently creating excess space. The empty grain houses on the harbour-front provided a dark and damp setting for the Garage installations, which was ultimately fitting due to their mostly un-slick aesthetic. In fact, half an hour of total darkness was even a prerequisite for viewing Camera Lucinda, by Evelina Domnitch and Dmitry Gelfand (RU/USA). After adjusting to the light, one could make out the shape of sound frequencies exploding and emitting their own light source. Staalplaat Soundsytem (NL/De), famous for their groundbreaking noise releases, offered The Ultra Sound of Therapy, an audio treatment for frazzled festival-goers. After being lead onto a hospital bed by a helpful krankenschwester (nurse), one was administered a series of painless electro-audio shocks and healing sounds. SCrAramBlEed?HaCkZ, by Sven Konig (CH), was an interactive, sing-a-long video lounge, where depending on your input, the Mash-up rappers on screen repeated similar sounds. (We worked out that it was only fun if you screamed really, really loudly!) The Garage Festival staff laid out their own archives, providing mixed media from past festivals and videos from the G_niale film festival, which occurs during the last week. In a room evocative of many nerdy boys record libraries (cue High Fidelity), their own way of archiving these objects said a lot about storage space and medias future obsoleteness. Also included, here, was a disturbing-looking shredding machine by Visomat Industries (De), offering other curators an easy way out. During the week that I was there, I managed to catch a plethora of new and surprising sound performances. Elember Septeventh (De) took the archive theme to heart and literally played a set of empty, micd-up filing cabinets. Remco Shuubiers and Remco Packbiers (NL - those are their real names) presented a multi-media overload, using the surprisingly old-skool tools of video and record players together with multiple projectors. Evocative of early VHS cut-up parties, they combined obscure TV recordings with dubby found sound. Yes, it was very low tech, considering these wireless days, but it was also fitting when paired with Desktopjam (NL), who used patching software for their performance. Instead of hiding their jitter interface, they projected it on top of the images they went on to create. The vinyl night featured an experimental exercise in all things RECORD. Thilges 3, with Claudia Marzendorfer (A), spent the whole week prior to their performance freezing ice replicas of their own records, only to audibly destroy them all in the space of half an hour. The sounds of a record needle slicing through ice grooves can be hypnotic! Sebastian Buczek (PL) played wax and chocolate, and Ignaz Schick (De) scratched and ground his needle though a selection of very un-needle-friendly looking objects. American atmos stalwart, John Duncan, played an eerie composition in complete darkness and BMB con (NL) performed a glass dance piece. Tim Tetzner, from Dense (De), curated an entertaining film line-up, offering everything from an historical look at recording techniques to documentaries about Norways noise scene. The mood of Garage is one that emphasizes experimental technologies which are not necessarily brand NEW, and gives a space to performers and artists that exist off the new media radar people that instead of jumping onto every new gimmick actually create a craft from the ones they already use. The feeling, this year, was one of excitement and growth, inspiring future collaborations. + + + http://www.garage-d.de http://www.free-soil.org/algae ____________________________________________________ Start your day with Yahoo! - make it your home page http://www.yahoo.com/r/hs + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 26 Aug 2005 05:56:04 -0700 message-id: <200508261256.j7qcu4nu022243@idx164.idx.net> references: no_parent from: Daniel Green subject: RHIZOME_RAW: Re: Mikon Hall of Worlds Just addded hizez photo from latest show:http://www.ifam.net/mikon/mikon_images_04_05/mikon0405_mikocrab.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 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 -> 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 date: Fri, 26 Aug 2005 06:23:00 -0700 message-id: <200508261323.j7qdn0c0024591@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: ten thousand flower tube general worldwide village http://skl.yculblog.com/post.713846.html Chinese review of playdamage.org +++++++++++++++++++++++++++++++ Chinese to English (the "right" way): These warm-hearted art " startle the guest ", in the overbearing commercial driving influence the adverse current above, happy does not have takes into consideration! curt cloninger is one set attractive and has the valuable reading difficulty the digital picture-and-story book. The author probably used several hundred about picture, the group exchanges more than 100 groups of pictures and the sound source material, again looked resembled inundates the non- goal way group ships out one set of brilliant interests continually pages atlas. When one opens them, we may think oneself is in 看, but perhaps can think oneself is walking, is relating, is reciting. curt cloninger at least but certainly not merely is one simple net art work, the author travels for pleasure to each place local conditions and social customs, together with his feelings, completely compiles inside fairy tale strange 境地. Everywhere all is the story, all is is reluctant to part with, all is recollects. 呀 study language young girl, in bar attractive and warm woman, vertically and horizontally the neon light street, did not have several times the performance, the ne! w friend, the street corner was drunk the liquor, the terrorist nightmare, was joyful and is sad, together attached to trivially spells pastes with the landscape, wove the dream general life scene. Buries under these 怪 prospect, is one poet sensitively pours out with the bright mood. Looks from the outlook, this is reaches 61 pages of natural lengths, the color and the composition extremely is all energetic, the music and the picture also complements each other, loafs in this ten thousand 花筒 general worlds, unconsciously spent my half hour. >>> enters the picture-and-story book home page +++++++++++++++++++++++++++++++ Japanese to English (the "wrong" way, and even better): 些? Mental? "? Customer "? Resident in 霸 road trade? On counterflow 而 in power? Heart 而 无 place? And! Curt cloninger right one 套 drifting Akira 并 possession yes? Degree numeric system? Picture. The writer generally? Business Ryo several hundred? Left and right illuminating piece? Coming out hundred multi? The one harmony vocal sound material, re-from here watching being similar 漫 无 intended system? Equipment coming out one 套? Mark hobby? Collection. One? 翻? 它? Our? Yes from here? Self right resident in watching? 但 也? Meeting? Profitable self correct resident in line running, righteousness resident in? Correct resident in sing singing/stating. Curt cloninger reaching little 但? Fault? Right one 个? Mark net art work, writer 游? 于 every place? Native feeling? The same other thought, all? Coming out child? General? In odd state 之. The capital right thing, capital right stationary love and capital right time? 呀 study? Mark small mother-in-law daughter, liquor? Village drifting Akira 而? Feeling woman person? Side 霓 rainbow light highway, 无 several! times production, new mark friend, town? Mark 醉 liquor, fear 梦? It is pleasant? Harmony impression? All adhesion 于? 碎 Mark? Harmony scene? Coming out 梦 general life? Scene. Burying 藏 resident in? 些 Mystery? Under scene 之, right one 个? Human sensitiveness? Harmony? Discernment feeling? Watching with respect to 从 die body? Right multi? 61? Mark? 洒? Width and color harmony? Capital emergency? Sound? Harmony picture 也 phase profitable benefit Akira, resident in? 个 Ten thousand flower tube general worldwide village 游? Ignorance non-? Engaging in flower 掉 Ryo our half 个 small? >>> Entrance? Picture neck? + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 26 Aug 2005 17:17:12 +0200 message-id: references: <430dce08.4010807@o-o.lt> from: l--l subject: Re: RHIZOME_RAW: ascii fight number 9 by Jacob Jensen On 8/25/05, wrote: > > http://www.l--l.org/asciifightnumber9 > > we call background color 4sc0-0 > :DDD g00d l337 ;) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php own, and it's got an RSS feed attached to it, make sure to send that my way so I can forward it to all the Superusers. And if you've got a site without RSS, well, what are you waiting for? Francis Hwang Director of Technology Rhizome.org + + + + -> 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 date: Fri, 26 Aug 2005 14:19:39 -0300 message-id: <004701c5aa62$609176f0$f8a105c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: Isabel Aranda * Yto* CL - Come to museum's newsletter to talk with her! Dear all, I would like to tell you that the "Electric Green Sheep" is keeping on - a new collaborative review / interview is starting http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm This time our guest artist is Isabel Aranda *YTO* CL, from Chile. If you want to participate send a message to arteonline@arteonline.arq.br telling us that you want to become a member of the museum's newsletter - http://arteonline.arq.br/newsletter . Some information: Isabel Aranda *YTO* VISUAL & DIGITAL ARTIST Very Brief Biography 1995 - She started work with digital art http://ww.escaner.cl/netart & http://ww.escaner.cl/yto/net-art 1999 / January - She published "Escner Cultural", virtual website of art and culture. She continues publishing this electronic magazine/website monthly until today. ( http://www.escaner.cl ) At this moment she is devoted to investigate and to create around the NeT.ArT and digital art. She integrates this language to their painting. ( http://www.escaner.cl/yto/net-art ) More information: http:// www.yto.cl Complete Curriculum: http://www.escaner.cl/yto/curriculum.html Statement by Isabel Aranda *YTO* CL WORKS: I- ESCNER CULTURAL It has been necessary just one decade, as all we know, to the advances in the electronic technology and the creation of the digital communication network, made possible an enormous growth of the written word and its possibilities of diffusion. In this wave of digital Literature "Cultural Escner" is registered, a virtual magazine of vanguard art and general culture whose first number appeared on the network in 1999 January. The magazine was created, designed, directed and published by Isabel Aranda, more well-known like Yto or "yto.cl". When "Escner Cultural" was created, another magazine of this nature did not exist in Chile, and it even had very little in printed paper. On the Internet, much less. The magazine already turned six years, and now, arriving at this seventh year we think that the greater profit has been the constancy and to demonstrate that not everything depends on money. With love, camaraderie and will, a great work can be done. We felt that we are making a contribution to our Latin American culture, and that is just what motivates us. Without realize, step by step, we have created a large network of artists who communicate through the Escner. According to the artist Brian Mackern (Uruguay), our Internet magazine is the older artistic cultural network of South America. II- MINI ART DANCE http://www.iis.com.br/~regvampi/museu/netartwebart/mini-art-dance/art-dance.html I started in digital art transforming my work images into paintings and drawings. Little by little I have left those images and my net.art works became small animations and experimentation pieces. Also I am doing some works that I show offline because they are very heavy in MB, those works off line continue the same spirit of the small animations. I have worked since 1995 with digital art, but I feel that it is only the beginning. I have many ideas that I want to develop. *** I feel very attracted by the Ascii Art. It is the language which I am integrating to my last works. The main topic of my work is the human being, our physical condition, which dominates our spiritual and intellectual being. From the beats of our heart to our external movements. Finally our thoughts and creativity. Our body, so vulnerable. Does our spirit depend of our body? *** Many of the images which I discover in the digital art, I am integrating to my paintings and drawings. MUCH MORE AT: http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com NEW WORK: "Many Faces of Eve" 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, 26 Aug 2005 10:31:33 -0700 message-id: references: <1125059817.9932@fire.he.net> from: Jim Andrews subject: RE: RHIZOME_RAW: the indigenous peoples where i also am from have philosophies which tend toward the belief that no one can own the land. and of course it makes quite a bit of sense. for reasons somewhat related to your own reasonable ideas concerning the nature of intellectual property and ideas. whether or not someone can/should own land, it can, apparently, be taken from you. ja http://vispo.com/writings/stories/brkpt.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 -> 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 date: Fri, 26 Aug 2005 10:48:09 -0700 message-id: <200508261748.j7qhm96a019572@idx164.idx.net> references: no_parent from: Dion Laurent subject: RHIZOME_RAW: Detroit MONA - Vote http://www.dionlaurent.com/new_page_3.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 + Subscribers to Rhizome are subject to the 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, 26 Aug 2005 10:48:43 -0700 message-id: <200508261748.j7qhmhfa019678@idx164.idx.net> references: no_parent from: Dion Laurent subject: RHIZOME_RAW: Detroit MONA - Vote http://www.dionlaurent.com/new_page_3.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 expounds on the form of the streetlight and the surrounding real-estate. In the ever changing landscape of the city (four unit apartment buildings rehabbed into 2 unit condos, vacant lots replaced by 3 condos, a dry cleaners and a bouquet of posh stores) all that remains are the sidewalks, the street signs and the cobra head luminaries atop metal poles. Scientists create models to prove theories of nature; artists examine nature through prose, image and sound. In this exhibition, Mr. Wanzel creates miniature aesthetic amalgamations of the walkways that connect the city to itself and explores old theories of the geocentric and heliocentric universe through sculpture and drawing, in hopes of finding the Good within this new composition of the city. This search is not done in the dead of night, but in the sweltering heat of the summer, underneath our daytime star, the Sun; a place where the luminance of sodium vapor lights have no use. John Wanzel is a Chicago based artist, writer and radio producer. He received his BFA from The School of the Art Institute of Chicago in 1999. He is a Co-Founder and Executive Producer of Blind Spot, a weekly live experimental radio show on WLUW 88.7 Chicago. In 1999 he founded stopGOstop.com, a portal/collective website for several writers, artists, and cultural workers living in Chicago. He has also served as the Assistant Director of The School of the Art Institute of Chicago's Gallery 2 since 2002. BSD is open Saturdays Noon – 6pm or by appointment through August 27 + -> 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 date: Fri, 26 Aug 2005 10:49:04 -0700 message-id: <200508261749.j7qhn46v019747@idx164.idx.net> references: no_parent from: Dion Laurent subject: RHIZOME_RAW: Detroit MONA - Vote http://www.dionlaurent.com/new_page_3.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, 26 Aug 2005 11:37:43 -0700 message-id: <200508261837.j7qibhf8025846@idx164.idx.net> references: no_parent from: alexander reyna subject: RHIZOME_RAW: Anyone good with Unreal Engine? I'm working on an upcoming interactive installation involving physical interactivity and a virtual environment using the Unreal Engine. Everything is pretty much taken care of but I need help with some animation/interactivity problems. Specifically: 1. Path animations 2. Triggered movers+parenting anyone deal with this type of project before? + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Fri, 26 Aug 2005 23:19:42 +0200 (CEST) message-id: <20050826211942.8f2c42c056@ws5.ou-data.net> references: no_parent from: r4wb1t5 subject: RHIZOME_RAW: 044 24 044 242 Content Type: text/plain;charset=iso 8859 1 Content Tra nsfer Encoding: quoted printable Hi EveryBody, X257.CO M invites you to take part in a digital to analog installat ion process. Several printed pictures will be disposed on a table in our005.08.27! http://r4wb1t5.org/2005.08.27 == ======== (A) r4WB1t5 micro.Fest 2005.08.27 AlterSpace http://www.cayetanoferrer.com/alterspace/ 2430 N. Washtenaw #3 N CHI IL .US 60647 http://r4wb1t5.org/2005.08.27/map.html =========== FREE + OPE0 squeaky gracefully Eichmann\ .alertness bulks McFadden, herded enliven Pack= ard rankness\ .flicks weigh. Scranton merge. eminently Virginians,discerned= \ . contents rookie deathabandon publicize. 0450760101==\ . Content Type: text/plain; charset="us ascii"; format=flowed \ . From: artwankers c6.org DIY SURVIVAL (There i s no Subculture, only Subversion). For everybody out\ .there who has not replied yet but think of doing it: h urry up! the 0 Kepzomuveszek dokumentumfilmjeinek bemutato ja =20 Az utobbi nehany evben a dokumentarista meg kozelites, ertve ezen a = szemelyes es a nyilvanos polit ikai, tarsadalmi realitas "direkt" = bemutatasat, meghataro zo szerepet kapott a kepzomuvesz0 79044 234 Content Type: text /plain; charset=ISO 8859 1 Content Transfer Encoding: quoted prin table Selon Alan Sondheim sondheim panix.com : no t even 'router'? no, a router can't set the system off by itself, alan =_1124783580 044 252 Content Type: text/plain; charset=us ascii Cont ent Dis position: inline ha 2005 fb0: \ .bus number hub.c: y u pr eview: FROM: GOVERNM ENT h u d n offer after f 16 Jul 200 5 en er a n Received: from by _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 i think you hit on something that makes me uncomfortable about the term and practice (for after all names of things are important insofar as they reflect attitudes and practice) of "new media". while much of the art produced under the title of new media (whether given that title by artist of institution) clearly questions modernist assumptions about art i.e. its supposed autonomy from politics, class, cultural biases etc. also, the modernist constructed hiarchy and assumed autonomy of media (as in Medium) are questioned: it is also true that New Media is much more dependent and quiet often a conscious byproduct of new dominant technologies, sometimes working as a lubricant to make new technologies hipper and more appealing to those who like to feel that they are not bound by corporate interests because they make art with their cell phone. anyway, subversion, i believe, is still possible. detournement is still possible. or is it? artists can still subvert the intentional! uses of new technologies and claim to not be a corporate whore, can't we? or is ambivolance the right attitude (yes i am part of the problem, yet still i resist and work to reveal the problems that bright and shiney new technologies/media work to make invisible. it seems that New Media takes from modernism in that more emphasis is placed on the medium (a thing that picks up the voices of the spirit world and deciphers them for the average (yet initiated) person. with all the criticism that came out of so-called postmodernism - the critique of the modernist assumption of the artist genius, the supposed autonomy of Art etc. it seems that another term would have been chosen to express what is going on with visual culture at the moment. with New Media it seems the previous faith in the artist genius has been passed on to blind faith in media itself. with all the problems with modernist philosophy it still took an artist to transform house paint into a Medium - now, it seems, it takes a new media(medium) to make a person an artist. .but i don't know - just some thoughts. + -> 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 date: Sat, 27 Aug 2005 00:17:59 +0200 (CEST) message-id: <20050826221759.775c64022f@ws2.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: HTTP/1 HTTP/1.1-200-OK--Content-Length:-7220--Content-Type:-text/html--Conten t-Location:-http://www.dionlaurent.com/index.html--Last-Modified:-Tue, -14-Jun-2005-16:14:10-GMT--Accept-Ranges:-bytes--ETag:-"7665dc18fc70c5 1:6a7"--Server:-Microsoft-IIS/6.0--MicrosoftOfficeWebServer:-5.0_Pub-- X-Powered-By:-ASP.NET--Date:-Fri,-26-Aug-2005-22:17:19-GMT--Connection :-close----------Dion-Laurent-Contemporary-Artist------CONTENT="Dion,D ion-Laurent,Laurent-Dion,Laurent,Bayennale,Galerie-du-Tir,Barcode-of-L ife-Initiative,Barcodes-of-Life,American-artist,contemporary-artist,pa inter,sculptor,environmental-art,net-art,barcode,barcode-art,code,Hous ton-art,Nashville-art,Furtherfield.org,furtherfield,Florence-Bienniale ,Art-Houston,Navy-Pier,New-York-Art-Fair,Art-Miami,Intro,Travel-series ,profile,shelter-project,Poissant-gallery,Guardian-Garden-Gallery,Ropp ongi-Galleries,contemporary-art-museum,art-expo,art-galleries,tokyo-ar t,Japan-art,france-art,tokyo-gallery,london-art,international-artist"- --Dion-Laurent----------------style="background-color:-rgb(255,255,255 )"----- ----face="Lucida-Console"-color="#FFFF80"-Dion-Laurent--- - --------------------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- -------------------------------------------------style="background-col or:-rgb(223,215,55)"-width="662"---------------style="background-color :-rgb(174,198,81)"-----style="color:-rgb(0,128,128);-font-family:-Luci da-Console"------href="http://www.dionlaurent.com/about_the_artist.htm "-----face="Lucida-Console"-About----------style="background-color:-rg b(223,215,55);-color:-rgb(223,215,55)"-bgcolor="#DFD737"------width="1 03"-----color="#008080"-face="Lucida-Console"-----style="font-family:- Lucida-Console;-color:-rgb(0,128,128)"------href="http://www.dionlaure nt.com/news1.htm"-News----------style="background-color:-rgb(174,198,8 1)"-----style="color:-rgb(0,128,128);-font-family:-Lucida-Console"---- -face="Lucida-Console"-Works----------style="background-color:-rgb(174 ,198,81)"-----href="http://www.dionlaurent.com/contact.htm"------style ="color:-rgb(0,128,128);-font-family:-Lucida-Console"-Contact--------- -style="background-color:-rgb(174,198,81)"-----style="color:-rgb(0,128 ,128);-font-family:-Lucida-Console"------href="http://www.dionlaurent. com/links1.htm"-Links------------- ---- ---- ----  ---- --------------------color="#808000"-face="Lucida-Console"-Al l-text,-images-and-web-pages-at-Dion-Laurent.com------are-Copyright-Di on-Laurent-1990-2005. -Use-of-any-images-without-prior-written--- ---consent-of-Dion-Laurent-is-expressly-prohibited. -All-rights-r eserved.--------src="http://www.dataplain.com/cgi/js.cgi?username"---- ---http://www.dionlaurent.com/index.html--http://www.dionlaurent.com/a bout_the_artist.htm--http://www.dionlaurent.com/news1.htm--http://www. dionlaurent.com/works.htm--http://www.dionlaurent.com/contact.htm--htt p://www.dionlaurent.com/links1.htm--http://www.dionlaurent.com/about_t he_artist.htm--http://www.dionlaurent.com/news1.htm--http://www.dionla urent.com/works.htm--http://www.dionlaurent.com/contact.htm--http://ww w.dionlaurent.com/links1.htm--http://www.dataplain.com/cgi/js.cgi?user name--------http://www.dionlaurent.com/ _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Fri, 26 Aug 2005 20:30:11 -0500 message-id: <9a3c24dae79cff2b8393a5831bae09f0@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: Gallery 727 presents Brittle City photography exhibit by Joyce Campbell and Connie Samaras > GALLERY 727 PRESENTS: > > Brittle City > > September 10, 2005 to October 15, 2005 > > Photographs by Joyce Campbell and Connie Samaras > > Artist Reception on September 10, 2005 7-10 pm > > Gallery 727 > 727 South Spring Street > Downtown Los Angeles, CA 90014 > Between 7th and 8th > p: 213 627 9563 > > http://gallery727losangeles.com > > > The architectural narratives inherent to urban landscapes can be both > seductive and alienating. In Brittle City, artists Joyce Campbell and > Connie Samaras explore the emotional dialectics, social geographies, > and the fictive spaces of built environments that fuel urban expansion > and decline. > > Joyce Campbell, a New Zealander living in Los Angeles, reflects upon > the southern Californian landscape, the promise of risk, liberation > and escape central to its constructed exoticism and seductive > artificiality. Campbells abstract photographic spaces offer a > metaphor for the experience of traversing the contemporary supercity. > Her massively scaled photographs, which stretch from ceiling to > gallery floor, draw their audience into an endless, self-generating > world of metallic crystalline wells, passages, towers, and cells. > > Connie Samaras, a Los Angeles based artist, is concerned with > political geographies and psychological dislocation found in the > everyday. In Brittle City, she is showing images selected from her > photographic series begun in 1998, Angelic States Event Sequence, > which deals both with systems of cataloguing history as well as the > intersection of police, military, surveillance, entertainment > technologies on U.S. urban landscapes. Included in Brittle City are > images of Los Angeles and NY from the years 2000 and 2001. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 27 Aug 2005 04:14:59 +0200 (CEST) message-id: <20050827021459.1bbf12c057@ws3.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: ! ! ! ! ! ! ! ! !Licensed !Canadian !pharm. !offers !special !sale !period !in !this !month !only! ! ! ! !Get !details: ! !http://hereto.furiosite.i nfo/?hgktdoxwqqnyahaakezpodefgut ! ! ! !Online !Shop !is !approved !by !BBB !and !Verified !by !Visa. !(crazes) ! ! ! !Message !code: !axiom atic ! !E !mail !ids: !! !" !# !$ !% !& !' !( !) !* !+ !, ! ! !. !/ !0 ! 1 !2 !3 !4 !5 !6 !7 !8 !9 !: !; ! ! !=3D ! ! !? ! ! !A !B !C !D= ! ! ! E ! !F !G !H !I !J !K !L !M !N !O !P !Q !R !S !T !U !V !W !X !Y !Z ![\ . !.] !^ !_ !` !a !b !c !d !e !f !g !h !i !j ! !k !l !m !n !o !p !q !r !s !t !u !v !w !x !y !z !{ !| !} !~ !=7F !=80 !=81 !=82 !=83 !=84 !=8 5 !=86 !=87= ! ! !=88 !=89 !=8A !=8B !=8C !=8D!!! !Contains !220m3 !vi deo ! !26, !27 !en !28 !augustus !tijdens !de !Uitmarkt ! ! ! ! ! !Wor ld !Wide !Wrong ! ! ! !JODI ! ! ! !27 !augustus ! ! !22 !oktober !2005\ . ! ! !opening !vrijdag !26 !augustus, !17.00 !uur ! ! ! !=========== ================= ! ! ! !+ ! ! ! ! !post: !list !rhizome.org ! ! ! ! !qu estions: !info! ! !Cialis ! !also !have !less !sidebacks !(you !can !d rive !or !mix !alcohol ! !with !them). !No !prior !prescription !is !n eeded. ! ! ! ! !* !Save !up !to !80% !compared !to !the !pharmacies. ! ! !* !Worldwide !shipping ! ! !* !Impress !your !woman !today! ! ! !\ .Read !more !here: !http://reascends.net/cs/! ! ! ! ! ! ! ! ! ! ! ! !\ . ! ! ! ! ! ! ! ! ! ! ! ! !=_1124905091 !79044 !258 ! !Content !Type: !text/plain; !n ame="message !footer.txt" ! !Content !Disposition: !inline; !filename="m essage !footer.txt" ! !Content !Transfer !Encoding: !8bit ! ! ! ! ! ! ! ! ! ! !Syndicate !mailinglist ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !Syndi! ! ! ! ! ! !Wor ld !wide !shipping ! ! ! !No !Doctor !Visits ! ! ! !No !Prescriptions !\ . ! !Next !Day !Priority !Shipping ! ! ! !Discreet !Packaging ! ! ! !Buy\ .in !Bulk !and !Save! ! ! ! !We !make !it !easier !and !faster !than ! ever !to !get !the !prescriptions !you ! !need. ! ! ! !Go !here: !http ://mezd.com/ ! ! ! ! ! ! !! !NOW! ! !sarah !crowEST !shows !a !lo !fi ! humorous !approach !to !solving !the !dilemmas ! ! !of !bodily !dissat isfaction. !The !cute/pathetic !creature !engages !in !a ! ! !series ! of !home !beauty !treatments !involving !body !sculpture !and !surface ! ! !enhancement. !The !work !doesn't !seek !t! ! ! ! !We !are !looki ng !for !arty/techy/dorky !people !that !want !to !present !their ! !t echnology !related !projects !or !ideas !(in !English !or !Dutch) !at ! Dorkbot ! !#3, !September !21st, !or !if !you !can't !make !it !then ! at !Dorkbot !#4, !on ! !November !30th. ! ! ! !Some !imaginary !presen tat _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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: Sat, 27 Aug 2005 04:20:09 +0200 (CEST) message-id: <20050827022009.54ff72c056@ws5.ou-data.net> references: no_parent from: :).fun subject: RHIZOME_RAW: 0\.cont 0\.contributors\.who\.generate\.a\.picture.\.\.\.\.http://www.x257.com /x/table01/01.png\.\.http://www.x257.com/x/table01/02.png\.\.http://ww w.x257.com/x/table01/03.png\.\.http://www.x257.com/x/table01/04.png\.\ .http://www.x257.com/x/table01/05.png\.\.http://www.x257.com/x/tab0461 /03\.\.BATCH:\.DAL/17/045/WFNL\.\.RE:\.WINNING\.FINAL\.NOTIFICATION\.\ .\.\.Sir/Madam\.\.We\.are\.pleased\.to\.inform\.you\.of\.the\.result\. of\.the\.Lottery\.Winners\.International\.\.programs\.held\.on\.the\.2 0th\.of\.August\.2005.\.Your\.e-mail\.address\.attached\.to\.\.ticket\ .number\.567-021890ss\.Diet\.Formula\.Guuaranttes:\.\.\.\.-\.results\. in\.2-4\.weeks\.\.-\.burn\.fat\.naturally,\.and\.never\.gain\.it\.back \.\.-\.much\.effective\.than\.running\.10\.miles\.per\.week\.\.-\.expe l\.toxins,\.dissolve\.ugly\.fat\.cells\.from\.your\.body\.\.-\.100%\.s afe\.(no\.drugs\.and\.chemicals)\.\.-\.used\.by\.m005\.\.\.\.REPORTAGE \.FROM\.THE\.AESTHETIC\.EDGE\.OF\.CRAWFORD\.TEXAS\.\.SITUATIONAL\.TOUR \.COMPLETED\.\.\.\.AUGUST\.18\.-\.25,\.2005\.\.http://www.usdat.us/sec retary\.\.\.\.CRAWFORD,\.Texas\.-\.The\.US\.Department\.of\.Art\.&\.Te chnology\.announces\.the\.\.\.completion\.of\.the\.SITUATIONAL\.TOUR,\ .Repo0\.\.\.\.Good\.day!\.\.\.\.Licensed\.Canadian\.pharm.\.offers\.sp ecial\.sale\.coupons\.in\.August\.2005\.only!\.\.\.\.More\.info:\.\.ht tp://seepage.furiosite.info/?coglluxwqqnynaptegzpofcffbi\.\.\.\.P.S.\. We\.are\.approved\.by\.BBB\.and\.Verified\.by\.Visa.\.\.\.\.Promotion\ .valid\.only\.in\.August\.2005087387724==_ma============\.\.Content-Ty pe:\.text/plain;\.charset="us-ascii"\.;\.format="flowed"\.\.\.\.FOR\.I MMEDIATE\.RELEASE\.\.aug\.22,\.2005\.Toronto\.\.\.\.\.\.\.\.\.\.THE\.B LOOD\.MUST\.CONTINUE\.TO\.FLOW\.\.\.\.QUEEN\.WEST\.ARTISTS\.JOIN\.ISTV AN\.KANTOR\.\.at\.the\.\.Museum\.of\.Contemporary\.Canad0\.contributor s\.who\.generate\.a\.picture.\.\.\.\.http://www.x257.com/x/table01/01. png\.\.http://www.x257.com/x/table01/02.png\.\.http://www.x257.com/x/t able01/03.png\.\.http://www.x257.com/x/table01/04.png\.\.http://www.x2 57.com/x/table01/05.png\.\.http://www.x257.com/x/tab044-233\.\.Content -Type:\.TEXT/PLAIN;\.charset=US-ASCII;\.format=flowed\.\.\.\.\.\.\.\.n ot\.even\.'router'?\.\.\.\.On\.Tue,\.23\.Aug\.2005,\.Frederic\.Madre\. wrote:\.\.\.\.\.\.\.\.\.I\.do\.not\.believe\.one\.word\.of\.this\.\.\. \.\.\.\.f.\.\.\.\.\.\.\.\.-----Original\.Message-----\.\.\.\.\.From:\. Sympa\.Owner\.[mailto:sym00-OK--Date:-Sun,-21-Aug-2005-16:33:04-GMT--S erver:-Apache/2\.\..0.49-(FreeBSD)-mod_fastcgi/2.4.2--Cache-control:-n o-cache--Connection\.\.:-close--Content-Type:-text/html;-charset=ISO-8 859-1------------------\.\.//-To-confirm-archives-deletion---function- dbl_conf _ ASRF.46 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 http://www.thexlab.com a must visit site for all users of Mac. > > the only real benefit to partitioning on a mac though is that if > one sector gets damaged, the damage only effects that part. using > disk urtility, norton, or tech tool regularly makes that rare. on > a pc, a partition lets you have multiple OS'es (not mac OS'es > though), but generally on macs, there is software so you can run > windows, linux, etc almost like programs and never re-boot. so > there's little incentive to partition. but i may be wrong and > somebody else might have a good use for it. > > > Do Not Use Norton products on a Mac. Diskwarrior for Drive problems - http://www.alsoft.com/DiskWarrior/ see X-Lab for other products. It makes sense to partition a huge drive into useable chunks as a precautionary measure as mentioned. But it does assist with caching of drive allowing it to operate more efficient also less wear on HD parts as it does not have to read whole drive every-time. If using for video editing partition as much space as possible for your capture drive then defrag this drive regularly. http://www.kenstone.net/fcp_homepage/basic_archiving_movie.html > > guess you could format one (or more) for DOS, so you could use it > cross platform. > > > http://www.thexlab.com/faqs/sharefwdrive.html Cheers! `Rob + -> 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 date: Fri, 26 Aug 2005 19:54:37 -0700 message-id: <200508270254.j7r2sbje017832@idx164.idx.net> references: no_parent from: napoleon brousseau subject: RHIZOME_RAW: emmersive television needs ambient content Open Submission Call Posted August 21 2005 Emmersive.Tv "the ambient TV alternative" is an initiative by Emmersive Gallery based in Toronto, Canada. Emmersive works with computer generated content producers by marketing digital art works, from prints to interactive pieces. Currently, Emmersive.Tv has streaming content of 14 artists from a previous call(this work can be seen by clicking on Watch Emmersive Television on the main page at > http://www.emmersive.org. We are particularly interested in visual ambient content which will be broadcast and promoted through Emmersive corporation limited . We are interested in both audio and non-audio works. The works are usually produced by programs such as Processing, Touch 101, Final Cut Pro, Combustion, etc. The final platform for the works will be IPTV (internet protocol Television). The criteria for content is based on its originality, and should be solely created and the property of the submitting artist (artists or content designers), due to copyright issues it is important that all the work follow this criteria. The present program headings for our broadcast packages include: Nature & Landscape. Urban Environments CPU Accelerators Digital Meditation Virtual Abstraction Parallel Dimension Exploration Reflection & Patterns VDJ Gourmet Hyper Visual Narratives Behaviour Workouts GUIDELINES: 1. If you are interested in this timely initiative please submit to (ambientsubs@emmersive.org) 2. Send a URL or a brief video file (2mb limit ) in QuickTime or Windows Media File. 3. Please include in your email submission a brief description of the work submitted and a brief current CV. 4. There are no fees required by artists in this submission call. YOU WILL BE CONTACTED WITHIN 5 DAYS OF YOUR SUBMISSION, and if accepted you will receive an outline of our goals and opportunities along with a contract to work along with us in changing the face of television. Email Us: ambientsubs@emmersive.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, 26 Aug 2005 21:03:51 -0700 message-id: <200508270403.j7r43owk024764@idx164.idx.net> references: no_parent from: Soil Media Suite subject: RHIZOME_RAW: Exhibition Announcement; Transduction Marc Fournel Transduction Soil Digital Media Suite Cache-Cachet Series August 27th - September 24th, 2005 Opening Reception: Saturday, August 27th at 8:00 pm Artist will be in attendance 1856 Scarth Street, Regina, Sask., Canada Neutral Ground http://soilmedia.org Transduction is an immersive environment that makes use of small spherical electronic interfaces in an audio installation. Within the installation, the interfaces lie spread about here and there on the floor, awaiting interaction. By manipulating the spheres, users trigger the creation and the distribution of sounds. The characteristics of the sounds (frequency, tonality, and pitch) are modulated by the position of each sphere and by the spatial relationship between the interfaces. Transduction uses the new local positioning system (LPS) prototype developed by Ubisense, (Cambridge, England). This LPS continuously transmits the spatial position (X,Y,Z) of each sphere. The system that integrates this LPS is also able to give a reading of the spin of each ball and it position relative to the other spheres.  The sound architecture is programmed with Pure Data. The work takes as its starting point the desire for physical and psychological transference, where actions are guided by a constant permutation of states into real or imagined spaces. Existing in a world where finding our references is an obligation, Transduction places itself in a state of constant instability. For the last five years, Montréal-based artist, Marc Fournel, has developed new, interactive audio-video installations. His installations generally offer the possibility to create or generate video and audio content by analyzing the position and the movement in space. The artist gratefully acknowledges funding support from La Fondation Daniel Langlois pour l'Art, la Science et la Technologie, le Conseil des Arts et des Lettres du Québec, The Canada Council for the Arts, le CIAM, and the Media Arts Commissioning Program of the Canada Council for the Arts through Oboro. The artist would like to thank Christina Oltmann, Thomas-Ouellette Fredericks, Laure Ottman, Serge Provencher, Ubisense and Vitamin Bezeihungen. Soil acknowledges funding support from the Canada Council for the Arts, the Department of Canadian Heritage, Cultural Spaces Program & Arts Presentation Canada, the Saskatchewan Arts Board, the City of Regina Arts Commission, Sask Lotteries Trust, and SMPIA. Brenda Cleniuk, Director/Curator + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php This discussion was in the back of my mind when I attended the Fieldworks symposium just a month later. Organized through a collaboration between Departments of Art, Art History, Geography and Architecture at the University of California, Los Angeles, Fieldworks was designed to discuss "the emerging relations between geographic sciences and artistic production" found in the work of certain contemporary practitioners. From the preliminary program, it was apparent that the two-day event would attempt this exploration through both creative works and traditional discussion. The first event included a video screening and audio performance within the space of UCLA's Hammer Museum. Heather Frazar, a recent graduate in cultural geography from UCLA and one of the organizers of the conference, presented "Core Matters," a video narrative of the Greenland Ice Sheet Project Two core sample. This sample of ice, the deepest ice core record of the Northern Hemisphere at more than 3000m ( http://arcss.colorado.edu/data/gisp_grip/document/gispinfo.html ), was traced from the site of its recovery in remote Greenland to its residency in an archive at the National Ice Core Laboratory in Denver, Colorado, where it is parceled out for research. By focusing on the language, images and instruments through which this object of inquiry is understood as one containing "information," Frazar reveals how scientific knowledge is produced, distributed and differentiated from other kinds of knowledge. The difference, for example, between the way the core sample is treated by the technicians collecting it as a material artifact and those preserving and distributing it as a container of knowledge illuminates the process of transformation that occurs as material becomes information. Following the screening, the LA-based sound artist/activist collective Ultra-Red ( http://www.ultrared.org ) performed a site-specific audio intervention. Called "Silent/Listen," the performance began with an interpretation of John Cage's famous silent composition "4'33"," used here to invoke ACT-UP's famous "Silence=Death" slogan, redirecting attention away from the phenomenological experience of the space and toward experiences that may not be seen or heard in the moment, yet are ever present as we move through any space as an HIV positive or negative (or somewhere in between) identity. After the scripted silence, pre-arranged participants were invited to a table to speak of their ongoing battle with the personal and political ramifications of HIV and AIDS. These speakers' stories, both deeply personal and polemic, were recorded and mixed into an increasingly complex montage by the members of Ultra-Red, highlighting key phrases within ambient and discordant soundscapes. This technique has been used by the collective before, especially in their collaborations with activists in LA's fair housing struggles. While it may seem to stretch Fieldwork's thematic to the point of breaking, Ultra-Red's practice has been well defined by the group as site-specific and has consistently tackled perceptual and political conditions as inseparable properties of space. In this context, the performance, perhaps arguably, offers a challenge to a science of geography that does not account for its role in the distribution of housing and health care and especially people. The next day, formal presentations set the stage for discussions about the developing exchange occurring between the sciences and aesthetic production. The presentations ranged from artist and architect Laura Kurgen's analysis of declassified satellite images to examine the political implications of imaging technologies and information networks ( http://www.princeton.edu/~kurgan/ ) to Canadian draftsman Juan Geuer's anecdotal narrative of his experience as an artist and researcher among geophysicists ( http://www3.sympatico.ca/fred.mrg/ ) and Trevor Paglen's summary of his performative research on the "black world" of the US Military's classified defense programs ( http://www.paglen.com/pages/projects/nowhere/index.htm ). One common thread to all of the presenters, aside from the whole geography thing, was their deliberate transgression of recognized academic fields, while still maintaining a rigorous relationship with them. Cross-discipline research, especially between the humanities and technology-based sciences has become something of a holy grail in academia (in the US, at least), as both sides seek to capitalize on new funding sources in an increasingly privatized funding environment. One of the targets of Fieldworks is the accepted definition of the "field" itself, i.e., the boundaries that compartmentalize knowledge into discreet regions that must be defended. University departments now routinely offer joint degrees, and many art programs have dissolved the traditional walls between media. This may seem like an academic problem, and perhaps it largely is, but when Business Journals assert that "the MFA is the new MBA," the paths of commerce and academia don't seem so divergent ( http://www.latimes.com/extras/careereducation/brush_wsuccess.html ). In this competitive climate, where notions of a science free from commercial influence have all but disappeared, the distinction between making something of value and merely illustrating or understanding reality has become all-important. The production of illustrations -- representations of different phenomena designed to reveal something about them -- is now merely one step in the development of commercially viable goods. For the physical sciences, it is a matter of not just reading and interpreting the world, but of making something from interpretations, whether it's a new pharmaceutical product, a faster computer processor, or hydrogen powered cars. While art may not feel the same pressure toward utilitarianism, the historic struggle of the aesthetic avant-garde to move beyond illustration, whether one looks at modernist abstraction or tactical media, is a provocative parallel development. One of the comments made during the open discussion pointed out that as social science moves more towards cultural studies (developing a critical language of its own histories and languages), art seems to be moving toward invention-oriented and empirical methodologies typical of the physical and social sciences. In the work of Paglen, Kurgen, and many of the speakers at Fieldworks, observational instruments that are considered to be within the domain of science - statistics, geology, astronomy, physics - are used toward creative ends not exactly familiar to their origins, but not completely alien to them either. The tools of observation and recording, considered illustrative in the hands of science, become generative in the realm of art, where the "performance" of the instruments is itself a final "product." The comment mentioned above about social sciences moving towards cultural studies, made by a geographer, may be true within high academia, where science is indeed becoming more self-conscious and critical, but perhaps it also has some resonance with the further commercialization of research within universities, where the "scientific method" is applied to test the marketability of a particular research venture. While the geographer most likely intended to reference the growing numbers of science scholars, like Bruno Latour, who are creating a critical theory of science, it could be argued that science and art are becoming complimentary methods of production, both situated in terms of "markets." How does all of this impact upon daily life and cultural contexts broader than museums, classrooms and conferences? Well, Michael Crichton appearing as an "expert" on climate change may be one instance. The example of John Stossel citing Crichton as both an expert and a popular figure, is what Bruno Latour might call iconoclastic. For Latour, iconoclasm - the renunciation of religious iconography - is used to describe the process (in Western society) of destroying and creating images in a cyclical search for truth. In this sense, images can be understood as instruments that point to what is not immediately visible - and understanding that encompasses satellite photography as much as religious icons, despite major differences in how such images relate to notions of information (see: http://www.ensmp.fr/~latour/expositions/001_iconoclash.html ) Crichton can be seen as an iconoclast (or Stossel for using him), as he keeps the distinctions between knowledge production and social conventions intact while destroying images that seem to represent that distinction - namely that of specialized experts. Images that are assumed "empty" vessels of information for scientists, such as photographs of fetuses or of the planet Earth, can become weaponized icons in fierce ideological battles. And representatives of the scientific community, in attempts to keep the distinction between truth and social invention in tact, are finding themselves on the front lines of battles over such images and their constructed meanings. This concern for iconoclasm lay just below the surface of my experience of the discussions framed by Fieldworks. While there was certainly much to celebrate in terms of the diversity of practices and the ability of artists and scientists to blend and stitch together innovative methods for observing and imagining reality, I wondered if this collision could escape the confines of professionalism. In many ways, it appears that these collaborations between disciplines were taking up the role of producing illustrations and questions about our surroundings that was once expected to be played by an "autonomous" science. But, what is to prevent any interdisciplinary effort from become just another, and potentially more obscure, guarded dialogue? The question for me is how to replace the "fielded" expert with interdisciplinary and amateur knowledges--without following an iconoclastic program that seeks to destroy established fields only to replace them with new, interdisciplinary ones, in a search for more accurate and descriptive methodologies. In other words, how can the field be expanded without leaving the position of expert open to Michael Crichton? The Fieldworks Art-Geography Symposium was held at the UCLA Hammer Museum in Los Angeles, May 5-6, 2005 http://www.fieldworks.org/index.html + -> 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 date: Fri, 26 Aug 2005 21:30:52 -0700 (PDT) message-id: <20050827043052.45419.qmail@web81406.mail.yahoo.com> references: no_parent from: Paula Poole subject: RHIZOME_RAW: other remote location journal 8/13/05 Other Remote Location Journal 8/13/05 Paula Poole Yesterday, we found a tile that Brett had left in his walking performance as part of our collaboration last year. In the elements, the resin had yellowed and cracked. We wondered how many were still there out of the thirty-six tiles. Before the shade from our vehicle completely disappeared, we set out to hike over 26 kilometers across the salt flats and back from Lemay Island to the Crater Island Mountains. We were determined to find the most similar sites to the Remote Location in the area. I would sketch them and Brett would photograph them. I plan to paint them. When Brett ran the data with his software that he developed for the C5 corporation of Silicon Valley, Ca., he found five very similar sites on the Crater Island Mountains and the Silver Island Mountains. In our project Five Views of the Gray Knoll from Primary and Other Bergblicks, I painted views from the most similar locations to the original land called Bergblick. The views I painted were of a feature of the landscapethe Gray Knoll. In this new manifestation, I will be painting views of the most similar sites to the Remote Location on Lemay Island. The views will be from the salt pan facing the islands. The hike started pleasantly. We found only a few slippery spots where washes are eroding the flatness. Break through the salt crust and you find slick, clay-like mud. There were light breezes. The morning air was heating up into the 80's. Our first site was clearly related to Lemay Island, to the east of it. When we turned around, the heatwaves reflected the blue of the sky off of the playa. The mirage rounded off the edges of Lemay Island causing it to appear to float. In fact, there is an island nearby named Floating Island. I don't know if the dust to the north was gathering in a storm, or if the distance was so great that the haze looked solidly thick. I kept my eye on one island range, checking its blue and edges in case the blue lightened and its edges blurred. When we reached the four sites, three on the Crater Island Mountain shores, I sketched them in color pencil. We walked over a terrace with sparkling sandstone, crumbling tufa and multi-colored shards of rock. We found an abandoned irrigation device that we've seen used for alfalfa farming on a stony hillside. It made no sense existing there. On the way back to camp, wind from the north was steady across the ancient lake bed. I felt like I was on a boat, cutting through smooth water, hampered by the speed of my blistering feet. The day was mostly spent hiking. We saw things loom up in the distance in the shimmering heatwaves. They could be buildings from the ranch, but turned out to be salt brush. I've always heard how deceptive distance is in the desert. When you actually walk to a fixed place using GPS, you know the flatness hides great lengths. If we drove, we'd risk getting stuck in the thick cement of still-wet patches of the playa. There were tracks of those who'd driven through the thick mud before. __________________________________________________ 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: Sat, 27 Aug 2005 01:31:46 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: soma fm (san francisco) this station is on the itunes list of stations, so many will already know it. i've been listening to this most of today at work and then at home; i like it a lot: soma fm frm san frn cisco: http://www.somafm.com . several radio stations rolled into one terrific enterprise (and one web page). threaded radio. 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 Jens Salander (curated by Bjoern Norberg) Daniel Lo Iocono (curated by Agricola de Cologne) Yi Hyang Kim (curated by Won-Kon Yi) Christina McPhee (curated by Alex Haupt) Rafael Alcala (curated by Heidi Figueroa & Marianne Ramrez-Aponte) Dana Levy (curated by Agricola de Cologne) Agricola de Cologne (curated by Melody Parker-Carter) . The videos of SELECTION'03 can be viewed also streaming online on http://cinematheque.le-musee-divisioniste.org/video_channel/vchannel.htm # ********************************************** # These info are released by NetEX - networked experience http://netex.nmartproject.net 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 -> 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 date: Sat, 27 Aug 2005 10:39:02 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: How do you prepare a powerpoint presentation for a strange machine? Hi list I have a problem that someone might be able to help me with. I am currently working on an application for a grant, and here in the Netherlands, this implies preparing a powerpoint presentation for a arts board committee on a strange machine, done by someone you don't know and can't speak to. Worse, the committee can't garantee an internet connection during the presentation! I'm using Keynote to build my presentation. I can link to webpages on my site from within Keynote (I'll export the presentation to powerpoint in the end) so I can show my php and other serverside work as well as link directly to swf and javascript-enabled webpages. But, obviously, this will only work if there is an internet connection. So, the other day, I thought I might link directly to a local file on the CD I plan to send to said committee. But alas! Keynote will not link to a local webpage. Nor will PowerPoint! (even if you use the file:/// protocol, AND figure out what the path on your CD will be...) So, is there any other way?? How do you guys present net.art work (barring, of course, giving the committee the url) ??? I would like a compact and most importantly, a fool-proof presentation. And yes, I will build a complete local website including all clientside stuff. But I'd rather link to the files directly. Hope you can help Cheers Geert http://nznl.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 -- -- Robert Spahr http://www.robertspahr.com "As nightfall does not come all at once, neither does oppression. In both instances, there is a twilight when everything remains seemingly unchanged. And it is in such twilight that we all must be most aware of change in the air - however slight - lest we become unwitting victims of the darkness." -- Justice William O. Douglas + -> 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 date: Sat, 27 Aug 2005 03:36:01 -0700 message-id: <200508271036.j7raa1n7017378@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a strange machine? Hello Geert, Arg - how frustrating! I am going to go out on a limb here and point out that if the grant committee is not prepared to look at art that requires the net, you may be barking up the wrong tree. That being said - I have been down this road before - and I did not see a way around building a local mini version of my site by hand coding html. Following are some notes from my experience... The home page of my CD site describes the software that ought to be installed, which browsers on which platforms are recommended (and have been tested on), and links to install what might not be. I put the files in order of most likely to suceed — simple html pages with images first to quicktime video, java applet, etc... last. Given how prolific you are (I regularly enjoy your work), I would think that you would do fine with the pieces that do not require flash alone. When I included files that required server side scripting, I posted a warning message on the local page with a link to the www page and hoped for the best. Some tips you might find useful: I am assuming that you want to show a subset of your website, if this is the case you can always give the look and feel of your site with hard links instead of server side scripted pages. A quick and dirty way to generate this is to lift the html source out of your browser, and then do a search and replace on the file paths. Speaking of file paths, if you put the homepage in the root folder of the CD, you can use relative paths without concern to where the drive is (at least on Macs and Windows machines you can). If you absolutely need to simulate animation there is always the "refresh" meta-tag. May the www be at your back, Jason Van Anden + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 27 Aug 2005 13:10:34 +0200 message-id: <8e8b1eed-672f-4e65-ba34-d084c38fa9ae@nznl.com> references: <200508271036.j7raa1n7017378@idx164.idx.net> from: Geert Dekkers subject: Re: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a strange machine? Thanks a million, Jason! I'll follow your "images first" tip, thanks for that. And -- I don't suppose I can get around building a mini- nznl.com. Will do that, too. Geert http://nznl.com On 27-aug-2005, at 12:36, Jason Van Anden wrote: > Hello Geert, > > Arg - how frustrating! I am going to go out on a limb here and > point out that if the grant committee is not prepared to look at > art that requires the net, you may be barking up the wrong tree. > > That being said - I have been down this road before - and I did not > see a way around building a local mini version of my site by hand > coding html. Following are some notes from my experience... > > The home page of my CD site describes the software that ought to be > installed, which browsers on which platforms are recommended (and > have been tested on), and links to install what might not be. I put > the files in order of most likely to suceed simple html pages > with images first to quicktime video, java applet, etc... last. > Given how prolific you are (I regularly enjoy your work), I would > think that you would do fine with the pieces that do not require > flash alone. > When I included files that required server side scripting, I posted > a warning message on the local page with a link to the www page and > hoped for the best. > > Some tips you might find useful: > > I am assuming that you want to show a subset of your website, if > this is the case you can always give the look and feel of your site > with hard links instead of server side scripted pages. A quick and > dirty way to generate this is to lift the html source out of your > browser, and then do a search and replace on the file paths. > > Speaking of file paths, if you put the homepage in the root folder > of the CD, you can use relative paths without concern to where the > drive is (at least on Macs and Windows machines you can). > > If you absolutely need to simulate animation there is always the > "refresh" meta-tag. > > May the www be at your back, > Jason Van Anden > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/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: Sat, 27 Aug 2005 07:08:29 -0700 message-id: <1125151709.555@fire.he.net> references: no_parent from: Plasma Studii subject: Re: RHIZOME_RAW: How do you prepare a powerpoint presentation for a strange machine? geert, don't know much about keynote or powerpoint. both probably too limited to small, by-the- book variations of the manual's examples. you are probably doing a lot more than they are capable of. for specifying local and http files interchangeably, flash will do it. but it's only slightly less by-the-book. director (especially with the file io xtra, but isn't required for what you describe) is an ideal bet, but only if you have it and if you have used it enough to be comfortable (fast). one obvious choice, is for the CGI-type scripts to run locally. every platform CAN run Perl, PHP, Python, etc, but doubt this committee would have any installed. much of what you may want to do to use local and web files can be done with javascript. it even does some CGI-type things like reports the referring page or IP address (which may only be 127.0.0.1, but you can use it as a test, to tell the script if things are local or networked and from where) good luck. On Aug 27, 2005, at 4:39 AM, Geert Dekkers wrote: Hi list I have a problem that someone might be able to help me with. I am currently working on an application for a grant, and here in the Netherlands, this implies preparing a powerpoint presentation for a arts board committee on a strange machine, done by someone you don't know and can't speak to. Worse, the committee can't garantee an internet connection during the presentation! I'm using Keynote to build my presentation. I can link to webpages on my site from within Keynote (I'll export the presentation to powerpoint in the end) so I can show my php and other serverside work as well as link directly to swf and javascript-enabled webpages. But, obviously, this will only work if there is an internet connection. So, the other day, I thought I might link directly to a local file on the CD I plan to send to said committee. But alas! Keynote will not link to a local webpage. Nor will PowerPoint! (even if you use the file:// / protocol, AND figure out what the path on your CD will be...) So, is there any other way?? How do you guys present net.art work (barring, of course, giving the committee the url) ??? I would like a compact and most importantly, a fool-proof presentation. And yes, I will build a complete local website including all clientside stuff. But I'd rather link to the files directly. Hope you can help Cheers Geert http://nznl.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 ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.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, 27 Aug 2005 07:19:29 -0700 message-id: <1125152369.2562@fire.he.net> references: no_parent from: Plasma Studii subject: Fw: Re: RHIZOME_RAW: How do you prepare a powerpoint presentation for a strange machine? java'd work too. make an applet. most stuff assumes everything's a relative address, like "../folderNextDoor/file.txt", sometimes you can work around what you're saying by simply never specifying a literal address ("http://server.com/folder/file.txt" may be the same as "file://account/desktop/ project/folder/file.txt") ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.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, 27 Aug 2005 16:37:02 +0200 message-id: <22bf9d4b-7a9c-4e57-a941-0b66e1868237@nznl.com> references: <1125152369.2562@fire.he.net> from: Geert Dekkers subject: Re: RHIZOME_RAW: How do you prepare a powerpoint presentation for a strange machine? Thanks for this. I'll try getting Keynote or PowerPoint to link to a local file using the file: protocol. But I'm beginning to realise that I need to build a mini nznl.com to go along with my presentation. Geert http://nznl.com On 27-aug-2005, at 16:19, Plasma Studii wrote: > java'd work too. make an applet. > > most stuff assumes everything's a relative address, like "../ > folderNextDoor/file.txt", > sometimes you can work around what you're saying by simply never > specifying a literal > address ("http://server.com/folder/file.txt" may be the same as > "file://account/desktop/ > project/folder/file.txt") > > > ___________________ > PLASMA STUDII > 501(c)(3) non-profit > stage * galleries * web > POI Box 1086 > Cathedral Station > New York, NY 10025 > http://plasmastudii.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, 27 Aug 2005 10:42:30 -0400 message-id: references: no_parent from: Pall Thayer subject: Re: RHIZOME_RAW: How do you prepare a powerpoint presentation for a strange machine? Hi Geert, The main thing to keep in mind in such situations is that the committee is going to receive a lot of applications and that the time they are willing to give to yours is limited. I've had to do just what you're doing. make the application as low tech as you can and if they like the short version, they'll give you more time and be willing to add the extra effort of exploring links you provide. The power-point file shouldn't include more than screen-shots and short descriptions. Label your screen-shots the way a traditional work of art would be labeled, i.e. Title, year, materials used (php, html, javascript, etc.). If they begin to look at your application and something, anything goes wrong, they're likely to stop there. Oh, and just for the record, my power-point application was created on a Linux laptop using nothing but open-source tools. Of course, I tested it widely before sending it though. Ran it on Mac OS X, Mac OS 9 and Windows. And ps. If they say they want a power-point file, I wouldn't assume that means that they'll also accept any other type of file on a CD (as others have been suggesting). Pall On 27.8.2005, at 04:39, Geert Dekkers wrote: > Hi list > > I have a problem that someone might be able to help me with. > > I am currently working on an application for a grant, and here in > the Netherlands, this implies preparing a powerpoint presentation > for a arts board committee on a strange machine, done by someone > you don't know and can't speak to. Worse, the committee can't > garantee an internet connection during the presentation! > > I'm using Keynote to build my presentation. I can link to webpages > on my site from within Keynote (I'll export the presentation to > powerpoint in the end) so I can show my php and other serverside > work as well as link directly to swf and javascript-enabled webpages. > > But, obviously, this will only work if there is an internet > connection. So, the other day, I thought I might link directly to a > local file on the CD I plan to send to said committee. But alas! > Keynote will not link to a local webpage. Nor will PowerPoint! > (even if you use the file:/// protocol, AND figure out what the > path on your CD will be...) > > So, is there any other way?? How do you guys present net.art work > (barring, of course, giving the committee the url) ??? I would > like a compact and most importantly, a fool-proof presentation. And > yes, I will build a complete local website including all clientside > stuff. But I'd rather link to the files directly. > > Hope you can help > > Cheers > Geert > http://nznl.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: Sat, 27 Aug 2005 08:43:16 -0700 message-id: <200508271543.j7rfhgcv017569@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a strange machine? I am certain there are better ideas out there and I am super curious about how others have gone about this. I tried to take the most cautious route - which was to make the code as vanilla a possible. Since posting this morning, I looked at the code and found something I left out - a file that causes the home page to auto start off a CD when it gets popped into a Windows box. Here is what you do: 1.) Create a text file named "autorun.inf" 2.) Put these two line in it: [autorun] open=start start.htm 3.) change "start.htm" to whatever your home page is called. 4.) copy this and your home page to the root of the CD. After doing minimal research into how to do this on OS X I gave up - either it was not as straight forward or I was mistyping something over and over again. I put instructions on the CD label that the user should double click "start.htm" to begin the presentation, so either way I was covered (including if auto open was turned off on the Windows box). Jason Van Anden + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + Subscribers to Rhizome are subject to the 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, 27 Aug 2005 08:48:45 -0700 message-id: <200508271548.j7rfmjww017987@idx164.idx.net> references: no_parent from: jean gayak subject: RHIZOME_RAW: rendez-vous électronique Cellule0038753K will present a retrospective of their works in VJing video-art and interactive installations since 1996. And all of this "three in one" during "les rendez-vous électroniques 2005" in Paris. more info@: CELLULE0038753K BLOG: http://www.blog-art.com/cellule0038753k/installationsdispositifs/ http://www.blog-art.com/cellule0038753k/in_progress_maintenant/2005/08/23/rendezvous_electroniques.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 > International Biennial Arts Festival will include hundreds of > exhibits, shows and art performances from here and abroad. For a > complete schedule of events, please visit www.bayennale.com > > -->The marksearch team willillustrate the WE Riders project with a > full-scale model of the tandem bike and travelling kiosk at 65 > Washington Street in the Port of Oakland Building (next to Tony Roma's > Restaurant) in Jack London Square.Visiting hours are > Thursday-Sunday, 11am-4pm, July 23 - August 7. The model can be seen > from the storefront window at any time. > > --> WE Riders is an interdisciplinary, on-site creative research > projectto give West & East Oakland residents the opportunity to > culturally define, physically locate, and celebrate their > neighborhoods through stories and images that we will collect and > display on a trailer-kiosk pulled by our tandem bicycle. The full > project will take place Spring, 2006. > > > For more information about WE Riders, please contact: > > marksearch || cultural researchers > marksearch@sbcglobal.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 date: Sat, 27 Aug 2005 09:50:42 -0700 message-id: <200508271650.j7rgogp2022135@idx164.idx.net> references: no_parent from: MaryJo Rosania subject: RHIZOME_RAW: Re: Re: How do you prepare a powerpoint presentation for a strange machine? I was thinking the same thing - it is dangerous to assume that a committee is willing to accept another format on a CD. I think a savvy group would be impressed by screen shots and content and interested enough by the work to visit your links later whether there is an internet connection or not.... keep it simple. that's the best way to show off your work. MJ Pall Thayer wrote: > Hi Geert, > The main thing to keep in mind in such situations is that the > committee is going to receive a lot of applications and that the time > > they are willing to give to yours is limited. I've had to do just > what you're doing. make the application as low tech as you can and if > > they like the short version, they'll give you more time and be > willing to add the extra effort of exploring links you provide. The > power-point file shouldn't include more than screen-shots and short > descriptions. Label your screen-shots the way a traditional work of > art would be labeled, i.e. Title, year, materials used (php, html, > javascript, etc.). If they begin to look at your application and > something, anything goes wrong, they're likely to stop there. Oh, and > > just for the record, my power-point application was created on a > Linux laptop using nothing but open-source tools. Of course, I tested > > it widely before sending it though. Ran it on Mac OS X, Mac OS 9 and > Windows. > > And ps. If they say they want a power-point file, I wouldn't assume > that means that they'll also accept any other type of file on a CD > (as others have been suggesting). > > Pall > > On 27.8.2005, at 04:39, Geert Dekkers wrote: > > > > Hi list > > > > I have a problem that someone might be able to help me with. > > > > I am currently working on an application for a grant, and here in > > the Netherlands, this implies preparing a powerpoint presentation > > for a arts board committee on a strange machine, done by someone > > you don't know and can't speak to. Worse, the committee can't > > garantee an internet connection during the presentation! > > > > I'm using Keynote to build my presentation. I can link to webpages > > on my site from within Keynote (I'll export the presentation to > > powerpoint in the end) so I can show my php and other serverside > > work as well as link directly to swf and javascript-enabled > webpages. > > > > But, obviously, this will only work if there is an internet > > connection. So, the other day, I thought I might link directly to a > > > local file on the CD I plan to send to said committee. But alas! > > Keynote will not link to a local webpage. Nor will PowerPoint! > > (even if you use the file:/// protocol, AND figure out what the > > path on your CD will be...) > > > > So, is there any other way?? How do you guys present net.art work > > (barring, of course, giving the committee the url) ??? I would > > like a compact and most importantly, a fool-proof presentation. And > > > yes, I will build a complete local website including all clientside > > > stuff. But I'd rather link to the files directly. > > > > Hope you can help > > > > Cheers > > Geert > > http://nznl.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: Sat, 27 Aug 2005 10:03:54 -0700 message-id: <200508271703.j7rh3spf023124@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a I can't agree more with Pall, if they are requesting Powerpoint, disregard my comments entirely and definitely do Powerpoint. Hopefully my advice will be worth something for something else in a future time. I got carried away with the CD part in relation to your website, etc... Jason Van Anden   + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php >> > > maybe we are in the "skins" age, but even that is quickly passing. we > should be in the bronze age. + -> 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 date: Sat, 27 Aug 2005 13:40:10 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast #52: Love http://deepyoung.org/radio/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php In Defense Of Poetry http://lewislacook.corporatepa.com/in_defense_of_poetry/ PHP/JavaScript *************************************************************************** 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 -> 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 date: Sat, 27 Aug 2005 19:51:44 +0200 message-id: <0765e68b-41af-4859-8712-a80acc5ea586@nznl.com> references: <200508271703.j7rh3spf023124@idx164.idx.net> from: Geert Dekkers subject: Re: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a Thanks, everyone -- Well, to conclude, I think I should keep it simple then. And, thankfully, that means I can complete the presentation the way it is set up. Thanks again, this was really helpful. Geert http://nznl.com On 27-aug-2005, at 19:03, Jason Van Anden wrote: > I can't agree more with Pall, if they are requesting Powerpoint, > disregard my comments entirely and definitely do Powerpoint. > Hopefully my advice will be worth something for something else in a > future time. > > I got carried away with the CD part in relation to your website, > etc... > > Jason Van Anden > > > >   > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/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: Sat, 27 Aug 2005 12:10:41 -0700 (GMT-07:00) message-id: <338084.1125169841728.javamail.root@elwamui-chisos.atl.sa.earthlink.net> references: no_parent from: christina mcphee subject: Re: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a Geert, thank you, for bringing up the topic! Powerpoint hell is no fun. -- and to everyone for responding with tips and help. I learned a lot from this little exchange. Christina -----Original Message----- From: Geert Dekkers Sent: Aug 27, 2005 10:51 AM To: Rhizome Subject: Re: RHIZOME_RAW: Re: How do you prepare a powerpoint presentation for a Thanks, everyone -- Well, to conclude, I think I should keep it simple then. And, thankfully, that means I can complete the presentation the way it is set up. Thanks again, this was really helpful. Geert http://nznl.com On 27-aug-2005, at 19:03, Jason Van Anden wrote: > I can't agree more with Pall, if they are requesting Powerpoint, > disregard my comments entirely and definitely do Powerpoint. > Hopefully my advice will be worth something for something else in a > future time. > > I got carried away with the CD part in relation to your website, > etc... > > Jason Van Anden > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/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: Sat, 27 Aug 2005 14:49:50 -0700 (PDT) message-id: <20050827214950.60637.qmail@web81401.mail.yahoo.com> references: no_parent from: Paula Poole subject: RHIZOME_RAW: other remote location journal 8/14/05 Other Remote Location Journal 8/14/05 Paula Poole Part of the day was spent with some of the Speed Week crowd. Some of these enthusiasts try to break speed records on the Bonneville Salt Flats. This annual event has been happening since the 1940's. We drove back out to get to another road, but found that the Pilot gas station has an area for taking showers. We didn't go out to watch the event, because time was of the essence and while eating enchiladas at the Salt Flat Cafe, we heard people saying while they shook their heads that the salt was rough. I don't think any speed records will be set this year. In fact, we found out it might still be wet, but there was a heatwave and some windy days that drew the moisture out of the salt. We drove on the scenic road called the Silver Island Mountain Back-Country By-Way. We would find the other two locations on the Silver Island Mountains. The mountains poked up from the cracked, glistening expanse in crags of rock. We found markers that we knew continued in a line near the Pilot Range, the other side of the valley. The cattle of the Donner-Reed party stampeded and scattered looking for water here. The route is called Hasting's Cut-Off. We camped on the north side where we could see most of Lemay Island and the Pilot Range. Through the afternoon and evening, we considered the plight of the Donner-Reed party and what they would face in their horrible winter. ____________________________________________________ Start your day with Yahoo! - make it your home page http://www.yahoo.com/r/hs + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 27 Aug 2005 14:58:05 -0700 message-id: <200508272158.j7rlw5sc025498@idx164.idx.net> references: no_parent from: vicky isley subject: RHIZOME_RAW: Computational sound & imagery workshop boredomresearch workshop 'An Idiots Guide to: Computational Sound & Generative Imagery' @ New Greenham Arts on Mon 12th & Tues 13th September, 2005 [10am - 4pm] This creative workshop is open to artists working in all media who are interested in learning about computational soundworks, generative software and human interaction. Mon 12th September: boredomresearch will challenge existing notions of the creative production of new media work, giving a clear insight into the role of technology and its creative processes. The participants will experience existing sound software (freeware which can be downloaded from the internet), perform versions of software in a space and reconfigure software versions of the performances. Through these processes they will experience the excitement of setting in motion digital processes where the creative outcome is unpredictable and potentially surprising. Tue 13th September: boredomresearch will demonstrate how simple rules can generate imagery or motion. Participants will explore these rules through a mixture of paper based drawing experiments. Followed by a software version of the exercise where participants can change settings and see how easily they can generate a huge range of fascinating, generative imagery from very simple rules. Price for 2 day workshop: £40 Places are limited, please book by the 7th Sept by contacting: Sally Childs [email: sally@ng-arts.org.uk or tel: 01635 817480] New Greenham Arts ,113 Lindenmuth Way , New Greenham Park , Newbury ,Berkshire RG19 6HN Directions: New Greenham Arts is within a 10 minute drive of J13 of the M4 and 5 minutes from the A34 (Tothill interchange). The M3 is approximately 15 miles distant. Newbury and Thatcham are within a 5 minute drive and Reading and Basingstoke are within easy reach. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php As an additional compliment, accompanying the video installation, sounds and music will be improvisationally played by Wataru Abe (Lap Top), Hitoshi Kanda (Jazz Piano), and Takuya Morikawa (Violin). + -> 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 date: Sat, 27 Aug 2005 15:19:26 -0700 message-id: <1125181166.4258@fire.he.net> references: no_parent from: Plasma Studii subject: RHIZOME_RAW: KISS (Keep It Simple, Stupid) while in this instance, geert will surely benefit from an example a PP demo of the work, rather than a stand-alone version. from a requirement like mentioning powerpoint specifically, you can pretty well guess they won't be too open-minded to doing much with computers beyond a slide show or linear animation. But it goes far deeper. A CD that auto-starts a program was mentioned, though the osX sollution is actually far simpler, it really isn't a necessary option. Even though there's little practical difference in using Mac or Win platforms, on Win there are steps to navigate your way to the D drive (usually, where you'll find a CD once inserted. however, on mac, specifying it is actually not even a conscious effort. it appears and you use it lioke any other folder when you see it. auto-starting would actually be a bit of an annoyance (thinking that way, using either platform), if you inserted the CD while doing something else. in many cases, these tiny shifts in perspective mean anything BEYOND power point (the bulk of what computers are capable of) remains in many viewers' "blind spots". rather than see it does something unexpected, they often see it does nothing at all. and in many cases, trying to translate what you do, into power point, makes no real sense. won't work. for example, you may create a piece that looks up stock indexes, compares it to local weather, and draws something with that info in ASCII. A page of ASCII code, would tell you nothing, and the observer could easily assume you simply arranged these letters. Since the composition (which ordinarily would gain its interesting-ness from it's dynamics, not any still) may not have that much visual aesthetic value to them. often, the unpredictable-ness of the results, is far more the focus, than individual results at isolated, very specific times. if the piece is merely a bouncing ball, that changes the volume of audio with your movement, there is no real non-interactive way to show this. it is a tiny shift of perspective that prevents viewers from seeing that linear documentation falls far far short of what a lot of non-linear pieces are doing. essentially, it's like demonstrating linguistics, with only a short monologue. one of the strengths of language being conversation. good luck to geert. it is often a ton more work, time and file space (significant mostly only when delivery is a URL) to create these linear (which essentially power point or HTML really is) facsimiles than simply the piece itself. beware of those who invoke the words "computer art", but really only want traditional work that reminds them of watching the Matrix. ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.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: Sun, 28 Aug 2005 10:47:55 -0700 message-id: <200508281747.j7shltmk007429@idx164.idx.net> references: no_parent from: jean gayak subject: RHIZOME_RAW: interactive land art installation hi, you can find a video showing one of our last installation called EOUTOPIA here: http://www.labomedia.org/sons/lacelluleutopia.ram and some pictures here: http://www.blog-art.com/cellule0038753k/medias/dos42f350c97e136 have a nice week. jean + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > >> Sorry mate, silverism peaked in the 80s already. New media is > >> 'post-Silver Age': > >> > >> http://www.moma.org/education/openends/guide/overview/12koons.html > >> > >> > > > > maybe we are in the "skins" age, but even that is quickly passing. > we > > should be in the bronze age. > + -> 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 date: Sun, 28 Aug 2005 11:37:54 -0700 message-id: <200508281837.j7sibsxq012014@idx164.idx.net> references: no_parent from: Kelly Shindler subject: RHIZOME_RAW: Ask the Robot this Weds at the Frying Pan in NYC! invites humans and automatons alike to celebrate an official robot holiday <> @ THE FRYING PAN Pier 63 North River, NYC 12th Ave, between 22nd & 23rd http://www.fryingpan.com/mapframe.html $5 SUGGESTED DONATION DOORS 6:30PM Special Screening of "SALT OF THE EARTH" 7PM SHOW 9PM The band: PROJECT JENNY PROJECT JAN 10:30PM DJ Mike Horan till late is a platform that gives artists working within and across different media a chance to present their work on an open stage. The evening will feature performances, installations, and video art from artists working across analog, digital and just plain human media. "Salt of the Earth" (1954). Special screening of this classic film, produced, written and directed by victims of the McCarthy-era Hollywood blacklist in association with the International Union Of Mine, Mill and Smelter Workers. "Salt of the Earth" tells the tale of a real life strike by Mexican-American zinc miners in New Mexico. WITH YOUR HOSTS: OPHRA WOLF (ROBOT OPERATOR), MEGATRON (ROBOT), KELLY SHINDLER (VIDEO CURATOR) >PERFORMANCES BY< 3CP: Manlio LoConte, Scott Fitzgerald, Mike Sharon Biggs and the Stepkids (www.thebiggscollective.com) Jamie Allen and Company Jessica Delfino Strike Anywhere Ensemble (www.strikeanywhere.info) Tristan Perich (www.tristanperich.com) >INSTALLATIONS AND ARTWORK BY< Andrew Milmoe David Gitt: made the image above and many more to come (www.sellz.org) Hans Christoph Steiner Elizabeth Line (Performance Installation) Jite Agbro (Seattle) Meghan Trainor Paul Davies Tristan Perich >VIDEOS BY< Nick Fox-Gieg Jeremy Baudry Zev Robinson Meredith Warner <<> SPECIAL THANKS: John and Angela Kevey (the Frying Pan folks), Alyssa Wright (programs), Manlio Lo Conte (sound man), Mac McKean (DVD production), Bob Hewitt Brought to you by www.pursuethepulse.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: Sun, 28 Aug 2005 20:40:02 +0200 (CEST) message-id: <20050828184002.16a3e21fda@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Fcc fboxrule France, FedEx fact-finding FYI, faces firewalls, fourth Fmtname. 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 Thank you in advance for any help you may be able to offer! Keiko Original Message: ----------------- From: vade doktorp@mac.com Date: Tue, 19 Jul 2005 11:13:06 -0400 To: share-admin@share.dj Subject: Re: [admin] Reminder: Creative Commons workshop conference call tomorrow. well, I asked before and got no responses. I dont have immediate access to a space in the middle of the day. I was going to suggest Hunter/Brooklyn Poly, but neither Eric nor Carl are around. v a d e // http://homepage.mac.com/doktorp/ doktorp@mac.com On Jul 19, 2005, at 11:10 AM, oblaat@attglobal.net wrote: > anton, > you haven't figured out where it to be taken place?!? > hmm.... for the conference call, you may need 'office-like' space with > bunch of (well, at least 2) phones... for which the providing party > wouldn't mind giving the line to us for 30 min. or so??! > anyone has an access to empty school office or something?!? > if something can be found, i'm more than happy to sit in. + -> 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 date: Sun, 28 Aug 2005 15:05:53 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: Canadian portrait slashed at MOCCA garage sale At the Museum Of Contemporary Canadian Art on Queen west there's a group show and sale this week, a benefit for performance / media artist Istvan Kantor. On Tuesday at the 2pm press conference, Miklos Legrady will perform the first of a series of works titled "Repeatedly Slashing A Valuable Painting With a Box-Cutter". The chosen painting is technically a masterpiece, a classic b&w portrait of a squeegee kid named Andrew who worked the corner of Bathurst and Queen street in 2001. Click the link below to view the painting. http://www.ccca.ca/mikidot/paintings/people/pages/010.html ________________________________________________________________________ We should note that most artists, curators, and writers graduate from similar schools and share similar values. These are reflected in their association, their production, and the systems created thereby. A cultural blindness results from such group judgements. There are curators like David Liss - who opened the doors at MOCCA for Istvan Kantor's benefit - who have street credentials outside academia but they are few. And even Queen street has it's cliques and formalities. Kantor and Legrady came to the conclusion the art sworld cannot be permanently changed=8A but it can be periodically shaken up and made to take notice. Legrady's performance may be seen as an open emotional blackmail of the art world, or is it a shallow sacrifice of a painting (so it can be reborn as a trendy and interesting sculpture in the "slashed paintings" series?). In any case, it's an act of vandalism, a destruction of a portrait from contemporary Canadian history, and as such it's a genuine cultural loss. Legrady's work plays on how we only value after the fact that which we don't properly appreciate in the first place. Those present in the audience, on seeing the painting, will feel a desire to possess the work and a sense of awe, loss and regret at it's impending and actual destruction. The moment at which the blade tears through canvas will resonate as history brought alive within that moment. a history of struggle between artistic freedom and institutional authority. -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +416+203+1846 +647+292+1846 + http://www.mikidot.com + --============_-1086865744==_ma=========== Canadian portrait slashed at MOCCA garage sale
At the Museum Of Contemporary Canadian Art on Queen west
there's a group show and sale this week,
a benefit  for performance / media artist Istvan Kantor.

On Tuesday at the 2pm press conference,
Miklos Legrady will perform the first of a series of works titled 

"Repeatedly Slashing A Valuable Painting With a Box-Cutter".

The chosen painting is technically a masterpiece, a classic b&w portrait
of a squeegee kid named Andrew who worked the corner of Bathurst and Queen street in 2001.  Click the link below to view the painting.
http://www.ccca.ca/mikidot/paintings/people/pages/010.html

________________________________________________________________________
 
We should note that most artists, curators, and writers graduate from similar schools and share similar values. These are reflected in their association, their production, and the systems created thereby. A cultural blindness results from such group judgements.

There are curators like David Liss - who opened the doors at MOCCA for Istvan Kantor's benefit - who have street credentials outside academia
but they are few. And even Queen street has it's cliques and formalities. Kantor and Legrady came to the conclusion the art sworld cannot be permanently changed=8A but it can be periodically shaken up
and made to take notice.

Legrady's performance may be seen as an open emotional blackmail of the art world, or is it a shallow sacrifice of a painting (so it can be reborn as a trendy and interesting sculpture in the "slashed paintings" series?).  In any case, it's an act of vandalism, a destruction of a portrait from contemporary Canadian history, and as such it's a genuine cultural loss.

Legrady's work plays on how we only value after the fact that which we don't properly appreciate in the first place.  Those present in the audience, on seeing the painting, will feel a desire to possess the work and a sense of awe, loss and regret at it's impending and actual destruction.

The moment at which the blade tears through canvas will resonate as history brought alive within that moment. a history of struggle between artistic freedom and institutional authority.

--

+Miklos Legrady
+
+310 Bathurst st.
+Toronto ON.
+M5T 2S3
+Canada
+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 -> 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 date: Sun, 28 Aug 2005 15:07:22 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: Canadian portrait slashed at MOCCA garage sale At the Museum Of Contemporary Canadian Art on Queen west there's a group show and sale this week, a benefit for performance / media artist Istvan Kantor. On Tuesday at the 2pm press conference, Miklos Legrady will perform the first of a series of works titled "Repeatedly Slashing A Valuable Painting With a Box-Cutter". The chosen painting is technically a masterpiece, a classic b&w portrait of a squeegee kid named Andrew who worked the corner of Bathurst and Queen street in 2001. Click the link below to view the painting. http://www.ccca.ca/mikidot/paintings/people/pages/010.html ________________________________________________________________________ We should note that most artists, curators, and writers graduate from similar schools and share similar values. These are reflected in their association, their production, and the systems created thereby. A cultural blindness results from such group judgements. There are curators like David Liss - who opened the doors at MOCCA for Istvan Kantor's benefit - who have street credentials outside academia but they are few. And even Queen street has it's cliques and formalities. Kantor and Legrady came to the conclusion the art sworld cannot be permanently changed=8A but it can be periodically shaken up and made to take notice. Legrady's performance may be seen as an open emotional blackmail of the art world, or is it a shallow sacrifice of a painting (so it can be reborn as a trendy and interesting sculpture in the "slashed paintings" series?). In any case, it's an act of vandalism, a destruction of a portrait from contemporary Canadian history, and as such it's a genuine cultural loss. Legrady's work plays on how we only value after the fact that which we don't properly appreciate in the first place. Those present in the audience, on seeing the painting, will feel a desire to possess the work and a sense of awe, loss and regret at it's impending and actual destruction. The moment at which the blade tears through canvas will resonate as history brought alive within that moment. a history of struggle between artistic freedom and institutional authority. -- +Miklos Legrady + +310 Bathurst st. +Toronto ON. +M5T 2S3 +Canada +416+203+1846 +647+292+1846 + http://www.mikidot.com + --============_-1086865740==_ma=========== Canadian portrait slashed at MOCCA garage sale
At the Museum Of Contemporary Canadian Art on Queen west
there's a group show and sale this week,
a benefit  for performance / media artist Istvan Kantor.

On Tuesday at the 2pm press conference,
Miklos Legrady will perform the first of a series of works titled 

"Repeatedly Slashing A Valuable Painting With a Box-Cutter".

The chosen painting is technically a masterpiece, a classic b&w portrait
of a squeegee kid named Andrew who worked the corner of Bathurst and Queen street in 2001.  Click the link below to view the painting.
http://www.ccca.ca/mikidot/paintings/people/pages/010.html

________________________________________________________________________
 
We should note that most artists, curators, and writers graduate from similar schools and share similar values. These are reflected in their association, their production, and the systems created thereby. A cultural blindness results from such group judgements.

There are curators like David Liss - who opened the doors at MOCCA for Istvan Kantor's benefit - who have street credentials outside academia
but they are few. And even Queen street has it's cliques and formalities. Kantor and Legrady came to the conclusion the art sworld cannot be permanently changed=8A but it can be periodically shaken up
and made to take notice.

Legrady's performance may be seen as an open emotional blackmail of the art world, or is it a shallow sacrifice of a painting (so it can be reborn as a trendy and interesting sculpture in the "slashed paintings" series?).  In any case, it's an act of vandalism, a destruction of a portrait from contemporary Canadian history, and as such it's a genuine cultural loss.

Legrady's work plays on how we only value after the fact that which we don't properly appreciate in the first place.  Those present in the audience, on seeing the painting, will feel a desire to possess the work and a sense of awe, loss and regret at it's impending and actual destruction.

The moment at which the blade tears through canvas will resonate as history brought alive within that moment. a history of struggle between artistic freedom and institutional authority.

--

+Miklos Legrady
+
+310 Bathurst st.
+Toronto ON.
+M5T 2S3
+Canada
+416+203+1846
+647+292+1846
       +
       http://www.mikidot.com
+
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 28 Aug 2005 13:31:55 -0700 (PDT) message-id: <20050828203155.89805.qmail@web30506.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: homecoming ...finally getting my homepage together, kindly hosted by Corporate Performance Artists... http://lewislacook.corporatepa.com/ ...Still under construction, but locating and posting older works as we speak...hopefully, this will be a much more complete portal for my work... bliss l *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __________________________________ Yahoo! Mail for Mobile Take Yahoo! Mail with you! Check email on your mobile phone. http://mobile.yahoo.com/learn/mail + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php For more information please visit www.cdnfilmcentre.com PROTOTYPE EXHIBITION OPEN TO PUBLIC: Friday, July 22 to Sunday, July 24 - 11 am to 7 pm. + -> 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 date: Sun, 28 Aug 2005 13:56:15 -0700 message-id: <200508282056.j7skufe5028579@idx164.idx.net> references: no_parent from: roger malina subject: RHIZOME_RAW: call for abstracts of these for LABS ------------------------------------ CALL FOR ENGLISH AND SPANISH LANGUAGE THESIS ABSTRACTS IN INTERSECTION OF ART/SCIENCE/TECHNOLOGY NEXT DEADLINE: 30 September 2005 The Leonardo Abstracts services, LABS, are seeking PhD, Masters and MFA thesis abstracts for their next quarterly publication cycle. English language and Spanish language databases are accepting thesis abstracts concerning the intersections of art, science and technology. The LABS databases are a leading international thesis abstracts service for emerging artists, researchers and scholars. Submissions are evaluated by international Peer Review Panels. The top rated abstracts are published by Leonardo. SPANISH LANGUAGE LABS: Authors working in Spanish should submit the Thesis Abstract Submittal form at Artnodes, Barcelona: --> http://www.uoc.edu/artnodes/leonardolabs ENGLISH LANGUAGE LABS: Authors working in the English should submit the Thesis Abstract Submittal form at Pomona College, USA: --> http://leonardolabs.pomona.edu For further information on the LABS project: --> http://leonardo.info/isast/journal/calls/labsprojectcall.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 > However, if the blog is initiated by an individual > though it may discuss work-related issues, outside the > scope of his employment, who owns the content in the > blog? This is comparable to the situation where a > professor writes a book related to, but outside the > duties, of his instruction. This is often a gray issue > in the academic world. University policies that > specifically deal with such issues can help clarify > the situation. Also, a professor approaching his > university prior to writing the book, may be able to > clarify the situation, prior to a confrontation. > > Many companies have yet to develop Weblog Policies, > similar to their other integral policies. Thus, > employees who discuss work-related activities are > generally held to the rule of "good taste" in their > discussions, and of course, not spewing any > confidential information. As is the case with many > Internet-related activities, would a written Weblog > Policy contradict the free flowing nature of > information in a blog, and perhaps weaken the > effectiveness of these blogs? > > With ownership comes the issue of who may authorize > reproduction of the content in a blog. Generally, only > the owner may authorize others to reproduce a work. > Would this be an organization or an individual? Or > should the whole notion of obtaining permission in > relation to blog content be mute, since the whole > point of the blog is for as many people as possible to > access and read it? The blogs by Sun Microsystem > employees at blogs.sun.com take what I call a > compromise position. These blogs are subject to a > Creative Commons License. Thus, the blogs are > protected by copyright, however the rights are > conveniently set out in a hyper-linked license and are > broader than those rights attached to most > copyright-protected works. > > To date, there are no lawsuits relating to ownership, > reproduction or re-distribution of the content of > blogs. This in itself may be helpful for organizations > and individuals who are determining "policies" in this > area. And for those bloggers who want their content > read as widely as possible, they are free to put a > statement on their blogs to the effect that the > content may be freely used without permission. + -> 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 date: Sun, 28 Aug 2005 20:15:46 -0700 message-id: references: no_parent from: Nanette Wylde subject: RHIZOME_RAW: cfp: net.art chico.art.net Annual Exhibition of Net.Art call for participation The Electronic Arts Program at California State University Chico will hold its annual virtual exhibition of net.art in December 2005. We are looking for recent, interesting and excellent time-based and interactive art projects created for the Internet arena. Parameters: Interactive, non-static, engaging, provocative & stimulating net.art projects made 2004 or later. Open theme. No commercial, design, portfolio or traditional media sites please. Submission Deadline: September 25, 2005 Email project URL, brief description/statement, creators to: chicoartnet2@yahoo.com Selected projects will be expected to maintain their accessibility & location through May 2006. Launch date: December 1, 2005 www.csuchico.edu/art/net chico.art.net 2004 featured works by Lionello Borean + Chiara Grandesso, Katie Bush, David Crawford, Carla Diana, Robert J. Krawczyk, Geoffrey Thomas, and Jody Zellen. Produced by The Electronic Arts Program, California State University Chico Department of Art & Art History Apologies for any cross postings. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php * Installation instructions * Equipment/AV requirements All selected artists must: * Be responsible for the shipping cost and insurance of their artwork to and from the venue in Melbourne. * Ensure their artworks are ready for presenting and include necessary hardware/software and or hanging/presentation devices. * Complete the 'Acceptance Agreement.doc'. This must be signed and posted or faxed to the conference organisers with your name and registration ID. * Adhere to the electronic submission procedure Selected candidates will be given further instructions on where to send finished artworks. SUBMISSION and AUTHOR SCHEDULE As with our past conferences, the Graphite online submission system will be used by authors to create their profiles and manage their submission details. The online submission system will be available on this website from 2 May, 2005 SUBMISSION PROCEDURE CHECKLIST * Completed online submission proposal * Completed, signed and send the 'Acceptance Agreement.doc' Both the 'Acceptance Agreement.doc' and the online submissions procedure will be posted online at the conference website Site opens for submissions 2 May, 2005 inquiries about submission to the Digital Art Gallery should be made to either: Graphite 2005 Art Co-chairs Jacquelyn Ford Morie, University of Southern California morie@ict.usc.edu Ian Gwilt, University of Technology, Sydney ian.gwilt@uts.edu.au + -> 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 date: Sun, 28 Aug 2005 20:17:29 -0700 (PDT) message-id: <20050829031729.68180.qmail@web81403.mail.yahoo.com> references: no_parent from: Paula Poole subject: RHIZOME_RAW: other remote location journal 8/15/05 Other Remote Location Journal 8/15/05 Paula Poole No one drove by yesterday, last night or this morning. We broke camp and set out hiking to find the other two Remote Locations. There was a road that wasn't on the topographic maps that passed by a mine and continued a good stretch to one of the sites. We saw lizards that had horns protruding from their bodies and some spotted like leopards. We also saw tiny lizards. There were so many lizards every few feet and it seemed like they didn't have much to fear or compete with. We had about 9 kilometers to hike and there were clouds forming and moving in, but we were lucky with the weather again. We could see the Newfoundland Range to the east. One of the sites was most similar in its features to Remote Location. The rocks are a deep brown with black shadows and if a mountain appears behind a barren island, it is a deep blue. Salt brush grows on the playa and dots the islands. Ancient Lake Bonneville lines stripe the islands, some more prominent than others. When we were done, we hurried out because the wind was bringing clouds over the blue. We didn't want to get stuck in the fine dust of the road if it rained and turned the dust into clay. In the gamble of the landscape, we were pleased with the results and felt as if we'd won the bet with the ability to reach all of the locations. __________________________________ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 29 Aug 2005 02:41:49 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: Istvan Kantor + MOCCA: WIN A BRAND-NEW FRESH BLOOD-X Istvan Kantor and the MOCCA invites you to The Blood Must Continue to Flow PRESS CONFERENCE FOR THE QUEEN WEST ART SCUM GARAGE SALE more details! http://www.ccca.ca/mikidot/istvansite/garage_sale_intro.html http://www.ccca.ca/mikidot/istvansite/garage_sale.html WHY DREAM of SPENDING 80 MILLION OR MORE ON A USED, OLD-FASHIONED VAN GOGH WHEN YOU CAN WIN A BRAND NEW FRESH BLOOD-X MADE ON THE WALL OF YOUR LIVING ROOM BY ISTVAN KANTOR! Among the confirmed artists-participants are Jessica Rose, Napoleon Broussau, Miklos Legrady, Eldon Garnet, Louise Liliefeldt, John Abrams, Phil Anderson, Boryana Rossa, Leif Harmsen and many others. Tuesday Aug. 30, 2pm at MOCCA -- Museum of Contemporary Canadian Art MOCCA 952 Queen Street West Toronto On M6J 1J8 (416)395-0067 mocca@toronto.ca http://www.mocca.toronto.on.ca artistic director: Napoleon Brousseau media manipulation: Miklos Legrady produced by Istvan Kantor and MOCCA Istvan Kantor (416)516-3688 amen@interlog.com http://www.istvankantor.com --============_-1086824734==_ma=========== Istvan Kantor + MOCCA: WIN A BRAND-NEW FRESH BLOOD-X
Istvan Kantor and the MOCCA invites you to
The Blood Must Continue to Flow
PRESS CONFERENCE FOR
THE QUEEN WEST ART SCUM GARAGE SALE

more details!
http://www.ccca.ca/mikidot/istvansite/garage_sale_intro.html
http://www.ccca.ca/mikidot/istvansite/garage_sale.html

WHY DREAM of SPENDING 80 MILLION OR MORE
ON A USED, OLD-FASHIONED VAN GOGH

WHEN YOU CAN WIN A BRAND NEW FRESH BLOOD-X
MADE ON THE WALL OF YOUR LIVING ROOM BY ISTVAN KANTOR!

Among the confirmed artists-participants are Jessica Rose, Napoleon Broussau,
Miklos Legrady, Eldon Garnet, Louise Liliefeldt, John Abrams, Phil Anderson,
Boryana Rossa, Leif Harmsen and many others.

Tuesday Aug. 30, 2pm at MOCCA

--
Museum of Contemporary Canadian Art MOCCA
952 Queen Street West Toronto On M6J 1J8 (416)395-0067
mocca@toronto.ca
http://www.mocca.toronto.on.ca

artistic director: Napoleon Brousseau
media manipulation: Miklos Legrady
produced by Istvan Kantor and MOCCA

Istvan Kantor
(416)516-3688
amen@interlog.com
http://www.istvankantor.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 29 Aug 2005 02:41:49 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: Istvan Kantor + MOCCA: WIN A BRAND-NEW FRESH BLOOD-X Istvan Kantor and the MOCCA invites you to The Blood Must Continue to Flow PRESS CONFERENCE FOR THE QUEEN WEST ART SCUM GARAGE SALE more details! http://www.ccca.ca/mikidot/istvansite/garage_sale_intro.html http://www.ccca.ca/mikidot/istvansite/garage_sale.html WHY DREAM of SPENDING 80 MILLION OR MORE ON A USED, OLD-FASHIONED VAN GOGH WHEN YOU CAN WIN A BRAND NEW FRESH BLOOD-X MADE ON THE WALL OF YOUR LIVING ROOM BY ISTVAN KANTOR! Among the confirmed artists-participants are Jessica Rose, Napoleon Broussau, Miklos Legrady, Eldon Garnet, Louise Liliefeldt, John Abrams, Phil Anderson, Boryana Rossa, Leif Harmsen and many others. Tuesday Aug. 30, 2pm at MOCCA -- Museum of Contemporary Canadian Art MOCCA 952 Queen Street West Toronto On M6J 1J8 (416)395-0067 mocca@toronto.ca http://www.mocca.toronto.on.ca artistic director: Napoleon Brousseau media manipulation: Miklos Legrady produced by Istvan Kantor and MOCCA Istvan Kantor (416)516-3688 amen@interlog.com http://www.istvankantor.com --============_-1086824739==_ma=========== Istvan Kantor + MOCCA: WIN A BRAND-NEW FRESH BLOOD-X
Istvan Kantor and the MOCCA invites you to
The Blood Must Continue to Flow
PRESS CONFERENCE FOR
THE QUEEN WEST ART SCUM GARAGE SALE

more details!
http://www.ccca.ca/mikidot/istvansite/garage_sale_intro.html
http://www.ccca.ca/mikidot/istvansite/garage_sale.html

WHY DREAM of SPENDING 80 MILLION OR MORE
ON A USED, OLD-FASHIONED VAN GOGH

WHEN YOU CAN WIN A BRAND NEW FRESH BLOOD-X
MADE ON THE WALL OF YOUR LIVING ROOM BY ISTVAN KANTOR!

Among the confirmed artists-participants are Jessica Rose, Napoleon Broussau,
Miklos Legrady, Eldon Garnet, Louise Liliefeldt, John Abrams, Phil Anderson,
Boryana Rossa, Leif Harmsen and many others.

Tuesday Aug. 30, 2pm at MOCCA


--
Museum of Contemporary Canadian Art MOCCA
952 Queen Street West Toronto On M6J 1J8 (416)395-0067
mocca@toronto.ca
http://www.mocca.toronto.on.ca

artistic director: Napoleon Brousseau
media manipulation: Miklos Legrady
produced by Istvan Kantor and MOCCA

Istvan Kantor
(416)516-3688
amen@interlog.com
http://www.istvankantor.com
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 29 Aug 2005 10:31:18 +0200 message-id: <20050829103118.a28f150c.40e1d41@127.0.0.1> references: no_parent from: {artNET} subject: RHIZOME_RAW: =?ISO-8859-1?Q?NetEX=20-=20recent=20calls? NetEX - networked experience http://netex.nmartproject.net . released recently following calls in the "external announcements" section http://netex.nmartproject.net/index.php?blog=8 1. First International City of Vinars Award for Digital Literature deadline 8 September 2. 2nd INTERNATIONAL Prize for Digital Art Girona/Spain deadline 15 September 3. Transito MX 2005 Festival Mexico deadline 30 September 4. The 14 Bremen Award for Video Art deadline 30 September 5. Spark Festival Minneapolis Deadline 30 September 6. 2nd Videology Festival Volgograd/Russia November 2005 deadline 1 October 7. Artvideofestival Ostersund/Sweden deadline 3 October details and more calls to be found on http://netex.nmartproject.net/index.php?blog=8 ******************************************* NetEX - networked experience http://netex.nmartproject.net is the new weblog of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for New Media art operating from Cologne/Germany . 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: Mon, 29 Aug 2005 01:55:26 -0700 message-id: <200508290855.j7t8tqka003976@idx164.idx.net> references: no_parent from: vasily subject: RHIZOME_RAW: c-e-n-t-e-r art project: Video Art Screening Sat. 9.3.05 c-e-n-t-e-r art project Screening in Los Angeles area: The Hive Gallery and Studios September 3rd from 8-1AM 729 S. Spring St. LA, CA 90014. Downtown btw. 7th and 8th st. $5 Suggested Donation. Parking at American parking $5 (1st lot on left past 7th st.). Flyer at the web site: http://c-e-n-t-e-r.com/ c-e-n-t-e-r art project: collaborative video art project featuring visual artists, musicians, and actors. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php On Jul 19, 2005, at 3:13 PM, ryan griffis wrote: This isn't anything new, but i thought i'd repost it here (from an archive issues list). Begin forwarded message: The Editorial by Lesley Ellen Harris in Volume 2005, Issue 1, The Copyright & New Media Law Newsletter, deals with copyright ownership in blogs - it is reproduced below. For further information on this print newsletter, see www.copyrightlaws.com . Sincerely, Amritha amritha@copyrightslaws.com Editorial - Copyright Ownership in Blogs The Internet continually forces us to test the application and flexibility of current copyright law to new modes of communications and media. The Internet has already spawned debate and lawsuits about hyper-linking, P2P file sharing, and the removal of copyright management information and technological protections. A newer Internet activity, blogging resulting in Weblogs, is now being discussed in the copyright arena. A blog is basically a stream of consciousness discussion available to the public at large. Individuals keep these blogs on every topic imaginable. Blogs are original material, and once they are fixed in some form, saved digitally or in a print out, they are protected by copyright in most countries around the world. In fact, they would be protected for 50 to 70 years after an author's death - much beyond the life of any blog itself. Blogs are becoming more popular amongst professionals, and certain employees are even encouraged to create blogs based on their work. This raises interesting issues concerning copyright ownership in the blogs. If an organization requires blogging as part of the duties of an individual, it is likely that the employer owns the content in the blog, just like the employer owns other copyright-protected works created by that employee in the course of employment. However, if the blog is initiated by an individual though it may discuss work-related issues, outside the scope of his employment, who owns the content in the blog? This is comparable to the situation where a professor writes a book related to, but outside the duties, of his instruction. This is often a gray issue in the academic world. University policies that specifically deal with such issues can help clarify the situation. Also, a professor approaching his university prior to writing the book, may be able to clarify the situation, prior to a confrontation. Many companies have yet to develop Weblog Policies, similar to their other integral policies. Thus, employees who discuss work-related activities are generally held to the rule of "good taste" in their discussions, and of course, not spewing any confidential information. As is the case with many Internet-related activities, would a written Weblog Policy contradict the free flowing nature of information in a blog, and perhaps weaken the effectiveness of these blogs? With ownership comes the issue of who may authorize reproduction of the content in a blog. Generally, only the owner may authorize others to reproduce a work. Would this be an organization or an individual? Or should the whole notion of obtaining permission in relation to blog content be mute, since the whole point of the blog is for as many people as possible to access and read it? The blogs by Sun Microsystem employees at blogs.sun.com take what I call a compromise position. These blogs are subject to a Creative Commons License. Thus, the blogs are protected by copyright, however the rights are conveniently set out in a hyper-linked license and are broader than those rights attached to most copyright-protected works. To date, there are no lawsuits relating to ownership, reproduction or re-distribution of the content of blogs. This in itself may be helpful for organizations and individuals who are determining "policies" in this area. And for those bloggers who want their content read as widely as possible, they are free to put a statement on their blogs to the effect that the content may be freely used without permission. + -> 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 ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.org + -> 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 date: Mon, 29 Aug 2005 01:57:28 -0700 message-id: <200508290857.j7t8vsh7004315@idx164.idx.net> references: no_parent from: vasily subject: RHIZOME_RAW: c-e-n-t-e-r art project: Video Art Screening Sat. 9.3.05 c-e-n-t-e-r art project: collaborative video art project featuring visual artists, musicians, and actors. Video Art screening in Los Angeles area: The Hive Gallery and Studios September 3rd from 8-1AM 729 S. Spring St. LA, CA 90014. Downtown btw. 7th and 8th st. $5 Suggested Donation. Parking at American parking $5 (1st lot on left past 7th st.). Flyer at the web site: http://c-e-n-t-e-r.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, 29 Aug 2005 11:58:18 +0200 (CEST) message-id: <20050829095818.c06c721fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Gifs going gathered Greece, GRE gagwriter GPFs, gais gif, . 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, 29 Aug 2005 14:09:06 -0400 message-id: references: no_parent from: Year Zero One subject: RHIZOME_RAW: TRANSMEDIA :29:59 >> September format=flowed TRANSMEDIA :29:59 media art in public urban space http://www.year01.com/transmedia2959 September 1 - 30th, 2005 YONGE-DUNDAS SQUARE, Toronto 29th minute: Pascual Sisto - '28 YEARS IN THE IMPLICATE ORDER' 59th minute: Luke Lamborn - 'UTOPIA' Year Zero One is pleased to present TRANSMEDIA :29:59, a year long exhibition on the pedestrian level video billboard at Yonge-Dundas Square in downtown Toronto. Launched August 1st 2005, TRANSMEDIA :29:59=20 features one minute video works 24/7 every half hour on the 29th and 59th minutes. Featured for the month of September is Pascual Sisto's '28 Years in the=20 Implicate Order' & Luke Lamborn's 'Utopia'. Pascual Sisto's '28 Year in the Implicate Order' is a work based on the=20 concepts of Quantum Theory and Quantum Mechanics as described by David=20 Bohm. The video consists of a fixed locked off shot of an empty parking=20 lot. A centered sodium vapor light illuminates the desolate landscape.=20 28 red balls bounce up and down in a chaotic random order. Each ball performing as an individual entity bouncing at its own rate and speed.=20 As the video progresses towards its mid point, the balls align themselves in a harmonious blanket. Breathing in and out as a cumulative frequency, they reach the point where they all bounce at the=20 same precise moment and then resume to go back into chaos.m. Luke Lamborn's 'Utopia' Analyzes the idea of clean, perfect, and tireless machinery couched in the unstable landscape of reality. Utopia=20 functions as a perpetual motion machine, performing as a stable power source, regardless of inconsistencies in the wind. It is a utopian vision of wind power. Utopia was created through a motion-tracking program written in Max/MSP using footage of a wind turbine shot in central New York. Three identical clips of the turbine are superimposed=20 upon each other, all playing at different speeds. The speed of the clips are regulated by the propeller rotation of the first clip which slows down, stops, and gains momentum in varying spurts during the course of the taping. If the blade slows down, the speed of the superimposed footage speeds up to compensate. As the speed of this second clip accelerates, the speed of the third clip declines. Thus, the mean rotation rate always remains constant. The three dots at the bottom indicate the speed of each clip and blink when the propeller blade reaches the apex of its rotation. In essence, Utopia is a video that is generated based upon it=92s own content. +++ YEAR ZERO ONE is an on-line artist run centre which operates as a network for the dissemination of digital culture and new media through=20 web based exhibitions, site-specific public art projects, an extensive=20 media arts directory, and the Year01 Forum. http://www.year01.com +++ --Apple-Mail-16-1002858657 Content-Type: text/enriched; < bold>Arial6665,6665,6665< bigger>TRANSMEDIA :29:59 Arial6665,6665,6665media art in public urban space http://www.year01.com/transmedia2959 Arial 6665,6665,6665September 1 - 30th, 2005 YONGE-DUNDAS SQUARE, Toronto Arial6665,6665,666529th minute: FFFE,6665,0000Pascual Sisto FFFE,6665,0000 - '28 YEARS IN THE IMPLICATE ORDER' 6665,6665,666559 th minute: FFFE,6665,0000Luke LambornFFFE,6665,0000< x-tad-bigger> - 'UTOPIA'< bold> Arial 6665,6665,6665Year Zero One is pleased to present TRANSMEDIA :29:59, a year long exhibition on the pedestrian level video billboard at Yonge-Dundas Square in downtown Toronto. Launched August 1st 2005, TRANSMEDIA :29:59 features one minute video works 24/7 every half hour on the 29th and 59th minutes. 6665,6665,6665Featured for the month of September is Pascual Sisto's '28 Years in the Implicate Order' & Luke Lamborn's 'Utopia'. 6665,6665,6665Pascual Sisto's6665,6665,6665 FFFE,9998,0000'28 Year in the Implicate Order6665,6665,6665' is a work based on the concepts of Quantum Theory and Quantum Mechanics as described by David Bohm. The video consists of a fixed locked off shot of an empty parking lot. A centered sodium vapor light illuminates the desolate landscape. 28 red balls bounce up and down in a chaotic random order. Each ball performing as an individual entity bouncing at its own rate and speed. As the video progresses towards its mid point, the balls align themselves in a harmonious blanket. Breathing in and out as a cumulative frequency, they reach the point where they all bounce at the same precise moment and then resume to go back into chaos.m. 6665,6665,6665Luke Lamborn's6665,6665,6665 'FFFE,9998,0000Utopia6 665,6665,6665' Analyzes the idea of clean, perfect, and tireless machinery couched in the unstable landscape of reality. Utopia functions as a perpetual motion machine, performing as a stable power source, regardless of inconsistencies in the wind. It is a utopian vision of wind power. Utopia was created through a motion-tracking program written in Max/MSP using footage of a wind turbine shot in central New York. Three identical clips of the turbine are superimposed upon each other, all playing at different speeds. The speed of the clips are regulated by the propeller rotation of the first clip which slows down, stops, and gains momentum in varying spurts during the course of the taping. If the blade slows down, the speed of the superimposed footage speeds up to compensate. As the speed of this second clip accelerates, the speed of the third clip declines. Thus, the mean rotation rate always remains constant. The three dots at the bottom indicate the speed of each clip and blink when the propeller blade reaches the apex of its rotation. In essence, Utopia is a video that is generated based upon it=92s own content. Geneva9998,6665,3332+++ YEAR ZERO ONE is an on-line artist run centre which operates as a network for the dissemination of digital culture and new media through web based exhibitions, site-specific public art projects, an extensive media arts directory, and the Year01 Forum. http://www.year01.com +++ --Apple-Mail-16-1002858657-- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 29 Aug 2005 11:42:35 -0700 message-id: <23e24a26050829114265bc3cc0@mail.gmail.com> references: no_parent from: Marisa Olson subject: RHIZOME_RAW: Rhizome's reblog & Net Art News syndication Hello. I wanted to invite members of the list to send me the URLs forblogs they'd like to see added to the feed list for Rhizome's Reblog.Please reply off-list if you've got a favorite (or one of your own)you'd like to share. I also wanted to encourage everyone to add our blog to their own feedlists and blogrolls. The blog is right up front, on our site, athttp://www.rhizome.org. Thanks to the dedication of Rhizome's Superusers, the blog is updatedseveral times daily, with both refeeds from other blogs (which includecalls and opportunities, art project descriptions and images, andother interesting new media-related news) and Raw posts that getpublished to Rare--which is handy if you're only on Raw, or if youcan't wait until Friday to receive your digest and see whatinteresting things are being announced & discussed on the list! And while I'm on the subject of sharing and redistributing, don'tforget that it's fun and easy to syndicate Net Art News on your ownwebsite and/or have it delivered to your favorite handheld devices.More info can be found here:http://www.rhizome.org/netartnews/ Enjoy!Marisa -----------------------------------------Marisa S. OlsonEditor and Curator at LargeRhizome.orgmarisa (at) 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 Also looking for a graphic designer to work with these images, best, z + -> 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 date: Mon, 29 Aug 2005 15:20:54 -0400 message-id: <84a14679df551157ac6b06f42a2465a0@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Rhizome Location: More cities for more countries Hey everyone, As promised, I just added more cities to the Location feature. These countries now have one or more cities belonging to them: - Australia - Canada - France - Germany - Italy - Netherlands - Spain I also added Washington D.C. to the U.S.; I had forgotten it last week. This was an oversight, and not a reflection of my feelings towards the current Administration. Or of my belief that New York City should secede from the Union. Honest. Some of you may be curious as to the policies we're using to determine what cities get included. My rough rule of thumb is that I look at every country where 20 or Members have made their Locations visible, and then I look to see what cities they have entered. I try to create a city-level Location for every case in which 5 or more Members have entered it as a city on their own. It's a tremendously imperfect process, not least because people sometimes live in a suburb and I might miss the possible match. I do not, unfortunately, know the names of every suburb of Munich or Milan. Basically, the idea is to have some specificity, but not too much. And I'd rather be too general than too specific. You don't want a situation where somebody's looking for people in Minneapolis, and misses people because she didn't realize we also had a location for St. Paul. We are also aiming to sidestep the politics of naming locations as much as possible. But of course, it's all a work-in-progress anyway. Please feel free to chime in with any questions or concerns. Pax, 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, 29 Aug 2005 18:09:11 -0400 message-id: references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Front page RSS Hey kids, Quite a few of you have asked for an RSS feed of the front-page reBlog. Here you go: http://rhizome.org/syndicate/fp.rss As always, a full list of our feeds can be found http://rhizome.org/syndicate/ 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 their projects during a public event at Eyebeam at the end of the three days. Artists interested in applying to take part in Circuit should view this program as a way to publicly prototype work under development (ie thesis projects that are ready for the next level of presentation), and take part in a rare structured critical discourse outside of the academic setting. Eyebeam is interested in projects ranging from moving image, sound and physical computing works, to software, websites, technical prototypes, performances, workshops and other forms of public interventions. Structure - Circuit will run three times per year. - Circuits will be curated to the extent that similarly themed work (in terms of content and/or medium) will be grouped together to allow for a more focused critique and informed discussions about the work. - Selected artists will gather on Thursday morning over coffee and breakfast before installation begins. - Set up/install will take place Thursday (all works will be installed by 8pm Thursday) and the artists will have two full days of exhibition on Friday and Saturday. - Works will be on-view Friday and Saturday to the public (12-6pm). - Friday evening at 4:00pm artists will take part in a closed professional critique with select Eyebeam staff and invited guest critics. - 6:30 PM on Saturday evening will be a public event designed to give the participating students an opportunity to present and/or perform their work, and discuss their projects for 10-15 minutes to an audience in Eyebeams space. Selection Process Submissions are rolling. A Selection Committee will meet three times in a year and curate three to four Circuit programs per year based on recurring themes, content and media amongst the applicants. Online Application Go to: http://www.eyebeam.org/production/onlineapp/index.php Schedule for the coming year: Circuit 1: September 8-10, 2005 Call for participants/Letter to schools: June 17, 2005 Deadline: August 22, 2005 Circuit 2: February 9-11, 2006 Call for participants/Letter to schools: November 15, 2005 Deadline: January 16, 2006 Circuit 3: June 8-10, 2006 Call for participants/Letter to schools: March 21, 2006 Deadline: May 19, 2006 Program Contact: Liz Slagus Director of Education 212.937.6580 ext. 230 liz@eyebeam.org *there is currently no travel budget, although we would like to consider non-New York residents. Grad students should check with their respective programs for available funds. Jessica Ivins ema. jessica@rhizome.org Jessica Ivins Intern, Rhizome.org New Museum of Contemporary Art 210 11th Avenue 2nd Floor NYC, NY 10001 tel. 212.219.1288 X 208 fax. 212.431.5328 ema. jessica@rhizome.org + -> 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 date: Mon, 29 Aug 2005 16:14:00 -0700 message-id: references: no_parent from: Jim Andrews subject: RHIZOME_RAW: voice recognition anyone familiar with the state of voice recognition software? more particularly, suppose you put a couple of omni-directional mics at a table at a coffee shop. can voice recognition now recognize words spoken by people who have not trained the voice recognition system? would be nice for a dbcinema installation piece, ie, one or more projectors reacting to a conversation. ja http://vispo.com/dbcinema + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Introduces wear and tear, specified by number of months given in TIME, into specified HARDWARE. destroy TARGET. A quick and effective function for the complete destruction of anything specified in TARGET. disidentify TARGET. Removes all unique IDs, profile data, and other quantitative identifiers for the object specified in TARGET. emp TIME. After the number of seconds provided by TIME, this function sends an electromagnetic pulse, neutralizing self and all machines within range. envision. A subjective function that helps the user articulate unknown future realities. Often used in conjunction with rebuild. fail FUNCTION. Introduces logical fallacies into any other language method specified by FUNCTION. frees TIME. Frees the computer from operating by freezing it for the number of seconds specified in TIME. jam NETWORK. Sends jamming signal to the specified NETWORK. lose DEVICE. Unlink a random file on the storage medium specified by DEVICE. mutate SEQUENCE. Introduces a mutation into the given informatic SEQUENCE. netbust TARGET. Exposes a network specified in TARGET to extremely high voltages, thereby fatally damaging any network hardware attached to the network. TARGET can also be "self" to affect only the local interface. noise PROTOCOL, AMOUNT. Scatters a specific AMOUNT of random noise packets into the default network interface using the specified PROTOCOL. obfuscate SEQUENCE. Render any given SEQUENCE (gene, character string, etc.) completely illegible to all parsing technologies. obsolete HARDWARE. Renders any given piece of HARDWARE obsolete. Opposite of reclaim. overclock MULTIPLIER. Increase the clock frequency of the central processing unit according to the value of MULTIPLIER. A negative value will decrease the clock frequency. processKiller. Selects a process at random and kills it. processScrambler. Randomly renumbers all currently running process IDs. rebuild TARGET. Begins the process of rebuilding the object or scenario specified in TARGET. Often used to remedy the effects of destroy. reclaim HARDWARE. Rescues any given piece of HARDWARE from obsolescence. Opposite of obsolete. reject. A subjective function that heightens the user's desire to rebuff the current state of affairs. Often used as a precursor to destroy. reverseEngineer TARGET. If object specified in TARGET is an application, this function decompiles the application and returns commented source code. If the object specified in TARGET is a protocol, this function returns an RFC-like document describing the protocol. rewrite APPLICATION. Develop an entire new version upgrade for the piece of software designated in APPLICATION. The upgrade would be optimized for only the most startling and utopian developments. scramble DEVICE. Randomly shuffle all filenames on the storage medium specified by DEVICE. selfDestruct. Imposes fatal physical damage on self. Equivalent to destroy SELF. struggle. A subjective function that assists the user in agitation and opposition to existing exploitation and control. zapMemory. Clears all RAM on local machine. + -> 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 date: Tue, 30 Aug 2005 01:42:06 +0200 (CEST) message-id: <20050829234206.3975f2c056@ws5.ou-data.net> references: no_parent from: !BIRDIE subject: RHIZOME_RAW: BINARY BINARY KATWALK LAUNCHED Binarykatwalk.net Binarykatwalk announces the launch of its first edition. Bin ary Katwalk is an on line New Media exhibition focusing o n work that is experimental and would benefit from this no n traditional exhibitionBut, obviously, this will only work if\ .there is an internet connection. So, the other day, I thought I might link directly to a \ .local file on the CD I plan to send to said committee. Bu t alas! Keynote will not link to a local webpag eB 80 958 Gdansk, Poland Phone.: (+48) 691=C2=A0916 C2=A0601 / (+48 58) 320 4446 =C2=A0 www.krytykapoli tyczna.pl www.wyspa.art.pl =C2=A0 =E2=80=98Krytyk a Polityczna=E2=80=99, Warsaw based quarterly, and The = Wysp a Institute=20 of ArBMISSIONS, 02/09/05 ALL SHORTS,=20\ . 16/09/05 ALL FEATURES, 30/09/05 LATE SUBMISSIONS, 28/09 /05 =20 SUPPLEMENTAL MATERIALS http://www.artservis.org/izpis _dogodka.asp?hF=3D940 Bay Area based Ce5080309 Content Type : text/plain; charset=u s ascii; format=flowed Content Transfer En coding: 7bit I isn't going to catch on if there isn't a better explanation . .of how it works. joseph mcelroy Net Art News\ .wrote: Berlin) Ingo Fr=F6hlich (Berlin) Dirk Krecke r (Frankfurt/M) Olaf Probst (M=FCnchen) Frank Reinecke (Fra nkfurt/M) Zeichnungen, Objekte, Wandarbeiten, B=FCcher Einladung zur Ausstellungser=F6ffnung am Freitag, 2.09.20 05, 20.00 Uhr Sound: curmBy: HTTP://X257.COM \ . =_1124996054 79044 271 Content Type: text/plain; n ame="message footer.txt" Content Disposition: inline; filename="m essage footer.txt" Content Transfer Encoding: 8bit Syndicate mailinglist Be honest poor bastard don't play with your soul and your inner truth. Be pro ud of your ancient heritage degenere de creature morbide infl uencee par la phase terminale d'une productivite regagnee.....\ .be proud of your bank account full of contaminatedBase, is computer controlled pseudo ecology of inflatable sculpture, lig ht sculpture, water sculpture, kinetic sculpture, real time 3d\ .projection, and real time MIDI sounds. Parents, children, and\ .infants welcome. Surf to http://www.ifam.net/mikon/ for\ . _ ASRF.847 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 www.martelelectronics.com or call 1-800-553-5536 to look at one or to ask questions. According to their website, the PMD-222 is retailing for $395.00 which is not bad considering that we have had ours for 7 years now and other than cleaning the heads every now and then, it has never had a problem. I also believe that NPR's "This American Life" uses the Marantz for their field recordings. -------------------------------------- Date: Tue, 19 Jul 2005 19:54:30 -0400 Subject: Re: Field Recording Equipment Marantz, among others, make no-moving-parts recorders. I don't know how much more expensive they are than a $400 cassette recorder, but I would be tempted to get one of those and then load the compact flash cards into an IT store and be done with it. Remember as you create more cassettes, you're ensuring that people like me will make a healthy living down the road...and, down that same road, excellent playback machines (e.g. Dragons) won't be maintainable. I just bought a pair of 1GB CF cards for $120 CDN each - if you use some mild compression, they will hold a lot of audio. I bought mine for photos... The CBC is using 4:1 compression in their massive archive project -- for voice work. The workflow is one I can relate to, as I've been doing this for almost three years now with a digital camera. I keep three copies of the images on three different drives, one of which will shortly be at my neighbour's. If you don't want to properly archive files, then burn them into audio CDs on gold disks, but I think it's a real bad idea to invest more in the submerging technology of audio cassettes. ------------------------------ Date: Tue, 19 Jul 2005 19:06:06 -0500 Subject: Re: Field Recording Equipment The Edirol R-1 is another portable solid state recorder along the lines noted by Richard below. It's fairly new but there are already a few lengthy user reviews. I think recall seeing one on www.macintouch.com. ------------------------------ Date: Tue, 19 Jul 2005 17:03:51 -0700 Subject: Re: Field Recording Equipment Someone already mentioned Transom as a resource, but I would second Transom's claim that the minidisc is the radio producer's best friend. Easy to use, and a passed over technology that is now quite affordable. Their microphone suggestions are also top-notch as far as affordability vs. performance. ------------------------------ Date: Tue, 19 Jul 2005 19:17:06 -0500 Subject: Re: Field Recording Equipment On Jul 19, 2005, at 6:54 PM, Richard L. Hess wrote: > If you don't want to properly archive files, then burn them into > audio CDs on gold disks, but I think it's a real bad idea to invest > more in the submerging technology of audio cassettes. I agree. I've always hated analog audio cassettes. CF, hard drive, or even MiniDisk, is cheap, small, and clonable. ------------------------------ Date: Tue, 19 Jul 2005 17:15:27 -0700 Subject: Re: Field Recording Equipment I like the R-1. It is like having a portable DAT, but it's cheaper and offers .wav and .mp3 recording options at different bitrates. It's been criticized by some pros because it has only mini phone plug inputs, not XLR, and because it eats batteries. Otherwise it is very easy to use and has a built-in mic for those situations when an external mic isn't practical. If you are recording in .mp3 at 192kbps (I know, that isn't good archival practice), a 2GB card will give you about 35 hours of storage. Great for traveling light. Prelinger Archives http://www.prelinger.com Prelinger Library: http://www.prelingerlibrary.org Online film collection at Internet Archive: http://www.archive.org/details/prelinger ------------------------------ Date: Tue, 19 Jul 2005 20:20:28 -0400 Subject: Re: Field Recording Equipment Cameron and others, PROMISE ME that you'll NOT archive the MDs and will transfer them to an IT file system or gold audio CD-Rs. Yes, the MD is a great field tool (I have two--do I have one of anything--other than a wife?), but the transfer for all practical applications today is real time (didn't have to be, but it is). Here is where the CF card excels over the MD...and at the price of individual CF cards, you won't be tempted to archive individual CF cards . The MD is an audio technology, the CF card is a computer technology. I can get CF readers for $20 that plug into the USB port of any handy PC. For "back at the ranch" with MD, you need a home component unit. Many of the portables (at least the ones I have and I don't think other models were different a few years ago) have optical inputs, but no digital outputs. Interestingly, I have a pair of portable CD players that have optical outputs. You need a "home" or pro unit to get a digital output. And now that we're seeing fewer CD-writers of the caliber of the CDR-W33 (gone away, sadly) the digital transfer from MD to CD will be harder. Of course, you can plug the MD player into the computer and ingest it, but wouldn't it be easier to drag the files from the CF to the hard drive? Oh, and if you're worried about CF files being compressed, don't forget that MD is also compressed. Since you already acknowledge that MD is a passed-over technology, how long do you think it will be supported? With my glowing negativity above, I also have to say that right now when I need to record something I grab the MD recorder and the Audio Technica AT-822 and immediately either ingest it to the PC or burn it to a CD (or both). ------------------------------ Date: Tue, 19 Jul 2005 21:29:50 -0400 Subject: Re: Field Recording Equipment I can't figure out why a few people have railed against analog cassettes, I don't see you mentioning them below! But I would, of course, agree. There are so many options in digital recording available now, especially for voice-only work. Then, of course, there's the Nagra SN, which my pals at the Secret Service say is still being used and makes the best-sounding recordings (while concealed in someone's pants)... + -> 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 date: Mon, 29 Aug 2005 17:28:06 -0700 message-id: <4313a816.3010008@ucsd.edu> references: no_parent from: Brett Stalbaum subject: RHIZOME_RAW: Primary and Other Remote Locations Primary and Other Remote Locations Algorithmic pattern-matching of the landscape (utilizing the C5 Landscape Database) on Lemay Island and the Silver Island Mountains, Box Elder County UT, Aug 12th-15th, 2K5. For "Primary and Other Remote Locations", the South East corner the Center for Land Use Interpretation's Remote Location property on Lemay Island was used as an input point. A database containing topographical data for the surrounding area (including Lemay Island, Floating Island and the Silver Island mountain range which includes Crater Island) was searched, seeking points with similar topographical characteristics. The database search isolated five topographical others of the CLUI Remote Location; or as we call them, the "Other Remote Locations". The "Other Remote Locations" were visited with the help of GPS, four wheel drive, a hiking. The sites were documented, with the primary goal of producing landscape paintings in which agency of site selection, often assumed to be the natural province of the painter, is turned over to the algorithm and the data; digesting the landscape data through pattern matching, and allowing the data to tell us where to go. http://www.paintersflat.net/otherremotelocation.html http://www.paintersflat.net/ -- 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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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 -> 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 date: Mon, 29 Aug 2005 19:33:20 -0700 message-id: <4313c570.4060807@ucsd.edu> references: <4313a816.3010008@ucsd.edu> from: Brett Stalbaum subject: RHIZOME_RAW: Primary and Other Remote Locations Minor Correction: Primary and Other Remote Locations Algorithmic pattern-matching of the landscape (utilizing the C5 Landscape Database) on Lemay Island and the Silver Island Mountains, Box Elder County UT, Aug 12th-15th, 2K5. For "Primary and Other Remote Locations", the South East corner the Center for Land Use Interpretation's Remote Location property on Lemay Island was used as an input point. A database containing topographical data for the surrounding area (including Lemay Island, Floating Island and the Silver Island mountain range which includes Crater Island) was searched, seeking points with similar topographical characteristics. The database search isolated five topographical others of the CLUI Remote Location; or as we call them, the "Other Remote Locations". The "Other Remote Locations" were visited with the help of GPS, four wheel drive, a[nd] hiking. The sites were documented, with the primary goal of producing landscape paintings in which agency of site selection, often assumed to be the natural province of the painter, is turned over to the algorithm and the data; digesting the landscape data through pattern matching, and allowing the data to tell us where to go. Brett Stalbaum wrote: > Primary and Other Remote Locations > > Algorithmic pattern-matching of the landscape (utilizing the C5 > Landscape Database) on Lemay Island and the Silver Island Mountains, Box > Elder County UT, Aug 12th-15th, 2K5. > > For "Primary and Other Remote Locations", the South East corner the > Center for Land Use Interpretation's Remote Location property on Lemay > Island was used as an input point. > > A database containing topographical data for the surrounding area > (including Lemay Island, Floating Island and the Silver Island mountain > range which includes Crater Island) was searched, seeking points with > similar topographical characteristics. The database search isolated five > topographical others of the CLUI Remote Location; or as we call them, > the "Other Remote Locations". > > The "Other Remote Locations" were visited with the help of GPS, four > wheel drive, a hiking. The sites were documented, with the primary goal > of producing landscape paintings in which agency of site selection, > often assumed to be the natural province of the painter, is turned over > to the algorithm and the data; digesting the landscape data through > pattern matching, and allowing the data to tell us where to go. > > http://www.paintersflat.net/otherremotelocation.html > http://www.paintersflat.net/ > -- 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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 30 Aug 2005 08:58:02 +0200 message-id: references: no_parent from: Alessandro Ludovico subject: RHIZOME_RAW: Interferenze_05, new arts festival Interferenze, the contemporary arts festival is an international and interdisciplinary event organized by the cultural association Interzona. Interzona is interested in connections between and interactions among multimedia, screen-based arts, sound, technology, and society. Interferenze is a meeting point for visitors, artists, and Italian and European arts critics. Through collaboration among research institutes, local, national, and international authorities, this event aims to create a synergy of thought among different disciplines in the fields of multimedia arts and digital technologies. Interferenze 2005 will be located in San Martino Valle Caudina (Avellino - Italy) over the 1st, 2nd, and 3rd of September. The focus of this year's festival will be: "Noises, Images, and Countryside Bits". With three days of electronic sounds, new media arts, and cultural events, visitors will have an introduction to the territory of Valle Caudina, its values and its openness to new arts in the rural scenery of Capofiume/Ex-Windmill. This year, Interferenze rediscovers its twofold soul, bridging digital provocation and the call of tradition. Interferenze combines digital arts and the beauty of nature, pixel and chlorophyll, avant-garde sound and the attachment to the province. .talks Thursday 1st September - 18:30 - Cantine del Palazzo Ducale Talk/Software art: "PLAYING WITH CODE" with: ALEXEI SHULGIN (Rus/Easylife.org) ROBERT PRAXMARER (Aut/Cubic) PAOLO MOLLEINDUSTRIA (Molleindustria.it) ALESSANDRO LUDOVICO (Neural) Friday 2nd September -18:30 - Cantine del Palazzo Ducale seminar: "Video-communication between creative experimentation and electronic flows" with: ALFONSO AMENDOLA (University of Salerno) HC GILJE (Norway/Nervousvision) .software art 1/2/3 September - ore 19/24 - Windmill Area "PLAYING WITH CODE" - 'TAMATIPICO', Molleindustria - (T)ERROR, Robert Praxmarer - WIMP, Alexei Shulgin . installations 1/2/3 September - ore 19/24 - Windmill Area LIMITEAZERO: "MIN_MOD" (in partnership with TOSHIBA) KATI BERG, "EMOTIONS IN MAN" .video - 20:45/23:45 - Cantine del Palazzo Ducale HC GILJE (Norway/Nervousvision), "CITYSCAPES": - "Hkmark1", 5' - "Crossings", 4' - "Shiva", 8' - "Night for Day", 30' "HELSINKI, FINLAND: 6015'N, 2503'E": - PEKKA SASSI, "Stockholm Blue", 1'54" - PASI KARJULA, "Something Green", 2'20" - SEPPO RENVALL, "Woody", 5'20" - PINK TWINS, "Box" (screening version), 8'00" - KRISTINA HEIMONEN, "Season Cycle", 1'56" - DENISE ZIEGLER, "Fade Away", 9'38" . sounds Thursday 1st September - 21:00 - Windmill Area (Zona Capofiume) FRAME (Mousik Lab) MAJA RATKJE (Norway/Rune Grammofon) + visuals HC GILJE (Norway/Nervousvision) NOUS feat. MEG + MARCO MESSINA (Novenove) Friday 2nd September - 21:00 - Windmill Area (Zona Capofiume) MASS (Dsp Rec.) MIDAIRCONDO (Sweden/Type) POPULOUS feat. MATILDE DE RUBERTIS (Morr Music) JAN JELINEK (Germany/~Scape) Saturday 3th September - 20:30 - Windmill Area (Zona Capofiume) live/dj: SLOW MOTION (Disasters by Choice) ILIC (Dsp rec) INITIALS BB feat.THOMAS BRINKMANN (Germany/Max Ernst) + NATALIE BERIDZE aka TBA (Georgia/Max Ernst) Friday 2nd September - ore 19:30 - Windmill area (Zona Capofiume) "Synthesis techniques in the virtual domain" with: RAFFAELE MARICONTE (in partnership with La Cicala) Saturday 3rd September - ore 18:30 - Sala Consiliare "Digital Provinces - Information Society in the peripheral areas of South Italy" with: SAVERIO ROMEO (Southronic.net) ALESSANDRO ANTONINI (Archimede) >ore 19:30 - Windmill area (Zona Capofiume) "Synthesis techniques in the virtual domain" with: RAFFAELE MARICONTE (in partnership with La Cicala) info: http://www.interferenze.org/2005/en/home_en.htm -- Alessandro Ludovico Neural.it - http://neural.it/ daily updated news + reviews English.Neural.it - http://english.neural.it/ Neural printed magazine - http://neural.it/n/nultimoe.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, 30 Aug 2005 10:37:25 +0200 message-id: <43141ac5.7090209@bram.org> references: no_parent from: annie abrahams subject: RHIZOME_RAW: F2S The F2S file player can make sound out of all the files you have on your hard disk. Just drag the file(s) you want to hear onto the program window. F2S.exe 2 Mb zip file. For PC >500 MHz. http://www.bram.org/sound/f2s_download.html F2S is made by Jan de Weille F2S can play only one file at a time. If you drag more files at a time, F2S will play them one after the other. F2S has a loop mode. You can play several F2S players simultaneously. F2S plays 44kHz wav soundfiles normally. Best Annie Abrahams + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Subscribers to Rhizome are subject to the 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, 30 Aug 2005 05:29:34 -0700 message-id: <200508301229.j7uctysk001614@idx164.idx.net> references: no_parent from: Kepa Landa subject: RHIZOME_RAW: Master in Art and New Technologies - UEM Madrid Master in Art and New Technologies - UEM Madrid Theory and practice in Electronic Art and Digital Creation. European University of Madrid - Universidad Europea de Madrid The Master in Art and New Technologies at the European University of Madrid aims to provide an education for artists and other creative professionals in the area of new media. It attempts to concentrate on the application of interactive systems, multimedia and networks to artistic projects, while also focusing on analysis and criticism of these systems in current cultural production. This course focuses especially on the relationships between Art and Science and is based on a combination of theory and practice in the fields of electronic art and digital creation. It is designed to be of interest to graduates in Fine Art, Computing, Engineering, Audiovisual Communication and Architecture and professionals with training and relevant experience in these areas. The course will place special emphasis on theory and practice relating to two areas: - Networks: Internet (net.art and creation of web pages). - Interactive Systems: Development of graphic and physical interfaces (electronic systems and sensors). Starting 19th October. Aplication open untill 15ht Septembrer. More info in and contact: www.uem.es/esaya/mant Tel: 34 - 902 361 301 Kepa Landa [kepa.landa@uem.es] + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 30 Aug 2005 06:14:52 -0700 message-id: <200508301314.j7udeqjo013021@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: AHMUVAN:INDUS SCRIPT AND INDUS VALLEY ASTRONOMY Please refer, http://murugan.org/research/valluvan.htm Thanks & Regards, N.S.VALLUVAN. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Wearable Futures: Hybrid Culture in the Design and Development of Soft Technology 14 - 16 September 2005, University of Wales, Newport, WALES, UK EARLY BIRD REGISTRATION FEE DEADLINE - 31st July 275 - 10% discount for Textile Institute Members on standard fees only 75 - Concessionary Fee pp (Artists, Arts Organisations and Students places limited) 50 - Conference dinner REGISTRATION FEE AFTER - 31st July 345 - 10% discount for Textile Institute Members on standard fees only 95 - Concessionary Fee pp (Artists, Arts Organisations and Students places limited) 50 - Conference dinner For Bookings : http://artschool.newport.ac.uk/smartclothes/wearablefutures.html For Conference Queries : Contact: Kay Bosanko-Sheady kay@bosanko-sheady.fsnet.co.uk Conference Details This two day International conference will aim to contextualise the future potential of Wearable Technologies in a variety of fields ranging from military application to fine art. Wearable Futures is an interdisciplinary conference, which aims to bring together practitioners, inventors, and theorists in the field of soft technology and wearables including those concerned with fashion, textiles, sportswear, interaction design, media and live arts, medical textiles, wellness, perception and psychology, IPR, polymer science, nanotechnology, military, and other relevant research strands. We will be examining how some broad generic questions will be explored in relation to wearable technology including but not restricted to: aesthetics and design, function and durability versus market forces; the desires, needs and realities of wearable technologies; technology and culture; simplicity and sustainability; design for wearability; wearables as theatre and wearables as emotional tools. http://artschool.newport.ac.uk/smartclothes/wearablefutures.html#top Keynote Speakers Suzanne Lee, Senior Research Fellow at Central Saint Martins, Fashion Consultant and author of Fashioning the Future pub Thames and Hudson Sept 2005. http://artschool.newport.ac.uk/smartclothes/wearablefutures_keynote.html#Suz anne Joanna Berzowska, Artist and Assistant Professor of Design and Computation Arts at Concordia University in Montreal. http://artschool.newport.ac.uk/smartclothes/wearablefutures_keynote.html#Joa nna Sarah E. Braddock Clarke, Lecturer, Curator and Writer. Co Author of Techno Textiles, SportsTech and Techno Textiles2 pub 2005. http://artschool.newport.ac.uk/smartclothes/wearablefutures_keynote.html#Sar ah Chris Baber University of Birmingham, Reader in Interactive Systems Design, in the Department of Electronic, Electrical and Computer Engineering, at The University of Birmingham. http://artschool.newport.ac.uk/smartclothes/wearablefutures_keynote.html#Chr is In Association With University of Wales, PDR, Cardiffs Metropolitan University, SCAN, Selvedge Magazine, The Textile Institute, ASF Weave, Arts Council of Wales. Conference Organisers The event has been organised by Smart Clothes Wearable Technology Research Group, University of Wales, Newport and PDR, University of Wales Institute Cardiff. In association with SCAN (Southern Collaborative Arts Network) & consultant Jane Harris. University of Wales, Newport Using smart textiles, micro-technologies and new manufacturing techniques the Smart Clothes and Wearable Technology research group aim to develop innovative clothing. From end user needs to commercial realities, fabric performance to human ergonomics. Our research will acknowledges the multidisciplinary nature of smart clothing, encouraging academic and commercial collaboration. PDR The National Centre for Product Design and Development Research (PDR) is a world-renowned centre for innovation, design engineering, prototyping, agile manufacture, market feasibility and support. We have combined leading edge research, the latest technology and award winning staff to provide practical, commercial solutions to industry for over ten years. SCAN The South Coast Arts Network (SCAN) is the new media arts agency in the South of England with a commitment to the delivery and facilitation of collaborative projects and initiatives using emergent technologies and practices. Working on a membership and partnership basis, SCAN brings individuals and organisations together to share resources in the realisation of high quality projects and experimental initiatives. Jane Harris Jane Harris is a Senior Research Fellow with the Fashion and Textile department at Central St Martins College of Art and Design, University of the Arts London. http://www.researchatcsm.com/janeharris/ Review Committee: Chris Baber, Reader, University of Birmingham Joanna Berzowska, Assistant Professor, University in Montreal Sarah E. Braddock Clarke, Author & Lecturer Julia Cassim, Helen Hamlyn Research Centre, Royal College of Art Andrew Chetty, Arts Consultant Carole Collet, Director Textile Futures, Central Saint Martins College of Art & Design Anne Farren, Curtin University of Technology, Australia Joan Farrer, Reader, Royal college of Art Linda Fredericks, Director, ASF Weave Frances Geesin, Research Fellow, London College of Fashion Rory Hamilton, Interactive Design, Royal college of Art Jane Harris, Senior Research Fellow, Central Saint Martins College of Art & Design Ros Hibbert, Textile Consultant Andrew Hutchison, Curtin University of Technology, Australia James Lamont, Innovation Team Leader, Adidas, Germany Suzanne Lee, Senior Research Fellow, Central Saint Martins College of Art & Design Alan Lewis, Director of Research, University of Wales Institute Cardiff Jane McCann, Director of Smart Clothes & Wearable Technology, University of Wales, Newport Cliff Randell, Research Associate , University of Bristol Stephen Scrivener, Research Professor, Central Saint Martins College of Art & Design Mick Siddons, Consultant, CR8ive Solutions Ltd Helen Sloan, Director, SCAN David Smith, Reader, University of Wales, Newport Sally Cowan, Garment and Textile Consultant Emma Posey, Director, Bloc + -> 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 date: Tue, 30 Aug 2005 07:57:51 -0700 (PDT) message-id: <20050830145751.77978.qmail@web30501.mail.mud.yahoo.com> references: <43141ac5.7090209@bram.org> from: Lewis LaCook subject: RHIZOME_RAW: Re: [NetBehaviour] F2S i absolutely love this! also check out, if you like this one: Slicer: http://runme.org/project/+Slicer/ MetaMix:http://www.jasonfreeman.net/MetaMix/ bliss l --- annie abrahams wrote: > The F2S file player can make sound out of all the > files you have on your > hard disk. Just drag the file(s) you want to hear > onto the program window. > > F2S.exe 2 Mb zip file. For PC >500 MHz. > http://www.bram.org/sound/f2s_download.html > F2S is made by Jan de Weille > > F2S can play only one file at a time. If you drag > more files at a time, > F2S will play them one after the other. > F2S has a loop mode. > You can play several F2S players simultaneously. > F2S plays 44kHz wav soundfiles normally. > > Best > Annie Abrahams > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > *************************************************************************** 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 Joanna Berzowska, Artist and Assistant Professor of Design and Computation Arts at Concordia University in Montreal. http://artschool.newport.ac.uk/smartclothes/wearablefutures_keynote.html#Joa nna Sarah E. Braddock Clarke, Lecturer, Curator and Writer. Co Author of Techno Textiles, SportsTech and Techno Textiles2 pub 2005. http://artschool.newport.ac.uk/smartclothes/wearablefutures_keynote.html#Sar ah Chris Baber University of Birmingham, Reader in Interactive Systems Design, in the Department of Electronic, Electrical and Computer Engineering, at The University of Birmingham. http://artschool.newport.ac.uk/smartclothes/wearablefutures_keynote.html#Chr is In Association With University of Wales, PDR, Cardiffs Metropolitan University, SCAN, Selvedge Magazine, The Textile Institute, ASF Weave, Arts Council of Wales. Conference Organisers The event has been organised by Smart Clothes Wearable Technology Research Group, University of Wales, Newport and PDR, University of Wales Institute Cardiff. In association with SCAN (Southern Collaborative Arts Network) & consultant Jane Harris. University of Wales, Newport Using smart textiles, micro-technologies and new manufacturing techniques the Smart Clothes and Wearable Technology research group aim to develop innovative clothing. From end user needs to commercial realities, fabric performance to human ergonomics. Our research will acknowledges the multidisciplinary nature of smart clothing, encouraging academic and commercial collaboration. PDR The National Centre for Product Design and Development Research (PDR) is a world-renowned centre for innovation, design engineering, prototyping, agile manufacture, market feasibility and support. We have combined leading edge research, the latest technology and award winning staff to provide practical, commercial solutions to industry for over ten years. SCAN The South Coast Arts Network (SCAN) is the new media arts agency in the South of England with a commitment to the delivery and facilitation of collaborative projects and initiatives using emergent technologies and practices. Working on a membership and partnership basis, SCAN brings individuals and organisations together to share resources in the realisation of high quality projects and experimental initiatives. Jane Harris Jane Harris is a Senior Research Fellow with the Fashion and Textile department at Central St Martins College of Art and Design, University of the Arts London. http://www.researchatcsm.com/janeharris/ Review Committee: Chris Baber, Reader, University of Birmingham Joanna Berzowska, Assistant Professor, University in Montreal Sarah E. Braddock Clarke, Author & Lecturer Julia Cassim, Helen Hamlyn Research Centre, Royal College of Art Andrew Chetty, Arts Consultant Carole Collet, Director Textile Futures, Central Saint Martins College of Art & Design Anne Farren, Curtin University of Technology, Australia Joan Farrer, Reader, Royal college of Art Linda Fredericks, Director, ASF Weave Frances Geesin, Research Fellow, London College of Fashion Rory Hamilton, Interactive Design, Royal college of Art Jane Harris, Senior Research Fellow, Central Saint Martins College of Art & Design Ros Hibbert, Textile Consultant Andrew Hutchison, Curtin University of Technology, Australia James Lamont, Innovation Team Leader, Adidas, Germany Suzanne Lee, Senior Research Fellow, Central Saint Martins College of Art & Design Alan Lewis, Director of Research, University of Wales Institute Cardiff Jane McCann, Director of Smart Clothes & Wearable Technology, University of Wales, Newport Cliff Randell, Research Associate , University of Bristol Stephen Scrivener, Research Professor, Central Saint Martins College of Art & Design Mick Siddons, Consultant, CR8ive Solutions Ltd Helen Sloan, Director, SCAN David Smith, Reader, University of Wales, Newport Sally Cowan, Garment and Textile Consultant Emma Posey, Director, Bloc + -> 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 date: Tue, 30 Aug 2005 09:22:26 -0700 message-id: <200508301622.j7ugmqre025879@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: inetractive media job search! The School of Art and Design, NYS College of Ceramics at Alfred University is seeking an artist with distinguished professional experience in Interactive Digital Art to teach undergraduate and graduate courses in the Division of Expanded Media. The Division of Expended Media encompasses video art, print media, graphic design, sonic art and interactive media within a highly experimental, cross disciplinary, and research oriented context. This position is tenure track. Requirements: Qualification requires candidate to possess an M.F.A. or equivalent degree with an outstanding electronic art portfolio. Teaching experience is highly desired. Candidate must have experience in two or more of the following areas: computer animation (utilizing programs such as FlashMX and AfterEffects), 3D animation and motion graphics (utilizing programs such as Maya, Gitter, Shake and Imagine), interactive sensor/trigger design (often hand made as used in installation contexts), real time performance with electronics, (MaxDSP, or other midi applications), web site design (utilizing programs such as Dreamweaver involving HTML, DHTML, Javascript and CSS) and computer programming such as C++, Java or Lingo. Candidate must show a willingness to embrace integrated relationships between interactive media, sound, video, animation, performance, graphic design, and other emerging digital forms. Candidate should also possess a working knowledge of programs such as (but not limited to): Photoshop, Illustrator, InDesign, FinalCutPro, Director, ProTools, Reactor, and other comparable new media tools. Candidate will be required to teach in a Mac based lab. For more information about the Division of Expanded Media see our web site at: http://nyscc.alfred.edu/ art_and_design/du/depts/2d/expandedmedia/main.swf Candidate should submit work samples in a Mac compatible format, which include: video tape (any format), DVD, CDRom, audio CD, web sites, and slides. Candidate must also submit a CV, artist statement, and statement of teaching philosophy concerning new media, along with a list of three references. Applications should be sent to: Expanded Media Artist Position c/o Joseph S. Lewis, III Dean, School of Art & Design NYS College of Ceramics at Alfred University 2 Pine Street Alfred, NY 14802 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php slike koje takodje izlaze. Izvori tako razliciti kao sto je to umetnost visokog modernizma, simulacije nuklearnog rata, posteri za koncerte i smajliji sa interneta remiksovani su da bi stvorili slike sveta oko nas i skrivenih odnosa u njegovom okrilju. Linkovi: http://www.o3.co.yu/ (O3one galerija) http://www.robmyers.org/art - umetnost ovog autora, Creative Commons Licensed. http://www.robmyers.orgt/weblog - Free Culture i Generative Art blog http://creativecommons.org/weblog/entry/5509 Podrzao British Council Rob Myers at gallery o3one, 27th July 2005 - 8th August 2005.(Andricev venac 12,Belgrade) Opening on 27th of July at 8PM Public lecture on 29th of July at 8PM Rob Myers is part of the Free Culture and Free Software movements. His work builds directly on the work of others and is freely available for others to build on in turn. All his art is available under a Creative Commons license, and all his software is available under the GNU General Public License. "paintr", shown for the first time at o3one, is a program that uses colours and photographs from the Internet to create abstract art that is free for other, human, artists to use. "draw-something" also creates original art, but it does so according to simple rules as part of an attempt to understand how artists draw. Rob's software mirrors the way he makes the electronic images that he is also exhibiting. Sources as diverse as high modernist art, nuclear war simulations, concert posters and internet "smileys" are remixed to create images of the world around us and the hidden relationships within it. LInks: http://www.o3.co.yu/ - o3one galerija http://www.robmyers.org/art - All my art, Creative Commons Licensed. http://www.robmyers.orgt/weblog - Free Culture and Generative Art blog http://creativecommons.org/weblog/entry/5509 Supported by the British Council __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 30 Aug 2005 13:21:28 -0400 message-id: <5ec16d37-d76a-4147-a025-2610706a9fe4@computerfinearts.com> references: no_parent from: doron subject: RHIZOME_RAW: doron golan animation movies and qtvr works http://the9th.com/00/?M=D I arranged a folder of my works from 2000-2001 please take a look :) doron + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Subscribers to Rhizome are subject to the 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, 30 Aug 2005 13:51:49 -0400 message-id: references: no_parent from: douglas irving repetto subject: RHIZOME_RAW: Unfaded, yet prepared to fade, A timely dorkbot. The nine million and second dorkbot-nyc meeting will take place on Wednesday, September 7th at 7pm at Postmasters Gallery (459 West 19th Street in Chelsea). Please bring refreshments to share! *** The FACTS: what: dorkbot-nyc meeting when: 7pm, Wednesday, September 7th, 2005 where: Postmasters Gallery 459 West 19th Street in Chelsea $$$: $free ***** Featuring the lovely and talented: Mark Esper: Self-generating Tornado Mark Esper will present a self generating tornado which will be part of his installation at the Dam-Stuhltrager gallery in Williamsburg, Brooklyn, September 10 through October 16, 2005. Mark will also show images of other technologically based art of his and discuss them as best he can. mesper at panix com http://www.damstuhltrager.com/art_pages/mark_esper/me.html Kurt Coble: PAM Band The P.A.M. Band (Partially Artificial Musicians), is a synthesis of kinetic sculpture, musical composition, theater, and technology. The concept is the rediscovery of the rich tradition of the automata, while responding to contemporary cultural issues, without using MIDI technology. The project takes the notion of musical invention to a deeper level. At the heart of P.A.M. Band instruments is a motion control card that allows for the precise manipulation of servo motors, solenoids, and DC motors. The "feel" of the energy released by the motors informs me of the nature of the potential sounds and instruments to be investigated. The first phase of the project feature mechanical solutions for traditional musical instruments, with the hint of prototypical instruments not far behind. Sequences that run the programmable motors are written in C++. http://www.pamband.com Tristan Perich: One Bit Music Merging his interests in physical computing and electronic music, artist and composer Tristan Perich will give a presentation on his recent project, One Bit Music. Electronics programmed and packaged in a standard CD jewel case by Perich play minimal glitch/dance music when headphones are plugged in. The device is meant to fit into the standard album-based method of music distribution: you will find it along other CDs in a record store and it has different tracks; it will be released by Cantaloupe Music in the upcoming months. Perich will exhibit the device, play a sampling of his music, and explain how it works and came to be. http://www.tristanperich.com http://www.onebitmusic.com -- ........................................................................ .........dorkbot: people doing strange things with electricity.......... ......................... http://dorkbot.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, 30 Aug 2005 21:59:25 +0200 (CEST) message-id: <20050830195925.dcb7121fdb@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Hr had halign Hungarian, Hasidic halites Helvetica, hadcore homepage, hundredth H. 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 Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 30 Aug 2005 13:25:07 -0700 message-id: references: <5ec16d37-d76a-4147-a025-2610706a9fe4@computerfinearts.com> from: Jim Andrews subject: RE: RHIZOME_RAW: doron golan animation movies and qtvr works > http://the9th.com/00/?M=D > > I arranged a folder of my works from 2000-2001 > please take a look :) > doron interesting contrast with your later works at http://www.the9th.com/04/crow and http://www.the9th.com/04/revolution and http://turbulence.org/Works/golan/9allegro . how do you go from the one to the other? what is net cinema? different from cinema on the net? 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 + Subscribers to Rhizome are subject to the 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, 30 Aug 2005 14:00:56 -0700 message-id: references: <200508302212.32268.gif@220hex.org> from: Jim Andrews subject: RE: RHIZOME_RAW: voice recognition > something like this? > > http://www.bek.no/gif/easylistening.htm > > hx nice. yes, related. in this public situation, was there much accuracy possible in its recognitions? i don't need it to recognize everything. or even much. but i do need it to be fairly accurate in what it does recognize. i don't need 100%. but people have to be able to see that their conversation and the images are related. the stronger the relation, the better. so the system just needs to be able to accurately recognize, say, one word every few seconds and throw out the words it's not real sure about. would be nice to have quite a large vocab. at least a couple of thousand words. sound doable within what is currently possible in a public space? i'm thinking it is possible. people won't have microphone headsets. same sort of situation as in your piece. only the recognitions will be fed into http://vispo.com/dbcinema . you used open source linux voice recognition software? how was the reaction to the piece? 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 > To update your preferences visit > http://mrtrick.net/phplist/?p=preferences&uid=7f3404cc33274565d017bb9a5b6a6686 > > > > -- > Powered by PHPlist, www.phplist.com -- > > > > *************************************************************************** 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 -> 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 date: Tue, 30 Aug 2005 18:12:18 -0400 message-id: <5cefd411-a15a-435d-a40e-31de64a4983e@computerfinearts.com> references: no_parent from: doron subject: RHIZOME_RAW: doron golan animation movies and qtvr works > http://the9th.com/00/?M=D > > I arranged a folder of my works from 2000-2001 > please take a look :) > doron > interesting contrast with your later works at http:// www.the9th.com/04/crow > and http://www.the9th.com/04/revolution and > http://turbulence.org/Works/golan/9allegro . > how do you go from the one to the other? > what is net cinema? > different from cinema on the net? > ja? hey jim :) the animation works has been studies and ephemerals for image manipulation, compression and web presentation. also, my background, I was a painter/sculpture before and thought of it as an extension of my work. later, when i got my first video camera I leaped over to video. before the works you mention I did some more experimental work of mostly found objects and appropriation. http://the9th.com/01/ net cinema ? is basically cinema that embrace the web as a primary source for presentation. as opposed to cinema on the net that use the web for delivery. but I think that 'net cinema' is very broad with tons of possibilities. doron + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 30 Aug 2005 16:13:39 -0700 message-id: <200508302313.j7unddnf029697@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: you can adopt ascii chewy Hi Again, I am not sure if its ascii fatigue or what but I did not get much of a response from my posting about my new piece: ascii chewy. Perhaps I did not describe it well enough - so I will take another shot: "ascii chewy" is an ascii based emotive life form and improvisational comic strip that dwells within your browser. Its written entirely in javascript. It is intended to be adopted and hosted via iframes on OPS (other people's sites). Chewy's behavior will become more articulate and interesting as I have the time to add to his re-pet-oire. I am offering him to non-commercial websites for free via a Creative Commons license. Everything you need to know about this can be found here: http://www.smileproject.com/chewy ascii chewy does not require powerpoint. Which one of you early adopters would like to be the earliest? Jason Van Anden http://www.smileproject.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 -> 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 date: Tue, 30 Aug 2005 21:56:20 -0300 message-id: <004401c5adc6$cf5aee60$01a205c9@nomeamigotec> references: <200508302313.j7unddnf029697@idx164.idx.net> from: Regina Clia Pinto subject: Re: RHIZOME_RAW: you can adopt ascii chewy Hi Jason, At first congrats about your minimalist work. It is a very creative idea. I will adopt your ascii chewy, I would like to know if I can give a friend to your pet. This company will be a pet sheep and then chewy will be published at the Big Sheep blog. Do you know this project? It is under a Free Art Licence. ( http://.bigsheep.blogspot.com ). Publishing chewy in this blog, other artists can interact with it, it is just because of this that I am asking for your permission. If you have any question, please mail me. Also I thought that maybe it can interest you. The guest artist of the third collaborative review of the Museum of the Essential and Beyond That's newsletter ( http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm) is Isabel Aranda YTO CL. Aranda was born, lives and works in Santiago, Chile. She is working with ASCII and Flash and Arkaos and ... and .... Her work is really very interesting. Now we are talking about "Mini Art Dance" (http://arteonline.arq.br/museu/netartwebart/mini-art-dance/art-dance.html) Below some comments: "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 - http://www.sporkworld.org) "I love mini-art-dance; and one thing which I think is particularly nice about it is that if you click on several of the links one after the other, you get several of the audio tracks playing at the same time, and they all synchronise with each other. You can display several of the mini-windows on screen simultaneously as well: each new one you open sends the old ones into the toolbar at the bottom of your screen, but you can drag them out again and arrange them around the place. 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 - http://www.edwardpicot.com ) If you want to know how Isabel Aranda gets to do so amazing work, read the third collaborative review at: http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm All the best, Regina ----- Original Message ----- From: "Jason Van Anden" To: Sent: Tuesday, August 30, 2005 8:13 PM Subject: RHIZOME_RAW: you can adopt ascii chewy > Hi Again, > > I am not sure if its ascii fatigue or what but I did not get much of a > response from my posting about my new piece: ascii chewy. Perhaps I did > not describe it well enough - so I will take another shot: > > "ascii chewy" is an ascii based emotive life form and improvisational > comic strip that dwells within your browser. > > Its written entirely in javascript. It is intended to be adopted and > hosted via iframes on OPS (other people's sites). Chewy's behavior will > become more articulate and interesting as I have the time to add to his > re-pet-oire. I am offering him to non-commercial websites for free via a > Creative Commons license. > > Everything you need to know about this can be found here: > > http://www.smileproject.com/chewy > > ascii chewy does not require powerpoint. > > Which one of you early adopters would like to be the earliest? > > Jason Van Anden > http://www.smileproject.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, 31 Aug 2005 01:46:39 -0400 message-id: <386000c8-6178-43d7-8a92-f2673f3240bc@computerfinearts.com> references: from: doron subject: RHIZOME_RAW: you can adopt ascii chewy adopted :) http://www.computerfinearts.com/collection/van_anden/ascii_chewy/ y, doron > Hi Doron, > > The idea for ascii chewy is that he is ongoing - that's the serial > part - adding to his repertoire of behaviors over time becomes part > of the piece - so I would need to update the code occasionally > unless you linked through to it (I just wrote up instructions of > how to do this for ascii chewy - for the interested). > Unfortunately this also seems to go against the terms (or spirit?) > of the computerfinearts cloned object policy. > > I have an idea brewing that I think will work for the format of > computerfinearts - I will get you details soon once I have them > sorted out. I am very psyched to be participating in your space. > > In the meantime - I added behavior to ascii chewy today - as well > as some copy describing the work in more detail. I would really > like to find someone to exhibit this on their site via iframe - if > you know someone who might be into it - please send them my way. > > Jason Van Anden > > > On Aug 29, 2005, at 9:48 AM, doron wrote: > > >> sure. >> I like the idea of the serial animation comic strip. >> I can set you up with a "ascii chewy" folder >> with a couple (2 or 3) ascii chewys in it. >> would you like that? >> >> >> >>> Thank you ... does this mean you would like to exhibit him? >>> >>> J >>> >>> On Aug 29, 2005, at 9:31 AM, doron wrote: >>> >>> >>> >>>> i like 'ascii chewy' very much :-) >>>> y, >>>> doron >>>> >>>> >>>> >>>> >>>> >>>>> That's too bad. >>>>> >>>>> I have a few things coming down the pike - I will keep you posted. >>>>> >>>>> My most recent obsession is incredibly simple, an interactive >>>>> ascii life form called "ascii chewy". I wrote the animation >>>>> engine in javascript so the whole she-bang runs locally. ascii >>>>> chewy will be added to on a regular basis - like a serial >>>>> animated comic strip of sorts. There will probably be a >>>>> derivative or two that could be exhibited on computerfinearts.com. >>>>> >>>>> You can check this out here: http://www.smileproject.com/chewy >>>>> >>>>> Jason >>>>> >>>>> >>>>> On Aug 28, 2005, at 7:22 PM, doron wrote: >>>>> >>>>> >>>>> >>>>> >>>>>> hey jason, >>>>>> thanks for the positive response. >>>>>> >>>>>> the first option in regard to farklempt sounds too complicated >>>>>> and the second one >>>>>> is not very appropriate since all projects resides on the >>>>>> computerfinearts server. >>>>>> >>>>>> a third option that i can think of >>>>>> is that you could do a piece for the collection sometime in >>>>>> the future. >>>>>> (at no rush. by the end of next year if you like) >>>>>> think of a simple project, not technically complicated. >>>>>> browser based and cross platform (mac,pc) >>>>>> >>>>>> let me know what you think, >>>>>> y, >>>>>> doron >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>>> Hi Doron, >>>>>>> >>>>>>> Wow - I am thrilled and honored. >>>>>>> >>>>>>> Cloning is (relatively) a little involved because of the >>>>>>> client/server stuff - the back end requires Python 2.3 >>>>>>> running Twisted and a few other modules which I will lookup >>>>>>> if you want to proceed. Linking is clearly a lot easier - >>>>>>> and could be done via an iframe, or I could host a custom >>>>>>> page to your liking. >>>>>>> >>>>>>> Please let me know what you would like to do, and thank you! >>>>>>> >>>>>>> Jason Van Anden >>>>>>> >>>>>>> >>>>>>> ---------- Original Message ---------------------------------- >>>>>>> From: doron >>>>>>> Date: Sun, 28 Aug 2005 15:32:50 -0400 >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>>> hey jason, >>>>>>>> i like your farklempt project very much :) >>>>>>>> (and Neil and Iona of course..) >>>>>>>> wanted to ask you if you'll be interested to clone farklempt >>>>>>>> in the computerfinearts collection. >>>>>>>> http://computerfinearts.com >>>>>>>> agreement > >>>>>>>> http://www.computerfinearts.com/collection/terms/terms6.html >>>>>>>> y, >>>>>>>> doron golan >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>> >>>> >>>> >>>> >>> >>> >>> >>> >> >> >> > > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 31 Aug 2005 02:40:05 -0700 message-id: <200508310940.j7v9e5m9031337@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: you can adopt ascii chewy Thank You Regina. I encourage anyone and everyone to adopt ascii chewy - I just don't want someone to sell him or derivate works of him without my permission, thus the Creative Commons License. The blog sounds great! I plan to check out the ascii work you mention a little later this morning. Thank You Doron. Looks super - and he was very happy last I checked. Jason Van Anden http://www.smileproject.com/chewy + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > the Active Denial System (ADS) weapon would be if used in real > crowd-control situations. > > The ADS fires a 95-gigahertz microwave beam, which is supposed to > heat skin and to cause pain but no physical damage (New Scientist, 27 > October 2001, p 26). Little information about its effects has been > released, but details of tests in 2003 and 2004 were revealed after > Edward Hammond, director of the US Sunshine Project - an organisation > campaigning against the use of biological and non-lethal weapons - > requested them under the Freedom of Information Act. > > The tests were carried out at Kirtland Air Force Base in Albuquerque, > New Mexico. Two experiments tested pain tolerance levels, while in a > third, a "limited military utility assessment", volunteers played the > part of rioters or intruders and the ADS was used to drive them away. > > The experimenters banned glasses and contact lenses to prevent > possible eye damage to the subjects, and in the second and third > tests removed any metallic objects such as coins and keys to stop hot > spots being created on the skin. They also checked the volunteers' > clothes for certain seams, buttons and zips which might also cause > hot spots. > > The ADS weapon's beam causes pain within 2 to 3 seconds and it > becomes intolerable after less than 5 seconds. People's reflex > responses to the pain is expected to force them to move out of the > beam before their skin can be burnt. > > But Neil Davison, co-ordinator of the non-lethal weapons research > project at the University of Bradford in the UK, says controlling the > amount of radiation received may not be that simple. "How do you > ensure that the dose doesn't cross the threshold for permanent > damage?" he asks. "What happens if someone in a crowd is unable, for > whatever reason, to move away from the beam? Does the weapon cut out > to prevent overexposure?" > > During the experiments, people playing rioters put up their hands > when hit and were given a 15-second cooling-down period before being > targeted again. One person suffered a burn in a previous test when > the beam was accidentally used on the wrong power setting. > > A vehicle-mounted version of ADS called Sheriff could be in service > in Iraq in 2006 according to the Department of Defense, and it is > also being evaluated by the US Department of Energy for use in > defending nuclear facilities. The US marines and police are both > working on portable versions, and the US air force is building a > system for controlling riots from the air. > > From issue 2509 of New Scientist magazine, 23 July 2005, page 26 + -> 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 date: Wed, 31 Aug 2005 03:16:26 -0700 message-id: <200508311016.j7vagqli005189@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Interactive Film lab workshop @ Budapest. REGISTER NOW!! Workshop Interactive Film Lab 3| 4| 5| 6| 7| 8 October Budapest Mediamatic organizes in cooperation with Intermedia Institute Budapest and the Academy of Applied Arts Budapest another Interactive Film Lab workshop. In this 6 -day workshop you and 15 other film-, tv-radio-, or new media makers from all over Europe can use own footage to make an interactive film. To make your interactive film, you’ll use the ever-evolving Korsakow software. Developed by the UdK Berlin and Mediamatic, Korsakow is a powerful, elegant, and easy to learn editing tool. It provides many creative possibilities to produce your interactive movie. This workshop will start 3 October with an opening symposium where several speakers will focus on the cinematic aspects of interactive film and on the issues of combining narratives with interactive possibilities. During the next five days on you’ll work on own project with technical and theoretical support from trainers and teachers. At the end of the workshop (8 october) a selection of films will be presented. Visit the Mediamatic website (www.mediamatic.net) for more information and registration. You can also mail workshops@mediamatic.nl or call Mediamatic (+31)0206389901. This workshop is made possible with the support of the MEDIA PLUS PROGRAMME of the European Community. Workshop Interactive Film Lab 3| 4| 5| 6| 7| 8 October Budapest Mediamatic organiseert in samenwerking met Intermedia Instituut Budapest en de Academy of Applied Arts Budapest een Interactive Film Lab workshop. In deze 6-daagse workshop gebruik je samen met 15 andere film-, tv- of nieuwe media makers uit heel Europa eigen beeldmateriaal om een interactieve film te maken. In deze workshop wordt het Korsakow software gebruikt. 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. De workshop begint 3 oktober met een openingsymposium waar verschillende sprekers zich zullen richten tot cinematografische aspecten van interactieve film en andere gerelateerde onderwerpen die de combinatie van verhalen en interactiviteit met zich meebrengt. Gedurende de volgende vijf dagen werk je samen met technische en theoretische ondersteuning aan je eigen project. Aan het eind van de workshop (8 oktober) wordt een selectie van de interactieve films getoond. Bezoek de Mediamatic website voor registratie en meer informatie, mail naar workshops@mediamatic.nl of bel Mediamatic (+31)0206389901. Deze workshop wordt mede mogelijk gemaakt door steun van het 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 > > third, a "limited military utility assessment", volunteers played the > > part of rioters or intruders and the ADS was used to drive them away. > > > > The experimenters banned glasses and contact lenses to prevent > > possible eye damage to the subjects, and in the second and third > > tests removed any metallic objects such as coins and keys to stop hot > > spots being created on the skin. They also checked the volunteers' > > clothes for certain seams, buttons and zips which might also cause > > hot spots. > > > > The ADS weapon's beam causes pain within 2 to 3 seconds and it > > becomes intolerable after less than 5 seconds. People's reflex > > responses to the pain is expected to force them to move out of the > > beam before their skin can be burnt. > > > > But Neil Davison, co-ordinator of the non-lethal weapons research > > project at the University of Bradford in the UK, says controlling the > > amount of radiation received may not be that simple. "How do you > > ensure that the dose doesn't cross the threshold for permanent > > damage?" he asks. "What happens if someone in a crowd is unable, for > > whatever reason, to move away from the beam? Does the weapon cut out > > to prevent overexposure?" > > > > During the experiments, people playing rioters put up their hands > > when hit and were given a 15-second cooling-down period before being > > targeted again. One person suffered a burn in a previous test when > > the beam was accidentally used on the wrong power setting. > > > > A vehicle-mounted version of ADS called Sheriff could be in service > > in Iraq in 2006 according to the Department of Defense, and it is > > also being evaluated by the US Department of Energy for use in > > defending nuclear facilities. The US marines and police are both > > working on portable versions, and the US air force is building a > > system for controlling riots from the air. > > > > From issue 2509 of New Scientist magazine, 23 July 2005, page 26 > > + > -> 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 > > + -> 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 date: Wed, 31 Aug 2005 15:40:46 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Aug 25, 2005 - Aug 31, 2005 nznl.com digest Aug 25, 2005 - Aug 31, 2005 Posts 1185 - 1191 http://nznl.com 1185. Aug 25, 2005 ONE SMALL SENTENCE, 2009, WORDS, FULL STOP fireworks file http://nznl.com/geert/pop.php?dag=20050825 1186. Aug 26, 2005 SEA VIEW, 2009, MODEL OF THE NZNL.COM EXHIBITION HALL SITE AT O'CAINS BAY, BANKS PENINSULA, NEW ZEALAND fireworks file http://nznl.com/geert/pop.php?dag=20050826 1187. Aug 27, 2005 STUTTER, 2009, PERFORMANCE FOR NZNL.COM WORKER #1 (LOVE, HATE, FATE, FAIL) flash movie http://nznl.com/geert/pop.php?dag=20050827 1188. Aug 28, 2005 RAT, 2009, WHITE CUBE, RAT fireworks file http://nznl.com/geert/pop.php?dag=20050828 1189. Aug 29, 2005 THREE ITEMS OF POSSIBLE INTEREST, 2009, WHITE CUBE, ITEMS fireworks file http://nznl.com/geert/pop.php?dag=20050829 1190. Aug 30, 2005 PLAN FOR SOMETHING BETWEEN SINKING AND SWIMMING, 2009, THIN LIQUID SCULPTURES, WHITE CUBE fireworks file http://nznl.com/geert/pop.php?dag=20050830 1191. Aug 31, 2005 TWO SMALL BOXES, MYSTERIOUSLY CONNECTED, 2009, WHITE CUBE, BLACK BOXES, WIRELESS NETWORKING fireworks file http://nznl.com/geert/pop.php?dag=20050831 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php >>>The tests were carried out at Kirtland Air Force Base in Albuquerque, >>>New Mexico. Two experiments tested pain tolerance levels, while in a >>>third, a "limited military utility assessment", volunteers played the >>>part of rioters or intruders and the ADS was used to drive them away. >>> >>>The experimenters banned glasses and contact lenses to prevent >>>possible eye damage to the subjects, and in the second and third >>>tests removed any metallic objects such as coins and keys to stop hot >>>spots being created on the skin. They also checked the volunteers' >>>clothes for certain seams, buttons and zips which might also cause >>>hot spots. >>> >>>The ADS weapon's beam causes pain within 2 to 3 seconds and it >>>becomes intolerable after less than 5 seconds. People's reflex >>>responses to the pain is expected to force them to move out of the >>>beam before their skin can be burnt. >>> >>>But Neil Davison, co-ordinator of the non-lethal weapons research >>>project at the University of Bradford in the UK, says controlling the >>>amount of radiation received may not be that simple. "How do you >>>ensure that the dose doesn't cross the threshold for permanent >>>damage?" he asks. "What happens if someone in a crowd is unable, for >>>whatever reason, to move away from the beam? Does the weapon cut out >>>to prevent overexposure?" >>> >>>During the experiments, people playing rioters put up their hands >>>when hit and were given a 15-second cooling-down period before being >>>targeted again. One person suffered a burn in a previous test when >>>the beam was accidentally used on the wrong power setting. >>> >>>A vehicle-mounted version of ADS called Sheriff could be in service >>>in Iraq in 2006 according to the Department of Defense, and it is >>>also being evaluated by the US Department of Energy for use in >>>defending nuclear facilities. The US marines and police are both >>>working on portable versions, and the US air force is building a >>>system for controlling riots from the air. >>> >>> From issue 2509 of New Scientist magazine, 23 July 2005, page 26 >>> >>> >>+ >>-> 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 >> >> >> >> > >+ >-> 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 date: Wed, 31 Aug 2005 07:12:03 -0700 (PDT) message-id: <20050831141203.15225.qmail@web30512.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: Incredible Math: A remix of Alan Sondheim's Nine Remixing Alan Sondheim's recent album, Nine: http://lewislacook.corporatepa.com/incredible_math/ *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ____________________________________________________ Start your day with Yahoo! - make it your home page http://www.yahoo.com/r/hs + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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 -> 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 date: Wed, 31 Aug 2005 08:12:08 -0700 message-id: <200508311512.j7vfc8pt026121@idx164.idx.net> references: no_parent from: marc garrett subject: RHIZOME_RAW: A Furthernoise.org Real-time Event A Furthernoise.org Real-time Event ----------------------------------------------- 2 live, real-time performances online, at 'Visitors Studio' by Chris Vine & Mark Francombe. Welcome to a collaborative event between 'The Point Community Development Corporation', based in New York and Furthernoise.org who are based in the UK. The first invited guest 'Chris Vine' will be mixing live from Londrina, Paraná, Brazil. The second guest 'Mark Francombe' will be mixing live from his home in Oslo. Those in New York can visit the centre in the Bronx, and those who are not in New York around that time can also visit the 'Visitors Studio', event live online, via the Internet. Physical event: Live Broadcast in the Theatre of The Point Community Development Corporation Hunts Point, The Bronx, New York. http://www.thepoint.org Date & TImes: Sunday 4th September. 4 - 6pm BST. from 11 am to 1pm. Time Zone Converter: http://worldtimeserver.com Visitors Studio: http://www.furtherstudio.org/live .............. The event will last for 2 hours with the individual performances lasting 45 minutes each. Chris and Mark will also be available online afterwards to chat about their work with others using the 'Visitors Studio' chat faciltiy. The studio will then be re-set, open again for everyone to mix collaboratively. Log on to: http://www.furtherstudio.org/live from 4pm BST. Chris Vine - 4 to 4.45 pm Mark Francombe - 4.45 to 5.30 pm Open mixing for all to close event. Residents of New York can watch the event broadcast live in Theatre of The Point Community Development Corporation Hunts Point, The Bronx, New York from 11 am to 1pm. [[[Warning the event may contain strobe lighting effects]]] Information about the 2 guest artists: Chris Vine - Associated with the 'Downtempo' jazz scenes in New York and Washington DC during the 1980's working with composers such as multi-instrumentalist Elliott Sharp & drummer Bobby Previte and then guitarist with Ted Miltons UK cult punk jazz group Blurt during the 90's, Chris Vine is an innovative musician, composer and artist. He is also a founding member of the Canton Opera Company which collages baroque arias with abstract soundscapes and is currently touring Brazil performing a live score with dance theatre company Verve Companhia de Dança. He will be mixing live from his home in Londrina, Paraná, Brazil. Mark Francombe - is a composer, performer and artist with a well heeled reputation for experimental electronic and improvised music. A founding member and guitarist of the 1980's UK indie band Cranes he recorded and toured extensively throughout Europe before moving to Norway in 1997. He composes & performs with modified, heavily treated, baritone guitar and releases his music through small independent CDR labels including his own Synch Non Synch label. His recent album Ear, Nose & Throat is released through Oslo based Synesthetic Recordings and is featured in the current edition of Furthernoise where he also contributes as a reviewer. He will be mixing live from his home in Oslo. enquiries: roger@furthernoise.org http://www.furthernoise.org info about 'Visitors Studio': http://www.furtherfield.org/furtherstudio/vsmanual/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: Wed, 31 Aug 2005 08:23:05 -0700 message-id: <200508311523.j7vfn5rw028203@idx164.idx.net> references: no_parent from: marc garrett subject: RHIZOME_RAW: A Furthernoise.org Real-time Event A Furthernoise.org Real-time Event ----------------------------------------------- 2 live, real-time performances online, at 'Visitors Studio' by Chris Vine & Mark Francombe. Welcome to a collaborative event between 'The Point Community Development Corporation', based in New York and Furthernoise.org who are based in the UK. The first invited guest 'Chris Vine' will be mixing live from Londrina, Paraná, Brazil. The second guest 'Mark Francombe' will be mixing live from his home in Oslo. Those in New York can visit the centre in the Bronx, and those who are not in New York around that time can also visit the 'Visitors Studio', event live online, via the Internet. Physical event: Live Broadcast in the Theatre of The Point Community Development Corporation Hunts Point, The Bronx, New York. http://www.thepoint.org Date & TImes: Sunday 4th September. 4 - 6pm BST. from 11 am to 1pm. Time Zone Converter: http://worldtimeserver.com Visitors Studio: http://www.furtherstudio.org/live .............. The event will last for 2 hours with the individual performances lasting 45 minutes each. Chris and Mark will also be available online afterwards to chat about their work with others using the 'Visitors Studio' chat faciltiy. The studio will then be re-set, open again for everyone to mix collaboratively. Log on to: http://www.furtherstudio.org/live from 4pm BST. Chris Vine - 4 to 4.45 pm Mark Francombe - 4.45 to 5.30 pm Open mixing for all to close event. Residents of New York can watch the event broadcast live in Theatre of The Point Community Development Corporation Hunts Point, The Bronx, New York from 11 am to 1pm. [[[Warning the event may contain strobe lighting effects]]] Information about the 2 guest artists: Chris Vine - Associated with the 'Downtempo' jazz scenes in New York and Washington DC during the 1980's working with composers such as multi-instrumentalist Elliott Sharp & drummer Bobby Previte and then guitarist with Ted Miltons UK cult punk jazz group Blurt during the 90's, Chris Vine is an innovative musician, composer and artist. He is also a founding member of the Canton Opera Company which collages baroque arias with abstract soundscapes and is currently touring Brazil performing a live score with dance theatre company Verve Companhia de Dança. He will be mixing live from his home in Londrina, Paraná, Brazil. Mark Francombe - is a composer, performer and artist with a well heeled reputation for experimental electronic and improvised music. A founding member and guitarist of the 1980's UK indie band Cranes he recorded and toured extensively throughout Europe before moving to Norway in 1997. He composes & performs with modified, heavily treated, baritone guitar and releases his music through small independent CDR labels including his own Synch Non Synch label. His recent album Ear, Nose & Throat is released through Oslo based Synesthetic Recordings and is featured in the current edition of Furthernoise where he also contributes as a reviewer. He will be mixing live from his home in Oslo. enquiries: roger@furthernoise.org http://www.furthernoise.org info about 'Visitors Studio': http://www.furtherfield.org/furtherstudio/vsmanual/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: Wed, 31 Aug 2005 08:25:38 -0700 message-id: <200508311525.j7vfpcsj028675@idx164.idx.net> references: no_parent from: marc garrett subject: RHIZOME_RAW: HTTP presents Theatre of Restless Automata HTTP presents Theatre of Restless Automata the largest solo exhibition to date by boredomresearch ====================================================== Theatre of Restless Automata 1 September - 23 October 2005 Private View: Thursday 1 September, 7-9 pm HTTP [House of Technologically Termed Praxis] Gallery address: Unit A2, Arena Design Centre, 71 Ashfield Rd, London N4 1NY Gallery open Friday - Sunday 12-5pm ====================================================== Theatre of Restless Automata comprises three animated universes modelled from variations of the same computational formula. Each universe has a distinct aesthetic quality, which ranges from geometric abstraction to decorative figuration. Using computer algorithms based on scientific modelling techniques, the artists demonstrate how simple programming rules can create an infinite number of elaborate patterns. From these mosaics of pixels emerge small robotic figures (beings), which perform in a digital Ôtheatre of lifeÕ. In RandomSeed Systems, groups of coloured pixels develop a pattern according to algorithms inspired by the mathematical model of cell growth known as Cellular Automata. The model designed by the artists produces patterns that evolve over time along an invisible grid of regular cells in a fashion reminiscent of tapestry weaving. The result is independent from the aesthetic control of the artists: a real computational creation. Biome systems consist of a set of glass portholes hung on the wall through which viewers can peer and observe virtual universes of swarming automata. Evoking a natural world of insects and micro-organisms, the artificial creatures evolve in sealed environments called Biomes, which span an acre of terrain. Limited by the two-inch diameter of the portholes, viewers can only catch a glimpse of the toing and froing of the biomesÕ inhabitants. Ornamental Bug Garden 001 features a formally arranged space, which is being colonised by simple mechanisms and p! lants created from the same algorithm. These colonies of bug like creatures are catapulted around the ornamental garden and sometimes collide with bubble pumping lifts. A sound piece is incidentally composed from the noise of these collisions. boredomresearch are interested in building computational works, inspired by simple rules found in natural systems. They explore processes of computer modelling and the creative potential of genetic algorithms for the creation of nature-like phenomena. Ê ====================================================== About boredomresearch Vicky Isley and Paul Smith have been collaborating as boredomresearch since 2000. boredomresearch have produced a number of interactive sound applications, online projects and computational soundscapes. Their work has been recently shown at Transmediale.05, Germany; FILE04, Brazil; NOW festival 2004, Nottingham, Electrohype festival in Sweden, Garage festival in Germany, Data:base Media Event in Dublin and within online exhibitions such as VIDA 7.0 Art & Artificial Life International Competition, soundtoys.net, mobilegaze.com and Dots & Line online exhibition. Ornamental Bug Garden 001 has been awarded honorary mention in Transmediale.05, International Media Arts Festival, Berlin and VIDA 7.0, International A-Life Electronic Arts Competition, Madrid. Theatre of Restless Automata has been produced in collaboration with Aspex Gallery and Peterborough Digital Arts. ====================================================== HTTP [House of Technologically Termed Praxis] is one of LondonÕs foremost galleries dedicated to showing net art, new media and sound art. HTTP is a Furtherfield initiative in the vibrant and culturally diverse Green Lanes area of North London. HTTP works with a wide range of artists and audiences to explore the potential of current network technology and to promote distributed creativity. HTTP is supported by Arts Council of England. Furtherfield is an online platform for the creation, promotion and criticism of net art, new media and sound art. ====================================================== For more information about the exhibition and associated events, please visit http://www.http.uk.net/ and http://www.furtherfield.org/ For press information and visuals, please contact StŽphanie Delcroix e-mail: stephanie@furtherfield.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, 31 Aug 2005 08:43:48 -0700 message-id: <200508311543.j7vfhman032703@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: you can adopt ascii chewy this morning ascii chewy was added to a blog - not in english tho: http://mirada.arkania.org/mandel.html thank you! jason van anden + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php For more information visit: www.SanJoseMuseumofArt.org + -> 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 date: Wed, 31 Aug 2005 11:58:58 -0400 message-id: references: no_parent from: Lee Wells subject: RHIZOME_RAW: Katrina Relief Organizations: Relief Organizations: Charity Navigator: charitynavigator.org Information on various charities and ways to donate to the relief effort. Red Cross: 1-800-HELP-NOW or www.redcross.org AmeriCares:americares.org Episcopal Relief & Development: 1-800-334-7626 or www.er-d.org United Methodist Committee on Relief: 1-800-554-8583 or gbgm-umc.org/umcor/emergency/hurricanes/2005 Salvation Army: 1-800-SAL-ARMY or www.salvationarmyusa.org Catholic Charities: 1-800-919-9338 or www.catholiccharitiesusa.org FEMA Charity tips: www.fema.gov/rrr/help2.shtm National Voluntary Organizations Active in Disaster: www.nvoad.org Louisiana Society for the Prevention of Cruelty to Animals: www.la-spca.org Operation Blessing: 1-800-436-6348 or www.ob.org America's Second Harvest: 1-800-344-8070 or www.secondharvest.org Adventist Community Services: 1-800-381-7171 or www.adventist.communityservices.org Christian Disaster Response: 1-941-956-5183 or 1-941-551-9554 or www.cdresponse.org/cdrhome.html Christian Reformed World Relief Committee: 1-800-848-5818 or www.crwrc.org Church World Service: 1-800-297-1516 or www.churchworldservice.org Convoy of Hope: 1-417-823-8998 or www.convoyofhope.org Lutheran Disaster Response: 1-800-638-3522 or www.elca.org/disaster Mennonite Disaster Service: 1-717-859-2210 or www.mds.mennonite.net Nazarene Disaster Response: 1-888-256-5886 or www.nazarenedisasterresponse.org Presbyterian Disaster Assistance: 1-800-872-3283 or www.pcusa.org/pda Southern Baptist Convention - Disaster Relief: 1-800-462-8657, ext. 6440 or www.namb.net Other Information: Federal Emergency Management Agency: 1-800-621-FEMA; www.fema.gov Louisiana Homeland Security: www.ohsep.louisiana.gov City of New Orleans: www.cityofno.com/portal.aspx Louisiana Governor's Office: www.gov.state.la.us/ Mississippi Emergency Management: www.msema.org National Hurricane Center: www.nhc.noaa.gov National Weather Service: iwin.nws.noaa.gov/iwin/graphicsversion/bigmain.html Hydrologic Information Center (river flooding): www.nws.noaa.gov/oh/hic/index.html -- 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: Wed, 31 Aug 2005 09:08:53 -0700 message-id: <200508311608.j7vg8rsv005836@idx164.idx.net> references: no_parent from: marc garrett subject: RHIZOME_RAW: Re: HTTP presents Theatre of Restless Automata Hi evereyone, If you respond to any of these announcements to me personally onto the list please cc a copy to me, because for some reason a I am not receiving any mails at all from Rhizome at the moment. Cannot figure out why either... thanks marc > HTTP presents Theatre of Restless Automata > the largest solo exhibition to date > by boredomresearch > > ====================================================== > Theatre of Restless Automata > 1 September - 23 October 2005 > > Private View: Thursday 1 September, 7-9 pm > > HTTP [House of Technologically Termed Praxis] > Gallery address: > Unit A2, Arena Design Centre, > 71 Ashfield Rd, > London N4 1NY > > Gallery open Friday - Sunday 12-5pm > ====================================================== > > Theatre of Restless Automata comprises three animated universes > modelled from variations of the same computational formula. Each > universe has a distinct aesthetic quality, which ranges from geometric > abstraction to decorative figuration. Using computer algorithms based > on scientific modelling techniques, the artists demonstrate how simple > programming rules can create an infinite number of elaborate patterns. > From these mosaics of pixels emerge small robotic figures (beings), > which perform in a digital Ôtheatre of lifeÕ. > > In RandomSeed Systems, groups of coloured pixels develop a pattern > according to algorithms inspired by the mathematical model of cell > growth known as Cellular Automata. The model designed by the artists > produces patterns that evolve over time along an invisible grid of > regular cells in a fashion reminiscent of tapestry weaving. The result > is independent from the aesthetic control of the artists: a real > computational creation. Biome systems consist of a set of glass > portholes hung on the wall through which viewers can peer and observe > virtual universes of swarming automata. Evoking a natural world of > insects and micro-organisms, the artificial creatures evolve in sealed > environments called Biomes, which span an acre of terrain. Limited by > the two-inch diameter of the portholes, viewers can only catch a > glimpse of the toing and froing of the biomesÕ inhabitants. > Ornamental Bug Garden 001 features a formally arranged space, which is > being colonised by simple mechanisms and plants created from the same > algorithm. These colonies of bug like creatures are catapulted around > the ornamental garden and sometimes collide with bubble pumping lifts. > A sound piece is incidentally composed from the noise of these > collisions. > > boredomresearch are interested in building computational works, > inspired by simple rules found in natural systems. They explore > processes of computer modelling and the creative potential of genetic > algorithms for the creation of nature-like phenomena. Ê > > ====================================================== > About boredomresearch > > Vicky Isley and Paul Smith have been collaborating as boredomresearch > since 2000. boredomresearch have produced a number of interactive > sound applications, online projects and computational soundscapes. > Their work has been recently shown at Transmediale.05, Germany; > FILE04, Brazil; NOW festival 2004, Nottingham, Electrohype festival in > Sweden, Garage festival in Germany, Data:base Media Event in Dublin > and within online exhibitions such as VIDA 7.0 Art & Artificial Life > International Competition, soundtoys.net, mobilegaze.com and Dots & > Line online exhibition. > > Ornamental Bug Garden 001 has been awarded honorary mention in > Transmediale.05, International Media Arts Festival, Berlin and VIDA > 7.0, International A-Life Electronic Arts Competition, Madrid. > > Theatre of Restless Automata has been produced in collaboration with > Aspex Gallery and Peterborough Digital Arts. > ====================================================== > > HTTP [House of Technologically Termed Praxis] is one of LondonÕs > foremost galleries dedicated to showing net art, new media and sound > art. HTTP is a Furtherfield initiative in the vibrant and culturally > diverse Green Lanes area of North London. HTTP works with a wide > range of artists and audiences to explore the potential of current > network technology and to promote distributed creativity. HTTP is > supported by Arts Council of England. > > Furtherfield is an online platform for the creation, promotion and > criticism of net art, new media and sound art. > > ====================================================== > For more information about the exhibition and associated events, > please visit http://www.http.uk.net/ and http://www.furtherfield.org/ > > For press information and visuals, please contact StŽphanie Delcroix > e-mail: stephanie@furtherfield.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, 31 Aug 2005 09:10:01 -0700 message-id: <200508311610.j7vga1rh006204@idx164.idx.net> references: no_parent from: marc garrett subject: RHIZOME_RAW: Re: HTTP presents Theatre of Restless Automata Hi evereyone, If you respond to any of these announcements to me personally onto the list - please could you cc a copy to me of your email to me also marc.garrett@furtherfield.org, because for some reason I am not receiving any mails at all from Rhizome at the moment. Cannot figure out why either... thanks marc > HTTP presents Theatre of Restless Automata > the largest solo exhibition to date > by boredomresearch > > ====================================================== > Theatre of Restless Automata > 1 September - 23 October 2005 > > Private View: Thursday 1 September, 7-9 pm > > HTTP [House of Technologically Termed Praxis] > Gallery address: > Unit A2, Arena Design Centre, > 71 Ashfield Rd, > London N4 1NY > > Gallery open Friday - Sunday 12-5pm > ====================================================== > > Theatre of Restless Automata comprises three animated universes > modelled from variations of the same computational formula. Each > universe has a distinct aesthetic quality, which ranges from geometric > abstraction to decorative figuration. Using computer algorithms based > on scientific modelling techniques, the artists demonstrate how simple > programming rules can create an infinite number of elaborate patterns. > From these mosaics of pixels emerge small robotic figures (beings), > which perform in a digital Ôtheatre of lifeÕ. > > In RandomSeed Systems, groups of coloured pixels develop a pattern > according to algorithms inspired by the mathematical model of cell > growth known as Cellular Automata. The model designed by the artists > produces patterns that evolve over time along an invisible grid of > regular cells in a fashion reminiscent of tapestry weaving. The result > is independent from the aesthetic control of the artists: a real > computational creation. Biome systems consist of a set of glass > portholes hung on the wall through which viewers can peer and observe > virtual universes of swarming automata. Evoking a natural world of > insects and micro-organisms, the artificial creatures evolve in sealed > environments called Biomes, which span an acre of terrain. Limited by > the two-inch diameter of the portholes, viewers can only catch a > glimpse of the toing and froing of the biomesÕ inhabitants. > Ornamental Bug Garden 001 features a formally arranged space, which is > being colonised by simple mechanisms and plants created from the same > algorithm. These colonies of bug like creatures are catapulted around > the ornamental garden and sometimes collide with bubble pumping lifts. > A sound piece is incidentally composed from the noise of these > collisions. > > boredomresearch are interested in building computational works, > inspired by simple rules found in natural systems. They explore > processes of computer modelling and the creative potential of genetic > algorithms for the creation of nature-like phenomena. Ê > > ====================================================== > About boredomresearch > > Vicky Isley and Paul Smith have been collaborating as boredomresearch > since 2000. boredomresearch have produced a number of interactive > sound applications, online projects and computational soundscapes. > Their work has been recently shown at Transmediale.05, Germany; > FILE04, Brazil; NOW festival 2004, Nottingham, Electrohype festival in > Sweden, Garage festival in Germany, Data:base Media Event in Dublin > and within online exhibitions such as VIDA 7.0 Art & Artificial Life > International Competition, soundtoys.net, mobilegaze.com and Dots & > Line online exhibition. > > Ornamental Bug Garden 001 has been awarded honorary mention in > Transmediale.05, International Media Arts Festival, Berlin and VIDA > 7.0, International A-Life Electronic Arts Competition, Madrid. > > Theatre of Restless Automata has been produced in collaboration with > Aspex Gallery and Peterborough Digital Arts. > ====================================================== > > HTTP [House of Technologically Termed Praxis] is one of LondonÕs > foremost galleries dedicated to showing net art, new media and sound > art. HTTP is a Furtherfield initiative in the vibrant and culturally > diverse Green Lanes area of North London. HTTP works with a wide > range of artists and audiences to explore the potential of current > network technology and to promote distributed creativity. HTTP is > supported by Arts Council of England. > > Furtherfield is an online platform for the creation, promotion and > criticism of net art, new media and sound art. > > ====================================================== > For more information about the exhibition and associated events, > please visit http://www.http.uk.net/ and http://www.furtherfield.org/ > > For press information and visuals, please contact StŽphanie Delcroix > e-mail: stephanie@furtherfield.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, 31 Aug 2005 11:36:00 -0700 message-id: <200508311836.j7via0hx007230@idx164.idx.net> references: no_parent from: void void subject: RHIZOME_RAW: Re: *WARNING* Your Email Account Will Be Closed OH NO! not my email account! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php About 48 Hour Wake: http://www.http.uk.net/distributed_library/48hourwake.htm 48 Hour Wake is part of the Summer of Folk: http://www.http.uk.net/docs/exhibitions2.htm Summer of Folk Wiki: http://www.http.uk.net/cgi-bin/dl_wiki.pl?PhysicalFolksonomy http://www.netbehaviour.org - (to subscribe to list) HTTP:// Gallery, Unit A2, Arena Business Centre, 71 Ashfield Rd, London N4 1NY __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 31 Aug 2005 13:58:06 -0700 (PDT) message-id: <20050831205806.39980.qmail@web30510.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: Oh! Mary Kay Show Oh! Mary Kay Show more, um, funky music for Mary http://lewislacook.corporatepa.com/netjuke/var/music/LewisLaCook_OhMaryKay.mp3 mp3 64kbps 10:07 4,748KB you can now optionally download your own handpicked playlists of my music in m3u format http://lewislacook.corporatepa.com/netjuke *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ____________________________________________________ Start your day with Yahoo! - make it your home page http://www.yahoo.com/r/hs + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php 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 -> 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 date: Wed, 31 Aug 2005 23:41:06 +0200 (CEST) message-id: <20050831214106.07ea921fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART I'll is idxentry India, Intermediation ideograms IDE, Inc icons iconified, 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 Mica Scalin contactmica@gmail.com http://www.micawave.tv + -> 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 date: Wed, 31 Aug 2005 16:45:00 -0700 message-id: <23e24a26050831164511d306e2@mail.gmail.com> references: <43161df6.3060108@ubermorgen.com> from: Marisa Olson subject: RHIZOME_RAW: Fwd: BANKSTATEMENTGENERATOR - preview [thingist] ---------- Forwarded message ---------- From: UBERMORGEN.COM Date: Aug 31, 2005 2:15 PM Subject: [thingist] BANKSTATEMENTGENERATOR - preview To: thingist@bbs.thing.net UBERMORGEN.COM: "just pixels on a screen - just ink on paper" BANKSTATEMENTGENERATOR by UBERMORGEN.COM The BANKSTATEMENTGENERATOR is an online engine that generates abstract and very individual bank statements. The core theme of the project is described in the slogan "just pixels on a screen - just ink on paper" and consolidated in the term "authenticity as consensual hallucination" (Inke Arns). The focus shifts from the authenticity in the time of analogue / technical reproduction (signature) towards authenticity in the time of informational reprogramability (automatically generated bank-statements). In the UBERMORGEN.COM universe, this project can be seen in the tradition of "Legal Art" and specifically the "[F]originals - forged original documents - series. A Foriginal is always original and unique. Foriginals are pixels on screens or substance on material [i.e. ink on paper]. [F]originals are non pragmatic - they are absurd. They do not tell you whether they are real or forged - there is no original but also no fully forged document. Foriginals can be human or machine generated; Foriginals are digital or analog: Foriginals are singular multiples. http://www.ipnic.org/BANKSTATEMENTGENERATOR BANKSTATEMENTGENERATOR Exhibitions White cube ATM Installation 150x150x200cm, net.art, 2005 upcoming: Ars Electronica Linz / Austria Exhibition "Hybrid - living in paradox" September 1st to 6th, 2005 past: [plug.in] Basel / Switzerland Exhibition "[F]original - Authenticity as consensual hallucination" [F]original, BANKSTATEMENTGENERATORR & UBERMORGEN.COM are supported by the City of Vienna [MA7], .KUNST, Pro Helvetia, Austrian Embassy in Tokyo, Austrian Embassy in Serbia-Montenegro, [plug.in], hartware Medien Kunst Verein, Artnode, Overgaden, BAK - Bundesamt fuer Kultur Switzerland & Pure Lustre Inc. (verylustre.com) -------------------------------------------------------------------- t h i n g i s t message by "UBERMORGEN.COM" archive at http://bbs.thing.net info: send email to majordomo@bbs.thing.net and write "info thingist" in the message body -------------------------------------------------------------------- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 1 Sep 2005 01:16:26 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: The Anonymous Art Awards, 2005 The Anonymous Art Awards, 2005 presented by Miklos Legrady and Those Who Remain Anonymous The anonymous art awards 2005 will celebrate and honor those artists who have shown excellence this year but wish to remain anonymous. The Toronto art community, while an endearing crowd, like all groups will enforce their specific type of social conformity. Some artists on the other hand are shy, socially inept, or badly confused. Anonymous art could be more interesting than art history; it's a known fact . This is an opportunity to let your imagination soar to what those anonymous works would be if we knew about them. Work will be awarded in all categories. Unfortunately, since the work could lead to indentifying the artists, no work may be entered in the competition, nor therefore shown to the public. As the winners will wish to remain anonymous, there'll be no need for prizes, no walking up to the podium under the glare of spotlights. In fact, since the winners won't show up at all, there's no point in expensive award presentations, which have been very successfully cancelled. Thank you all for participating. -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com --============_-1086570681==_ma=========== The Anonymous Art Awards, 2005
The Anonymous Art Awards, 2005
presented by

Miklos Legrady
and
Those Who Remain Anonymous


The anonymous art awards 2005 will celebrate and honor those artists
who have shown excellence this year but wish to remain anonymous. 

The Toronto art community, while an endearing crowd, like all groups
will enforce their specific type of social conformity. 
Some artists on the other hand are shy, socially inept,  or badly confused.  

Anonymous art could be more interesting than art history; it's a known fact . This is an opportunity to let your imagination soar to what those anonymous works would be if we knew about them.

Work will be awarded in all categories.  Unfortunately, since the work could lead to indentifying the artists, no work may be entered in the competition, nor therefore shown to the public. 

As the winners will wish to remain anonymous, there'll be no need for prizes, no walking up to the podium under the glare of spotlights.  In fact, since the winners won't show up at all, there's no point in expensive award presentations, which have been very successfully cancelled.

Thank you all for participating.

--

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: Thu, 1 Sep 2005 07:34:02 +0100 message-id: <0ml2dk-1eaiem43t8-0004tn@mrelayeu.kundenserver.de> references: no_parent from: Charlotte Frost subject: RHIZOME_RAW: =?iso-8859-1?Q?MELT:_up_to_=A350k_R&D_awards_for_creative_media_innovatio? =?iso-8859-1?Q?n.? MELT: up to 50k R&D awards for creative media innovation. Emerging media platforms and communication forms are generating a phenomenal demand for innovative creative programming. But where is this content going to come from? MELT is a new 1m programme which gives annual R&D individual grants of up to 50k to leading media, artistic and technical talent to explore the creative and economic possibilities of new and emerging media platforms for example iTV, broadband, wireless, wearable, mobile and locative media. Melt is for any British or International Creative Media Company or Individual working with Creative South Yorkshire partners. For information about Melt please contact Lucy Wurstlin and Andi Stamp: melt@theculturecompany.co.uk To find out how to make an irresistible Melt proposal please go to: http://www.lovemelt.com Charlotte L.Frost +++++++++++++++++++++++++++++++ http://www.furtherfield.org http://www.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, 01 Sep 2005 09:30:09 +0200 message-id: <20050901093009.3c55726e.4824782b@127.0.0.1> references: no_parent from: {netEX} subject: RHIZOME_RAW: =?ISO-8859-1?Q?NetEX=5FSeptember=5F2005? September 2005 release NetEx--->:||nmapn||:Cologne ~ networked experiences http://netex.nmartproject.net ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Contents: [NewMediaArtProjectNetwork] - new feature!! -->A Virtual Memorial - in September -->[R][R][F]2005--->XP - recent updates -->JavaMuseum - summer feature -->Cinematheque - VideoChannel - new!! --->ConcertHall - SoundLabChannel edition III - new!! -->Agricola de Cologne - updates -->NetEX - external calls ******************************* "Project Features" by [NewMediaArtProjectNetwork] - http://features.nmartproject.net http://netex.nmartproject.net/index.php?blog=1 is happy to launch Michael Takeo Magruder "Event" project and fearure it during September more on http://netex.nmartproject.net/index.php?blog=1&cat=56 ******************************** A Virtual Memorial Memorial project against the Forgetting & for Humanity www.a-virtual-memorial.org http://netex.nmartproject.net/index.php?blog=5 11 September and the terror attacks in New York and Washington were marks initiating a new quality of worldwide terror activities. As the start of a new season, September was in historical concern often the start of a new era. # A Virtual Memorial features on its main site--> Memorial days in August---> 1st September 1939 - Hitler's invasion in Poland - begin of World War II 11 September 2005 - World Peace Day 11 September 2001 - Terror attacks in new York and Washington 21 September 1949 - foundation of federal Republic of Germany # Subject Attack - a never ending story? # Skyscraper 1 featured artist--> --->theARTproject - artists reflect 9/11 terror attack Skyscraper 2 - Featured Project --->Violence Online Festival Skyscraper 3 -->Memorial for the victims of Terror Skyscraper 4 --->911 terror Skyscraper 5--->Victims of Terror Skyscraper 6--->State terror Syscraper 7 --->Terrorism and its roots Skyscraper 8--->Fundamentalism Skyscraper 9 --->9.11. - the double method # *The Features of the Month are monthly changing collections of multimedia works and links which form in the totality of the composition an artwork of theirown to be created on a webpage of theirown within the Memorial project.* # All details on: http://netex.nmartproject.net/index.php?blog=5 # A Virtual Memorial is presenting very successfully it festival environment [R][R][F]2005--->XP ---> ************************************************ During September, October, November [R][R][F]2005--->XP http://rrf2005.newmediafest.org will be realizing the second events project in the framework of the "IMPACT" series, entitled IMPACT'SA 05 (SA stands for South America). which will include events and venues organized in the framework of [R][R][F]2005--->XP in Argentina, Uruguay, Brazil and Chile. More details, dates and venues can be found later in the month on: http://rrf2005.newmediafest.org http://netex.nmartproject.net *************************************** JavaMuseum - Forum for New Media Technology in Contemporary Art www.javamuseum.org http://netetx.nmartproject.net/index.php?blog=7 # is featuring during June, July and August the complete net based work by Tiia Johannson, who died much too young, only 36 years old in June 2002 in her hometown Tallinn, capital of Estonia. The "Tiia Johannson Memorial" on JavaMuseum http://www.javamuseum.org/tiia_johannson/memorial.html is keeping vivid the memory of this talented artist more on http://netex.nmartproject.net/index.php?blog=7&cat # Visit also the final show of the 1st phase, entitled "Extasy" More than forty artists are representedwith works originating from 2003 & 2004. access via www.javamuseum.org . All details on: http://netex.nmartproject.net/index.php?blog=7 ****************************************** Cinematheque at MediaCentre VideoChannel http://cinematheque.le-musee-divisioniste.org http://netex.nmartproject.net/index.php?blog=3 # VideoChannel is happy to launch a new curatorial contribution in September - exact date to be announced, yet---> Vince Briffa (Malta) curates videos by 4 Maltese artists ---> Mark Mangion, Pierre Portelli, Austin Cammileri and Vince Briffa # Also in September, the new selection project on VideoChannel "self-portrait" will be launched in two parts online, the exact date will be announced in time. These artists are participating *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 & Christynn Whyte (UK) *Jen Ross (UK), *Cynthia Whelan (UK) *Donal Bousted (UK), *Andy Wallwhore (Canada) Christina McPhee (USA), Alice Arnold (USA) # Cinematheque extended the deadlines for themes/subjects: identity of colour, gay, lesbian, transgender identity new deadline 31 December 2005 get all details, rules and entry forms on http://netex.nmartproject.net/index.php?blog=3 or http://netex.nmartproject.net/index.php?blog=8&cat=54 . ********************************************** ConcertHall at MediaCentre http://concerthall.le-musee-divisioniste.org http://weblog.nmartproject.net/index.php?blog=3&cat=14 is proud to announce the launch of Edition III at the end of September - exact date to be announced in time - featuring two curatorial contributions a) from Australia, Michael Yuen (Adelaide) curates Sebastian Tomczak, Lawrence English Thomas Reiner, Robert Sazdov, Somaya Langley, Stephen Gard b) from Germany, Peter Wolf (Cologne) curates F.I.M. (Freie Improvisierte Musik Cologne) Nobert Zajac, Matthias Kaiser, Frank Bersziek, Michael Haverkamp, Karl Krtzmann, Joerg Koenig, Axel Hoeptner, Frank Homburg, Wolfgang Simons soundso (ensemble) Bettina Wenzel, Brigitte Kuepper, Norbert Zajac, Peter Wolf Ensemble All-Tag Frank Bersziek, Konrad Doeppert, Matthias Kaiser, Joerg Koenig Doppelpluss (ensemble) Brigitte Kuepper, Wolfgang Simons, Konrad Doeppert, Peter Wolf & further these artists are selected and curated by Melody Parker-Carter ---> Gina Valenti, jean-franois flamey, David R. Mooney John Plenge, 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 Natalie Bewernitz + Marek Goldowski CARLO FATIGONI, Annie Abrahams & Jan de Weille Ricardo Miranda Zuiga, Damian Stewart Darko Vuckovic, Tsila Hassine & Alejandra Perez Nunez (aka Elpueblodechina) Le Tuan Hung, Les Riches Douaniers, Miha Ciglar Owen Plotkin, meta, Colin Black, Cynthia Payne Carl Priestly, poppcrash, Till Nikolaus von Heiseler Paolo Paolizzo, Pablo Bas, Khaled Sabsabi . http://weblog.nmartproject.net/index.php?blog=3&cat=14 ******************************************** Agricola de Cologne www.agricola-de-cologne.de http://netex.nmartproject.net/index.php?blog=6 # His moving picture "Message from Behind a Wall" streaming version on http://www.nmartproject.net/agricola/mpc/volume11/wall.html is presented on 2&3 September on Luksuz Film Festival Ljubjana/Slovenia http://www.drustvo-dzmp.si/luksuz # His digital films "Inability of being Nude" streaming version on http://www.nmartproject.net/agricola/mpc/volume11/nude.html and Truth- Paradise Found streaming version on http://www.nmartproject.net/agricola/mpc/volume1/truth.html will be presented between 5-9 September 3rd 0110 Digital Film Festival New Dehli www.ekaafilm.com # His net based streaming moving picture urban.early sunday morning_raw http://www.nmartproject.net/agricola/mpc/volume6/urban.html will be presented on Orilla#05 - International Show of Digital Art - 25 August - 25 September at Museum of Contemporary Art Santa Fe/Argentina - # "Violencia sin cuerpos" www.carceldeamor.net/vsc/ a museum show touring through Spain makes a stop in September at *Centro de Arte Caja de Burgos (CAB)/Spain: 9-30 September including Agricola de Cologne's "Compressed Affair" http://www.nmartproject.net/agricola/mpc/collections/compressed_affair1htm # House of Tomorrow - streaming version on http://movingpictures.agricola-de-cologne.de/volume11/hot/index.html is a video about identity shown on *Lisbon Gay & Lesbian Film Festival 15-21 September Lisbon/Portugal - www.lisbonfilmfest.org # Presentation of video poetry *Cyber Poem 2.1 - International Meeting of Digital Poetry - Barcelona/Spain 24 September http://www.lapapa.org/ # All details on: http://netex.nmartproject.net/index.php?blog=6 ************************************************ 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: Thu, 1 Sep 2005 04:11:10 -0700 message-id: <200509011111.j81bba6u025862@idx164.idx.net> references: no_parent from: James R Ford subject: RHIZOME_RAW: Six Degrees of Smoking Have you ever wondered what happens to your cigarette lighter when you lend it to someone and don't get it back? This project is a global artistic collaboration to delve into the secret lives of lost lighters. Lighters are handed out or posted to those who wish to be involved. The recipient then photographs themselves smoking a cigarette and submits it via MMS or email. He then passes the lighter on to a fellow smoker (either a friend or a stranger) and the process is repeated. Each lighter is numbered and so they can be tracked on their travels. Visit the webpage below to view current smoking chains of photos: http://www.jamesrobertford.com/works/six_degrees_of_smoking + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > > http://magnum-i.p.screenfull.net/ > > > > > > linkoln + jimpunk > > > > + > > -> 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 > > > > > > -- > > > > -- + -> 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 date: Thu, 01 Sep 2005 08:48:48 -0400 message-id: <0e4f4859-5749-404f-a316-9f4ac96bc690@alcor.concordia.ca> references: no_parent from: Pall Thayer subject: RHIZOME_RAW: of interest Very interesting drawing program. The documentation also displays a very interesting approach to computer-drawing (basically makes the computer trip all over itself and draw the results): http://www.pawfal.org/Art/Quagmire/ ps. With source-code Pall + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > > > > > > please visit it in it's archived form at > > > > > > http://magnum-i.p.screenfull.net/ > > > > > > > > > linkoln + jimpunk > > > > > > + > > > -> 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 > > > > > > > > > > -- > > > > > > > > > > -- > > + > -> 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 > > -- + -> 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 date: Thu, 1 Sep 2005 08:10:35 -0700 message-id: <200509011510.j81fazs4019906@idx164.idx.net> references: no_parent from: Francis Hunger subject: RHIZOME_RAW: Wargames - Hackers gaming (apologies for cross posting) "Wargames - Hackers gaming" (2004/2005) von Francis Hunger The lecture "Wargames - Hackers gaming" is available as a text version (PDF) now. It argues about the identity construction of the Hacker on the basis of the movie Wargames (1983) and tries to identify the interrelation of hacking, game and gender. The lecture was originally developed for the supporting program of the exhibition "Games. Computergames and Art" at Hartware MedienKunstVerein Dortmund/Germany and later given at several other places. http://txt.irmielin.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 besides you will find the store front of a hunting store, man and woman, I hope i forgot a lot. 2. EYE OF THE I we choose works connected with the subject of dominating secret services, for this we would be especially glad to receive submissions from eastern european countries and south africa. The focus here will lie on the individuum: on one hand: what happens to a person who (in the name of an institution) observes the private life of someone, and on the other hand: what happens to a person who involuntarily shares parts of its private life with someone unnamed, with an institution. and of course since we are visually based: what kind of visuality is caused by these enormeous apparatus of observation, fear and statistics. 3. (yet untitled) heavily site-specific for non-berliners, who don´t research on site, we can specially do photographs. On www.hofter.de we prepared links and information about the environments, if usefull we´ll add more. THE SITE the whole complex of buildings at the corner to alexanderplatz is used by BStU ("Fed. Commissioner for the Records of the State Security Service of the former GDR". in socialist times: "house of statistics" The building is situated in direction to greifswalder street, parallel to the tunnel exit. vis a vis to the former "house of travelling" and the police headquarter (from 20ties till 90), since than used by different branches of police. behind our panes was the Mocca-Bar. Besides is a hunting store, formerly the "Suhl hunting hut". Allover: north and east are big apartment-blocks, and traffic axes to all directions. the plan is to tear down the building. each participant can prepare about 5 window-fronts one after the other. after consultation may be more. Please don´t do less than 3, they don´t need big differences between each other, but spectator normally needs some time to get into a new work. You can send sketches to possibly avoid dispensable work. Each edition consists of 80 phases and is shown each night for about 3 weeks. each phase stays 10 Seconds. after about 12 minutes the the cycle repeats, means that time is a strong factor, but no film-like interval. we need jpg format (please download the empty file from the website and use the optimised new one. the usable window-front is 2,2 high and 19 m long, consisting of 8 nearly square fields (7 plus the double sided door)text-works turned out to be technically difficult (nevertheless we love good text-works) Please study the documentation, do get as used as possible to the conditions of the place. Its really interesting but difficult, there´s unevitable streetlight and a wire fence infront. No chance just to use it as a neutral outdoor exhibition space. Tender contrasts will be swallowed, bigger structures which rich of contrast from their nature are more applicable. (documentation will soon be online, or ask us) we cannot pay honorary. By submitting works THE PARTICIPANT DEFINITLY DECLARES that he/she posesses all the rights neccessary for publication of their works. The participant gives us the unlimited right to publish their works within the frame of this project without any honorary. submissions and your email adresses will be treated confidental. Looking forward for your submissions! Sibylle Hofter Contact sibylle@hofter.de Büro Georg S. Schwimmer - Torstr.106 - 10119 Berlin www.hofter.de 030 - 257 00 547 ---- 0170 - 90 24 898 -- Büro Georg S. Schwimmer wir freuen uns, wenn Sie dies an ggf. Interessierte weiterleiten Ausschreibung - Call for submissions DAS AUGE DES ICH Dia-Projektionen im Schaufenster in der Stasi-Unterlagen-Behörde am Alexanderplatz Berlin (Otto-Braun-Str.70/72) Ein Künstlerprojekt von Sibylle Hofter / Büro Georg S. Schwimmer - Berlin Ein Folgeprojekt von Café Kawiarnia EUROPA (Lodz-Berlin) Nach den erquicklichen Ergebnissen der letzten Ausschreibung laden wir wieder ein, Beiträge für die Editionen im Sommer / Herbst zu liefern: 1. JAGD Arbeitstitel 2. DAS AUGE DES ICH - II 3. Titel noch nicht bekannt, Edition wird klar auf den Ort bezogen sein bitte diesmal, den Ortsbezug wesentlich ernster nehmen als beim letzten Mal. Deadline1 10.8. 1.Eröffnung vorauss. 18.8. 1. Arbeitstitel JAGD Jagd in allen ihren Aspekten: erlegen spähen weiterziehen, die SuhlerJagdhütte nebenan, Mann und Frau, ich hoffe ich habe ganz viel zu dem Thema vergessen! 2. DAS AUGE DES ICH - II Für diese Edition werden wir Arbeiten aussuchen, die sich mit dem Thema Stasi oder vergleichbaren Institutionen im Ausland beschäftigen. Unser Interesse fokussiert sich auf den Fragenkomplex, wie ein Staatssicherheitsdienst auf die beteiligten Einzelnen wirkt, was er mit den einzelnen Akteuren oder unfreiwillig Behandelten macht. Was für eine Visualität entwickelt so ein Apparat aus Beobachtung, Furcht und Statistik? 3. Titel noch nicht bekannt, Edition wird klar auf den Ort bezogen sein bitte diesmal den Ortsbezug wesentlich ernster nehmen als beim letzten Mal. Für Auswärtige die nicht vor Ort recherchieren, verfertigen wir auf Anfrage Fotos. auf der website www.hofter.de stellen wir Informations-Material zur Verfügung, das wir bei Bedarf erweitern. hier eine kleine Zusammenfassung: DER ORT Der gesamte Gebäudekomplex beherbergt die Birthler - Behörde zur Aufarbeitung der Stasi-Unterlagen BStU. Nebenan ist ein Jagdausstatter, zu Ostzeiten als "Suhler Jagdhütte". Das Gebäude liegt am Ausgang des Alexanderplatzes in Richtung Greifswalder Str. parallel zur Ausfahrt aus dem Tunnel und ggü des Hauses des Reisens und der Polizei Mitte (als Berliner Polizeidirektion um 1930 erbaut). Zu Ostzeiten war hinter den Scheiben ein Café (Mocca-Eck). Darüber hinaus wird die Gegend durch Grosswohnbauten (Platten) und Ausfallstraßen dominiert. jeweils bis zu 5 Fensterfronten hintereinander können entworfen werden. Nach Absprache mehr. Wir empfehlen, mindestens drei Phasen zu gestalten, die sich ggf. nicht sehr stark zu unterscheiden brauchen. Jeder kann auch Vorentwürfe schicken, damit er/sie sich nicht uU umsonst viel Mühe gibt. jede Edition läuft etwa 3 Wochen ab Einbruch der Dunkelheit und besteht aus 80 Fensterfronten, die jeweils etwa 10 Sekunden stehen, nach gut 12 Minuten wiederholt sich der Zyklus. Man muss also zeitlich denken (deshalb die Variationen, denn ein einzige Phase geht leicht unter, aber um es filmisch aufzufassen sind die Intervalle zu lang) Für jeden Berliner der etwas erarbeitet, ist es unumgänglich die Projektions-Bedingungen vor Ort anzuschauen! Wir stellen keinen Freilicht-Ausstellungsplatz zur Verfügung, die mannigfaltigen Einflüsse (wie Strassenlaternen und Drahtzaun führen wenn man sie ignoriert zu Enttäuschung) Bis auf weiteres läuft jede Nacht bis 3:30 wieder die Edition 2. Textarbeiten haben sich als technisch äusserst problematisch herausgestellt (obwohl wir gute Textbeiträge unter anderen techn. Gegebenheiten lieben können) Wir benötigen jpg Format, auf der website bitte LEERDATEI herunterladen, oder per mail anfordern. Wir können nur Datensätze annehmen, die in diese LEERDATEI eingefüllt wurden. Die bespielbare Fensterfläche ist 19m breit (incl. Tür) und 2,2m hoch. Sie besteht aus 8 Teilen (7 Fenstern und einer mehrfach unterteilten Doppeltür) Wir freuen uns wieder auf viele gute Beiträge und bedanken uns schon im voraus bei allen Einsendern! Es gibt kein Honorar. MIT DER TEILNAHME ERKLAEREN DIE AUTOREN VERBINDLICH, DASS SIE IM BESITZ ALLER NOTWENDIGEN NUTZUNGSRECHTE FUER IHRE BEITRAEGE SIND und DASS WIR IHRE BEITRAEGE IM RAHMEN DES PROJEKTES UNBEGRENZT UND UNENTGELDLICH VEROEFFENTLICHEN DURFEN. Einsendungen und email Adressen werden vertraulich behandelt. bitte melden, wenn Sie keine Infos mehr bekommen wollen! ausserdem entschuldigen wir uns für evtl. doppelt gesendete Mails ---------------------------------------------------------------- Büro Georg S. Schwimmer - Torstr.106 - 10119 Berlin www.hofter.de 030 - 257 00 547 ---- 0170 - 90 24 898 ---------------------------------------------------------------- -- Kathrin Kur Producer Streetvision/Blip 07747 467 523 ++44 (0) 207 8192231 + -> 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 date: Thu, 1 Sep 2005 08:21:08 -0700 message-id: <200509011521.j81fl8le021110@idx164.idx.net> references: no_parent from: b del eme subject: RHIZOME_RAW: Re: Re: you can adopt ascii chewy Jason Van Anden wrote: > this morning ascii chewy was added to a blog - not in english tho: > > http://mirada.arkania.org/mandel.html > > thank you! > jason van anden > > "In der Mandel" is not a Net.diary who uses English all the time. Sometimes does, actually reporting news from Rhizome.org. One of the main interests of "In der Mandel" is to defend the web as a place of an inmense power of creativity, and expand its ideas to the readers. In Spain there's not a Net.Art Culture. There's not a Net Culture. Just few people trying to do their best to promote it. Although I'm a writer and do not know to much about programming, I do my best promoting it. Thanks to Jason for making from ASCII language a thing so tender and sweet as Chewy. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > stimulate public and private sector research into the development and > use > of new learning techniques, and to encourage public and private sector > > partnerships and alliances in education, science, the humanities, the > arts, civic affairs and government. For example, DO IT will commission > > research and fund the development of models and prototypes to: > > * Digitize America's collected memory stored in our nation's > universities, > libraries, and museums to make these materials available for use at > home, > school, and work. > * Develop learning models and simulations that invite the learner to > explore a virtual solar system, an authentic three-dimensional model > of > the human body, a realistic trip to Mars, or an historic recreation of > > Mark Twain's America. > * Create voice sensitive computer programs to teach language to new > immigrants as well as fourth graders. > * Create inviting training materials for workforce development, adult > learning, skills improvement, and civic engagement. > * Develop programs that measure the learning progress of individual > students so teachers can adjust their teaching to the specific needs > and > abilities of each learner. > * Utilize new technologies to disseminate the best of our arts and > culture > locally, regionally, nationally, and even globally. > > The proposed Trust will be financed by revenues earned from investing > $18 > billion received from the mandated FCC auctions of the radio spectrum. > > This parallels the historic use of revenues from the sale of public > lands, > which helped finance public education in every new state and created > the > great system of land-grant colleges voted by Congress and signed by > President Lincoln during the darkest days of the Civil War. > > In this digital age, libraries, archives, museums, school systems, > community colleges, universities, arts and cultural centers, public > broadcasting stations, and other such institutions need to make > innovative > use of advanced information technologies to continue to serve their > essential public purposes. DO IT will help make that happen. > > Before joining the coalition, AMIA was asked to provide examples of > how > our field might benefit from DO IT, being as explicit as possible. We > cited the following: > > * Develop advanced digital rights management strategies that support > widespread, equitable access to digital moving images and active > privacy > for users, allowing the immersion of moving images into the > information > landscape, in support of education. > > * Develop an integrated and comprehensive search system combining > phoneme-based search tools for audio streams with metadata, closed > captions, transcripts and shot and segment log books to enable end > users > to identify and compile digital video segments for use in scholarly > publications or as learning objects. > > * Negotiate and implement access portals that represent a common > ground > between the needs of educators, the public and commercial entities. > For > example, create a digital news portal for journalism studies > incorporating > applications and resources to improve literacy skills for using > digital > video resources in education. An understanding of convergences and > forces > that are shaping television news requires the ability to compare > practice > and performance across many news sources and over many time periods, > and > these resources have heretofore been difficult and expensive to access. > > * Develop a standards-based cataloging utility that integrates > administrati > ve, technical, rights, and descriptive metadata to allow archives of > all > sizes to create the standard but customizable metadata required for > effective management of digital information throughout its lifecycle, > to > meet goals of preservation, access, and educational use. + -> 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 date: Thu, 1 Sep 2005 18:22:36 +0200 message-id: <0b976e5b-1180-4df9-884a-cdbf84a0df2e@nznl.com> references: <0e4f4859-5749-404f-a316-9f4ac96bc690@alcor.concordia.ca> from: Geert Dekkers subject: Re: RHIZOME_RAW: of interest Sounds interesting, indeed it does. But have you tried it? And on what platform? Reading the specs I wouldn't just go ahead and build/ install it on my main computer.... Geert http://nznl.com On 1-sep-2005, at 14:48, Pall Thayer wrote: > Very interesting drawing program. The documentation also displays a > very interesting approach to computer-drawing (basically makes the > computer trip all over itself and draw the results): > > http://www.pawfal.org/Art/Quagmire/ > > ps. With source-code > > Pall > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/ > subscribe.rhiz > -> give: http://rhizome.org/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 Thank you to all who attended and helped make this event amazing. A very big thanks to those of you that helped us load the truck on Sunday morning! We very much appreciate the donations that we have received, we could not do it without them. That said, the team is still very much in the hole for this project, so if you attended and haven't made a donation, or were thinking of it, please do! You can paypal your tax-deductible donation to donations@cloudfactoryarts.org or by clicking the donate button on the pages at http://simnuke.org Mark you calendars: the Simnuke Gallery event opens July 28th at Rx Gallery in San Francisco. We have some intense and wonderful works from 20 artists, as well as some poignant pieces from history. More information is available here: http://www.simnuke.org/gallery.html With regards to the Trinity Event, here is some recent PRESS: The NPR story: http://www.npr.org/templates/story/story.php?storyId=3D4758517 Wired News: http://wired.com/news/culture/0,1284,68242,00.html Reuters: http://images.search.yahoo.com/search/images?p=3Dsimnuke&ei=3DUTF-8 Some related Boing Boing posts courtesy of Xeni here: http://www.boingboing.net/2005/07/18/xeni_on_npr_simnuke_.html http://www.boingboing.net/2005/07/17/simnuke_snapshots.html http://www.boingboing.net/2005/07/15/xeni_headed_to_simnu.html PhysicsWeb: http://physicsweb.org/articles/news/9/7/9/1?rss=3D2.0 Molly's SFist post: http://www.sfist.com/archives/2005/07/18/simnuke_report.php Eddie's post with video: http://www.eddie.com/blog/2005/07/18/simnuke-60-years-after-trinity/ There are many more stories and blog posts available - Google is your friend: http://www.google.com/search?hl=3Den&q=3Dsimnuke&btnG=3DGoogle+Search IMAGES, VIDEO, and AUDIO (please let us know if you have more) Video download at: http://www.simnuke.org/images.html Lots on Flickr (thanks again Xeni for setting this up): http://www.flickr.com/photos/tags/simnuke/ Photos by Will Francis http://www.drudgery.org/?album=3DSimnuke after the simulation, bringing in the sunrise and setting the mood perfectly: http://www.zoekeating.com/gallery/Simnuke You can listen to a studio version of the cello music Zoe played at Simnuke. mastered yet, but I'd like to share it anyway." The Legions: http://www.zoekeating.com/simnuke/zoekeating_legions.mp3 To learn more about the issues around the threat of nuclear war, nuclear proliferation, and the state of our world today under this threat, please visit the websites of our educational supporters: The Nuclear Age Peace Foundation http://www.wagingpeace.org/ The Nuclear Policy Research Institute http://www.nuclearpolicy.org/ Physicians for Social Responsibility http://www.psr.org/ Western States Legal Foundation (WSLF) http://www.wslfweb.org/ Thanks again, and we look forward to seeing you on the 28th! Peace, The Simnuke Team Camron Assadi (aka Teiwaz) Project Director The Simnuke Project http://simnuke.org (415)533-5797 mailto:info@simnuke.org PO Box 7605 Oakland, CA 94601 .. sasha harris-cronin .. .. sasha@mortalspaces.com .. 415.516.2049.. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 01 Sep 2005 12:36:03 -0400 message-id: <0d65e683-21b6-4b0c-8e87-56c8bd365f8b@alcor.concordia.ca> references: <0b976e5b-1180-4df9-884a-cdbf84a0df2e@nznl.com> from: Pall Thayer subject: Re: RHIZOME_RAW: of interest It's meant to run on Linux. But I agree, I'm not sure I would be willing to give it a whirl on any "primary" box. But I have one that doesn't have anything important on it and might give it a try. But no, I haven't tried yet. But that's really beyond the point. I don't find the provided imagery all that interesting but the concept is very interesting and the documentation has an interesting, inquisitive flavour to it. Pall On 1.9.2005, at 12:22, Geert Dekkers wrote: > Sounds interesting, indeed it does. But have you tried it? And on > what platform? Reading the specs I wouldn't just go ahead and build/ > install it on my main computer.... > > Geert > http://nznl.com > > > On 1-sep-2005, at 14:48, Pall Thayer wrote: > > >> Very interesting drawing program. The documentation also displays >> a very interesting approach to computer-drawing (basically makes >> the computer trip all over itself and draw the results): >> >> http://www.pawfal.org/Art/Quagmire/ >> >> ps. With source-code >> >> Pall >> + >> -> post: list@rhizome.org >> -> questions: info@rhizome.org >> -> subscribe/unsubscribe: http://rhizome.org/preferences/ >> subscribe.rhiz >> -> give: http://rhizome.org/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, 1 Sep 2005 10:14:34 -0700 message-id: <23e24a2605090110145d448bab@mail.gmail.com> references: <50529.86.129.132.26.1125574407.squirrel@webmail2.gold.ac.uk> from: Marisa Olson subject: RHIZOME_RAW: Fwd: warren neidich Hi, all. Warren Neidich asked me to forward this to the list... ---------- Forwarded message ---------- From: mas01wn@gold.ac.uk Date: Sep 1, 2005 4:33 AM Subject: warren neidich To: marisa@rhizome.org Dear Marisa, I hope you have had a pleasent summer. I would like to take this opportunity to invite you to the opening of my exhibition entitled, Earthling, which opens at the Michael Steinberg Fine Arts on Sept. 8th and runs to October 8th. Because you are probably not that familiar with my work I copied my bio below. If you do come by the gallery you will notice that I am more interested in the effect of new media on the culture then the technology involved although I am presently research fellow in computing at Goldsmiths College. best wishes warren Warren Neidich, Goldsmiths College, London Neidich believes that a role of the artist is to enlarge the notion of what art is and what it can be. Art is a continually expanding universe of possibilities that through its interaction with other discourses generates new languages with which the mind can play and create. He uses photography, cinema, and new media to discover the ways that aesthetic practice, philosophy, architecture, and design interface in abstract ways with new ideas of perceptual becoming such as neuro-plasticity and Neural Darwinsim/Neuroconstructivism. Together they reconfigure and revitalize conceptual based practice as new means to produce and distribute information.. In the end these co-evolving systems form a collective choreography produce ways to understand the construction of global subjectivities, what he refers to as Earthling. He calls this methodology "Neuroaesthetics" a term he coined in 1995 in a series of lectures he presented at the School of Visual Arts, New York City. He founded the Journal of Neuro-aesthetics and co-founded www. artbrain.org. in 1997. He organized the exhibition Conceptual Art as a Neurobiologic Praxis in 1999 at the Thread Waxing Space, New York City. In the past five years he has organized many conferences including "Can Art Investigate the Brain", College Art Association, New York City, 1999, "Buildings, Movies and Brains", UCLA Department of Art, 2002, "The Phantom Limb", and "Neuroaesthetics," Goldsmiths College, 2005. The "Neuroaesthetics" conference acted simultaneously as a provocative academic exercise and transgressive multi-authored art work. It dealt with a broad range of concepts such as bio-political systems, technology and constructed subjectivity, the cultured bran and mutated observer, drugs, altered states of consciousness and minimalist/post-minimalist ideas of form and the relationship between d.j. culture and sampling. His art work has been internationally exhibited in such institutions as the Whitney Museum of Art, New York City, Palais de Tokyo, Paris, Ludwig Museum, Koln, , Los Angeles County Museum of Art, Los Angeles and the Walker Art Museum, Minneapolis, Minnesota just to name a few. Recent group shows include Go-Between, Magazin 4 and the Bregenzer Kunzverein, 2005, Bregenz Austria Library,Librarie, IDEALONDON, 2005 and Synaesthesia, 2004, Institute of Contemporary Art, London, 10 Hour Performance, Contemporary Art Center, Vilnius, Lithiuania, and Everything is Connected, Ha,Ha, 2004 Astrup Fearnley Museum of Modern Art, Oslo, Norway, ,. A planned one-person show will occur at the Michael Steinberg Gallery, New York City this fall where he will present his "Earthling" project for the first time. He was the Artist in Residence at Goldsmiths College, London 2004,2005 and is currently American representative at the Glenfiddich Artistic Residency, Dufftown, Scotland for the summer of 2005. He is author of many books such as American History Reinvented, Aperture, 1989, and Camp O.J., Bayle Museum, University of Virginia He is the author of a collection of essays called Blow-Up: Photography, Cinema and the Brain published by DAP and the University of California, Riverside, 2003 Earthling, a collection of photographs with an interview by Hans Ulrich Obrist and an essay by Barry Scwabsky will be published in September, 2005 by Pointed Leaf Press. . We all know that making art is a kind of journey into the heartland of the self and that this self is Transversal, it does not end with the body but extends into the interactive space beyond itself. The world of things for the hands, the visual landscape for the eyes, and language and culture for the brain. It co-evolves through a process by which it sends out thousands and thousands of fimbria, figuratively extensions of protoplasm, into the real, imaginary and virtual world which is more like an interface or membrane constructed of stable and dynamic patterns. These physical and psychic extensions reach out and inter-digitate themselves into the infinite array of interconnected information systems that call out to them and reach them and embrace them. The body is one site of that interactivity but the brain is to and it is well known that the body, the brain and this real/imaginary/virtual interface are a co-extensive "one". They are the most recent manifestation of co-evolutionary forces in which these three streams of ontogeny are made to mingle and dance with each and in the end finding points of commonality. Culture plays a significant role in the mediation of these three systems and its evolution is mapped into this co-extensive system. What has marked the evolution of the brain as distinct and separate from the rest of the body is its ability to be modified something called plasticity. This mutability and changlingness is a result of a genetically inherited ability which allows neurons and their connections to be modified and pruned by the combined process now called Neural Darwinsim/Neural Constructivism. Changes taking place in itself and in the other spheres can as a result leave their mark or imprint on to the neurobiological substrate. Modifications in the real/imaginary/virtual or external reality can effect the distribution and morphology of the developing brain and as a result cultural mutations that have changed architecture, art, design and fashion just to name a few, have implications for how the brain is wired and more importantly how its different parts dynamically interact.. This permutation and re alignment of the neurobiological substrate is what is called the Cultured Brain and it is the new configuration and design of its' maps that allow it to process information differently, to imagine new possibilities and in the end to reinvigorate creativity itself. Earthling is a work that involves film,video, photography, and new media to explore the various conditions of this new forms of individual subjectivity that are evolving as a result of the new global character of our experience. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 1 Sep 2005 13:52:22 -0400 message-id: <44e545ec71e7d22d53ebad63f987d7cc@rhizome.org> references: no_parent from: Francis Hwang subject: RHIZOME_RAW: Director of Technology's report, August 2005 Hi all, Here's my monthly roundup of big technical things that happened on the site in the last month: 1. Location by City We've rolled out selecting location by City. This is selected based on current populations of Rhizome Members who have opted in to the Location feature on the country level, and have entered a city as well. Right now there are cities that can be selected for: + Australia + Canada + France + Germany + Italy + The Netherlands + Spain + United Kingdom + United States We're planning on reviewing these regularly, to add more cities as they become necessary. See the full list at http://rhizome.org/location.rhiz. If you're a Member, you can set your location by going to http://rhizome.org/preferences/ . And, of course, if you're not a Member, you can become one at http://rhizome.org/support . 2. Front page RSS If you want to follow the front page in an RSS reader, you can do that here: http://rhizome.org/syndicate/fp.rss 3. Optimizations Our web traffic has started to climb steadily since we changed our Membership policy in May, and some of you may have noticed the site getting a little slower. I'm keeping close tabs on it, making frequent tweaks to many different pages to speed the site up. 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 On Sunday, July 24, 2005, at 09:39 AM, kristina maskarin wrote: > there are rabbits and 'rabbits'. > art definitely gave up to design. > Total merge of the industrial design, marketing and media as main > reality moulders augments the virtual obesity in content and form. And > I agree: The phrase "new media" essentially indicates potential > retail mark-up value. > Environment today and in the future is about designing versus chaotic > / natural growth. But design should be conscious of the humanity and > environment and integrated in the whole ( production & trade & product > after-life). > > no design is also design. > > "Letting go" of design is at once one of the hardest and most > unnatural things to do, yet can often elicit rewards far greater than > had we put our mind to something. Any ideas on how to encourage this > "liberation" > from art/design? > + > -> 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 > + -> 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 date: Thu, 1 Sep 2005 13:38:26 -0700 message-id: <200509012038.j81kcqcg022087@idx164.idx.net> references: no_parent from: bob sweeny subject: RHIZOME_RAW: call for artwork that deals with censorship Looking for artwork that deals with the topic of censorship, for a show to be held on the Indiana University of Pennsylvania campus in January 2006. Will accept any media. Please send images of completed work, or plans for installation/performance pieces. Particular interest in work dealing with recent images from Abu Ghraib, the Iraq War, and contemporary mass-media in general. Images should either be slides/transparencies or digital, preferably JPEG format on CD-ROM. Send minimum of three images, CV, brief statement, and return envelope with postage to: Dr. Robert Sweeny 115 Sprowls Hall 470 S. Eleventh St. Indiana University of Pennsylvania Indiana, PA 15705-1087 Submission will also be accepted via email (preferred). Send to: sweeny@iup.edu. Deadline is November 15th, 2005. Accepted work will be due no later than December 15th, 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 birthday, or sit in the corner at parties and go on how they won't dance, take subways and cabs to get "there" faster on sunny sundays. though our brains do work differently (far more effectively) when we're engaged in some physical task, not by just observing, that just opens the door to your audiences' heads, "design" may also be defined as the stuff you shove in. On Jul 24, 2005, at 12:39 PM, kristina maskarin wrote: there are rabbits and 'rabbits'. art definitely gave up to design. Total merge of the industrial design, marketing and media as main reality moulders augments the virtual obesity in content and form. And I agree: The phrase "new media" essentially indicates potential retail mark-up value. Environment today and in the future is about designing versus chaotic / natural growth. But design should be conscious of the humanity and environment and integrated in the whole ( production & trade & product after-life). no design is also design. "Letting go" of design is at once one of the hardest and most unnatural things to do, yet can often elicit rewards far greater than had we put our mind to something. Any ideas on how to encourage this "liberation" from art/design? + -> 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 ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.org + -> 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 date: Fri, 2 Sep 2005 00:19:55 +0200 message-id: <9cdc6705-29d3-41b1-8941-51d2b2c3d430@nznl.com> references: <0d65e683-21b6-4b0c-8e87-56c8bd365f8b@alcor.concordia.ca> from: Geert Dekkers subject: Re: RHIZOME_RAW: of interest Mmmm, a conceptual piece then.... Geert http://nznl.com On 1-sep-2005, at 18:36, Pall Thayer wrote: > It's meant to run on Linux. But I agree, I'm not sure I would be > willing to give it a whirl on any "primary" box. But I have one > that doesn't have anything important on it and might give it a try. > But no, I haven't tried yet. But that's really beyond the point. I > don't find the provided imagery all that interesting but the > concept is very interesting and the documentation has an > interesting, inquisitive flavour to it. > > Pall > On 1.9.2005, at 12:22, Geert Dekkers wrote: > > >> Sounds interesting, indeed it does. But have you tried it? And on >> what platform? Reading the specs I wouldn't just go ahead and >> build/install it on my main computer.... >> >> Geert >> http://nznl.com >> >> >> On 1-sep-2005, at 14:48, Pall Thayer wrote: >> >> >> >>> Very interesting drawing program. The documentation also displays >>> a very interesting approach to computer-drawing (basically makes >>> the computer trip all over itself and draw the results): >>> >>> http://www.pawfal.org/Art/Quagmire/ >>> >>> ps. With source-code >>> >>> Pall >>> + >>> -> post: list@rhizome.org >>> -> questions: info@rhizome.org >>> -> subscribe/unsubscribe: http://rhizome.org/preferences/ >>> subscribe.rhiz >>> -> give: http://rhizome.org/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 > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 1 Sep 2005 17:32:37 -0500 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: As if we needed another reason... to have an opinion about the administration. i just watched Tom Friedman on Charlie Rose last night, giving his utopian spin on globalization and communications technologies as they "flatten the earth." his utopianism aside, he offers an interesting appeal to the Bush Administration and the neocons in general in terms of their ideas and policies surrounding technology, global trade and energy. He expressed hopes that Bush will surprise critics and change policy directions for the better. If the admin's approach to FEMA is any indication, we're in for a surprise, but certainly not for the better. Begin forwarded message: Destroying FEMA By Eric Holdeman The Washington Post http://www.washingtonpost.com/wp-dyn/content/article/2005/08/29/ AR2005082901445.html Tuesday, August 30, 2005; Page A17 SEATTLE -- In the days to come, as the nation and the people along the Gulf Coast work to cope with the disastrous aftermath of Hurricane Katrina, we will be reminded anew, how important it is to have a federal agency capable of dealing with natural catastrophes of this sort. This is an immense human tragedy, one that will work hardship on millions of people. It is beyond the capabilities of state and local government to deal with. It requires a national response. Which makes it all the more difficult to understand why, at this moment, the country's premier agency for dealing with such events -- FEMA -- is being, in effect, systematically downgraded and all but dismantled by the Department of Homeland Security.') Apparently homeland security now consists almost entirely of protection against terrorist acts. How else to explain why the Federal Emergency Management Agency will no longer be responsible for disaster preparedness? Given our country's long record of natural disasters, how much sense does this make? What follows is an obituary for what was once considered the preeminent example of a federal agency doing good for the American public in times of trouble, such as the present. FEMA was born in 1979, the offspring of a number of federal agencies that had been functioning in an independent and uncoordinated manner to protect the country against natural disasters and nuclear holocaust. In its early years FEMA grew and matured, with formal programs being developed to respond to large-scale disasters and with extensive planning for what is called "continuity of government." The creation of the federal agency encouraged states, counties and cities to convert from their civil defense organizations and also to establish emergency management agencies to do the requisite planning for disasters. Over time, a philosophy of "all-hazards disaster preparedness" was developed that sought to conserve resources by producing single plans that were applicable to many types of events. But it was Hurricane Andrew, which hit Florida in 1992, that really energized FEMA. The year after that catastrophic storm, President Bill Clinton appointed James Lee Witt to be director of the agency. Witt was the first professional emergency manager to run the agency. Showing a serious regard for the cost of natural disasters in both economic impact and lives lost or disrupted, Witt reoriented FEMA from civil defense preparations to a focus on natural disaster preparedness and disaster mitigation. In an effort to reduce the repeated loss of property and lives every time a disaster struck, he started a disaster mitigation effort called "Project Impact." FEMA was elevated to a Cabinet-level agency, in recognition of its important responsibilities coordinating efforts across departmental and governmental lines. Witt fought for federal funding to support the new program. At its height, only $20 million was allocated to the national effort, but it worked wonders. One of the best examples of the impact the program had here in the central Puget Sound area and in western Washington state was in protecting people at the time of the Nisqually earthquake on Feb. 28, 2001. Homes had been retrofitted for earthquakes and schools were protected from high-impact structural hazards. Those involved with Project Impact thought it ironic that the day of that quake was also the day that the then-new president chose to announce that Project Impact would be discontinued. Indeed, the advent of the Bush administration in January 2001 signaled the beginning of the end for FEMA. The newly appointed leadership of the agency showed little interest in its work or in the missions pursued by the departed Witt. Then came the Sept. 11 attacks and the creation of the Department of Homeland Security. Soon FEMA was being absorbed into the "homeland security borg." This year it was announced that FEMA is to "officially" lose the disaster preparedness function that it has had since its creation. The move is a death blow to an agency that was already on life support. In fact, FEMA employees have been directed not to become involved in disaster preparedness functions, since a new directorate (yet to be established) will have that mission. FEMA will be survived by state and local emergency management offices, which are confused about how they fit into the national picture. That's because the focus of the national effort remains terrorism, even if the Department of Homeland Security still talks about "all-hazards preparedness." Those of us in the business of dealing with emergencies find ourselves with no national leadership and no mentors. We are being forced to fend for ourselves, making do with the "homeland security" mission. Our "all-hazards" approaches have been decimated by the administration's preoccupation with terrorism. To be sure, America may well be hit by another major terrorist attack, and we must be prepared for such an event. But I can guarantee you that hurricanes like the one that ripped into Louisiana and Mississippi yesterday, along with tornadoes, earthquakes, volcanoes, tsunamis, floods, windstorms, mudslides, power outages, fires and perhaps a pandemic flu will have to be dealt with on a weekly and daily basis throughout this country. They are coming for sure, sooner or later, even as we are, to an unconscionable degree, weakening our ability to respond to them. The writer is director of the King County, Wash., Office of Emergency Management. __________________________________________________ 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: Thu, 1 Sep 2005 17:52:50 -0500 message-id: <3e20efecd35cca64a6a87668758414ca@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: Multimedia instructor position at LA Mission College Begin forwarded message: > Los Angeles Mission College invites you to apply for Multimedia Tenure > Track Faculty Position. > > Closing Date: October 13, 2005 > Please fax or email submissions to: > Leslie Milke, > Chair of Arts, Health, and PE > Institute of Arts and Multimedia > Los Angeles Mission College > Tel. 818-364-7765 > FAX 818-833-3307 > Email: milkel@laccd.edu > > Submission requirements: Cover Letter, Resume, and Teaching Philosophy > > From the finalists the following additional items will be required: > letters of recommendation (2), transcripts, syllabus example, examples > of student work (if available), and examples of art practice - either > on CD Rom, Internet, DVD, or VHS (no slides or prints please) > > Minimum Qualifications: MFA in related field, or a BA with two years > full-time working experience in the field > > Job Description: The Multimedia Studies division of the Institute of > Arts and Multimedia (IAM) at Los Angeles Mission College is hiring a > full time faculty position to commence in the Spring 2006 semester. > Multimedia at IAM involves a range of subjects, including digital > imaging, graphic design, interactive design, digital video and > animation. Applicants qualified to teach in more than one of these > areas are encouraged. Candidates with an MFA in a field related to > Multimedia and with at least two years of teaching experience are > encouraged to apply. Job responsibilities will include a full-time > teaching schedule and working as the Vice Chair of Multimedia in areas > like fundraising, scheduling of classes and recruitment. The > Institute of Arts and Multimedia was founded on the principles of art > as the foundation of successful digital art. Therefore, any candidate > should have a strong grounding in art. > > Salary Range: $41,300 - $64,300, although hourly teaching assignments > or a doctoral differential may increase the salary > > Email to: jobpostings@laccd.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: Thu, 1 Sep 2005 22:18:42 -0400 message-id: references: no_parent from: Curt Cloninger subject: RHIZOME_RAW: plot this concept: 1to1 -- Keyhole Memory / Mediated Psychocartography plot this concept: 1to1 -- Keyhole Memory / Mediated Psychocartography PRECEDENCES: Confessional poetry. Geocaching. TECHNOLOGY: Google bought the Keyhole satellite photography database and made it Google Maps. MSN has something similar called Virtual Earth. In some areas of the world, the google map set is more detailed; in other areas, the MSN mapset is more detailed. Now there's a cool flash interface that combines both: http://flashearth.com (by Paul Neave). You can bookmark and save specific locations as discrete URLs. The cool thing about flashearth is, unlike MSN Virtual Earth and Google Maps, there's no search field. So you can't just type in the name of the location. You have to start macro and zoom in manually. It requires a bit of visual recognition and spatial cognition. You "feel" your way there and in so doing you get a haptic sense of where "there" is in relationship to "everywhere else." CONCEPT: Memory is intrinsically tied to location. Now via flashearth I can access my personal "memory locations" from on high. I can then connect each location with its correspondent memory by posting a discrete URL of the location with a text description of the memory. Others can access my locational memories, "surf them," then post their own. Because flashearth is a database, when I post the discrete URL of a memory location, I'm not just sharing a static satellite image of that location; I'm sharing a locational node which is connected in context to a database of the whole world. The reader of my post is thus able to navigate the areas surrounding my locational node, and contextualize my location with other locations in her personal history/memory. INSTRUCTIONS: A. Acquire a URL ( psychocartography.org ) and set up a guestbook structure with the following requisite form fields where anyone can post: 1. The URL of their location from flashearth.com 2. The real world name of the location (where and what it is) 3. The date of the memory associated with the location (may be a date range. may be subjectively described.) 4. A brief description of what that location means to the person in terms of their personal memory (may include events, people, moods, etc.) 5. Optional: URL of any collateral online material that would supplement or enrich the memory (could be text, photographs, video, audio, etc.) These posts can take several forms: 1. They can be straightforward and autobiographical ("this is out back of the circle K in Detroit where I kissed Jane Harlowe for the first time. We were both 13.") 2. They can be downright cryptic and totally personal (almost like notes to one's self). 3. They can be fantastical/fictional ("this is the winter palace floating on a man-made lake in Beijing where I gazed into the lotus pond as a young girl.") Discourage generic tourist posts ("this is where I saw the eiffel tower/pyramids/mt. rushmore"), unless there is some more interesting personal/idiosyncratic memory involved. Or, B. simply post your own location/memory combinations at any online listserv or bulletin board and ask people to respond with their own posts. (That's what I'm doing here.) CALL FOR PARTICIPATION: Feel free to respond with your own location/memory combinations. SAMPLE POST: Here are a few actual location/memories from my life: [note, the URLs may get split in half in the web version of this post. Just paste them back together.] +++++++++++++++++++++++++++++++++++++++++ 1. http://www.flashearth.com/?lat=35.472465&lon=-82.804411&z=12.7&r=0&src=0 Dutch Cove, North Carorlina | winter 2005 The gap between our cove and Cruso, the town beyond. This winter, when the brush has died back, I aim to hike over this pass. (cf: http://computerfinearts.com/collection/cloninger/bubblegum/place/dutchcove/ ) 2. http://www.flashearth.com/?lat=-23.561252&lon=-46.6558&z=17.5&r=0&src=0 Sao Paulo, Brazil | 2004 Gallery where I stared at that Bosch painting for so long. (cf: http://computerfinearts.com/collection/cloninger/bubblegum/picture/bosch/ ) 3. http://www.flashearth.com/?lat=31.778081&lon=35.234522&z=14.4&r=0&src=0 Jerusalem, Israel, Western Wall | 2004 Prayed for unknown things in tongues. 4. http://www.flashearth.com/?lat=30.536877&lon=-87.905523&z=17.3&r=0&src=0 Fairhope, Alabama, Seminole Ave. Beach | the year I met Julie Bayfront beach down the road from my rental house. Dancing in the moonlight alone. 5. http://www.flashearth.com/?lat=30.696654&lon=-88.096533&z=19&r=0&src=1 Mobile, Alabama, Baxter Ave. House | Caroline's first three years Began playdamage. 6. http://www.flashearth.com/?lat=30.69716&lon=-88.131897&z=19.2&r=0&src=2 Mobile, Alabama, Wilmer Hall Orphanage, Murray Cottage | 1991 4 days on, 3 days off as a house parent. Good memories of us all gathered around singing "Romans 16:19" with Zach playing drums on the garbage can. 7. http://www.flashearth.com/?lat=30.701192&lon=-88.135445&z=19&r=0&src=1 Mobile, Alabama, Mary B. Austin Elementary, Old Ann (oak tree) | 4th grade Kicked off of the safety patrol for tree-climbing. 8. http://www.flashearth.com/?lat=30.701977&lon=-88.15638&z=19.1&r=0&src=2 Mobile, Alabama, woods behind our house on N. Carmel Drive | High School He is there and He is not silent. 9. http://www.flashearth.com/?lat=35.21119&lon=-85.927273&z=17.8&r=0&src=0 Sewanee, Tennessee, The Dairy | college Mysterious, fragrant days. All invitation and promise; Cocteau Twins soundtrack. 10. http://www.flashearth.com/?lat=30.219469&lon=-92.027814&z=18&r=0&src=0 Lafayette, Louisiana, Maw Maw + Paw Paw's swimming pool | childhood Dad flipping Andy and me high up in the air. "Stay balled up. 1, 2, 3..." (cf: http://computerfinearts.com/collection/cloninger/bubblegum/place/lafayette/ ) 11. http://www.flashearth.com/?lat=48.004443&lon=-114.243945&z=17.2&r=0&src=2 Lakeside, Montana | 1993 Read the book of Isaiah aloud in six hours. At the very end of the last chapter it started to rain. (cf: http://lab404.com/plotfracture/whorl/memory/mt/road.jpg ) 12. http://www.flashearth.com/?lat=17.71537&lon=-64.736149&z=12.3&r=0&src=0 St. Croix, US Virgin Islands | 1992 Walked around the perimeter of the island in 4 days. (cf: http://lab404.com/plotfracture/whorl/memory/mt/flag.jpg ) 13. http://www.flashearth.com/?lat=36.727087&lon=-80.79148&z=17.8&r=0&src=2 Carroll County, Virginia, Joy Ranch Boys & Girls Home | 1994 My first teaching job. X marks the spot of the storage room where there was an upright piano on which I wrote this song for my wife the year before we met: http://www.lab404.com/audio/no_one_knows/you_have_ravished_my_heart.mp3 14. http://www.flashearth.com/?lat=19.196044&lon=-100.138459&z=14.1&r=0&src=0 Valle de Bravo, Mexico | 2003 The Rose of Jericho and Bougainvillea (cf: http://computerfinearts.com/collection/cloninger/bubblegum/place/valle/ ) 15. http://www.flashearth.com/?lat=34.30351&lon=-83.82345&z=17.5&r=0&src=2 Gainesville, Georgia, Brenau University Women's Center | courting Julie I would stay here when I went to visit Julie while she was in college. We would watch videos, eat snacks, sit on the couch in the commons room, and be glad. 16. http://www.flashearth.com/?lat=32.065684&lon=-84.921433&z=16.4&r=0&src=2 Providence Canyon, Georgia, outside of Eufaula, Alabama | right before my job at Integrity Music Before we had kids, back when Julie and I used to go stay at Alabama state parks for fun. I was between jobs and very depressed looking into this big gorge. Soundtrack: The Verve's "Urban Hymns." (cf: http://gastateparks.org/content/georgia/parks/parkphotos/providence.jpg ) 17. http://www.flashearth.com/?lat=30.536523&lon=-87.490501&z=17.4&r=0&src=2 Styx River, Alabama | growing up Sandbar where Dad and I camped in cold weather, where I first looked at the moon through his glasses, saw details I hadn't seem before, and realized I also needed glasses. (cf: http://computerfinearts.com/collection/cloninger/bubblegum/place/juniper/ ) 18. http://www.flashearth.com/?lat=35.409731&lon=-82.85969&z=13.5&r=0&src=2 Cold Mountain, Shining Rock Wilderness, North Carolina | 2003 There's no through road. +++++++++++++++++++++++++++++++++++++++++ yours, 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: Fri, 2 Sep 2005 07:57:15 +0000 (GMT) message-id: <1072369171.1125647835332.javamail.weblicon@offler> references: no_parent from: auer@kunsttot.de subject: RHIZOME_RAW: =?UTF-8?Q?Reminder:_1st_Bachelors=E2=80=99_Prize_for_Net-? =?UTF-8?Q?Literature_//__deadline_30._September_05? Deadline Approching! One month 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 ein Monat bis zum Abgabeschluss fuer den 1. Junggesellenpreis für 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, 02 Sep 2005 10:35:36 +0200 message-id: <20050902103536.9f7e9c43.682c1d54@127.0.0.1> references: no_parent from: {feature07} subject: RHIZOME_RAW: =?ISO-8859-1?Q?=22Project=20Features=22=20spotlights=20Michael=20Takeo=20Magruder? "Project Features" http://features.nmartproject.net is happy to present during September 2005 its 7th feature: ---> Michael Takeo Magruder (USA/UK) and his interactive netart piece, entitled: "" . Project statement . Michael Takeo Magruder's , in which headline news articles have been parsed from http://news.bbc.co.uk/ between December 29 and February 1, is concerned with the individual's relationship with finite moments in recent history. As with his earlier works, Magruder grapples with media saturation and its subsequent devaluation of information; copyright-who actually owns the information, the event that triggered it, the history it becomes?; is it the 'truth'? re-presents 31 news items, compelling the user to "reflect upon the minute isolated occurrences of which history in an empirical sense is composed." Magruder does this by extracting, slowing down, and meticulously crafting samples of audio, image, text, and video information. Rather than disguise or remove distortions, Magruder deliberately incorporates the artifacts of data compression into the piece. Events that usually stream towards us in a rapid, undifferentiated flow become moments of quiet contemplation that can be viewed and re-viewed in one's own time. The user can apply an array of colored filters, like gels used on theater sets-one can, in fact, choose to view events "through rose-tinted glasses." Depending on the color, the moving image either partially obscures or reveals the 'truth', i.e. word. One can choose to literally tone down the rhetoric, or inflame the masses. One filter filters out the others. Multicolored, Magruder's default, represents ambiguity, multiple viewpoints, the many. With the motion slowed, and much of the detail removed from the images, one can begin to see what news actually 'looks' like. We see the outlines and the spaces in-between. We study the news as we would study a painting. Magruder's is his most powerful and beautiful yet. is a 2003 commission of New Radio and Performing Arts, Inc. (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the National Endowment for the Arts. (Turbulence.org Press release) . About the artist . Michael Takeo Magruder is an American artist based in the UK who works within the fields of New and Interactive Media. He received his formal education at the University of Virginia, USA, graduating with distinction in Biological Sciences. For the past eight years his artistic practice has reflected upon society's data-driven and information-saturated existence through the examination of international news communications. By recombining the notions of art and media, he has analysed interconnections between the individual and the pervasive media network; a questioning of product vs. process, knowledge vs. stimulation, fact vs. perspective. His artistic production has been exhibited worldwide and encompasses an eclectic mix of forms, ranging from futuristic stained-glass windows, digital lightscreens and modular light-sculptures to architectural manipulations, ephemeral video projections and interactive network installations. His current explorations and research embrace 3D stereoscopic projection, immersive multi-sensory environments and interactive non-linear narratives for network/gallery settings. His work in these fields is presently supported by Turbulence.org, 3D Visualisation Group: University of Warwick and Arts Council England. ******************************************* "Project Features" http://features.nmartproject.net which will feature during 2005 each month another exciting art project using net based media for artistic expression. . The 1st issue was featuring in January 2005 --> Doron Golan (USA) and his streaming video "Tale of Crow" (2004) . The 2nd issue was featuring in February 2005---> Simon Fildes and Katrina McPherson (UK) and their interactive piece, entitled: "Ardnamurchan Zillij" (2004) . The 3rd issue was featuring in March 2005---> Mary Flanagan (USA) and her interactive net piece, entitled: "[six.circles]" (2004) . The 4th issue was featuring in April/May 2005---> Emily Hermant (CA) and her interactive net piece, entitled: "The Lies Project" (2004) . The 5th issue was featuring in June 2005---> Geert Dekkers (the Netherlands) and his interactive weblog, entitled: "a drawing a day on nznl.com" (ongoing) # The 6th issue was featuring in July/August 2005---> Marc Lee (Switzerland) and his interactive net piece, entitled: "Loogie.net News" # all projects and more details on http://features.nmartproject.net . ***************************************************** This release can be found also on NetEx - networked experience http://weblog.nmartproject.net/index.php?blog=1&cat=56 ***************************************************** "Project Features" http://features.nmartproject.net is curated by Agricola de Cologne . [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net experimental platform for Art and New Media operating from Cologne/Germany . contacts and artists proposals: 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, 2 Sep 2005 09:07:40 +0000 (GMT) message-id: <537421610.1125652060798.javamail.weblicon@offler> references: no_parent from: auer@kunsttot.de subject: RHIZOME_RAW: =?UTF-8?Q?Reminder:_1st_Bachelors=E2=80=99_Prize_for_Net-? =?UTF-8?Q?Literature_//__deadline_30._September_05? Deadline Approching! One month 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 ein Monat bis zum Abgabeschluss fuer den 1. Junggesellenpreis für 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, 2 Sep 2005 02:15:00 -0700 message-id: <200509020915.j829f0ix002707@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: argos festival in Brussels argos festival 2005 Once again this edition of the argosfestival provides a free port for a wide range of audiovisual art forms, offering a broad domain in constant evolution, open to thematic, formal principles and technological variations and 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. Historical and new work, the products of several generations and movements, 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 form and 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. 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, curated by Paul Willemsen, 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. 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. 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 colorful dialogue, amongst musicians, between image and sound, analogue and digital, control and coincidence. 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. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 2 Sep 2005 02:23:34 -0700 message-id: <200509020923.j829nyl6003893@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: argos festival- Brussels Argos festival 2005 13-22/10 Once again this edition of the argosfestival provides a free port for a wide range of audiovisual art forms, offering a broad domain in constant evolution, open to thematic, formal principles and technological variations and 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. Historical and new work, the products of several generations and movements, 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 form and 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. 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, curated by Paul Willemsen, 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. 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. 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 colorful dialogue, amongst musicians, between image and sound, analogue and digital, control and coincidence. 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. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Fri, 2 Sep 2005 03:06:20 -0700 message-id: <200509021006.j82a6kca009094@idx164.idx.net> references: no_parent from: zanni.org subject: RHIZOME_RAW: Great Show September 8 My friend Mauro Ceolin, http://www.rgbproject.com is in this show at PRISKA C. JUSCHKA. Please come to the opening, we will be there, z PRISKA C. JUSCHKA FINE ART P R E S E N T S NEW FOUND LAND An Inaugural Group Exhibition Organized by Yaelle S. Amir September 8 - October 8, 2005 Nin Brudermann, Mauro Ceolin, Tamara Gayer, Caitlin Masley, Sean McFarland, Dana Melamed, Daniel Mirer, Amy Rathbone, Carolyn Salas, Tucker Schwarz, Jeni Spota, Dannielle Tegeder and Amy Westpfahl works-online Opening reception: Thursday, September 8, 6-9 PM AT NEW LOCATION: 547 WEST 27th STREET, 2nd FLOOR 547 West 27th Street 2nd Floor New York, NY 10001 T: 718-782-4100 F: 718-782-4800 E: gallery@priskajuschkafineart.com Priska C. Juschka Fine Art presents New Found Land, the gallery's first exhibition in its new location on West 27th Street in New York City. New Found Land brings together artists who draw upon their physical surroundings as a starting point for their creations. Working in various mediums, they reconstruct environments such as their urban surroundings, a rural landscape or the actual gallery space, into new, and at times, abstracted sites of their own. In Nin Brudermann's mixed-media installation, the viewer is entangled in a startling futuristic setting, devoid of the outlet typically provided by an underlying fictitious plot. By introducing a reality that is seemingly subverted with gentle irony, she toys with the viewer's perception by evoking a ubiquitous, yet understated notion of Brechtian alienation. Working in various mediums, Mauro Ceolin derives inspiration from the internet and videogames. In Expensive Look Without the Expensive Price, Ceolin formulated on the surface of a skateboard a fabricated skyline made up of statistical information of the most traveled and documented locations in the world according to web "bloggers. " In his acrylic paintings on computer mice, Ceolin strips videogame landscapes of their context, leaving them desolate and alienating. He then paints them on the very tool with which one maneuvers within the original site, further distancing them from their source. Tamara Gayer appropriates an urban landscape, transforming its elements such as buildings and intersections into a blend of colors and patterns, which serve as expressions of her personal experience amongst these surroundings. In so doing, Gayer bridges notions of mental and public space, enabling the viewers to position themselves within the reconstructed site. In her installation, Caitlin Masley re-invents the global urban landscape using buildings from Berlin, Chicago and Shanghai, and transforms them into "Portable" paper structures. The various elements are based in photographs Masley took of the buildings, which were later digitally manipulated in accordance to her experience within the sites. Having witnessed the process of the de-construction and re-building of these cities, Masley created a universal perspective of the metropolis, which mirrors her psychological and sensory impressions of the rapidly-developing environment. Sean McFarland photographs cityscapes, only to later disassemble them by cutting out the different elements that comprise the scenes. From the pieces of these urban sites, he later constructs dioramas of a new landscape. Once completed, McFarland re-photographs the assemblage, thus reinstating coherence to the dislocated components. In Dana Melamed's collages, one may be able to identify many of the architectural structures from which they are composed. By combining Xeroxes, archive photographs and sketches of existing and invented locations, the artist creates a unique and self-contained urban landscape, which develops and expands organically. In his photographs, Daniel Mirer decontextualizes his architectural subjects by way of aesthetic choices, such as framing and formatting, ultimately transforming them into abstract, impersonal and unrecognizable locations. The reconstruction of an environment takes on an added meaning when one observes the work of Amy Rathbone. Drawing upon the physicality of the gallery, Rathbone incorporates its walls into her labor-intensive work. By reinterpreting its structural function through personal experience, she develops an abstracted, and entirely subjective environment, which exists only within its current context. In her floor installation, Carolyn Salas assembles a fictitious landscape within the limiting boundaries of the exhibition space. Fueled by her subconscious thoughts and personal narrative, she formulates an alternative and autonomous site of tranquility and reflection. Tucker Schwarz uses her sewing machine to "draw" on fabric various bits of landscapes she had previously captured on camera. The resulting images trigger one's free associations relating to position and personal space, in a visually subtle and suggestive manner. In constructing alternative environments, Jeni Spota relies primarily on her imagination, stimulated by experience and vision. The resulting invented universe is an amalgam of impossible miniature planets, fused together to create a futuristic abode. Inspired primarily by architectural blueprints and technological sketches, Dannielle Tegeder creates seemingly abstract environments composed of interconnected recurrent forms, each representing a specific function in fantastical landscapes, such as tunnels and housing. In both her two and three-dimensional work, these various forms come together to produce an underground utopian system, which maintains its own continuous rhythm and flow. Amy Westpfahl collected photographs from the New York Historical Archives for the purpose of documenting the transformation of the LES neighborhood. She later juxtaposed these images with current views of the area that were taken from the same vantage point as the originals. In order to exemplify the changes that the neighborhood has undergone, Westpfahl traced continuous fabricated skylines above the photographs, which join and part in accordance to the fluctuating configuration of the landscape. Join Priska Juschka and the artists at the gallery for an opening reception on Thursday, September 8, 6-9 PM Gallery hours: Tuesday through Saturday 11:00 AM to 6:00 PM or by appointment. Copyright © PRISKA C. JUSCHKA FINE ART 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 causing the graphics output of the screen to change. The resulting display resembled a Mondrian painting which became more and more abstract the further the bot was shocked. Moving down into the basement of the church, "Nervous", by Bjoern Schuelke, consisted of small, bright orange, furry objects that coated the walls of the space. As you got closer and touched them, they began to shake and emit nervous sounds. This project was a nice simulation of the "human side" to artificial life and a reminder of the "fragility" of automated creatures. As the show came to a close, it was evident that automated or mechanized art is not dependent on the creation itself. Most of the work in the show came to life with audience involvement and through the individual perception each participant and author brought to the works. Throughout its four year existence, Artbots has presented a sample of work that re-defines what "robotic art" is or how it could be perceived (see the website for a list of all works included). Each of the works in this year's show were unique reminders that technological art can produce the same visceral reaction usually associated with traditional art forms. The kinetic nature of the works adds a relational aspect for the viewer who can project their own experience on the piece. This remarkable quality to the work and high standard of curation from a yearly open call, has turned Artbots into one of the most unique and eclectic electronic art festivals worldwide. --- By Jonah Brucker-Cohen (jonah (at) coin-operated.com) + -> 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 date: Fri, 2 Sep 2005 05:40:12 -0700 message-id: <200509021240.j82cecww029223@idx164.idx.net> references: no_parent from: michael bielicky subject: RHIZOME_RAW: Falling Life FALLING LIFE Falling Life is a permanently ongoing project that was introduced for the first time in Berlin in August 2005. This urban screening project doesn’t need a curator or a gallery; it doesn’t need a fixed place or an access to the electric power. The artists are equipped with a car, a laptop, a compact light powerful projector and a small power generator. With this very mobile equipment the artists are able to have an instant presence in the urban landscape of cities. They are using facades of buildings that can be immediately changed into a projection screens. What makes the project exiting is the variety of possible buildings as a projection surface: the more uneven and relief they are the more magic they look. Without any preparation and without any permits the artists are operating in a kind of projection guerilla style. Michael Bielicky and Kamila B. Richter are using a minimalist language of white constantly appearing and disappearing pictograms. The moving icons represent the collective reality of our interconnected globalized world. With the help of an algorithm the combination, amount, size and speed of the objects is permanently changing and so the image is never the same. The artists don’t reduce only the form of the displayed objects but also the color absence results in a pure white light. It is fascinating that the whole movie with a 25 different sequences can have a size of 250KB!!! The next public appearance of Michael Bielicky’s and Kamila B. Richter’s light projections will be in September at the Ars Electronica festival in Linz. The (not invited) artists will apply the theme of this year festival - “Hybrid – living in paradox” on the Ars Electronica itself: Ars Electronica is living in paradox. The artists use the same hybrid strategies Ars Electronica aims to discuss as they create their own hybrid Ars Electronica layout by copying and recombining some of the language and pictorial units used for this year Ars Ekectronica’s promotion material. Michael Bielicky and Kamila B.Richter x@avu.cz + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php The works of each artist and the net.art piece itself are placed under a copyleft license: the "free art license". the text of the license is available at the following adress: http://artlibre.org/licence.php/lalgb.html "Quixotes and Sheep" was inspired by the project "Big Sheep", a collaborative and copyleft project: http://bigsheep.blogspot.com by Isabel Saij and Regina Clia Pinto. Some of the original or derivative creations of "big sheep" and new works dedicated to the theme are used in "Quixotes and Sheep" which interactively includes movies, stills, texts and sounds. simultaneously displayed in 3 areas of the screen. The project is open and new collaborations are welcome. "Quixotes and Sheep" is based on the chapter 18 of Cervantes' book. The general theme is a simple scream/question to "sick Quixotes" and "gluton Panzas": we are sheep??!! Ingenio400: http://www.ingenio400.com Quixotes and Sheep: http://arteonline.arq.br/quixote/ best regards, Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com (A NEW Blog - The Big Sheep! Big What?) ----- Original Message ----- From: To: Sent: Monday, July 25, 2005 5:51 AM Subject: RHIZOME_RAW: ingenio 400 international exhibition > The collaborative copylefting project "Quixotes and Sheep" > > has been included in INGENIO 400 > > (ingenio400.com) > > an international juried online exhibition commemorating the 4th centennial > of Cervantes' "Don Quixote" sponsored by ministry of culture of Spain > > > > artists in the project include: > > aLe > > Babel > > Isabel Sais > > Jeremy Hight > > Regina Celia Pinto > > Edward Picot > > Juliana Teodoro > > Muriel Frega > > Isabel Aranda > > Miguel Jimenez Zenon > > > > + > -> 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 > > + -> 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 date: Fri, 2 Sep 2005 06:19:15 -0700 (PDT) message-id: <20050902131915.38930.qmail@web30512.mail.mud.yahoo.com> references: <5cefd411-a15a-435d-a40e-31de64a4983e@computerfinearts.com> from: Michael Szpakowski subject: Re: RHIZOME_RAW: doron golan animation movies and qtvr works Hi I'm not so interested in definitional questions -what is this?, what do we call this? these I think on the whole are a fairly time consuming red herring (and almost as dull as the interactivity debate) but I am *gripped* by the three periods of Doron's work. Initially I was intrigued in the same way as you, Jim, by the early folder: http://the9th.com/00/?M=D in contrast to new work I was familiar with: http://the9th.com/04/ - there seemed, as you pointed out, *such* a distance -my first analogy to get hold of it was thinking of Diebenkorn & his move from abstract expressionism: http://www.realart.com/hfg/html/modern-html/diebenkorn-html/DBK-028.html to figuration: http://www.jhu.edu/~artwork/slil4.html in the early sixties, although Doron's "break" seemed an even sharper one, from the formalism of those early pieces to the warmth, strangeness and humanistic complexity of the later films.( although Doron's own comment about his artistic background seems to me interesting here) Then Doron posted the *other* folder: http://the9th.com/01/ of the intervening experimental pieces which are an exhilirating revelation - a real display of verve and nerve and a testing of limits, experiments in a true sense that nonetheless hold up in my view as discrete and exciting pieces in their own right.And in a sense my initial Diebenkorn analogy kind of comes good here ( and of course an analogy can only ever be an analogy):in Diebenkorn's work there was a third period, with the Ocean Park series: http://www.lacma.org/art/perm_col/modern/modern.htm#RICHARD%20DIEBENKORN where the return to a kind of abstraction appears as a wonderful dialectical synthesis of the apparently opposed two previous approaches; not merely a synthesis, however, but a *transcending* of these -the third term is not simply the arithmetical sum of the first two but something greater. Likewise with these three distinct ( in my view; -I'd be very interested to know if there is more and different intervening work [& it also would be really nice if all this work by Doron was easily available, clickable, in date of making order]) periods of Doron's work -again for me there is a great feeling that the latest period both includes and *transcends* the earlier work. On the surface the crow, revolution and the 9th allegro pieces are in some sense more "conventional" than what preceded them, but I think this is misleading - when we discussed this work before on Netbehaviour I said what struck me about Doron's work was it's strangeness, and this does seem to me to be it's key distinguishing feature - the mystery of why this shot, why this cut, why this music, the uncertainty of where each piece is taking us and what the point of view of the film maker is..but on reflection I'd add to strangeness two more qualities, first "luminousness", both literally in terms of the glorious light in the pieces but also a figurative shining out from the screen. Lastly, warmth. These pieces, entirely devoid of sentimentality, seem to me to be suffused with a warmth that arises out a response to , an understanding of and an empathy with fellow human beings. Of course, my Diebenkorn analogy stretches over a lifetimes work & I hope to see a *great deal* more work from Doron, in whatever style. michael --- doron wrote: > > http://the9th.com/00/?M=D > > > > I arranged a folder of my works from 2000-2001 > > please take a look :) > > doron > > > interesting contrast with your later works at > http:// > www.the9th.com/04/crow > > and http://www.the9th.com/04/revolution and > > http://turbulence.org/Works/golan/9allegro . > > > how do you go from the one to the other? > > > what is net cinema? > > > different from cinema on the net? > > > ja? > > hey jim :) > > the animation works has been studies and ephemerals > for image > manipulation, compression and web presentation. > > also, my background, I was a painter/sculpture > before and thought of > it as an extension of my work. > > later, when i got my first video camera I leaped > over to video. > before the works you mention I did some more > experimental work > > of mostly found objects and appropriation. > > http://the9th.com/01/ > > net cinema ? > > is basically cinema that embrace the web as a > primary source for > presentation. > > as opposed to cinema on the net that use the web for > delivery. > > but I think that 'net cinema' is very broad with > tons of possibilities. > > doron > > > > > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/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, 2 Sep 2005 06:22:20 -0700 message-id: <200509021322.j82dmkzn001519@idx164.idx.net> references: no_parent from: zanni.org subject: RHIZOME_RAW: Cool article on "Average Shoveler" by Pierluigi Casolari - ITALIAN Only - from Videoludica, the Mecca of the Game Culture http://www.videoludica.com/news.php?news=92 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + Subscribers to Rhizome are subject to the 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, 2 Sep 2005 07:13:42 -0700 (PDT) message-id: <20050902141342.66308.qmail@web30515.mail.mud.yahoo.com> references: no_parent from: Lewis LaCook subject: RHIZOME_RAW: Sugar Hiccup : Applet 2 of The Deitel Mods Sugar Hiccup Applet 2 of The Deitel Mods http://lewislacook.corporatepa.com/the_deitel_mods/content.php?page=sugarhiccup The Deitel Mods is a series of variations on an applet based on examples found in the book Java How to Program (Prentice Hall, 1998) by H.M. and P.J. Deitel. The book is an oft-used textbook for computer programming students wishing to learn web programming using the Open Source, cross-platform language Java. Most of the mods are generative/reactive media engines. Graphics are drawn live, sometimes as a result of your input(moving the mouse, clicking the mouse, etc.). The poem is assembled live as well, and is sometimes influenced by your actions. The poem accumulates with each applet, each applet adding a line to the previous one. Each line of the poem is randomly chosen from an accumulation of lines; each applet adds another accumulation to accomodate the new line. *************************************************************************** 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: Fri, 02 Sep 2005 10:59:48 -0400 message-id: <5e6ee8f0-133e-4b30-b166-07a25ef996ac@alcor.concordia.ca> references: no_parent from: Pall Thayer subject: RHIZOME_RAW: Make your mac usefull Finally, something that turns an iBook or Powerbook into a *real* tool: http://pallit.lhi.is/palli/dashlevel/ (my dashboard widget) Pall + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php So arrive early with you submission(s) $ 7.00 General Admission Screening Criteria: 15 minutes or less, Any year, Must be transferred to VHS or DVD All Topics/Genres: Fiction, Documentary, Experimental, Video Essay/Poem, Music Video, Animation This is a FUN-RAISER for Reel Venus Film Festival: Saturday, July 30, 2005 7:00 PM - 9:30 PM City Center 130 W. 56th St (6th and 7th Ave) Studio 3, 3rd Floor Midtown Manhattan Submissions can also be mailed to: M. Fowler Reel Venus Film Festival Grand Central Station P.O. Box 4344 New York, NY 10163 more info: info@reelvenus.com 212-714-8375 -------------------------------------------------------------------- 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 -> 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 date: Fri, 2 Sep 2005 08:16:24 -0700 message-id: <200509021516.j82fgork019286@idx164.idx.net> references: no_parent from: marc garrett subject: RHIZOME_RAW: NetBehavior List Residency NetBehavior List Residency Artist: Joseph McElroy The Netbehaviour list community has elected Joseph McElroy as artist in residence for 2 weeks, from 01/08/05 - 01/08/15. Information on Joseph McElroy's Residency: Community Newspaper. A community newspaper is committed to serving and building a local community by providing news and information to enhance the quality of life and to forge community bonds. A paper such as this provides a means of recording events; it tells the history of this community as it happens. The paper also defines this community; it defines it as a society. It gives it identity. "Now to start the Nethaviour Community Paper for the next two weeks. Please take a look at the sample day..." http://www.corporatepa.com/netbehaviour/ Then on each day of the next two weeks, those days you feel like it, send me a fax (US 7182286482), scanned image via email (joseph AT corporatepa DOT com), or even a link to online version of an article in your local paper (preferably a small circulation paper). I will compile daily (with help) into a daily paper. Please, also feel free to send me 250 px x 150px business card ads (see bottom of sample day) for the classified section (can be image or animation) as often as you like. Be creative as you like as long as it fits in format easily. Make suggestions on any changes you would like to see in format. Artist's URL: http://www.corporatepa.com/ All are welcome to collaborate join on the list for Joseph McElroy's residency... Netbehaviour: http://www.netbehaviour.org/ To subscribe: http://www.netbehaviour.org/mailman/listinfo/netbehaviour + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > years--(he makes the code available for free in the "open source" > section) I am a huge fan of his and that is why my mouth dropped when > I viewed this piece and saw so many of his experiments contained > within and no mention of his name anywhere on the piece. > + -> 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 date: Fri, 2 Sep 2005 11:34:19 -0400 message-id: <000001c5afd3$c9d273a0$1e8f4047@athena> references: no_parent from: patrick lichty subject: RHIZOME_RAW: New Orleans Hey, Sorry to bulk mail (small numbers), but I've been getting a lot of letters of concerns, and with helping on the phone, doing the work, and running interference, I'm pressed to answer everything individually. I'm OK, for those who didn't know, my wife and family are based in Baton Rouge. Our house is ok, we lost some 6-inch boughs,and we're pretty certain that the house was not damaged. Took 3 days for the electricity to be restored, and the cell phones are spotty, still. My wife, Leigh and our three cats are still there, and they're OK. This is where it gets dodgy. Gas is disrupted. There are 3-4 am gas station searches. We have taken in several friends who are currently indefinitely displaced. My cat is appreciative of the kids who play with her endlessly. I'm very worried about violence spreading across the area, and the potential for devastation of the general economy of two of the poorest states in the nation is very high. I'm waiting to see the result, but we may have to sell if the area falls into depression. New Orleans is screwed, though. I can't talk about it too much right now. Let's leave it at that. Your good wishes are appreciated, but I'm in good shape, and my wife is in one piece. We might have hard times ahead, but compared to the people starving in New Orleans, we're golden. Thanks again, Patrick Lichty Editor-In-Chief Intelligent Agent Magazine http://www.intelligentagent.com 1556 Clough Street, #28 Bowling Green, OH 43402 225 288 5813 voyd@voyd.com "It is better to die on your feet than to live on your knees." - Arturo Di Corinto - teacher of Online Communication Psichology - Rome - IT - discussion 3.00pm - 7:00pm - Alessandro Ludovico - new media critic, Neural.it - Bari, IT - Hans Bernhard - artist, Ubermorgen, Etoyholding - Wien, AT - Steven Kovats - international programs developer, V2_Institute for the Unstable Media - Rotterdam, NL - Cornelia Sollfrank - artist, Old Boys Network - Hamburg, DE - discussion In the networked art the artwork 's boundaries dissolve in the intertwined relationships between subjects, objects, strategies and theories. This process not only modifies artistic, political and commercial models, but it transforms the culture, the languages and the logic behind the theories of the interconnected society. Inter-disciplinarity, indetermination, transformation, decentralization and interaction, are among the key concepts of the sixties. But they are also the background of the artists that have used the telematic networks to plan new worlds or to critique the existing ones. The conference 'History of the Net Arts' has the purpose to gather some important experiences about some of the most active subjects, their actions and external collaboration with institutions, groups and movements, the technologies they used and, even more importantly, their theorical, social and cultural goals. http://www.neural.it/nnews/historyofnetworkedart.htm http://www.ecn.org/wikiartpedia/comunicati/historyofnetworkedart.htm Biographies. Robert Adrian X (CA/AT) Celebrated contemporary artist, produces installations, radio art and sound art works from 1957, and he's one of the recognized pioneer of telecomunication art. He started to work and experiment in this field already in 1979. He lives in Vienna. Hans Bernhard (CH/AU) One of the Etoy founders and creator of practices like the 'digital hijack'. He founded the Ubermorgen group with Lizvlx, and realized famous net.art works like 'Vote-Auction', 'Injunction Generator' and 'Google Will Eat Itself'. He won many awards like the prestigious Prix Ars Electronica's 'golden nica'. He lives and works in St.Moritz and Vienna. Giuseppe Chiari (IT) Musician and artist. He's a composer from 1950 and he's the most important Italian representative of the Fluxus movement, and one of the most important italian artists of the 20th century. He wrote books, essays and writings that have changed the music system, and his works are exhibited in museums all around the world. He's author of happenings and music experiments and he wrote music for different media. Arturo Di Corinto (IT) Cognitive psychologist and new media expert. Researcher at the University of Stanford (1997-1998), teacher at the Carrara Academy of Arts and University of Rome. He's author of essays on the technological innovation and social behaviours relationship. He's a founding member of the Avvisi Ai Naviganti BBS, Isole nella Rete and Cittadigitali. He also writes for the national newspapers Il Manifesto, La Repubblica and for the magazine Aprile. Stephen Kovats (CA/NL) Canadian born architect and media researcher Stephen Kovats spent a decade upon German unification designing and establishing media art and culture related programs at the Bauhaus Dessau Foundation. His "Studio Electronic Media Interpretation" hosted numerous international projects, symposia and exhibitions. Kovats founded several media culture oriented exchange and network programs including Archi-Tonomy, EMARE, ECX and the Bauhauskolleg. Editor of the book "Media Revolution. Electronic Media in the Transformation Process of Eastern and Central Europe". Currently Kovats is international programs developer at V2_Institute for the Unstable Media in Rotterdam. Alessandro Ludovico (IT) Media critic and editor in chief of Neural magazine from 1993. He has written media culture books and essays. He's one of the founding contributor of the Nettime community and one of the founders of the 'Mag.Net (European Cultural Publishers)' organization. He writes for various international magazines and he's also an expert in the Runme.org board and a collaborator of the Digitalkraft exhibitions. Enrico Pedrini (IT) He curated international exhibitions and he was one of the curators of the Taiwan Pavillion in the 1995 Venice Biennale. He has written many essays on contemporary art. Actually he's studying the interactions amongst the Dissipative Systems, the Theory of Chaos and the Possible Worlds that bring to the art universe the cathegories of the dissipation and possibilism. Cornelia Sollfrank (DE) Studied Fine Arts in Munich and Hamburg, taught at the Hochschule fr Bildende Knste, Hamburg, founder member of the female artists' group Frauen und Technik and '-Innen'. She's a founder-member of Old Boys Network and facilitator of the conference series 'Next Cyberfeminist International'. She works in the field of Internet art. She lives in Hamburg and Berlin. Luca Toschi (IT) Director of the 'Laboratory of the communication strategies' and head of the master's degree in Communication Theory, University of Florence. Author of the book 'Il linguaggio dei nuovi media', he has written essays on the relationship between education and the language of new media. Ha has started his career as researcher in 1970 at the UCLA, during the establishment of the first Arpanet nodes. He's a consultant for private and public firms. Tommaso Tozzi (IT) Teacher at the University of Florence and at the Carrara Academy of Arts, where he coordinates the Multimedia Arts Department. Director of uCAN - Center for Research and Documentation on Networked Arts and Digital Cultures. He has been the head of the cultural association Strano Network. Editor of Hacker Art BBS (1990) and creator of the first worldwide netstrike (1995). Founding member of the italian newsgroup Cyberpunk (1991) and of the net Cybernet (1993). -- Alessandro Ludovico Neural.it - http://neural.it/ daily updated news + reviews English.Neural.it - http://english.neural.it/ Neural printed magazine - http://neural.it/n/nultimoe.htm + -> 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 date: Fri, 02 Sep 2005 12:54:01 -0300 message-id: <43187599.1070004@rechen.com> references: <20050902141342.66308.qmail@web30515.mail.mud.yahoo.com> from: roberto echen subject: Re: RHIZOME_RAW: Sugar Hiccup : Applet 2 of The Deitel Mods cool applet, lewis best rechen Lewis LaCook wrote: >Sugar Hiccup >Applet 2 of The Deitel Mods > >http://lewislacook.corporatepa.com/the_deitel_mods/content.php?page=sugarhiccup > >The Deitel Mods is a series of variations on an applet >based on examples found in the book Java How to >Program (Prentice Hall, 1998) by H.M. and P.J. Deitel. >The book is an oft-used textbook for computer >programming students wishing to learn web programming >using the Open Source, cross-platform language Java. > >Most of the mods are generative/reactive media >engines. Graphics are drawn live, sometimes as a >result of your input(moving the mouse, clicking the >mouse, etc.). The poem is assembled live as well, and >is sometimes influenced by your actions. The poem >accumulates with each applet, each applet adding a >line to the previous one. Each line of the poem is >randomly chosen from an accumulation of lines; each >applet adds another accumulation to accomodate the new >line. > > > > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 2 Sep 2005 09:01:46 -0700 message-id: <200509021601.j82g1kcl026327@idx164.idx.net> references: no_parent from: Peter Horvath subject: RHIZOME_RAW: Peter Horvath opening Saturday September 10 @ 64 Steps Contemporary Art, Toronto FOR IMMEDIATE RELEASE CONTACT Bradley Baker, 64 Steps Contemporary Art, 1164 Queen St. W. Toronto, Canada. Gallery hours Wednesday - Saturday 12 - 5. Opening reception Saturday September 10, 7pm - 10pm Phone: 416.535.7837 Email: 64steps@rogers.com TORONTO, CANADA 64 Steps Contemporary Art is pleased to announce the opening and subsequent exhibition of Peter Horvath's newest work of web cinema 'Tenderly Yours' as a projected installation. A 65 page, limited edition hardcover publication accompanies the exhibition. With appearance and narration spoken by Joséphine Truffaut, Tenderly Yours resituates the personal, casual and ambiguous approach of French new wave cinema in a net art narrative that explores love, loss and memory. "The story is recited by a striking and illustrious persona, who moves through the city with her lover. Her willful independence is intoxicating, though her sense of self is ambiguous and a fear of intimacy consuming. Then, one day she suddenly disappears. Her lover is left bewildered and is posed to question whether she is a fiction, who fades with every passing recollection. At this moment, her face reappears only to be united with that of a movie actress, whose striking resemblance further questions the certainty of her existence. Here we encounter a series of filmic ‘doubles’, of French new wave cinema rendered as net art and in turn, of net art as cinema." - Celina Jeffery "Life, for Jean-Luc Godard's 'children of Marx and coca-cola,' was an extended meditation on politics, pop culture and the vicissitudes of dating. Peter Horvath adapts the concerns of this generation and the filmic style in which they were rendered in his new work of net cinema 'Tenderly Yours.' Here, the story of Joséphine--a contemporary French woman who 'detests money/ thinks herself a marxist/ and thinks she is too old for her age'--unfolds (...) Nodding both to the early writings found in the journal Cahiers du Cinema and Lev Manovich's more recent Soft Cinema, 'Tenderly Yours' exploits net conventions to emulate the spontaneous, fragmented and naturalistic mode of new wave filmmaking." - Lauren Cornell Peter Horvath works in video, sound, photo and new media. Camera in hand since age 6, he inhaled darkroom fumes until his late 20‘s, then began exploring time based art forms. He immersed himself in digital technologies at the birth of the Web, co-founded 6168.org, a site for net art, and adopted techniques of photomontage which he uses in his net and print based works. Exhibitions include the Whitney Museum Of American Art‘s Artport, the 18th Stuttgarter Filmwinter (Stuttgart, Germany), FILE Electronic Language International Festival (Sâo Paulo, Brazil), Video Zone International Video Art Biennial (Tel Aviv, Israel), the Musée national des beaux-arts du Québec (Québec City, Canada), as well as venues in New York, Tokyo, London, and numerous net art showings. He is the recipient of commissions from Rhizome.org at The New Museum, NYC (2005) and Turbulence.org New Radio and Performing Arts, Boston (2004). A founding member of the net art collective Hell.com, he likes t! o consider a future when high bandwidth will be free. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php 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 -> 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 date: Fri, 2 Sep 2005 10:11:27 -0700 message-id: <23e24a2605090210113939ef1c@mail.gmail.com> references: no_parent from: Marisa Olson subject: RHIZOME_RAW: Call for Syllabi: History & Theory of New Media Well, it's back to school time, isn't it? I'm interested in compiling a list of syllabi for courses on the history & theory of new media, and I'm sure than many of the other teachers on this list would love to see them, too. Practice-oriented courses would also be of interest, though there seem to be more slightly resources out there on how to teach these things. I'm very interested to see not only what's on people's reading lists, but also how people are organizing their materials--historically/chronologically, formally, thematically... If you are teaching or taking a class on this (or have in the past) and the syllabus is available online, send me an off-list message with the link. I'll add it to my list and send it out to the list and Digest, next week. Thanks! Marisa + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Datum: woensdag 20 juli 2005 7:51 Onderwerp: ( Corpus spaceship Earth ) kan je een bos-duwtje geven ? ( stuur kaartje ) LAPPERSFORT : BOS blijft BOS ! Verzameladres kaarten = GGF, KLOOSTERHOF 63, 8200 BRUGGE LAPPERSFORT : BOS blijft BOS ! ( om de 36 dagen kapt Vlaanderen 1 Lappersfort = 18 ha ) Om de nieuwe geplande bossen traagzaam wortels te geven resten ons nog 136 jaar ... Weet U het nog ? Brugge 2002 en de Lappersfortbezetting & ontruiming van het bos ... De strijd gaat verder...5/7 is binnenkort gered. Voor 2/7 wachten de bijlen ! Kunnen we dat maken ? NEEN ! Als vrienden & vriendinnnen van hut bos verzamelen we tussen nu en 2 oktober zichtkaarten vanuit alle dorpen en steden in Vlaanderen & de wereld : doe mee als je thuis blijft of op reis gaat ! De boodschap op je kaartje Lappersfort : bos blijft bos ! Waar 2 of 3 mensen een daad stellen in de naam van hut Bos groeit hoop & moed ? Om hut bos van de Torteltuin te redden gebruikt Pluk Hasselbramen met de H van Hanze ( een ver-haaltje voor onze kinderen van Annie M.G. Schmidt). Verbeelding aan de macht en in de hoofdrol... Om hut bos te redden netwerken wij met zichtkaarten van overal ter wereld die we tijdens de week van het bos (na de vredesweek) aan de overheden bezorgen. Wij staan voor duurzame ontwikkeling : people, planet, participation, profit in evenwicht. De Hanzestad is voor ons cosmopolitisch & dierbaar ! LAPPERSFORT : WOOD stays WOOD (every 36 days Flanders cuts 1 Lappersfort 18 ha) Do you remember ? Bruges 2002 & the occupation & police evacuation of the little wood near the centre...The battle continues...5/7 shall soon be protected. For 2/7 the axes are waiting ! Can we make this ? NO ! As friends of the woods we collect between now and 2 october vieuw-cards from all villages and cities : participate ! INFO VIND JE OP DEZE SITES http://www.regiobrugge.be/newsread.php?sid=1&aid=410 'Ga op reis of blijf thuis en laat hut bos toch niet alleen' http://www.vbv.be/weekvanhetbos/ www.plukvandepetteflet.com http://ggf.regiobrugge.be/ (Lappersfortmuseum) Graag deze mail doorsturen naar 2 of 3 aanspreekbare mensen Een Neen-reply indien deze bos-dromen niet hoeven respecteren we -----Einde van oorspronkelijk bericht----- ---> datapanik virtuele letterwerkplaats ---> www.datapanik.org ---> datapanik@datapanik.org ------------------------ (NL) ViLTNET respecteert uw privacy. U ontvangt deze nieuwsbrief omdat u (of iemand anders met dit adres) er zich ooit voor ingeschreven hebt (cht hoor). U zich kan makkelijk uitschrijven door een bericht te sturen naar nkdee@vilt.net met in de berichttitel LEAVE. Als dat niet lukt stuur dan effie een mailtje naar dv@vilt.net, dan vis ik er u handmatig uit. Groeten, dv. (EN) ViLTNET respects your privacy. You are receiving this message because you (or someone else using this address) subscribed to it (really, it's true). You can easily unsubscribe by sending a blank message to nkdee@vilt.net with LEAVE in the subject. If that doesn't work, send me a mail at dv@vilt.net and i'll remove you manually. Greetings, dv. __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 02 Sep 2005 13:29:52 -0400 message-id: <1125682192.43188c10b2e3e@the.thing.net> references: no_parent from: Ricardo Dominguez subject: RHIZOME_RAW: [atsyber] "CAUTION" by DoEAT =~==================================================================~ ~ Aprenda a Invertir ~ Quiere ser un inversor exitoso? Programa de Formacin de Inversores ->> http://elistas.net/r/e4.392e <<- =~==================================================================~ "CAUTION" by DoEAT (Dept. of Ecological Authoring Tactics, Inc) If you happened to be crisscrossing the border on August 26, 2005, you might have caught site of those ubiquitous yellow caution 3 People Running Across signs along Interstate 5 and Interstate 905 between Tijuana and San Diego that were modified to say "Free Market", "Wanted", "No Benefits", and "Now Hiring". This was a preview of a new border disturbance art action by the DoEAT group. This Friday, September 2, 2005 in celebration of Labor Day, all seven people running caution signs will be changed...Keep watch as you drive along the freeway because its Labor Day and "Everything Must Go"! Signs for Better Living By Dept. of Ecological Authoring Tactics, Inc http://post.thing.net/blog/rdom =~==================================================================~ ~ eListas hace los Blogs as ~ Crea tu bitcora gratis y mucho ms con uno de los servicios de blogs en espaol ms completos ->> http://elistas.net/z/b6.392e <<- =~==================================================================~ Todo el archivo y la memoria de At/Syber a tu disposicin, para leer un viejo mensaje haz click aqu > http://www.elistas.net/lista/atsyber/archivo/ La lista Atsyber es un proyecto de activismo cultural y participacin ciudadana con 12,535 miembros activos (comunidad virtual moderada por scar A. Garca - http://neurolumpio.rushpost.com -, fundada en 2001). Para darte de baja enva desde tu cuenta de correo mensaje en blanco a atsyber-baja@elistas.net Tu correo suscrito a esta lista es: list@rhizome.org IMPORTANTE: Slo desde list@rhizome.org podrs desuscribirte. Para obtener ayuda escribe a atsyber-info@elistas.net. LECTOR RSS: http://www.elistas.net/lista/atsyber/rss.xml + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php + Subscribers to Rhizome are subject to the 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, 2 Sep 2005 13:42:52 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: Liberal Blogs for Hurricane Relief Content-Disposition: inline *via Sivacracy *: Liberal Blogs for Hurricane Relief: *All proceeds will be sent to the American Red Cross fund for hurricane relief. Donations are being tracked by Drop Cash. Transactions are secured through Paypal. You can be certain that your contribution will be secure, for a good cause, and people will know it came from the liberal blogosphere . * > > this format. Total of 60 minutes, visual and audio non-sense. > > I like it, I was mesmerized by the tones and surprised when they > changed (kind of like white noise with a kick!) > > however, > > I am afraid to say that most of the "code" appears to have been > borrowed from http://levitated.net > > Jared Tarbell has been producing those "iterations" for the past four > years--(he makes the code available for free in the "open source" > section) I am a huge fan of his and that is why my mouth dropped when > I viewed this piece and saw so many of his experiments contained > within and no mention of his name anywhere on the piece. > + -> 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 date: Fri, 2 Sep 2005 11:53:44 -0700 (GMT-07:00) message-id: <32139453.1125687225278.javamail.root@elwamui-norfolk.atl.sa.earthlink.net> references: no_parent from: christina mcphee subject: RHIZOME_RAW: Iraq-related federal cuts for levees put New Orleans at severe risk http://www.alternet.org/story/24871/ Why the Levee Broke by Will Bunch, Attywood posted September 1, 2005 Even though Hurricane Katrina has moved well north of the city, the waters continued to rise in New Orleans on Wednesday. That's because Lake Pontchartrain continues to pour through a two-block-long break in the main levee, near the city's 17th Street Canal. With much of the Crescent City some 10 feet below sea level, the rising tide may not stop until until it's level with the massive lake. There have been numerous reports of bodies floating in the poorest neighborhoods of this poverty-plagued city, but the truth is that the death toll may not be known for days, because the conditions continue to frustrate rescue efforts. New Orleans had long known it was highly vulnerable to flooding and a direct hit from a hurricane. In fact, the federal government has been working with state and local officials in the region since the late 1960s on major hurricane and flood relief efforts. When flooding from a massive rainstorm in May 1995 killed six people, Congress authorized the Southeast Louisiana Urban Flood Control Project, or SELA. Over the next 10 years, the Army Corps of Engineers, tasked with carrying out SELA, spent $430 million on shoring up levees and building pumping stations, with $50 million in local aid. But at least $250 million in crucial projects remained, even as hurricane activity in the Atlantic Basin increased dramatically and the levees surrounding New Orleans continued to subside. Yet after 2003, the flow of federal dollars toward SELA dropped to a trickle. The Corps never tried to hide the fact that the spending pressures of the war in Iraq, as well as homeland security -- coming at the same time as federal tax cuts -- was the reason for the strain. At least nine articles in the Times-Picayune from 2004 and 2005 specifically cite the cost of Iraq as a reason for the lack of hurricane- and flood-control dollars. Newhouse News Service, in an article posted late Tuesday night at The Times-Picayune Web site, reported: "No one can say they didn't see it coming. ... Now in the wake of one of the worst storms ever, serious questions are being asked about the lack of preparation." In early 2004, as the cost of the conflict in Iraq soared, President Bush proposed spending less than 20 percent of what the Corps said was needed for Lake Pontchartrain, according to this Feb. 16, 2004, article, in New Orleans CityBusiness: The $750 million Lake Pontchartrain and Vicinity Hurricane Protection project is another major Corps project, which remains about 20% incomplete due to lack of funds, said Al Naomi, project manager. That project consists of building up levees and protection for pumping stations on the east bank of the Mississippi River in Orleans, St. Bernard, St. Charles and Jefferson parishes. The Lake Pontchartrain project is slated to receive $3.9 million in the president's 2005 budget. Naomi said about $20 million is needed. "The longer we wait without funding, the more we sink," he said. "I've got at least six levee construction contracts that need to be done to raise the levee protection back to where it should be (because of settling). Right now I owe my contractors about $5 million. And we're going to have to pay them interest." On June 8, 2004, Walter Maestri, emergency management chief for Jefferson Parish, Louisiana, told the Times-Picayune: "It appears that the money has been moved in the president's budget to handle homeland security and the war in Iraq, and I suppose that's the price we pay. Nobody locally is happy that the levees can't be finished, and we are doing everything we can to make the case that this is a security issue for us." That June, with the 2004 hurricane seasion starting, the Corps' Naomi went before a local agency, the East Jefferson Levee Authority, and essentially begged for $2 million for urgent work that Washington was now unable to pay for. From the June 18, 2004 Times-Picayune: "The system is in great shape, but the levees are sinking. Everything is sinking, and if we don't get the money fast enough to raise them, then we can't stay ahead of the settlement," he said. "The problem that we have isn't that the levee is low, but that the federal funds have dried up so that we can't raise them." The panel authorized that money, and on July 1, 2004, it had to pony up another $250,000 when it learned that stretches of the levee in Metairie had sunk by four feet. The agency had to pay for the work with higher property taxes. The levee board noted in October 2004 that the feds were also now not paying for a hoped-for $15 million project to better shore up the banks of Lake Pontchartrain. The 2004 hurricane season was the worst in decades. In spite of that, the federal government came back this spring with the steepest reduction in hurricane- and flood-control funding for New Orleans in history. Because of the proposed cuts, the Corps office there imposed a hiring freeze. Officials said that money targeted for the SELA project -- $10.4 million, down from $36.5 million -- was not enough to start any new jobs. According to New Orleans CityBusiness this June 5: The district has identified $35 million in projects to build and improve levees, floodwalls and pumping stations in St. Bernard, Orleans, Jefferson and St. Charles parishes. Those projects are included in a Corps line item called Lake Pontchartrain, where funding is scheduled to be cut from $5.7 million this year to $2.9 million in 2006. Naomi said it's enough to pay salaries but little else. "We'll do some design work. We'll design the contracts and get them ready to go if we get the money. But we don't have the money to put the work in the field, and that's the problem," Naomi said. There was, at the same time, a growing recognition that more research was needed to see what New Orleans must do to protect itself from a Category 4 or 5 hurricane. But once again, the money was not there. As the Times-Picayune reported last Sept. 22: That second study would take about four years to complete and would cost about $4 million, said Army Corps of Engineers project manager Al Naomi. About $300,000 in federal money was proposed for the 2005 fiscal-year budget, and the state had agreed to match that amount. But the cost of the Iraq war forced the Bush administration to order the New Orleans district office not to begin any new studies, and the 2005 budget no longer includes the needed money, he said. The Senate was seeking to restore some of the SELA funding cuts for 2006. But now it's too late. One project that a contractor had been racing to finish this summer was a bridge and levee job right at the 17th Street Canal, site of the main breach on Monday. The levee failure appears to be causing a human tragedy of epic proportions: "We probably have 80 percent of our city under water; with some sections of our city the water is as deep as 20 feet. Both airports are underwater," Mayor Ray Nagin told a radio interviewer. The Newhouse News Service article published Tuesday night observed, "The Louisiana congressional delegation urged Congress earlier this year to dedicate a stream of federal money to Louisiana's coast, only to be opposed by the White House. ... In its budget, the Bush administration proposed a significant reduction in funding for southeast Louisiana's chief hurricane protection project. Bush proposed $10.4 million, a sixth of what local officials say they need." Washington knew that this day could come at any time, and it knew the things that needed to be done to protect the citizens of New Orleans. But in the tradition of the riverboat gambler, the Bush administration decided to roll the dice on its fool's errand in Iraq, and on a tax cut that mainly benefitted the rich. Now Bush has lost that gamble, big time. The president told us that we needed to fight in Iraq to save lives here at home. Yet -- after moving billions of domestic dollars to the Persian Gulf -- there are bodies floating through the streets of Louisiana. What does George W. Bush have to say for himself now? Will Bunch is a senior writer at the Philadelphia Daily News and author of the blog Attytood. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 2 Sep 2005 22:12:24 +0200 (CEST) message-id: <20050902201224.498a821fd4@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Javascript jour Japan, Jell-O judicable JPEGs, Jr jacking jpeg, . 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 programming interfaces" (API) software-based rules which allow a programmer to harness the BBCs content and include connections to news feeds, television and radio listings, travel information and weather data. + -> 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 date: Fri, 02 Sep 2005 13:13:35 -0700 message-id: <4318b26f.6020100@ucsd.edu> references: no_parent from: Brett Stalbaum subject: RHIZOME_RAW: [Fwd: Achim =?windows-1252?Q?Mohn=E9_/__The_Center_for? =?windows-1252?Q?_Land_Use_Interpretation=3A__=22The_Lemay_? =?windows-1252?Q?Island_Remote_Location_Project=22=5D? Paula Poole and I spent the night in the light of this sculpture this summer, and we could see it from over 17 kilometers away in the Silver Island Mountains. CLUI has generously made the use of this land open to residents of its Wendover program (see www.clui.org). It would be interesting to see Rhizomer's take it on as a problem or an opportunity in future years; because not only does the site traverse the virtual/real problem in an interesting way, (it is so remote and in such a hostile environment that it is certainly experienced as media, mapping and data more so than as site), it is also a potentially nice foil to help break the "urban" clich attached to "locative media". The lands surrounding it are mostly public. It also has a history of artistic mediations related to it. Mohn has done a great installation in this special place - it is the only artificial light visible for many miles surrounding the remote location. -------- Original Message -------- Subject: Achim Mohn / The Center for Land Use Interpretation: "The Lemay Island Remote Location Project" Date: Fri, 2 Sep 2005 11:22:03 +0200 From: Achim Mohn THE LEMAY ISLAND REMOTE LOCATION PROJECT Lemay Island, Utah, USA On 12 June 2005 the permanent and energy-autarchic Land-Media-Sculpture on Lemay Island was switched on. The light installation illuminates the surrounding countryside 24 hours, seven days a week. The installation consists of an LED spot light, a wind generator and two solar modules. The solar modules serve to generate electricity and, at the same time, as a panel painting that reflects the surrounding countryside: the Newfoundland Evaporation Basin and the Silver Mountains. The Lemay Island Remote Location was purchased by Robert Smithson in 1969. In 2000 it was made available for the artistic purposes of the Center for Land Use Interpretation in Los Angeles. The 40-acre stretch of land is 42 miles away from any kind of infrastructural facilities. Information / images / video about: "Lemay Island Remote location 2003/2005"; get exact instructions for finding the location: www.achimmohne.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 You Minowa (Curator, MCMOGATK). For further information, please visit at; http://www.netarts.org/webmuseum.html 3. The schedule We will accept nominations by mail from 15th, July 2005 to 15th, Sept. 2005. The award-winning artwork will be selected by 30th Sept. The exhibition will be launched 1st, Nov. 2005. We will soon announce some physical events to take place in Nov. at the Machida City Museum of Graphic Arts, Tokyo. -- You Minowa Curator Machida City Museum of Graphic Arts http://www.netarts.org/ webmaster@netarts.org + -> 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 date: Fri, 2 Sep 2005 13:24:32 -0700 message-id: references: no_parent from: Christina McPhee subject: RHIZOME_RAW: September on -empyre- soft-skinned space: Sites in Translation Please join us at as we explore "Sites in Translation" with artists Ricardo Miranda Zuniga, Mariam Ghani, Lana Lin, H. Lan Thao Lam, and Angel Nevarez In 2004, five artists and collaborative groups were commissioned to make web-based projects for the latest edition of inSite, the binational exhibition of site-specific work staged every few years along the San Diego/Tijuana border. Having opened the final week of August 2005, inSite's first venture online raises a number of interesting questions for discussion. "Tijuana Calling" is online now at: The artists ask: "Is the net a vast no-mans-land, a border-free zone contiguous to every place but specific to none? Or does the net re-enact the politics of physical geography, with its own border policies and politics of exclusion, recognition and reciprocity? Is it possible for new media artists to activate the net for the staging of projects responsible and responsive to communities that fall between legitimized power sectors, and if so how? "We would like to examine the role of the artist as translator, mediating between points of origin and reception. We propose several approaches toward understanding translation: physical place as re- articulated in virtual space; linguistic translation proper; cross- cultural production; and on-line transmission." Please welcome Ricardo, Mariam, Lana, Lan Thao, and Angel. ------------------------------------------------>Ricardo Miranda Zuniga grew up between Nicaragua, and San Francisco. A bicultural upbringing tied to a multidisciplinary education has led to work that attempts to cultivate interaction with the viewer and may include performance, sculpture, video and audio, the Internet or a combination of all. The principle behind the work is communication as a creative process. ---------------------------------------------->Mariam Ghani is a Brooklyn-based artist whose work in video, installation, new media, text and public dialogue performance investigates how history is constructed and reconstructed as narrative in the present. Her work has been exhibited nationally and internationally since 1999, and she has been making web-based projects since 2003. ----------------------------------------------->Lana Lin is a New York-based media artist whose practice interprets cultural histories and the processes of identification. Her work has been shown at the Museum of Modern Art and Whitney Museum of American Art, New York, China Taipei Film Archive, Taiwan, and the Festival de Femmes, Creteil, France. ------------------------------------------------->H. Lan Thao Lam is a bilingual artist/writer who has lived in Vietnam, Malaysia, Canada and the US. Lam's work probes the inter- relationships between place and history, architecture and philosophy. Lam is the recipient of the Canadian Council for the Arts Media Grant, H.L. Rous Sculpture Award, and James Robertson Environmental Design Award. ------------------------------------------------>Angel Nevarez was born in Mexico City, 1970, and raised in the United States. Nevarez studied biology at the University of California, San Diego and in 2001-2002 was a studio fellow of the Whitney Museum Independent Study Program. He is co-founder of the artist collaborative neuroTransmitter, whose work fuses transmission and conceptual art. Subscribe at -cm + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 2 Sep 2005 15:34:17 -0500 message-id: <458dde0c5a2d9907938ecf92fccf42a9@yahoo.com> references: <20050902131915.38930.qmail@web30512.mail.mud.yahoo.com> from: ryan griffis subject: RHIZOME_RAW: Re: doron golan animation movies and qtvr works On Sep 2, 2005, at 8:19 AM, Michael Szpakowski wrote: > > shining out from the screen. Lastly, warmth. These > pieces, entirely devoid of sentimentality, seem to me > to be suffused with a warmth that arises out a > response to , an understanding of and an empathy with > fellow human beings. On a tangent, Michael, i wonder about the tension between sentimentality (negative) and empathy (positive) that is implicit in you saying Doron's work is "entirely devoid of sentimentality." i find Doron's recent movies suffused with sentimentality, as they hint (to me) at something idiosyncratic and emotional (as opposed to "universal," but it's hard to get past the surface of that emotion, as there remains an element of unknowability (existentialist, if you will). i don't say this to negate the presence of humanist empathy, which i also find there in an interestingly critical way. i just question the negative connotations attached to sentiment. i.e. sentiment == manipulation, empathy == understanding, which seems a rather arbitrary and ideological value judgment. the tension between these ideas is what makes documentary interesting to me... the Diebenkorn analogy is interesting in this, as critics of figuration considered this move to be "sentimental" but in retrospect, RD's work was a pretty "cold" use of figuration towards abstract ends, compared to others of the same group, like David Park, who went for a much more material and "fleshy" aesthetic. best, ryan + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php These secrets and more are revealed as we interviewed them via the pan-american phone lines from New York to San Francisco... http://www.petitemort.org/issue03/26_matmos #27 - U T I L I T Y F O G // THE NEBULOUS EMERGENCE OF NANO-ART Forget for a moment about massive art and the generally lauded “bigger-is-better” approach to making art. In this day and technological age “small” is being declared the next big thing. This would make a prefix “nano” the latest buzz attaching itself like a linguistic parasite to everything from industrial coatings to stain-resistant pants to tomorrow’s masterpieces... http://www.petitemort.org/issue03/27_nanoart #28 - M U S I C A F O R M O S A // 3 TAIWAN INDIES They say Taiwan has the largest species of exotic flowers in Asia. Well the same can be said about it's music scene which we explored last spring on the Isla Formosa [Portugese: beautiful island]. As an mini-sampler we chose three bands: Bad Daughter (WWR), Nipples (WWR), Natural Q (A Good Day). http://www.petitemort.org/issue03/28_musica-formosa * New Wikipedia links through-out site! * New nav buttons so you can surf smoothly from story to story. * BANDAOKE, we will return in ourt next issue! * As always, we are looking for contributors, email us. Cheers, Editors@petiteMort.org + -> 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 date: Sat, 03 Sep 2005 07:58:47 +1000 message-id: <6.0.1.1.1.20050903075836.02489d10@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: FW: Did New Orleans Catastrophe Have to Happen? 'Times-Picayune' Had Repeatedly Raised Federal Spending Issues Did New Orleans Catastrophe Have to Happen? 'Times-Picayune' Had Repeatedly Raised Federal Spending Issues By Will Bunch Published: August 31, 2005 9:00 PM ET PHILADELPHIA Even though Hurricane Katrina has moved well north of the city, the waters may still keep rising in New Orleans. That's because Lake Pontchartrain continues to pour through a two-block-long break in the main levee, near the city's 17th Street Canal. With much of the Crescent City some 10 feet below sea level, the rising tide may not stop until it's level with the massive lake. New Orleans had long known it was highly vulnerable to flooding and a direct hit from a hurricane. In fact, the federal government has been working with state and local officials in the region since the late 1960s on major hurricane and flood relief efforts. When flooding from a massive rainstorm in May 1995 killed six people, Congress authorized the Southeast Louisiana Urban Flood Control Project, or SELA. Over the next 10 years, the Army Corps of Engineers, tasked with carrying out SELA, spent $430 million on shoring up levees and building pumping stations, with $50 million in local aid. But at least $250 million in crucial projects remained, even as hurricane activity in the Atlantic Basin increased dramatically and the levees surrounding New Orleans continued to subside. Yet after 2003, the flow of federal dollars toward SELA dropped to a trickle. The Corps never tried to hide the fact that the spending pressures of the war in Iraq, as well as homeland security -- coming at the same time as federal tax cuts -- was the reason for the strain. At least nine articles in the Times-Picayune from 2004 and 2005 specifically cite the cost of Iraq as a reason for the lack of hurricane- and flood-control dollars. Read more: http://www.editorandpublisher.com/eandp/news/article_display.jsp?vnu_content_id=1001051313 _intricate mirror mem[e.st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ . __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 2 Sep 2005 19:14:32 -0400 message-id: <2ee57c99754f6a4885b97c18be34265d01731e45@millerexch.whitneyny.whitney.org> references: no_parent from: subject: RHIZOME_RAW: artport gatepage Sept. 05: Ben Fry -- computational information design | sketches The September 05 gatepage for artport, the Whitney Museum's portal to Internet art features computational information design | sketches by Ben Fry http://artport.whitney.org Ben Fry's computational information design sketches combine graphic design, statistics, computer science and other related fields to address complex data sets. Featured on the artport gatepage are four sketches: "isometricblocks" compares the genetic data of several people. "distellamap" looks at the operation of code in Atari 2600 games. This is a dual reprise of Fry's "dismap" and "mariosoup" pieces that explore the code of cartridge games, and how the graphics are mixed in. "salary vs. performance" visualizes what baseball teams are spending in 2005, and how it changes over the course of the season. "zipdecode" geographically positions u.s. postal codes. Ben Fry received his doctoral degree at the MIT Media Laboratory, where his research focused on methods of visualizing large amounts of data from dynamic information sources. His current research involves the visualization of genetic data at the Eli & Edyth Broad Insitute of MIT & Harvard. His work has been shown at the Whitney Biennial in 2002 and the Cooper Hewitt Design Triennial in 2003. Other work has appeared in the Museum of Modern Art in New York, at Ars Electronica in Linz, Austria, and in the films "Minority Report" and "The Hulk." With Casey Reas of UCLA, he is currently developing Processing, an environment for teaching computational design and sketching interactive media software. Computer games, play, and the politics of difference, a paper by Professor James Woudhuysen, which will review the naturalistic and consumerist approaches that now dominate commentaries on women and computer games, and propose an alternative outlook. Thinking past Pink: Critical considerations of women and gaming, a panel chaired by T.L. Taylor of the IT University of Copenhagen. The panel will provide several rich micro-accounts about women who do play, and discuss how we might better understand the intersection of gender and computer games through their stories. For full programme details, visit the website: www.womeningames.com Student Forum As part of the conference, student delegates will have unprecedented access to a panel of industry veterans, who will discuss CVs, interview tips, presenting a demo, and hot games hiring topics. Those attending will also have the opportunity to put their CV forward for discussion and comment from the panel. Mary-Margaret.com is pleased to be both a sponsor and a participant at the 2005 Women in Games Conference. Mary-Margaret.com is conducting a career workshop called Presenting Yourself! Robin McShaffry, VP of Operations with Mary-Margaret.com, will lead a discussion of CVs, interview tips, presenting your demo, and other hot games hiring topics. Robin will be joined by Matthew Jeffrey, Recruitment Manager at Electronic Arts, UK. The Student Forum will also give the inside track on Dare to be Digital, a unique international student games competition based at the University of Abertay Dundee. Project Manager Jackie McKenzie will give an overview of the past five years of DARE, including a profile of some of the prototypes created. Mary Margaret Walker, CEO of Mary-Margaret.com, is moderating the closing plenary session for the Women in Games Conference, reflecting on issues raised during the conference, and exploring the future with Q&A. Closing session speakers include: T.L. Taylor, Associate Professor at the IT University of Copenhagen James Woudhuysen, columnist for IT Week, and Professor of Forecasting and Innovation at De Montfort University, Leicester Kaye Elling, Creative Manager at Blitz Games Ltd. (THQ), Leamington Constance Steinkuehler, Professor of Educational Technology at the University of Wisconsin-Madison, U.S. About Women in Games 2005 Women in Games seeks new opportunities and professional development for women working in and researching into games and the games industry. Analyse the role of women in the videogame industry, Discuss the future of games that appeal to female gamers, Provide an opportunity for women in the videogame industry to network, Provide an opportunity to present and discuss the latest videogame research. The conference, now in its second year, is a unique opportunity for delegates to explore this growing market, and hear new research into ways of getting women into games as both developers and players. Contact Women in Games 2005 by email at enquiries@womeningames.com Sponsors Scottish Enterprise Tayside Visual Science University of Abertay, Dundee City of Discovery Dundee&Angus Convention Bureau Thorntons Solicitors Real Time Worlds Mary-Margaret.com + -> 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 date: Fri, 02 Sep 2005 22:13:04 -0400 message-id: <4318ce70.22786.47f934@localhost> references: no_parent from: N O T S T I L L A R T subject: RHIZOME_RAW: 10th Annual Fest - Sept 24th - NYC
PRESS RELEASE:  10th Annual NOT STILL ART FESTIVAL

Abstract & Non-narrative Electronic Motion Imaging with
Music and Sound Design

DATE:  Saturday September 24, 2005
TIME:   1:00 PM  Attending Artist Interviews
            7:30 PM 10th Annual International Screening
LOCATION:  Micro Museum (second floor), 123 Smith Street, Brooklyn (F&G subway trains - Bergen St. stop)
TICKETS:  $10. general;  $5. students;  FREE to all NSA artists 1996-2005
WEBSITE: http://www.improvart.com/nsa/

Dear Friends,

We are eager to see you and hope that you will be able to attend the Not Still Art Festival.
We celebrate our 10th anniversary
by inviting all artists who have ever submitted work to the festival
to attend this year for free!

The program this year is serious, as befits the times. 
There are extraordinary abstract animations.
Video art that deals with war and the meaning of life.
The music and sound design is emotionally rivetting.

Please go to the website for images, descriptions and links:
http://www.improvart.com/nsa/

Following is a list of programs and artists/musicians being screened.

Best regards,
Carol Goss
Artistic Director

10th Annual NOT STILL ART FESTIVAL Program:

"Vignettes of War and Business" 4:00
Brit Bunkley - digital animation
Ohia (Jason Molina) - music

"die Wand" 6:18
Brigitta Bodenauer - video
Michael Strohmann -  music

"Movement Reflection" 3:40
Zach Poff and n.b. aldrich -  music and image
Brendan McCall -  dancer/choreographer

"Stains and Sparkles" 5:00
Paula Cronan - director/producer
Juliana Snapper - co-producer / music

"Opus 3" 1:42
davidjr a.k.a. David Bruce Bates Jr. - image and music

"Birthing" 7:50
Kyra Garrigue  - video and audio

"WG (War Games)" 6:40
Andrew Greaves - image
Ian Willcock - sound

"Boop-oop-a-doop" 3:22  (excerpt)
Sachiko Hayashi - image and sound collage
Magnus Alexanderson - sound source

"Pool" 5:35
Ralph Hocking - image and sound
Sherry Miller Hocking - movement

"Labyrinth No. 112"  6:00
Gerhard Mantz - image and sound

"Home Movies"  2:00
Bob Mataranglo - direction, image and edit
Concept:FX - sound

"Second Sight" 5:20
Stephanie Maxwell - image and animation
Peter Byrne - image and animation
Allan Schindler  music

"Cross Contours" 10:00
Dennis H. Miller - image, animation and music

"The Theory of Light, Chapter One"  8:00
Audri Phillips - director
John Adamczyk, Peter Adamczyk, Frederic Chopin, Merek - music

"Pendulum" 6:10
Jon Shumway - video and music

"After Brakhage"  2:36
Michael Theodore - image and music

"I Went to Bed"  4:00
Angela Veomett - video and sound

"Death in the Details"  5:16
Robert Waldeck  - director, editor, sound mix

"He's Done / Execution in Falluja"  2:14
Larry Wang - director, editor, sound mix

"City Symbols"   1:52
Yuming Zhao - director, editor

**********************************
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**********************************
N O T   S T I L L   A R T
http://www.improvart.com/nsa/
nsa@improvart.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, 2 Sep 2005 19:23:35 -0700 message-id: <200509030223.j832nzcq016710@idx164.idx.net> references: no_parent from: Michael Arnold Mages subject: RHIZOME_RAW: September on -empyre- soft-skinned space: Sites in Translation September on -empyre- soft-skinned space: Sites in Translation Please join us at http://www.subtle.net/empyre as we explore "Sites in Translation" with artists Ricardo Miranda Zuniga, Mariam Ghani, Lana Lin, H. Lan Thao Lam, and Angel Nevarez In 2004, five artists and collaborative groups were commissioned to make web-based projects for the latest edition of inSite, the binational exhibition of site-specific work staged every few years along the San Diego/Tijuana border. Having opened the final week of August 2005, inSite's first venture online raises a number of interesting questions for discussion. "Tijuana Calling" is online now at: http://www.insite05.org/auxillary/tjcalling2.htm The artists ask: "Is the net a vast ‘no-man’s-land,’ a border-free zone contiguous to every place but specific to none? Or does the net re-enact the politics of physical geography, with its own border policies and politics of exclusion, recognition and reciprocity? Is it possible for new media artists to activate the net for the staging of projects responsible and responsive to communities that fall between legitimized power sectors, and if so how? "We would like to examine the role of the artist as translator, mediating between points of origin and reception. We propose several approaches toward understanding translation: physical place as re- articulated in virtual space; linguistic translation proper; cross- cultural production; and on-line transmission." Please welcome Ricardo, Mariam, Lana, Lan Thao, and Angel. ---------------------------------------------->Ricardo Miranda Zuniga grew up between Nicaragua, and San Francisco. A bicultural upbringing tied to a multidisciplinary education has led to work that attempts to cultivate interaction with the viewer and may include performance, sculpture, video and audio, the Internet or a combination of all. The principle behind the work is communication as a creative process. http://www.ambriente.com/ ---------------------------------------------->Mariam Ghani is a Brooklyn-based artist whose work in video, installation, new media, text and public dialogue performance investigates how history is constructed and reconstructed as narrative in the present. Her work has been exhibited nationally and internationally since 1999, and she has been making web-based projects since 2003. http://www.kabul-reconstructions.net/mariam ---------------------------------------------->Lana Lin is a New York-based media artist whose practice interprets cultural histories and the processes of identification. Her work has been shown at the Museum of Modern Art and Whitney Museum of American Art, New York, China Taipei Film Archive, Taiwan, and the Festival de Femmes, Creteil, France. ---------------------------------------------->H. Lan Thao Lam is a bilingual artist/writer who has lived in Vietnam, Malaysia, Canada and the US. Lam's work probes the inter- relationships between place and history, architecture and philosophy. Lam is the recipient of the Canadian Council for the Arts Media Grant, H.L. Rous Sculpture Award, and James Robertson Environmental Design Award. ---------------------------------------------->Angel Nevarez was born in Mexico City, 1970, and raised in the United States. Nevarez studied biology at the University of California, San Diego and in 2001-2002 was a studio fellow of the Whitney Museum Independent Study Program. He is co-founder of the artist collaborative neuroTransmitter, whose work fuses transmission and conceptual art. http://www.neurotransmitter.fm/ ============================= -empyre- is an arena for the discussion of media arts practice, and regularly invites practicioners, curators and theorists in the media arts field to discuss specific projects, publications, and issues. Subscribe to -empyre- at: http://www.subtle.net/empyre/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Sat, 03 Sep 2005 14:56:14 +1000 message-id: <6.0.1.1.1.20050903145600.02260028@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: _glob.oil_ 03/09/2005 _____________________________________________________________ _glob.oil+clim[bing.natures.wrath.ladder]ate.alt.aftermath_ 03/09/2005 _____________________________________________________________ _poverty blood 4 oil_ _su.r[e]vival.stitching.via.s[creaming]outh.melts+white.vicious.vulpine.leaders.gloat.white_ _][cu[sp|t]][.cultural.KKKorners.sinking.in.de[hege]monic.hel[p.only.4.terror.null.I.US]l_ _white_death.vultures.feed.on.oil_driven.carrion_as.mutha.n[m]ature.reels.+gree[d]n.house.wrecks_ -- _______________________________________________ _(c)(txt)lust_er_ 09:42am 31/08/2005 _______________________________________________ 1. fabu[g]loss[y]ity_trapped.in.a.shadowed.txt.bowl_ 2. scrabbling.quips+lingual_stretching_p.rose[tipped.pen.sills] 3. down.furred+_sheep[ish.ly]feath.erred -- ________________________________________ WRYTING-L@LISTSERV 01:47pm 25/08/2005 ________________________________________ _ego.swa[m]ping.in.rotten.anti-blood.patch[1.3_ID]es_ _u.stretch.thru.ego.teeth+gri[mace+(peter)gun]n_ :: subject: x.hibits.wanton.removal.of.responsible.usage.of.the.text.ewe.all. object: build+wane.thru.bovine.s[victorian]heaths+greg[nef]arious.m.a[ping]t[i]ching :: subjective: pls.x.plore.b4.un.in.formed.knee[in.ur.historical.crotch].jerk.reactive.[haze]distancing objective: client.indicates.lack.of.critical.awareness+cogen[ial]t.assessment.of.con[pre]textuals. exploration = null; lazy = h[ypothese]i[s]. _intricate mirror mem[e.st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~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, 3 Sep 2005 10:20:50 -0300 message-id: <002601c5b08a$4f7ee9a0$dca205c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: =?iso-8859-1?Q?A_video_Performance_in_the_heart_of_Amazon_by_Joes=E9r_Alv? =?iso-8859-1?Q?arez? Dear friends, I would like to invite you to visit: http://www.alvarez.art.br There you will know an amazing video - performance done in the heart of Amazon by Joesr Alvarez. I really like very much this new work called "Sentido" (Sense ) by Alvarez. It reminds me an Art Museum in Niteri, Rio de Janeiro - MAC (http://mega.ist.utl.pt/~dcov/dac/fotos.html), projected by Niemeyer, where the lansdscape is so beautiful that it is very difficult to an artist to compete with it. All kind of work that one place there becomes fade because of the view. To one that does not remember, Alvarez was the guest of the third collaborative review of last year. http://www.arteonline.arq.br/newsletter/review3english.htm The size of the video is 3924 kb, but I get to see it without problems using my connection via moden, so if you have a fast connection it will be easy. Alvarez is now working hard with video, his passion. I have with me two excellent videos of him, the first one is a DVD - Vestgios Urbanos (Urban Vestiges), which I will write a review about it yet. The second is "Moinhos de Vento" (Wind Mills), which I received as a gift because of the third birthday of the Museum of the Essential and Beyond That. This last one I will launch next Fall in the museums video room. A very good weekend to all. Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com New Work: 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 loads, but without the characteristic jpeg lossiness (since gifs are a lossless compression format). All these hacks are moot now for anyone surfing via a high speed connection. The high speed surfer simply sees your high resolution image loaded immediately, since there is no wait time, and hence no reason for the her browser to load your image gradually. ++++++++++ CONCEPT All sorts of things in the world appear one way upon first examination, and then on closer examination, our perception of them changes. There is often an even more dramatic difference when the first examination is mediated and the closer examination is in real life. It's not too tricky to see the conceptual correlation between this aspect of real world apprehension/comprehension and the "LOWSRC-progressive jpg-interlaced gif" technology. ++++++++++ INSTRUCTIONS First, choose some before and after images that resemble each other visually. Since the 21st century conceptual media artists is obliged to be cynical and depressed, the before image will probably be hopeful and the after image will probably be gloomy. The challenge is, there has to be some sort of visual correlation between the initial low res image and the final high res image. For example, you could start off with a low res image of a happy poodle, and then as it gradually loads it could reveal a high res image of an abu ghraib prisoner on a dog leash. You get the idea. You may have to tweak the images a bit in photoshop to get them to align with each other in size and shape so that the transition between one and the other is seamless rather than abrupt. It should look like the same image gradually coming into focus. Remember, the concept has to do with the viewer's gradual perception, so the art is in the process of the reveal. Since the actual "LOWSRC / progressive jpeg / interlaced gif" technology is invisible on all the slowest connections, you'll have to simulate it. Make your progressively loading "image" an animated gif, that way your can force it to load gradually at a speed of your choosing. You can simulate either the LOWSRC effect, the progessive jpg effect, the interlaced gif effect, or a cobination of all three. Emulate whichever technology is most visaully appropriate to the subject matter of each particular animation. Here is one example of the tech: http://playdamage.org/42.html (That particular piece is merely the same image fading in and out. Your piece will, of course, have a happy low res image fading into its ironic high res doppleganger.) Make a series of these gradually loading images (actually animations), and give each animation a provocative, double entendre title which will serve as the animation's caption. The caption will appear on the page below the animation before the animation fully "loads," serving as a king of teaser. For example, with the dog/prisoner animation, the title could be "The Society for the Prevention of Cruelty to Animals." The more smarmy and irreverent, the darker the import when the final hi-res image is revealed! The effect should be like in the Haunted Mansion ride at Disney World when you're in that room with the portraits, and then the room stretches to reveal a malevolent and heretofore hidden portion of the portraits ( http://www.doombuggies.com/media/wallpaper/dynamite_800.jpg ). Or like the Edward Gorey animated introduction to Mystery on PBS (cf: http://www.awn.com/mag/issue5.04/5.04pages/lambgorey.php3 ). ++++++++++ MARKETING retro low res emulation is modish (pun intended). cf: http://www.mnartists.org/work.do?pageIndex=1&rid=14550 http://www.wired.com/wired/archive/13.08/play.html?pg=5 http://www.beigerecords.com/cory/Exhibitions/ http://www.lust.nl/lust/mtv/ With that in mind, you should really play up the "progressive jpeg emulation" angle in your press copy (aka artist statment/grant proposal). Otherwise, the piece risks being misconstrued as a series of horribly crude transformer animatics with cheeky captions. Fortunately, angsty irony is always en vogue, so you should have no problem pimping it to your desired art cartel. ++++++++++ PEDAGOGY [an aside] The next time I teach my net art class ( http://lab404.com/373 ), I'll probably make this concept an assignment. I currently have my students make a collaborative quilt: http://mmas.unca.edu/~cloninger/373/2005s/quilt/ And a collaborative alphabet (a la piotr szyhalski): http://mmas.unca.edu/~cloninger/373/2005s/abc/index.html So this assignment will be like a combination of the two. Steal this concept before I teach it, and I'll be obliged to allude to your work in my syllabus. Your work will then have had a marked influence on my pedagogical methods! ++++++++++ Happy implementin'! curt + -> 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 date: Sat, 3 Sep 2005 07:13:22 -0700 (PDT) message-id: <20050903141322.19943.qmail@web30511.mail.mud.yahoo.com> references: <458dde0c5a2d9907938ecf92fccf42a9@yahoo.com> from: Michael Szpakowski subject: Re: RHIZOME_RAW: Re: doron golan animation movies and qtvr works Hi Ryan gosh, the slipperiness of words, especially on Planet Postmodern! My take on the two terms is the time honoured one -sentimentality for me, is *unearned* emotion, emotion triggered by a formal, almost Pavlovian, response to certain standardised stimuli - and in the process real feeling, empathy, is often effaced. A lot of Brits, who would kill for their animals, whom they anthropomorphise and sentimentalise, would equally as quickly denigrate (and worse) refugees and asylum seekers, real, suffering, often desperate, human beings. The manipulative side of it is where these triggers are used in culture to direct us to a preforseen, a desired, conclusion; for example it seems to me that the bulk of Disney and in fact the bulk of mainstream cinema is almost exclusively about using sentiment ( and other short cuts -*action*, *excitement* for example.) to point us in a particular direction. That rather tortuous definition really just enables me to repeat myself -I contend that Doron's latest work lacks sentiment in this sense -the thing that gives it its mysteriousness is the impossibility of determining precisely at any point the directorial viewpoint -the viewer has to contruct a relationship to the folk in the films herself. In the end the films seem to me to leave us with a complex( because hard won, or better *worked for*, by the viewer)kind of empathy for their subjects and from this emerges a sense of great warmth for *actual* human beings engaged in living their complex and mysterious and messy lives. best michael --- ryan griffis wrote: > On Sep 2, 2005, at 8:19 AM, Michael Szpakowski > wrote: > > > > shining out from the screen. Lastly, warmth. These > > pieces, entirely devoid of sentimentality, seem to > me > > to be suffused with a warmth that arises out a > > response to , an understanding of and an empathy > with > > fellow human beings. > > On a tangent, Michael, i wonder about the tension > between > sentimentality (negative) and empathy (positive) > that is implicit in > you saying Doron's work is "entirely devoid of > sentimentality." i find > Doron's recent movies suffused with sentimentality, > as they hint (to > me) at something idiosyncratic and emotional (as > opposed to > "universal," but it's hard to get past the surface > of that emotion, as > there remains an element of unknowability > (existentialist, if you > will). i don't say this to negate the presence of > humanist empathy, > which i also find there in an interestingly critical > way. i just > question the negative connotations attached to > sentiment. i.e. > sentiment == manipulation, empathy == understanding, > which seems a > rather arbitrary and ideological value judgment. > the tension between these ideas is what makes > documentary interesting > to me... > the Diebenkorn analogy is interesting in this, as > critics of figuration > considered this move to be "sentimental" but in > retrospect, RD's work > was a pretty "cold" use of figuration towards > abstract ends, compared > to others of the same group, like David Park, who > went for a much more > material and "fleshy" aesthetic. > best, > ryan > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/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: Sat, 3 Sep 2005 07:23:55 -0700 message-id: <200509031423.j83enteo015071@idx164.idx.net> references: no_parent from: o.blaat subject: RHIZOME_RAW: sun. 9/4 SHARE @Mundial w/ Alo Allik aka synesthetik, and more... SHARE on sunday -greetings from SHARE, come to hang with good friends! come to jam! come to have a drink! come to chill! come to see/hear.... oh and... i keep forgetting to tell you... SHARE is always 100% FREE!! ------share on sunday, september 4th Sunday, September 4th: SHARE @Mundial, East Village, NYC (now, officially our new home!) - starting at 6 p.m.!!!! Featured guest on September 4th, 2005: Alo Allik aka synesthetik (briefly back from Den Haag!) Sometimes I dream sound. It does not happen all that often. But when it does it sounds kind of like Nimetamatu, a piece I performed at the Korzo theater ( http://www.korzo.nl ) for my Sonology final exam ( http://www.koncon.nl/public_site/220/SOmain.html ) in June. It has taken quite a few pages of code to write. Something like the Unnamable (by Samuel Beckett). This sense of vague familiarity that you cannot figure out. Spread out in space (and, every now and then - 44100 samples per second more or less, in time). When you wake up you are still in a dream... plus, Ruth Perez-Chaves' + (our hardworking man,) Ilan Katin's double b-day bash (all night:) plus, our always-fun audio/visual openjam before/after the featured set! so!... Please bring your own gears/instrument/equipment to join in the visual &/or audio jam!! bring yr sweetheart, bring yr sweet'n'cozy vibe, bring yr...self! Thanxx to many, many, many people who has been giving us great support in many ways! Share is now 'officially' calling this wonderful East Village bar, Mundial, our weekly home!!!! a minimal, high-tech lounge (a great soccer bar, with coolest outfit!) just 4 blocks from our old home at OpenAir. Mundial is conveniently located in the heart of the East Village on E 12th St between Ave A & B. Share @ Mundial 505 E 12th St East Village, NYC 212-982-1282 http://mundialnyc.com no cover, tasty beverages, plus nicely chilled air:)) upcoming at share: sept 11th: gather our minds & body... special 9/11 Huge OPENJAM!! (your political, &/or in-general thoughts/materials/reflections/insights are more than welcome to brought in this special jam for this night...) sept 18th: connect the dots - feat. bubblyfish+glomag, aerostatic, I8U, chika, ilan katin sept 25th: Marlon Barrios Solano (Unstablelandscape) + Dennis Del Zotto + Shiftic aka Walter Froetscher -------------------------- (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 > residence, affiliation/personal description/age (optional). > > Editing: The Bear Deluxe reserves the right to edit written material > for > clarity and length. We will not crop or otherwise manipulate artwork > without > the permission of the artist. > > Copyright: Upon receipt, The Bear Deluxe will assume one-time > publishing > rights as well as rights to include work on our web site for a period > of > three months after publication. This usage extends only to writing and > art > chosen for print or web publication in issue #23. > > Compensation to published work: Publication credit and complimentary > issue. > > EXAMPLES: Above all, we are looking for specific, personal exchanges or > stories (negative or positive) with global warming or climate change > and > less general perspectives on the subject. Maybe youve been injured > while > snowboarding at your favorite spot because of less snow pack, or your > ice > climbing season only lasts one weekend, or the ski town you live and > work in > has taken an economic hit due to less than ideal weather conditions. > Maybe > youre scared to take your small children out of the house during the > day > because of the harsh UV rays where you live. Perhaps you love surfing > the > giant waves that come your way thanks to melting glaciers. Anything is > good. > More unique the better. We want to hear from you! > > About The Bear Deluxe Magazine: The Bear Deluxe Magazine is published > by > Orlo, a nonprofit organization using the creative arts to explore > environmental issues. We have been recognized, among others, by Print > magazine, Adbusters and Utne Reader as one of the countrys premiere > environmental publications. Based in the Pacific Northwest, we publish > 20,000 copies of each issue and distribute them nationally. For more > information, visit www.orlo.org. For further information on this call > for > submissions: bear@orlo.org. > > > ### > > > PLEASE FORWARD AND POSTFAR AND WIDE > > > Orlo > The Orlo Exhibition Space > The Bear Deluxe Magazine > Orlo Video Slams > Mailing address: P.O. Box 10342 > Street address: 2516 NW 29th > (see www.orlo.org for directions) > Portland, Oregon 97296 > Phone: 503-242-1047 > email: bear@orlo.org > url: www.orlo.org > > > + -> 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 date: Sat, 3 Sep 2005 11:07:31 -0400 message-id: references: no_parent from: Archive Registrar subject: RHIZOME_RAW: d/y ethereal radio broadcast: over & out Deep/Young Ethereal Radio 8/27/04 - 8/27/05 http://deepyoung.org/radio/ I, I wish you could swim Like the dolphins, like dolphins can swim Though nothing, nothing will keep us together We can beat them for ever and ever We can be heroes just for one day I, I will be king And you, you will be queen Though nothing will drive them away We can be heroes just for one day We can be us just for one day I, I can remember Standing by the wall And the guns shot above our heads And we kissed as though nothing could fall And the shame was on the other side We can beat them for ever and ever Then we could be heroes just for one day - king david + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > host public > and campus events, such as: displays about human rights and historical > documents; talks and performances about freedom and cultural > difference; and > film screenings about issues that matter. Over 100 examples of events > can be > found at: http://www.theseptemberproject.org/pastevents.htm For events > tailored to a more academic audience, please visit: > http://www.lib.washington.edu/about/events/theseptemberproject > > Currently, over 160 public, academic, school, and institute libraries > in 13 > countries are participating. Participating countries include: > Bangladesh, > Greece, India, Israel, Italy, Nepal, Serbia and Montenegro, Singapore, > South > Africa, Spain, Sri Lanka, the US, and Venezuela. You can view a map of > all > participating venues here: > http://www.drizzle.com/%7Eklockner/cgi-bin/tsp/2005/map.cgi > > If you plan to offer programs that explore these ideas, please sign > up. Signing > up takes a moment and places your library on the map of participants. > Please > visit: http://www.drizzle.com/~klockner/cgi-bin/tsp/2005/venue.cgi > > I hope you and your colleagues will consider participating in this > project, and > please let me know if you have any questions and suggestions. > Respectfully, > > david silver > www.theseptemberproject.org > > English: http://www.theseptemberproject.org/tsp.pdf > Espanol: http://www.theseptemberproject.org/tspespanol.pdf > > [ if you blog, please consider blogging this ] > [ if you belong to other lists, please forward ] > > *** > > Que esta haciendo tu biblioteca el 11 de Septiembre 2005? > > El dia 11 de Septiembre, o cerca de esta fecha, gente en muchos paises > alrededor del mundo se reunieran en espacios publicos como las > bibliotecas para > compartir y discutir asuntos que son de vital importancia en el mundo > que hoy > vivimos. Vecinos de distintas areas participaran en foros publicos, > representaciones artisticas, y otras expresiones creativas de temas > como > democracia, ciudadania, y libertad. Las bibliotecas proveen el > perfecto espacio > para unir y atraer gente: Son espacios libres, publicos, y existen en > muchas > partes del mundo. Su participación es gratis. Por favor visite: > > http://www.septemberproject.org > > Consulta la lista de bibliotecas participantes; Comparte ideas para > eventos; > Inscribe a tu biblioteca. > > Esta cerrada en Domingo? No hay ninguna actividad planeada? > Muchas bibliotecas estan planeando eventos para el fin de semana del > 11 de > septiembre y durante todo el mes de septiembre. Algunas bibliotecas en > universidades y escuelas estan incluso organizando eventos y > presentando > exhibiciones que continuan hasta el siguiente periodo academico. > > El Proyecto Septiembre 11 es una iniciativa de base que tiene como > proposito > fomentar eventos publicos en todas las comunidades el dia 11 de > Septiembre. > > Para mayor informacion por favor contacte a: > info@theseptemberproject.org > > Espanol: http://www.theseptemberproject.org/tspespanol.pdf > English: http://www.theseptemberproject.org/tsp.pdf > > > > > ------------------------------ + -> 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 date: Sat, 03 Sep 2005 18:13:38 +0200 message-id: <4.0.1.20050903175715.02e81720@pop.monochrom.at> references: no_parent from: das ende der nahrungskette subject: RHIZOME_RAW: / // /// //// ///// ////// SOVIET UNTERZOEGERSDORF ///// //// SECTOR 1 /// // The Adventure Game / / // /// People of the world, you, //// who sit in your superficially /// secure third countries! // / Soviet Unterzoegersdorf (pronounced 'oon-taa-tsee-gars-doorf') is the last existing appanage republic of the USSR. The enclave maintains no diplomatic relationship with the surrounding so-called 'Republic of Austria' or with the Fortress 'European Union'. The downfall of her motherland -- the Soviet Union -- in the early 1990s had a particularly bad effect on the countrys economic situation. It is a great challenge to secure survival for the small but proud confederation. External reactionary forces put the country in danger. Its a lack of respect due to a morally corrupted and perhaps even non-existing unity of the peoples. The goal of a glorious future is almost unreachable. But there are a handful of people who dont give up on a vision for a better tomorrow. Let us tell you the stories of the brave citizens in the beautiful little country of Soviet Unterzoegersdorf. Its a story that will go into history. / // /// http://www.monochrom.at/suz-game/ // / Featuring music by 'Negativland', Jazz Dance Combinat 'Vibemaster', 'Motion Picture Expert Group', 'cccp.at', Joerg Piringer and others. / // For IBM PC /// //// Windows or Linux/BSD ///// ////// Russian with English or German subtitles ///// //// Appealing graphical game interface /// // Creative Commons License / For years monochrom has been occupied with the construction, analysis and reflexion of alternative worlds and models of recording history. monochrom projects are treating this field partly as a discussion with concepts deriving from popular culture, science and philosophy, partly as a direct reference to science fiction and fantasy fan culture. monochroms project 'Soviet-Unterzoegersdorf - The Adventure Game' is the implementation of a 'false reminiscence' into the Austrian cultural memory -- a fictitious country taking the shape of a computer game adventure. The enclave 'Soviet-Unterzoegersdorf', created by monochrom, is the last remaining USSR republic, situated in the Austrian wine growing area. Adventure Game? The adventure game simply is one of the computer game classic. But what is it all about? In this case the player gets to experience an 'adventure'. Taking on the role of the protagonist, the player's task is to search for solutions level by level. These solutions will subsequently develop the narration and plot of the game. In recent years this kind of game hasn't been selling to well: action and combat games have taken over. Less than 1% of all computer games written in 2004 were adventure games. To monochrom it was clear that an almost extinct form of computer game would provide the perfect media platform to communicate the idea of 'Soviet-Unterzoegersdorf'. History? Debates triggered by postmodern culture have directed our attention towards questions of representation and relevance of 'history' and stories -- i.e. The challenging proclamation of a post-histoire, the realization of the impossibility of a meta-narrative record of history; the clash between reality and sign systems, the difference between fact and fiction, the status of ethnography, the impossibility of neutral contemplation or witnessing as well as the positioning of subjective awareness within such representations etc. All these forms of representation have been playing a central part in the development of national and ethnic identities since WW II. In Soviet-Unterzoegersdorf a fictitious and misplaced handling of the past and the present is being discussed and put to use. In this regard, the project is also taking part in the production as well as the criticism of cultural and collective memories. Other projects: http://monochrom.at/english + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 03 Sep 2005 18:29:49 +0200 message-id: <20050903162940.mqfd1234.viefep17-int.chello.at@evelyn> references: no_parent from: das ende der nahrungskette subject: RHIZOME_RAW: Soviet Unterzoegersdorf, Sector 1 / // /// //// ///// ////// SOVIET UNTERZOEGERSDORF ///// //// SECTOR 1 /// // The Adventure Game / / // /// People of the world, you, //// who sit in your superficially /// secure third countries! // / Soviet Unterzoegersdorf (pronounced 'oon-taa-tsee-gars-doorf') is the last existing appanage republic of the USSR. The enclave maintains no diplomatic relationship with the surrounding so-called 'Republic of Austria' or with the Fortress 'European Union'. The downfall of her motherland -- the Soviet Union -- in the early 1990s had a particularly bad effect on the countrys economic situation. It is a great challenge to secure survival for the small but proud confederation. External reactionary forces put the country in danger. Its a lack of respect due to a morally corrupted and perhaps even non-existing unity of the peoples. The goal of a glorious future is almost unreachable. But there are a handful of people who dont give up on a vision for a better tomorrow. Let us tell you the stories of the brave citizens in the beautiful little country of Soviet Unterzoegersdorf. Its a story that will go into history. / // /// http://www.monochrom.at/suz-game/ // / Featuring music by 'Negativland', Jazz Dance Combinat 'Vibemaster', 'Motion Picture Expert Group', 'cccp.at', Joerg Piringer and others. / // For IBM PC /// //// Windows or Linux/BSD ///// ////// Russian with English or German subtitles ///// //// Appealing graphical game interface /// // Creative Commons License / For years monochrom has been occupied with the construction, analysis and reflexion of alternative worlds and models of recording history. monochrom projects are treating this field partly as a discussion with concepts deriving from popular culture, science and philosophy, partly as a direct reference to science fiction and fantasy fan culture. monochroms project 'Soviet-Unterzoegersdorf - The Adventure Game' is the implementation of a 'false reminiscence' into the Austrian cultural memory -- a fictitious country taking the shape of a computer game adventure. The enclave 'Soviet-Unterzoegersdorf', created by monochrom, is the last remaining USSR republic, situated in the Austrian wine growing area. Adventure Game? The adventure game simply is one of the computer game classic. But what is it all about? In this case the player gets to experience an 'adventure'. Taking on the role of the protagonist, the player's task is to search for solutions level by level. These solutions will subsequently develop the narration and plot of the game. In recent years this kind of game hasn't been selling to well: action and combat games have taken over. Less than 1% of all computer games written in 2004 were adventure games. To monochrom it was clear that an almost extinct form of computer game would provide the perfect media platform to communicate the idea of 'Soviet-Unterzoegersdorf'. History? Debates triggered by postmodern culture have directed our attention towards questions of representation and relevance of 'history' and stories -- i.e. The challenging proclamation of a post-histoire, the realization of the impossibility of a meta-narrative record of history; the clash between reality and sign systems, the difference between fact and fiction, the status of ethnography, the impossibility of neutral contemplation or witnessing as well as the positioning of subjective awareness within such representations etc. All these forms of representation have been playing a central part in the development of national and ethnic identities since WW II. In Soviet-Unterzoegersdorf a fictitious and misplaced handling of the past and the present is being discussed and put to use. In this regard, the project is also taking part in the production as well as the criticism of cultural and collective memories. Other projects: http://monochrom.at/english + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 3 Sep 2005 09:46:26 -0700 message-id: <200509031646.j83gkqwr028267@idx164.idx.net> references: no_parent from: Makiko Nukaga subject: RHIZOME_RAW: MIDI + Steam Organ Project : Need Volunteers ! We are looking for musicians who could volunteer for our calliope projects.   A veteran steam engineer in Brooklyn has created a calliope or “steam organ”, which locals come to play on every New Year’s Eve to celebrate the coming of the year. Along with his collection of steam whistles, this instrument is run by steam, generated from DC generators (the oldest of its kind in the Northeast U.S.) especially for this event. The sound would be heard from miles away, and vibrate your whole body as you stand near.  Last year, we designed a series of circuit boards enabling this long-forgotten 19 century instrument to play prerecorded MIDI files downloaded from Internet. As we successfully put this new and old technology together, we found that we need to make some adjustments / customizations on MIDI files for the instrument.   The problem is we know nothing about music – and we need your help. We have some music in MIDI format that we need to have transposed so it can be made to run through the calliope and all the notes can be heard. We also have sheet music from the 19th century that we are looking for someone to play. The performance would be recorded and played back via MIDI at future events. This is an excellent opportunity for someone to really sink their technical know how and artistic merit into a project.  If you are interested or know someone knowledgeable in this field, please contact us. Although the event itself is on the New Years’ Eve, we would love to have someone come over as soon as possible. Thanks!  Frank Sokolow Makiko Nukaga fsokolow@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, 3 Sep 2005 22:01:49 +0200 (CEST) message-id: <20050903200149.8ed6421fd8@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Kbytes keywords , Keogh kayaking Kbps, karol 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 With an introduction by art-critic/curator Achille Bonito Oliva, and the presentation in Venice by curator Cristiano Seganfreddo. The Quantum Theory is very sexy. dg Note from the author: it's rather awkward to notice that people of this land were I live now, Italy, is very much scared by science. They are far more confident with saints, madonnas and priests, various superstitions than rationality.... If we were still under Inquisition I would have been burned as a witch, and still they look at me as a weirdo. With this new pope, italians are going back to Middle Age with the same indifference as ever. It is quite interesting, from an anthropological point of view, the enthusiasm they are operating over their own cultural regression. The non-capital letters are intentional. >>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<< dg@dgtank.com It was pure bliss when I finally achieved silence. http://www.dgtank.com <<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>> + -> 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 date: Sat, 03 Sep 2005 17:54:25 -0400 message-id: <431a1b91.80507@corporatepa.com> references: no_parent from: joseph mcelroy subject: RHIZOME_RAW: furthernoise live : Chris Vine and Mark Francombe - See @ The POINT in da Bronx furthernoise.org presents: Visitors Studio A/V Performances by Chris Vine and Mark Francombe http://www.furtherstudio.org/live [please note, broadcast may include strobe lighting] Sunday 4th September 2005 15.00 - 17.00 GMT New York - 11 am UK - 4pm Norway - 5pm Paran, Brazil - 12pm Melbourne - 1 am (Monday 5th) Online and broadcast live at the Theatre of The Point Community Development Corporation. Hunts Point, The Bronx, New York from 11 am to 1pm. [ http://www.thepoint.org ] featured artists: Chris Vine Associated with the 'Downtempo' jazz scenes in New York and Washington DC during the 1980's and guitarist with Ted Miltons UK cult punk jazz group Blurt during the 90's, Chris Vine is an innovative musician, composer and artist. He is a founding member of the Canton Opera Company which collages baroque arias with abstract soundscapes and is currently touring Brazil performing a live score with dance theatre company Verve Companhia de Dana. He will be mixing live from his home in Londrina, Paran, Brazil. Mark Francombe Mark Francombe is a composer, performer and artist with a well heeled reputation for experimental electronic and improvised music. A founding member and guitarist of the 1980's UK indie band the Cranes he recorded and toured extensively throughout world before moving to Norway in 1997. His music features heavily treated, modified, processed and improvised, baritone guitar which he releases through small independent CDR labels including his own Synch Non Synch label. His recent album Ear, Nose & Throat is released through Oslo based Synesthetic Recordings and is featured in the current edition of Furthernoise where he also contributes as a reviewer. He will be performing from his home in Oslo. [ http://www.markfrancombe.com ] The event opens with Chris Vine followed by Mark Francombe, and both will be around online afterwards to chat about their work as the studio is opened again for visitors to join the mix. enquiries: roger[at]furthernoise.org http://www.furthernoise.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 distribution, interaction and participation. Roberto Aguirrezabala (España) Artist. Founder of Adclick. Collaborator of Bitnik.. He has lectured several times and he has participated in round-table meetings on electronic art and the Internet in Spain. Daniel García Andujar (España) Muldisciplinar artist. Since the year 1996 he has been developing the Project entitled Technologies To The People (TTTP), housed in irational.org and gathered in selections of net art Duch as “Some or my Favourite Websites are Art and Beyond”. Pau Waelder (España) He is a collaborator of digital art portals Artnodes and Rhyzome. Christiane Paul (EEUU) She is the Adjunct Curator of New media Arts at the Whitney Museum of American Art and the director of Intelligent Agent. She teaches in the MFA computer arts department at the School of Visual Arts in New York. Eduard A. Shanken (EEUU) Edward A. Shanken is Professor of Art History at the Savannah College of Art & Design. He is editor of a collection of essays by Roy Ascott, entitled Telematic Embrace: Visionary Theories of Art, Technology and Consciousness (University of California Press, 2003). Fernando Llanos (México) Visual artist. He’s doing videoart in line and presentation in live about manipulation and video mixed. He’s curator and teacher of “Digital Art” and “Video and new technologies”. Santo_file Santo_file is a memegenic guerrilla group founded by Marco Bellonzi and David Cassacuberta. Its main aim is to use new media to develop a vision of life as fight between memes and genes. + -> 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 date: Sat, 3 Sep 2005 17:19:52 -0500 message-id: <6461948d2f203b1b80611dbc70f23a9e@yahoo.com> references: <20050903141322.19943.qmail@web30511.mail.mud.yahoo.com> from: ryan griffis subject: RHIZOME_RAW: Re: doron golan animation movies and qtvr works > -I contend that Doron's latest work > lacks sentiment in this sense -the thing that gives it > its mysteriousness is the impossibility of determining > precisely at any point the directorial viewpoint -the > viewer has to contruct a relationship to the folk in > the films herself. In the end the films seem to me to > leave us with a complex( because hard won, or better > *worked for*, by the viewer)kind of empathy for their > subjects and from this emerges a sense of great warmth > for *actual* human beings engaged in living their > complex and mysterious and messy lives. > best > michael point taken, Michael. i certainly don't argue with your definitions and qualifications of sentiment vs empathy (i'm not wearing a party hat for postmodernism :) ). but i do see the tension as irresolvable... i don't think it's possible to erase sentiment, which i think i read you as defining as the use of conventions for affective ends. i guess this is what makes Doron's movies more than "documentary" or "journalism" for me - there seems to be a critical engagement with that tension. making that line between "sentiment" and "empathy" (and i would even add "indifference") almost visible. maybe it's just me ;) thanks for the conversation. ryan + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > * Text Selection: One can now select part of a text and apply any > style > to the selection, just like in a word processing application. > * Gradient Tool: A completely redesigned and much easier to use > on-canvas > gradient interface with handles displayed directly in the drawing. > * Effects: These are now usable from within Inkscape on all > platforms. > This version ships with a collection of effects including path > interpolation, randomization, and various fractal algorithms. > * Color Swatches: This standard facility of most graphics software is > now > a part of Inkscape. > * Colored Clones: Clones may now be painted differently from their > original. > * Tile Tracing: The Tile Clones dialog can trace an existing image > with > tiling, producing a multitude of exciting effects. > * Grid Arrange, Baseline Align, Unclumping: There are new, powerful > ways > to arrange objects. > * Better PS/EPS Export: PostScript level 3 gradient support, better > text > handling, and a command line option for batch export are in this > release. > * Command Line SVG Analysis: Inkscape may now be used from the > command > line to query coordinates and dimensions of objects in an SVG file. > * Better SVG/CSS Compliance: Notably, internal CSS stylesheets are > now > supported (read-only). > * Mac OS X Support: In addition to Linux and Windows, Inkscape 0.42 > is > now available as a fully self-contained dmg package for Mac OS X. > > There are also dozens of smaller features and usability enhancements > (especially in the Fill & Stroke dialog, Node tool, and drawing > tools). In > this version the development community closed 404 bugs, some quite > serious, > and 165 feature requests. Overall, the Inkscape developers are very > excited > about this release and heartily recommend upgrading. > > Thanks to Google's Summer of Code, there are four new student > developers > adding new functionality to Inkscape this summer. Michael Wybrow is > adding > connectors for automatic diagramming. David Yip is picking up the > development of Inkboard (http://inkboard.sf.net/) to integrate > networked > collaborative editing of documents to Inkscape. Matthew Squires is > adding > DXF Import and Export. Greg Steffensen is working with the Open Clip > Art > Library to make a common graphical interface from the Library to > Inkscape. > Thanks to the $20,000 worth of funding for these developments from > Google, > the Inkscape developers are aiming to accelerate the development cycle > for > the next few releases in order to promote these projects. > > Download Linux, Windows, and Mac OS X packages: > > http://sourceforge.net/project/showfiles.php?group_id=93438 > > For many more details, see the complete Release Notes for 0.42: > > http://inkscape.org/cgi-bin/wiki.pl?ReleaseNotes042 > > Community submitted screenshots: > > http://www.inkscape.org/screenshots/ > > > About Inkscape > > Inkscape is an open source drawing tool that uses the World Wide Web > Consortium's (W3C) scalable vector graphics format (SVG). Some > supported > SVG features include basic shapes, paths, text, markers, clones, alpha > blending, transforms, gradients, and grouping. In addition, Inkscape > supports Creative Commons' metadata, node-editing, layers, complex > path > operations, text-on-path, text-in-shape, and SVG XML editing. It also > imports several formats like EPS, PostScript, JPEG, PNG, BMP, and TIFF > and > exports PNG as well as multiple vector-based formats. > > Inkscape's main motivation is to provide the Open Source community > with a > fully W3C compliant XML, SVG, and CSS2 drawing tool. Additional work > includes conversion of the codebase from C/Gtk to C++/Gtkmm, > emphasizing a > lightweight core with powerful features added through an extension > mechanism, and the establishment of a friendly, open, > community-oriented > development process. > > > > ------ 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 -> 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 date: Sun, 4 Sep 2005 01:02:02 +0100 message-id: <001a01c5b0e3$e6ed66f0$0b00000a@pup> references: no_parent from: James Ford subject: RHIZOME_RAW: article for digest Here is my article that i would like to submit for the next article - cheers Have you ever wondered what happens to your cigarette lighter when you lend it to someone and don't get it back? This is a global, artistic collaboration to delve into the secret lives of lost lighters. Lighters are handed out or posted to those who wish to be involved. The recipient photographs himself smoking a cigarette and submits it via SMS or email. He then passes the lighter on to a fellow smoker (either a friend or a stranger) and the process is repeated. Each lighter is numbered so they can be tracked on their travels: Six Degrees of Smoking. http://www.jamesrobertford.com/works/six_degrees_of_smoking/ James R Ford Artist [various projects and things] www.jamesrobertford.com > > To: Eduardo Navas > > Subject: Inkscape Announces 0.42 Release :: http://www.inkscape.org :: > > Draw > > Freely. > > > > July 26, 2005 - The Inkscape community today announced the release of > > Inkscape 0.42, a cross-platform Open Source Scalable Vector Graphics > > (SVG) > > drawing tool. > > > > Inkscape 0.42 is the most feature-filled release to date, with an > > exceptional number of major and minor new features, usability > > improvements, > > and bug fixes. While some of the new features simply fill > > long-standing > > functionality gaps, others are truly revolutionary. Inkscape 0.42 is > > one > > step closer to full SVG compliance. This release adds: > > > > * Flowed Text: Text objects that automatically re-flow to any shape > > (and > > not just a rectangle). > > * Text Selection: One can now select part of a text and apply any > > style > > to the selection, just like in a word processing application. > > * Gradient Tool: A completely redesigned and much easier to use > > on-canvas > > gradient interface with handles displayed directly in the drawing. > > * Effects: These are now usable from within Inkscape on all > > platforms. > > This version ships with a collection of effects including path > > interpolation, randomization, and various fractal algorithms. > > * Color Swatches: This standard facility of most graphics software is > > now > > a part of Inkscape. > > * Colored Clones: Clones may now be painted differently from their > > original. > > * Tile Tracing: The Tile Clones dialog can trace an existing image > > with > > tiling, producing a multitude of exciting effects. > > * Grid Arrange, Baseline Align, Unclumping: There are new, powerful > > ways > > to arrange objects. > > * Better PS/EPS Export: PostScript level 3 gradient support, better > > text > > handling, and a command line option for batch export are in this > > release. > > * Command Line SVG Analysis: Inkscape may now be used from the > > command > > line to query coordinates and dimensions of objects in an SVG file. > > * Better SVG/CSS Compliance: Notably, internal CSS stylesheets are > > now > > supported (read-only). > > * Mac OS X Support: In addition to Linux and Windows, Inkscape 0.42 > > is > > now available as a fully self-contained dmg package for Mac OS X. > > > > There are also dozens of smaller features and usability enhancements > > (especially in the Fill & Stroke dialog, Node tool, and drawing > > tools). In > > this version the development community closed 404 bugs, some quite > > serious, > > and 165 feature requests. Overall, the Inkscape developers are very > > excited > > about this release and heartily recommend upgrading. > > > > Thanks to Google's Summer of Code, there are four new student > > developers > > adding new functionality to Inkscape this summer. Michael Wybrow is > > adding > > connectors for automatic diagramming. David Yip is picking up the > > development of Inkboard (http://inkboard.sf.net/) to integrate > > networked > > collaborative editing of documents to Inkscape. Matthew Squires is > > adding > > DXF Import and Export. Greg Steffensen is working with the Open Clip > > Art > > Library to make a common graphical interface from the Library to > > Inkscape. > > Thanks to the $20,000 worth of funding for these developments from > > Google, > > the Inkscape developers are aiming to accelerate the development cycle > > for > > the next few releases in order to promote these projects. > > > > Download Linux, Windows, and Mac OS X packages: > > > > http://sourceforge.net/project/showfiles.php?group_id=93438 > > > > For many more details, see the complete Release Notes for 0.42: > > > > http://inkscape.org/cgi-bin/wiki.pl?ReleaseNotes042 > > > > Community submitted screenshots: > > > > http://www.inkscape.org/screenshots/ > > > > > > About Inkscape > > > > Inkscape is an open source drawing tool that uses the World Wide Web > > Consortium's (W3C) scalable vector graphics format (SVG). Some > > supported > > SVG features include basic shapes, paths, text, markers, clones, alpha > > blending, transforms, gradients, and grouping. In addition, Inkscape > > supports Creative Commons' metadata, node-editing, layers, complex > > path > > operations, text-on-path, text-in-shape, and SVG XML editing. It also > > imports several formats like EPS, PostScript, JPEG, PNG, BMP, and TIFF > > and > > exports PNG as well as multiple vector-based formats. > > > > Inkscape's main motivation is to provide the Open Source community > > with a > > fully W3C compliant XML, SVG, and CSS2 drawing tool. Additional work > > includes conversion of the codebase from C/Gtk to C++/Gtkmm, > > emphasizing a > > lightweight core with powerful features added through an extension > > mechanism, and the establishment of a friendly, open, > > community-oriented > > development process. > > > > > > > > ------ 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 > -> 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 -- -- Robert Spahr http://www.robertspahr.com Frogs will immediately leap out of a pot of boiling water, but when placed in cool water, and boiled slowly, they will sit there and get boiled alive, not noticing the slow change in temperature until it is too late. + -> 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 date: Sat, 3 Sep 2005 18:11:47 -0700 message-id: <200509040111.j841blj8016654@idx164.idx.net> references: no_parent from: curt cloninger subject: RHIZOME_RAW: Re: Re: Re: doron golan animation movies and qtvr works Hi Michael (and Ryan), It's interesting you mention pet ownership in a discussion about documentary film. I just got through watching Errol Morris's "Gates of Heaven" (the one about the pet cemetary) for the first time, and it rocked my world. I was weeping at the end as he showed the plastic swan floating on the tiny man-made pond. I've always maintained that there is a fine line between sappy and sublime, and the best art gets right up to that line without going over. It's like a cliff and you want to get as close to the edge as you can. Which is why pop music to me can be the highest form of art. But one man's high sublimity is another man's overboard sappiness. Again, empathy is crucial; and how you sneak up on it is crucial. Hardline postmodern cynicism is so easy, but it's too safe. It hesitates to even approach the edge (or admit its existence). And then something like country music television is well over the edge, but you know, as much as I hate country music television, at leas! t it attempts to be in some kind of dialogue with the edge at all. I also like Morris's second film, "Vernon, Florida" as a cult classic, but he is much less empathetic with those characters, and the more I watch it, the meaner it reads. Whereas "Gates of Heaven" is marvelously sublime (in the bravest, trailer park sense). peace, curt Michael Szpakowski wrote: > Hi Ryan > gosh, the slipperiness of words, especially on Planet > Postmodern! > My take on the two terms is the time honoured one > -sentimentality for me, is *unearned* emotion, emotion > triggered by a formal, almost Pavlovian, response to > certain standardised stimuli - and in the process real > feeling, empathy, is often effaced. A lot of Brits, > who would kill for their animals, whom they > anthropomorphise and sentimentalise, would equally as > quickly denigrate (and worse) refugees and asylum > seekers, real, suffering, often desperate, human > beings. > The manipulative side of it is where these triggers > are used in culture to direct us to a preforseen, a > desired, conclusion; for example it seems to me that > the bulk of Disney and in fact the bulk of mainstream > cinema is almost exclusively about using sentiment ( > and other short cuts -*action*, *excitement* for > example.) to point us in a particular direction. > That rather tortuous definition really just enables me > to repeat myself -I contend that Doron's latest work > lacks sentiment in this sense -the thing that gives it > its mysteriousness is the impossibility of determining > precisely at any point the directorial viewpoint -the > viewer has to contruct a relationship to the folk in > the films herself. In the end the films seem to me to > leave us with a complex( because hard won, or better > *worked for*, by the viewer)kind of empathy for their > subjects and from this emerges a sense of great warmth > for *actual* human beings engaged in living their > complex and mysterious and messy lives. > 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: Sat, 3 Sep 2005 21:26:21 -0400 message-id: references: from: subject: RHIZOME_RAW: Fwd: New Orleans-style Jazz Funeral March this Sunday! Content-Disposition: inline ---------- Forwarded message ---------- From: nina felshin Date: Sep 3, 2005 9:03 PM Subject: New Orleans-style Jazz Funeral March this Sunday! To: nfelshin@wesleyan.edu *PLEASE FORWARD WIDELY!* COME . AND TELL YOUR MUSiCIAN FRIENDS TO COME WITH THEIR INSTRUMENTS. xox nina New Orleans Jazz Funeral March Sunday, Sep 4, 2:30 pm Leaving 208 W. 13th Street The new national organization called The World Can't Wait--Drive Out the Bush Regime is calling on the people of the city of New York to come together Sunday afternoon at 2:30pm in a New Orleans-style Jazz Funeral March in support of the people of New Orleans. Our theme is Stop The Mass Murder Through Negligence Now Going On In New Orleans And The Gulf Coast! Rescue, Not Repression! The World Can't Wait-Drive Out the Bush Regime. Horns will blow with sadness, anger and determination to stop the suffering and death caused by government negligence. The people should be housed in decent places and their needs must be immediately met. Our March will start at 2:30 Sunday afternoon at the Gay and Lesbian Center at 208 W. 13th in Manhattan. We will march to the West Village and up to the Theater District in midtown. Musicians and artists and every human being who is sick at heart sitting on their couch watching the mass destruction of lives in New Orleans, come out with your instruments, drums, homemade signs, your voices, yourselves. 2:30pm, Sunday, tomorrow, September 4. Join the Drive Out the Bush Regime New Orleans style Jazz Funeral March. Call 347-693-3319. Call 347-693-3319. The world can't wait. -> 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 date: Sat, 3 Sep 2005 20:30:17 -0700 message-id: <200509040330.j843uhwa001476@idx164.idx.net> references: no_parent from: curtis stage subject: RHIZOME_RAW: Curtis Stage- Solo Show Kiehle Gallery, KVAC St. Cloud State University, St. Cloud MN Multimedia Project: The Real Fakers August 24 - September 23, 2005 Reception: Thursday, September 22, 3-5 pm Artist Talk: 3:30 pm http://www.stcloudstate.edu/art/gallery/visitingartists/2005-stage-curtis/default.asp visit artist site http://www.curtisstage.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 Subscribers to Rhizome are subject to the 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, 3 Sep 2005 21:50:30 -0700 message-id: <200509040450.j844ouno007676@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: every day... albert collins Every day, baby When the sun go down I get with my friends And I begin to drown I don't care What the people are thinkin' I ain't drunk I'm just drinkin' (But you're so high) Oh man, you know I ain't high (But you're so high) I just take a little bit every now and then (But you're so high) Aw man you oughta be ... (Stay drunk all the time) Aw c'mon, don't y'all be like that Come home last night All a lush Baby get in a fuss I say, "Honey, hush" I don't care What the people are thinkin' I ain't drunk I'm just drinkin' (But you're so high) Aw, I ain't drunk, I done told y'all I ain't drunk (But you're so high) I'm just havin' fun (But you're so high) What? .... (Stay drunk all the time) I don't know why y'all talkin 'bout me like that You done the right thing I wanna thank you too Now let's have a little drink Just me and you I don't care What the people are thinkin' I ain't drunk I'm just drinkin' (But you're so high) Who me? I ain't high, man. (But you're so high) I don't know why y'all are talkin' 'bout me like that (But you're so high) You better mind your own business, brother (Stay drunk all the time) You gotta watch yourself, too, you understand what I'm sayin'? I wanna tip you baby Before I go I'll be back tomorrow night And drink some more I don't care What the people are thinkin' I ain't drunk I'm just drinkin' (But you're so high) Oh, no, you're the one who's drunk; look at your eyes, man (But you're so high) Don't you pee on my leg, man...well, I ain't had but (But you're so high) four...five...six... (Stay drunk all the time) eight...nine...ten... + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 3 Sep 2005 21:57:38 -0700 message-id: <200509040457.j844vcjh008355@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Magic Sam C'mon, baby don't you wanna go, C'mon, baby don't you wanna go, Back to that same old place, Sweet home Chicago. C'mon, baby don't you wanna go, Heidy-hey, baby don't you wanna go, Back to that same old place, Sweet home Chicago. Well, one and one is two, six and two is eight, C'mon, baby, dont'cha make me late! C'mon, baby don't you wanna go, C'mon, baby don't you wanna go, Back to that same old place, Sweet home Chicago. C'mon, baby don't you wanna go, Heidy-hey, baby don't you wanna go, Back to that same old place, Sweet home Chicago. Six and three is nine, Nine and nine is eighteen, Look there, brother baby, And see what I see! C'mon, baby don't you wanna go, Heidy-hey, baby don't you wanna go, Back to that same old place, Sweet home Chicago. C'mon, baby don't you wanna go, C'mon, baby don't you wanna go, Back to that same old place, My sweet home Chicago. and ya know, the rest is a critique, what a waste Magic Sam + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 4 Sep 2005 01:42:01 -0400 message-id: references: no_parent from: miklos@sympatico.ca subject: RHIZOME_RAW: photos; Painting slashed at the Museum of Contemporary Canadian Art PERFORMANCE; "SLASHING A VALUABLE PAINTING" Excerpt; the art world cannot be permanently changed... but it can be periodically shaken up and made to take notice. This is about art protocol issues - how work gains in value and is seen only once the artist is recognised. Right now this painting is not seen, has little value, so it will get destroyed. It's up to you to ask if you would have wanted it, since now you can't. While it hung among others on the wall no one paid attention. Once chosen for destruction, people looked and felt a loss. I'm doing a radical act telling the world pay attention or get your toys destroyed, these objects of beauty and the spirit. At the same time I'm exploiting an opportunity for shameless self-promotion... in the form of an emotional blackmail of the art world. I will be doing a total of ten performance destroying masterpieces. Because of the quality of the paintings this cheap trashy act will get me noticed and boost my career. Ten works you would later have wanted saved get destroyed. It does point out the career problems other artists face. Photos and full text; http://www.ccca.ca/mikidot/istvansite/sept_mocca_perf/pages/DSC05649.html -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com --============_-1086309891==_ma=========== photos; Painting slashed at the Museum of Contemporary Can
PERFORMANCE; "SLASHING A VALUABLE PAINTING"

Excerpt;

the art world cannot be permanently changed...
but it can be periodically shaken up and made to take notice.

This is about art protocol issues - how work gains in value and is seen only once the artist
is recognised. Right now this painting is not seen, has little value, so it will get destroyed.
It's up to you to ask if you would have wanted it, since now you can't.

While it hung among others on the wall no one paid attention.
Once chosen for destruction, people looked and felt a loss.

I'm doing a radical act telling the world pay attention or get your toys destroyed,
these objects of beauty and the spirit.

At the same time I'm exploiting an opportunity for shameless self-promotion...
in the form of an emotional blackmail of the art world.

I will be doing a total of ten performance destroying masterpieces.
Because of the quality of the paintings this cheap trashy act will get me noticed
and boost my career.

Ten works you would later have wanted saved get destroyed.
It does point out the career problems other artists face.


Photos and full text;
http://www.ccca.ca/mikidot/istvansite/sept_mocca_perf/pages/DSC05649.html
--


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, 3 Sep 2005 22:47:27 -0700 message-id: <200509040547.j845lrim011963@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: so why magic sam and albert collins? when web art gives us expressionist work, then it will be free. as it is, this communicative art appears to be hog-tied and intellectual. free my children, and pass the wine. 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 downloaded here. Bug fixes are being made as we head toward the 1.0 release. Processing is free to download and available for Linux, Mac OS X, and Windows. Please help in releasing version 1.0! Processing is an open project initiated by Ben Fry (Broad Institute) and Casey Reas (UCLA Design | Media Arts). Processing evolved from ideas explored in the Aesthetics and Computation Group at the MIT Media Lab. Please visit our sister projects: http://wiring.processing.org Wiring, a programming environment and i/o board for prototyping with electronics and constructing physical machines and interfaces. http://mobile.processing.org (coming soon) Processing Mobile, a programming environment and library for writing software for mobile phones. Jessica Ivins ema. jessica@rhizome.org + -> 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 date: Sat, 3 Sep 2005 23:00:33 -0700 message-id: <200509040600.j8460xxf012996@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: magic sam for an example, i look at Rhizomes Starry Night, and it's very cool, but where am I? Where am I in this work?I'm not in the work..,it's not my work.., and it doesn't include myself .., the person who spits and bleeds.., well we are left in the ether I guess. give me some biography..., some auto-biography..., anything human will do. but for now, i'm stuck in Chicago, waiting for a train. 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: Sat, 3 Sep 2005 23:04:40 -0700 message-id: <200509040604.j8464eep013570@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: magic sam etc maybe Starry Night is OK..., maybe I am part of an ant colony..., but I want more from this window, this screen, this door. 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: Sat, 3 Sep 2005 23:10:18 -0700 message-id: <200509040610.j846ai7j014237@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: magic sam etc maybe Starry Night is OK..., maybe I am part of an ant colony..., but I want more from this window, this screen, this door. 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 +reviews of games, exhibitions, books All content is available in html and as pdf files. NEW: //editorial// + Guest Editor: Dena Elisabeth Eber, "Artistic Virtual Environments, Aesthetics and Experiences" This special issue of Intelligent Agent presents six essays that explore the aesthetics connected with virtual environments created and presented as works of art, works about art, or related genres. The essays primarily focus on the aesthetic experience for participants, aesthetic analysis, content, emotional content, emotional experiences, and the qualities of the medium. //artistic virtual environments// + Dena Eber, Greg Little, Brian Betz, "The Aesthetic Experience, Emotion and an Artistic Virtual Environment" Eber, Little, and Betz explore the aesthetic experience for participants interacting with artistic virtual environments (AVEs). Their essay presents a formal study that measures the experience through the emotional response of participants, which gauges the perceived emotional content of the AVE. The authors examine if this kind of content coupled with the immersive qualities of the AVE facilitates a rich aesthetic experience and thus a high feeling of presence for the participant. + Josephine Anstey, "Agents in Love. On the Construction and Use of Emotional Characters in VR" Anstey discusses her approach to interactive drama that provides an "emotional terrain" for the participants to discover. According to Anstey, emotional response is best elicited by employing two key components, the application of dramatic tools for narrative media to immersive virtual environments and the use of artificial intelligent agent-actors that guide participants. Anstey applies ideas similar to Alfred Hitchcock's psychological approach to a scripting process in which the theme centers on anxiety and emotional tension. //review: software / tool// + Patrick Lichty, "Derivative Touch Designer" (VJ Software / Media Art Tool, Derivative, Inc.) Patrick Lichty tests "Derivative Touch Designer," a VJ software and =93media development artware=94 that incorporates a visual development environment, a 3d / 2d animation application, and the ability to web-embed visual synths. //review: games// + Patrick Lichty, "Sudeki" (Video Game, Climax/Microsoft, Xbox) Patrick Lichty reviews "Sudeki," a fantasy RPG, in which the sorcerer princess Ailish and her team determine the fate of the worlds of light and dark. For a full Table of Contents, visit http://www.intelligentagent.com This issue was made possible by funding from the New York State Council for the Arts, a state agency. +++++++++++++++++++++++++++++++++++++++ intelligent agent Editor-in-Chief: Patrick Lichty Director: Christiane Paul http://www.intelligentagent.com intelligent agent is a service organization and information provider dedicated to interpreting and promoting art that uses digital technologies for production and presentation. ++++++++++++++++++++++++++++++++++++++++ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 04 Sep 2005 16:21:51 +1000 message-id: <6.0.1.1.1.20050904162136.02406b18@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: Web Statistics Poem Generator v.1 _Input:_ 3/9/05 key word entries 1 + 3 + 5 + 7 4 + 8 + 10 11 + 13 + 15 16 + 17 + 20 21 + 22 + 23 _Output:_ the Syntax of Inertia a technique feeder its emotional body style depends upon Aldous energy + machine, mez _intricate mirror mem[e.st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://netwurker.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 http://www.turbulence.org/blog/archives/001157.html 3 X 3 http://www.turbulence.org/blog/archives/001152.html HAPTIC SPACES: THE PHILOSOPHICAL AND PSYCHOLOGICAL RELATION BETWEEN TOUCH AND SPACE http://www.turbulence.org/blog/archives/001145.html ART & THE NETWORK SPACE OVER ACCESS GRID http://www.turbulence.org/blog/archives/001154.html SMS SATYAGRAHA http://www.turbulence.org/blog/archives/001139.html KODAMA:WHISPERING TREES http://www.turbulence.org/blog/archives/001137.html LIVE ACTION SCOTLAND YARD http://www.turbulence.org/blog/archives/001135.html AUTONOMOUS EXPRESSIONISM AND NETWORK ARTS: NEW PARADIGMS IN ART, EMOTIONAL INTERACTION, AND INFORMATION RETRIEVAL http://www.turbulence.org/blog/archives/001133.html MOLLYCODDLE http://www.turbulence.org/blog/archives/001138.html To include your news, events, articles and projects on the networked_performance blog, please send an email to turbulence@turbulence.org Thanks for your interest and support. Best, Jo -- 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: Sun, 04 Sep 2005 10:43:02 +0200 message-id: references: <017301c5affe$e443a6c0$1902a8c0@tol23> from: tamara lai subject: RHIZOME_RAW: FW: The People of Louisiana and Missisippi Need Your Help Today ------ Message transf=E9r=E9 De=A0: "tol23" Date=A0: Fri, 2 Sep 2005 13:42:49 -0700 =C0=A0: Objet=A0: The People of Louisiana and Missisippi Need Your Help Today http://www.nolaaid.com Dear All, As you know we here at The Outer Limits are English, however, having spent the last 4 days watching the disaster unfold in New Orleans, Billoxi and Gulfport, horrified, saddened and distressed by the images of human suffering, death, starvation, disease and desperation that we are seeing o n TV, today we are all American and stand as one with the American people. We have lost count of the amount of times America has come to the aid of the rest of the world and now America and the American people need help and it is time for the ordinary people of the world, to stand up and show their support for the people of Louisiana, Missisippi and the USA . We are just djs, musicians and designers, and like many people around the world who are involved in dance music, we owe our livelihoods to a music that traces back to the Jazz clubs of New Orleans. All DJs who have had the priviledge of performing in this great country need at this point to step u p and unite, irrespective of genre, to help drive awareness and generate support for the people dying in the streets of New Orleans. We do not have a lot to offer, but we have put together an online movie to raise awareness of the human disaster unfolding in the wake of hurricane Katrina. If we can use our talent and music to save even one life, then we will have achieved more than any amount of renumeration could ever give us. We ask every clubber, dj, producer, promoter, magazine and radio station to join this effort. We ask everyone who has visited our numerous sites, irrespective of whether you are involved in dance music or not, to join thi s effort. This disaster trancends politics, this disaster trancends nationalities and this disaster trancends religion Children are dying. People are dying. We would ask everyone to please view these images, and if you can, click through the link to the Red Cross and donate something, no matter how small. We have provided a banner for you to circulate. We are absorbing all hostin g costs so we can raise awareness throughout the world. The American people need the help of the global community. Lets show America that the world cares, please help these poor people in Missispi and Louisana. Peace DJ Paul Edge The Outer Limits www.nolaaid.com www.wewillnotbesilenced.com www.unlockthedoors.com www.djpauledge.com www.thetop100djs.com www.rad23.com www.tol23design.com ------ Fin du message transf=E9r=E9 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 04 Sep 2005 10:44:04 +0200 message-id: references: <027701c5af3b$f0eb9770$2ac34352@f89530j> from: tamara lai subject: RHIZOME_RAW: FW: Grenze in/ Zagreb ------ Message transf=E9r=E9 De=A0: "patrick fontana" Date=A0: Thu, 1 Sep 2005 23:27:19 +0200 =C0=A0: "Fontana" Objet=A0: Grenze in/=E0 Zagreb GRENZE =E0/in Zagreb, Croatie/Croatia URBANFESTIVAL 8/th septembre/er 2005, 21h /9 p.m http://www.urbanfestival.hr/05/hr/projekti.htm video-performance d'apr=E8s le/according to the Capital de/by Karl Marx - Patrick Fontana/Aelters/Pierre-Yves Fave www.grenze.fr.vu ------ Fin du message transf=E9r=E9 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 4 Sep 2005 03:06:53 -0700 message-id: <200509041006.j84a6r5x016965@idx164.idx.net> references: no_parent from: Lucy Kimbell subject: RHIZOME_RAW: New projects in Berlin and Portsmouth ---Product & Vision: Interfaces and boundaries in art and economy Exhibition at Kunstfabrik am Flutgraben, Berlin, Germany 9 September - 9 October What happens if a corporation - in this case, the Berlin-based publishing house Cornelsen - opens its doors to a group of artists? Can artists or arts and Cornelsen or the corporate sector in general learn something from each other, or will their autonomy be questioned? The participants of Product & Vision have studied, amongst others, the finance structure, the identification of the employees with the company, the products (schoolbooks), the production process, the image of the company, and the organisational structure. This exhibition presents the results of this artistic process in installations, videos, pictures and performances, together with other works from the field of art and business. Product & Vision is initiated by artists Mari Brellochs and Henrik Schrat in cooperation with the Berlin-based art venue Kunstfabrik am Flutgraben. Product & Vision focuses on businesses/enterprises as a dominating form of social organisation. Interfaces and boundaries between art and economy are one of the central issues. How do companies learn, how do artists learn? What does social responsibility mean for artists, and for companies? On the other side the enterprise becomes a model, a source of inspiration for artistic and academic work. To provide a real-life example, the publishing house Cornelsen has been incorporated into the project as a case study, producing exciting interactions for both sides. The company gave the participants of the project insight into their organization and into the working processes, to develop ideas, comments and criticism about them. As part of the project, a Reader “Sophisticated survival techniques. Strategies in Art and Economy” is published. A catalogue will be published after the exhibition. Participants of the exhibition: Acces Local (Paris), Mari Brellochs (Berlin), Cornelsen Verlag (Berlin), Neil Cummings/Marysia Lewandowska (London), Katja Diallo (Dordrecht/Berlin), etoy.CORPORATION (Zürich/international), Rainer Goerss (Berlin), Kent Hansen (Kopenhagen), Imagination Lab (Lausanne), Lucy Kimbell (London), Learning Lab Dänemark (Kopenhagen), Orgacom (Amsterdam), osb-i systemische Organisationsberatung (Tübingen, Wien), REINIGUNGSGESELLSCHAFT (Dresden), Institut für Ressourcenschonung Innovation und Sustainability (Berlin), Henrik Schrat (Berlin), Enno Schmidt (Frankfurt a.M.), Barbara Steveni (London), Joël Verwimp (Berlin). Opening: 8 September 2005, 7 pm Performance "I’m an archive“, Barbara Steveni (Organisation + Imagination, London) Panel discussion: 9 September 2005, 8 pm "Organisational Art. Exploring the relationship between art and business" (in English) with Barbara Steveni (artist, GB), Wolf-Rüdiger Feldmann (CEO Cornelsen Verlag, GER),Fritz B. Simon (Sociologist, GER), Matt Statler (Imagination Lab Lausanne, CH). Moderation: Pierre Guillet de Monthoux (Stockholm University, S) http://www.produktundvision.com ---Day-to-Day Data An exhbition of artists who collect, list, database and absurdly analyse the data of everyday life. Curated by artist Ellie Harrison. Artists include: Cleo Broda, Richard Dedomenici, Jem Finer, Ellie Harrison, Tony Kemplen, Lucy Kimbell, Christian Nold, Abigail Reynolds Aspex Gallery, Portsmouth, 17 September – 29 October Danielle Arnaud Contemporary Art, London, 10 March – 23 April 2006 http://www.daytodaydata.com/ Other current projects by Lucy Kimbell include: - Pindices, a collaboration with sociologist Andrew Barry, in Making Things Public, ZKM Karlsruhe, Germany, until November http://http://www.pindices.org/ - One Night with Rats in the Service of Art, performance lecture at Rules of Engagement sci-art conference, York, September 5-7 http://www.rulesofengagement.org.uk/ http://www.lucykimbell.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, 4 Sep 2005 09:21:38 -0700 message-id: <200509041621.j84glcuf009246@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: Fwd: New Orleans-style Jazz Funeral March this Sunday! I hate to rain on this parade - but it seems to me that a display such a this will make Karl's day. When I was in Florida on election day working with ACT, I drove past "demonstrators" on a busy thoroughfare - early in the morning as people drove to work. Two men and two women, dressed to look stereotypically "gay" carried signs that said "Vote Kerry Make Gay Marriage Legal". Clearly this was a very clever foil to scare commuters into voting against Kerry, and maybe it helped. I have spent a lot of time in New Orleans - and I am in mourning for the city. If this parade is meant for the victims, it seems to me that the resources required for this event, be they bottled water, subway tokens, time, media coverage, whatever ... may be better spent in the form of a donation to the Red Cross. I was shocked to hear on the radio (yesterday I think) that New Yorkers have only donated 3 million dollars since this crisis began. I am pretty confident that left to her own devices, Katerina will have enough momentum to flood the House and Senate blue come mid-term elections. http://www.craigslist.org/about/help/katrina_aid.html jasonvananden + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Sun, 4 Sep 2005 10:00:26 -0700 (PDT) message-id: <20050904170026.36575.qmail@web30504.mail.mud.yahoo.com> references: <200509040111.j841blj8016654@idx164.idx.net> from: Michael Szpakowski subject: Re: RHIZOME_RAW: Re: Re: Re: doron golan animation movies and qtvr works HI Curt to my shame I don't know Morris's work but I just did some digging & it sounds intriguing -I'll definitely check out Gates of Heaven. I just got a marvellous DVD of films by Geoffrey Jones, who died earler this year - http://film.guardian.co.uk/news/story/0,12589,1550290,00.html#article_continue -another exemplar of documentary as near poetry - "Snow" , in particular, is utterly sublime. best michael --- curt cloninger wrote: > Hi Michael (and Ryan), > > It's interesting you mention pet ownership in a > discussion about documentary film. I just got > through watching Errol Morris's "Gates of Heaven" > (the one about the pet cemetary) for the first time, > and it rocked my world. I was weeping at the end as > he showed the plastic swan floating on the tiny > man-made pond. I've always maintained that there is > a fine line between sappy and sublime, and the best > art gets right up to that line without going over. > It's like a cliff and you want to get as close to > the edge as you can. Which is why pop music to me > can be the highest form of art. But one man's high > sublimity is another man's overboard sappiness. > Again, empathy is crucial; and how you sneak up on > it is crucial. Hardline postmodern cynicism is so > easy, but it's too safe. It hesitates to even > approach the edge (or admit its existence). And > then something like country music television is well > over the edge, but you know, as much as I hate > country music television, at leas! > t it attempts to be in some kind of dialogue with > the edge at all. > > I also like Morris's second film, "Vernon, Florida" > as a cult classic, but he is much less empathetic > with those characters, and the more I watch it, the > meaner it reads. Whereas "Gates of Heaven" is > marvelously sublime (in the bravest, trailer park > sense). > > peace, > curt > > > > Michael Szpakowski wrote: > > > Hi Ryan > > gosh, the slipperiness of words, especially on > Planet > > Postmodern! > > My take on the two terms is the time honoured one > > -sentimentality for me, is *unearned* emotion, > emotion > > triggered by a formal, almost Pavlovian, response > to > > certain standardised stimuli - and in the process > real > > feeling, empathy, is often effaced. A lot of > Brits, > > who would kill for their animals, whom they > > anthropomorphise and sentimentalise, would equally > as > > quickly denigrate (and worse) refugees and asylum > > seekers, real, suffering, often desperate, human > > beings. > > The manipulative side of it is where these > triggers > > are used in culture to direct us to a preforseen, > a > > desired, conclusion; for example it seems to me > that > > the bulk of Disney and in fact the bulk of > mainstream > > cinema is almost exclusively about using sentiment > ( > > and other short cuts -*action*, *excitement* for > > example.) to point us in a particular direction. > > That rather tortuous definition really just > enables me > > to repeat myself -I contend that Doron's latest > work > > lacks sentiment in this sense -the thing that > gives it > > its mysteriousness is the impossibility of > determining > > precisely at any point the directorial viewpoint > -the > > viewer has to contruct a relationship to the folk > in > > the films herself. In the end the films seem to me > to > > leave us with a complex( because hard won, or > better > > *worked for*, by the viewer)kind of empathy for > their > > subjects and from this emerges a sense of great > warmth > > for *actual* human beings engaged in living their > > complex and mysterious and messy lives. > > 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: Sun, 4 Sep 2005 11:10:28 -0700 (GMT-07:00) message-id: <4352478.1125857429188.javamail.root@elwamui-polski.atl.sa.earthlink.net> references: no_parent from: christina mcphee subject: RHIZOME_RAW: Fw: Katrina victims, how to help and where to get the facts -----Forwarded Message----- From: DJ SPOOKY Sent: Sep 3, 2005 3:09 PM To: christina112@earthlink.net Subject: Katrina victims, how to help and where to get the facts Hey People - this is an email I received from a colleague. If there's anything that we can do to help people in New Orleans, its with resources as people - the government is overwhelmed, and acting much slower than these grassroots organizations. Here's a solid list of info thanx, Paul Compiled by hip-hop artist Kevin Powell (Kevinpowe@aol.com): Monetary donations can be sent to these outlets, which we have confirmed are REALLY delivering services to folks in need........ BlackAmericaWeb.com Relief Fund PO Box 803209 Dallas, TX 75240 OR you can make an online donation by going to www.blackamericaweb.com/relief This fund has been set up by nationally syndicated radio personality TOM JOYNER NAACP Disaster Relief Efforts The NAACP is setting up command centers in Louisiana, Mississippi, and Alabama as part of its disaster relief efforts. NAACP units across the nation have begun collecting resources that will be placed on trucks and sent directly into the disaster areas. Also, the NAACP has established a disaster relief fund to accept monetary donations to aid in the relief effort. Checks can be sent to the NAACP payable to NAACP Hurricane Katrina Relief Fund 4805 Mt. Hope Drive Baltimore, MD 21215 Donations can also be made online at: www.naacp.org/disaster/contribute.php FYI, the NAACP, founded in 1909, is America's oldest civil rights organization www.teamrescueone.com Set up by native New Orleans rapper Master P and his wife Sonya Miller You can mail or ship non-perishable items to these following locations, which we have confirmed are REALLY delivering services to folks in need.... Center for LIFE Outreach Center 121 Saint Landry Street Lafayette, LA 70506 atten.: Minister Pamela Robinson 337-504-5374 Mohammad Mosque 65 2600 Plank Road Baton Rouge, LA 70805 atten.: Minister Andrew Muhammad 225-923-1400 225-357-3079 Lewis Temple CME Church 272 Medgar Evers Street Grambling, LA 71245 atten.: Rev. Dr. Ricky Helton 318-247-3793 St. Luke Community United Methodist Church c/o Hurricane Katrina Victims 5710 East R.L. Thornton Freeway Dallas, TX 75223 atten.: Pastor Tom Waitschies 214-821-2970 S.H.A.P.E. Community Center 3815 Live Oak Houston, Texas 77004 atten.: Deloyd Parker 713-521-0641 Alternative media outlets where you can get a more accurate and balanced presentation of the New Orleans catastrophe.... www.diversityinc.com www.alternet.org www.blackelectorate.com www.npr.org www.daveyd.com www.slate.com www.bet.com www.allhiphop.com www.democracynow.org www.blackamericaweb.com PLEASE VISIT all these websites. Five things you can do to help immediately: 1. Duplicate what we are doing elsewhere in New York City, in your city or town, on your college campus, at your church, synagogue, mosque, or other religious institution, via your fraternity or sorority, or via your local civic or social organization. 2. Cut and paste the information in this eblast about Items needed by survivors of the New Orleans catastrophe: * Monetary donations * Where you can ship non-perishable items * Alternative media outlets * Five things you can do to help immediately and share this information, as a ONE SHEET, with folks near and far, via email, or as a hand out at your event, religious institution, and with your civic or social organization. 3. Voice your opinion to local and national media, and to elected officials, via letter, email, op ed article, or phonecall, regarding the coverage of the New Orleans catastrophe, as well as to the federal government's ongoing handling of the situation. 4. Ask the hotel you frequent, such as the Marriott or Holiday Inn, to give your hotel points to an individual or family in need of a stay for a night, a few nights, or longer, depending on how many points you have. Be sure to get confirmation that your points have been applied in that way. Encourage others to do the same. Also inquire if your airline Frequent Flyer mileage can be used for hotel stays as well. Finally, either offer to pay for hotel rooms, or encourage others to do so, including your place of employment or worship or your organization. 5. Dare to care about other human beings, no matter their race, gender, class, sexual orientation, religion, geography, culture, clothing, hairstyle, or accent or language. Like September 11th, the New Orleans catastrophe is a harsh reminder that all life is precious, as is each day we have on this earth. AND REMEMBER that our attention and response to the New Orleans catastrophe needs to happen in three stages...DISASTER, RECOVERY, and REBUILDING. We need you for all three stages. Click here on http://server1.streamsend.com/newstreamsend/unsubscribe.php?md=37&cd=725&ud=4c2f40a887d26b7d35e3a8540c41ae76 to update your profile or Unsubscribe + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 4 Sep 2005 15:08:38 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: newsgrist katrina compendium (updated frequently) Content-Disposition: inline http://newsgrist.typepad.com/underbelly/katrina/index.html =EF=BF=BC We are delighted to have Diane Ludin for a second talk. Diane gave her first Upgrade! talk in July 2000. This time, Diane will present two projects: Memoryflesh =20 2.0, a Turbulence commission about the Human Genome and iBPE, her Patent database project. An artist and writer, Diane Ludin has been using the internet as a resource since 1996. She draws together voices of intimacy, confession and fragmented illusion. Her collections focus on the changing nature of "embodiment", representation and communication as determined by publicly available information. She has exhibited both her solo and collaborative works in the US and =20 Abroad. Commissioned works include projects for The Walker Art Center, Franklin Furnace, Turbulence.org and the Whitney Museum's Artport. Collaborative performances and broadcasts with The Electronic Disturbance Theater, FAKESHOP, Las Fantasmas, Prema Murthy, Francesca =20 DiRimini, Ricardo Dominguez, and Agnese Trocchi. URLs: www.turbulence.org/Works/ludin www.ibiology.net (spanish) Whitney Artport Gate Page When/Where: Eyebeam Thursday, August 4, 7:30 PM 540-548 west 21st street (bet 10 & 11 Ave) Best, Yael Kanarek + + + The Upgrade! is an international network of gatherings of new media practitioners. 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. --Apple-Mail-4-370762503 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 4 Sep 2005 14:41:47 -0500 message-id: <482fcc87251a59c27199d70ac07c9c79@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: grassroots orgs and Katrina relief Not to take away from people donating to the red cross and other NGOs, but these groups are doing work within communities that are very likely to be less served by large NGOs. >> ---------- Forwarded message ---------- >> >> BEGIN FORWARD: >> Here are some great resources for giving money or volunteering in the >> relief and recovery efforts: >> >> The Sparkplug Foundation >> has a great list of funding and volunteering options with >> organizations that doing grassroots relief work that focuses on >> people of color and poor people, especially groups that are run by, >> or accountable to people of color and economically devastated >> communities: >> >> http://www.sparkplugfoundation.org/katrinarelief.html >> >> >> Tides Foundation >> has a Rapid Response Disaster Relief Fund that specializes in >> relief projects that serve those most in need and most forgotten or >> disenfranchised from traditional relief organizations: >> >> http://www.tidesfoundation.org/RR_0905.cfm >> >> >> The League of Pissed Off Voters >> has a New Orleans Fund, of which 100% of the money donated goes to >> their work of building a team of media, organizing and advocacy-savvy >> Nawleans refugees who are ready to write op-eds, fight, advocate, >> support their displaced neighbors during this crisis, and work for >> New Orleans to be restored in a way that includes the input of >> ordinary people! >> >> https://secure.democracyinaction.org/dia/shop/indyvoter/custom.jsp? >> donate_page_KEY=80 >> >> >> MoveOn >> has a site where you can offer space for refugees to stay: >> >> http://www.hurricanehousing.org/ >> >> >> New Orleans Network >> : In about 24-36 hours, the website that I'm working on with Shana >> Sassoon and a whole team of volunteer techies will be functional as a >> way for people to connect with and support the New Orleans refugees >> in their area, It will also be a way for New Orleans refugees to find >> each other in their exile communities and organize to take back their >> city and make sure that it is rebuilt in ways that serve ALL New >> Orleans residents. There will be exile community bulletin boards, >> discussion boards, resource listings, advocacy how-to sheets, events >> calendars, etc. >> >> http://www.NewOrleansNetwork.org >> >> >> Finally, as the Neighborhood Story Project >> , Abram and Rachel will spend the next 4 months working with refugee >> high school students to document the stories of people living in the >> Astrodome. They are in the process of reprinting the original >> Neighborhood Story Project Books at a printshop in Houson. The >> original books, each written by a highschool student about their >> neighborhood in New Orleans, were the best-selling books in New >> Orleans over the summer, behind Harry Potter 6. All remaining copies >> were destroyed in the flooding. >> >> Anyone who wants to help get their local independent bookstore to >> take a box of these incredible books to sell as a way to raise money >> for relief and recovery, and as a way to get out the amazing stories >> of the people and neighborhoods of New Orleans, please contact me at >> jamieschweser@yahoo.com >> >> Abram and Rachel will need to raise thousands of dollars to reprint >> the books and get them shipped out to bookstores. Information about >> how to help will come soon, when they can get some sort of bank >> accounts and 501c3 organization in Houston after the holiday >> weekend. >> >> >> Thanks for all that you are all doing, and for all of the kind words >> and well wishes. >> >> It feels great to know that so many people are willing to do so much >> to help our friends, family, brothers and sisters who have been so >> terribly affected by this disaster of nature and all of the >> catastrophes of racism and classism that have made it worse. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 4 Sep 2005 22:06:16 +0200 (CEST) message-id: <20050904200616.3ddb521fd8@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Lbs labelenumi , Legos laminar LCD, Ltd labia lexer, 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 • Question of authorship/ownership in collaborative systems Keywords: community, digital, tactical, strategic, interactive, intervention, pervasive, collective, fine art sausage machine. Deadline for submission is 1st September 2005. Comments and queries can be sent to diy@c6.org The launch event will be held on the 29th of October at the c6 show ‘SOLD OUT’ in Cremer street Shoreditch London. We are currently looking at approximately 60 page book, A5 black and white with limited graphics. There will be an initial 500 printed, these will be distributed at the event for free. The book's design ties into a Print On Demand format and subsequent prints and purchases through that system will be charged at cost. + -> 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 date: Sun, 4 Sep 2005 19:16:21 -0700 message-id: <200509050216.j852glgb009438@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Computer Dada I am interested in curating a show about how threads of Dadism come into effect in the randomness of certain computer generated artworks. If your art coinsides with this general theme please email me some images or links to your work. Thank you! Danielle + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Chaos theory, string, sync, and link theories, new media and time based arts, surveyance and database-driven concepts, these point to a search for patterns in human behavior, patterns or structures based in nature, biology and physics, for universal and verifiable paradigms we can trust and rely on. Yet there's a spiritual aspect to consider. Quality of life, intellectual and emotional refinement, sophisticated discernment are all spiritual aspects, pushing beyond basic matter to include the complex richness of individual perception at any given moment in local time. We care how others lived, the myths they followed, their character, personality, the way they looked. From this matrix we construct cultural sets, judgements to recognize our similarities and differences. We reflect on who we are, where we are, and where we're going. Our lives have a public and a private side and this body of work is about the private and personal. Sophisticated Cherries is about when you're by yourself. Preparing lunch, setting the table, washing fruit... then you see fractals in the water as it clings to cherries. Another world is revealed beyond the mundane and banal, known and understood. With close-up lenses the camera bring us closer to a microscopic world which reawakens the curious psychology of imagination and projection, of anthropomorphic speculations. There's a transcendant feeling, an operatic grandeur as we recognize in this microcosm the patterns and structures of our normal scale... yet because of this difference in scale we also see a landscape born of our expectations. This work parallels contemporary themes about social presence, such as Sorel Cohen's "Le Rite Matinal", a matrix of nine images showing a person making a bed, shot with long camera exposures which blur the woman, emphasizing movement through time. What made "Le Rite Matinal" a seminal work was in the way it revealed the personal as a fascinating source and subject of contemporary art. In Sophisticated Cherries we no longer see the protagonist, we're seeing through his or her eyes. The movement is not through time but space, that 360 degree sphere separating us from the external world; the content or agenda is the legitimization of personal experience as source and subject of creative activity. This work shifts the conceptual focus from a relationship and attitude towards the outside world back to the subject, the person seeing the world from a space within. We care because we have certain instincts based in cellular and chemical biology, in specialised brain cells whose functions give us concepts of quality, judgements between fascinating / boring, ugly / beautiful, attractive / repulsive. Mathematicians say we recognize the importance and stability of an equation by the fundamental beauty of it's structure. Quality is a projection; we see quality in objects yet the judgement is made in the observer; we recreate the world according to our expectations. -- + + +Miklos Legrady + 310 Bathurst st. Toronto ON M5T 2S3 416-203-1846 647-292-1846 + -website; http://www.mikidot.com + --============_-1089545809==_ma=========== Sophisticated Cherries
Sophisticated Cherries
http://www.ccca.ca/mikidot/photo/cherries_05/

 These are not advertising photographs, even if ads are culture. Culture's a thing in the making, a weave through time of current opinions, fads, movements, ideologies, allegiances, networking. Yet through the interaction of such instinctive behavior, we see a certain direction for conceptual thought at the start of the 21st century.

 Chaos theory, string, sync, and link theories, new media and time based arts, surveyance and database-driven concepts, these point to a search for patterns in human behavior, patterns or structures based in nature, biology and physics, for universal and verifiable paradigms we can trust and rely on.

 Yet there's a spiritual aspect to consider. Quality of life, intellectual and emotional refinement, sophisticated discernment are all spiritual aspects, pushing beyond basic matter to include the complex richness of individual perception at any given moment in local time.

 We care how others lived, the myths they followed, their character, personality, the way they looked. From this matrix we construct cultural sets, judgements to recognize our similarities and differences. We reflect on who we are, where we are, and where we're going.

 Our lives have a public and a private side and this body of work is about the private and personal. Sophisticated Cherries is about when you're by yourself. Preparing lunch, setting the table, washing fruit... then you see fractals in the water as it clings to cherries. Another world is revealed beyond the mundane and banal, known and understood.

 With close-up lenses the camera bring us closer to a microscopic world which reawakens the curious psychology of imagination and projection, of anthropomorphic speculations. There's a transcendant feeling, an operatic grandeur as we recognize in this microcosm the patterns and structures of our normal scale... yet because of this difference in scale we also see a landscape born of our expectations.

 This work parallels contemporary themes about social presence, such as Sorel Cohen's "Le Rite Matinal", a matrix of nine images showing a person making a bed, shot with long camera exposures which blur the woman, emphasizing movement through time. What made "Le Rite Matinal" a seminal work was in the way it revealed the personal as a fascinating source and subject of contemporary art.

 In Sophisticated Cherries we no longer see the protagonist, we're seeing through his or her eyes. The movement is not through time but space, that 360 degree sphere separating us from the external world; the content or agenda is the legitimization of personal experience as source and subject of creative activity. This work shifts the conceptual focus from a relationship and attitude towards the outside world back to the subject, the person seeing the world from a space within.

 We care because we have certain instincts based in cellular and chemical biology, in specialised brain cells whose functions give us concepts of quality, judgements between fascinating / boring, ugly / beautiful, attractive / repulsive. Mathematicians say we recognize the importance and stability of an equation by the fundamental beauty of it's structure. Quality is a projection; we see quality in objects yet the judgement is made in the observer; we recreate the world according to our expectations.
--

+
+
+Miklos Legrady
+
310 Bathurst st.
Toronto ON M5T 2S3
416-203-1846
647-292-1846
+
-website;
http://www.mikidot.com
+
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Sun, 4 Sep 2005 20:43:48 -0700 (PDT) message-id: <20050905034348.69421.qmail@web30506.mail.mud.yahoo.com> references: <200509040547.j845lrim011963@idx164.idx.net> from: Lewis LaCook subject: Re: RHIZOME_RAW: so why magic sam and albert collins? here here! strange, how an art tied to what COULD be a wonderfully anarchic medium got sucked so quickly into the gallery system.... bliss l --- Eric Dymond wrote: > when web art gives us expressionist work, then it > will be free. > as it is, this communicative art appears to be > hog-tied and intellectual. > free my children, and pass the wine. > 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 > *************************************************************************** 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: Sun, 04 Sep 2005 23:57:18 -0400 message-id: <56a403d8-4adf-4d9f-875d-16a3580e4589@alcor.concordia.ca> references: no_parent from: Pall Thayer subject: RHIZOME_RAW: CLDW progress report Wow! Things are moving fast! The Carpenters Level Dashboard Widget, released all of two days ago, is up to version 2.0 Get your overalls and tool-belt on. We have work to do. You know, without the Carpenters Level Dashboard Widget, your computer's really nothing more than a glorified Pong box/slide projector with a built in radio. http://pallit.lhi.is/palli/dashlevel + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php -> 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 date: Mon, 5 Sep 2005 07:31:57 +0200 message-id: <000501c5b1db$2361e6e0$c07689d5@e9o9t1> references: no_parent from: manik subject: Fw: RHIZOME_RAW: Computer Dada DUCHAMP:"DADA WAS YES AND NO ANSWER." TZARA:"THANK YOU MANIK!" ----- Original Message ----- From: To: Sent: Monday, September 05, 2005 4:16 AM Subject: RHIZOME_RAW: Computer Dada > I am interested in curating a show about how threads of Dadism come into effect in the randomness of certain computer generated artworks. If your art coinsides with this general theme please email me some images or links to your work. Thank you! > Danielle > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/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 -> 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 date: Mon, 5 Sep 2005 07:45:13 +0200 message-id: <001e01c5b1dd$1bc7e0e0$c07689d5@e9o9t1> references: no_parent from: manik subject: Fw: RHIZOME_RAW: so why magic sam and albert collins? KEEP IT ANARCHIC!DON'T WORRY ABOUT "GALLERY SYSTEM"... MANIK ----- Original Message ----- From: "Lewis LaCook" To: "Eric Dymond" ; "rhizome" Sent: Monday, September 05, 2005 5:43 AM Subject: Re: RHIZOME_RAW: so why magic sam and albert collins? > > here here! > > strange, how an art tied to what COULD be a > wonderfully anarchic medium got sucked so quickly into > the gallery system.... > > bliss > l > > > > > > --- Eric Dymond wrote: > > > when web art gives us expressionist work, then it > > will be free. > > as it is, this communicative art appears to be > > hog-tied and intellectual. > > free my children, and pass the wine. > > 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 > > > > > *************************************************************************** > 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 > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 5 Sep 2005 03:08:53 -0700 message-id: <200509051008.j85a8rfn004964@idx164.idx.net> references: no_parent from: Marius Watz subject: RHIZOME_RAW: Art from Code - Generator.x, 23-24 september, Oslo, Norway || Art from Code - Generator.x, 23-24 september, Oslo, Norway || Conference, exhibition and concert about generative art and design || || Atelier Nord / National Museum / Hausmania || http://www.generatorx.no/ || || Complete program in PDF-format downloadable from || http://www.generatorx.no/. Generator.x explores aesthetic strategies for a digital world. The project presents a new generation of artists and designers who embrace computer code as their tool of choice. Their creative expressions are made possible by a new understanding of software as an aesthetic material with potential for subjective interpretation, and not just as a technical obstacle. The participants in Generator.x express themselves just as comfortably through coding as through traditional “intuitive” processes like drawing. Inspired by complexity theory and principles of emergent behavior, they construct intelligent design objects, visualizations of unfathomable datasets and beautiful abstract visuals. They create algorithmic drawing machines that develop over time, sound compositions that never repeat themselves and new audiovisual instruments for live performance. Themes for discussion include generative aesthetics, process-based design, performative software and artist-created software. || Generator.x conference: 23-24 sept, Atelier Nord, Lakkegata 55 C. || Price: NOK 700, NOK 350 for kunstnere og studenter. || Includes ticket to concert event. Lecturers: Erich Berger (NO / AT), Pablo Carranza (SE / SP), Gisle Frøysland (NO), Hans Christian Gilje (NO), Susanne Jaschko (DE), Golan Levin (US), Sebastian Oschatz (DE), Casey Reas (US) m.fl. Moderators: Amanda Steggell and Marius Watz. || Generator.x exhibition: 23 sept - 16 okt || Kunsthallen, The National Museum of Art, Architecture and Design New works by Lia (AT), Trond Lossius (NO), Sebastian Oschatz (DE) and C.E.B. Reas (US). Arbeider på papir av Pablo Carranza (SE / SP), Lionel Theodore Dean (UK), Ben Fry (US), Jürg Lehni (CH), Golan Levin (US) and Martin Wattenberg (US). Curator Marius Watz. || Generator.x concert + club event: 24 sept || Hausmania, Hausmannsgt. 42. An evening with audiovisual concerts where custom software is used to create sound and image in a synaesthetic interaction. Performance: Blind - HC Gilje / Kelly Davis (NO / US), Erich Berger (AT / NO), TinyLittleElements - Lia / Sebastian Meissner (AT). DJ to be announced. Generative live visuals: GX crew / Spoon (CZ). Generator.x is a co-production between Atelier Nord and Riksutstillinger (National Touring Exhibitions, Norway) as a result of an initiative by Marius Watz. Generator.x is supported by the Norwegian Cultural Council, PNEK and Goethe-Institut Oslo. For more information, read the Generator.x blog: http://www.generatorx.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 - supports and is engaged in the production of new media artistic and experimental work - develops curatorial projects in several mediums (internet, audiovisual, publishing, exhibitions, etc.) - stimulates reflexion through the organization of symposiums, conferences and debates - promotes advanced teaching namely through an MA in Games and Interactive Media, but also, seminars and workshops. Atmosferas Digital Arts Center Rua da Boavista 102, 1200-069 Lisbon Portugal + 351 21 321 30 40 www.atmosferas.net/en info@atmosferas.net __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 05 Sep 2005 21:35:27 +1000 message-id: <6.0.1.1.1.20050905213434.02424800@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: _con.duh!.leeza.[white]rice[bubble+hypokkkrit.foaming]_ _______________________________________________________ _con[the pop.(arse./nick+)lace].duh!?.leezaz.coma.ments_ 09:29pm 05/09/2005 _______________________________________________________ _white.bread.[ana]conda.[4.corporate.whore]lease.ah.is.more.white.than.mike[rah.phone.4.white.internalised.supre.macy(s)]All.Jack[+non.Genetic]son[ofa.black.man.in.misnoma.only]_ -- _intricate mirror mem[e.st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://netwurker.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 wisdom gathered from metaphysical travels on the net, while the UK Museum of Ordure invite you to add to their gradually degrading sound files. Throughout the exhibition, the works react and grow in response to visitors' input -unroll familiar contemporary technologies as one would ancient scrolls in Cavan Convery's Vertical Scroll and take responsibility for the maintenance of radarboy's Big Five Digital Zoo. Low-fi is an artist collective focused on net art, mediation and distribution systems (http://www.low-fi.org.uk) STILLS is one of Scotlands leading centres for research, production and exhibition of contemporary art inspired by existing and emerging technologies (http://www.stills.org) More info... http://www.stills.org/exh_current.html + -> 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 date: Mon, 05 Sep 2005 15:01:56 +0200 message-id: <20050905150156.319fadb2.5346b07f@127.0.0.1> references: no_parent from: {Eart} subject: RHIZOME_RAW: =?ISO-8859-1?Q?Digital=20Film=20Fest=20New=20Dehli? 0110 Digital Film Festival New Dehli/India at British Council New Dehli 5-9 September 2005 www.ekaafilm.com Festival schedule also on http://www.britishcouncil.org/india-arts-visualarts-digital-film-schedules.htm is screening two digital films by Agricola de Cologne "Inability of being Nude" streaming version on http://www.nmartproject.net/agricola/mpc/volume11/nude.html and Truth- Paradise Found streaming version on http://www.nmartproject.net/agricola/mpc/volume1/truth.html ************************************ These info can also be found on NetEX- networked experience http://netex.nmartproject.net/index.php?blog=6 . info & contact info@nmartproject.net"Project Features" http://features.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, 05 Sep 2005 17:37:27 +0100 message-id: references: no_parent from: Sheindal Cohen subject: RHIZOME_RAW: Vacancy for Senior Curator (Collaboration Programme) at FACT, Liverpool, UK Senior Curator (Collaboration Programme) FACT FOUNDATION FOR ART AND CREATIVE TECHNOLOGY 24-28K (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 inspired, enterprising and imaginative person with a good knowledge of international artists work in film, video and creative technology. You will have a passion for and commitment to collaborative practice, and strong management skills, to build upon the outstanding reputation of FACT's Collaboration Programme. The Senior Curator (Collaboration Programme) will lead on devising, commissioning and implementing a programme of projects bringing together artists, communities and informal education initiatives and delivered across a range of exhibition platforms, including galleries, offsite and online. For more information please contact: Sheindal Cohen Email: recruitment@fact.co.uk Tel: 0151 707 4444 Website: www.fact.co.uk Deadline for applications: 21st September 2005 Interviews in Liverpool: 29th September 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 The Conference “Games or Reality: the Challenge of Digital Culture” focuses on four Subject Areas covering a wide range of crucial issues and questions concerning Games and their position in Digital Culture, studied from the Observers’ as well as from the Players’ point of view: in Subject Area Α the Socio-Political, Psychological, Cognitive and Philosophical aspects of Game are analysed; in Subject Area B the influences of Game in Art and the Game as 21st century’s New Art are studied; in Subject Area C Technologies and Techniques that develop or are developed by the Game are presented; and finally Subject Area D concerns the emergence and growth of the New Economy of Games defining its impact in Art and Society of the 21st century; The subject areas that constitute the four basic axes of the Conference are described by indicative topics around which the speakers are invited to communicate. A. The borders between Games and Reality (When Games influence Reality) a. The World of Game > Real Games – Virtual Life > Net-Games and Virtual Communities: a utopian space > Social and Anti-Social games > MUDs and Net-Individualism > Game and Communication Utopia > Collective and Individual representation of the World through the Game b. The Identity of the Player – The Identity of the Digital World Citizen > The Embodiment and Dis-Embodiment of the Player and the Game > Virtual Bodies, Games and Gender > The avatars do we choose and the avatars do we create (or they create for us) > Games and Identity > The Psychology of the Player c. Serious Games > Game Politics and politic propaganda in Games > Simulation and Game environments for learning and training > Scientific and Military Games > Freedom, Choice and Censorship in Games > Games and Cognitive Sciences B. The Game in Art and the Art of Game (The Game as 21st century’s New Art) a. The Game as a new field for artistic expression > Game based artworks > Art criticizing Games > The Integration of Game in Art > The Aesthetics of the New Media and “art games” > "Commercial" Game as Art b. Interactive Narratives and Multi-scenarios: the New Storytelling... > Audiovisual and Narrative aspects of Games > Linear and non-linear narratives in art games, and in commercial Games > Multi-scenario strategies > From image to text and from text to image c. Game Aesthetics: the emergence of a New Art > Game as a New Form of Art and the new Aesthetics of Digital Games > Artistic expression through Game > Aesthetics of New Interactive Media > Aesthetics of Multi-centric Narratives C. Game Technologies (Game Evolution through Technology and Technology Evolution through Game) a. History and Evolution of Game Technologies > Game and “traditional” audiovisual media > From 2D to 3D Game > Mobile gaming: mobile phones and the evolution of Games > Artificial Intelligence Techniques and Intelligent Games > Integration of New Technologies in Game > New Technologies development for Game b. "Building" a Game: Design and Game Development > From conception to production > Creating a Game scenario: narrative techniques for multimedia/hypermedia > Aesthetics and Techniques for the creation of Virtual Worlds > 3D Game in the Web > Architecture and Game Design > “Serious” games techniques > Sound and Graphics in Game > Designing the Interface: the contact with the Player > Games dramaturgy > Designing virtual actors c. Game-Engines VS PC > Evolution of Game-Engines > Game-Engines and PC evolution > The Future of Game-Engines d. Innovative and Experimental Game Techniques, Technologies and Interfaces > Innovative interactive techniques for Games > Innovative and Experimental Game Interfaces > Special programs, software and programming for Games > New audiovisual techniques and original applications in Games > Original Game Design > Original use of the New Media in Games D. The Real Virtual Economy of Games a. The emergence of a New Economy > Net-Economy and Games > The relation of the Games with the Cinema Industry > Virtual and Real Game Products b. The Geography of the Game Economy > Games and New Markets > Games in the East and the West > The New Internet Geography and the Game Markets c. The Future of the Game Economy > Virtual Commerce and its Future > The Future of the Game as a Product > Legislation, Rights and Copyrights in Web-Games Scientific Committee The Scientific Committees for each Subject Area will be composed of eminent persons and specialists from the areas of Art, Education, Digital Production and Culture (Artists, Sociologists, Philosophers, Producers and Creators of Games, Theorists and Historians of Media, Historians and Aestheticians of Art, Curators, Computer Scientists and Economists) and will be announced soon. For any questions please contact Nefeli Dimitriadi via email info@fournos-culture.gr or call us at +30 210 6420451 More information will be uploaded soon on our websites www.mediaterra.org and www.fournos-culture.gr CALL FOR GAMES Medi@terra 05 aims with this call for game projects to offer the opportunity to artists, independent creators, programmers and theorists from the field to show their work and at the same time to create a forum of communication, discussion and collaboration. The projects to be submitted may be - stand alone offline applications - on line applications, applets (eg Flash, Shockwave, Java) - mods & patches/ Modifications and enhancements of well known games (Quake, Unreal, Half-Life, Torque) - machinima / films made with the use of computer games - mobile phone games The games submitted shall be uploaded and hosted in a web address or sent in a CD/ DVD from which they can run on a PC or Mac. Also accepted can be the playable demos of games. Criteria for the selection of the games will be - their innovation in terms of development and application - the originality of their content - the new approaches introduced - their aesthetic/ artistic features - their philosophical approach A special interest will be shown to games with sociopolitical content as well as to games that constitute tools for education and other scientific fields. The games selected will be hosted in the exhibition of Medi@terra festival 05. Deadline: 30 October 2005 For any questions or more information please contact Daphne Dragona via email daphne@fournos-culture.gr or call us at +30 210 6420451 . More information will be uploaded soon on our websites www.mediaterra.org and www.fournos-culture.gr + -> 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 date: Mon, 5 Sep 2005 09:40:16 -0700 message-id: <23e24a260509050940165c5b1f@mail.gmail.com> references: <2bd02130050905090171a7dae0@mail.gmail.com> from: Marisa Olson subject: RHIZOME_RAW: Fwd: vuk net.art show at ica tomorrow [NEW-MEDIA-CURATING] ---------- Forwarded message ----------From: Vuk osi Date: Sep 5, 2005 9:01 AMSubject: [NEW-MEDIA-CURATING] vuk net.art show at ica tomorrowTo: NEW-MEDIA-CURATING@jiscmail.ac.uk Hi list,just a line to tell you of a show I'm doing on Tuesday. I am just about to finish a new project entitled File Extinguisher andthere's also going to be some Projectables from the Heroic Period.Sadly I wll not be there personally since there's no real opening but I'dlike to meet up with those in London on 22nd when I'll be joining some sillySlovenian delegation. Here's the link to the new project (still finishing, will be operationaltomorrow I hope):www.file-extinguisher.com The ICA announcement:http://www.ica.org.uk/index.cfm?articleid=14300There will be some interview at BBC Collective these days:http://www.bbc.co.uk/collective/ If any of you people feel like linking to the new project, call me and I'llmake you a nice banner or something... And how are you? Vuk + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php marc http://www.furtherfield.org + -> 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 date: Mon, 5 Sep 2005 18:50:01 +0200 message-id: references: no_parent from: Trampoline Berlin subject: RHIZOME_RAW: Radiator and Digital Cultures Symposium - 2-4 Dec 2005 - Nottingham BOOK NOW FOR EARLY BIRD DISCOUNT Radiator and Digital Cultures Symposium on Performance, Dance, and Technology Art 2 4 December 2005 This three day international symposium comes to Nottingham in December to bring into focus artistic practices of live performance using digital technology in the form of lens based, networked or locative media. Coordinated by Digital Cultures based at Nottingham Trent University, and Radiator, based at Broadway Cinema, the symposium forms part of Radiator 05 the UKs leading biannual Festival of New Technology Art. The Symposium will bring together leading practitioners, developers, scientists and theorists from the disciplines that make up new media performance including live art, locative and pervasive media, telematics, performance and dance, wearable, sensor based and cybernetic technologies. Confirmed participants so far: Alastair Bannerman (UK), Andrew Morrison (Norway), Aylin Kalem (Turkey), Blast Theory (UK), Carol Brown Dances (UK), Company in Space (Australia), Emanuele Quinz (France), Ghislaine Boddington (UK), Gob Squad (Germany), Gregory Sporton (UK), Henry Daniel (Canada), Igloo (UK), Igor Stromajer (Slovenia), Ivani Santana (Brazil), Jayachandran Palazhy (India), John Mitchell (USA), Karen Guthrie/Nina Pope (UK), Keith Armstrong (Australia), Koala Yip (Hong Kong), Kondition Pluriel (Canada), Lali Krotoszynski (Brasil), Liu Chun (China), Margarita Bali (Argentina), Marlon Barrios Solano (USA), Michelle Teran (Canada), Mine Kaylan (UK), Nuria Font (Spain), Paulo C. Chagas (Brazil), Paul Verity Smith (UK), Philippe Baudelot (France), Ran Hyman (Canada), Rimini Protokoll (Germany), Sally Jane Norman (UK), Scott deLahunta (The Netherlands), Sher Doruff (The Netherlands), Simon Biggs/Sue Hawksley (UK), Simon Pope (UK), Sita Popat (UK), Stamatia Portanova (UK), Steven Benford / Mixed Reality Lab (UK), Thecla Schiphorst (Canada), Troika Ranch (USA), Yacov Sharir (USA), Yukihiko Yoshida (Japan) The symposium is a collaboration between the Digital Cultures Lab of Nottingham Trent University and the Radiator Festival for New Technology Art. Run by Trampoline, the Radiator Festival takes place every second year in Nottingham. While involving partners from throughout the East Midlands, the festival umbrellas Trampoline's second home, Berlin. As a local hub for digital arts activities, Radiator aims to promote digital arts in the region while instigating exchange by inviting UK-wide and international artists to Nottingham. This year the festival expands its own boundaries to include the city streets as well as a range of new partner venues. Radiator 05 (1 - 4 Dec 2005) presents installations, screenings, workshops, talks, performances, music and satellite events live and online at Broadway, Angel Row Gallery, Future Factory, Victoria Studios, Waverley 1851, Malt Cross, Surface Gallery, Sandfield Centre and Preset. For more information go to www.radiator-festival.org Symposium details: Friday 2 Saturday 3 December 2005 10am-6:30pm Sunday 4 December 2005 10am-3pm Powerhouse Victoria Studio Shakespeare Street Nottingham NG1 4FQ Full weekend: 100 (concs. 70) Early Birds: 80 (concs. 55) Single Day: 35 (concs. 20) Early Bird registration (before October 15th) Contact details: Radiator Festival Broadway 14-18 Broad St. Nottingham NG1 3AL Tel +44(0)115 840 9272 info@radiator-festival.org www.radiator-festival.org Radiator is supported by Arts Council England, EM Media, UK Filmcouncil Lottery Funded, Broadway. The Symposium is supported by Bonington Gallery, Creative Collaborations, Essex Dance, Future Factory, Nottingham Trent University and UCE Birmingham. If you have received this message involuntarily and would like to prevent any such future postings of Radiator or Trampoline events and opportunities, please send a return mail with the words remove me in the subject line. anette schfer radiator festival / trampoline www.radiator-festival.org www.trampoline-berlin.de www.trampoline.org.uk ++44(0)115 840 92 72 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 5 Sep 2005 20:35:39 +0200 message-id: <003601c5b248$9d711330$6502a8c0@we> references: no_parent from: Kristoffer Gansing subject: RHIZOME_RAW: Submission Problems: The Art of the Overhead Dear friends of the overhead! SERIOUS PROBLEMS WITH OUR SUBMISSION-EMAIL-ACCOUNT!!! If you have submitted works or proposals by e-mail to The Art of the Overhead (as announced earlier on this list) and haven't heard from us yet please contact Linda Hilfling as soon as possible: linda@overheads.org or via tlf: +45 28 92 21 02. Also we have an extended oh-deadline to the 12th of September. All the best /The Art of the Overhead Crew www.overheads.org -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.10.18/89 - Release Date: 2005-09-02 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Category: Animation Faculty Location of work: New Delhi / Hyderabad, India Job starting date: August / September 2005 Type of contract: Full-time, Contract Duration of job: 1 Year -------------------------------------------------------------------------------- Company name: Centennial College Company description: Centennial College has one of the most ethnically, racially, and culturally diverse student populations in the Ontario college system and is consequently encouraging applications from qualified women, aboriginal persons, persons with disabilities, and racial minorities. Web Site: http://www.thecentre.centennialcollege.ca Department/division: Communication Arts Contact: Paul Koidis Address: 951 Carlaw Avenue Toronto, Ontario M4K 3M2 Canada phone: 416.289.5000 fax: 416.289.5106 email: pkoidis@centennialcollege.ca + -> 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 date: Mon, 5 Sep 2005 15:44:08 -0700 message-id: <200509052244.j85mi8mt027691@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Mark Esper & Ryan Wolfe at Dam, Stuhltrager Gallery Triple the gallery size, triple the electricity of the exhibit! GET SWEPT UP IN THE EXCITEMENT THIS FALL... A real, live TORNADO by Mark Esper whirls up a storm over robotic blades of grass by Ryan Wolfe. For Immediate Release: Mark Esper and Ryan Wolfe at Dam, Stuhltrager Gallery Dates: September 10- October 16, 2005 Opening Reception: Friday, September 9, 7-10pm Fresh from electrifying Artbots in Dublin, Mark Esper returns home to Brooklyn to unveil his latest creation and release the talent he discovered while in Ireland, Californian artist Ryan Wolfe. GET SWEPT UP IN THE EXCITEMENT THIS FALL... A real, live TORNADO by Mark Esper whirls up a storm over robotic blades of grass by Ryan Wolfe in Dam, Stuhltrager’s expanded gallery. A category 5 event, the magnitude of this exhibit breaks through a brick wall into the adjoining building inaugurating Dam, Stuhltrager ’s new expansion.Triple the size. Triple force exhibited. Gallery 1: Mark Esper For his fourth solo exhibit at Dam, Stuhltrager, Mark Esper premieres "Second Orrery", an installation encompassing a whirling tornado. The ethereal twisting column of gasses is reflected in other spiral forms that constitute the work, including a double helix and train running on looped track. Another spiral form is even less corporal than the tornado in that it isn’t seen. It is felt in time through the cyclical behavior of the piece, through the periodic adjustments in lighting coupled with the repetitive journey of the train, and the appearance and disappearance of the tornado. It is a spiral in time. "I am inspired by dreams that I had in my youth that involved tornadoes. The dreams left me with a perception of focused energy, and a gathering of unseen forces, that with self assembled concentration eventually made their presence felt. I was intrigued by a sense of confusion as to whether the storm I dreamt of was from inside me, or was it something that had to be produced from the exterior."- M. Esper In a unique collaboration in September 2004, Mark Esper held three simultaneous solo shows at three separate neighboring galleries in Williamsburg prompting... "His work requires the support and attention of larger institutions than the brave independent galleries can provide. Patrons and institutions alike should start paying attention."- W. Powhida in The Brooklyn Rail, Oct.‘04 Gallery 2: Ryan Wolfe For his New York debut, Ryan Wolfe presents "Sketch of a Field of Grass" an installation that encapsulates the experience of watching the rise and fall of a summer breeze across a field. Just as in a real field, every single blade responds to the wind in a slightly different way. Individual blades in the installation are computationally autonomous, possessing the ability to sense and respond to local environment independently. Each blade is both physically distinct and simultaneously part of a larger aggregate phenomenon. The emergent behavior that comes from the interrelation of independent nodal behavior interpreted in a group context is fundamental to the overall aesthetic effect. "My work is an exploration of patterns – spatial patterns that are created by the replication and interrelation of a group of objects, and the kinetic patterns that occur when environmental reactions are shared by and among those objects. I focus on using the aggregate/emergent behaviors that are a result of these group interactions to create more meaningful and complex forms." -R. Wolfe NEW HOURS: FRIDAY 3-8, SATURDAY & SUNDAY 12-6pm OR by APPOINTMENT DIRECTIONS: L to Lorimer. Exit near token booth. Take Metropolitan under BQE. Left on Marcy. Distance from train: bl. Contact: Dam, Stuhltrager Gallery 38 Marcy Ave. Brooklyn. NY 11211 718-387-9818 ~ damstuhltrager@hotmail.com www.damstuhltrager.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 hall & night club). Dates are set to September 30 – October 4, with special event and party on the Saturday of October 1. Submission deadline is 25th of August 2005. See our website at www.overheads.org for full concept statement, program and details on our other overhead activities! To subscribe to our newsletter please send an e-mail to: oh-news-request@labbs.net and write subscribe in the subject line. You are also welcome to contact us at info@overheads.org About E.A.T. Sweden – Experiments in Art & Technology The Art of the Overhead is brought to you by EAT Sweden, a group of artists and engineers based in Sweden and Denmark that in its name pays homage to the projects of the late pioneer Billy Klüver and which works with a critical rethinking of the relationship between art and technology. + -> 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 date: Mon, 5 Sep 2005 19:46:01 -0400 message-id: <2ee57c99754f6a4885b97c18be34265d01731e65@millerexch.whitneyny.whitney.org> references: no_parent from: subject: RHIZOME_RAW: intelligent agent Vol. 5 No. 1 -- Secial issue: Artistic Virtual Environments -- new articles intelligent agent Vol. 5 No. 1 -- Special Issue: Artistic Virtual Environments Articles now available at http://www.intelligentagent.com intelligent agent is published in a modular format: +Thematic threads Special Issue Vol. 5 No. 1: //artistic virtual environments// +reviews of games, exhibitions, books All content is available in html and as pdf files. NEW: //artistic virtual environments// + Alison McMahan and Warren Buckland, Cognitive Schemas and Virtual Reality McMahan and Buckland explore how cognitive-semiotic theories from film can be applied to virtual environments. The authors present a number of cognitive schema theories that explain corporeal understanding in virtual environments such as kinesthetic image schemas, which propose that perceptions are based on experience from bodily sensory-motor inputs. + Magy Seif El-Nasr, Applying Principles from Performance Arts for an Interactive Aesthetic Experience El-Nasr argues that heightening tension and drama intensify involvement and engagement for participants in a virtual environment (VE). The author uses acting and screenwriting theories to put forth new methods for creating VEs, including a multi-agent interactive drama approach. + Tobey Crockett, Building a Bridge to the Aesthetic Experience: Artistic Virtual Environments and Other Interactive Digital Art Tobey Crockett proposes an "aesthetics of play and empathy," a new criterion for understanding artistic virtual environments. The empathy component is grounded in the fact that the participant is not totally certain which avatar represents her, thus melding her into a group identity and forging an opportunity for empathy. + Juliet Davis, Considerations of the Corporeal: Moving From the Sensorial to the Social Body in Virtual Aesthetic Experience Juliet Davis highlights the often overlooked qualitative differences between physical sensations in real life and those in a virtual space. She discusses Diane Gromala's artwork The MeatBook, as well as a number of other artists and theorists who ultimately move the discussion of aesthetic experience into the broader social and cultural realm. //review: exhibition// + Dean Elisabeth Eber, Spacetime in "Threading Time": The SIGGRAPH 2005 Art Gallery On the background of Einstein's notion of an absolute "spacetime," Eber discusses how the works exhibited in the 2005 SIGGRAPH art gallery trace possible relationships between time and space. +++++++++++++++++++++++++++++++++++++++ intelligent agent Editor-in-Chief: Patrick Lichty Director: Christiane Paul http://www.intelligentagent.com intelligent agent is a service organization and information provider dedicated to interpreting and promoting art that uses digital technologies for production and presentation. ++++++++++++++++++++++++++++++++++++++++ The Art of the Overhead is brought to you by EAT Sweden, a group of artists and engineers based in Sweden and Denmark that in its name pays homage to the projects of the late pioneer Billy Klüver and which works with a critical rethinking of the relationship between art and technology. + -> 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 date: Tue, 6 Sep 2005 12:15:27 +0200 (CEST) message-id: <20050906101527.ba48d21fda@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Lbs labelenumi , Legos laminar LCD, Ltd labia lexer, 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 $ 7.00 General Admission Screening Criteria: 15 minutes or less, Any year, Must be transferred to VHS or DVD All Topics/Genres: Fiction, Documentary, Experimental, Video Essay/Poem, Music Video, Animation . . . . . This is a FUN-RAISER for Reel Venus Film Festival: Saturday, July 30, 2005 7:00 PM - 9:30 PM City Center 130 W. 56th St (6th and 7th Ave) Studio 3, 3rd Floor Midtown Manhattan more info: info@reelvenus.com 212-714-8375 -------------------------------------------------------------------- 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 -> 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 date: Tue, 6 Sep 2005 10:13:53 -0300 message-id: <008801c5b2e4$d89d4400$dca205c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: News on the third collaborative review and invite to the debate "Art and domesticity" Dear all, I would like to invite you to browser at: http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm . There you can read the new collaborative review. The guest artist of the third collaborative review of the Museum of the Essential and Beyond That's newsletter ( http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm) is Isabel Aranda YTO CL. Aranda was born, lives and works in Santiago, Chile. She is working with ASCII and Flash and Arkaos and ... and .... Her work is really very interesting. Now we are talking about "Mini Art Dance" (http://arteonline.arq.br/museu/netartwebart/mini-art-dance/art-dance.html) Below some comments: "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 - http://www.sporkworld.org) "I love mini-art-dance; and one thing which I think is particularly nice about it is that if you click on several of the links one after the other, you get several of the audio tracks playing at the same time, and they all synchronise with each other. You can display several of the mini-windows on screen simultaneously as well: each new one you open sends the old ones into the toolbar at the bottom of your screen, but you can drag them out again and arrange them around the place. 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 - http://www.edwardpicot.com ) "... Through the Aranda's answers to my questions, one can identify both women realized by Edward Picot: The first of them very feminine... 'Yes, it is difficult in the economic sense. The work of my husband, Omar Gatica ( http://www.escaner.cl/og/ ), offers me the economic support necessary to produce specific projects like "Escner Cultural" and to work with digital art. This is a great luck because for many artists it does not occur.' (Isabel Aranda) 'I have two children, I am a housewife. My children are 16 and 18 years old. They help me a lot. However, some time ago, when my children were smaller, I worked with Art a lot, the difference is that I had shorter schedules of working.' (Isabel Aranda) and glamorous ... I can see this in Isabel's Mysterious Portrait (http://arteonline.arq.br/newsletter/reviews2005/portugues_yto.htm) and in the way how the ballerina of "Mini Art Dance" dances, after all, these sequences were chosen by the artist and they show a woman who dances with much freedom. The second quite modern and with some aggressive touches... This woman that is revealed by the dancing illustration is that Isabel Aranda who launched, in a completely pioneering way, an electronic magazine of art in South America (http://www.escaner.cl ), also it is that Isabel Aranda who works with digital art and launches art projects on the web and that one who valorizes alternative art. For a long time the feminist movement devalued the "housewife" woman. Nowadays I think the things are changing, the concept of Jessica Loseby's excellent work (http://www.rssgallery.com/), for example, is the cyber - domestic aesthetics. I believe that it is not more a crime, for a woman, to be "duea de casa" ("housewife") if she really wants that. Even because this housewife can have an intense cultural and artistic life. This is what happens with Isabel Aranda *YTO* CL. " (Regina Clia Pinto) **************************************************** Now we are debating the last paragraph. Would not you like of participating? If so, join the museum's newsletter, sending a message to arteonline@arteonline.arq.br with the subject JOIN THE MUSEUM'S NEWSLETTER **************************************************** If you want to know how Isabel Aranda gets to do so amazing work, read the third collaborative review at: http://arteonline.arq.br/newsletter/reviews2005/english_yto_cl.htm **************************************************** Cheers, Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com New Work: 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 >> For many more details, see the complete Release Notes for 0.42: >> >> http://inkscape.org/cgi-bin/wiki.pl?ReleaseNotes042 >> >> Community submitted screenshots: >> >> http://www.inkscape.org/screenshots/ >> >> >> About Inkscape >> >> Inkscape is an open source drawing tool that uses the World Wide Web >> Consortium's (W3C) scalable vector graphics format (SVG). Some >> supported >> SVG features include basic shapes, paths, text, markers, clones, >> alpha >> blending, transforms, gradients, and grouping. In addition, Inkscape >> supports Creative Commons' metadata, node-editing, layers, complex >> path >> operations, text-on-path, text-in-shape, and SVG XML editing. It also >> imports several formats like EPS, PostScript, JPEG, PNG, BMP, and >> TIFF >> and >> exports PNG as well as multiple vector-based formats. >> >> Inkscape's main motivation is to provide the Open Source community >> with a >> fully W3C compliant XML, SVG, and CSS2 drawing tool. Additional work >> includes conversion of the codebase from C/Gtk to C++/Gtkmm, >> emphasizing a >> lightweight core with powerful features added through an extension >> mechanism, and the establishment of a friendly, open, >> community-oriented >> development process. >> >> >> >> ------ 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 > -> 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 > + -> 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 date: Tue, 6 Sep 2005 06:54:08 -0700 message-id: <200509061354.j86ds8jw003023@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Philip von Zweck & Alex V. Cook @ BSD Butcher Shop/Dogmatic BSD Butcher Shop/Dogmatic presents New work by Philip von Zweck and Alex V. Cook September 10th thru October 8th Saturdays 12-6pm or by appointment Closing reception on October 8th BSD (Butcher Shop/Dogmatic) 1319 W. Lake St., 3rd Floor Chicago, IL 60607 Michael S. Thomas, Director 312.421.1917 dogmaticgallery@hotmail.com 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 modern 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. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > programming is that for strings, > they use thread, we use quote marks. everything's a tool of some sort. > > wonder if people who think that animals and machines are > fundamentally different, that > algorithmic functions are somehow "less" than natural, also > believe such vocabulary literally > as "lower" species. it's like thinking "queen" ants have any > authority over workers? > > there is obviously no objective way to measure complexity or > success. humans just calibrate > the criteria to put humans on top. it can equally be said that > while other species function > without much language or invention, we rely on it. we could just > as easily be the weakest, > form of life. (if we had to swing our fastest from trees all the > time, we'd think for a split > second and wind up dead. whereas if monkeys depended on picking > stocks in order to get > food, they'd do better than most investment experts.) > > in fact, given the rarity of our enlarged cortexes (the > consciousness that humans alone are > saddled with) , as opposed to a ubiquitous yet intricate organ > like the stomach, one could > easily draw the conclussion, so much awareness was a big mistake. > > > no one need agree. it's simply common sense that the human brain > is hardly an ideal judge > of which neurological methods are superior. it's like asking > george bush who he voted for. + -> 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 date: Tue, 6 Sep 2005 09:33:22 -0500 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: MapHub.org Launches Free Distributed Mapping Service in Pittsburgh Begin forwarded message: > FOR IMMEDIATE RELEASE > > PITTSBURGH, PA September 6 - On September 6th, 2005, MapHub.org will > launch a free website that allows residents of Pittsburgh to share and > discuss information using an online map. MapHub is an > interdisciplinary art and technology research project housed in > Carnegie Mellon Universitys STUDIO for Creative Inquiry. > > The purpose of MapHub is to enable communities to share and > communicate with one another through an online interactive map of the > city of Pittsburgh. Data collected by the MapHub team and partner > organizations can be layered with information collected by city > residents, creating a visualization tool useful for organizing, > analysis, or advocacy. Registered users contribute to the map by > adding objects and comments at any location on the map. Hubs are > formed around neighborhoods, advocacy groups, and common interests to > support collective representation and action throughout the city. > While MapHub is working to deliver localized spatial data to > Pittsburghs residents, its focus is on the data the city residents > collect. Through ongoing workshops that will be held around the city, > MapHub aims to instruct users on how to create their own hubs, collect > feedback in the form of comments, and manage their information. The > result will be a freely available multi-user map of data not normally > collectable and a system designed to streamline communication between > organizing bodies and individuals. > > MapHub is working on a variety of demonstration projects, and has > already formed partnerships with internet service provider (ISP) > Telerama, local bicycle advocacy non-profit Bike PGH, and the City of > Pittsburghs Department of City Planning. Through the partnership > with Bike PGH, MapHub will include information about bicycle gear > shops, bike rack locations, and even accident reports submitted by > members through the Bike Crash Hub at MapHub.org. The WiFinder Hub, > made available through partnership with Telerama, shows locations of > existing Telerama wireless access spots in the city and invites users > to submit their own information about where wireless internet access > can be freely obtained. In coming months, MapHub hopes to help city > residents become more involved in the public planning process by > delivering public information including the activities of the Citys > Planning and Historic Review Commissions. > > MapHub was created by a collective of artists, engineers, designers, > and activists over the past 3 years. The majority of work has been, > and continues to be, on a volunteer basis. The teams priority is to > provide access to mapping tools that are often only accessible to > those with greater social and financial means. MapHub is committed to > working closely with advocacy groups and neighborhoods to amplify > their voice in public discourse. > > MapHub continues to seek funding and sponsorship in other forms to > continue their research. > > MapHub: http://www.maphub.org > Bike PGH: http://www.bike-pgh.org > City of Pittsburgh Department of City Planning: > http://www.city.pittsburgh.pa.us/cp/ > STUDIO for Creative Inquiry: http://www.cmu.edu/studio/ > > Interview Contact: > Nathan Martin, Co-Creative Director, MapHub Project > Research Fellow, STUDIO for Creative Inquiry, Carnegie Mellon > University > Email: nmm@andrew.cmu.edu > > > Carl DiSalvo, Co-Creative Director, MapHub Project > Research Fellow, STUDIO for Creative Inquiry, Carnegie Mellon > University > Email: cdisalvo@andrew.cmu.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 > >> * Tile Tracing: The Tile Clones dialog can trace an existing image > >> with > >> tiling, producing a multitude of exciting effects. > >> * Grid Arrange, Baseline Align, Unclumping: There are new, > powerful > >> ways > >> to arrange objects. > >> * Better PS/EPS Export: PostScript level 3 gradient support, > better > >> text > >> handling, and a command line option for batch export are in this > >> release. > >> * Command Line SVG Analysis: Inkscape may now be used from the > >> command > >> line to query coordinates and dimensions of objects in an SVG > >> file. > >> * Better SVG/CSS Compliance: Notably, internal CSS stylesheets are > >> now > >> supported (read-only). > >> * Mac OS X Support: In addition to Linux and Windows, Inkscape > 0.42 > >> is > >> now available as a fully self-contained dmg package for Mac OS > X. > >> > >> There are also dozens of smaller features and usability > enhancements > >> (especially in the Fill & Stroke dialog, Node tool, and drawing > >> tools). In > >> this version the development community closed 404 bugs, some quite > >> serious, > >> and 165 feature requests. Overall, the Inkscape developers are very > >> excited > >> about this release and heartily recommend upgrading. > >> > >> Thanks to Google's Summer of Code, there are four new student > >> developers > >> adding new functionality to Inkscape this summer. Michael Wybrow is > >> adding > >> connectors for automatic diagramming. David Yip is picking up the > >> development of Inkboard (http://inkboard.sf.net/) to integrate > >> networked > >> collaborative editing of documents to Inkscape. Matthew Squires is > >> adding > >> DXF Import and Export. Greg Steffensen is working with the Open > Clip > >> Art > >> Library to make a common graphical interface from the Library to > >> Inkscape. > >> Thanks to the $20,000 worth of funding for these developments from > >> Google, > >> the Inkscape developers are aiming to accelerate the development > >> cycle > >> for > >> the next few releases in order to promote these projects. > >> > >> Download Linux, Windows, and Mac OS X packages: > >> > >> http://sourceforge.net/project/showfiles.php?group_id=93438 > >> > >> For many more details, see the complete Release Notes for 0.42: > >> > >> http://inkscape.org/cgi-bin/wiki.pl?ReleaseNotes042 > >> > >> Community submitted screenshots: > >> > >> http://www.inkscape.org/screenshots/ > >> > >> > >> About Inkscape > >> > >> Inkscape is an open source drawing tool that uses the World Wide > Web > >> Consortium's (W3C) scalable vector graphics format (SVG). Some > >> supported > >> SVG features include basic shapes, paths, text, markers, clones, > >> alpha > >> blending, transforms, gradients, and grouping. In addition, > Inkscape > >> supports Creative Commons' metadata, node-editing, layers, complex > >> path > >> operations, text-on-path, text-in-shape, and SVG XML editing. It > also > >> imports several formats like EPS, PostScript, JPEG, PNG, BMP, and > >> TIFF > >> and > >> exports PNG as well as multiple vector-based formats. > >> > >> Inkscape's main motivation is to provide the Open Source community > >> with a > >> fully W3C compliant XML, SVG, and CSS2 drawing tool. Additional > work > >> includes conversion of the codebase from C/Gtk to C++/Gtkmm, > >> emphasizing a > >> lightweight core with powerful features added through an extension > >> mechanism, and the establishment of a friendly, open, > >> community-oriented > >> development process. > >> > >> > >> > >> ------ 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 > > -> 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 > > > + -> 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 date: Tue, 6 Sep 2005 11:08:54 -0400 message-id: <641a525b0a2a2540b1dd0a3de660241c014dcdfd@exchange.terra-incognita.net> references: no_parent from: Andrane Leclerc subject: RHIZOME_RAW: News from the Daniel Langlois Foundation The Daniel Langlois Foundation for Art, Science, and Technology REMINDER: New and revised programs Strategic Grants for Organisations Program: Canadian non-profit organisations as well as those based in countries listed as eligible may submit proposals now. An online application form is available and must be used to submit a proposal: http://www.fondation-langlois.org/e/programmes/ Research and Experimentation Residencies in Montreal for Professional Artists from Emerging Countries or Regions: Individuals who are nationals of a country listed as eligible may submit an application for a research and experimentation residency. Applications must be sent by mail or e-mail prior to September 30, 2005. Prior to taking steps to submit a proposal, please read the guidelines: http://www.fondation-langlois.org/pdf/e/prog_oboro.pdf (PDF file) + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > > > Tried it -- but couldn't run it because it asked for X11 (on macosx > > tiger that is) -- is inkscape supposed to run on top of XWindows that > > > > anyone knows of?? It doesn't look as if it should. Looks like a > > regular macosx app. > > > > Geert > > http://nznl.com > > > > On 27-jul-2005, at 14:27, Jason Van Anden wrote: > > > > > This sounds really great. > > > Has anyone out there used it? > > > > > > Jason Van Anden > > > > > > > > > Eduardo Navas wrote: > > > > > > > > >> > > >> ------ Forwarded Message > > >> From: Jon Phillips > > >> Date: Tue, 26 Jul 2005 21:49:12 -0700 (PDT) > > >> To: Eduardo Navas > > >> Subject: Inkscape Announces 0.42 Release :: http:// > > >> www.inkscape.org :: > > >> Draw > > >> Freely. > > >> > > >> July 26, 2005 - The Inkscape community today announced the release > > of > > >> Inkscape 0.42, a cross-platform Open Source Scalable Vector > > Graphics > > >> (SVG) > > >> drawing tool. > > >> > > >> Inkscape 0.42 is the most feature-filled release to date, with an > > >> exceptional number of major and minor new features, usability > > >> improvements, > > >> and bug fixes. While some of the new features simply fill > > >> long-standing > > >> functionality gaps, others are truly revolutionary. Inkscape 0.42 > > is > > >> one > > >> step closer to full SVG compliance. This release adds: > > >> > > >> * Flowed Text: Text objects that automatically re-flow to any > > shape > > >> (and > > >> not just a rectangle). > > >> * Text Selection: One can now select part of a text and apply any > > >> style > > >> to the selection, just like in a word processing application. > > >> * Gradient Tool: A completely redesigned and much easier to use > > >> on-canvas > > >> gradient interface with handles displayed directly in the > > drawing. > > >> * Effects: These are now usable from within Inkscape on all > > >> platforms. > > >> This version ships with a collection of effects including path > > >> interpolation, randomization, and various fractal algorithms. > > >> * Color Swatches: This standard facility of most graphics > > >> software is > > >> now > > >> a part of Inkscape. > > >> * Colored Clones: Clones may now be painted differently from their > > >> original. > > >> * Tile Tracing: The Tile Clones dialog can trace an existing image > > >> with > > >> tiling, producing a multitude of exciting effects. > > >> * Grid Arrange, Baseline Align, Unclumping: There are new, > > powerful > > >> ways > > >> to arrange objects. > > >> * Better PS/EPS Export: PostScript level 3 gradient support, > > better > > >> text > > >> handling, and a command line option for batch export are in this > > >> release. > > >> * Command Line SVG Analysis: Inkscape may now be used from the > > >> command > > >> line to query coordinates and dimensions of objects in an SVG > > >> file. > > >> * Better SVG/CSS Compliance: Notably, internal CSS stylesheets are > > >> now > > >> supported (read-only). > > >> * Mac OS X Support: In addition to Linux and Windows, Inkscape > > 0.42 > > >> is > > >> now available as a fully self-contained dmg package for Mac OS > > X. > > >> > > >> There are also dozens of smaller features and usability > > enhancements > > >> (especially in the Fill & Stroke dialog, Node tool, and drawing > > >> tools). In > > >> this version the development community closed 404 bugs, some quite > > >> serious, > > >> and 165 feature requests. Overall, the Inkscape developers are very > > >> excited > > >> about this release and heartily recommend upgrading. > > >> > > >> Thanks to Google's Summer of Code, there are four new student > > >> developers > > >> adding new functionality to Inkscape this summer. Michael Wybrow is > > >> adding > > >> connectors for automatic diagramming. David Yip is picking up the > > >> development of Inkboard (http://inkboard.sf.net/) to integrate > > >> networked > > >> collaborative editing of documents to Inkscape. Matthew Squires is > > >> adding > > >> DXF Import and Export. Greg Steffensen is working with the Open > > Clip > > >> Art > > >> Library to make a common graphical interface from the Library to > > >> Inkscape. > > >> Thanks to the $20,000 worth of funding for these developments from > > >> Google, > > >> the Inkscape developers are aiming to accelerate the development > > >> cycle > > >> for > > >> the next few releases in order to promote these projects. > > >> > > >> Download Linux, Windows, and Mac OS X packages: > > >> > > >> http://sourceforge.net/project/showfiles.php?group_id=93438 > > >> > > >> For many more details, see the complete Release Notes for 0.42: > > >> > > >> http://inkscape.org/cgi-bin/wiki.pl?ReleaseNotes042 > > >> > > >> Community submitted screenshots: > > >> > > >> http://www.inkscape.org/screenshots/ > > >> > > >> > > >> About Inkscape > > >> > > >> Inkscape is an open source drawing tool that uses the World Wide > > Web > > >> Consortium's (W3C) scalable vector graphics format (SVG). Some > > >> supported > > >> SVG features include basic shapes, paths, text, markers, clones, > > >> alpha > > >> blending, transforms, gradients, and grouping. In addition, > > Inkscape > > >> supports Creative Commons' metadata, node-editing, layers, complex > > >> path > > >> operations, text-on-path, text-in-shape, and SVG XML editing. It > > also > > >> imports several formats like EPS, PostScript, JPEG, PNG, BMP, and > > >> TIFF > > >> and > > >> exports PNG as well as multiple vector-based formats. > > >> > > >> Inkscape's main motivation is to provide the Open Source community > > >> with a > > >> fully W3C compliant XML, SVG, and CSS2 drawing tool. Additional > > work > > >> includes conversion of the codebase from C/Gtk to C++/Gtkmm, > > >> emphasizing a > > >> lightweight core with powerful features added through an extension > > >> mechanism, and the establishment of a friendly, open, > > >> community-oriented > > >> development process. > > >> > > >> > > >> > > >> ------ 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 > > > -> 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 > > > > > > + > -> 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 > > -- Pall Thayer artist/teacher http://www.this.is/pallit http://130.208.220.190 http://130.208.220.190/nuharm http://130.208.220.190/panse + -> 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 date: Tue, 6 Sep 2005 08:12:22 -0700 message-id: <200509061512.j86fcmdu016879@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: Net Art Market Paypal announced they are going to offer Micropayments. I think this is very relevant to possibilities discussed in this old thread. http://www.shareholder.com/paypal/releaseDetail.cfm?ReleaseID=171765&Category=US Jason Van Anden www.smileproject.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 >it seems to me that what separates us from the other animals is the richness of language of which we are capable. other animals are not incapable of language. it is simply a matter of degree, of richness of language--and, correspondingly, we are capable of greater logical complexity in our reasoning and information storage and retrieval. though i think your ultimate point is spot on, i'm not sure about this animal cognition stuff. it'd be like someone saying they saw a car fly through outer space. cars just don't have that kind of engine. though hey anything's possible. i can't refute what you saw, even if i doubt the conclusions. so why do people go through such (often unconsciously) length to explain their projected anthropomorph-ization of animals while denying fairly clear and probable similarities to computers? the bee dance* is neat, but it's a little too tempting to calling a subset of geometry a language. technically it is, but has such extremely narrow application. in this case, it's even a stretch to call communication language. (than why not call GPS linguistics then?) chimps (supposedly) learn sign, but only about a vocab of 100 words. trainers swear things like "me now love baby" means "please scratch my back. but i doubt washoe could actually comprehend the words he memorized. what these DO prove is that our expectations of what animals can perform is far lower than what they really are capable of. they can learn alarming amounts, to get food, etc. but it's a little more complicated version of pavlov ringing a bell. sure, the dogs appear glad to see him too. doing so, makes it more likely he will keep taking care of them. people own dogs that are excited to see them, and if the dogs aren't are probably going to take worse care of them (the owner's need not even be aware of this going on) hans the counting horse took subtle almost involuntary cues from watching his trainer ask questions. body language was like telling him "stop there, or keep tapping your foot". it is amazing that he figured out these tiny clues and how they related to how much attention he got. surely the more he did right, the more secure his meal ticket. the more wrong, the more likely he would be mistreated. it's not even certain, the trainer knew hans was doing this. * for anybody who hadn't heard of the bee dance, bee's return to the hive and explain to each other where to find pollen by flying in a "vocab" of stunts. the dance does not appear to be simply pointing, but more "conceptual" directions, like "turn toward that big tree then ... " >i have a cat. she is a thinking, feeling, sentient being. she lets me know what she needs me to know. she walks in front of the monitor when i miss the point. she knows how to communicate with me. i think she probably has me quite well-trained, actually. you're right, we are trained by our pets. maybe not fish. but it is neurologically impossible for feelings to explain why she behaves as she does. she needs food, etc,. and it is in her best interest to keep nagging you, until you do something about it. (obviously, she'll stop "communicating" if you walk toward the kitchen, resume if you suddenly stop. she has a proven method how, and will do the same thing every time. we just read it as affection. + -> 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 date: Tue, 6 Sep 2005 15:27:34 -0700 message-id: <200509062227.j86mryqs006635@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Environmental Artist Needed for Game Developer We have an immediate need to hire top environment artists for our action-adventure title. We are looking for artists who can create our lush, highly detailed environments for our epic title. Samples of our work can be seen at www.demonstone.com. If you are interested, please do email me the following asap: 5 jpegs of your top environments including the wire frame. Please indicate the software used and whether this was created for a game application. Your resume. p.s. Friends of Stormfront: If you refer an individual to Stormfront who is hired, you will be rewarded with $500 (minus taxes). All you need to do is ask your referral to mention you during the initial email to us. You will be paid once your referral has completed 90 days of employment. Stormfront Studios Marta Daglow 4040 Civic Center Drive San Rafael, CA 94903 E-mail: mdaglow@stormfront.com Website: www.stormfront.com 415-461-5845 Developers of the award-winning hit title: The Lord of the Rings: The Two Towers and Demonstone. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 6 Sep 2005 19:17:08 -0500 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: pocket sized data projectors http://www.newscientist.com/article.ns?id=dn7957&feedId=online- news_atom03 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php The vast majority of pieces in the exhibition are web-based, which is partly due to the fact that the shipping of hardware is costly and often requires the artist to be flown in for the set up of her piece. For the Brazilian user/consumer/producer today, net art may be especially inspiring because the "you can do this too" call of the early days of video may echo here with those who have the basic hardware, net connection and free software. While it takes a good education to start thinking about the making of net art, the means of production are available to many and screen-based work may indeed be a good entry point to media art production in Rio. This media art festival is an ambitious effort facilitated by the artists Carlo Sansolo and Erika Fraenkel who worked as curators invited by Alberto Saraiva at the Centro Cultural Telemar. We should look again when the next Rio media art festival comes up. A catalogue in English and Portuguese will be published by the Centro Cultural Telemar and can be ordered there starting at the end of September. http://www.institutotelemar.org.br/centrocultural/ + -> 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 date: Tue, 6 Sep 2005 21:31:35 -0600 message-id: <006701c5b35c$a898b370$2aa30818@vuk> references: no_parent from: rick silva subject: RHIZOME_RAW: surface to air new work: surface to air http://www.flickr.com/photos/surfacetoair/tags/ over 4 thousand surface pics from 4 continents taken over 4 years. tags / black / 15 pages / 288 photos / http://www.flickr.com/photos/surfacetoair/tags/black/ blue / 15 pages / 296 photos / http://www.flickr.com/photos/surfacetoair/tags/blue/ brown / 34 pages / 680 photos / http://www.flickr.com/photos/surfacetoair/tags/brown/ gray / 45 pages / 887 photos / http://www.flickr.com/photos/surfacetoair/tags/gray/ green / 28 pages / 544 photos / http://www.flickr.com/photos/surfacetoair/tags/green/ orange / 13 pages / 255 photos / http://www.flickr.com/photos/surfacetoair/tags/orange/ pink / 6 pages / 119 photos / http://www.flickr.com/photos/surfacetoair/tags/pink/ purple / 4 pages / 66 photos / http://www.flickr.com/photos/surfacetoair/tags/purple/ red / 17 pages / 321 photos / http://www.flickr.com/photos/surfacetoair/tags/red/ white / 18 pages / 348 photos / http://www.flickr.com/photos/surfacetoair/tags/red/ yellow / 16 pages / 301 photos / http://www.flickr.com/photos/surfacetoair/tags/yellow/ werd, rick www.cuechamp.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 be the memoirs of the bot. Feel free to steal this tangential concept and implement it. Entitle the piece "Memoirs of a Bot." As incidentally transformative as reading Debord's _Memoires_ may be, it can never be as transformative as experiencing the LI and collaging _Memoires_ was to Debord himself. META-INSTRUCTIONS: Create a set of instructions for surfing the web (the web being analogous to the modern city). Instead of saying "go down three lights and turn left," the instructions might read "tab forward three links and click." Instead of saying "follow a woman in a blue," the instructions might read "click on the next linked image of a woman." You may create these instructions with generative software, or simply write them out the old school analog way (cf: non-digital programming, Sol Lewitt's instruction-based drawings, John Cage's aleatoric dice music). Whatever you do, don't let the software do the actual surfing. Return the instructions to your human user/patron/collaborator/pschocyberographer/margin walker and let her do the actual surfing per your instructions. /// Some suggested approaches: 1. Begin the whole journey at google. Get the user to search for a phrase of her choosing. Once the results of the search are returned, she can begin surfing down her path per your instructions. 2. Begin the whole journey in a blank browser window. Get the user to choose a single word and type in her word plus ".com" in the browser's URL field. verite.com, modern.com, booger.com, etc. Once the site comes up, she can begin surfing down her path per your instructions. 3. Include instructions that occur off the web involving word associations in the mind of the user. Incorporate search engines, http://dictionary.com, http://thesaurus.com, and http://wikipedia.org -- key word search sites which allowing the user to map these semantic connections to online content. Semantic associations between alchemy, chemistry, allergy, disease, and leisure, for example, will yield much more interesting results than instructions that say, "click on link 3. next, click on link 2." Thus the surfing process becomes less a deconstruction of the web as an online version of Madison Avenue, and more a deconstruction of the web as a library of human knowledge. 4. Have contingent instructions for dead-ends and unorthodox site architecture. The corporate web is much less contiguous and uniform than the modern city. 5. Write instructions that allow the user to make her own subjective choices. "Click on the link that seems most dangerous." "Click on the link that most reminds you of your father." 6. Write instructions that occasionally force the reader to peruse the text of the page, potentially banal as it may be. "Count the number of indefinite prepositions on the page. If the number is odd, click on the page's last link. If the number is even, click on the page's first link." 7. Don't start the journey at a net art site like http://superbad.com . That would be like going on a cybergeographic walk in an amusement park funhouse. The "regular" experience is already disruptive as is. (Although you are certainly free to steal this tangential concept and implement it. Entitle the piece "Funhouse Cybergeography: Mirroring Mirrors.") /// After the actual surfing is done, the project may proceed in a number of ways: 1. The user posts her surfing history for that session (resident in her browser's "history" tab, complete with active links) to the web (cf: http://lab404.com/data/ ). This way others can follow her bread crumbs. 2. The user revisits her surfing history and culls text phrases and images from the journey. She collages these phrases and images in photoshop, saves them as jpegs, and posts them on the web to create her own pschocyberographic memoirs. Or she makes the text and images into a printed book, or even a DVD. 3. The user revisits her surfing history and culls text phrases and image URLs from the journey. She pastes these phrases and URLs into an email, and posts them to rhizome to share her own pschocyberographic memoirs. (might look something like: http://rhizome.org/thread.rhiz?thread=11838&text=22796 ). 4. The user revisits her surfing history and culls text phrases, images, and URLs from the journey. She then builds a non-linear web site from these fragments. In addition to the pages of the site interlinking, they may also link offsite to the "source" pages from her journey where the original images and text fragments were first discovered. (might look something like: http://www.silverladder.com/links/badscary/badscary.htm ) 5. All of the above. 6. The user simply has the experience and produces nothing but having had the experience. REFERENCES As an interesting aside, Noah Wardrip-Fruin's "Impermanence Agent" ( http://hyperfiction.org/agent/ ) is almost the exact opposite of the project I'm proposing. In "Impermanence Agent," the human (as opposed to a bot) constructs a surfing path through the cybercity, and the bot (as opposed to a human) does all the non-euclidian recontextualizing. SUMMARY These are instructions for you to create your own instructions so that someone can follow your instructions and create a piece of work based on their following of your instructions that someone else can experience. William Burroughs cryptically observed, "When you cut into the present, the future leaks out." He was talking about randomly cutting-up and reassembling audio media. Applied to the modern city, Debord might have said something like, "when you cut into the grid, your own story leaks out." Pschocyberography asks, "When you cut into the web, what leaks out?" It doesn't ask this question of a bot. A bot can do the cutting, but a bot can't know the answer. Your act of knowing creates the answer. "travelers in a labyrinth revealed by their wish to find it" happy trails, curt + -> 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 date: Wed, 7 Sep 2005 09:26:16 +0200 (CEST) message-id: <20050907072616.b856c21fde@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Macintosh magstep Morocco, MGBs maharajah MIPS, Messrs Marilyn Monroe macromedia MUST makefiles, 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 Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 11:50:01 +0200 message-id: <003e01c5b391$8c16ee30$0200000a@tpdqkviky96i1n> references: no_parent from: Thomas Petersen subject: RHIZOME_RAW: how many people on RAW Hey I'm just curious. Thought it would be interesting to know how many people are on this list. Can't find any info on the Rhizome site. T -------------------------- Thomas Petersen +45 2048 2585 www.crossover.dk www.artificial.dk http://@kunst.no/%62j%6fr%6em%61g/r263/r263.png 2k 15 3644: from: "cecile rowland" subject: women say: size matters! prescription required - ambien, sonata etc. http://@kunst.no/%62j%6fr%6em%61g/scapes/images/sc_scape23.jpg 7k __ nook isbn 82-92428-41-0 + -> 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 date: Wed, 7 Sep 2005 05:48:28 -0700 message-id: <200509071248.j87cmsgr019465@idx164.idx.net> references: no_parent from: Jason Van Anden subject: RHIZOME_RAW: Re: Net Art Market Relevant to this old discussion - Paypal is apparently going to offer Micropayments: http://www.shareholder.com/paypal/releaseDetail.cfm?ReleaseID=171765 Jason Van Anden + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Edward Picot) http://arteonline.arq.br/blog/mixes/niss_deed/ (Millie Niss, Martha Deed - original work by Muriel Frega) http://arteonline.arq.br/blog/mixes/regmuriel.htm (Regina Clia Pinto - original works by Muriel Frega and Babel) http://arteonline.arq.br/blog/mixes/robert_regina.htm (Regina Clia Pinto - original work by Robet Cottet) http://arteonline.arq.br/blog/mixes/antomoromouton1.png (Antoine Moureau - original works by Isabel saij and Regina Clia Pinto) http://arteonline.arq.br/blog/mixes/moutons_cage.jpg (Isabel Saij - original works by Edward Picot and Cristina Orensztain) http://arteonline.arq.br/blog/mixes/shepherd_house_inter_ethyl.mp3 (Babel - original work by Jeremy Hight) You have much more works on the blog http://bigsheep.blogspot.com/ PARTICIPATE! You should create sounds, texts, images, multimedias, animations from our original or derivative works! ... AND DO NOT FORGET: BROWSER AT: http://arteonline.arq.br/quixote/ There you will find the amazing Big Sheep's son: "Quixotes and Sheep" by: 1- Alexandre Venera (Brazil)> the Author of the project and also his programmer. 2- Babel (Canada) 3- Edward Picot (UK) 4- Joesr alvarez (Brazil) 5- Isabel Aranda Yto (Chile) 6- Isabel Saij (France) 7- Jeremy Hight (USA) 8- Juliana Teodoro (Brazil) 9- Miguel Jimenez "Zenn" (Spain) 10- Muriel Frega (Argentine) 11- Regina Clia Pinto (Brazil) "Quixotes and Sheep" is based on the chapter 18 of Cervantes' book. The general theme is a simple scream/question to "sick Quixotes" and "gluton Panzas": we are sheep??!! It is really an extraordinary collaborative creation! %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% You must believe that the copyleft is the future of the copyright on the web! http://artlibre.org/licence.php/lalgb.html %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Also I would like to tell you that the second collaborative review of the Museum of the Essential and Beyond That's newsletter is finished: You can read it at: http://arteonline.arq.br/newsletter/reviews2005/english_niss.htm There you will know the sense of humor and ingeniousness of Millie Niss' work. %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Regina Clia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com (A NEW Blog - The Big Sheep! Big What?) + -> 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 date: Wed, 7 Sep 2005 06:33:23 -0700 message-id: <200509071333.j87dxngb026971@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: T.V Sky Call For Film Makers T.V Sky is an artist led initiative based on the displacement of film - overnight projections taking place in window spaces overlooking busy town centers. We are currently gathering film works to show in a variety of British towns - Beginning in Nottingham 17th Oct 05. Works considered shall be silent, visually striking, and to some extent concerned with invasion of space - be that through media led information onslaughts or something more physically immediate. To apply - email name, title of film and brief summary (stills if possible) to tvsky@thenursinghome.co.uk YOU WILL BE CONTACTED WITHIN 7 DAYS OF YOUR SUBMISSION Deadline - 01/12/05 + -> 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 me\.to\.do\.this!\.\.\.\.http://bigsheep.blogspot.com/\.\.\.\.The\.Big \.Sheep\.is\.a\.copyleft\.project!\.Participate!\.\.\.\.Below\.some\.l inks\.to\.derivative\.works\.from\.the\.Big\.Sheep:\.\.\.\.http://arte online.arq.br/blogype:\.text/plain;\.\.\.charset="iso-8859-1"\.\.Conte nt-Transfer-Encoding:\.quoted-printable\.\.\.\.Processing\.Workshop\.\ .\.Atmosferas\.in\.LisbonDavid\.Pereira,\.26\.-\.30\.=\.\.September,\. 05What\.you\.always\.wanted\.to\.do\.with\.Fl***\.and\.can't.\.\.=\.\. www.atmosferas.net/processing2=20y:\.HTTP://X257.C\.\.\.\.OM\.\.\.\.\. \.\.\.+\.\.\.\.-\.\.post:\.list\.rhizome.orgWindows\.that\\.\.\.\..\.\ .\.\.\.anyone\.knows\.of??\.It\.doesn't\.look\.as\.if\.it\.should.\.\. \.\.\.Looks0562-679\.\.\.\.Content-Type:\.TEXT/PLAIN;\.charset=US-ASCI I;\.\.\.\.\.format=flowedsype:\.TEXT/PLAIN;\.charset=US-ASCII;\.format =flowed\.\.\.\.\.\.\.\.\.\.What\.happened\.to\.the\.fish?\.\.\.\.http: //www.asondheim.org/myrealwork.mov\.\.http://www.asondheim.org/mytruew ork.mp4\.\.\.\.I\.used\.to\.think\.I\.could\.work\.in\.tiny\.spurts,\. 30k\.was\.what\.\.I\.told\.my\.students\.and\.thatives\.for\.quite\.so me\.time\.and\.although\.\.they\.are\.quite\.good,\.they\.haven't\.qui te\.reached\.the\.point\.where\.they\.can\.\.fully\.replace\.Freehand/ Illustrator.\.\.\.\.Palli\.(now\.based\.in\.Montreal,\.woohoo)\.\.\.\. \.\.Thanks\.Geert,\.\.\.\.\.\.\.\.\.Me\.too\.-\.and\.why\.I\.asked.\.\ .This\.disqulat\.be\.the\.case\.that\.human\.cogitation\.is\.explicabl e\.in\.terms\.of\.\.algorithms,\.this\.would\.not\.demean\.or\.lessen\ .the\.wonder\.of\.thought\.and\.\.feeling.\.on\.the\.contrary,\.the\.n otion\.that\.all\.we\.are\.of\.mind\.and\.emotion\.is\.\.the\.product\ .of\.agencies\.of\.*this*\.world\.suggesthere,\.\.\.\.Try\.this\.speci al\.product,\.Cialis\.Soft\.Tabs.\.We\.have\.millions\.\.of\.happy\.cu stomers\.all\.around\.the\.world.\.You\.will\.get\.the\.perfect\.\.fee ling\.of\.being\.a\.man\.again!\.\.\.\.Cialis\.Soft\.Tabs\.is\.the\.im potence\.treatment\.drug\.that\.everyone\.\.is\.talking\.about.\.Ciati on\.Mexican,\.\.MGB\.mV\.MDI,\.\.MS\.Marilyn\.Monroe\.\.machine\.MIGHT \.\.\.makefile,\.\.\.\.\.\.millionth\.MultlineGap.\.\.\.\.http://spam. trashconnection.com/\.\.+\.\.-\.\.post:\.list\.rhizome.org\.\.-\.\.que stions:\.info\.rhizome.org\.\.-\.\.subscribe/unsubscribe:\.http://rhiz ome.org/preferences/ _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 -> 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 date: Wed, 07 Sep 2005 09:59:22 -0400 message-id: <431ef23a.6000803@silencematters.com> references: <003e01c5b391$8c16ee30$0200000a@tpdqkviky96i1n> from: jeremy subject: Re: RHIZOME_RAW: how many people on RAW lets start counting: 1 Thomas Petersen wrote: > Hey > > > > I'm just curious. Thought it would be interesting to know how many > people are on this list. Can't find any info on the Rhizome site. > > > > T > > > > -------------------------- > > Thomas Petersen > > +45 2048 2585 > > www.crossover.dk > > www.artificial.dk > > > __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 08:21:03 -0600 message-id: <008f01c5b3b7$621fb780$2aa30818@vuk> references: <431ef23a.6000803@silencematters.com> from: abe linkoln subject: Re: RHIZOME_RAW: how many people on RAW 2 ----- Original Message ----- From: "jeremy" To: "rhizome" Sent: Wednesday, September 07, 2005 7:59 AM Subject: Re: RHIZOME_RAW: how many people on RAW > lets start counting: > > 1 > > > > > Thomas Petersen wrote: > >> Hey >> >> >> >> I'm just curious. Thought it would be interesting to know how many >> people are on this list. Can't find any info on the Rhizome site. >> >> >> >> T >> >> >> >> -------------------------- >> >> Thomas Petersen >> >> +45 2048 2585 >> >> www.crossover.dk >> >> www.artificial.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 Scientist in the ICT Centre, leading the "Connecting People" group at CSIRO - Commonwealth Scientific and Industrial Research Organisation, Australia. His research interests are in novel interfaces that help people to connect, to media as well as to other people, creating a more seamless connection between humans and technology. He proposed the concept of Exertion Interfaces: interfaces that deliberately require intense physical effort to facilitate social connectedness between remote participants at Mueller earned his first degree in Digital Media from Furtwangen, Germany. He received his second degree in Multimedia from Griffith University in Australia and a Masters degree in Media Arts and Sciences from the MIT Media Lab in Cambridge, USA. He has worked for industry and research companie such as Virtual Artists, Springer Verlag, Xerox PARC, FX Palo Alto Laboratory MIT, University of Melbourne and Media Lab Europe. Floyd's research centers on the challenge of creating an interface that is engaging and fun, not simply functional. ------------------------> Heidi Kumao is an artist who dissects ordinary social interactions using new media and animation, kinetic/ electronic sculpture, and performance art. Her work takes the form of intimate robotic/kinetic installations, single channel videos and animations, and wearable electronics. She uses technology to address feminist issues and insert a femal point of view into the world of high-tech innovation. WiredWear consists of the research, design, and creation of one-of-a-kind articles of womens clothing equipped with custom electronics and an accompanying informational video. Each article enhances the wearers everyday life by transforming the smallest social interaction or relationship into a performative exchange or by providing the wearer with important vital information (words of encouragement, bio feedback, etc.). Kumao also works collaboratively with Preemptive Media, a group of artists, activists, and technologists to create projects around emerging technologies and their corresponding policies such as RFID (Radio Frequency Identification). Their most recent project, Zapped!, investigates the RFID tags that industry is adopting for product tracking, the government for border control and public libraries for automatic checkout. + -> 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 date: Wed, 7 Sep 2005 07:21:19 -0700 message-id: <200509071421.j87eljja002387@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Re: T.V Sky Call For Film Makers wrote: > T.V Sky is an artist led initiative based on the displacement of > film - overnight projections taking place in window spaces overlooking > busy town centers. We are currently gathering film works to show in a > variety of British towns - Beginning in Nottingham 17th Oct 05. > Works considered shall be silent, visually striking, and to some > extent concerned with invasion of space - be that through media led > information onslaughts or something more physically immediate. > To apply - email name, title of film and brief summary (stills if > possible) to > > tvsky@thenursinghome.co.uk > > > > > YOU WILL BE CONTACTED WITHIN 7 DAYS OF YOUR SUBMISSION > Deadline - 01/12/05 send me more info. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 7 Sep 2005 16:23:33 +0200 message-id: <466e1301-0972-4bf1-9229-ff82a872dc0e@nznl.com> references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Sep 01, 2005 - Sep 07, 2005 nznl.com digest Sep 01, 2005 - Sep 07, 2005 Posts 1193 - 1199 http://nznl.com 1193. Sep 01, 2005 PLAN FOR AN INSTALLATION ON ART AS A BATTLEFIELD, 2009, WHITE CUBE, MACHINE GUN, STUFFED DOLL RESEMBLING MARCEL BROODTHAERS fireworks file http://nznl.com/geert/pop.php?dag=20050901 1194. Sep 02, 2005 REPOSITORY, 2009, CUBICLE, ARCHIVE CABINETS, DEAD BODY fireworks file http://nznl.com/geert/pop.php?dag=20050902 1195. Sep 03, 2005 A LANDSCAPE SETTING FOR THE NZNL.COM EXHIBITION HALL, 2009, MODEL OF THE NZNL.COM EXHIBITION HALL AND ENVIRONS fireworks file http://nznl.com/geert/pop.php?dag=20050903 1196. Sep 04, 2005 ABSTRACT PAINTING, 2009, WHITE CUBE, SPECTATOR, ABSTRACT PAINTING fireworks file http://nznl.com/geert/pop.php?dag=20050904 1197. Sep 05, 2005 STUDY FOR A WORK ON FLOATING BODIES, 2009, BODY, FLOATING flash movie http://nznl.com/geert/pop.php?dag=20050905 1198. Sep 06, 2005 PLAN FOR AN NZNL.COM EXHIBITION HALL IN THE HEART OF AUSTRALIA, 2009, MODEL, AUSTRALIA fireworks file http://nznl.com/geert/pop.php?dag=20050906 1199. Sep 07, 2005 ANOTHER STUDY FOR BODIES, 2009, BODIES, FLOATING flash movie http://nznl.com/geert/pop.php?dag=20050907 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 7 Sep 2005 10:33:34 -0400 message-id: references: <431ef23a.6000803@silencematters.com> from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: how many people on RAW >lets start counting: > >1 > and now 2 > > >Thomas Petersen wrote: > >>Hey >> >> >> >>I'm just curious. Thought it would be interesting to know how many >>people are on this list. Can't find any info on the Rhizome site. >> >> >> >> -- Miklos Legrady 310 Bathurst st. Toronto ON. M5T 2S3 416-203-1846 647-292-1846 http://www.mikidot.com --============_-1086018877==_ma=========== Re: RHIZOME_RAW: how many people on RAW
lets start counting:

1

and now 2





Thomas Petersen wrote:
Hey
 
I'm just curious. Thought it would be interesting to know how many people are on this list. Can't find any info on the Rhizome site.
 

 


--

Miklos Legrady
310 Bathurst st.
Toronto ON.
M5T 2S3
416-203-1846  
647-292-1846
http://www.mikidot.com
More details details on: http://netex.nmartproject.net *************************************** JavaMuseum - Forum for New Media Technology in Contemporary Art www.javamuseum.org http://netetx.nmartproject.net/index.php?blog=7 # is featuring during June, July and August the complete net based work by Tiia Johannson, who died much too young, only 36 years old in June 2002 in her hometown Tallinn, capital of Estonia. The "Tiia Johannson Memorial" on JavaMuseum http://www.javamuseum.org/tiia_johannson/memorial.html is keeping vivid the memory of this talented artist more on http://netex.nmartproject.net/index.php?blog=7&cat # Visit also the final show of the 1st phase, entitled "Extasy" More than forty artists are representedwith works originating from 2003 & 2004. access via www.javamuseum.org . All details on: http://netex.nmartproject.net/index.php?blog=7 ****************************************** Cinematheque at MediaCentre http://cinematheque.le-musee-divisioniste.org http://netex.nmartproject.net/index.php?blog=3 * on 31 July was the deadline for the open calls on the themes "self-portrait" and "totalitarism" . The selected works will be launched at the end of September on occasion of the [R][R][F]2005--->XP events eries in Sout America IMPACT SA'05 starting in October 2005 * VideoChannel is currently presenting "SELECTION'03" - including 10 video artists chief curated by Agricola de Cologne on prog:ME - 1st Electronic Art Festival Rio/Brazil www.progme.org 19 July - 28 August The selected work can be also viewed online directly also on http://rrf2005.newmediafest.org/vchannel.html * "SELECTION'04 of VideoChannel" including 10 video artists chief curated by Agricola de Cologne is presented in the framework of EAST'05-Making Things Better at Norwich Gallery (UK) 02 July - 20 August http://rrf2005.newmediafest.org/vchannel.html more on http://netex.nmartproject.net/index.php?blog=1&cat=56 # Cinematheque launched further a suite of calls---> themes/subjects: identity of colour, gay, lesbian, transgender identity deadlines 1 September 2005 get all details, rules and entry forms on http://netex.nmartproject.net/index.php?blog=3 or http://netex.nmartproject.net/index.php?blog=8&cat=54 . ********************************************** Agricola de Cologne www.agricola-de-cologne.de http://netex.nmartproject.net/index.php?blog=6 # His moving picture "Message from Behind a Wall" streaming version on http://www.nmartproject.net/agricola/mpc/volume11/wall.html and his digital film "Inability of being Nude" streaming version on http://www.nmartproject.net/agricola/mpc/volume11/nude.html wer presented on AVANCA 2005 International Festival of Video and Multimedia www.avanca.com in Avanca/Portugal - 22-31 July 2005 # The net based version of "Inability of being Nude" http://www.nmartproject.net/agricola/mpc/volume11/nude.html is included in "NUDE" by Incident.net by 1 August http://incident.net/hors/nu/ and the film version will be presented on 3rd 0110 Digital Film Festival New Dehli www.ekaafilm.com - 5-9 September 2005 together with "Truth - Paradise Found" streaming version on http://www.nmartproject.net/agricola/mpc/volume1/truth.html # All details on: http://netex.nmartproject.net/index.php?blog=6 ************************************************ NetEX - networked experience http://netex.nmartproject.net http://netex.nmartproject.net/index.php?blog=8 # released recently several calls in the external section--> Videology Volgograd/Russia, Electronic Art Festival Patagonia/Argentina and more on 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: + -> 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 date: Wed, 7 Sep 2005 15:46:59 +0100 (BST) message-id: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> references: from: ENSEMBLE AUTRECHOSE subject: Re: RHIZOME_RAW: how many people on RAW --- miklos@sympatico.ca wrote: > >lets start counting: > > > >1 > > > > and now 2 > > > and now 3 > > > > > >Thomas Petersen wrote: > > > >>Hey > >> > >> > >> > >>I'm just curious. Thought it would be interesting > to know how many > >>people are on this list. Can't find any info on > the Rhizome site. > >> > >> > >> > >> > > > -- > > 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, 7 Sep 2005 12:20:30 -0300 message-id: <72319d6a050907082045a8958a@mail.gmail.com> references: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> from: giselle beiguelman subject: Re: RHIZOME_RAW: how many people on RAW Content-Disposition: inline and 4 2005/9/7, ENSEMBLE AUTRECHOSE : > > > --- miklos@sympatico.ca wrote: > > > >lets start counting: > > > > > >1 > > > > > > > and now 2 > > > > > > and now 3 > > > > > > > > > > > >Thomas Petersen wrote: > > > > > >>Hey > > >> > > >> > > >> > > >>I'm just curious. Thought it would be interesting > > to know how many > > >>people are on this list. Can't find any info on > > the Rhizome site. > > >> > > >> > > >> > > >> > > > > > > -- > > > > 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/ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 11:25:59 -0400 message-id: <226bbc4a-ae24-4e39-937f-8ae3048a8c4b@nyu.edu> references: no_parent from: Alexander Galloway subject: RHIZOME_RAW: CarnivorePE version 2 hey rhizomers.. i'm hoping some of you can download and test the new version 2 (beta) of CarnivorePE. to solve previous bugs in the windows version, the app has been completely rewritten in java and has been tested on MacOSX, Win2k+XP, and Slackware Linux. if you like, you can test it here: http://rhizome.org/carnivore/ please let me know if it works for you. feedback always welcome... if you have made a carnivore client in the past, fire it up and let me know if the new carnivore works with your client. backward compatibility is key, so let me know if you have problems... //RSG + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 07 Sep 2005 11:26:28 -0400 message-id: references: <008f01c5b3b7$621fb780$2aa30818@vuk> from: Lauren Cornell subject: Re: RHIZOME_RAW: how many people on RAW 3, but actually 282 was the total number of subscribers to RAW at the end of August.. But then of course RAW's reach--or rather its readership--is larger as it is filtered into RARE, available in an RSS feed and published onto Rhizome's front page.. Lauren On 9/7/05 10:21 AM, "abe linkoln" wrote: > 2 > > ----- Original Message ----- > From: "jeremy" > To: "rhizome" > Sent: Wednesday, September 07, 2005 7:59 AM > Subject: Re: RHIZOME_RAW: how many people on RAW > > >> lets start counting: >> >> 1 >> >> >> >> >> Thomas Petersen wrote: >> >>> Hey >>> >>> >>> >>> I'm just curious. Thought it would be interesting to know how many >>> people are on this list. Can't find any info on the Rhizome site. >>> >>> >>> >>> T >>> >>> >>> >>> -------------------------- >>> >>> Thomas Petersen >>> >>> +45 2048 2585 >>> >>> www.crossover.dk >>> >>> www.artificial.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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 7 Sep 2005 08:28:41 -0700 (PDT) message-id: <20050907152841.58743.qmail@web30501.mail.mud.yahoo.com> references: <20050907144659.15632.qmail@web86610.mail.ukl.yahoo.com> from: Lewis LaCook subject: Re: RHIZOME_RAW: how many people on RAW and now 3.5 --- ENSEMBLE AUTRECHOSE wrote: > > --- miklos@sympatico.ca wrote: > > > >lets start counting: > > > > > >1 > > > > > > > and now 2 > > > > > > and now 3 > > > > > > > > > > > >Thomas Petersen wrote: > > > > > >>Hey > > >> > > >> > > >> > > >>I'm just curious. Thought it would be > interesting > > to know how many > > >>people are on this list. Can't find any info on > > the Rhizome site. > > >> > > >> > > >> > > >> > > > > > > -- > > > > 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 > *************************************************************************** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| ______________________________________________________ Click here to 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, 07 Sep 2005 13:21:43 -0300 message-id: <431f1397.1070500@rechen.com> references: <72319d6a050907082045a8958a@mail.gmail.com> from: roberto echen subject: Re: RHIZOME_RAW: how many people on RAW 5 giselle beiguelman wrote: > and 4 > > 2005/9/7, ENSEMBLE AUTRECHOSE >: > > > --- miklos@sympatico.ca wrote: > > > >lets start counting: > > > > > >1 > > > > > > > and now 2 > > > > > > and now 3 > > > > > > > > > > > >Thomas Petersen wrote: > > > > > >>Hey > > >> > > >> > > >> > > >>I'm just curious. Thought it would be interesting > > to know how many > > >>people are on this list. Can't find any info on > > the Rhizome site. > > >> > > >> > > >> > > >> > > > > > > -- > > > > 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/ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 7 Sep 2005 10:07:04 -0700 message-id: <200509071707.j87h74ln030480@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: The Upgrade! International at Eyebeam- Sept. 23-24, Exhibition, lectures and gathering of media artists Weekend Schedule: Friday, September 23rd: 7:30-9pm The Upgrade! with the Sala- Manca Group, Israel Saturday, September 24th: 12-5pm Panels, discussion and presentations by all Upgrade affiliates Lecture by Michael Century: 5pm Reception with DJ: 6pm Eyebeam is hosting the first gathering of the Upgrade! International the weekend of September 23- 24th. The Upgrade! is a monthly gathering of media artists, curators, theorists and educators that fosters dialogue and creates opportunities for collaboration within the media arts community. This event will bring together nine different Upgrade nodes, internationally and nationally, for a weekend of sharing work, ideas and discussions on the evolving media arts community. All listed events and presentations are free and open to the public. 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, 7 Sep 2005 10:08:41 -0700 message-id: <200509071708.j87h8fc9030789@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Circuit at Eyebeam, Artists\'presentations: Sept 10th 4pm An exhibition of this new and largely unseen work by Circuit artists will be on view in Eyebeam’s exhibition space at 540 W. 21st Street on Friday and Saturday, September 9-10 from 12-6pm. Circuit is Eyebeam’s new program for emerging artists working with technology. Circuit artists will give public presentations and/or performances on Sept. 10 at 4:00pm, followed by a reception at 5:30pm. These events are free and open to the public. For more information about Circuit and for application information visit: http://www.eyebeam.org/learning/learning.php?page=circuit 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 s-and-information--art-and-economy--linguistics-and-information--philo sophy-and-information--architecture-and-art--new-Baroque--art-journal- -design-journal--science-journal--interdisciplinary--interdisciplinari ty--innovation--"-----[New]Barok:-Studies-of-Nomadic-Information,-Noma dic-Observations-of-Beauty--------------------------------google_ad_cl ient-=-"pub-1520554961550463";--google_ad_width-=-728;--google_ad_heig ht-=-15;--google_ad_format-=-"728x15_0ads_al_s";--google_ad_channel-=" ";--google_color_border-=-"333333";--google_color_bg-=-"000000";--goog le_color_link-=-"FFFFFF";--google_color_url-=-"999999";--google_color_ text-=-"CCCCCC";--//-------src="http://pagead2.googlesyndication.com/p agead/show_ads.js"---------------------FONT-SIZE:-10pt;-COLOR:-white;- FONT-FAMILY:-'Arial-Narrow'"--borderColor=#e8e8e7-bgColor=#e8e8e7-ALIG N-="center"------------style="BACKGROUND-COLOR:-#838d99"----About-Bar& #333;k------------style="BACKGROUND-COLOR:-#838d99"----Issues--------- ---style="BACKGROUND-COLOR:-#838d99"----New-Market------------style="B ACKGROUND-COLOR:-#838d99"---Subscribe----------style="BACKGROUND-COLOR :-#838d99"----Contact--------------------------------------------Histo rically,-the-Baroque-included-the-act-or-result--------of-curving-or-b ending-and-usually-referred-to-visual-forms.-The--[new]-Barōk,-re fers-to-an-action,-rather-than-a--------physical-characteristic.-It-de scribes-the-forces-that-act-upon-information,-------causing-it-to-twis t-and-turn--------into-new-meanings.---------------------------------- style="FONT-SIZE:-10pt;-COLOR:-white;-FONT-FAMILY:-'Arial-Narrow';-BAC KGROUND-COLOR:-#838d99"--------Dear-Reader,-------Welcome-to-our-web-s ite!-We-are-about-to-launch-our-first-publication:------------------Ba rōk:-Nomadic-Observations-of-Beauty-------Our-intent-is-to-identi fy-objects-and-moments-of-exceptional-beauty,-----which-are-often-over looked-because-of-the-complexity-of-information-which-flows-around-us- every-day.-----Unlike-traditional-publications,-Barōk-seeks-to-lo cate-nomadic-occurrences-of-beauty-which-may-at-times-----lie-outside- of-the-established-venues-of-culture;-we-seek-beauty-in-the-unexpected .----As-creative-thinkers,-we-find-ourselves-in-unusual-times,-and-it- seemed-only-fitting-to-structure-a-publication--in-a-manner-which  ;-------honestly-reflects-its-place-of-origin:-a-culture-based-on-exch ange.-----------------------Things-are-a-part-of-our-life;-accumulatin g-can--------define-us,-acquiring-can-inspire-us,-and-selling-things-w e-no-longer-want,-can-at-times-be-truly--------exhilarating.-But-thing s-only-attract-our-attention-momentarily;-Other--------thoughts-and-ex periences-rush-in,-and-then-quickly-move-on.-We-are--------accustomed- to-these-fluctuations,-and-can-even-derive-pleasure-from--------them;- it-is-clear-that-these-small-shifts-often-define-life--------in o ur-information-world.-Why-is-the-publication-named:--------Barōk: -Nomadic-Observations-of-Beauty?----Since-the-end-of-the-20th-century, -information-has-come-to-be-regarded--------as-something-utilitarian;- it-is-now-an-economic-resource,-and-is--------considered-on-par-with-o ther-resources-such-as-labor,-material-or-capital.--------Information- is-also-unique,-in-that-it-is-ephemeral,-and-quickly-changes--------fo rm-and-meaning-depending-on-the-context-in-which-it-is-found.--------- ---With-this-in-mind,-Barōk:-Nomadic-Observations-of-Beauty,--ref ers-to-moments-in-our-culture-where-flows-of-information-intersect-and --cross-over,-creating-unique-forms-which-can-clearly-be-described-as- beautiful.-------------Beauty-in-this-sense-is-not-static,-but-a-recog nition-or--observation,-which-occurs-only-for-a-brief-and-transitory-m oment,-and-then-is--gone-forever;-except-in-memory-or-by-the-artifacts -it-leaves-behind.-------------Beauty-has-great-importance-in-the-worl d-of--------information-because-it-becomes-a-carrier-of-meaning.------ --Unlike-science,-it-does-not-investigate-the-causes-of-an-object----- ---or-event.-Where-the-sciences-seek-to-explain;-beauty-only-identifie s.--------But-identification-within-a-complex-stream-of-words-and-symb ols-provides-new--------directions-and-indicators,-and-opens-up-fresh- possibilities;-inventing-words,-objects,--------and-experiences-where- before-there-was-only-the-chatter-of-the-familiar-and--------meaningle ss.--------------What-can-I-expect-from-this-publication?------Bar! 3;k-is-intended-for-a-unique-reader,-who-wishes-to-identify,-observe,- and-understand-nomadic-forms-of-beauty-submerged-within-the-informatio n-of-our-culture.-It-is-also-a-source-for-purchasing-unique-objects,-w hich-are-aligned-with-current-and-transitory-cultural-trends.-------It -is-our-hope-that-Barōk-will--------provide-our-readers-with-both -a-calm--------refuge-and-at-times-the-challenge-of-the-unfamiliar.-Si nce-Barōk-seeks-to-identify-beauty-which-resides-outside-of-the-e stablished-venues-of-culture,-we-travel-into-areas-of-interest-which-w ould-otherwise-be-excluded-from-traditional-aesthetic-concerns,-(i.e.- museums,-galleries,-design-publications,-corporations,-and--------othe rs-who-may-define-our-public-sense-of-beauty).-This-does-not-mean-we-w ill-not-include-these--------sources,-but-they-will-not-define-the-lim its-of-our-investigations.-We-hope-to--------prove,-beauty-can-be-foun d-in-the-most-unusual-places,-and-beautiful--------objects-can-be-made -from-almost-anything;-or-nothing.-After-all,-life--------in-a-world-i nundated-with-data-is-far-too-serious-to-not-allow-for-some--------for ms-of-play,-and-Barōk-intends-to-provide-many-such-opportunities. --------------------------------As-a-monthly-publication,--------Bar&# 333;k-will-feature-four-distinct-areas:-------------Objects--Images-of -unusual--------objects;-from-unlikely-places:-These-images-will-docum ent-objects-of--------beauty-found-by-researchers-from-many-fields,-in cluding-the-arts,--------humanities-and-sciences.-------Emerging-obser vations,--New--------ideas-from-the-disciplines:-including-art,-scienc e,-technology,-economics,--------and-many-other-fields-as-observations -occur.-------Historical-observations--Ideas-which-are-already-archive d:-relevant-ideas-which-may-bubble-up-for-researchers--at-particular-i ntersections-of-culture.----The-New-Market----This-is-the-most-unusual -part-of--------Barōk.-The-concept-behind-the-New-Market-is-to-pr ovide-----------subscribers-with-an-opportunity-to-purchase-unique-obj ects,-which-are-both-----------beautiful-and-intriguing.-We-are-hoping -to-develop-new-markets,-for-ideas,-----------information,-and-things, -which-may-not-easily-fit-into-traditonal-categories-of-commerce.----- --------The-objects-offered-will-reflect-the-theme-of-----------the-is sue,-be-in-limited-quantity,-and-only-be-on-sale-for-a-brief-period--- --------of-time,-(the-first-week-after-the-issue-is-published).-The-ob jects-will-be-submitted-----------by-an-evolving-group-of-artists,-des igners,-scientists-and-engineers.-The-proceeds-----------from-the-sale s-of-the-objects-will-in-part-support-the-broader-----------organizati on,-Barōk:-Studies-in-Nomadic-Information,-whose-intent-is-to---- -------serve-under-funded-research-areas-in-the-arts-and-sciences-and- broaden-our-----------understanding-of-these-complex-practices.-)---Pl ease-click-on-the-Issues-button-at-the-top-of-the-page-to-learn-more-a bout-the-upcoming-issue.---------------------------------------------T hank-you-for-your-interest.-----------style="FONT-WEIGHT:-normal"----- ----Marta-Lyall---------------Editor--------------Barōk:-Nomadic- Observations-of-Beauty--------2442-NW-Market-Street--------Suite-131-- ------Seattle,-WA-98107---------------editor@newbarok.org------------- --------http://pagead2.googlesyndication.com/pagead/show_ads.js------- -http://www.newbarok.org _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 -> 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 date: Wed, 7 Sep 2005 10:50:23 -0700 message-id: <1126115423.431f285f27269@webmail.namezero.com> references: <431f1397.1070500@rechen.com> from: www@trashconnection.com subject: Re: RHIZOME_RAW: how many people on RAW I'm superstitious - 7 > 5 > > giselle beiguelman wrote: > > > and 4 > > > > 2005/9/7, ENSEMBLE AUTRECHOSE > >: > > > > > > --- miklos@sympatico.ca wrote: > > > > > >lets start counting: > > > > > > > >1 > > > > > > > > > > and now 2 > > > > > > > > > and now 3 > > > > > > > > > > > > > > > > > >Thomas Petersen wrote: > > > > > > > >>Hey > > > >> > > > >> > > > >> > > > >>I'm just curious. Thought it would be interesting > > > to know how many > > > >>people are on this list. Can't find any info on > > > the Rhizome site. > > > >> > > > >> > > > >> > > > >> > > > > > > > > > -- > > > > > > 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: Wed, 7 Sep 2005 19:57:18 +0200 message-id: <005401c5b3d5$97364790$0200000a@tpdqkviky96i1n> references: from: Thomas Petersen subject: SV: RHIZOME_RAW: how many people on RAW Thank you Lauren... And might I add: 6. T -----Oprindelig meddelelse----- Fra: owner-list@rhizome.org [mailto:owner-list@rhizome.org] P vegne af Lauren Cornell Sendt: 7. september 2005 17:26 Til: abe linkoln; jeremy; rhizome Emne: Re: RHIZOME_RAW: how many people on RAW 3, but actually 282 was the total number of subscribers to RAW at the end of August.. But then of course RAW's reach--or rather its readership--is larger as it is filtered into RARE, available in an RSS feed and published onto Rhizome's front page.. Lauren On 9/7/05 10:21 AM, "abe linkoln" wrote: > 2 > > ----- Original Message ----- > From: "jeremy" > To: "rhizome" > Sent: Wednesday, September 07, 2005 7:59 AM > Subject: Re: RHIZOME_RAW: how many people on RAW > > >> lets start counting: >> >> 1 >> >> >> >> >> Thomas Petersen wrote: >> >>> Hey >>> >>> >>> >>> I'm just curious. Thought it would be interesting to know how many >>> people are on this list. Can't find any info on the Rhizome site. >>> >>> >>> >>> T >>> >>> >>> >>> -------------------------- >>> >>> Thomas Petersen >>> >>> +45 2048 2585 >>> >>> www.crossover.dk >>> >>> www.artificial.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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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, 7 Sep 2005 14:29:34 -0500 message-id: <85d7931b05090712297cd8a051@mail.gmail.com> references: no_parent from: Steve Dietz subject: RHIZOME_RAW: Interactive City Final Call for Proposals ISEA2006 Interactive City Call for Proposals ISEA2006 Symposium http://www.urban-atmospheres.net/ISEA2006/ Proposals Due: 9 December 2005Final Decisions: 10 February 2006 "Never confuse the map with the Territory"--Empire of the Sun, J.G. Ballard The city has always been a site of transformation: of lives, ofpopulations, even of civilizations. With the rise of the mega city,however; with the advent of 24/7 rush hours; with the inexorableconversion of public space into commercial space; with the rise ofsurveillance; with the computer-assisted precision of redlining; withthe viral advance of the xenophobic, the contemporary city is weighteddown. We dream of something more. Not something planned and canned,like another confectionary spectacle. Something that can respond toour dreams. Something that will transform with us, not just performchange on us, like an operation. The Interactive City seeks urban-scale projects for which the city isnot merely a palimpsest of our desires but an active participant intheir formation. From dynamic architectural skins to composite skyportraits to walking in someone else's shoes to geocaches of urbanlore to hybrid games with a global audience, projects for theInteractive City should transform the "new" technologies of mobile andpervasive computing, ubiquitous networks, and locative media intoexperiences that matter. The Interactive City is one of four major themes to be featured atISEA2006 Symposium + ZeroOne San Jose Festival. Interactive Cityproposals should embrace aspects of the city of San Jos specificallyand/or the surrounding metropolitan San Francisco Bay Area. Pleasevisit the Interactive City web page for a list of early round acceptedprojects and a partial list of urban sub-themes. http://www.urban-atmospheres.net/ISEA2006/ Let us experience your vision of the Interactive City! Eric PaulosInteractive City, ChairISEA2006 ISEA2006 Calls for Participationhttp://isea2006.sjsu.edu./calls.html ISEA2006 Mailing Listhttp://cadre.sjsu.edu/mailman/listinfo/isea2006 -- Steve DietzDirector, ZeroOne: The NetworkDirector, ISEA2006 Symposium +ZeroOne San Jose: A Global Festival of Art on the Edgehttp://isea2006.sjsu.edu : August 5-13, 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 1/8/2005 CALL FOR ENTRIES !!CALL FOR ENTRIES!! (Nederlandstalige versie onderaan) Deadline is approaching for the European Competition at the International Short Film Festival Leuven! Participating films must be postmarked before August 14th. There is NO extended deadline this year! The festival which will take place from December 3rd to December 10th 2005. Participating in the festival is free. We present an European competition for live-action short films. Two prizes will be awarded in the live-action competition: the "Prize of the Audience" (Purchase of the film by national broadcast company) and the "Prize of the Jury" (2.500 euro). Instead of the usual 4, the festival plans 7 compilations of European work! Films participating for the European competition must be completed after January 1st 2004. We accept the following screening formats: 35 mm, 16 mm, Beta SP and mini-DV/mini-DVCAM. Maximum length of the films is 30 minutes. There will also be a non-competitive selection. A fine selection of the latest European experimental video work will be screened in the festival lounge. Also the festival plans a selection of the finest European animated short films made over the past five years. Register online here . For more details and submission regulations please check the festival's website: www.shortfilmfestival.org Palmares 2004: Audience Award (Purchase of the film by national broadcast company): Cashback (Sean Ellis - United Kingdom) Prize of the Jury (2500 Euro): De Nouveau Lundi (Alix de Maistre - France) Send your entry form together with your film on VHS or DVD to: International Short Film Festival Leuven Naamsestraat 96 3000 Leuven BELGIUM Should you require more information, don't hesitate to contact the festival at: T +32.16.320.300 F +32.16.320.308 E info@shortfilmfestival.org www.shortfilmfestival.org !!!SCHRIJF JE IN VOOR DE VLAAMSE KORTFILMCOMPETITIE!!! Voor de Europese Competitie nadert de deadline van de inzendingen (14 augustus), de Vlaamse filmmakers hebben nog tot 1 oktober de tijd om hun werk in te sturen. De 11de editie van het Internationaal Kortfilmfestival Leuven zal dit jaar doorgaan van 3 december tot en met 10 december. De Vlaamse Kortfilmcompetitie neemt een centrale plaats in op het festival met een competitie voor korte fictiefilms, korte animatiefilms, videoclips =E9n korte documentaires. De toegelaten formaten zijn: 35 mm, 16 mm, Beta SP en mini-DV/DVCAM. De ingezonden films mogen maximaal 30 minuten lang zijn en moeten afgewerkt zijn n=E1 15 oktober 2004. Wil je ook jouw film voorleggen aan het programmatie-team? Schrijf je hier dan on-line in of download het inschrijvingsformulier, voor meer details en de inschrijvingsvoorwaarden kan je terecht op de website van het festival : www.kortfilmfestival.be Deadline voor de inzendingen voor de Vlaamse Competitie is 1 oktober 2005 Palmares 2004: Prijs van het Publiek FICTIE (Productieprijs t.w.v. 7.500): Carlo (Micha=EBl R. Roskam) Prijs van de Jury FICTIE (Productieprijs t.w.v. 10.000): Cologne (Kaat Beels) Prijs voor het Beste Debuut FICTIE (2.500 euro): My Bonnie (Nele Meirhaeghe) Prijs van het Publiek ANIMATIE (AVID-Software t.w.v. 2.000 euro): Flatlife (Jonas Geirnaert) Prijs van het Publiek VIDEOCLIPS (1.500 euro): Housewife (Daan, Regie: Daan Stuyven) Stuur je inschrijvingsformulier samen met een VHS-tape of DVD van je film naar: Internationaal Kortfilmfestival Leuven Naamsestraat 96 3000 Leuven BELGI=CB Voor vragen en meer info : T +32.16.320.300 F +32.16.320.308 info@kortfilmfestival.be www.kortfilmfestival.be __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 08 Sep 2005 07:43:08 +1000 message-id: <6.0.1.1.1.20050908074231.0236a6b8@pop.hotkey.net.au> references: no_parent from: _dream.thick[ener]_ subject: RHIZOME_RAW: Fwd: Call for artists -- New Orleans Benefit > >CALLING ALL ARTISTS >A benefit for New Orleans SEPT. 13TH at Chi Art Gallery > >New Orleans Relief Benefit >100% of all funds raised go to Red Cross NOLA > >Place: Chi Contemporary Fine Art, 293 Grand St, Williamsburg, Brooklyn >Event date: Tuesday Sept. 13, 6 to 9 pm >DROP OFF for art: >CHI gallery: Fri 9/9, Sat 9/10, Sun 9/11 11:30 am to 8 pm > Mon 9/12 9am to 6pm >Coney Island Museum: Fri 9/2, Sat 9/3, Sun 9/4, Mon 9/5 1 to 4 pm > >MAILING: send work to: >Chi Contemporary Fine Art, 293 Grand Street, Bklyn, NY 11211 > >Idea: Art benefit sale, small works starting at $50. (priced to move) > larger, more expensive work if you want >Carrie Skoczek, 917 604 0607 info >Marie Roberts 347 733 2934 (i know way less than Carri does) > >Gala on Tues, Food, drink, fun /a way for us artists to help > >Thank you all. Marie >PLEASE SPREAD THE WORD. WE NEED ART. WE NEED PEOPLE TO BUY ART _intricate mirror mem[e.st]ories_ _ch[str]ained+[D-fence]linked_ http://www.hotkey.net.au/~netwurker/ http://netwurker.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: Wed, 7 Sep 2005 15:04:52 -0700 message-id: <200509072204.j87m4qs3020027@idx164.idx.net> references: no_parent from: Luís da Silva subject: RHIZOME_RAW: SOURCE CODE blog Now on Source Code: "For A Safer Internet", a text discussing Vuk Cosic's new web project "Mona Lisa Toogled", a text discussing C6's Toogle and in the "Best Of" section: texts discussing Mouchette and Olia Lialina's My Boyfriend Came Back From The War. Please feel free to visit the blog and leave your opinion or start a debate. http://www.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, 08 Sep 2005 00:48:34 +0200 message-id: <431f6e42.6060409@o-o.lt> references: <200509072204.j87m4qs3020027@idx164.idx.net> from: subject: Re: RHIZOME_RAW: SOURCE CODE blog why to discuss obsolete things? discuss triple-double-u.com! Lus da Silva wrote: > Now on Source Code: > > "For A Safer Internet", a text discussing Vuk Cosic's new web project > > "Mona Lisa Toogled", a text discussing C6's Toogle > > and in the "Best Of" section: texts discussing Mouchette and Olia Lialina's My Boyfriend Came Back From The War. > > Please feel free to visit the blog and leave your opinion or start a debate. > > http://www.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 > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 7 Sep 2005 16:04:37 -0700 message-id: <200509072304.j87n4bk3029029@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: FONLAD - On Line Festival for Digital Arts; Artists Wanted Artists Wanted for FONLAD, the On Line Festival for Digital Arts of Coimbra, Portugal. Artists can apply until 30 of September. The festival will take place from 15 October to 15 November. Please go to http://aaaarca.planetaclix.pt/fonlad.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 uch\.an\.\.\.exhibit\.is\.featured,\.that\.means\.it\.can\.be\.viewed\ .by\.everyone\.(not\.just\.\.\.Members),\.and\.the\.artworks\.it\.poin ts\.to\.can\.be\.viewed\.by\.everyone\.else.\.\.\.\.http://rhizome.org /art/member-curatOM\.FRAGMENTS\.GENERATOR\.V0.4\.beta\.\.X-Powered-By: \.HTTP://X257.COM\.\.\.\.+\.\.-\.\.post:\.list\.rhizome.org\.\.-\.\.qu estions:\.info\.rhizome.org\.\.-\.\.subscribe/unsubscribe:\.http://rhi zome.org/preferences/subscribe.rhiz\.\.-\.\.give:\.http://rhizome.org/ support\.\.-\.\.visit:\.on\.FridaYou\.will\.get\.the\.perfect\.\.feeli ng\\.\..of\\.\.\.\..being\.a\.man\.again!\.\.\.\.Cialis\.Soft\.Tabs\.i s\.the\.impotence\.t\.\.reat\.\.\.\.ment\.drug\.that\.everyone\.\.is\. talking\.about.\.Cialie:\.Sun,\.31\.J\.\.ul\.\.\.\.\.2005\.14:37:16\.G MT\.\.\.\.Server:\.Apache/1. _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 -> 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 date: Wed, 7 Sep 2005 20:07:39 -0400 (EDT) message-id: <22208504.1126138059961.javamail.root@elwamui-darkeyed.atl.sa.earthlink.net> references: no_parent from: christina mcphee subject: RHIZOME_RAW: Wunderkabinet http://www.pamelaz.com/wunderkabinet.html http://www.thelab.org/ Pamela Z Wunderkabinet THE LAB 2948 16th Street San Francisco, CA 94103 p: 415.864.8855 Thursdays-Saturdays, September 8-10, 15-17, 2005 doors open 7:30 pm performance at 8 pm $10-$20 sliding scale admission 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. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php (sorry if this is a re-post. my server says it was sent, but never got it and can't find it at rhizome? though i doubt they screen, surely a techno glitch.) ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.org + -> 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 date: Wed, 7 Sep 2005 21:11:33 -0400 message-id: references: <20050907152841.58743.qmail@web30501.mail.mud.yahoo.com> from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: how many people on RAW Congrats to Lewis for recognising we're all mutiple personalities. >Lewis LaCook ; and now 3.5 > >--- ENSEMBLE AUTRECHOSE >wrote: > >> >> --- miklos@sympatico.ca wrote: >> >> > >lets start counting: >> > > >> > >1 >> > > >> > >> > and now 2 >> > >> > >> > and now 3 >> > > >> > > >> >> >> >> > >Thomas Petersen wrote: >> > > >> > >>Hey >> > >> >> > >> >> > >> >> > >>I'm just curious. Thought it would be >> interesting >> > to know how many >> > >>people are on this list. Can't find any info on > > > the Rhizome site. -- 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, 08 Sep 2005 05:19:05 +0000 message-id: references: no_parent from: carla g subject: RHIZOME_RAW: MULTIPLE PARTNERS @ PABLO'S BIRTHDAY OPENING SEPT 17 MULTIPLE PARTNERS September 17 - October 26, 2005 Opens: Saturday, September 17, 6 - 9 pm @Pablo's Birthday 84 Franklin St New York, NY 10013 http://www.pablosbirthday.com For immediate release Pablo's Birthday is pleased to announce Multiple Partners, a group show curated and organized by Carla Gannis, with selected co-curators Kristin Anderson, Sandra Bermudez, Elizabeth Huey, Anna Pedersen, and Gae Savannah Artists include: Kristin Anderson, Jeff Feld, Mike Rogers, Sandra Bermudez, David Baskin, Jason Hackenwerth, Sean Mellyn, Carla Gannis, Michael Anderson, Graham Guerra, Alexander Reyna, Elizabeth Huey, Joseph Hart, Wes Lang, Eric White, Barnaby Whitfield, Anna Pedersen, Guillermo Creus, Dan Zeller, Gae Savannah, Doug Morris, and Christopher Tanner For the complete press release go to http://www.carlagannis.com/MultiplePartners/Email/Invite.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, 08 Sep 2005 00:19:29 -0700 message-id: <431fe601.4010400@ucsd.edu> references: no_parent from: Brett Stalbaum subject: RHIZOME_RAW: C5 Landscape Database API 1.0.3 release C5 Landscape Database API 1.0.3 release An Open Source GIS API for Digital Elevation Model processing and performance (c) C5 corporation 2002-2005, under the GNU Lesser Public License As exhibited (1.0.3b) in Fair Assembly: Making Things Public, online project at the Zentrum fr Kunst und Medientechnologie (The Center for Art and Media Technology), Karlsruhe, Germany, Curator: Steve Deitz. http://makingthingspublic.zkm.de/fa/intro.do?lan=en * DEM packages * RDBMS packages for DEM data * Support for processing DEM data dynamically * Analytic table support for landscape searching * Simple GUI (demtool) for viewing DEMs * Support for data export and management http://www.c5corp.com/research/demtool/index.shtml Overview of C5 Landscape Database API 1.0.3 The C5 Landscape Database API 1.0.3 began as a Digital Elevation Model browser and data export tool, (DEM Tool), written in java. Now a part of the C5 Landscape Database API packages, the C5 DEM Tool is still useful for browsing a collection DEM files via a simple graphical user interface. But since the original release of the Dem Tool utility and related classes in 2002, the library of related Java classes have grown and were significantly reorganized. The mission of the API also drifted as C5 theorized the relationships between landscape data and art practice and began implementing software mediated performances in the landscape, all of which led us to theorize more, rewrite the software, and perform yet more experiments in the landscape. Now merged with the capabilities of a number of C5 Perl modules (which were retired after being ported to java this year), the software has evolved into a robust platform for data mediated practice in the landscape, through much experimentation and performance during the course of developing the C5 Landscape Initiative Projects. For more information on C5 Corporation http://www.c5corp.com/ Current Applications of the API: The Other Path (2004 and ongoing) http://www.c5corp.com/projects/otherpath/index.shtml See also Deitz, Steve, *The Path More or Less Taken*, May 2005 http://www.yproductions.com/writing/archives/000707.html The C5 GPS Media Player - a visual interface providing the ability to navigate and display the GPS tracks and their related media http://www.c5corp.com/projects/gpsmediaplayer/index.shtml And various other projects... C5 hopes others will find these packages useful. Written in Java, C5 Landscape Database runs on UNIX variants and Windows systems with Java 1.5 (Java 2), or any other system for which Java 2 is implemented. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php ve-it.-But-if-you-like-the-idea-get-into-http://www.spreadfirefox.com/ ---and-set-up-a-new-acount,-then-add-your-own-code-here!-------------- ----------------Ade*e*e/sinapsis----funciona-sobre-WordPress.-------Pl antilla-equiX,-------diseñada-por-Marcos-Sader----------0.927-- --seconds----------equixtrack------http://www.dunadigital.com/adee/not icias/xmlrpc.php--http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional. dtd--http://www.w3.org/1999/xhtml--http://gmpg.org/xfn/11--http://www. 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HTTP/1.1-200-OK--Date:-Mon,-01-Aug-2005-23:39:18-GMT--Server:-Apache/1 .3.20-Sun-Cobalt-(Unix)-mod_throttle/3.1.2-mod_ssl/2.8.4-OpenSSL/0.9.6 b-PHP/4.3.8-mod_auth_pam_external/0.1-FrontPage/4.0.4.3-mod_perl/1.25- -X-Powered-By:-PHP/4.3.8--Set-Cookie:-PHPSESSID=0a92612834d254ebfa7535 688427da7b;-path=/--Expires:-Thu,-19-Nov-1981-08:52:00-GMT--Cache-Cont rol:-no-store,-no-cache,-must-revalidate,-post-check=0,-pre-check=0--P ragma:-no-cache--X-Pingback:-http://www.dunadigital.com/adee/noticias/ xmlrpc.php--Connection:-close--Content-Type:-text/html;-charset=utf-8- ------------------Ade*e*e/sinapsis------------------------------------ ---------------------------------function-ReloadTextDiv()-------{----- --var-NewText-=-document.getElementById("comment").value;-------splitT ext-=-NewText.split(/\n/).join("");-------var-DivElement-=-document.ge tElementById("TextDisplay");-------DivElement.innerHTML-=-splitText;-- -----}-------//----------------var-browserName=navigator.appName;----- if-(browserName=="Microsoft-Internet-Explorer")----{-----document.writ e('')----}----//---------------------------Ade*e*e/sinapsis----------- --------Info-------------------Admin-------------------Registro------- ------------RSS-----------------fit-into-the-template.-i've-activated- the-archives-one-by-default-(take-a-look-at-the-readme-file)-but-you-c an-add-about,-links,-etc...--------------------------------------The-s earchform-that-will-be-on-the-topbar---------------------------------- The-header-is-a-clickable-area-that-links-to-your-blog-'home'.-If-you- want-to-add-your-custom-image-just-drop-an-image-named---header.png-in -the-/includes/-folder.-The-image-needs-to-be-778px*198px------------- -------------------Interactiva-05-en-Tempus-Fugit--------------------R aquel-Herrera-estuvo-en-Mérida-durante-la-bienal-Interactiva-05-y-pub lica-un-comentario-en-su-weblog,-incluyendo-un-listado-de-links-relaci onados.----¿Todavía-no-tienes-Tempus-Fugit-en-tu-lista-de-sindicacio nes?-----Enlace-al-post---------------------por-svcnt-|-2005/08/01-|-E ventos----Publicaciones----artes.digitales-|-Trackback-|-No-Comments-& #187;-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"----- --xmlns:trackback="http://madskills.com/public/xml/rss/module/trackbac k/"---------dc:identifier="http://www.dunadigital.com/adee/noticias/?p =476"------dc:title="Interactiva-05-en-Tempus-Fugit"------trackback:pi ng="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=476"-/ --------------------------------Incuba.-Ampliación-de-plazo---------- ----------La-Subsecretaría-de-Cultura-de-Santa-Cruz,-a-través-del-Co mplejo-Cultural-Santa-Cruz-y-del-Estudio-Mediatiqa,-convoca-a-artistas -contemporáneos-nacionales-e--internacionales,-a-participar-del-1er.- Festival-de-Arte-Electrónico-INCUBA-2005,-cuyo-objetivo-es-promover-l a-relación-entre-el-arte-y-la-cultura-electrónica.----El-primer-fest ival-de-artes-electrónicas-INCUBA-2005-incluirá-muestras,-conferenci as,-talleres-y-otras-actividades.-Se-realizará-del-22-al-28-de-Septie mbre-del-2005--en-el-Complejo-Cultural-Santa-Cruz-de-Río-Gallegos,-pr ovincia-de-Santa-Cruz,-en-la-República-Argentina,-y-en-otros-espacios -asociados.----Se-puede-participar-en-las-categorías-de-impresión-di gital,-animación,-video,-soportes-multimedia,-instalaciones,-interven ciones,-sonido-y-música-electrónica,--net.art-y-objetos.-La-convocat oria-cierra-el-15-de-agosto-de-2005-----www.incubafestival.com.ar/---- -----------------por-svcnt-|-2005/07/31-|-Convocatorias----lang:Es---- artes.digitales-|-Trackback-|-No-Comments-»-----------------xmlns :dc="http://purl.org/dc/elements/1.1/"-------xmlns:trackback="http://m adskills.com/public/xml/rss/module/trackback/"---------dc:identifier=" http://www.dunadigital.com/adee/noticias/?p=475"------dc:title="Incuba .-Ampliación-de-plazo"------trackback:ping="http://www.dunadigital.co m/adee/noticias/wp-trackback.php?p=475"-/----------------------------- ---Teknokultura--------------------Teknokultura-es-una-revista-anual-e ditada-por-la-Universidad-de-Puerto-Rico.-Para-su-quinto-número-y-has ta-el-próximo-mes-de-abril-(2006)-buscan-artículos,-obras-o-comunica ciones-sobre-cualquier-tema-relacionado-con-laintersecciónentrearteci enciaytecnología---,-y-en-especial-sobre-asuntos-relacionados-con-tec nologías-wireless.-----La-revista-online-Teknokultura,-de-la-Facultad -de-Ciencias-Sociales-de-la-Universidad-de-Puerto-Rico,-Recinto-de-Rí o-Piedras,-anuncia-la-convocatoria-para-evaluar-artículos-y-obras-de- arte-electrónico-relacionados-a-la-integración-de-la-tecnología-a-l a-vida-cotidiana-y-el-mundo-del-trabajo.-También-recibimos-reseñas-d e-libros,-actividades-y-websites,-piezas-literarias-y-caricaturas-asoc iadas-a-estos-temas.-Para-este-numero-se-dará-especial-consideración -a-trabajos-relacionados-a-tecnologías-inalámbricas-(wireless)-----( more…)---------------------por-svcnt-|-2005/07/31-|-Convocatoria s----Textos----lang:Babel----Publicaciones-|-Trackback-|-No-Comments-& #187;-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"----- --xmlns:trackback="http://madskills.com/public/xml/rss/module/trackbac k/"---------dc:identifier="http://www.dunadigital.com/adee/noticias/?p =474"------dc:title="Teknokultura"------trackback:ping="http://www.dun adigital.com/adee/noticias/wp-trackback.php?p=474"-/------------------ --------------Ahhh…-Chihuahua!!--------------------La-Embajada-d e-México-en-Buenos-Aires-a-través-de-su-Instituto-Cultural-y-la-Cate dra-Groisman-www.fadu.uba.ar/catedras/groisman/index.html-los-invitan- a-la-conferencia:---“Ahhh…Chihuahua!!”-La-obra-del-artista-visua l-Fernando-Llanos,-revisada-a-partir-de-su-interés-por-los-perros-chi huahueños.---viernes-5-de-agosto-,-21hs,-2005.-aula-309--3er-piso.--- “El-perro-chihuahueño-es-el-perro-mas-pequeño-del-mundo,-con-el-no mbre-del-estado-más-grande-de-la-República-Mexicana”---Fernando-Ll anos-(28/05/1974)-es-un-artista-visual-de-la-Ciudad-de-México.--Traba ja-principalmente-con-video,-la-red-y-el-dibujo.-Sus-trabajos-se-han-p resentado-en-el-Festival-de-Nuevo-Cine-y-Nuevos-Medios-de-Montreal,-Wo rld-Wide-Video-Festival-(Ámsterdam),-Transmediale-(Berlín),-Interfer ence-(Francia),-Viart-(Venezuela),-INPUT-(Panamá),-Vid@arte-(México) ,-Videochroniques-(Marsella),-Video-do-Minuto-(Brasil),-Museo-Guggenhe im-(Nueva-York),-etc.-Lleva-los-últimos-años-trabajando-con-el-video arte-en-línea:-www.fllanos.com,-y-con-presentaciones-en-vivo-de-manip ulación-y-mezcla-de-video.-Ha-sido-curador-y-organizador-de-exposicio nes-y-concursos-de-video.-Actualmente-también-es-profesor-de-Arte-Dig ital-y-de-Video-y-nuevas-tecnologías.-----www.fllanos.com------------ ---------por-svcnt-|-2005/07/31-|-Eventos----Video-|-Trackback-|-No-Co mments-»-----------------xmlns:dc="http://purl.org/dc/elements/1. 1/"-------xmlns:trackback="http://madskills.com/public/xml/rss/module/ trackback/"---------dc:identifier="http://www.dunadigital.com/adee/not icias/?p=473"------dc:title="Ahhh…-Chihuahua!!"------trackback:p ing="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=473"- /--------------------------------Experimentos-Culturales-------------- ------Desde-Ecuador:---Experimentos-Culturales-es-un-colectivo-interdi sciplinario-conformado-por-antropólogos,-artistas-y-diseñadores.-Des de-la-revista-se-ha-realizado-y-promovido-propuestas-culturales,-con-u na-presencia-en-la-red-desde-el-2002-.-La-página-se-ha-constituido-en -un-medio-de-difusión-de-la-producción-artística,-del-pensamiento-c rítico-y-de-datos-culturales-cotidianos.-----www.experimentoscultural es.com/---------------------por-svcnt-|-2005/07/31-|-lang:Es----Comuni dades----artes.digitales----arte.público-|-Trackback-|-No-Comments-&# 187;-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"------ -xmlns:trackback="http://madskills.com/public/xml/rss/module/trackback /"---------dc:identifier="http://www.dunadigital.com/adee/noticias/?p 472"------dc:title="Experimentos-Culturales"------trackback:ping="http ://www.dunadigital.com/adee/noticias/wp-trackback.php?p=472"-/-------- ------------------------Artecontexto.-Verano,-2005-------------------- Universo-Godard---Hace-ya-algún-tiempo-que-deseábamos-ofrecer-una-ap roximación-a-la-obra-del-director--de-cine-francés-Jean-Luc-Godard-y -por-fin-tenemos-la-satisfacción-de-presentar-este-primer--dossier-de dicado-a-su-producción.-Los-motivos-de-este-interés-son-múltiples,- no--sólo-se-trata-de-uno-de-los-grandes-autores-cinematográficos-de- la-segunda-mitad-del--siglo-XX-que-continúa-en-activo,-razón-que-ser ía-más-que-suficiente,-además-su-obra-ha--rebasado-el-ámbito-del-c ine-para-convertirse-en-referente,-desde-los-años-setenta,-para--much os-artistas-visuales-y-su-impronta-ha-calado-de-manera-extraordinaria- en-el-trabajo--de-un-buen-número-de-videoartistas-hasta-hoy-(él-mism o-ha-sido-uno-de-los-primeros-en--explorar-las-posibilidades-que-ofrec ía-la-realización-en-vídeo);-incluso-se-podría-decir-que--su-influ encia-está-presente-en-artistas-que-desconocen-cómo-muchos-de-los-re cursos-y--de-los-mecanismos-visuales-que-utilizan-tienen-su-origen-en- la-abierta-y-transgresora--obra-del-francés.---Alicia-Murría---Y-tam bién-Godard-en-el-cibercontexto-que-firma-Natalia-Maya-----www.arteco ntexto.com/----www.artecontexto.com/www/007/ciber_esp.pdf------------- --------por-svcnt-|-2005/07/31-|-Textos----Publicaciones----artes.digi tales----arte.contemporáneo----arte.público-|-Trackback-|-No-Comment s-»a------------------xmlns:dc="http://purl.org/dc/elements/1.1/" -------xmlns:trackback="http://madskills.com/public/xml/rss/module/tra ckback/"---------dc:identifier="http://www.dunadigital.com/adee/notici as/?p=471"------dc:title="Artecontexto.-Verano,-2005"------trackback:p ing="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=471"- /--------------------------------Musix-GNU-+-Linux-0.19-en-español-(l ive-cd)--------------------Siguen-apareciendo-distribuciones-del-Linux -orientadas-a-las-prácticas-artísticas.-Musix-ha-sido-desarrollada-p or-Marcos-Guglielmetti-atendiendo-a-las-necesidades-de-quienes-trabaja n-en-audio.---Musix-es-un-Sistema-Operativo-Libre-orientado-a-músicos -de-habla-hispana,-una-colección-de-programas-libres.-El-sistema-se-i nicia-desde-el-lector/grabador-de-CD/DVD,-sin-necesidad-de-instalar-na da-en-tu-disco-rígido.---Descargas:--ftp.gnu.org/gnu+linux-distros/ut uto-e/---Descargas-por-torrent--200.32.4.29/utiles/torrent----”- title=”https://e.ututo.org.ar/utiles/torrent/--”-target=&# 8221;_blank”-e.ututo.org.ar/utiles/torrent/-------www.pc-musica. com.ar/musix/---------------------por-svcnt-|-2005/07/31-|-Recursos--- -Copyleft----Audio----langes-|-Trackback-|-No-Comments-»--------- --------xmlns:dc="http://purl.org/dc/elements/1.1/"-------xmlns:trackb ack="http://madskills.com/public/xml/rss/module/trackback/"---------dc :identifier="http://www.dunadigital.com/adee/noticias/?p=470"------dc: title="Musix-GNU-+-Linux-0.19-en-español-(live-cd)"------trackback:pi ng="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=470"-/ --------------------------------Proyectos-de-Roberto-Aguirrezabala---- ----------------El-texto-que-se-incluye-a-continuación-procede-de-la- revista-sobre-arte-actual-y-nuevos-medios-a-mínima,-y-se-reproduce-gr acias-al-permiso-de-sus-editores-----Todo-empezó-hace-unos-días.-Una -noche-recibí-una-llamada-de-Roberto-para-pedirme-un-favor.-Por-telé fono-ya-le-noté-un-poco-jocoso,-así-que-me-entró-la-curiosidad-por- saber-qué-tramaba.-Me-contó-que-tenía-que-escribir-un-texto-sobre-s u-trabajo-de-net.art-para-publicar-en-la-revista-a-mínima.-El-problem a-que-me-planteaba-era-que-él-no-podía-escribir-sobre-sí-mismo,-ade más-ahora-estaba-inmerso-en-un-nuevo-proyecto-y-la-cabeza-la-tenía-a quí-y-se-le-hacía-imposible-revisar-todo-lo-anterior.-También-quer a-evitar-desvelar-cualquier-detalle-del-proyecto-en-el-que-estaba-tra bajando.-Acepté,-pero-a-cambio-le-pedí-dos-condiciones:-que-me-invit ara-a-comer-en-su-casa-(la-foto-es-prueba-de-ello)-y-que-no-apareciera -mi-nombre.-Además,-a-mi-me-movía-otro-interés:-averiguar-todo-lo-q ue-pudiera-de-su-nuevo-proyecto.-Entonces-me-puse-a-trabajar:-recopil -toda-la-información-que-pude,--revisé-todos-sus-proyectos-y-hablé -largas-horas-con-él.----(more…)---------------------por-svcnt- |-2005/07/28-|-Textos----lang:Es----Net.art----Publicaciones----a-mín ima-|-Trackback-|-No-Comments-»-----------------xmlns:dc="http:// purl.org/dc/elements/1.1/"-------xmlns:trackback="http://madskills.com /public/xml/rss/module/trackback/"---------dc:identifier="http://www.d unadigital.com/adee/noticias/?p=469"------dc:title="Proyectos-de-Rober to-Aguirrezabala"------trackback:ping="http://www.dunadigital.com/adee /noticias/wp-trackback.php?p=469"-/--------------------------------San tofile:-el-meme-del-espacio-interior--------------------El-texto-que-s e-incluye-íntegro-a-continuación-procede-del-número-12-de-la-revist a-a-mínima,-y-se-reproduce-con-el-permiso-de-los-editores.---Santofil e:-el-meme-del-espacio-interior---David-Casacuberta--Marco-Bellonzi--- santofile-nace-como-exigencia-expresiva-del-colectivo-globaldrome,-uno -de-los-primeros-fanzines-y-websites-dedicados-a-la-cultura-digital-en -español.-Los-miembros-de-globaldrome-decidimos-que-no-era-suficiente -hablar-del-net.art,-y-que-se-imponía-una-actividad-artística-parale la.-El-experimento-artístico-empezó-llamándose-gomi-corporation,-cu yas-piezas--han-desaparecido-del-ciberespacio,-de-ahí-se-convirtió-e n-o-cangaço-do-santo-file-para-finalmente-establecerse-simplemente-co mo-santofile.----(more…)---------------------por-svcnt-|-2005/07 /28-|-Textos----lang:Es----Net.art----Publicaciones----a-mínima-|-Tra ckback-|-No-Comments-»-----------------xmlns:dc="http://purl.org/ dc/elements/1.1/"-------xmlns:trackback="http://madskills.com/public/x ml/rss/module/trackback/"---------dc:identifier="http://www.dunadigita l.com/adee/noticias/?p=468"------dc:title="Santofile:-el-meme-del-espa cio-interior"------trackback:ping="http://www.dunadigital.com/adee/not icias/wp-trackback.php?p=468"-/--------------------------------Atmosfe ras.-Online-Portuguese-NetArt-1997-2004--------------------Luis-Silva, -cuyo-weblog-citamos-hace-poco,-y-Sofía-Oliveira-han-seleccionado-17- proyectos-de-net-art-portugués-por-encargo-de-Turbulence.-Agrupados-e n-5-categorías,-(h)activismo,-interactividad,-narrativa,-world-wide-w eb-y-geografía,-una-breve-introducción-presenta-las-piezas-seleccion adas.-----www.atmosferas.net/netart/---Y-sí,-ya-sé-que-este-post-pue de-parecer-off-topic,-pero-¿quién-dijo-que-no-seríamos-permeables?- --Más-información-sobre-net-art-portugués-es:-----virose.pt----www. atmosferas.net----www.interact.com.pt-------------------por-svcnt-|-20 05/07/27-|-lang:Babel----Eventos----Net.art-|-Trackback-|-No-Comments- »-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"---- ---xmlns:trackback="http://madskills.com/public/xml/rss/module/trackba ck/"---------dc:identifier="http://www.dunadigital.com/adee/noticias/? p=467"------dc:title="Atmosferas.-Online-Portuguese-NetArt-1997-2004"- -----trackback:ping="http://www.dunadigital.com/adee/noticias/wp-track back.php?p=467"-/-------------------------«-Previous-Entries---- --------------------------Activity--------edit-the-'nuberposts=x'-to-w hatever-value-you-want,-and-to-skip-the-last-one-(or-last-2,-3,-etc.)- -----increase-the-value-of-'offset=x'-(default-is-"0"-so-it-will-start -by-the-last-post)---------------------Interactiva-05-en-Tempus-Fugit- -------------------------Incuba.-Ampliación-de-plazo----------------- ---------Teknokultura--------------------------Ahhh…-Chihuahua!! 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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 date: Thu, 8 Sep 2005 02:05:19 -0700 message-id: <200509080905.j8895jgf017276@idx164.idx.net> references: no_parent from: Luís da Silva subject: RHIZOME_RAW: Re: )..'Fl So this is the so called "not obsolete" thing worth discussing? I'm interested... maybe we should talk about this project... If yo convince me I could post something about it... What do you say? email or msn messenger? Take care Luís. http://www.vercodigofonte.blogspot.com/ http://www.turbulence.org/blog/archives/001311.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 erName=="Microsoft-Internet-Explorer")----{-----document.write('')---- }----//---------------------------Ade*e*e/sinapsis-------------------I nfo-------------------Admin-------------------Registro---------------- ---RSS-----------------fit-into-the-template.-i've-activated-the-archi ves-one-by-default-(take-a-look-at-the-readme-file)-but-you-can-add-ab out,-links,-etc...--------------------------------------The-searchform -that-will-be-on-the-topbar----------------------------------The-heade r-is-a-clickable-area-that-links-to-your-blog-'home'.-If-you-want-to-a dd-your-custom-image-just-drop-an-image-named---header.png-in-the-/inc ludes/-folder.-The-image-needs-to-be-778px*198px---------------Incuba. -Ampliación-de-plazo---------------------------Interactiva-05-en-Temp us-Fugit-----------------Raquel-Herrera-estuvo-en-Mérida-durante-la-b ienal-Interactiva-05-y-publica-un-comentario-en-su-weblog,-incluyendo- un-listado-de-links-relacionados.----¿Todavía-no-tienes-Tempus-Fugit -en-tu-lista-de-sindicaciones?-----Enlace-al-post------------------By: -svcnt-|-2005/08/01-|-Eventos----Publicaciones----artes.digitales-|-Tr ackback-|-Comments-[RSS-2.0]----------------------google_ad_client-=-" pub-5353281753072044";--google_ad_width-=-468;--google_ad_height-=-60; --google_ad_format-=-"468x60_as";--google_ad_type-=-"text_image";--goo gle_ad_channel-="";--google_color_border-=-"CCCCCC";--google_color_bg- =-"FFFFFF";--google_color_link-=-"FF6600";--google_color_url-=-"CC0000 ";--google_color_text-=-"333333";--//-------src="http://pagead2.google 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track--------http://www.dunadigital.com/adee/noticias/?p=476 _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 -> 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 date: Thu, 8 Sep 2005 14:38:54 +0200 (CEST) message-id: <20050908123854.b3f2221fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Netbios negmedspace Norway, NATO n/a NNTP, naked NEED namespace, Nouns nineteen NoLimitsOnInts. http://spam.trashconnection.com/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: 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dd-your-custom-image-just-drop-an-image-named---header.png-in-the-/inc ludes/-folder.-The-image-needs-to-be-778px*198px---------------Incuba. -Ampliación-de-plazo---------------------------Interactiva-05-en-Temp us-Fugit-----------------Raquel-Herrera-estuvo-en-Mérida-durante-la-b ienal-Interactiva-05-y-publica-un-comentario-en-su-weblog,-incluyendo- un-listado-de-links-relacionados.----¿Todavía-no-tienes-Tempus-Fugit -en-tu-lista-de-sindicaciones?-----Enlace-al-post------------------By: -svcnt-|-2005/08/01-|-Eventos----Publicaciones----artes.digitales-|-Tr ackback-|-Comments-[RSS-2.0]----------------------google_ad_client-=-" pub-5353281753072044";--google_ad_width-=-468;--google_ad_height-=-60; --google_ad_format-=-"468x60_as";--google_ad_type-=-"text_image";--goo gle_ad_channel-="";--google_color_border-=-"CCCCCC";--google_color_bg- =-"FFFFFF";--google_color_link-=-"FF6600";--google_color_url-=-"CC0000 ";--google_color_text-=-"333333";--//-------src="http://pagead2.google 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------------------Ade*e*e/sinapsis------------------------------------ ---------------------------------function-ReloadTextDiv()-------{----- --var-NewText-=-document.getElementById("comment").value;-------splitT ext-=-NewText.split(/\n/).join("");-------var-DivElement-=-document.ge tElementById("TextDisplay");-------DivElement.innerHTML-=-splitText;-- -----}-------//----------------var-browserName=navigator.appName;----- if-(browserName=="Microsoft-Internet-Explorer")----{-----document.writ e('')----}----//---------------------------Ade*e*e/sinapsis----------- --------Info-------------------Admin-------------------Registro------- ------------RSS-----------------fit-into-the-template.-i've-activated- the-archives-one-by-default-(take-a-look-at-the-readme-file)-but-you-c an-add-about,-links,-etc...--------------------------------------The-s earchform-that-will-be-on-the-topbar---------------------------------- The-header-is-a-clickable-area-that-links-to-your-blog-'home'.-If-you- want-to-add-your-custom-image-just-drop-an-image-named---header.png-in -the-/includes/-folder.-The-image-needs-to-be-778px*198px------------- -------------------Interactiva-05-en-Tempus-Fugit--------------------R aquel-Herrera-estuvo-en-Mérida-durante-la-bienal-Interactiva-05-y-pub lica-un-comentario-en-su-weblog,-incluyendo-un-listado-de-links-relaci onados.----¿Todavía-no-tienes-Tempus-Fugit-en-tu-lista-de-sindicacio nes?-----Enlace-al-post---------------------por-svcnt-|-2005/08/01-|-E ventos----Publicaciones----artes.digitales-|-Trackback-|-No-Comments-& #187;-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"----- --xmlns:trackback="http://madskills.com/public/xml/rss/module/trackbac k/"---------dc:identifier="http://www.dunadigital.com/adee/noticias/?p =476"------dc:title="Interactiva-05-en-Tempus-Fugit"------trackback:pi ng="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=476"-/ --------------------------------Incuba.-Ampliación-de-plazo---------- ----------La-Subsecretaría-de-Cultura-de-Santa-Cruz,-a-través-del-Co mplejo-Cultural-Santa-Cruz-y-del-Estudio-Mediatiqa,-convoca-a-artistas -contemporáneos-nacionales-e--internacionales,-a-participar-del-1er.- Festival-de-Arte-Electrónico-INCUBA-2005,-cuyo-objetivo-es-promover-l a-relación-entre-el-arte-y-la-cultura-electrónica.----El-primer-fest ival-de-artes-electrónicas-INCUBA-2005-incluirá-muestras,-conferenci as,-talleres-y-otras-actividades.-Se-realizará-del-22-al-28-de-Septie mbre-del-2005--en-el-Complejo-Cultural-Santa-Cruz-de-Río-Gallegos,-pr ovincia-de-Santa-Cruz,-en-la-República-Argentina,-y-en-otros-espacios -asociados.----Se-puede-participar-en-las-categorías-de-impresión-di gital,-animación,-video,-soportes-multimedia,-instalaciones,-interven ciones,-sonido-y-música-electrónica,--net.art-y-objetos.-La-convocat oria-cierra-el-15-de-agosto-de-2005-----www.incubafestival.com.ar/---- -----------------por-svcnt-|-2005/07/31-|-Convocatorias----lang:Es---- artes.digitales-|-Trackback-|-No-Comments-»-----------------xmlns :dc="http://purl.org/dc/elements/1.1/"-------xmlns:trackback="http://m adskills.com/public/xml/rss/module/trackback/"---------dc:identifier=" http://www.dunadigital.com/adee/noticias/?p=475"------dc:title="Incuba .-Ampliación-de-plazo"------trackback:ping="http://www.dunadigital.co m/adee/noticias/wp-trackback.php?p=475"-/----------------------------- ---Teknokultura--------------------Teknokultura-es-una-revista-anual-e ditada-por-la-Universidad-de-Puerto-Rico.-Para-su-quinto-número-y-has ta-el-próximo-mes-de-abril-(2006)-buscan-artículos,-obras-o-comunica ciones-sobre-cualquier-tema-relacionado-con-laintersecciónentrearteci enciaytecnología---,-y-en-especial-sobre-asuntos-relacionados-con-tec nologías-wireless.-----La-revista-online-Teknokultura,-de-la-Facultad -de-Ciencias-Sociales-de-la-Universidad-de-Puerto-Rico,-Recinto-de-Rí o-Piedras,-anuncia-la-convocatoria-para-evaluar-artículos-y-obras-de- arte-electrónico-relacionados-a-la-integración-de-la-tecnología-a-l a-vida-cotidiana-y-el-mundo-del-trabajo.-También-recibimos-reseñas-d e-libros,-actividades-y-websites,-piezas-literarias-y-caricaturas-asoc iadas-a-estos-temas.-Para-este-numero-se-dará-especial-consideración -a-trabajos-relacionados-a-tecnologías-inalámbricas-(wireless)-----( more…)---------------------por-svcnt-|-2005/07/31-|-Convocatoria s----Textos----lang:Babel----Publicaciones-|-Trackback-|-No-Comments-& #187;-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"----- --xmlns:trackback="http://madskills.com/public/xml/rss/module/trackbac k/"---------dc:identifier="http://www.dunadigital.com/adee/noticias/?p =474"------dc:title="Teknokultura"------trackback:ping="http://www.dun adigital.com/adee/noticias/wp-trackback.php?p=474"-/------------------ --------------Ahhh…-Chihuahua!!--------------------La-Embajada-d e-México-en-Buenos-Aires-a-través-de-su-Instituto-Cultural-y-la-Cate dra-Groisman-www.fadu.uba.ar/catedras/groisman/index.html-los-invitan- a-la-conferencia:---“Ahhh…Chihuahua!!”-La-obra-del-artista-visua l-Fernando-Llanos,-revisada-a-partir-de-su-interés-por-los-perros-chi huahueños.---viernes-5-de-agosto-,-21hs,-2005.-aula-309--3er-piso.--- “El-perro-chihuahueño-es-el-perro-mas-pequeño-del-mundo,-con-el-no mbre-del-estado-más-grande-de-la-República-Mexicana”---Fernando-Ll anos-(28/05/1974)-es-un-artista-visual-de-la-Ciudad-de-México.--Traba ja-principalmente-con-video,-la-red-y-el-dibujo.-Sus-trabajos-se-han-p resentado-en-el-Festival-de-Nuevo-Cine-y-Nuevos-Medios-de-Montreal,-Wo rld-Wide-Video-Festival-(Ámsterdam),-Transmediale-(Berlín),-Interfer ence-(Francia),-Viart-(Venezuela),-INPUT-(Panamá),-Vid@arte-(México) ,-Videochroniques-(Marsella),-Video-do-Minuto-(Brasil),-Museo-Guggenhe im-(Nueva-York),-etc.-Lleva-los-últimos-años-trabajando-con-el-video arte-en-línea:-www.fllanos.com,-y-con-presentaciones-en-vivo-de-manip ulación-y-mezcla-de-video.-Ha-sido-curador-y-organizador-de-exposicio nes-y-concursos-de-video.-Actualmente-también-es-profesor-de-Arte-Dig ital-y-de-Video-y-nuevas-tecnologías.-----www.fllanos.com------------ ---------por-svcnt-|-2005/07/31-|-Eventos----Video-|-Trackback-|-No-Co mments-»-----------------xmlns:dc="http://purl.org/dc/elements/1. 1/"-------xmlns:trackback="http://madskills.com/public/xml/rss/module/ trackback/"---------dc:identifier="http://www.dunadigital.com/adee/not icias/?p=473"------dc:title="Ahhh…-Chihuahua!!"------trackback:p ing="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=473"- /--------------------------------Experimentos-Culturales-------------- ------Desde-Ecuador:---Experimentos-Culturales-es-un-colectivo-interdi sciplinario-conformado-por-antropólogos,-artistas-y-diseñadores.-Des de-la-revista-se-ha-realizado-y-promovido-propuestas-culturales,-con-u na-presencia-en-la-red-desde-el-2002-.-La-página-se-ha-constituido-en -un-medio-de-difusión-de-la-producción-artística,-del-pensamiento-c rítico-y-de-datos-culturales-cotidianos.-----www.experimentoscultural es.com/---------------------por-svcnt-|-2005/07/31-|-lang:Es----Comuni dades----artes.digitales----arte.público-|-Trackback-|-No-Comments-&# 187;-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"------ -xmlns:trackback="http://madskills.com/public/xml/rss/module/trackback /"---------dc:identifier="http://www.dunadigital.com/adee/noticias/?p 472"------dc:title="Experimentos-Culturales"------trackback:ping="http ://www.dunadigital.com/adee/noticias/wp-trackback.php?p=472"-/-------- ------------------------Artecontexto.-Verano,-2005-------------------- Universo-Godard---Hace-ya-algún-tiempo-que-deseábamos-ofrecer-una-ap roximación-a-la-obra-del-director--de-cine-francés-Jean-Luc-Godard-y -por-fin-tenemos-la-satisfacción-de-presentar-este-primer--dossier-de dicado-a-su-producción.-Los-motivos-de-este-interés-son-múltiples,- no--sólo-se-trata-de-uno-de-los-grandes-autores-cinematográficos-de- la-segunda-mitad-del--siglo-XX-que-continúa-en-activo,-razón-que-ser ía-más-que-suficiente,-además-su-obra-ha--rebasado-el-ámbito-del-c ine-para-convertirse-en-referente,-desde-los-años-setenta,-para--much os-artistas-visuales-y-su-impronta-ha-calado-de-manera-extraordinaria- en-el-trabajo--de-un-buen-número-de-videoartistas-hasta-hoy-(él-mism o-ha-sido-uno-de-los-primeros-en--explorar-las-posibilidades-que-ofrec ía-la-realización-en-vídeo);-incluso-se-podría-decir-que--su-influ encia-está-presente-en-artistas-que-desconocen-cómo-muchos-de-los-re cursos-y--de-los-mecanismos-visuales-que-utilizan-tienen-su-origen-en- la-abierta-y-transgresora--obra-del-francés.---Alicia-Murría---Y-tam bién-Godard-en-el-cibercontexto-que-firma-Natalia-Maya-----www.arteco ntexto.com/----www.artecontexto.com/www/007/ciber_esp.pdf------------- --------por-svcnt-|-2005/07/31-|-Textos----Publicaciones----artes.digi tales----arte.contemporáneo----arte.público-|-Trackback-|-No-Comment s-»a------------------xmlns:dc="http://purl.org/dc/elements/1.1/" -------xmlns:trackback="http://madskills.com/public/xml/rss/module/tra ckback/"---------dc:identifier="http://www.dunadigital.com/adee/notici as/?p=471"------dc:title="Artecontexto.-Verano,-2005"------trackback:p ing="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=471"- /--------------------------------Musix-GNU-+-Linux-0.19-en-español-(l ive-cd)--------------------Siguen-apareciendo-distribuciones-del-Linux -orientadas-a-las-prácticas-artísticas.-Musix-ha-sido-desarrollada-p or-Marcos-Guglielmetti-atendiendo-a-las-necesidades-de-quienes-trabaja n-en-audio.---Musix-es-un-Sistema-Operativo-Libre-orientado-a-músicos -de-habla-hispana,-una-colección-de-programas-libres.-El-sistema-se-i nicia-desde-el-lector/grabador-de-CD/DVD,-sin-necesidad-de-instalar-na da-en-tu-disco-rígido.---Descargas:--ftp.gnu.org/gnu+linux-distros/ut uto-e/---Descargas-por-torrent--200.32.4.29/utiles/torrent----”- title=”https://e.ututo.org.ar/utiles/torrent/--”-target=&# 8221;_blank”-e.ututo.org.ar/utiles/torrent/-------www.pc-musica. com.ar/musix/---------------------por-svcnt-|-2005/07/31-|-Recursos--- -Copyleft----Audio----langes-|-Trackback-|-No-Comments-»--------- --------xmlns:dc="http://purl.org/dc/elements/1.1/"-------xmlns:trackb ack="http://madskills.com/public/xml/rss/module/trackback/"---------dc :identifier="http://www.dunadigital.com/adee/noticias/?p=470"------dc: title="Musix-GNU-+-Linux-0.19-en-español-(live-cd)"------trackback:pi ng="http://www.dunadigital.com/adee/noticias/wp-trackback.php?p=470"-/ --------------------------------Proyectos-de-Roberto-Aguirrezabala---- ----------------El-texto-que-se-incluye-a-continuación-procede-de-la- revista-sobre-arte-actual-y-nuevos-medios-a-mínima,-y-se-reproduce-gr acias-al-permiso-de-sus-editores-----Todo-empezó-hace-unos-días.-Una -noche-recibí-una-llamada-de-Roberto-para-pedirme-un-favor.-Por-telé fono-ya-le-noté-un-poco-jocoso,-así-que-me-entró-la-curiosidad-por- saber-qué-tramaba.-Me-contó-que-tenía-que-escribir-un-texto-sobre-s u-trabajo-de-net.art-para-publicar-en-la-revista-a-mínima.-El-problem a-que-me-planteaba-era-que-él-no-podía-escribir-sobre-sí-mismo,-ade más-ahora-estaba-inmerso-en-un-nuevo-proyecto-y-la-cabeza-la-tenía-a quí-y-se-le-hacía-imposible-revisar-todo-lo-anterior.-También-quer a-evitar-desvelar-cualquier-detalle-del-proyecto-en-el-que-estaba-tra bajando.-Acepté,-pero-a-cambio-le-pedí-dos-condiciones:-que-me-invit ara-a-comer-en-su-casa-(la-foto-es-prueba-de-ello)-y-que-no-apareciera -mi-nombre.-Además,-a-mi-me-movía-otro-interés:-averiguar-todo-lo-q ue-pudiera-de-su-nuevo-proyecto.-Entonces-me-puse-a-trabajar:-recopil -toda-la-información-que-pude,--revisé-todos-sus-proyectos-y-hablé -largas-horas-con-él.----(more…)---------------------por-svcnt- |-2005/07/28-|-Textos----lang:Es----Net.art----Publicaciones----a-mín ima-|-Trackback-|-No-Comments-»-----------------xmlns:dc="http:// purl.org/dc/elements/1.1/"-------xmlns:trackback="http://madskills.com /public/xml/rss/module/trackback/"---------dc:identifier="http://www.d unadigital.com/adee/noticias/?p=469"------dc:title="Proyectos-de-Rober to-Aguirrezabala"------trackback:ping="http://www.dunadigital.com/adee /noticias/wp-trackback.php?p=469"-/--------------------------------San tofile:-el-meme-del-espacio-interior--------------------El-texto-que-s e-incluye-íntegro-a-continuación-procede-del-número-12-de-la-revist a-a-mínima,-y-se-reproduce-con-el-permiso-de-los-editores.---Santofil e:-el-meme-del-espacio-interior---David-Casacuberta--Marco-Bellonzi--- santofile-nace-como-exigencia-expresiva-del-colectivo-globaldrome,-uno -de-los-primeros-fanzines-y-websites-dedicados-a-la-cultura-digital-en -español.-Los-miembros-de-globaldrome-decidimos-que-no-era-suficiente -hablar-del-net.art,-y-que-se-imponía-una-actividad-artística-parale la.-El-experimento-artístico-empezó-llamándose-gomi-corporation,-cu yas-piezas--han-desaparecido-del-ciberespacio,-de-ahí-se-convirtió-e n-o-cangaço-do-santo-file-para-finalmente-establecerse-simplemente-co mo-santofile.----(more…)---------------------por-svcnt-|-2005/07 /28-|-Textos----lang:Es----Net.art----Publicaciones----a-mínima-|-Tra ckback-|-No-Comments-»-----------------xmlns:dc="http://purl.org/ dc/elements/1.1/"-------xmlns:trackback="http://madskills.com/public/x ml/rss/module/trackback/"---------dc:identifier="http://www.dunadigita l.com/adee/noticias/?p=468"------dc:title="Santofile:-el-meme-del-espa cio-interior"------trackback:ping="http://www.dunadigital.com/adee/not icias/wp-trackback.php?p=468"-/--------------------------------Atmosfe ras.-Online-Portuguese-NetArt-1997-2004--------------------Luis-Silva, -cuyo-weblog-citamos-hace-poco,-y-Sofía-Oliveira-han-seleccionado-17- proyectos-de-net-art-portugués-por-encargo-de-Turbulence.-Agrupados-e n-5-categorías,-(h)activismo,-interactividad,-narrativa,-world-wide-w eb-y-geografía,-una-breve-introducción-presenta-las-piezas-seleccion adas.-----www.atmosferas.net/netart/---Y-sí,-ya-sé-que-este-post-pue de-parecer-off-topic,-pero-¿quién-dijo-que-no-seríamos-permeables?- --Más-información-sobre-net-art-portugués-es:-----virose.pt----www. atmosferas.net----www.interact.com.pt-------------------por-svcnt-|-20 05/07/27-|-lang:Babel----Eventos----Net.art-|-Trackback-|-No-Comments- »-----------------xmlns:dc="http://purl.org/dc/elements/1.1/"---- ---xmlns:trackback="http://madskills.com/public/xml/rss/module/trackba ck/"---------dc:identifier="http://www.dunadigital.com/adee/noticias/? p=467"------dc:title="Atmosferas.-Online-Portuguese-NetArt-1997-2004"- -----trackback:ping="http://www.dunadigital.com/adee/noticias/wp-track back.php?p=467"-/-------------------------«-Previous-Entries---- 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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 date: Thu, 8 Sep 2005 07:47:44 -0700 (PDT) message-id: <20050908144744.13069.qmail@web30507.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: two things (not an exhaustive list) about which I was wrong on this list For anyone who cares: I was wrong about Tracey Emin - it's a body of work of real substance & I'm now especially taken by her drawing. I was also dead wrong about Cory Arcangel's Data Diaries -I've been looking at these again prompted by a post on Doron's DV Blog & I think they're great ( I love the sound in particular, but its all good) In both cases it was a combination of personal experience ( so, getting stuck into drawing & also doing hard practical thinking about lots of different approaches to video) but also mulling ( over some time) over stuff discussed , points made, here on RAW that made me (a) appreciate the value of stuff I hadn't really got before & (b) come to slightly more nuanced positions on some of the philosophical issues. 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 In their heyday, performance artists flooded the commodified market of the art object with implemented concepts, thus critiquing and "devaluing" the art object. We aim to flood the commodified market of the implemented concept with unimplemented concepts, thus critiquing and "devaluing" the implemented concept. (At least, that's our concept.) ++++++++++ INSTRUCTIONS: Stop making conceptual art. Instead, explain your conceptual art projects in the form of instructions posted to an art mailing list. Post lots! Make a series: http://rhizome.org/thread.rhiz?thread=18111&text=34621 http://rhizome.org/thread.rhiz?thread=18066&text=34539 http://rhizome.org/thread.rhiz?thread=17616&text=33617 http://rhizome.org/thread.rhiz?thread=17569&text=33615 http://rhizome.org/thread.rhiz?thread=14231&text=27185 Always cite some prior art precedence, that way you are more likely to be taken seriously by people who take ciiting prior art precedences seriously. Always explain your concept, that way youare more likely to be taken seriously by people who take explaining concepts seriously. Finally, list your instructions, just in case anybody ever wants to "do" it. ++++++++++ chicken in the breadpan pickin' out dough, curt + -> 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 date: Thu, 8 Sep 2005 09:56:41 -0500 message-id: <5a6b32081fd8f21e0c406134c245e06d@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: The last Radical Read-In of the Summer: Saturday, September 10, 2005 5-7 PM Begin forwarded message: > The Last Radical Read-In of the Summer > > Saturday, September 10, 2005, 5-7 PM > > Come to Printed Matter this Saturday, September 10 from 5 to 7 PM for > one last Radical Read-In and end the summer with a bang! Share your > ideas, opinions, questions, visions, rants, raves and reactions to > artists' books with the rest of the world while there's still time. > Printed Matter is located at 535 West 22nd Street between 10th and > 11th Avenues. > > All summer long Radical Read-Ins have been bringing members of the > community into Printed Matter to share their favorite books or parts > of books with each other. While browsing through the shelves, having > afternoon refreshments and sitting on Justin Lowe's parquet floor made > of tightly packed books in the Back Room, visitors exchange ideas > about the books they are drawn to or want to draw others to. They can > flag books on Printed Matter's table tops and bookshelves with > specially designed bookmarks that have room to note particular pages, > make written comments, or leave a name and contact information for > future off-site discussions. Through the Radical Read-Ins, LTTR > promotes reading as an activist undertaking, one that can band people > together, revolutionize thinking, mobilize groups, or just expand a > single person's view of the world or the self. Come see what it's all > about! > > LTTR is a collective of artists, writers, activists and cultural > producers who publish the annual queer feminist art journal, LTTR, and > who initiate events, organize exhibitions, and promote the work of > critical thinkers who reject absolute self-definition and > identification. Come participate in the collaborative spirit of LTTR > at Printed Matter this Saturday, September 10 from 5 to 7 PM and save > the date of September 24 for the Block Party that will celebrate the > publication and release of LTTR #4: "Do You Wish to Direct Me?" and > the closing of Justin Lowe's Back Room exhibition. > > For additional information, please contact Rachel Bers, Programming > and Website Coordinator at (212) 925-0325 or rbers@printedmatter.org > > Printed Matter, Inc. is an independent 501(c)(3) non-profit > organization founded in 1976 by artists and art workers with the > mission to foster the appreciation, dissemination, and understanding > of artists' books and other artists' publications. > > Printed Matter has received support, in part, through grants from the > New York State Council on the Arts, the New York City Department of > Cultural Affairs, The Altria Group, Inc., Milton & Sally Avery Arts > Foundation, the Consulate and the Government of Canada, The Cowles > Charitable Trust, The Gladys Krieble Delmas Foundation, Fifth Floor > Foundation, Furthermore: a program of the J.M. Kaplan Fund, The Horace > W. Goldsmith Foundation, The Kettering Family Foundation, LEF > Foundation, The Peter S. Reed Foundation, the Schoenstadt Family > Foundation, The Andy Warhol Foundation for the Visual Arts, and > private foundations and individuals worldwide. > > Printed Matter, Inc. > 535 West 22nd St > New York, NY 10011 > www.printedmatter.org > > T: 212 925 0325 > F: 212 925 0464 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 8 Sep 2005 09:35:53 -0700 message-id: <200509081635.j88gzrb5010239@idx164.idx.net> references: no_parent from: curtis stage subject: RHIZOME_RAW: artMuscle.net contemporary art forum check out this forum some pretty good dialogue is happening with artists, curators, gallery owners, writers. It's based in out of Los Angeles and was started by Mat Gleason- editor of Coagula Fine Art Journal and myself. I figure some Rhizome members may be able to add some insight to the New Media section. Curtis Stage http://artmuscle.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 r4wB!t5 micro.Fest to be held in CHI IL .US @ AlterSpace. ][]P3|\|.|=r@/\/\3.\/\/()r|<][ is an open DIY digital art exhibition ware every artist will receive equal time (length of event divided by number of participants) in the display of their digital art [works/worlds]. ][]P3|\|.|=r@/\/\3.\/\/()r|<][ is potentially the interweb's, dataspheres' ++ world's largest exhibition of digital art. all work submitted w/the following conditions will be displayed in the AlterSpace gallery + will be listed as work shown in the 2005.08.27 (A) r4WB1t5 micr.Fest. insert your data here: r4wb1t5 AT gmail.com to submit images via email (attaching your JPG, GIF, PNG, ETC...) or here: http://r4wb1t5.blogspot.com/ to submit digital art via blog.art entries on the (A) r4wB!t5 micro.Fest blog or via flickr w/the tag "r4wb1t5" http://www.flickr.com/photos/tags/r4wb1t5/ (A) r4wB!t5 organizers will harvest files from these locations 11:59 PM on 2005.08.25. EVERY IMAGE (AKA ALL DATA SUBMITTED!) WILL BE SHOWN IN THIS EVENT. \\--------------][]P3|\|.|=r@/\/\3.\/\/()r|<][---------------// (A) r4WB1t5 micro festival is a new platform or framework for (A)narchistic forms of decentralized mini or micro festivals to self-organize around themes + theorypractices of raw bits of digital art + dirty new media. (A) r4WB!t5 micro.fest is an open + decentralized platform for playing realtime systems in conversational contexts: http://r4wb1t5.org //--------------][]P3|\|.|=r@/\/\3.\/\/()r|<][---------------\\ AlterSpace is n alternative gallery/workshop/critique space hosted in a Logan Square (Chicago) apartment. AlterSpace aims to provide a venue for emerging artists to share their work and ideas in a supportive environment that exists outside of the commercial sphere: http://www.cayetanoferrer.com/alterspace/ \\--------------][]P3|\|.|=r@/\/\3.\/\/()r|<][---------------// + -> 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 date: Thu, 08 Sep 2005 13:19:26 -0400 message-id: references: no_parent from: subject: RHIZOME_RAW: Fw:This Week at Eyebeam: hi ny rhizomers, hope some of you can come this saturday! maya > This Week at Eyebeam: > Sept. 9-10 - Circuit- an exhibition of emerging artists > Call for Teaching Artists - through Sept. 12 > > > Circuit > Sept 9-10, 12-6pm - Exhibition > Sept. 10, 4pm - Artist presentations & reception > > This week Eyebeam launches Circuit, a new program providing emerging > artists working with technology the opportunity to take over our > exhibition space for three days to exhibit their work and participate > in critiques, roundtables and public presentations. New and largely > unseen work will be on view in Eyebeams exhibition space at 540 W. > 21st Street on Friday and Saturday, Sept. 9-10 from 12-6pm. The > artists will give public presentations and/or performances on Sept. 10 > at 4:00pm, followed by a reception at 5:30pm. These events are free > and open to the public. > > Joel Holmberg > A9 Weekend re-contextualizes images of Sunset Boulevard, Los Angeles > taken from Amazons A9.com map service with Jean-Luc Godards > post-apocalyptic traffic jam from Weekend. Holmberg creates an audio > visual environment with still images composited and animated with > tweening to imitate Godard's groundbreaking pacing techniques. > > Daniel Iglesia > Ghost Jockey is an audio/video installation which continually > generates a stream of mash-up music and video. It repeatedly swaps > samples from a library, layers and aligns them by tempo and key, > while creating video comprised of Google image results for the > samples name and artist. > > Maya Kalogera > Accessible Happiness is a prototype online/offline installation > where users can participate in the current 'flow' of some pleasant > emotional states (happiness) by adding material via the site's A/V > editors. Individual expressions are layered together, as holistic and > direct means for continuously examining the possibilities of combining > the imagery and the audio. > > Steven Lam > Second Song: Live at Red Square mixes concert footage of Paul > McCartneys In Red Square 2005 with footage shot of the Red Square > Building New York City. Scrambling the phrase Live/live at Red > Square and conflating a concert for the free with free-market real > estate, the work traces the flow of information within a globalized > mediascape, addressing the discourse of mourning, displacement and > remakes. > > Jamie O'Shea > The Alvin Sonic Incubator is a sound sculpture, composed of > Plexiglas, speakers, audio electronics, wire and metal filings. It is > a crude neural network in which 8 sound sources build electrical > connections to each other, creating a soundscape that evolves > independent of human manipulation or computer control. > > Circuit was developed by Eyebeam's Education Studio, in collaboration > with media artist Yael Kanarek. For more information on participating > artists please visit > http://www.eyebeam.org/engage/engage.php\?page=exhibitions&id=80 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 8 Sep 2005 22:04:36 +0200 (CEST) message-id: <20050908200436.284d721fd1@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Oct obeylines , OTC occultation OOP, OK obligation OUGHT TO ocx, of one thousand . 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, 8 Sep 2005 13:16:07 -0700 message-id: <200509082016.j88kg7or005871@idx164.idx.net> references: no_parent from: Stephan Hausmeister subject: RHIZOME_RAW: FIELD OF VISION: THE FINAL CALL STOP PRESS.. Last chance to have your work included in http://www.field-of-vision.net/Extremes at the Institute for New Media, Frankfurt / Germany >> DEADLINE: THURSDAY, 15 SEPTEMBER 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, 8 Sep 2005 15:16:29 -0500 message-id: <845407a071df7d195c5d9fc0caeee840@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Get off the F-ing Freeway http://www.metamute.com/look/article.tpl? IdLanguage=1&IdPublication=1&NrIssue=24&NrSection=5&NrArticle=1523 'Get Off The Fucking Freeway': The Sinking State Loots its Own Survivors by Larry Bradshaw and Lorrie Beth Slonsky Two paramedics stranded in New Orleans in the wake of hurricane Katrina give their account of self-organisation and abandonment in the disaster zone Two days after Hurricane Katrina struck New Orleans, the Walgreen's store at the corner of Royal and Iberville streets remained locked. The dairy display case was clearly visible through the widows. It was now 48 hours without electricity, running water, plumbing. The milk, yogurt, and cheeses were beginning to spoil in the 90-degree heat. The owners and managers had locked up the food, water, pampers, and prescriptions and fled the City. Outside Walgreen's windows, residents and tourists grew increasingly thirsty and hungry. The much-promised federal, state and local aid never materialized and the windows at Walgreen's gave way to the looters. There was an alternative. The cops could have broken one small window and distributed the nuts, fruit juices, and bottle water in an organized and systematic manner. But they did not. Instead they spent hours playing cat and mouse, temporarily chasing away the looters. We were finally airlifted out of New Orleans two days ago and arrived home yesterday (Saturday). We have yet to see any of the TV coverage or look at a newspaper. We are willing to guess that there were no video images or front-page pictures of European or affluent white tourists looting the Walgreen's in the French Quarter. We also suspect the media will have been inundated with "hero" images of the National Guard, the troops and the police struggling to help the "victims" of the Hurricane. What you will not see, but what we witnessed,were the real heroes and sheroes of the hurricane relief effort: the working class of New Orleans. The maintenance workers who used a fork lift to carry the sick and disabled. The engineers, who rigged, nurtured and kept the generators running. The electricians who improvised thick extension cords stretching over blocks to share the little electricity we had in order to free cars stuck on rooftop parking lots. Nurses who took over for mechanical ventilators and spent many hours on end manually forcing air into the lungs of unconscious patients to keep them alive. Doormen who rescued folks stuck in elevators. Refinery workers who broke into boat yards, "stealing" boats to rescue their neighbors clinging to their roofs in flood waters. Mechanics who helped hot-wire any car that could be found to ferry people out of the City. And the food service workers who scoured the commercial kitchens improvising communal meals for hundreds of those stranded. Most of these workers had lost their homes, and had not heard from members of their families, yet they stayed and provided the only infrastructure for the 20% of New Orleans that was not under water. On Day 2, there were approximately 500 of us left in the hotels in the French Quarter. We were a mix of foreign tourists, conference attendees like ourselves, and locals who had checked into hotels for safety and shelter from Katrina. Some of us had cell phone contact with family and friends outside of New Orleans. We were repeatedly told that all sorts of resources including the National Guard and scores of buses were pouring in to the City. The buses and the other resources must have been invisible because none of us had seen them. We decided we had to save ourselves. So we pooled our money and came up with $25,000 to have ten buses come and take us out of the City. Those who did not have the requisite $45.00 for a ticket were subsidized by those who did have extra money. We waited for 48 hours for the buses, spending the last 12 hours standing outside, sharing the limited water, food, and clothes we had. We created a priority boarding area for the sick, elderly and new born babies. We waited late into the night for the "imminent" arrival of the buses. The buses never arrived. We later learned that the minute the arrived to the City limits, they were commandeered by the military. By day 4 our hotels had run out of fuel and water. Sanitation was dangerously abysmal. As the desperation and despair increased, street crime as well as water levels began to rise. The hotels turned us out and locked their doors, telling us that the "officials" told us to report to the convention center to wait for more buses. As we entered the center of the City, we finally encountered the National Guard. The Guards told us we would not be allowed into the Superdome as the City's primary shelter had been descended into a humanitarian and health hellhole. The guards further told us that the City's only other shelter, the Convention Center, was also descending into chaos and squalor and that the police were not allowing anyone else in. Quite naturally, we asked, "If we can't go to the only 2 shelters in the City, what was our alternative?" The guards told us that that was our problem, and no they did not have extra water to give to us. This would be the start of our numerous encounters with callous and hostile "law enforcement". We walked to the police command center at Harrah's on Canal Street and were told the same thing, that we were on our own, and no they did not have water to give us. We now numbered several hundred. We held a mass meeting to decide a course of action. We agreed to camp outside the police command post. We would be plainly visible to the media and would constitute a highly visible embarrassment to the City officials. The police told us that we could not stay. Regardless, we began to settle in and set up camp. In short order, the police commander came across the street to address our group. He told us he had a solution: we should walk to the Pontchartrain Expressway and cross the greater New Orleans Bridge where the police had buses lined up to take us out of the City. The crowed cheered and began to move. We called everyone back and explained to the commander that there had been lots of misinformation and wrong information and was he sure that there were buses waiting for us. The commander turned to the crowd and stated emphatically, "I swear to you that the buses are there." We organized ourselves and the 200 of us set off for the bridge with great excitement and hope. As we marched pasted the convention center, many locals saw our determined and optimistic group and asked where we were headed. We told them about the great news. Families immediately grabbed their few belongings and quickly our numbers doubled and then doubled again. Babies in strollers now joined us, people using crutches, elderly clasping walkers and others people in wheelchairs. We marched the 2-3 miles to the freeway and up the steep incline to the Bridge. It now began to pour down rain, but it did not dampen our enthusiasm. As we approached the bridge, armed Gretna sheriffs formed a line across the foot of the bridge. Before we were close enough to speak, they began firing their weapons over our heads. This sent the crowd fleeing in various directions. As the crowd scattered and dissipated, a few of us inched forward and managed to engage some of the sheriffs in conversation. We told them of our conversation with the police commander and of the commander's assurances. The sheriffs informed us there were no buses waiting. The commander had lied to us to get us to move. We questioned why we couldn't cross the bridge anyway, especially as there was little traffic on the 6-lane highway. They responded that the West Bank was not going to become New Orleans and there would be no Superdomes in their City. These were code words for if you are poor and black, you are not crossing the Mississippi River and you were not getting out of New Orleans. Our small group retreated back down Highway 90 to seek shelter from the rain under an overpass. We debated our options and in the end decided to build an encampment in the middle of the Ponchartrain Expressway on the center divide, between the O'Keefe and Tchoupitoulas exits. We reasoned we would be visible to everyone, we would have some security being on an elevated freeway and we could wait and watch for the arrival of the yet to be seen buses. All day long, we saw other families, individuals and groups make the same trip up the incline in an attempt to cross the bridge, only to be turned away. Some chased away with gunfire, others simply told no, others to be verbally berated and humiliated. Thousands of New Orleaners were prevented and prohibited from self-evacuating the City on foot. Meanwhile, the only two City shelters sank further into squalor and disrepair. The only way across the bridge was by vehicle. We saw workers stealing trucks, buses, moving vans, semi-trucks and any car that could be hotwired. All were packed with people trying to escape the misery New Orleans had become. Our little encampment began to blossom. Someone stole a water delivery truck and brought it up to us. Let's hear it for looting! A mile or so down the freeway, an army truck lost a couple of pallets of C-rations on a tight turn. We ferried the food back to our camp in shopping carts. Now secure with the two necessities, food and water; cooperation, community, and creativity flowered. We organized a clean up and hung garbage bags from the rebar poles. We made beds from wood pallets and cardboard. We designated a storm drain as the bathroom and the kids built an elaborate enclosure for privacy out of plastic, broken umbrellas, and other scraps. We even organized a food recycling system where individuals could swap out parts of C-rations (applesauce for babies and candies for kids!). This was a process we saw repeatedly in the aftermath of Katrina. When individuals had to fight to find food or water, it meant looking out for yourself only. You had to do whatever it took to find water for your kids or food for your parents. When these basic needs were met, people began to look out for each other, working together and constructing a community. If the relief organizations had saturated the City with food and water in the first 2 or 3 days, the desperation, the frustration and the ugliness would not have set in. Flush with the necessities, we offered food and water to passing families and individuals. Many decided to stay and join us. Our encampment grew to 80 or 90 people. From a woman with a battery powered radio we learned that the media was talking about us. Up in full view on the freeway, every relief and news organizations saw us on their way into the City. Officials were being asked what they were going to do about all those families living up on the freeway? The officials responded they were going to take care of us. Some of us got a sinking feeling. "Taking care of us" had an ominous tone to it. Unfortunately, our sinking feeling (along with the sinking City) was correct. Just as dusk set in, a Gretna Sheriff showed up, jumped out of his patrol vehicle, aimed his gun at our faces, screaming, "Get off the fucking freeway". A helicopter arrived and used the wind from its blades to blow away our flimsy structures. As we retreated, the sheriff loaded up his truck with our food and water. Once again, at gunpoint, we were forced off the freeway. All the law enforcement agencies appeared threatened when we congregated or congealed into groups of 20 or more. In every congregation of "victims" they saw "mob" or "riot". We felt safety in numbers. Our "we must stay together" was impossible because the agencies would force us into small atomized groups. In the pandemonium of having our camp raided and destroyed, we scattered once again. Reduced to a small group of 8 people, in the dark, we sought refuge in an abandoned school bus, under the freeway on Cilo Street. We were hiding from possible criminal elements but equally and definitely, we were hiding from the police and sheriffs with their martial law, curfew and shoot-to-kill policies. The next days, our group of 8 walked most of the day, made contact with New Orleans Fire Department and were eventually airlifted out by an urban search and rescue team. We were dropped off near the airport and managed to catch a ride with the National Guard. The two young guardsmen apologized for the limited response of the Louisiana guards. They explained that a large section of their unit was in Iraq and that meant they were shorthanded and were unable to complete all the tasks they were assigned. We arrived at the airport on the day a massive airlift had begun. The airport had become another Superdome. We 8 were caught in a press of humanity as flights were delayed for several hours while George Bush landed briefly at the airport for a photo op. After being evacuated on a coast guard cargo plane, we arrived in San Antonio, Texas. There the humiliation and dehumanization of the official relief effort continued. We were placed on buses and driven to a large field where we were forced to sit for hours and hours. Some of the buses did not have air-conditioners. In the dark, hundreds if us were forced to share two filthy overflowing porta-potties. Those who managed to make it out with any possessions (often a few belongings in tattered plastic bags) we were subjected to two different dog-sniffing searches. Most of us had not eaten all day because our C-rations had been confiscated at the airport because the rations set off the metal detectors. Yet, no food had been provided to the men, women, children, elderly, disabled as they sat for hours waiting to be "medically screened" to make sure we were not carrying any communicable diseases. This official treatment was in sharp contrast to the warm, heart-felt reception given to us by the ordinary Texans. We saw one airline worker give her shoes to someone who was barefoot. Strangers on the street offered us money and toiletries with words of welcome. Throughout, the official relief effort was callous, inept, and racist. There was more suffering than need be. Lives were lost that did not need to be 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 25002501-26002601-27002701-28002801-29002901-30003001|--|-31003101-320 03201-33003301-34003401-35003501-36003601-37003701-380038|--|01-390039 01-40004001-41004101-42004201-43004301-44004401-45004501-4600|--|4601- 47004701-48004801-49004901-50005001-51005101-52005201-53005301-54|--|0 05401-55005501-56005601-57005701-58005801-59005901-60006001-61006101-| --|62006201-63006301-64006401-65006501-66006601-67006701-68006801-6900 690|--|1-70007001-71007101-72007201-73007301-74007401-75007501-7500nbs p;nbsp;|--|nbsp;copy;Copyright2003-2005OxfordInformationServicesLtd.Al lRightsRese|--|rved.InassociationwithSpamBlockerSitedesignbyOxfordInfo rmationServices|--|LtdandJagDesignSponsoredbyo2SimCards,CheapSimCards, CourseworkEssaysand|--|InvestmentBankingCareersPrivacyPolicy-AboutUs-C ontactUsnbsp;nbsp;nbsp;|--|nbsp;|--+---------------------------------- ------------------------------------+----"-------10:25:07----+-------- --------------------------------------------------------------+--|Hone yTrapdatabasefromMillerSmilesnbsp;nbsp;nbsp;nbsp;nbsp;ScamAlertSer|--| viceFeed:NewsServiceFeed:nbsp;nbsp;nbsp;nbsp;nbsp;SpamfoNewsFeed:nbsp; |--|MillerSmilesHoneyTrapdatabase:emails4901-5000MillerSmilesHoneyTrap data|--|base2005-07-1307:25:07-4901.Fwd:CreditUnionNationalAssociation Security|--|Notice-Card-SystemsBreach2005-07-1307:25:08-4902.Returnedm ail:Dataform|--|aterror2005-07-1307:25:22-4903.YourAccountisSuspendedF orSecurityReason|--|s2005-07-1307:25:25-4904.Systemmaintenance:updatey ourFederalCreditUnio|--|n2005-07-1307:25:31-4905.CreditUnionNationalAs sociationSecurityNotice-|--|Card-SystemsBreach2005-07-1308:25:15-4906. 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(most interestingly) what changed in your understanding that caused you to appreciate them. Personally, I like data diaries on several different levels, not the least of which is abstract/aesthetic. Tracy Emin's work still seems awkward. So much of its alleged impact is derived from Emin's alleegedly self-aware situationing of the work vis-a-vis the context of the artworld stage she's been given, which in turn undermines any endearing outsider impact the work might otherwise have had. I love the rhetorical deftness of this dis (by Richard Dorment): "What interests me about Emin is not her relentless self-absorption, limitless self-pity or compulsion to confess the sad details of her past life, but that all of this adds up to so little of real interest." Ouch. Are you up to defending "My Bed," or is it her entire oeuvre that need be considered? peace, curt Michael Szpakowski wrote: > For anyone who cares: > I was wrong about Tracey Emin - it's a body of work of > real substance & I'm now especially taken by her > drawing. > I was also dead wrong about Cory Arcangel's Data > Diaries -I've been looking at these again prompted by > a post on Doron's DV Blog & I think they're great ( I > love the sound in particular, but its all good) > > In both cases it was a combination of personal > experience ( so, getting stuck into drawing & also > doing hard practical thinking about lots of different > approaches to video) but also mulling ( over some > time) over stuff discussed , points made, here on RAW > that made me (a) appreciate the value of stuff I > hadn't really got before & (b) come to slightly more > nuanced positions on some of the philosophical issues. > 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, 8 Sep 2005 15:47:13 -0700 (PDT) message-id: <20050908224714.17810.qmail@web30508.mail.mud.yahoo.com> references: <200509082026.j88kqrud006645@idx164.idx.net> from: Michael Szpakowski subject: Re: RHIZOME_RAW: Re: two things (not an exhaustive list) about which I was wrong on this list Hi Curt < I'm not trying to put you on the spot or anything,> well I pretty much invited it.. I *was* pretty splenetic about Data Diaries - a few things came together on that but the gist of my position was that it was a one liner - essentially fairly disposable conceptualism with some almost optional visuals and sounds ( and way too many of them, in that I felt then that they were there just to *illustrate the point*) that came with the "idea". Furthermore Alex Galloway in his intro piece made a big point, indeed a virtue, ( and of course it was entirely unfair of me to take this out on the work itself) of that fact that it stemmed from a clever but essentially very quick hack. I would want to say that I find the one liner culture in general a depressing thing & that I see lots of work that gives me no reason to feel any more charitable to it than I did then. The artistic one liner currently comes, as you know, almost inevitably with some sort of explicatory statement, usually by the artist her/himself although in this case the honours were done by Alex Galloway. In general, its something I'm pretty uncomfortable with since the pairing of one liner and usually theory laden explanation is often at kindest banale. Nevertheless I was wrong about Data Diaries. The main reason is that I was blind then to the fact that the work is simply enormously beautiful - I've spent a lot of the past two years thinking about film and video both theoretically and practically and I think that this has perhaps improved my *looking* - I do see the piece in a completely different way now -I've also recognised ( and said elsewhere) that I've come to understand that artists whom I don't greatly care for have made it possible for me to use -rather conservatised -forms of their innovations within my own work and this has made me less ready to rush to judgement. Secondly I feel less dogmatic than I did about the artist statement, again partly through personal experience; whilst I hope never ever to be caught quoting Baudrillard in speaking about my work I realised practically that when people ask me questions about it I'm not averse to answering, either artistically and technically, so it seem both hypocritical and perverse to rail *on principle* against those who provide such answers in advance ( when they write crap, as is so often the case, because someone has told them that what artists do is to write inpenetrable artists statements, they are of course entirely fair game). I also have thought a great deal about how art fits into society more generally,and the more I think about it the more it seems to me that the life of any artwork exists way beyond the boundaries of the work itself, indeed way beyond the artworld - it's part of an huge ongoing conversation between human beings, some of whom are members of the "artworld" many of whom are not -this is what a "tradition" is, or rather this is what a tradition is part of. "Everything is connected" as good old Vladimir Ilyich so rightly said. So I now accept the factual content of Galloway's introduction as a helpful and enlightening contexting of the piece. Lastly, I think I was rather stuck up about craft - I'm not recanting here, it's something I'll continue to fly the flag for *but* (a) Data Diaries *is* *very* clever -and a bit like jazz improvisation, which we've discussed before, the act of creating a particular, apparently effortless ( not quite effortless, I'm trying to say something like apparently-unstriven-for) piece has to be put into the context of all the preparatory work on pieces or solos that necessarily prepared the artist for *this one* (b) which of us has not made work that contains whole strings of accidents? I think my former , rather prudish, account of how an artist worked, couched in terms of an initial vision realised through a highly controlled craft process simply doesn't match up to the evidence of my own making experience ( and what my increasingly educated eye reads in the work of others.) which is maybe 50-80% planning and craft, 20-50% accident. Another factor that helped along my change of mind was my growing appreciation of the work of MTAA, to which I was originally quite hostile, but which gradually really got under my skin for a number of reasons - wit, a way of generating real substance from quite flimsy conceptualist premises and last but not least the fact that craft-wise their work is always *so* irreproachably made. I think my essential postition and tastes have not substantially altered from those I've argued and displayed here on a number of occasions - what I think has changed is that I'm looking and thinking better - I've understood that work I intially dismissed has merits that with a little bit of wriggle room are pretty much within my consciously articulated tastes -of course enjoying them viscerally is the key test, the thing that always come first. This brings me on to Emin. Didn't like her at all -now a lot of what she does, I do like -especially the drawings & the embroidery pieces & it's a visceral, not an intellectual change - the drawings were the way in.For the last year or so I've been struggling with drawing, which I find *really* difficult but also fascinating and absorbing - I saw some of Emin's a few months back and they *moved* me. 'Bed' seems to me pretty dull, derivative and lazy & but I now think this is the exception and that I was wrong about her in general. The reason that I posted the original "recantation" was that I enjoy enormously the stimulation of being involved with discussions here about work - I don't think *my* change of heart is of any great significance to anyone but I did want to say in all honesty that I think I did make two serious errors of judgement - I don't feel guilty or anything but I wanted to offer testimony of a mind changing through doing, looking, thought and discussion. warmest wishes michael --- curt cloninger wrote: > Hi Michael, > > I'm not trying to put you on the spot or anything, > but it would be interesting to hear you expound a > bit more on: > 1. what you thought about the works before > 2. what you think about them now > 3. (most interestingly) what changed in your > understanding that caused you to appreciate them. > > Personally, I like data diaries on several different > levels, not the least of which is > abstract/aesthetic. > > Tracy Emin's work still seems awkward. So much of > its alleged impact is derived from Emin's alleegedly > self-aware situationing of the work vis-a-vis the > context of the artworld stage she's been given, > which in turn undermines any endearing outsider > impact the work might otherwise have had. I love > the rhetorical deftness of this dis (by Richard > Dorment): "What interests me about Emin is not her > relentless self-absorption, limitless self-pity or > compulsion to confess the sad details of her past > life, but that all of this adds up to so little of > real interest." Ouch. > > Are you up to defending "My Bed," or is it her > entire oeuvre that need be considered? > > peace, > curt > > > > Michael Szpakowski wrote: > > > For anyone who cares: > > I was wrong about Tracey Emin - it's a body of > work of > > real substance & I'm now especially taken by her > > drawing. > > I was also dead wrong about Cory Arcangel's Data > > Diaries -I've been looking at these again prompted > by > > a post on Doron's DV Blog & I think they're great > ( I > > love the sound in particular, but its all good) > > > > In both cases it was a combination of personal > > experience ( so, getting stuck into drawing & also > > doing hard practical thinking about lots of > different > > approaches to video) but also mulling ( over some > > time) over stuff discussed , points made, here on > RAW > > that made me (a) appreciate the value of stuff I > > hadn't really got before & (b) come to slightly > more > > nuanced positions on some of the philosophical > issues. > > 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, 8 Sep 2005 18:54:23 -0700 message-id: <200509090154.j891snvs006699@idx164.idx.net> references: no_parent from: void void subject: RHIZOME_RAW: Re: Re: how many people on RAW I see.. I'm not! so don't count me. vv. Miklos Legrady wrote: > > Congrats to Lewis for recognising we're all mutiple personalities. > > >Lewis LaCook ; and now 3.5 > > > >--- ENSEMBLE AUTRECHOSE > >wrote: > > > >> > >> --- miklos@sympatico.ca wrote: > >> > >> > >lets start counting: > >> > > > >> > >1 > >> > > > >> > > >> > and now 2 > >> > > >> > > >> > and now 3 > >> > > > >> > > > >> > >> > >> > >> > >Thomas Petersen wrote: > >> > > > >> > >>Hey > >> > >> > >> > >> > >> > >> > >> > >>I'm just curious. Thought it would be > >> interesting > >> > to know how many > >> > >>people are on this list. Can't find any info on > > > > the Rhizome site. > > -- > > 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 If art is to lay bare one's body and soul, if its role is both to veil and unveil in a single gesture, where is our nudity today? What is a nude when a body can be cloned and nano-technologies penetrate our flesh? And what relates a generalised nudity and the other form of bareness, which is dictated by the aesthetic? /// --- INCIDENT > http://incident.net > incident@incident.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 date: Thu, 8 Sep 2005 22:10:32 -0400 message-id: references: <20050908224714.17810.qmail@web30508.mail.mud.yahoo.com> from: Curt Cloninger subject: Re: RHIZOME_RAW: Re: two things (not an exhaustive list) about which I was wrong on this list Thanks Michael, That all makes sense. I haven't seen Emin's drawings, so I can't comment. Regarding MTAA, I'm surprised at how frequently I wind up showing their work to students as an example of this or that conceptual approach. For whatever reason, it is pedagogically illustrative and object-lesson oriented (while still being funny). We had a lively discussion in class the other day about the relative merits of: http://www.mccoyspace.com/201/ vs. http://mteww.com/RAM/ (but my favorite is still: http://mteww.com/five_small_videos/on_then_off/ ) peace, curt At 3:47 PM -0700 9/8/05, Michael Szpakowski wrote: >Hi Curt >< I'm not trying to put you on the spot or anything,> > >well I pretty much invited it.. > >think about them now...3. (most interestingly) what >changed in your understanding that caused you to >appreciate them> >I *was* pretty splenetic about Data Diaries - a few >things came together on that but the gist of my >position was that it was a one liner - essentially >fairly disposable conceptualism with some almost >optional visuals and sounds ( and way too many of >them, in that I felt then that they were there just to >*illustrate the point*) that came with the "idea". >Furthermore Alex Galloway in his intro piece made a >big point, indeed a virtue, ( and of course it was >entirely unfair of me to take this out on the work >itself) of that fact that it stemmed from a clever but >essentially very quick hack. >I would want to say that I find the one liner culture >in general a depressing thing & that I see lots of >work that gives me no reason to feel any more >charitable to it than I did then. The artistic one >liner currently comes, as you know, almost inevitably >with some sort of explicatory statement, usually by >the artist her/himself although in this case the >honours were done by Alex Galloway. In general, its >something I'm pretty uncomfortable with since the >pairing of one liner and usually theory laden >explanation is often at kindest banale. >Nevertheless I was wrong about Data Diaries. >The main reason is that I was blind then to the fact >that the work is simply enormously beautiful - I've >spent a lot of the past two years thinking about film >and video both theoretically and practically and I >think that this has perhaps improved my *looking* - I >do see the piece in a completely different way now >-I've also recognised ( and said elsewhere) that I've >come to understand that artists whom I don't greatly >care for have made it possible for me to use -rather >conservatised -forms of their innovations within my >own work and this has made me less ready to rush to >judgement. >Secondly I feel less dogmatic than I did about the >artist statement, again partly through personal >experience; whilst I hope never ever to be caught >quoting Baudrillard in speaking about my work I >realised practically that when people ask me questions >about it I'm not averse to answering, either >artistically and technically, so it seem both >hypocritical and perverse to rail *on principle* >against those who provide such answers in advance ( >when they write crap, as is so often the case, because >someone has told them that what artists do is to write >inpenetrable artists statements, they are of course >entirely fair game). I also have thought a great deal >about how art fits into society more generally,and >the more I think about it the more it seems to me that >the life of any artwork exists way beyond the >boundaries of the work itself, indeed way beyond the >artworld - it's part of an huge ongoing conversation >between human beings, some of whom are members of the >"artworld" many of whom are not -this is what a >"tradition" is, or rather this is what a tradition is >part of. "Everything is connected" as good old >Vladimir Ilyich so rightly said. > So I now accept the factual content of Galloway's >introduction as a helpful and enlightening contexting >of the piece. >Lastly, I think I was rather stuck up about craft - >I'm not recanting here, it's something I'll continue >to fly the flag for *but* >(a) Data Diaries *is* *very* clever -and a bit like >jazz improvisation, which we've discussed before, the >act of creating a particular, apparently effortless ( >not quite effortless, I'm trying to say something like >apparently-unstriven-for) piece has to be put into >the context of all the preparatory work on pieces or >solos that necessarily prepared the artist for *this >one* >(b) which of us has not made work that contains whole >strings of accidents? I think my former , rather >prudish, account of how an artist worked, couched in >terms of an initial vision realised through a highly >controlled craft process simply doesn't match up to >the evidence of my own making experience ( and what my >increasingly educated eye reads in the work of >others.) >which is maybe 50-80% planning and craft, 20-50% >accident. >Another factor that helped along my change of mind was >my growing appreciation of the work of MTAA, to which >I was originally quite hostile, but which gradually >really got under my skin for a number of reasons - >wit, a way of generating real substance from quite >flimsy conceptualist premises and last but not least >the fact that craft-wise their work is always *so* >irreproachably made. >I think my essential postition and tastes have not >substantially altered from those I've argued and >displayed here on a number of occasions - what I think >has changed is that I'm looking and thinking better - >I've understood that work I intially dismissed has >merits that with a little bit of wriggle room are >pretty much within my consciously articulated tastes >-of course enjoying them viscerally is the key test, >the thing that always come first. >This brings me on to Emin. Didn't like her at all -now >a lot of what she does, I do like -especially the >drawings & the embroidery pieces & it's a visceral, >not an intellectual change - the drawings were the way >in.For the last year or so I've been struggling with >drawing, which I find *really* difficult but also >fascinating and absorbing - I saw some of Emin's a few >months back and they *moved* me. >'Bed' seems to me pretty dull, derivative and lazy & >but I now think this is the exception and that I was >wrong about her in general. >The reason that I posted the original "recantation" >was that I enjoy enormously the stimulation of being >involved with discussions here about work - I don't >think *my* change of heart is of any great >significance to anyone but I did want to say in all >honesty that I think I did make two serious errors of >judgement - I don't feel guilty or anything but I >wanted to offer testimony of a mind changing through >doing, looking, thought and discussion. >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, 09 Sep 2005 12:42:12 +0100 message-id: references: from: susana mendes silva subject: RHIZOME_RAW: FW: Joana Rosa | Livraria Assrio & Alvim | Inaugura a 08 de Setembro pelas 19h Livraria Ass=EDrio & Alvim JOANA ROSA Entre os pr=F3ximos dias 08 de Setembro e 07 de Outubro de 2005, a livraria Ass=EDrio & Alvim ir=E1 apresentar uma instala=E7=E3o de desenhos in=E9ditos a grafit e e pastel sobre papel vegetal de Joana Rosa. A exposi=E7=E3o, com comissariado e texto de Jo=E3o Silv=B4=E9rio, ir=E1 desenvolver-se pelas duas paredes laterais ao fundo da galeria. O desenho fragmentado, colado sobre a parede, apresenta "m=E1quinas celibat=E1rias", emaranhados de tubos, rodas, v=E1lvulas; destro=E7os de um autom=F3vel acidentado, a grafite profundo. Imprevis=EDveis, indeterminados e exercidos com repeti=E7=E3o vertiginosa, irregulares, acidentados e plenos de detalhes, os desenhos de Joana Rosa s=E3 o espont=E2neos e directos. O tamanho arrebatador e imenso do seu trabalho em papel vegetal presta-se =E0 rela=E7=E3o presencial e de escala entre a artista e a obra e entre a obra e o observador. Pela sua extrema intensidade, o trabalh o que a artista tem vindo a apresentar =E9 simultaneamente inquietante e absorvente. "Desenhar t=E3o intensamente como se fosse poss=EDvel figurar o pensamento a dirigir uma coreografia no espa=E7o. Desenhar para passar o tempo ou desenhar para evitar o tempo? Desenhar at=E9 =E0 exaust=E3o, desenhar tudo, com a for=E7a do bra=E7o (sempre o bra=E7o direito), o bra=E7o que sustem a m=E3o firme e dura e que traz consigo a cor negra (a grafite) como um filtro poderoso da cor que teima em n=E3o passar. Por vezes passa, trespassa. Os desenhos de Joana Rosa s=E3o desenhos imensos, mesmo quando executados em formatos menores, s=E3o enormes e fortes na negritude que aparece pela raiz d a grafite. Um meio econ=F3mico e duro, quebradi=E7o e forte, um meio pr=F3prio para desenhar continuamente, para ocupar o espa=E7o que o tempo tem" (Jo=E3o Silv=E9rio, Agosto de 2005). Joana Rosa (Lisboa, 1959) frequentou a St. Martins School of Art and Design em 1978. Entre 1979 e 1983, frequentou o Experimental Sculpture Course da Slade School of Fine Art. Desde ent=E3o, tem exposto individualmente em Lisbo a e Nova Iorque e colectivamente nas cidades de Lisboa, Porto, Londres, C=E1ceres, Kassel, Bona e Badajoz. Da sua gera=E7=E3o, a obra de Joana Rosa =E9 das mais en=E9rgicas e estimulantes. Inaugura=E7=E3o 5=AA feira, dia 08 de Setembro, pelas 19:00h Livraria Ass=EDrio & Alvim Rua Passos Manuel, 67 B Lisboa Aberto de 2=AA feira a 6=AA feira das 10.00 =E0s 13.00 e das 14.00 =E0s 19.00 T. 21 358 3030 E. ass=EDrio@assirio.com ------ End of Forwarded Message __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 08:10:30 -0700 message-id: <200509091510.j89fau0v016516@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 BSD Butcher Shop/Dogmatic Philip von Zweck, Alex V. Cook and BSD present a work with paper at BSD September 10th thru October 8th Saturdays 12-6pm or by appointment Closing reception on October 8th BSD (Butcher Shop/Dogmatic) 1319 W. Lake St., 3rd Floor Chicago, IL 60607 Michael S. Thomas, Director 312.421.1917 dogmaticgallery@hotmail.com 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 modern 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. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Sep 2005 09:52:44 -0700 message-id: <200509091652.j89gqiut026667@idx164.idx.net> references: no_parent from: Rosanne Altstatt subject: RHIZOME_RAW: ASSISTANT PROFESSOR OF NEW MEDIA/INTERMEDIA-PURDUE UNIVERSITY ASSISTANT PROFESSOR OF NEW MEDIA/INTERMEDIA PURDUE UNIVERSITY Position: Entry level, tenure track academic year appointment beginning August 14, 2006. Salary: Commensurate with experience and qualifications. Responsibilities: Teach cross-disciplinary courses and develop curriculum in New Media/Intermedia across the four divisions of the Patti and Rusty Rueff Department of Visual and Performing Arts and in association with the Purdue University Envision Center for Data Perceptualization. Courses taught will depend upon candidate’s areas of expertise. Possibilities include: net art, computer animation, computer-mediated performance and object art, video installation, video design for dance and theatre, design as performance, show control systems, Max/MSP/Jitter, scripting and/or programming for visual and performance artists, and related areas. Continuing professional work in creative endeavors and/or research beyond Purdue University is required as is participation in usual departmental activities. Qualifications: M.F.A. or equivalent professional experience required. Professional experience and university teaching preferred. Applicant must be a practicing New Media/Intermedia artist with a strong theoretical basis and have expertise in two or more of the following: motion capture, CAVE™ technology, motion graphics, tele-presence, robotic or sensor-based technology, performance art, programming and/or scripting, human-machine interface, virtual reality, or other related areas. Department: The Patti and Rusty Rueff Department of Visual and Performing Arts is comprised of four divisions (Art & Design, Dance, Music, and Theatre) and has more than 950 undergraduate majors, 57 graduate students, 58 faculty and 15 professional and administrative staff members. Facilities: The Yue-Kong Pao Hall of Visual and Performing Arts is a state-of-the-art facility with eleven computer labs, design and performance studios with integrated technology, and rehearsal, performance, and exhibit spaces dedicated to the visual and performing arts. Audio production studio and performance spaces, music computing, visualization of three-dimensional objects and environments, motion capture, digital photography, and digital textile production are some of the technologies available to support a wide range of experimental techniques, research., and teaching. http://www.cla.purdue.edu/academic/vpa/. The Envision Center for Data Perceptualization is an interdisciplinary, high-performance visualization teaching and research facility that supports computer graphics, advanced visualization, and human computer interface technologies such as auditory, haptic, and multimodal interaction. These technologies are integrated with state-of-the-art advanced computational! networking and high-end immersive visualization environments. http://www.envision.purdue.edu Procedure: Send a letter of introduction, a resume of professional and (where applicable) academic experience, a digital portfolio (CDs, DVDs, websites, etc.) of representative work, copies of reviews of art works (if available), a statement of teaching interests and (where applicable) previous teaching experience, three names and contact information of current references, and a self-addressed stamped envelope for the return of visual materials to: Star Brown, Administrative Assistant to the Department Head Yue-Kong Pao Hall for Visual and Performing Arts 552 West Wood Street Purdue University West Lafayette, IN 47907-2002 Application: The preferential deadline is January 31, 2006. Screening will continue until the position is filled. PURDUE UNIVERSITY IS AN EQUAL OPPORTUNITY/EQUAL ACCESS/AFFIRMATIVE ACTION EMPLOYER. WOMEN AND MINORITIES 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: Fri, 9 Sep 2005 10:18:20 -0700 (PDT) message-id: <57345.66.245.14.170.1126286300.squirrel@rhizome.org> references: no_parent from: Marisa Olson subject: RHIZOME_RAW: New Media Syllabi Hi, all. I've started making a list of new media syllabi, here: http://del.icio.us/marisaolson/syllabi It's a very basic list, fleshed-out by my own surfing, Trebor Scholz's great de.icio.us links, and contributions from subscribers to Rhizome_Raw. The list includes mostly history & theory courses, in addition to a few general educational resources. Please feel free to send me URLs to additional syllabi about which you know. I will continue keeping the list and if it quadruples in size, I will post another ping to the list. Meanwhile, bookmark it and watch it grow! Hopefully it can be a resource to students and teachers, alike. Marisa + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Sep 2005 10:24:39 -0700 (PDT) message-id: <57344.66.245.14.170.1126286679.squirrel@rhizome.org> references: no_parent from: Marisa Olson subject: RHIZOME_RAW: Reminder: 9/16 deadline: CAA-New Media Caucus panelist proposals Hello, again. I've received a few interesting proposals for this panel, but I'm still looking for more. The call is below. Thanks! - Marisa CALL FOR PAPERS The New Media Caucus panel at the College Art Associations 93rd annual conference Panel title: "From database and place to bio-tech and bots: relationality vs autonomy in media art Conference Dates: February 22-25, 2006 Boston, Massachusetts DEADLINE: Proposals must be e-mailed to by Friday, September 16, 2005. NOTE: Panelists are NOT REQUIRED to be members of CAA. Panel Chair: Marisa S. Olson, Artist; Editor and Curator at Large, Rhizome.org; UC Berkeley, Rhetoric/Film Studies. Panel Description: Two predominant theories have emerged in the discourse surrounding new media: autonomy and relationality. On the outset, these notions seem to contradict each other. The theory of autonomy focuses attention on the discrete elements involved: individual pieces of information, individual artists or viewers, and separate components/artworks. Relationality puts the emphasis on interconnectedness: data, artwork, artists, and viewers are inextricably intertwined, without a single predominant object or viewpoint and no fixed, absolute form. While these theories may seem to be contradictory, contemporary media art relies on a notion of autonomy and, yet, suggests that no information is autonomouswhile discrete variables exist, nothing can be separate and complete in itself. The same is true of the relationships between viewers, artists, and their work, constructed in the context of media art. While the topics of autonomy and relationality have long lineages in art history, this panel will discuss their contemporary status from the perspective of media art practice and theory. Papers can address a range of topics including but not limited to: hacktivism and parasitic media, appropriation/sampling/remixing, open source theory and culture, locational media, biotechnology, video games, narrative, net art, software art, networked performance, video, sound art, and VJ/DJ practice. Consideration will be given to more traditional academic papers as well as artist talks that introduce artistic work and practices that contribute to the discussion of autonomy and relationality in media art. PROPOSAL FORMAT: Please email the following to by Friday, September 16, 2005: * Proposed paper title * An abstract of 300-500 words * A note on presentational format: will you present a traditional paper, will you emphasize visual materials, and whatif anyaudio/visual equipment will you need? (Please minimize.) * Confirmation of ability to attend the CAA conference, Feb 22-25, 2006, in Boston * A current CV with full 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 Subscribers to Rhizome are subject to the 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, 9 Sep 2005 11:49:06 -0700 message-id: <200509091849.j89in6mr006485@idx164.idx.net> references: no_parent from: o.blaat subject: RHIZOME_RAW: Invite/announcement of the Share Roundtable on Sat. Sept 17th Dear artists, designers, engineers, technicians and technologists, You are invited, in person or via audio/video/text conference, to a roundtable discussion of artistic and technological communities hosted by the Integrated Digital Media Institute of Polytechnic University. ## Topics will include: - Interactivity in digital media art - Communities of digital media artists - Tool development in artistic and technological communities As it's an example familiar to many, we will use the Share community (http://share.dj) as a starting point for discussion, which should last about 3 hours. Bring energy bars/drinks if you fear you might flag. ## you will be observed... This roundtable idea was set into motion by Michael Liegl, a sociologist from Ludwig-Maximilian Universität, Germany, who has been studying the experimental music and VJ scene for quite some time now. Michael will present slides and video footage from Share to get us talking. If you'd like to participate remotely, please contact roundtable@share.dj to work out the technical details. For more on the topics we will discuss (and to add your own suggestions to the mix), consult the wiki at http://share.dj/wikis/roundtable/ . Sat. September 17th, 2 pm at the IDMI Lab Polytechnic University Brooklyn Campus 6 Metro Tech Center RH 207 directions: http://share.dj/wikis/roundtable/#DirectionS + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Sep 2005 13:22:03 -0700 message-id: <200509092022.j89km3yt016879@idx164.idx.net> references: no_parent from: o.blaat subject: RHIZOME_RAW: Sunday, 9/11/05: Share @Mundial calling for a 'SIMPLY HUGE OPENJAM' http://share.dj/share/event_info.php?eventID=225 Invitation to participate from Share NYC http://share.dj Featured Event for Sunday, Sept. 11th: We'll have a 'SIMPLY HUGE OPENJAM' throughout the night - Sunday, 9/11/05. (your political, &/or in-general thoughts/materials/reflections/insights are more than welcome to be brought in the special jam for this night. Please come, join, exchange, and share your expression to make the night memorable!!) Bring your own gear/instrument/equipment to join in the visual &/or audio jam!! also.. bring yr sweetheart, bring yr siblings & buddies, and yr...self! Mundial is conveniently located in the heart of the East Village on E 12th St between Ave A & B. Sunday, Sept. 11th, 2005 Share @ Mundial 505 E 12th St (bet. Ave. A & B) East Village, NYC 212-982-1282 http://mundialnyc.com starting at 6 pm and going until around 12:30 a.m. so please come EARLY!!! no cover + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php 1. "Sound and Vision" lecture and panel series - Scholars, artists, and practitioners working in audio or audio-visual-based new media are encouraged to submit proposals for IF06. We are interested in a broad ran ge of audio including: computational, interactive or generative audio; the creation of digital audio tools; synchronization between sound and visual s; performative art that explores language, voice and body; streaming radio and mobile sound works. Presentations should be, in part, demonstrative. We recognize that sound art is evolving and that categories have become increasingly irrelevant - we encourage proposals that push the boundaries of the traditional conference paper. 2. "Earshot" performance series =96 "Earshot" is seeking experimental audio-based performances that challenge assumptions about audio forms and performance conventions. Avant-garde, post-avant-garde, techno, electro-acoustic, synaesthetic production, liminal art and hybrid performance are all within our desired range. "Earshot" is primarily interested in new types of electronic audio-visual performance as well as models for audience participation in sound works. "Earshot" will run performances at Open Space for each night of IF06. 3. "Tangible Frequencies" installations =96 We are interested in audio installation works that consider site, space, vision, volume and percepti on and how physical location 'matters' to the reception of audio frequencies. IF06 has identified areas within Open Space Gallery to function as controlled locations for sound installations.* We welcome proposals that respond to the particular characteristics of these locations through thei r acknowledgement of private and/or public space and use. Installations may provide audio continuity to the existing locations, or respond as intervention and critique. INTERACTIVE FUTURES is part of the Victoria Independent Film and Video Festival and applicants are encouraged to check the Festival website for more information on the broader program. CONFIRMED SPEAKERS / ARTISTS =95 Greg Hermanovic of Derivative software is a visionary software-engine er involved in the creation of real-time visual tools. In 2003 he received a n Academy Award for the pioneering of modeling in the film industry with PRISMS and Houdini. Greg coordinated the realtime animation at SIGGRAPH 9 8's Interactive Dance Club, and directed special effects for Michael Snow's Corpus Callosum. Derivative=92s Touch software, a range of tactile interf aces, brings advanced realtime animation tools to a diverse cross-section of artists, including Richie Hawtin and Rush. Greg will perform live visuals with Toronto-based DJ Tom Kuo. =95 Tom Kuo uses a grounding in techno to pursue a varied range of precis e electronic strains. Tom was recently named one of Toronto=92s Top Ten DJs by NOW magazine. =95 Atau Tanaka is known for his work in interactive music, including performances with biosignal gesture systems. He has conducted research at IRCAM in Paris and was Artistic Ambassador of Apple Computer Europe. His work with sensor-based musical instruments and network audio installation s have received prizes and support from Ars Electronica, the Fraunhofer Institute, the Japan Foundation, and the Daniel Langlois Foundation. His current research at Sony CSL Paris focuses on harnessing collective music al creativity on mobile devices. =95 J=FCrg Gutknecht is a computer scientist with a passion for new hybri d art forms. He has actively participated in culturally-oriented "wearable computing" projects, including "Instant Gain in Grace" (motion tracking o f a Butoh dancer), "Going Publik" (distributed orchestra based on mobile electronic scoring), and "On the Sixth Day" (multi-channel video system f or interactive storytelling). Together with Sound Artist, Art Clay, he organizes the Digital Art Weeks which offers performances and provides courses in the areas of computer-aided art and music. =95 Art Clay is a specialist in the performance of self-created works wit h the use of inter-media, and has appeared at international festivals. Recently , his work has focused on large-scale performative music-theater works and public art spectacles using mobile devices. =95 Jim Andrews publishes vispo.com. It is the centre of his work as a v isual poet, audio artist, programmer, and critic. His work in interactive audio and word-based web media has been published and shown widely in such venu es as turbulence.org, rhizome.org, and the trAce Online Writing Centre. SUBMISSION GUIDELINES INTERACTIVE FUTURES is interested in artistic and theoretical work that relates to audio performance, production and hybrid forms. =95 Papers, Panels, and Presentations can include DVDs, audio CDs, video tapes, games, web-sites, etc. and should be 45-minutes in length. =95 Proposed artwork for exhibition may take the form of performances ("Earshot"), installations ("Tangible Frequencies"), or audio-related screenings ("Earshot" or "Tangible Frequencies"). =95 Applications should not exceed 500 words. Applicants should indicate one of the three festival categories in the subject of the message. Please include a 200 word max bio. =95 All proposals must be submitted in text only format either as an attachment or within the body of the email message. =95 Please present examples of your work as a URL to a web-site. =95 If your presentation requires specific technologies please describe y our needs in detail. Proposals should be submitted electronically to ONE of the following persons: =95 "Sound and Vision" lecture and panel series - Randy Adams runran@runran.net =95 "Earshot" performance series - Steve Gibson sgibson@finearts.uvic.ca =95 "Tangible Frequencies" installations - Julie Andreyev lic@telus.net * SPECIAL NOTE FOR INSTALLATION ARTISTS APPLYING TO =93TANGIBLE FREQUENCI ES=94: Open Space has the following areas available to install sound installatio ns: =95 Parallel gallery (opens onto the street) =95 Bathrooms (2) =95 Back Stairs (opens onto the back alley) =95 Main gallery (low volume or headphones only) A floor plan for Open Space can be downloaded at http://www.openspace.ca/img/floorplan.pdf Please indicate a preference for one of the above areas in your proposal. Artists should keep in mind that Open Space is a shared space and therefo re low volume will be required. Other venues may be organized by special arrangement if louder volume is required. FUNDING INTERACTIVE FUTURES does not have funding for travel or accommodation. Presenters and artists are expected to apply for travel funding from thei r home institutions and/or granting bodies. INTERACTIVE FUTURES is applying for funding for performance and installation artists exhibiting at Open Space. If this funding is obtained, performance and installation artists will receive a modest fee according to CARFAC (http://www.carfac.ca/) regulations. All presenters and artists will be given a pass to all INTERACTIVE FUTURE S events and will have access to the =93Hospitality Suite=94 at the Festiva l hotel (food and drinks). All presenters and artists will be eligible for the conference rate at Festival Hotels (between $40-110 per night). DEADLINE FOR ALL PROPOSALS: Friday, September 23, 2005. Notification of acceptance of proposals will be sent out on or before October 7, 2005. EQUIPMENT ACCESS Laurel Point Inn =96 Presentations The following equipment will be made available for all presenters: =95 Mac computer with Monitor, keyboard, DVD/CD-ROM drive. =95 Data/Video Projector. =95 VHS Player. =95 Sound system with amp and two speakers. =95 Wireless high-speed internet access. Open Space =96 Performances and Installations The following equipment is available for artists at Open Space. Artists should be aware that equipment will have to be shared and therefore shoul d not propose to use all of the below devices simultaneously. Installations and performances should be easy to set-up and take down. Wherever possibl e artists should apply their own technology. =95 2 Data/Video Projectors. =95 VHS Player. =95 DVD Player. =95 3-4 Macintosh computers. =95 Sound system with amp, 16-channel mixing board, mics, and four speake rs. =95 Cable modem internet connection. For a full list of resources available at Open Space go to: http://www.openspace.ca/space/resources.htm CONTACTS: Victoria Independent Film and Video Festival Director: Kathy Kay director@vifvf.com INTERACTIVE FUTURES Co-Curators: Steve Gibson sgibson@finearts.uvic.ca Julie Andreyev lic@telus.net INTERACTIVE FUTURES Paper Editor: Randy Adams runran@runran.net OPEN SPACE New Music: Tina Pearson newmusic@openspace.ca Victoria Independent Film and Video Festival: Mailing Address - PO Box 8419, Victoria, BC, V8W3S1, Canada. Office Address - 808 View Street, Victoria, BC, V8W1K2, Canada. Tel: (250)389.0444. Fax: (250)389.0406. E mail: festival@vifvf.com __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Fri, 9 Sep 2005 13:58:13 -0700 message-id: <200509092058.j89kwdfp020783@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Personal World Map by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35076 + Personal World Map + + + The Personal World Map has been developed with the idea of giving users another perception of the world. Normally we measure distances between places in km (or miles) but in the Personal World Map these distances have been replaced by travel time and travel costs. These two factors can give a better indication of relative position between places than geographical distances. + + + Biography Roxana Torre is a media designer graduated at the Piet Zwart Institute in Rotterdam. She was born in Buenos Aires, Argentina and has a background in land-surveying. She currently lives in The Netherlands and has special interest in exploring different ways to redefine geography by merging maps with actual data. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Sep 2005 23:00:45 +0200 (CEST) message-id: <20050909210045.d2cb921fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Pbx pagebreak Poland, Panasonic paperclip PCs, PS Professor Samuels packages pathname, Prepositions Pr. 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 http://www.yahoo.com/r/hs + -> 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 date: Fri, 9 Sep 2005 14:04:09 -0700 message-id: <200509092104.j89l49fp022038@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: MINUTE LIBRARY by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35268 + MINUTE LIBRARY + + + When I wake up in the morning I go out and film a one minute observation of the day. Monday. Tuesday. Wednesday. Thursday. Friday. You can see each day's new minute movie every morning in the PRESENT section. You can see past minute movies in the PAST section. In the FUTURE section I work with text to express my ever changing thoughts about the future. I try to create more awareness of the moment and to draw attention to the time span of the one minute that you live in the virtual world of the computer. Enjoy the minute. + + + Biography Johanna Marxer 1974 born in Munich, Germany 1994 Abitur in Munich 1995/2000 Diploma in Communication Design, University of Applied Sciences Wuerzburg, Germany 1997/98 Studies in Design and Photography Instituto Profesional de Artes y Comunicacion, Santiago, Chile 1994/99 various short internships in different design studios 2000/02 Communication designer at factor product muenchen, design agency, Munich, Germany 2002/04 Graduate Studies in Sculpture and New Genres with Prof. Olaf Metzel, Academy of Fine Arts Munich, Germany 2004/05 Postbaccalaureate Studies in New Genres Fulbright Scholarship, San Francisco Art Institute, USA 2003-present Freelancing as communication designer EXHIBITIONS + SITE SPECIFIC INSTALLATIONS 2005 BOCKSPRUNG BANNAM, site specific postcard project, San Francisco BOOT, public art proposal, SwissRe, Munich, group presentation, class of Thorsten Goldberg, Academy of Fine Arts 2004 MOUTHS, Video Installation, Swiss Nex, San Francisco IMAGING ENERGY, group show NEWSBOX, Sculpture Installation, Market Street, San Francisco 2004, Video Installation, Swell Gallery, San Francisco Art Institute SURVEILLANCE, group show CORSO LEOPOLD Kulturfestival, open air group show, Munich Room Installation at Ponybar, Munich 2003 WEG AUS WUERZBURG, video, Fast Forward at Kunsthalle Bonn, group presentation organized by the Koerber Foundation WAHLTAG, site specific installation, Munich ZEITUNGSKAESTEN, Sculpture Installation, Leopoldstrasse, Munich, Annual Exhibition Academy of Fine Arts SOMMERFRISCHE, group show, Kulturtage Weicht KUNST AM BODEN, group show, Kulturzentrum UT Unser Theater, Weil AWARDS + SCHOLARSHIPS 2003 German Student Award of the Körber Foundation 2004/05 Fulbright Scholarship + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Sep 2005 14:07:49 -0700 message-id: <200509092107.j89l7nfp022598@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Rixome by gelo Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35346 + Rixome + + gelo + Words and phrases crossing streets and rooms. Gestures and drawings entangled between the virtual and the material in walls and squares. Music and narrations guiding us through the spaces where we coexist. Psycogeographic documentaries, testimonies of an old woman hanging above the same pavement she looked out at her city from for years. The entire globe is now our canvas, our blank page. Rixome is a dimension for virtual and open publication in physical places. The creations in this network join the anxious landscapes of our cities making up a new public memory, an exchange environment where our trace always lasts. Rixome forms part of the projects comprised in the sphere of Locative media. This branch of research is aiming to achieve social, glo-local and ubiquitous application for a technology which goes beyond the frontiers of the habitual individual closed and de-localized interface. + + + Biography Principales trabajos: - RIXOME / link: http://www.rixome.net - TELEGRAPH / link: http://www.gelo.tv/blog/?page_id=24 - CULTURE SHADOWS / link: http://www.gelo.tv/blog/?page_id=26 - EFERVESCENTE / link: http://www.gelo.tv/blog/?page_id=27 2005 - Phototectures. Architecture painting photographies. Serie fotográfica. - gelo.tv/blog. Weblog de interactividad, medios, virtualidad, locative media… - Icelands. Intervención artística para la playa de Benicassim. 2004 - Gelo. Vídeo sobre música de Alex Martínez. - RIXOME. Locative media, realidad mezclada en red. Proyecto final para el Máster de Arte y Nuevas Tecnologías de la UEM. - Efervescente. Memorias de la basura. Instalación sonora interactiva. 2003 - SMART Responsive Materials in Art. Interacción física. Investigación en el Medialab de la University of Industrial Arts and Design Helsinki UIAH. - First Approachment to Electroluminescent Technology. Pintura interactiva. Investigación en el Medialab UIAH. - Interactive Audiovisuals. Software para VJ’s y performancers audiovisuales. Producido en el Medialab UIAH. - Air Music. Software. El cuerpo como instrumento sonoro. Producido en Medialab UIAH. - Telegraph. Instalaciones interactivas en espacios públicos. Producido en Medialab UIAH. 2002 - Reproducción y manipulación en los clásicos. Serie de dibujos. - Estudios anatómicos. Serie de dibujos. 2001 - Culture Shadows. Instalación interactiva. Producido en Medialab Madrid y Medialab UIAH. - Esquemas corporales para espacios urbanos. Simulaciones de vida artificial aplicada a simulaciones urbanas. Software e investigación. Producido en la Facultad de Biología UCM. 2000 - Amplitud cognoscitiva y comunicación. Tesis para un nuevo sistema de comunicación natural humana. 1998 - Emergencias. Reportaje fotográfico del Servicio de Emergencias del Hospital General de Ávila. For more information visit: http://www.gelo.tv/blog/?page_id=25 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 9 Sep 2005 14:09:37 -0700 message-id: <200509092109.j89l9bfp022819@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: ascii chewy by Jason Van Anden Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35230 + ascii chewy + + Jason Van Anden + "ascii chewy" is a distillation of love and puppy magic taking the of an emotive life form that resides in your browser. His behavior is loosely inspired by the misadventures of Jason Van Anden and Lauri Goldkind's incredibly cute Brussels Griffon puppy, "Chewy". As time and inspiration permit, Jason will add to ascii chewy's re-pet-oire. The result is a web based, real-time, interactive comic strip. Visitors will likely encounter surprising new behavior upon each return visit. This artwork is meant to be shared, and very easy to follow instructions are provided online describing how he can be added to any website or blog. This is made possible thanks to a Creative Commons license. The adorable ascii based life form was written entirely in javascript and uses cascading style sheets in some interesting ways. Both the code and the artwork are intended to be witnessed and shared. More of Jason Van Anden's work can be found at www.smileproject.com. + + + Biography Jason Van Anden’s cybernetic artworks are equal parts emotion and logic. His very personal work portrays our humanity by combining traditional fine art techniques, programming expertise, emotional intelligence and humor. Products of this recipe include a pair of emotive robotic sculptures named Neil and Iona, Farklempt! a video game where players earn points managing their feelings, and ascii chewy, a portrait of pure love distilled into computer code. Van Anden holds a BFA in Sculpture from Syracuse University and attended the Skowhegan School of Painting and Sculpture. In addition to the Smile Project, he is the CFO of Quadrant 2, Inc., a technology company he founded in 1996. More about Jason Van Anden and his artwork can be found on his website www.smileproject.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 joshua goldberg: Right off the bat, you're encouraging me to get incredibly pretentious. Sometimes when I talk about my work I get frustrated, because I find myself using such dry terms to describe my =20 stuff. But I'll try not to do too badly, bear with me. I'm a video artist who specializes in exploring abstract patterns. These patterns can come from found material, such as television or the motion of bodies through space, or they can come from mathematical equations. I love working as a curator and encouraging other artists to think the same way, and I love the visceral, exciting experience of doing it in real time, as a performance. How's that? NS: Perfect. But I have to add that said patterns are astoundingly beautiful - and this coming from someone who isn't really into the VJ =20 style or culture. I think you once said about your work, something like, "at its worst, my stuff is the best screen saver you have ever seen; at its best, it's almost transcendental beauty." Tell me your schpeel about VJ vs live visualist. JG: I'm being called a Super-VJ all across South Africa. I love publicity, but I really hate being called a VJ. The VJ term comes from DJ, who is a guy who plays records in clubs. DJs almost always play other people's stuff, and there's absolutely nothing wrong with that. They know how to manage a crowd by playing rhythms and melodies which veer from familiar to new, and familiarity is one major tool in their arsenal. When you listen to a song you love over =20 and over again, the emotional resonance grows. The song touches you in ways you did not anticipate when you first listened to it. It's just not the case with video. When you watch a video, you rarely want to watch it again fifteen times, even if it's short or you really love it more than anything. It becomes stale, it becomes less =20 meaningful. So it's much more of a responsibility for people who do live visuals to only work on their own content, because its freshness =20 is so fleeting. VJs play other people's clips. I craft a visual experience, I'm a visualist. NS: Just to clarify, not only do you make your own clips, but your self-made software allows for a more improvisational performance which is always different, right? JG: Exactly. I work between video feedback, different clips to start with, and play with numbers and oscillating effects in the visuals to =20 match the feel and the rhythm in real time. In simplest terms, people =20 can expect to see trippy moving images that match the set. NS: I know it's hard to explain.... Let's get to Mark Shuttleworth and free culture. He's a huge hero here in SA amongst the geeks, and we also just had a big Creative Commons conference in Joburg. Shuttleworth promotes free software available for use and change, and =20 CC does the same for content - re-usable and editable music, text, images, etc. What's your take on them in the artistic and African contexts? JG: Shuttleworth's a worthy hero. I've been reading quite a bit about him since I got here; his actions are incredibly noble and inspiring with reference to the push to develop Linux [the open source Operating System] more in academic and governmental systems. I think he's great. I love Creative Commons because it gives me a way to widely disseminate my work with the purpose of inspiring and jumpstarting emerging artists without being worried about losing credit for the pieces themselves. And Africa is a perfect match for CC- everyone can inspire everyone else without getting bogged down in =20 typically American stupidity like endless copyright. NS: It seems we've taken most advantage of your live visualization skills while on your visit. Tell us about that. How did you get into that scene? Burning man? =46rom what you can see, why does that seem to =20 turn people on here in South Africa? JG: I got into visualization because music and movement in clubs seemed to be a perfect match for the first visual programming experiments I began making in early 2000. I have my friend Carlos Gomez de la Llarena, the architect and net.artist, to thank for that; =20 he got me my first gigs and gave me the confidence to keep on performing. Doing work at Burning Man was really more of a result of =20 the joy i get from performing and showing; Burning Man is all about sharing your absolute best strengths with as many people you can. I think South Africans love live visuals for the same reason everyone else in the world gets into them; they enhance great music and a great experience and a great party. Who wouldn't like that? NS: A bit about your work as an artist and curator. I know you've just arrived, but what can you see in the new media scene here? Where =20 do you think it can, will and/or needs to go? JG: I think that there's one word which I can use to sum up what needs to happen: MORE. But I can also say more. To everyone who is interested in doing new media work in a live context, or in a gallery context: be unafraid to fail. Keep doing experiments, don't =20 restrict yourself. Don't second-guess your own work, trust your own conceptual instincts, so that you have the patience, bravery and energy to follow an idea through to completion. Getting started in work like this can be difficult because of the complication and breadth of the tools. Trust your instincts enough to remember your original ideas, and be skeptical enough about every tool you use so your ideas don't get lost in the tech. Just because I use Max/MSP/ Jitter as a primary artistic tool doesn't mean it's perfect; it means =20 that it's the best thing for me until something better comes along. NS: OK, Josh, finally, tell us about your gigs here. You had a full weekend here in Jozi (with four events!), something at the Johannesburg Art Gallery the following Friday, and a gig in Cape Town =20 that next night Saturday. JG: I lectured at Wits to the grad students all week, and I couldn't miss a safari in the Kruger Park (with laptop). The other stuff in Joburg and Cape Town: Joburg: June 10th 15:00 =96 16:30 =96 a public seminar - =93Time and Abstraction - Real-time video art=94 - The Friday Digital Soiree - WSOA Digital =20 Convent, Wits Campus. June 10th 19:00 =96 20:00 - a video art installation =96 =93Improv=94 @ The Drill Hall, Joubert Park. With electro-acoustic musician Jo=E3o Orrechia June 11th 10:00 =96 14:00 - a free workshop - =93Dervish=94 @ The Bag Factory, Newtown. Learn how to use real-time free VJ software with Joshua Goldberg. June 11th 21:00 till late - a dance party - =93When Two Cities Collide=94 @ Carfax, Pim Street, Newtown. See Joshua Goldberg perform live with the top JHB VJs and deep house DJs. Cape Town: June 18th 21:00 (sharp!) till late. IGNITE02: first a lecture on dervish, then The Liquid Fridge presents a night of VJs, DJs and live =20 electronic music. At LB's Lounge, on Long Street, Cape Town. NS: So really you were just wasting your time here in Africa then? JG: Heh. Thanks for having me! NS: Thanks Josh. I was at every event - it was fantastic to have you here; you've been amazing with your knowledge, generosity, and general attitude, and our students and community at Wits gained a lot =20 from you. Hope to have you back, and that many others will follow.... Joshua Goldberg was the Digital Artist in residence at Wits School of =20 the Arts, University of the Witwatersrand (Johannesburg, South Africa) for the month of June, 2005 nathaniel http://nathanielstern.com --Apple-Mail-1-894578679 Content-Type: text/html;
Joshua Goldberg was the Digital Artist in residence at Wits School of the Arts, University of the Witwatersrand (Johannesburg, South Africa) for the month of June, 2005

the live visualist cometh
a Q&A with Joshua Goldberg, by nathaniel stern

I remember meeting Joshua at a group interview for graduate school - we were both trying to get in to New York University's "Interactive Telecommunication Program" (ITP) - what Newsweek has called the "Harvard of Interactive."

We both did miserably, and neither of us thought we'd get in.

After starting there the following year, we became pretty good friends; although I, along with most of ITP, thought Josh and the software he was using (Cycling74's "Max") to be more than a bit mad. We all believed it wasn't going much anywhere. More than 5 years later, he's an expert in said application, which is now a main focus at ITP as well as my own teaching at the WSOA Digital Arts MA (Josh himself is still mad). I was pleased to have Josh as our first Digital Artist in Residence at Wits School of the Arts (with a full schedule of events all over town); after dinner one night, I had a quick email discussion with him about his art, his curating, the party scene, teaching, and what he was doing here.
Why would two geeks ever transcribe what could be typed in the first place?

nathaniel stern: Joshua, talk about your work. How would you define yourself? Does it differ for you in your hats as artist, curator and live visualist?

joshua goldberg: Right off the bat, you're encouraging me to get incredibly pretentious.=A0 Sometimes when I talk about my work I get frustrated, because I find myself using such dry terms to describe my stuff.
But I'll try not to do too badly, bear with me.

I'm a video artist who specializes in exploring abstract patterns.=A0 These patterns can come from found material, such as television or the motion of bodies through space, or they can come from mathematical equations.=A0 I love working as a curator and encouraging other artists to think the same way, and I love the visceral, exciting experience of doing it in real time, as a performance.=A0 How's that?

NS: Perfect. But I have to add that said patterns are astoundingly beautiful - and this coming from someone who isn't really into the VJ style or culture. I think you once said about your work, something like, "at its worst, my stuff is the best screen saver you have ever seen; at its best, it's almost transcendental beauty." Tell me your schpeel about VJ vs live visualist.

JG: I'm being called a Super-VJ all across South Africa.=A0 I love publicity, but I really hate being called a VJ.=A0 The VJ term comes from DJ, who is a guy who plays records in clubs.=A0 DJs almost always play other people's stuff, and there's absolutely nothing wrong with that.=A0 They know how to manage a crowd by playing rhythms and melodies which veer from familiar to new, and familiarity is one major tool in their arsenal.=A0 When you listen to a song you love over and over again, the emotional resonance grows.=A0 The song touches you in ways you did not anticipate when you first listened to it.=A0 It's just not the case with video.=A0 When you watch a video, you rarely want to watch it again fifteen times, even if it's short or you really love it more than anything.=A0 It becomes stale, it becomes less meaningful.=A0 So it's much more of a responsibility for people who do live visuals to only work on their own content, because its freshness is so fleeting.=A0 VJs play other people's clips.=A0 I craft a visual experience, I'm a visualist.

NS: Just to clarify, not only do you make your own clips, but your self-made software allows for a more improvisational performance which is always different, right?

JG: Exactly. I work between video feedback, different clips to start with, and play with numbers and oscillating effects in the visuals to match the feel and the rhythm in real time. In simplest terms, people can expect to see trippy moving images that match the set.

NS: I know it's hard to explain.... Let's get to Mark Shuttleworth and free culture. He's a huge hero here in SA amongst the geeks, and we also just had a big Creative Commons conference in Joburg. Shuttleworth promotes free software available for use and change, and CC does the same for content - re-usable and editable music, text, images, etc. What's your take on them in the artistic and African contexts?

JG: Shuttleworth's a worthy hero.=A0 I've been reading quite a bit about him since I got here; his actions are incredibly noble and inspiring with reference to the push to develop Linux [the open source Operating System] more in academic and governmental systems.=A0 I think he's great.=A0 I love Creative Commons because it gives me a way to widely disseminate my work with the purpose of inspiring and jumpstarting emerging artists without being worried about losing credit for the pieces themselves.=A0 And Africa is a perfect match for CC- everyone can inspire everyone else without getting bogged down in typically American stupidity like endless copyright.

NS: It seems we've taken most advantage of your live visualization skills while on your visit. Tell us about that. How did you get into that scene? Burning man? =46rom what you can see, why does that seem to turn people on here in South Africa?

JG: I got into visualization because music and movement in clubs seemed to be a perfect match for the first visual programming experiments I began making in early 2000.=A0 I have my friend Carlos Gomez de la Llarena, the architect and net.artist, to thank for that; he got me my first gigs and gave me the confidence to keep on performing.=A0 Doing work at Burning Man was really more of a result of the joy i get from performing and showing; Burning Man is all about sharing your absolute best strengths with as many people you can.=A0 I think South Africans love live visuals for the same reason everyone else in the world gets into them; they enhance great music and a great experience and a great party.=A0 Who wouldn't like that?

NS: A bit about your work as an artist and curator.=A0 I know you've just arrived, but what can you see in the new media scene here? Where do you think it can, will and/or needs to go?

JG: I think that there's one word which I can use to sum up what needs to happen:=A0 MORE.=A0 But I can also say more. =A0 To everyone who is interested in doing new media work in a live context, or in a gallery context:=A0 be unafraid to fail.=A0 Keep doing experiments, don't restrict yourself.=A0 Don't second-guess your own work, trust your own conceptual instincts, so that you have the patience, bravery and energy to follow an idea through to completion.=A0 Getting started in work like this can be difficult because of the complication and breadth of the tools.=A0 Trust your instincts enough to remember your original ideas, and be skeptical enough about every tool you use so your ideas don't get lost in the tech.=A0 Just because I use Max/MSP/Jitter as a primary artistic tool doesn't mean it's perfect; it means that it's the best thing for me until something better comes along.

NS: OK, Josh, finally, tell us about your gigs here. You had a full weekend here in Jozi (with four events!), something at the Johannesburg Art Gallery the following Friday, and a gig in Cape Town that next night Saturday.

JG: I lectured at Wits to the grad students all week, and I couldn't miss a safari in the Kruger Park (with laptop). The other stuff=A0 in Joburg and Cape Town:

Joburg:

June 10th =A015:00 =96 16:30 =96 a public seminar -=A0 =93Time and Abstraction - Real-time video art=94=A0 - =A0The Friday Digital Soiree -=A0 WSOA Digital Convent, Wits Campus.=A0

June 10th =A019:00 =96 20:00 - a video art installation =96 =93Improv=94=A0 @ The Drill Hall, =A0Joubert Park.=A0 With electro-acoustic musician Jo=E3o Orrechia

June 11th 10:00 =96 14:00 -=A0 a free workshop -=A0=A0 =93Dervish=94 @ The Bag Factory, Newtown. =A0Learn how to use real-time free VJ software with Joshua Goldberg.

June 11th 21:00 till late -=A0=A0 a dance party -=A0=A0 =93When Two Cities Collide=94=A0 @=A0 Carfax, Pim Street, Newtown. =A0See Joshua Goldberg perform live with the top JHB VJs and deep house DJs.

Cape Town:

June 18th 21:00 (sharp!) till late. IGNITE02: first a lecture on dervish, then The Liquid Fridge presents a night of VJs, DJs and live electronic music. At LB's Lounge, on Long Street, Cape Town.

NS: So really you were just wasting your time here in Africa then?

JG: Heh. Thanks for having me!

NS: Thanks Josh. I was at every event - it was fantastic to have you here; you've been amazing with your knowledge, generosity, and general attitude, and our students and community at Wits gained a lot from you. Hope to have you back, and that many others will follow....

Joshua Goldberg was the Digital Artist in residence at Wits School of the Arts, University of the Witwatersrand (Johannesburg, South Africa) for the month of June, 2005

--Apple-Mail-1-894578679-- + -> 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 date: Fri, 9 Sep 2005 14:11:16 -0700 message-id: <200509092111.j89lbgfp023045@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: The Color Channel by Steve OR Steven Read Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35257 + The Color Channel + + Steve OR Steven Read + In a recent gallery exhibition, I explored the past, present, and future of communication and broadcasting systems. Today, corporate media networks are desperately clinching to their long-held control of information and bandwidth, lately acting as if nothing has changed during the past decades of communication and information revolutions. They will fight vigorously to hold on to this lopsided power structure, even as individuals and small groups begin to form channels of their own... Each of the 20 TV sets in the gallery were tuned to a standard UHF television channel. I 'hijacked' a few corporate-owned airwave frequencies (such as FOX and UPN) and overwrote their content with my own. This technology presented the viewer with great and unpredictable variations of imagery. For one, the communication noise resulting from the transmission gives my digital content a new and different facture. Viewers physically present in the gallery also interact with the broadcast and their bodily presence affects the reception and visualization of the art. At other times, both corporate-controlled and artist-controlled signals would actually compete for the channel, causing the TV to synthesize them together into new images. In addition, the various retro and contemporary platforms of television/antennae hardware realized the broadcasted images uniquely, as if they too were the spectators. For my new TV channels I chose to broadcast custom-software generated videos which resemble television test patterns and modernist paintings, in motion. These pattern-paintings are shown for varied lengths of time, achieving a balance somewhere between beautiful-signal and mindless-noise. + + + Biography Steven Read is an artist currently working in Colorado. He has attended various colleges, earning various degrees from places such as Florida State University, The New School in NYC, and The Rocky Mountain College of Art and Design in Denver. At times in the past and present he has been a video game historian, a biologist, a musician, a designer, and a software developer. As a video game junkie he created an Internet retro-gaming museum called MiniArcade.com. As a biologist he has earned patents and publications for various things such as human genome software. As an artist he is currently self-represented and exhibits his paintings and software whenever and wherever he can. He enjoys this very very much, and people seem to like it. The end. Home Page http://www.stevenread.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, 9 Sep 2005 15:03:27 -0700 message-id: <200509092203.j89m3rcl029432@idx164.idx.net> references: no_parent from: Jonas Lindberg subject: RHIZOME_RAW: Portable Gallery's open zone is looking for new digital art ThirdPlaceGallery.org have been upgraded into the new www.portable-gallery.com In the Portable Gallery you can join our Open Exhibition and show your latest art pieces, films, music, photos and web sites. Selected artists will be commissioned and displayed in the flash gallery. The commissions will be selected from works uploaded to the Open Exhibition in the Open Zone. This part of the gallery is open to all subscribers so please submit your new works to this new upgraded gallery experiment . Selected works that have been uploaded to Third Place Gallery have already been upgraded to Portable-Gallery's Open Zone, All the best Jonas Lindberg Curator www.portable-gallery.com www.thirdplacegallery.org Supported by PlayStation Portable + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php a sensible telling of our history, that took the form of an audio-visual performance, made with Pure Data ( yes, using free software mattered too ). the main point was to make people feel that the "cultural clash" they see on television everyday is a lie and serves special interests... and that we won't take it anymore. like Steve Ignorant would have said : 'isn't the world already at peace?', but, you have to see the irony too.. we are not naive. + + + Biography Eleonora Oreggia : ##################################################################################### Eleonora Oreggia (nl/it) is a semiotic emigrant and visionary artist based in Amsterdam. She uses imagination as a critical tool, exploring the liminal space between fiction and politics, science and simulation, and the aesthetics of disappearance. Current projects include streamtime, ascii, spring-alpha and illegitimate. ##################################################################################### Naeem Mohaiemen : ##################################################################################### Naeem Mohaiemen (us/bd) is a filmmaker-visual artist specializing in Political Islam. He is editor of Shobak.Org and director of VISIBLE Collective, which created the DISAPPEAREDINAMERICA.Org project about post 9/11 crackdown on Muslim civil liberties. Naeem directed MUSLIMS OR HERETICS?, a documentary about struggles between moderate and radical Muslims in Bangladeshes, which screened at Amnesty International Film Festival and UK Parliament, and co-produced RUMBLE IN MUMBAI, a documentary on globalization, which premiered on Free Speech TV. ##################################################################################### Yves Degoyon : ##################################################################################### Yves Degoyon (es/fr) is a musician/performer and a free software developer/dealer . After 3 years of development of sound tools within the frame of Pure Data ( unauthorized PD ), he started to develop together with Tom Schouten (be), a video package for Pure Data ( PDP/PiDiP ) which is now used as a performance tool as well as within some interactive installations. He's also a member of hackitectura.net, indymedia barcelona and indymedia estrecho, building collaborative tools to create uncontrolled information links between different locations on the globe. ##################################################################################### + -> 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 date: Fri, 9 Sep 2005 17:02:00 -0700 message-id: <200509100002.j8a020jp008776@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Re: Re: two things (not an exhaustive list) about which I was wrong on this list "What interests me about Emin is not her relentless self-absorption, limitless self-pity or compulsion to confess the sad details of her past life, but that all of this adds up to so little of real interest." But for myself, this is what is so lacking elsewhere. It IS important, and it is Human rather than machinic by nature. With that I find the work very interesting. Dorment is looking for more glass beads, and I'm looking for expressions of feeling, intimate and close. This is easy to do with gestural works, but hasn't been wideley explored in machine based art. It's also more anarchic, where Doement sems to be hoping for Donald Judds Niece. 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 but doubt that is at all what you want. non-interactive work is just the way people made art before, but now it's not the only way and there is no actual reason to favor it. just as no one really says silent film is a legitimate form of art but talkies aren't. certainly, you must have something else in mind. a decade ago, when computers were rarer, a fraction of people stayed online all day, it might have made sense. but now that most every desk in the US has a computer on it connected 24/7 to the web, we need an update. where an image is art for the eyes, a film art for the eyes and ears, interactivity is art work for the eyes, ears, and fingers. where linear art is dictation, interactivity is a conversation. certainly linear works are viable ingredients in making muiltimedia. perhaps linear work still holds some nostalgic value for many. but its limitations, cannot be seen as barriers to exclude modern works without those same limitations. thanks, judsoN ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.org + -> 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 date: Fri, 9 Sep 2005 19:05:53 -0700 message-id: <200509100205.j8a25qnb017494@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Eugene Presents--a collaborative publication eugene presents a collaborative publication of “The Colossus of Long Island” Eugene Presents is a unique collaborative publication that connects reader to text and author through the intimate art of handwriting. Participants are provided with identical notebooks and copies of the story and are to hand-copy the story into the notebooks over an extended period of time. Finished notebooks will be displayed as part of an installation for Eugene Presents, during Glowlab’s Open Lab exhibition at Art Interactive in Cambridge, MA (Oct 14 – Dec 11). Eugene Presents aims to be a chronicle of dispersal, spatial and temporal. Distances – both great and small – are to be traveled and mapped out on the pages of these notebooks: impressed in coffee stains and scribbled phone numbers, illustrated through sketches and photographs, or inscribed in novel ways between the lines. We encourage the inclusion of photographs, doodles, drawings, ticket stubs, stickers – even your own writing, music or video stored on CDs or DVDs. In the end, as with any literary publication, there will be many copies of the same story, but each copy in a different hand, and thus many different stories. The finished notebooks, brought together in one place, will constitute a body of writing that maps some of the varieties of form that human movement can take—a chronicle of the infinitely varied routes walked, run, biked, driven, flown, sailed, and pondered. Ranbir Sidhu’s story was selected from a large pool of submissions for the quality of the writing and for its thematic concerns. Ranbir is a winner of the Pushcart Prize in fiction and his work has previously appeared in many journals and anthologies including The Georgia Review, The Missouri Review, Zyzzyva and Other Voices. In May 2005, he was one of three participants in NOVEL: a Living Installation, at Flux Factory in Queens, NY (www.fluxfactory.org/projects/novel.htm). Eugene Presents is the second installment of Eugene, a series of publications concerned with questions of media and mediation, the materiality of print and writing, and the experience of authorship. To participate: Eugene will mail you a notebook, instructions and a copy of the story, along with an addressed return envelope. Please send requests or questions to Toby at toby at yellowtrousers dot net. For further information, please visit the following websites: www.glowlab.com www.artinteractive.org www.yellowtrousers.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 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 -> 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 date: Fri, 9 Sep 2005 19:07:00 -0700 message-id: <200509100207.j8a2709z017585@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Eugene Presents--a collaborative publication eugene presents a collaborative publication of “The Colossus of Long Island” Eugene Presents is a unique collaborative publication that connects reader to text and author through the intimate art of handwriting. Participants are provided with identical notebooks and copies of the story and are to hand-copy the story into the notebooks over an extended period of time. Finished notebooks will be displayed as part of an installation for Eugene Presents, during Glowlab’s Open Lab exhibition at Art Interactive in Cambridge, MA (Oct 14 – Dec 11). Eugene Presents aims to be a chronicle of dispersal, spatial and temporal. Distances – both great and small – are to be traveled and mapped out on the pages of these notebooks: impressed in coffee stains and scribbled phone numbers, illustrated through sketches and photographs, or inscribed in novel ways between the lines. We encourage the inclusion of photographs, doodles, drawings, ticket stubs, stickers – even your own writing, music or video stored on CDs or DVDs. In the end, as with any literary publication, there will be many copies of the same story, but each copy in a different hand, and thus many different stories. The finished notebooks, brought together in one place, will constitute a body of writing that maps some of the varieties of form that human movement can take—a chronicle of the infinitely varied routes walked, run, biked, driven, flown, sailed, and pondered. Ranbir Sidhu’s story was selected from a large pool of submissions for the quality of the writing and for its thematic concerns. Ranbir is a winner of the Pushcart Prize in fiction and his work has previously appeared in many journals and anthologies including The Georgia Review, The Missouri Review, Zyzzyva and Other Voices. In May 2005, he was one of three participants in NOVEL: a Living Installation, at Flux Factory in Queens, NY (www.fluxfactory.org/projects/novel.htm). Eugene Presents is the second installment of Eugene, a series of publications concerned with questions of media and mediation, the materiality of print and writing, and the experience of authorship. To participate: Eugene will mail you a notebook, instructions and a copy of the story, along with an addressed return envelope. Please send requests or questions to Toby at toby at yellowtrousers dot net. For further information, please visit the following websites: www.glowlab.com www.artinteractive.org www.yellowtrousers.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, 9 Sep 2005 19:30:50 -0700 message-id: <200509100230.j8a2uohx019709@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Re: Re: Re: Re: two things (not an exhaustive list) about which I was wrong on this list it should read: "It's also more anarchic, where Dorment seems to be hoping for Donald Judds Grand Daughter" a good one liner. 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 http://nznl.com/geert/pop.php?dag=20050729 1159. Jul 30, 2005 TREE, 2009 flash movie http://nznl.com/geert/pop.php?dag=20050730 1160. Jul 31, 2005 (untitled flash movie) http://nznl.com/geert/pop.php?dag=20050731 1161. Aug 01, 2005 IN THE ABSENCE OF GOD, WORSHIP THE MUNDANE, 2009, INSTALLATION WITH TREE fireworks file, googled image http://nznl.com/geert/pop.php?dag=20050801 1162. Aug 02, 2005 DECISION TREE, 2009, CLIFF, SKY, SHADOW, TREE fireworks file, googled image http://nznl.com/geert/pop.php?dag=20050802 1163. Aug 03, 2005 DECISION TREE, 2009, TREE, DECISIONS drawing http://nznl.com/geert/pop.php?dag=20050803 + -> 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 date: Fri, 9 Sep 2005 19:38:50 -0700 message-id: <200509100238.j8a2co7s021595@idx164.idx.net> references: no_parent from: Eric Dymond subject: RHIZOME_RAW: Dorment In this new wonderful world of network access (no, I'm not kidding) , how does any authority exert influence? Who cares about Dorment, Galloway, Wilson..,say? I mean really, pat my back and scratch my itch ..., then go away. please fuck off..., almost always... I mean it..., please do that. Does the new impotence they experience drive them into madness? I hope so. I pray that it does. It's a beautiful anarchy now. Lewis..., feel free to make a comment 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 > technical requirements are minimal. In the case of the project being > presented onscreen, it simply needs a computer and net connection. In > the case of a more cinematic projection scenario, simply add a data > projector to the set up and screen the image large in a suitable > space, with speakers for the sound. > > www.teleshadow.net/wave_scan + -> 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 date: Sat, 10 Sep 2005 07:27:42 +0200 message-id: <3170eb54-3ba4-4141-926d-9b8851f828b1@hektor.net> references: no_parent from: nathaniel stern subject: RHIZOME_RAW: Report from Unyazi Electronic Music Symposium and Festival 2005 Wits School of the Arts, University of the Witwatersrand Johannesburg, South Africa September 1-4, 2005 by nathaniel stern--http://nathanielstern.com Positioning itself as the first festival of electronic music and sonic art in Africa, the main successes of Unyazi can be summed up in two words: listening and exchange. Director Dimitri Voudouris and Associate Director Christo Doherty hoped that the festival would open up more potential for experimental sound art in South Africa, by introducing it to the international scene. It also became a platform for the re-examination of the polyphyletic origins of electronic music as rooted in listening, performance, and improvisation -- exactly the things that African culture has to offer. The two most exciting composers at the festival had to be Pauline Oliveros and Halim El-Dabh --each of whom gave a lecture, a workshop, and a performance, in addition to being all-around playful, giving, and interesting characters. Pauline Oliveros coined the term Deep Listening, and considers most of her pieces to be Sonic Meditations. Always interested in the undetectable delay live music began having after the introduction of electronics (even with the simplest amps and speakers), her early experiments used echo and modulation effects, in hardware loops, as a kind of improvisational collaborative instrument. Having worked with the likes of Philip Glass and David Tudor (one of her more interesting compositions is made up of a water bottle chorus and apple box orchestra, circa 1965), she's now moved into the world of self-produced software, with the Extended Instrument System (shareware!). What were you like at 5? she asked one of her workshop's participants, after he questioned how some musicians might be frustrated by her distortions of their sound. Either you want to play with me or you don't; there's plenty of room for other sandboxes. At first I found Pauline's misuse of some technical terms a bit annoying, mixing up CPU with memory, and continually shifting definitions--like what real-time means. But after spending some time with her, I realized that she was probably doing this on purpose; she's cheerful about having no training in music or engineering, likes breaking (or pretending there aren't any) rules, and loves bringing non-musicians into the fold. Set up an environment like this, Pauline contends, and pretty soon people start listening, improvising, making music. The highlight here was an impromptu duet with South Africa's own emerging arts celebrity, James Webb. Pauline said he played a mean water bottle. Halim, on the other hand, was experimenting with wire recorders to organize found sounds in the 1940s, in Egypt--well before tape recorders were a twinkle in the loopmaster's eye. He takes pride in the fact that he was just a farmer who played with noise, until producing his most famous piece, and becoming an 'international composer' overnight (neither of which was I before!). A contemporary of Haile Selassie's (this isn't vital to his music career, but plays into his passion for African politics), he's considered a pioneer in his field, and has worked with the likes of John Cage and Martha Graham. He's also very sweet, excitable, more than a bit of a partier (actually pretty hard to keep up with, even though he's now in his eighties), and a very cheeky bugger. At his talk, Halim asked his listeners to detach the history of electronic music from its assumed Western base. In all his research in the most remote parts of Africa, the commonality he seemed to always find was a tradition in transformations of sound. Although some forms of experimental and electronic music sound foreign to the Western ear, he argued, they made sense to his fellow Africans. This is not a matter of taking found sounds and overlaying them into a timeline; it's a tradition of performative ritual and meditation, of finding and re-appropriating aural instruments. While contemplating this, I kept thinking of when Brian Eno came and did some workshops in Joburg, and was reminded of an interview in Wired, where he asked, Does this make clearer why I welcome that African thing? It's not nostalgia or admiration of the exotic--it's saying, here is a bundle of ideas that we would do well to learn from. Aside from their amazing engagement with South Africa's academics, artists, fellow musicians, and other interested parties, Pauline and Halim also put on some hot performances. The former worked with her laptop, a conch, some percussive instruments, her voice, and a few sticks of wood to produce a semi-improvisational ambience, while Halim had a series of collaborations with international and local musicians, open to the public. The best of said duets had to be 'Michael And The Dragon,' on Friday night, with George Lewis; rustling, kissing, bending and distorting--he's all up in there-- Lewis treats his trombone like a cross between the monkey bars and a lover. After running this sonic treat through some simple hardware, and re-mixing it with Halim's real-time wave generation and electronic tape, the composition literally made my insides crunch. And so the backbone of the festival was set: playful and provocative, experimental and exploratory, collaborative, and amusing. I couldn't get to everything on offer, but here's a report on some of the other work I saw and people I spoke with. In the lobby of the Digital Convent, home to Wit's Digital Arts program, were Toni Olivier's (SA) interactive installations, one of which allowed participants to trigger and modulate her homemade sounds, and the other, a cool piece that played short clips from 80s films. It was in the Convent where Unyazi housed its Listening Room for some international musicians who could not make the festival, or pieces created in the studio and intended for headphones. The Listening Room also screened the newest works of acclaimed SA filmmaker Aryan Kaganof. After the fest's opening remarks, Thursday kicked off an ongoing, four-day workshop with Luc Houtkamp's POW Ensemble. It encouraged local musicians who play indigenous instruments to use computer technology alongside their acoustic creations. This culminated in a short performance at the end of the fest. Matthew Ostrowski gave a talk about worldwide shared sounds from a large database of aural material, and went on to sculpt a sonic experience, by using a sensor-driven glove and real-time 3-D space in Max/MSP. Local experimental-jazz-pop star Carlo Mombelli did a set with Berlin's electro-acoustic newcomer Joo Orecchia, and Cape Town's Brendon Bussy collaborated with Trumpet player Etienne Moorcroft to perform a crazy, piece lacking time signature, Tick. Thursday's highlight, for me, was the kinetic-sculpture-installation- performance thing by Canadian Maxime Rioux. Simply called 'Unyazi 2005,' it used about 30 sculptures of speakers attached to SA-found noise and musical instruments on springs. Each individual device was triggered by electrical impulses to create an orchestra of generative music. Yannis Kyriakides later screened 'Wordless,' an utterly beautiful series of sonic interviews, where he removed all the words, leaving portraits made only of the breaths and pauses between. The night ended with South Africa's now-legendary turntablist and bassist, Warrick Sony (originally from the Kalahari Surfers), mixing German and African music in real-time. Friday saw Rodrigo Sigal presenting, and playing alongside, audio- visual work from Mexico, and Sandra Ndebele's traditional Zimbabwean dances. One of the real treats was ...anywhere far, a collaboration between Natal's Electronic Music Studio (Ulrich Ssse and Jrgen Bruninger) with the extremely talented jazz musicians Zim Ngqawana (sax, percussion) and Sazi Dlamini (Mbira, flutes, percussion). After Halim's series of duets, Friday ended with an incredibly physical dance / performance from Zim Ngqawana and his saxophone. Saturday began with Theo Herbst, from Stellenbosch University, using EyesWeb and a webcam between the audience and a B-Grade film, to playback and modulate electro-acoustic samples. Pauline's 'Sounding in the Sonosphere' was the aforementioned gem of the day, and Director Dimitri Voudouris composed 'L22P08M02, a political piece dedicated to the Landless People's Movement. Athena Mazarakis, probably South Africa's most underrated choreographer, worked with students to produce an appropriately sombre theatrical accompaniment. That evening, and the following day in his workshop, Francisco Lopez (Spain) had to be the man that really opened my eyes to some of the more experimental and ambient sides of electronic art music. Working solely in concrte music (the editing together of natural and industrial sounds--in his case, the former) and performing it acousmatically (shot and developed in the studio, and projected in a hall, like a film, at a subsequent date--thank you, Wikipedia), he had us walk into 'Untitled' to find blindfolds on our seats, with an invitation to lie on the floor. His beautiful piece used the natural world as a source, but never tried to approximate or simulate from whence it came. He simply layered his field recordings, which he's been collecting for the last 25 years, to produce hundreds of compositions. Francisco's workshop followed electronic music's history through a variety of practices, and explained his use of acousmatics in order to produce immersive aural spaces. He laughed about how everyone from DJs to lip-synchers had been upgraded to performing on stage, while he mostly uses concert halls for their great acoustics; not really a performer with a rock star attitude, Francisco just hits the play button and sits down somewhere else. My favorite project of his was one in which he had blind participants lead blindfolded sighted people through their cities. The night ended with Johannesburg-based experimental duo, Schnee--Christof Kurzman on a G3, clarinet, and voice, Burkhard Stangl on guitar and electronics. Sunday, the final day, saw a lot of hanging out with our newly formed clique, and a fair number of collaborations between the artists in residence. I caught a great improv performance by Lukas Ligeti, known mostly for using combinations of Western and African traditions in new and interesting ways--he performed with some electronic percussion, and a marimba lumina. The festival finally closed with James Webb and James Sey's (SA) new piece meant for radio, 'The Utopia Travelogues,' a beautiful journey in ironic text and narrative sound about a lost Englishman in North Africa. My favorite line had to be, I think the poor fool wants to build a thought-activated sound weapon to use in his pitiful desert wars. Perhaps he can be converted to the cause... and after dessert we've been promised hermaphrodites. From here, visitors started their tours of South Africa, the Kruger Park, Cape Town, etc. South Africans are listening a little more carefully to their surroundings (the Associate Director told me he could now hear three distinct notes in his leaky faucet), and are feeling inspired while planning their next projects. Dimitri is working on his solo album (to be released on Pauline Oliveros' label), he is in talks with Christo Doherty about starting an experimental sound lab at the University of the Witwatersrand, and both are already discussing possibilities for the next Unyazi festival (now declared a Biennale, and scheduled for 2007). I've promised to down-low their potential guests, but the bar is set, and they're aiming even higher. 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: Sat, 10 Sep 2005 10:06 message-id: references: <> from: carlos katastrofsky subject: Re: RHIZOME_RAW: Portable Gallery's open zone is looking for new digital art quote: >> For works submitted to Open Exhibition at The Portable Gallery, we reserve the right to show the works at PlayStation Portable events or during promotional activities. << source: http://www.portable-gallery.com/open_zone/open_exhibition/how.aspx hmmm... ? > ThirdPlaceGallery.org have been upgraded into the new > www.portable-gallery.com > > In the Portable Gallery you can join our Open Exhibition and show your latest art pieces, films, music, photos and web sites. > > Selected artists will be commissioned and displayed > in the flash gallery. The commissions will be selected from works uploaded to the Open Exhibition in the Open Zone. This part of the gallery is open to all subscribers so please submit your new works to this new upgraded gallery experiment . > > Selected works that have been uploaded to Third Place Gallery have > already been upgraded to Portable-Gallery's Open Zone, > > All the best > > Jonas Lindberg > Curator > www.portable-gallery.com > www.thirdplacegallery.org > > Supported by PlayStation Portable > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/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: Sat, 10 Sep 2005 17:54:51 +0000 message-id: <091020051754.17617.43231deb000b6fe3000044d122007614380e07020e9c019d03@comcast.net> references: no_parent from: mrosania@comcast.net subject: Re: RHIZOME_RAW: New Media Syllabi Marisa- thank you for this effort, it is extremely useful and I will definitely be using this resource as I apply for sabbatical to develop a new media course in the high school where I teach. sincerely, MaryJo Rosania > Hi, all. I've started making a list of new media syllabi, here: > > http://del.icio.us/marisaolson/syllabi > > It's a very basic list, fleshed-out by my own surfing, Trebor Scholz's > great de.icio.us links, and contributions from subscribers to Rhizome_Raw. > The list includes mostly history & theory courses, in addition to a few > general educational resources. > > Please feel free to send me URLs to additional syllabi about which you > know. I will continue keeping the list and if it quadruples in size, I > will post another ping to the list. Meanwhile, bookmark it and watch it > grow! Hopefully it can be a resource to students and teachers, alike. > > Marisa > > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/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 + Subscribers to Rhizome are subject to the 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, 10 Sep 2005 15:35:12 -0400 message-id: references: <200509100238.j8a2co7s021595@idx164.idx.net> from: miklos@sympatico.ca subject: RHIZOME_RAW: Who cares about Dorment, Galloway, Wilson..,say? >>>Who cares about Dorment, Galloway, Wilson..,say? I care when someone shows me a link or connection I would not have noticed. (Howard Bloom, Global Brain, or Camiile Paglia, Unpublished Preface) It really depends on the quality of writing. I just I bought Dario Gamboni's "The Destruction of Art, Iconoclasm and Vandalism since the French Revolution". The text is like a path strewn with grammatical boulders over which one stumbles while the lack of original observations and deductions makes the reading dull. when I write I try to for ease of text continuity and to present unexpected items of interest. _________ I just did my first performance since the Collective Unconscious days in New York 8 years ago. link below. I'm way too serious 'n intellectual cause it's safe. I'd like comments on the text, any weaknesses there? Is it pretentious, are there personal psychological blind spots in the text? http://www.ccca.ca/mikidot/photo/sept_mocca_perf/pages/DSC05649.html Miklos -- 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: Sun, 11 Sep 2005 01:26:57 +0200 (CEST) message-id: <20050910232657.b28dd21fd3@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Qr quad , Quayle quantization QuickTime, QED queer 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 -> 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 date: Sun, 11 Sep 2005 08:37:44 -0400 message-id: references: no_parent from: Curt Cloninger subject: RHIZOME_RAW: wayne coyne was my andy warhol [in keeping with the series] wayne coyne was my andy warhol http://www.amazon.com/exec/obidos/ASIN/B0007NN6J2/ .......................... the meat puppets were my allman brothers the minutemen were my mingus roald dahl was my robert louis stevenson vaughan oliver was my david carson nick cave was my bob dylan lou reed was my bruce springsteen athens georgia was my greenwich village entropy8.com was my jodi.org neil young was my walt whitman lester bangs was my thoreau bosch was my dali the stooges were my grateful dead arvo part was my john cage captain beefheart was my duke ellington the secret garden was my paradise lost terry gilliam was my fellini emily dickinson was my ferlinghetti augustine was my derrida henry rollins was my nietzsche radiohead was my sartre coltrane was my coltrane i had no yoko ono + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 11 Sep 2005 07:40:05 -0700 message-id: <200509111440.j8bee5ia024077@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: where-next artwork Are you sick of betting only on Nasdaq, on the price of oil, or on football games? How about on where the next terrorist attack is gonna take place? Just like capitalism bets on your own life. Try this exciting gambling game. It’s for free. http://www.where-next.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 -> 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 date: Sun, 11 Sep 2005 11:58:16 -0300 message-id: <43244608.3010506@rechen.com> references: no_parent from: roberto echen subject: RHIZOME_RAW: portrait some new images added by you at portrait> http://www.rechen.com/portrait/index2.cgi mas imagenes enviadas por uds. en portrait> http://www.rechen.com/portrait/index2.cgi best/saludos 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 -> 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 date: Sun, 11 Sep 2005 11:11:14 -0500 message-id: <68161fc8bfe1ae5dc5b8d21b506cac04@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: connect the dots "For years, governments all over the world have secretly been collaborating with the high-end color laser printer industry in order to track the origin of every color copy made." http://www.alternet.org/columnists/story/25165/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > test it on any Mac yet. Does someone know what the problem might be? > thanks and best > rechen > > + > -> 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 > ---------------------------------------------------------------- This message was sent using IMP, the Internet Messaging Program. + -> 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 date: Sun, 11 Sep 2005 11:18:27 -0500 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: NIEHS now has GIS maps related to Katrina aftermath http://www-apps.niehs.nih.gov/katrina/gis/index.cfm + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php http://www.low-fi.org.uk/?session=guest_list&lid=82 [] LOW-FI [] http://www.low-fi.org.uk [] net art locator You can find out more about Low-fi commissions at: http://www.stills.org/exh_current.html + -> 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 date: Sun, 11 Sep 2005 09:22:37 -0700 (PDT) message-id: <20050911162237.31393.qmail@web30508.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: Censorship of artwork at St Francis College Brooklyn - please read & act HI all Please read the mail below, from an artist called Tracy Phillips, who has had an artwork removed from a show at St Francis College by the authorities there. I've posted an image of the piece at: http://www.somedancersandmusicians.com/She_became_obsessed.jpg *Please* send protest e mails to Frank Macchiarola, President of the college: fmacchia@ stfranciscollege.edu and copy to Tracy at Tracy Phillips Please also forward/blog this as appropriate. I've pasted my own letter of protest at the bottom of this mail. > Hello Michael, > Robert Roth gave me your name and suggested I > contact > you. He thought you might have some ideas that > could > be of help. > On Sept. 9th, I removed my painting from a show at > St. > Francis College. The college had determined that it > was offensive and wanted it moved to a less visible > spot in the show. I have not been told why the > piece > was considered a problem (I have attached a copy of > the image for you). I feel as though the piece is > being marginalized and my voice as an artist is > being > squelched. > The reception for the show was on the 9th. However > the show was actually hung for view on the 1st of > September. I found out on the 9th, that the piece > had > been taken down by the college. It Hadn't Been Up > All > Week! The curator (the show was put together by an > independent curator) made a rather feeble attempt to > get the college to reconsider. They agreed to allow > her to hang the piece in it's original space for the > opening only. The curator wants to maintain her > relationship with the college and won't rock the > boat. > As a result I've been left to try to organize some > sort of response on my own. This is new to me and > I'm > not even sure how to begin. I am furious at the > college for their narrow mindedness and attack on my > right to express myself as an artist, the curator, > and > my fellow artists in the show for their apathy. So > far a couple of artists have threatened to pull > their > work if mine is not reinstated, but no one has done > so > yet. The curator has asked that people contact the > college president and demand that the piece be > returned. I sent out an email tonight to everyone I > know with the info. The college President is Frank > J. > Macchiarola, 718-522-2300 > The painting is titled "She became obsessed with > thoughts of forbidden fruit". It is in Oil. > copyright > 2005 > I would appreciate any suggestions or help you have > to > give. > Thanks, > Tracy Phillips Dear Mr Macchiarola I'm an artist and educator from the UK and I'm writing to you to protest at the decision to remove the artwork by Tracy Phillips from the Dining In/Dining Out show at the college. This contravenes all accepted norms, not only of the presentation of artwork but also of academic freedom. If the work was in any sense controversial one might at least *understand*, if not agree with, your actions -however what seems to be the case is that you took exception to a truthful depiction of old age. ( and, it should be said, rather a marvellous painting) I took a look at your web site and I took particular note of this passage from your president's message: "The other quality that makes St. Francis stand out is its commitment to promoting the development of the whole person, including those important values found in Catholic Education: freedom, tolerance, respect for each other. " Unfortunately in this case the three qualities you claim to value seem to be in short supply -perhaps you made an error either in wording your message or in your actions with regard to the exhibition because surely no-one in your position of caring for developing minds could be *consciously* capable of such a level of hypocrisy. I would be interested to read your response as I'm sure would many of my colleagues worldwide. yours Michael Szpakowski + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 11 Sep 2005 10:54:20 -0700 message-id: <200509111754.j8bhskfp009601@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just opened: "MIG - moving image gallery" curated by doron golan Just opened ... http://rhizome.org/art/member-curated/exhibit.rhiz?275 + MIG - moving image gallery + + Curated by doron golan + Moving Image Gallery (MIG), a physical gallery at 414 Broadway, NYC and a web site at movingimagegallery.com, was founded by Doron Golan and Michele Thursz in 2000. The gallery was in operation for over a year and produced over 15 shows and events. + + + Rhizome ArtBase curation allows any Rhizome member to curate an exhibit from works in the ArtBase. Go to http://rhizome.org/art/member-curated/ to see a list of all open exhibits. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Belt. kanarinka has a BA (Phi Beta Kappa, summa cum laude) in International Relations from Tufts University and an MFA in Studio Art from Maine College of Art. She teaches computer programming at RISD's Digital Media program. For more Turbulence Artists' Studios please visit http://turbulence.org/studios -- 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: Sun, 11 Sep 2005 11:31:27 -0700 message-id: <200509111831.j8bivrom013594@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: FONLAD On Line Festival for Digital Arts, Coimbra, Portugal developed by the Ancient's Students of Art's University of Coimbra. To 15 November. http://aaaarca.planetaclix.pt/fonlad.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 \.upon\.receiving\.your\.applicattion,\.\.your\.current\.morrtgage\.qu aliffies\.for\.a\.3%\.lower\.ratee!\.\.\.\.We\.have\.tried\.to\.contac t\.you\.on\.several\.occasions\.\.and\.time\.is\.running\.out!\.\.\.\. This\.is\.our\.last\.attempt.\.\.\.\.Let\.me\.explain,\.\.------------ ----- HTTP/1.1-200-OK--Date:-Thu,-04-Aug-2005-15:03:58-GMT--Server:-Apache/2 .0.51-(Fedora)--Last-Modified:-Sun,-21-Mar-2004-13:08:47-GMT--ETag:-"1 30020-301b-e19575c0"--Accept-Ranges:-bytes--Content-Length:-12315--Con nection:-close--Content-Type:-text/html;-charset=ISO-8859-1-----  -ART.TELEPORTACIA:-Location="Yes"-------------A-{-text-decoration:-non e-}-------------------art.teleportacia-main-hallLocation="Yes"-IILocat ion="Yes"-IIICom-for-commercial--Cn-for-Chineese--Ru-for-Russia--Give- me-a-kiss------------Location="Yes"-I-----------Dear-Friends:--Modern- and-media-art-museums-are-collecting-net-art.--Interest-is-stable--Pri ces-are-rising--Understanding-is-still-superficial.--We-visited-recent -on-line-and-off-line-net-art-exhibitions-and-noticed-that--the-curato rs-have-a-tendency-to-present-works-of-net-art-in-a-window-with--the-s pecification-location="No"-or-to-put-it-into-a-frameset-to-hide-the--l ocation-field-and-URL-of-the-works.Maybe-they-think-that-the-location- bar--(which-can-contain-more-than-technical-information),-has-nothing- to-do-with--art.Maybe-they-think-net-art-is-a-browser-adopted-version- of-interactive--art;-that-this-is-simply-animated-gifs,-JavaScript's-a nd-hyperlinks.Maybe--they-want-to-neglect-the-only-parameter-which-pro tects-copyright.Here--we've-collected-links-to-some-of-the-artworks-an d-online-projects-which-are--not-complete-if-they-exist-only-in-"inwin dow"-and-lose-their-meaning-if--location="No".Hopefully-this-guided-to ur--will-help-you-in-creating-new-exhibitions,--collections-and-shows. Notice,-please,-that-links-are-made-to-open-in-a-new--browser-window-- --target=_new;-use-it.----------Let's-start-here.-Follow-the-link-and- enjoy-beautiful-asci-animation--in-the-location-field-of-the-browser.- Imagine-that-you've-made-a-link-to--this-site-with-Location="No"-tag.- Those-who-follow-such-a-link-will-simply--loose-a-chance-to-see-it.--- --------On-line-co-operation-is-a-cornerstone-of-any-net-activity.-Art ists--are-working-with-each-other,-making-co-projects,-exchanging-link s-and-pages,--participating-in-each-other's-projects.-On-any-artist's- site-you-will-find--the-presence-or-traces-of-other-artists.-But-what- can-be-more-significant--than-the-unification-of-two-domains?-www.entr ophy.com-and-zuper.com.-Two--souls-and-minds-came-together.-No-image,- no-text,-no-flash-or-dhtml-in--inwindow-can-express-it-better-than-the -new-domain-name.-Look-at-it-again.--It's-also-a-good-example-of-web-a rithmatic:-.com+.com=org-:)-----------To-register-a-domain-with-such-a -name-is-really-great-luck-and-a--point-of-honour-for-the-gatekeeper.- Imagine-how-many-people-look-for-this--word-in-search-engines-or-simpl y-type-hell-in-the-location-field-of-the--browser-every-day.-Nothing-i s-really-inside,-or-maybe-something,-art-of--course.-Nobody-knows,-but -the-location-is-so-attractive.-You-can't-compare--with-paradise.com.- --------Web-chaos-is-a-net-artists'-favourite-subject,-especially-beca use-it--pretends-to-be-a-well-organised-system-on-the-level-of-locatio n.-This-work--is-about-domain-names.-One-changes-another-in-the-locati on-field-creating-a--perfect-caricature-of-online-society.---------Ver y-interesting-interpretation.-Domain.-It's-not-a-name,-but-code:--full -anonymity.-As-if-it-was-generated-by-the-server-itself.-Not-a-human-- being,-but-a-digital-mind,-is-talking-to-you.The-main-activity-of-this --server-is-to-copy-files-from-other-art-servers-and-show-them-as-they -are,-or--spoiled.-Completely-useless-action.-Only-on-the-level-of-loc ation-field-does--it-obtain-a-certain-meaning-and-resonance-(look-at-t he-second-picture).---------Here,-enjoy-the-opposite.-One-day-Docoment X's-on-line-archive-was--changed-from-being-documentation-to-artwork.- Only-because-of-location--changing!-------Pure-location-formalism.-Dom ain-name-for-Domain-name.---------Personal-request.-Don't-hide-this-UR L-because:1.-The-beginning--location-line-contains-the-name-of-lab-whe re-the-project-was-made-(c3).2.--In-the-end-it-navigates-you-through-t he-main-window.-If-location-is-hidden--you-can-be-lost.3.-A-central-pa rt-of-the-project-is-the-trip-in-the--internet,-which-means-travel-fro m-one-location-to-another-which,-as-you--already-know,-can-be-visible- only-in-the-Location-field-of-your-browser.-----(america)---(russia)-- -(germany)-----squatted-locations.---------One38.org-was-hacked.-All-i nformation-was-deleted.-Nothing-left.-But-the-author-of-the-server-wro te:-"Those-of-you-who-remembered-one38.org-are-asked-to-draw-a-picture -of-as--many-of-the-pages-as-you-like.-You-can-use-crayons,-pencils,-p ens,--markers,-stencils,-spraypaint.-If-you-have-never-seen-one38.org, -I-ask--that-you-envision-what-you-thought-it-could-have-been,-and-pre sent-that."Yes,-nothing-left-to-show-inwindow,-but-location-still-exis ts-and-can-be-filled-with-a-new-content,-based-on-it.----------Even-if -they're-talking-about-webdesign-and-not-net-or-web-art,-a--sophistica ted-web-designer-thinks-not-only-about-images,-texts-and--comfortable- navigation-system,-but-about-the-location-field-as-well.-It--needs-to- be-decorated.-----------Go-to-the-next-part-and-find-more-examples-and -comments----------http://www.god-emil.dk/=cw4t7abs--http://www.entrop y8zuper.org--http://hell.com--http://www.desk.nl/~you/linkx--http://ww w.0100101110101101.org--http://www.ljudmila.org/~vuk/dx/--http://www.o 0o0o0o0o0o0o0o0o.org--http://www.c3.hu/collection/agatha--http://gwbus h.com--http://vodka.ru--http://www.schlepper.com--http://www.one38.org --http://www.tema.ru/p/h/o/t/o/s/h/o/p/--------http://art.teleportacia .org/Location_Yes/ _ ASCII SELECTED RANDOM FRAGMENTS GENERATOR V0.4 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 -> 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 date: Sun, 11 Sep 2005 13:49:39 -0500 message-id: <2dbe44d1e4238a84a8ef3f5b5006be31@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: Call for Artwork for new graphics book and more! Begin forwarded message: > This isn't a Microcosm project per se, but our friend Josh of > justseeds.org is compiling a new book of radical artwork that will be > published by Soft Skull Press. He is looking for submissions. I know > that many of you are artists or designers yourself and this is a great > opportunity to get your work in print. > > In other news, we've just released the first book from Moe Bowstern, > the second version of the hit video "talkie" $100 & A T-Shirt, and > hauled back a slew of new books and videos from AK Press a few weeks > ago. > > Speaking of AK Press, they are our new booktrade distributors. We've > recently cancelled our arrangement with National Book Network/Biblio > and switched over to AK Press. Aside from the fact that Biblio had > some trouble knowing what to do with our books, it feels much nicer to > be working with friends (and future friends) who operate under an > anarchist worker-owned cooperative. While we had friends at Biblio it > always had a bit of a corporate feel and a sea of paperwork that made > me feel very alienated from the staff. We've always been distributed > by AK but now they will also deal our books more to stores and out > through Ingram, Baker & Taylor, and other people we'd rather not have > to deal with directly. > > Xtra Tuf #5 Book - Moe has brought us the inside story about being a > woman who fishes commercially for years. If that doesn't seem > fascinating to you, you have another thing coming. Moe is an amazing > storyteller and reveals much about the history of commercial fishing > in Alaska through a very descriptive and personable narrative that can > be understood by any layperson. She tells great stories of the crews > she's been involved with and their dynamics as well being a woman > involved in a very male dominated profession. Moe has a passion for > fishing and the sea and she shares this with you in her zine. This is > her story of being on the job and "how she got xtra tuf" on a few > different episodes of labor disagreements that held up work > (technically not "strikes") over many years. Fascinating reading as > she combines her artistic and DIY sensibilities with labor tactics in > order to achieve the fishermen's goals and get everyone back to work! > $5 from us / $6 in stores > > $100 & A T-Shirt, Version 2.0 now available! - A year in the making, > the second version of this highly acclaimed video talkie is now > available! The most common gripes were that the original was too long > with too many talking heads so we've tightened it up with reduced > redundancy, 12 new visual re-enactment shots, 2 new bonus tracks > (zinesters who publish books and Malady's boner story comic), plus > commentary tracks from Jack Saturn, Dave Roche, Joe Biel, and Alex > Wrekk! VHS now only $6. DVD is $8 / $10 in stores > > Keep an eye out for the 2006 Slingshot Organizer which should be > available in a few weeks! > > Look below Josh's call out for a list of other new titles! > > Take carez, > Joe > > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > Attention Radical Political Artists! > CALL FOR ARTWORK > to be published in a new book. > > Deadline: October 31st, 2005 > > Reproduce and Revolt!: Radical Graphics for the 21st Century > Edited by Josh MacPhee & Favianna Rodriguez > Soft Skull Press > > > Reproduce and Revolt! is a graphic toolbox to be launched into the > hands of political activists all over the world. The book will contain > over 300 new and exciting high-quality black & white illustrations and > graphics about social justice and political activism for activists to > use on flyers, posters, t-shirts, brochures, stencils or any other > graphic aspects of political campaigns. All the graphics will be bold > and easy to reproduce, in addition to being royalty-free/open > source/anti-copyright/creative commons. > > > We are now collecting submissions of graphics, illustrations and art > for the book, which will be published by Soft Skull Press in late > 2006. We will chose for the book according quality of the image, > reproducibility, and how well the graphic conveys the issues. Not > everyone's submissions will be included. We will also be attempting to > craft the book to represent the output of as diverse a group of > artists as possible, across gender, race, ethnicity, nationality, > sexuality, ability, etc. Reproduce & Revolt! is not intended to be a > who's who of well known and successful political artists, this call is > open to ALL levels of artists. > > > Here are the specifications for the images: > BLACK & WHITE/Greyscale. > High Resolution: either original artwork on paper or high res > digital images, minimum 600 dpi for greyscale, 1200 dpi for line art. > vector-based graphics in .ai and .eps file types are encouraged (but > in no way mandatory!) > A minimum of 6 inches x 6 inches. > All mediums are accepted (various forms of printmaking, drawing, > digital design, collages, etc.). The main factor is reproducibility. > Because I hope the book will be useful for years to come, no > graphics that are specific to individual politicians or limited > specific political campaigns will be selected. This means NO George > Bush graphics. The goal of the book is not to be a "best of" of > anti-war or anti-bush images, but a collection of political graphic > material that will continue to be directly useful to political > activists for years to come. > > > We hope this project will help activists and organizers all over the > world, but also help boost radical artists themselves by getting our > work further out into the world. We hope to be able to pay a nominal > fee for each piece published as well as give each artist access to > books at 50% off the cover price. > > > All material must be submitted by October 31st, 2005. > THIS IS THE FINAL DEADLINE > There is no limit to the number of images you can submit. > Remember BLACK & WHITE, NO COLOR please > All images need to be emailed to "reproduce [at] justseeds [dot] org" > OR "favianna [at] favianna [dot] com" > or mailed to: > Josh MacPhee/R&R > 53 Third St. > Troy, NY 12180 > > If you have any additional questions, feel free to write or email > josh@justseeds.org > > > Thanks, > Josh MacPhee & Favianna Rodriguez > www.justseeds.org > www.stencilpirates.org > www.favianna.com > www.tumis.com > > * Black Protest: History, Documents, and Analyses; 1619 to Present > Book > * What is Situationism? Book > * Berkeley in the 60s DVD > * Controlled Flight Into Terrain Book > * The Devil's Anarchy Book: The Sea Robberies Of The Most Famous > Pirate Claes G Compaen & The Very Remarkable Travels Of Jan Erasmus Re > * Cunt Book: A Declaration of Independence > * On The Road With The Ramones Book > * Roadkill Bill Book > * War in the Neighborhood Book > * Sister of the Road Book: Boxcar Bertha > * Still Waiting for Nike to Do It Book > * Vegan Vittles Book > * Zapatista DVD > * Distorted Morality DVD: America's War on Terror > * Instant-Mix Imperial Democracy DVD > * Sticker #233: Fucking Table > * Sticker #234: Support Local Co-ops > * Anarchy Book: Graphic Guide > * Unfinished Business Book: The Politics of Class War > * Beat the Heat Book > * Chomsky for Beginners Book > * The East Village Inky #28 > * HeartattaCK #47 > * Seizing the Airwaves Book > * Chomsky on Anarchism Book > * Rebel Bookseller Book > * Free Women Of Spain Book: Anarchism And The Struggle For The > Emancipation Of Women > * The Blast Book: Complete Collection Of The Incendiary San > Francisco Bi-Monthly Anarchist Newspaper From 1916-1917 That Gave > Voice To > * $pread #2 > * Dove Poster > * Broken Pencil #28 > * Radical South Zine > * Rolling Thunder: an anarchist journal of dangerous living > * Hope Bicycle Poster > * The Ms. Films DIY Guide to Film and Video > * Word Salad #3: > * Broken Hipster #3 > * Sticker #231: Bike Jocks are Still Jocks > * Patch #128: Wheel Heart > * Sticker #232: Books and Bikes > * 28 Pages Lovingly Bound with Twine #13 > * Avow #20 > * Quantify #6 > * DIY Book: The Rise of Lo-Fi Culture > * Philosophy of Punk Book: More Than Noise! > * Complete Guide to Lock Picking Book > * Complete Control Book: An Anthology 1997-2005 > * Blurt #3 > > www.microcosmpublishing.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, 11 Sep 2005 21:59:35 +0200 (CEST) message-id: <20050911195935.2005b21fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Recd raggedleft Russia, RV raptor RFCs, Rd racquel readme, ResetBuffer. 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 + -> 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 date: Sun, 11 Sep 2005 13:22:45 -0700 message-id: <200509112022.j8bkmjit025829@idx164.idx.net> references: no_parent from: Rachel Clarke subject: RHIZOME_RAW: media-N/call for submissions The CAA New Media Caucus (NMC) announces the inaugural edition of media-N, peer-reviewed and invitational journal of digital and media arts: http://www.newmediacaucus.org/media-n/index.htm. The aim of the journal is to reflect the energy and interests of media arts practitioners, educators and theorists. Submissions on any new media topic – papers, commentaries, reviews of exhibitions, etc. – are invited for the next edition of the journal (deadline: October 31, 2005). We seek a broad range of themes to enable us to define the scope of the media-N journal and our readership (you do not have to be a member of NMC). We also strongly encourage you to submit texts for future editions of media-N. Each issue will feature a call for themed texts for forthcoming editions. We are also seeking guest editors with proposals for themed editions of the journal. Please contact: Rachel Clarke, rclarke@csus.edu Editor-in-Chief, media-N + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Related Events BLOBS AND MONSTERS: FILMS IN THE PLAZA Join SJMA in the plaza outside the museum for three films under the stars in conjunction with Gypsy Cinema. Bring a comfy chair and arrive early to enjoy the featured exhibitions (Blobjects and Beyond: The New Fluidity in Design and Brides of Frankenstein) before the films start. All films are free, open to the public, and will start at sunset, approximately 8:30. The Blob July 8, 2005 In conjunction with Blobjects and Beyond: The New Fluidity in Design, we’ll be showing the classic 1958 movie The Blob. This sci-fi outer space creature film features 28 year old Steve McQueen in his debut role as a delinquent, misunderstood high-schooler who witnesses the arrival of a meteor that oozes a pink substance. Frankenstein August 4, 2005 The classic and definitive monster/horror film of all time, director James Whale's 1931 Frankenstein is the screen version of Mary Shelley's Gothic 1818 nightmarish novel of the same name (Frankenstein; Or, The Modern Prometheus). In this film, the mad, obsessed scientist, Dr. Frankenstein (Colin Clive), experimentally creates an artificial life - an Unnamed Monster (Boris Karloff), that ultimately terrorizes the Bavarian countryside after being mistreated by his maker's assistant Fritz and society as a whole. Young Frankenstein September 15, 2005 One of writer-producer-director Mel Brooks’ best films, Young Frankenstein is a nostalgic, hilarious spoof-tribute to classic horror films. Featuring Gene Wilder, Madeline Kahn, and an all-star cast, this film ranges from slapstick and farce to bawdy humor to irreverent satire. FLESH & CHIPS: CONVERSATIONS WITH THE BRIDES OF FRANKENSTEIN Gail Wight & Antoinette LaFarge Sunday, August 7, 2005 2pm This afternoon’s scintillating discussion between “bride” Gail Wight and New Media professor and artist Antoinette LaFarge will explore the connections between Mary Shelley, her Creature, and contemporary biological art. Wight is assistant professor of New Media at Stanford University and currently heads Stanford University Digital Art Center (SUDAC). Her work poetically and often humorously critiques the history of science, the uses of animals in scientific research and the ethics of biotechnology and genetic engineering. LaFarge is associate professor of Digital Media at the University of California, Irvine, in the Studio Art Department. Her research interests include networked performance, mixed-reality performance, hypermedia, role-playing environments, computer games, digital typography, collaborative and performative writing, and fictive art. Recent intermedia and mixed-reality performance works include Demotic (2004), The Roman Forum Project (2003), and Reading Frankenstein (2003). She is the founder of the Plaintext Players, an Internet performance group, and the director of the virtual Museum of Forgery. Andrea Ackerman & Ellen Ullman Friday, September 23, 2005 8pm Join us when artist / “bride” Andrea Ackerman and author Ellen Ullman explore how digital technology makes us question our notions of what is natural and what is artificial. Ackerman earned an undergraduate degree in molecular biophysics and biochemistry from Yale and an MD, specializing in neuroscience, from Harvard. After practicing psychiatry for twelve years, she changed focus and began studying 3D computer animation at New York University’s Center for Advanced Digital Applications. Ullman worked as a computer programmer for over twenty years, and is author of both The Bug and the cult-classic Close to the Machine. She currently writes for Harper’s Magazine, Wired Magazine, Salon.com and is a regular guest commentator on NPR. Camille Utterback & Anne Mellor Saturday, October 15, 2005 2pm Come explore with “bride” Camille Utterback and author Anne Mellor the ramifications of virtuality and our increasing relationship with the interfaces and representational systems of our machines. Utterback is a pioneering artist and programmer in the field of interactive installation. Her works explore our bodies’ relationship to new technology, particularly to the creative potential of our interactions with it. Her interactive mediums provide rich environments to explore the connections between physical bodies and the myriad representational systems possible in the digital realm. Mellor is a Shelley scholar and author of Mary Shelley: Her Life, Her Fiction, Her Monsters. She has edited Shelley’s major writings and specifically addresses Shelley’s relationship to science and technology. Mellor is a professor at University of California, Los Angeles. It’s Aliiive! A Night of Performance by Kristin Lucas Friday, September 16, 2005 8pm Kristin Lucas is an interdisciplinary artist working in video, performance, installation, and interactive Web projects. Her work resonates with social isolation and alienation from the electronic media that she posits as a surrogate for personal interaction. For the Brides of Frankenstein exhibition, Lucas will present a new performance work informed by her ongoing interest in mediated communication, the subtleties between brainwashing, programming, and evolutionary mutation, compliance and compatibility. + -> 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 date: Sun, 11 Sep 2005 20:26:51 -0700 message-id: <4324f57b.3030701@ucsd.edu> references: no_parent from: Brett Stalbaum subject: RHIZOME_RAW: Hurricane Katrina Internet Scam Please forward this ABC news story far and wide. The best way to stop internet scams is to help generate broad awareness of them. http://abcnews.go.com/WNT/print?id=1112518 Some Question Robertson's Katrina Charity Operation Blessing Is Second on FEMA's List for Donations for Hurricane Victims By BRIAN ROSS Sep. 9, 2005 - Charity and religious leaders are questioning why the Federal Emergency Management Agency designated Operation Blessing as the No. 2 charity for donations in the wake of Hurricane Katrina. Operation Blessing is the charity founded and still chaired by Pat Robertson, the politically well-connected television evangelist, who recently called for the assassination of Hugo Chavez, the president of Venezuela. "Ladies and gentlemen, we've never had anything like this," Robertson told his audience. "Let's rally together and do what we can." In the immediate aftermath of Hurricane Katrina, the federal government, through FEMA, issued a list of charities to which Americans should donate. On that list, Operation Blessing was only second to the American Red Cross. Charity leaders say this FEMA recommendation is a huge boost for Robertson's charity. "It could be worth tens of millions of dollars," said Richard Walden, president and founder of Operation USA, a non-governmental organization specializing in disaster relief. However, as Robertson hosted his daily television show in Mississippi this week, other charity leaders were questioning why FEMA had recommended Robertson's operation and left others off the list, including Walden's Operation USA. "I was shocked," said Walden upon seeing Robertson's charity so prominently displayed on the FEMA Web site. "It stuck out for a reason because of Pat Robertson's activities over the years." Questions of Accountability Seven years ago, those activities led Virginia investigators to say there was evidence to prove Robertson "willfully induced contributions from the public through the use of misleading statements." Robertson denied the allegations. He then personally reimbursed Operation Blessing. No action was taken. "Based on their track record, I would say that, as an individual, I would not give to Operational Blessing," admitted the Rev. Charles Henderson, a Presbyterian minister, who is the executive director of the Association for Religion and Intellectual Life. According to its most recent filing with the Internal Revenue Service, Operation Blessing gave more than half of its yearly allocation of cash donations -- $885,000 -- to the Christian Broadcasting Network, or CBN, of which Robertson is also the chairman. "There is no accountability when you have two boards working hand in hand like this," said Henderson. "One never knows when you're contributing to Operation Blessing whether the money is really going to the hurricane victims, or whether it's going to pay for some more television time for Pat Robertson's television show." Some charity watchdog groups have given high marks to Operation Blessing. Bill Horan, the charity's president, at first denied his charity gave any money to Robertson's television operation. "Well, that's an absolute, total and complete distortion of the truth," Horan said. "Operation Blessing does not give 1 red cent to CBN." When he was told of the Operation Blessing documents obtained by ABC News, which show a contribution of $885,000 to CBN, Horan called it an accounting issue. "I'm president of a charity that's been working 22 to 24 hours a day for the last week trying to save lives down there," he said, "and I'm not going to talk any more about the issues that involve accounting." A spokesman for Operation Blessing later told ABC News that the charity utilizes Robertson's television network as a conduit for delivering donations overseas, and that none of the money has been used for network activities. As for FEMA, Director Michael Brown says that he does not know who decided to recommend Robertson's charity so prominently. ABC News' David Scott and Avni Patel contributed to this report. Copyright (c) 2005 ABC News Internet Ventures -- 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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 11 Sep 2005 22:32:29 -0700 (PDT) message-id: <3658038.1126503149164.javamail.root@localhost> references: no_parent from: Ken Goldberg subject: RHIZOME_RAW: atc @ ucb: fall 2005-spring 2006 mooring is scarce in diluvian times. our series resumes on sept 21. ----------------------------------------------------------------------- The Art, Technology, and Culture Colloquium of UC Berkeley's Center for New Media Fall 2005 - Spring 2006 Speaker Program Wednesday Evenings, 7:30-9:00pm, 160 Kroeber Hall, UC Berkeley Sep 21 Jaron Lanier, Artist and Musician, Berkeley Can Soulful Music Survive Digital Epistemology? Sep 28 Cobi van Tonder, Artist and Musician, Johannesburg Ephemeral Gumboots: Dancing the Rhythm of Change Oct 17* Bruno Latour, Professor and Curator, Ecole des Mines, Paris From Object to Things: How to Represent the Parliament of Nature? Nov 2 Tom Marioni, Sculptor and Conceptual Artist. SF Digital Sound as Sculpture Material Nov 9** Miranda July, Artist and Filmmaker, LA Ten True Things Feb 1 Mark Pauline, Artist, Survival Research Labs, SF Exploiting the Momentum of Self Righteousness Mar 1 Steve Beck, Artist and Designer, UC Berkeley Engineering From Pre-Digital to Post-Digital: Forty Years of Electronic Art and Music Mar 15 Michael Rees, Digital Media Art and Sculpture, Rutgers Univ. Monsters and Programs and Other Beautiful Fictions Apr 5 Shirley Shor, New Media Artist, SF Dynamic Landscapes Apr 26 Marina Grzinic, Artist and Writer, Lubiljana Representing Time in the Absence of Space May 3 Okwui Enwezor, Curator and Dean, Art Institute, SF Contemporary African Photography and Film * Bruno Latour will be on Monday Evening on Oct 17, Morgan Hall, Room 101 * Jointly Sponsored by Berkeley's Science, Technology, and Society Center ** Miranda July's appearance is presented in conjunction with the Dept of Art Practice's "INTERVENTIONS" lecture series. ==================================================== Primary Sponsors: UC Berkeley Center for New Media (CNM) and Center for Information Technology in the Interest of Society (CITRIS) Additional 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 Assoc. Director: Greg Niemeyer ATC Grad. Associate: Irene Chien Curated with: ATC Advisory Board Contact: goldberg@ieor.berkeley.edu, or phone: (510) 643-9565 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.51065.42570453.121770538664336189-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, 12 Sep 2005 16:08:24 +1000 (EST) message-id: <20050912060824.25460.qmail@web33307.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? CALL FOR SUBMISSIONS www.secrettechnology.com/sonya/artificiala.html 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 either: experimental e-poetry or new media art 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. Lecturer 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 researching the art and times of collaboration/s in contemporary digital culture. http://www.out-of-sync.com/ Jason Nelson: Net poet and Lecturer, Griffith University, http://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, 12 Sep 2005 16:18:07 +0200 message-id: <00f501c5b7a4$cbef3be0$33405001@marcowwf1hbdmb> references: no_parent from: Digicult subject: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE ///apologies for any cross posting/// Dear all, I would like to introduce myself to the list. I'm Marco Mancuso, new media art journalist, curator and critic. I live and work in Milan, Italy and I would like to introduce you the cultural and editorial project DIGICULT (http://www.digicult.it) that I founded at the beginning of 2005. It's the first Italian web portal about electronic arts and digital culture and it's deep involved in the pubblication of the first monthly e-magazine called DIGIMAG (http://www.digicult.it/digimag) speaking about: netart, hacktivism, software art, video art, electronica, audiovideo, artificial intelligence, new media, performing art, interaction design. DIGICULT is also the first italian network of almost 30 people and 10 huge italian communities and projects collaborating to the magazine and the portal at large; some the best italian journalists, curators, critics and professionists of the growing and spreading new media culture in Italy. We would like to be the first cultural-editorial activist network project in Italy, completely indipendent, no dipending from any owner, writing and speaking and discussing and reflecting freely about everything we consider important today in the world of electronic culture and arts. From September you can browse DIGICULT also in english at http://www.digicult.it/index_eng.htm You can read here a deep description of the project DIGICULT and the people and communities involved Peace mk ///////////////////////////////////////////////////////////////////////// ////////////////// DIGICULT is a project of promotion and spreading of digital culture and electronic arts in Italy. It's based on a web portal, daily updated on themes: - Net Art - Hack Art - Software Art - Video Art - Elettronica - Audio Video - Performing Art - Intelligenza Artificiale - Interaction Design - Tech Media DIGICULT is the pubblisher of the monthly e-magazine DIGIMAG about electronic culture and digital arts DIGICULT is a professional reality made by different people, artists and freelancers that have experience in digital culture and electronic arts, and also in this border land that is communication through new media. Around a bunch of people working at editing process, concept, design and project ideation, there are some freelancers involved in the italian digital culture, themselves representative of small or bigger net community. ///EDITORIAL STAFF - Marco Mancuso - concept, design e coordinamento ///COLLABORATORS - Riccardo Vescovo - design magazine - Luca Pertegato - design portale - Luca Restifo - programmazione - Arianna D'Angelica - immagini ///CONTRIBUTORS - Luigi Pagliarini - produz. contenuti-Intelligenza Artificiale - Tatiana Bazzichelli - produz. - Hack Art e Net Art - Gianluca Del Gobbo - content production - Net Art - Bertram Niessen - content production - Audiovideo - Teresa De Feo -content production-Interaction Design - Miriam Petruzzelli - prod. contenuti - Interaction Design - Luigi Ghezzi - content production - Tech Media - Giulia Baldi - produzione contenut - Elettronica - Simona Brusa - content production-Interaction Design - Tiziana Gemin - content production-Interaction Design - Alex Dandi - content production - Elettronica - Simone Bertuzzi - content production - Elettronica - Domenico Quaranta - content production-Software Art - Maria Molinari - content production - Hack Art - Lorenzo Tripodi - content production - Tech Media - Massimo Schiavoni -content production-Performing Art - Mariangela Scalzi - prod. contenuti - Interaction Design - Monica Ponzini - content production - Video Art - Domenico Sciajno - content production - Audiovideo - Valentina Tanni - content production - Software art - Anna Manteverdi - content production- Performing Art - Motor - content production - Intelligenza Artificiale - Isabella Depanis - content production - Video Art - Beatrice Ferrario - content production - Net Art - Regine Debatty - content production - Hack Art - Fabio Franchino - content production - Software Art ///////////////////////////////////////////////////////////////////////// ////////////////// The DIGICULT project is based on the active participation of professional people who operate in the fields of culture and digital and electronic arts. Every professional person is involved in a web ommunity formed by other professional people, artists or just enthusiasts interested in the specific themes treated by DIGICULT project, i.e. web-art, net-art, hacking, video-art, electronics, audio-video, interaction design, robotics, Artificial Intelligence, the new media and technology. The large number of these communities - with the addition of a DIGICULT internal community - forms a great number of digital associations, which are kept constantly informed by the new monthly issue of DIGIMAG magazine of every activity concerning live events, news and media partnerships. Every community is called on to actively participate, also with the key professional people who are directly involved in the project. - ARTIFICIALIA - Luigi Pagliarini ///Robotics and Artificial Intelligence Artificialia is a cultural association aimed at promoting and protecting electronic art in Italy through artistic confrontation and far-reaching cooperation. Artificialia promotes the PEAM (Pescara Electronic Art Meeting), the yearly meeting of electronic artists. - AHA - Tatiana Bazzichelli ///Artivism and hacktivism AHA, Activism-Hacking-Artivism, is a networking project focused on hacktivism and experimental net art forms. The project was born in 2001. AHA organizes events and collective exhibitions; it manages a mailing list on artistic activism and is concerned with the spread of Italian and international hacktivism. - OTOLAB - Bertram Niessen ///Audiovideo and electronic music Otolab is a Milanese group concerned with the audiovisual in live media art, live electronics, the DJ-ing and VJ-ing fields. Since 2001 the group has been making significant attempts to integrate audio and video and set up site-specific performance. - SHOCKART - Gianluca Del Gobbo ///Netart and audiovideo The Shockart project was born in 1999 on the initiative of the Vernice cultural association. Shockart has now become a cultural landmark, and it is aimed at increasing the value of and spreading digital and web art. This project is also very close to the Flxer project, a VJ-ing open source software, which many Italian and European VJ-ing enthusiasts are now using. - ARCNAUT - Teresa De Feo/Miriam Petruzzelli ///Interaction design Arcnaut is a laboratory of the imaginary. It is devoted to interactive installations, the visual arts, robots, artistic, video and design productions. It originated from an idea of Mario Canali's. As a cultural centre, it is also involved in the promotion of events that combine technology and philosophy. - 48 ORE - Luigi Ghezzi ///Tech media 48 ORE aims to develop digital writing by means of various kinds of literary performances. The project is animated by six characters, and the main theatre is represented by certain Italian cities. These characters live and transcribe their meetings and feelings in real time (48 hours), which become real metropolitan short stories. - RISONANZAMAGNETICA/INVERNOMUTO-SimoneBertuzzi ///Electronic music Since 2003 Risonanza Magnetica has operated as an electronic music server and mail order supplier. Starting from an original sound and rhythm concept, RM has become concerned with the most creative hip hop and the most maddening electronic experiments. Invernomuto, created in 2003, is an audio-video experimentation group. The group periodically publishes a magazine called ffww_mag. - OGI:NO KNAUSS - Lorenzo Tripodi ///Tech media and audiovideo Since 1995 Ogi:no knauss has been an independent research group concerned with communications, expression and making over the human environment. It is mainly a laboratory of mutant cinema, the laboratory constantly researching new means of expression and ways of communication through performances, video installations and VJ-ing applications. - HK-HACKER KULTURE- Maria Molinari ///Hacktivismo HK-Hacker Kulture is the first Italian web site devoted to hacker culture, philosophy, art, ethics and history. It was created in July 2002 within the Dvara.net site. HK contains a great number of data, information, texts, historical references, projects, fiction and reality. It provides a modern and updated retrospective view on the hacker culture and its cyberpunk beginnings. - ANTITESI - Domenico Sciajno ///Audiovideo and electronic music Antitesi is a self-documentation research and interdisciplinary development centre for modern art. Since 1995, it has devised various performing and promotion events where sound - and sound compared with other arts - plays the chief role. The latest projects are XS [not_only_sonic_acts] and Live!iXem, a contest-cum-festival. Sciajno is the creator of Antitesi, and in 2003 he started IXem, a virtual group formed by artists who conceive sound as an essential element in electronic experimentation and reflect on sound in relation to other arts. - RANDOM - Valentina Tanni ///netart e new media art Random =E8 dal 2001 una webzine che si occupa di new media art e cultura digitale. Dal 2001 al 2004 Random =E8 stata ospitata all'interno del portale dell'arte Exibart.com. Dopo qualche mese di pausa, =E8 tornato rinnovato, nella forma e nei contenuti, con un sito tutto suo. Tutti i territori della creativit=E0 elettronica ci interessano. Tutte le ibridazioni tra tecnologie e idee ci stimolano. Artisti, progetti, festival, dischi, film, conferenze, libri e siti web. Random =E8 anche una community di appassionati, ricercatori, studiosi e curiosi. Un posto dove condividere idee e conoscenze. ///////////////////////////////////////////////////////////////////////// ////////////////// DIGICULT activity is constituted by different cultural and communication initiative, some of them are already in action, some other still at a projecting step, open to new input and new initiatives born from the joint from different entity involved but also from the propositive participation of external freelancers, public or private, even international. ///EDITING Editing activity is focused on the issued of a monthly published e-magazine about the themes of digital culture and electronic. A e-mag with the precise aim to inform and deepen all the themes connected to culture, arts and electronic technologies, pointing out the existence of different realities and the connections between them. A digital magazine that represent something virtual made by freelancers, communicators and artists representative of small or bigger net community. Community as Artificialia, AHA, Basebog, Otolab, Invideo, Arcnaut, 48ore are going to look after the contents of the 8 section: Webart, Netart-Netactivism, VideoArt-Audiovideo, Electronic Music, Interaction Design, Robotics e A.I., NewMedia e Technology&Society. Editing activity has also the aim to augment its activity to production of every kind of quality content, connected to digital culture and arts, but based on its internal framework and on the experience of its partners. Publications, online content, editing activity, journalistic partnerships, text translation, autorial activity and ideation of editorial projects will be controlled by DIGICULT, together with its external authors. ///LIVE EVENTS Based on experience and a net of connections and contacts built during the past years, spent in contact with the world of national digital culture, professional structure of DIGICULT has the aim of organize events, festivals, performances, workshops and seminars linked to the theme fo culture and digital arts. For example, net-art, multimedia products, electronic music gig, video art festival, and connection between media and impact of new technologies on society. That's why DIGICULT has the undertaking of connect its activity of communication to a search of external sponsorship that can collaborate, to make an easier organization and production of event and seminars. ///CONSULTANCY Digicult's professional structure and its net of connections, contacts, and professional relationship are available for cultural reality and communication centre for partnership and consultancy for externalevents, workshop and seminars. Connections and the net of contacts both artistic and professional, connected to communication and consultancy make DIGICULT available as a partner to support concept, artistic direction and connections with other national and international cultural reality. ///MEDIA PARTNERSHIP Digicult activity can be translated as a counselor and a media partnership activity for all that professional reality, both public and private, able to propose project with the aim to spread digital culture. Offering its net of contacts, created from journalistic and counselor activity in national digital culture, its pack of knowledge, its culrturaland artistic know-how, its community and also its peculiar consultancy of sharing culture and minds, DIGICULT is a great partner to wotk as press agent for promotion of events connected to culture and digital arts. ///////////////////////////////////////////////////////////////////////// ////////////////// Marco Mancuso Redazione Digicult -------------------------- www.digicult.it www.digicult.it/digimag www.digicult.it/index_eng -------------------------- Largo Murani 4 - Milan Italy Tel. + 39-02-26117166 Mob. +39-340-8371816 ///apologies for any cross posting/// Dear all, I would like to introduce myself to the list. I'm Marco Mancuso, new media art journalist, curator and critic. I live and work in Milan, Italy and I would like to introduce you the cultural and editorial project DIGICULT (http://www.digicult.it) that I founded at the beginning of 2005. It's the first Italian web portal about electronic arts and digital culture and it's deep involved in the pubblication of the first monthly e-magazine called DIGIMAG (http://www.digicult.it/digimag) speaking about: netart, hacktivism, software art, video art, electronica, audiovideo, artificial intelligence, new media, performing art, interaction design. DIGICULT is also the first italian network of almost 30 people and 10 huge italian communities and projects collaborating to the magazine and the portal at large; some the best italian journalists, curators, critics and professionists of the growing and spreading new media culture in Italy. We would like to be the first cultural-editorial activist network project in Italy, completely indipendent, no dipending from any owner, writing and speaking and discussing and reflecting freely about everything we consider important today in the world of electronic culture and arts. From September you can browse DIGICULT also in english at http://www.digicult.it/index_eng.htm You can read here a deep description of the project DIGICULT and the people and communities involved Peace mk ///////////////////////////////////////////////////////////////////////// ////////////////// DIGICULT is a project of promotion and spreading of digital culture and electronic arts in Italy. It's based on a web portal, daily updated on themes: - Net Art - Hack Art - Software Art - Video Art - Elettronica - Audio Video - Performing Art - Intelligenza Artificiale - Interaction Design - Tech Media DIGICULT is the pubblisher of the monthly e-magazine DIGIMAG about electronic culture and digital arts DIGICULT is a professional reality made by different people, artists and freelancers that have experience in digital culture and electronic arts, and also in this border land that is communication through new media. Around a bunch of people working at editing process, concept, design and project ideation, there are some freelancers involved in the italian digital culture, themselves representative of small or bigger net community. ///EDITORIAL STAFF - Marco Mancuso - concept, design e coordinamento ///COLLABORATORS - Riccardo Vescovo - design magazine - Luca Pertegato - design portale - Luca Restifo - programmazione - Arianna D'Angelica - immagini ///CONTRIBUTORS - Luigi Pagliarini - produz. contenuti-Intelligenza Artificiale - Tatiana Bazzichelli - produz. - Hack Art e Net Art - Gianluca Del Gobbo - content production - Net Art - Bertram Niessen - content production - Audiovideo - Teresa De Feo -content production-Interaction Design - Miriam Petruzzelli - prod. contenuti - Interaction Design - Luigi Ghezzi - content production - Tech Media - Giulia Baldi - produzione contenut - Elettronica - Simona Brusa - content production-Interaction Design - Tiziana Gemin - content production-Interaction Design - Alex Dandi - content production - Elettronica - Simone Bertuzzi - content production - Elettronica - Domenico Quaranta - content production-Software Art - Maria Molinari - content production - Hack Art - Lorenzo Tripodi - content production - Tech Media - Massimo Schiavoni -content production-Performing Art - Mariangela Scalzi - prod. contenuti - Interaction Design - Monica Ponzini - content production - Video Art - Domenico Sciajno - content production - Audiovideo - Valentina Tanni - content production - Software art - Anna Manteverdi - content production- Performing Art - Motor - content production - Intelligenza Artificiale - Isabella Depanis - content production - Video Art - Beatrice Ferrario - content production - Net Art - Regine Debatty - content production - Hack Art - Fabio Franchino - content production - Software Art ///////////////////////////////////////////////////////////////////////// ////////////////// The DIGICULT project is based on the active participation of professional people who operate in the fields of culture and digital and electronic arts. Every professional person is involved in a web ommunity formed by other professional people, artists or just enthusiasts interested in the specific themes treated by DIGICULT project, i.e. web-art, net-art, hacking, video-art, electronics, audio-video, interaction design, robotics, Artificial Intelligence, the new media and technology. The large number of these communities - with the addition of a DIGICULT internal community - forms a great number of digital associations, which are kept constantly informed by the new monthly issue of DIGIMAG magazine of every activity concerning live events, news and media partnerships. Every community is called on to actively participate, also with the key professional people who are directly involved in the project. - ARTIFICIALIA - Luigi Pagliarini ///Robotics and Artificial Intelligence Artificialia is a cultural association aimed at promoting and protecting electronic art in Italy through artistic confrontation and far-reaching cooperation. Artificialia promotes the PEAM (Pescara Electronic Art Meeting), the yearly meeting of electronic artists. - AHA - Tatiana Bazzichelli ///Artivism and hacktivism AHA, Activism-Hacking-Artivism, is a networking project focused on hacktivism and experimental net art forms. The project was born in 2001. AHA organizes events and collective exhibitions; it manages a mailing list on artistic activism and is concerned with the spread of Italian and international hacktivism. - OTOLAB - Bertram Niessen ///Audiovideo and electronic music Otolab is a Milanese group concerned with the audiovisual in live media art, live electronics, the DJ-ing and VJ-ing fields. Since 2001 the group has been making significant attempts to integrate audio and video and set up site-specific performance. - SHOCKART - Gianluca Del Gobbo ///Netart and audiovideo The Shockart project was born in 1999 on the initiative of the Vernice cultural association. Shockart has now become a cultural landmark, and it is aimed at increasing the value of and spreading digital and web art. This project is also very close to the Flxer project, a VJ-ing open source software, which many Italian and European VJ-ing enthusiasts are now using. - ARCNAUT - Teresa De Feo/Miriam Petruzzelli ///Interaction design Arcnaut is a laboratory of the imaginary. It is devoted to interactive installations, the visual arts, robots, artistic, video and design productions. It originated from an idea of Mario Canali's. As a cultural centre, it is also involved in the promotion of events that combine technology and philosophy. - 48 ORE - Luigi Ghezzi ///Tech media 48 ORE aims to develop digital writing by means of various kinds of literary performances. The project is animated by six characters, and the main theatre is represented by certain Italian cities. These characters live and transcribe their meetings and feelings in real time (48 hours), which become real metropolitan short stories. - RISONANZAMAGNETICA/INVERNOMUTO-SimoneBertuzzi ///Electronic music Since 2003 Risonanza Magnetica has operated as an electronic music server and mail order supplier. Starting from an original sound and rhythm concept, RM has become concerned with the most creative hip hop and the most maddening electronic experiments. Invernomuto, created in 2003, is an audio-video experimentation group. The group periodically publishes a magazine called ffww_mag. - OGI:NO KNAUSS - Lorenzo Tripodi ///Tech media and audiovideo Since 1995 Ogi:no knauss has been an independent research group concerned with communications, expression and making over the human environment. It is mainly a laboratory of mutant cinema, the laboratory constantly researching new means of expression and ways of communication through performances, video installations and VJ-ing applications. - HK-HACKER KULTURE- Maria Molinari ///Hacktivismo HK-Hacker Kulture is the first Italian web site devoted to hacker culture, philosophy, art, ethics and history. It was created in July 2002 within the Dvara.net site. HK contains a great number of data, information, texts, historical references, projects, fiction and reality. It provides a modern and updated retrospective view on the hacker culture and its cyberpunk beginnings. - ANTITESI - Domenico Sciajno ///Audiovideo and electronic music Antitesi is a self-documentation research and interdisciplinary development centre for modern art. Since 1995, it has devised various performing and promotion events where sound - and sound compared with other arts - plays the chief role. The latest projects are XS [not_only_sonic_acts] and Live!iXem, a contest-cum-festival. Sciajno is the creator of Antitesi, and in 2003 he started IXem, a virtual group formed by artists who conceive sound as an essential element in electronic experimentation and reflect on sound in relation to other arts. - RANDOM - Valentina Tanni ///netart e new media art Random =E8 dal 2001 una webzine che si occupa di new media art e cultura digitale. Dal 2001 al 2004 Random =E8 stata ospitata all'interno del portale dell'arte Exibart.com. Dopo qualche mese di pausa, =E8 tornato rinnovato, nella forma e nei contenuti, con un sito tutto suo. Tutti i territori della creativit=E0 elettronica ci interessano. Tutte le ibridazioni tra tecnologie e idee ci stimolano. Artisti, progetti, festival, dischi, film, conferenze, libri e siti web. Random =E8 anche una community di appassionati, ricercatori, studiosi e curiosi. Un posto dove condividere idee e conoscenze. ///////////////////////////////////////////////////////////////////////// ////////////////// DIGICULT activity is constituted by different cultural and communication initiative, some of them are already in action, some other still at a projecting step, open to new input and new initiatives born from the joint from different entity involved but also from the propositive participation of external freelancers, public or private, even international. ///EDITING Editing activity is focused on the issued of a monthly published e-magazine about the themes of digital culture and electronic. A e-mag with the precise aim to inform and deepen all the themes connected to culture, arts and electronic technologies, pointing out the existence of different realities and the connections between them. A digital magazine that represent something virtual made by freelancers, communicators and artists representative of small or bigger net community. Community as Artificialia, AHA, Basebog, Otolab, Invideo, Arcnaut, 48ore are going to look after the contents of the 8 section: Webart, Netart-Netactivism, VideoArt-Audiovideo, Electronic Music, Interaction Design, Robotics e A.I., NewMedia e Technology&Society. Editing activity has also the aim to augment its activity to production of every kind of quality content, connected to digital culture and arts, but based on its internal framework and on the experience of its partners. Publications, online content, editing activity, journalistic partnerships, text translation, autorial activity and ideation of editorial projects will be controlled by DIGICULT, together with its external authors. ///LIVE EVENTS Based on experience and a net of connections and contacts built during the past years, spent in contact with the world of national digital culture, professional structure of DIGICULT has the aim of organize events, festivals, performances, workshops and seminars linked to the theme fo culture and digital arts. For example, net-art, multimedia products, electronic music gig, video art festival, and connection between media and impact of new technologies on society. That's why DIGICULT has the undertaking of connect its activity of communication to a search of external sponsorship that can collaborate, to make an easier organization and production of event and seminars. ///CONSULTANCY Digicult's professional structure and its net of connections, contacts, and professional relationship are available for cultural reality and communication centre for partnership and consultancy for externalevents, workshop and seminars. Connections and the net of contacts both artistic and professional, connected to communication and consultancy make DIGICULT available as a partner to support concept, artistic direction and connections with other national and international cultural reality. ///MEDIA PARTNERSHIP Digicult activity can be translated as a counselor and a media partnership activity for all that professional reality, both public and private, able to propose project with the aim to spread digital culture. Offering its net of contacts, created from journalistic and counselor activity in national digital culture, its pack of knowledge, its culrturaland artistic know-how, its community and also its peculiar consultancy of sharing culture and minds, DIGICULT is a great partner to wotk as press agent for promotion of events connected to culture and digital arts. ///////////////////////////////////////////////////////////////////////// ////////////////// Marco Mancuso Redazione Digicult -------------------------- www.digicult.it www.digicult.it/digimag www.digicult.it/index_eng -------------------------- Largo Murani 4 - Milan Italy Tel. + 39-02-26117166 Mob. +39-340-8371816 __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 12 Sep 2005 09:19:55 -0700 (PDT) message-id: <20050912161955.93080.qmail@web30503.mail.mud.yahoo.com> references: no_parent from: Michael Szpakowski subject: RHIZOME_RAW: three small movies Three small movies: http://www.somedancersandmusicians.com/Some_QuickTime_Movies/realm.mov http://www.somedancersandmusicians.com/Some_QuickTime_Movies/film.mov http://www.somedancersandmusicians.com/Some_QuickTime_Movies/dandelion_clock.mov realm has sound, the others are silent realm and film are derived from Prelinger Archive footage. 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 dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 12 Sep 2005 09:34:10 -0700 message-id: <200509121634.j8cgyafp009699@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: insect sex by Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?35311 + insect sex + + + As a media artist, I have naturally been compelled by the energy of web-based communication to endeavour some works for that context. Of course, over time, I couldn't help but notice that some of the most ingenious and cutting edge website technology (for better or worse) are being used by the porn industry. Porn dominates net traffic. One day I was surfing around, looking through some hack sites and my browser got attacked by a bunch of porn push ads. Nothing new about that, the underworld (underground?) connections of hack and porn are far-reaching. I was surprised this time however, that the ads wanted me to view some 'incest pics'. Suddenly I discovered a web of 'incest' sites, which seemed to me a pretty effective way to repackage ordinary porn as something even more forbidden. I was particularly impressed by the imaginative phrasings the site's anonymous creators came up with. So, by changing a few words around I tried to usurp the power of their dirty imaginations for a wholesome purpose. A lot of my work comes from the enquiry into how to use technologies of mass-control for artistic/liberating purposes. These 'incest sites' promised an enormous amount of content, yet clicking around, I found most of the links brought one to the same place. After mulling over it for a few days I decided to clone a couple of the pages I found, and interlink them in a mostly closed loop, change 'incest' to 'insect' and make the pages function as a portal to the fascinating world of incest sex. I could go on, but I'll let you contact me if you wish to discuss this work further... + + + Biography Curriculum Vitae (excerpt) BARUCH "BRUCE" GOTTLIEB Born: Montreal, Canada, Living and working in Berlin since 1999 B.F.A. Cinema (production) Concordia University, Montreal 1993 workshops with: Marie Chouinard, Meredith Monk Company, Noh Master Umewaka, Ida Kellarova, Louise Yard.... GRANTS AND PRIZES - Ronny Terry Award for creative excellence, St.Georges School, Montreal - Jeunes Createurs Grant (for FUNKELNAGELNEU show 'shoreside'), Ministere des loisirs chasse et peche, Quebec - PAFPS grant to young filmmakers, National Film Board of Canada, Montreal - ACREQ (association pour la creation radiophonique et electroacoustique du Quebec, commissioned work "Harking Out" - Financial support from Quebec House London, U.K for participation in 'Hearing is Believing' Festival of Radio art, Liverpool, U.K. - Financial support from Canadian Embassy Seoul for residency at Ssamzie Space Seoul, Korea - Travel Grant from the Canada Council for the Arts, to present L'AFRO Ca Circule, at the 6th Dak'Art Biennale, Dakar Senegal - 3rd Prize, 'Beyond' category MEMEFEST Festival of Radical Communications, for L'AFRO Ca Circule, Ljubljana, Slovenia Concept/installation Art: 2001: installation performance: PATTERn : “Kunst oder Konig“ Schloss Szenske, Brandenburg 2001: Pattern 2: “Pan Media“ Art in Progress, Berlin 2002: Pattern solo show, gallery loop, Seoul S.Korea 2002: video installation : Forgone : Villa Gottfried N’Gaparou, Senegal 2002: video/ media art installation: Common Currency - ILJU Art House, Seoul, S. Korea. 2002-3: Pattern at FACTORY Samcheongdong, Seoul, Korea 2003: Promising, Ssamzie Space Seoul, Korea (Culmination of a 5-month residency at Ssamzie Space, Seoul, Korea - supported by a grant from the Canadian Embassy, Seoul) 2003: Mooding: permanent installation (fiberoptics), City Hall of Gwangju, Korea 2004: Acrovista: permanent installation (terrazzo), Gyodae, Seoul, Korea 2004: Homage to Meret Oppenheim and the First Korean Surrealist Object (Hard and Soft Sculptures, sound, performance) Gallery Sup, Seoul, Korea 2004: Steps: permanent Installation (illuminated FRP, terrazzo), Gwangju Biennale Theme Park, Gwangju Korea 2005: Pinked Galicia: large-scale installation (120m2 printed cushion, 4 video projectors, sound), Prince Takamado Gallery, Canadian Embassy, Tokyo Netart/Electronic 2001: PATTERN in Computer Space, Computer art festival, Sofia Bulgaria 2001: Launch Vociferous.org (a resonant space for news) 2002: Random Browser (software art) 2002: PAN Media (net art) at ArtInProgress, Berlin/ vociferous.org 2002: deberlinisation.de and AFRO at the forum des arts electroniques/NetArt 5eme Biennale des Arts Africains Dak'Art + workshops, presentations 2003: vociferous.org at Memefest : International Festival of Radical Communication 2004: the AFRO at Memefest : International Festival of Radical Communication (A-Listed! 3rd in 'Beyond' category) Film TV, video 1993: wrote, directed , edited, produced “Milk in Grandma’s Bed“ 15mins 16mm color sound, poetic symbolist narrative 1995: wrote, directed , edited, produced “Proposal for Dog Brain“ 72mins 16mm color sound, an elaborate entropy fiction with futuristic body-oriented narrative style, supported by the National Film Board of Canada PAFPS programme. 1999-2000 video collaboration with Jinran Kim “Yearning for Siesta“ collection of Frankfurt Museum of Modern Art 2001: collaboration with Jinran Kim: “End of the Lee Dynasty“ premiere at Art Cologne 2001 2002: before bed w/ jinran kim presented in the installation 'Exercise in Futility', various locations 2003: Creator, host, curator, organiser (with Shin Hyunjin) Video Culture Lounge presents IDL-TV 1 & 2, concept video projection evenings including curated video art selection, live video mixing and performance video... at Ssori Cafe, Ssamzie Space, Seoul, Korea 2003: Chae Gyung Tae, A portrait 2003: 50th Anniversary of DaeBorum 1953: presented at IDL-TV, on ARTV, Seoul and on Simspace, online artists' Community 2003: 50th Anniversary of Chusok 1953 Social Art: 1996: La relance de l’esprit createur : cross-cultural rapprochement the day after the referendum on independence : poetry, music and political machinations 1997: People Tan: large-scale social exchange forum with entertainers and pudits, fire-breathers, award-winning novelists, rock bands, politicians, accountants, academics and more. 2000-1: artspace Kimgottlieb: creative, curatorial activities in Berlin and cyberspace: kimgottlieb.com 2001: Moabit Medien Center, Berlin 2002: Bienvenue L'Afro 5eme Biennale de Dakar Senegal (with Mansour Ciss) installation, performance, workshops 2004: L'Afro, Ca Circule! 6eme Biennale de Dakar Senegal (with Mansour Ciss) installation, performance, workshops Supported by a travel grant from the Canada Council for the Arts radio/sound art 1990-1997: The unmitigated tetanus hour: weekly radio program broadcast throughout Quebe and northwest US on CKUT-FM 1991: Radio Svetlna Vlna: a week of live programming on Radio 1, Prague as part of Festival Svetla 1994: Rumble - Bruits du Noir 1 - Studio 303, Montreal 1995: interactive polytemporal polyspacial work “Harking Out“ commissioned by ACREQ (Association de la Creation Radiophonique et Electronique du Quebec), broadcasted as part of Journees Electro Radio Days. 1996: The sequel: “Harkening Out“ commissioned by British Council and supported by Quebec House London 1996: “Chairo no Show“: 12 episodes with Hitomi Kamanaka and Sumire Kiyose, feature at the Center for Art Tapes, Halifax, Nova Scotia 1997: a week of live radio art on “Hearing is Believing“ Liverpool New Media Festival, workshops in Radio Art at University of Cumberland 1998: Coming to: fantasized reality live theatre for radio, with Bobby Theodore, "Flo", Marc Boucher Music 1985-present: composed music/sound tracks for dance and theater (Vitali Dance Company, Shigeru Araki, Marc Boucher, Maryse Poulin, playwright’s workshop Montreal), and many other creations, over 50 performances. Recordings with Starbean, the Snitches, Christoph Heemann, Funkelnagelneu, Guestar. Martin Talbot, among others. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 12 Sep 2005 19:15:25 +0200 message-id: <069f01c5b7bd$90fe3d10$33405001@marcowwf1hbdmb> references: from: Digicult subject: Re: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE Dear Pall "It's the first Italian web portal about electronic arts and digital culture and it's deep involved in the pubblication of the first monthly e-magazine called Digimag speaking about: netart, hacktivism, software art, video art, electronica, audiovideo, artificial intelligence, new media, performing art, interaction design" I know Neural very well and I love and respect it from a lot of years, I know how much was important in Italy when anybody spoke about electronic culture and arts. But, as me and Alessandro discussed some months ago, our project are very different and we walk on parallel sides. It's the reason why I call Digicult a "portal" about electronic arts "in general" with a monthly regular magazine only on the web. If you face the 2 projects and you read everything deeply you will see the main differences as I report completely at the beginning of my answer, that's way I thing Digicult is new, in Italy at the moment and I hope for long time I hope you will visit Digicult in the next time and discuss with us about your feelings mk ----- Original Message ----- From: "Pall Thayer" To: "Digicult" Cc: Sent: Monday, September 12, 2005 6:39 PM Subject: Re: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE It's always great to see new attention being given to the field but I wonder why you call DIGICULT "The first Italian web portal about electronic arts and digital culture" when Neural.it (http:// www.neural.it) has been around for some years now. Pall On 12.9.2005, at 10:18, Digicult wrote: > ///apologies for any cross posting/// > > Dear all, > > I would like to introduce myself to the list. I'm Marco Mancuso, new > media > art journalist, curator and critic. I live and work in Milan, Italy and I > would like to introduce you the cultural and editorial project DIGICULT > (http://www.digicult.it) that I founded at the beginning of 2005. It's > the > first Italian web portal about electronic arts and digital culture and > it's > deep involved in the pubblication of the first monthly e-magazine called > DIGIMAG (http://www.digicult.it/digimag) speaking about: netart, > hacktivism, > software art, video art, electronica, audiovideo, artificial > intelligence, > new media, performing art, interaction design. DIGICULT is also the > first > italian > network of almost 30 people and 10 huge italian communities and projects > collaborating to the magazine and the portal at large; some the best > italian > journalists, curators, critics and professionists of the growing and > spreading new media culture in Italy. We would like to be the first > cultural-editorial activist network project in Italy, completely > indipendent, no dipending from any owner, writing and speaking and > discussing and reflecting freely about everything we consider important > today in the world of electronic culture and arts. From September you can > browse DIGICULT also in english at http://www.digicult.it/ index_eng.htm > > You can read here a deep description of the project DIGICULT and the > people > and communities involved > > Peace > mk > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > DIGICULT is a project of promotion and spreading of digital culture and > electronic arts in Italy. It's based on a web portal, daily updated on > themes: > > - Net Art > - Hack Art > - Software Art > - Video Art > - Elettronica > - Audio Video > - Performing Art > - Intelligenza Artificiale > - Interaction Design > - Tech Media > > DIGICULT is the pubblisher of the monthly e-magazine DIGIMAG > about electronic culture and digital arts > > DIGICULT is a professional reality made by different people, artists and > freelancers that have experience in digital culture and electronic arts, > and > also in this border land that is communication through new media. Around > a > bunch of people working at editing process, concept, design and project > ideation, there are some freelancers involved in the italian digital > culture, themselves representative of small or bigger net community. > > ///EDITORIAL STAFF > > - Marco Mancuso - concept, design e coordinamento > > ///COLLABORATORS > > - Riccardo Vescovo - design magazine > > - Luca Pertegato - design portale > > - Luca Restifo - programmazione > > - Arianna D'Angelica - immagini > > ///CONTRIBUTORS > > - Luigi Pagliarini - produz. contenuti-Intelligenza Artificiale > > - Tatiana Bazzichelli - produz. - Hack Art e Net Art > > - Gianluca Del Gobbo - content production - Net Art > > - Bertram Niessen - content production - Audiovideo > > - Teresa De Feo -content production-Interaction Design > > - Miriam Petruzzelli - prod. contenuti - Interaction Design > > - Luigi Ghezzi - content production - Tech Media > > - Giulia Baldi - produzione contenut - Elettronica > > - Simona Brusa - content production-Interaction Design > > - Tiziana Gemin - content production-Interaction Design > > - Alex Dandi - content production - Elettronica > > - Simone Bertuzzi - content production - Elettronica > > - Domenico Quaranta - content production-Software Art > > - Maria Molinari - content production - Hack Art > > - Lorenzo Tripodi - content production - Tech Media > > - Massimo Schiavoni -content production-Performing Art > > - Mariangela Scalzi - prod. contenuti - Interaction Design > > - Monica Ponzini - content production - Video Art > > - Domenico Sciajno - content production - Audiovideo > > - Valentina Tanni - content production - Software art > > - Anna Manteverdi - content production- Performing Art > > - Motor - content production - Intelligenza Artificiale > > - Isabella Depanis - content production - Video Art > > - Beatrice Ferrario - content production - Net Art > > - Regine Debatty - content production - Hack Art > > - Fabio Franchino - content production - Software Art > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > The DIGICULT project is based on the active participation of professional > people who operate in the fields of culture and digital and electronic > arts. > Every professional person is involved in a web ommunity formed by other > professional people, artists or just enthusiasts interested in the > specific > themes treated by DIGICULT project, i.e. web-art, net-art, hacking, > video-art, electronics, audio-video, interaction design, robotics, > Artificial Intelligence, the new media and technology. > > The large number of these communities - with the addition of a DIGICULT > internal community - forms a great number of digital associations, which > are > kept constantly informed by the new monthly issue of DIGIMAG magazine of > every activity concerning live events, news and media partnerships. Every > community is called on to actively participate, also with the key > professional people who are directly involved in the project. > > - ARTIFICIALIA - Luigi Pagliarini > > ///Robotics and Artificial Intelligence > > Artificialia is a cultural association aimed at promoting and protecting > electronic art in Italy through artistic confrontation and far- reaching > cooperation. Artificialia promotes the PEAM (Pescara Electronic Art > Meeting), the yearly meeting of electronic artists. > > - AHA - Tatiana Bazzichelli > > ///Artivism and hacktivism > > AHA, Activism-Hacking-Artivism, is a networking project focused on > hacktivism and experimental net art forms. The project was born in 2001. > AHA > organizes events and collective exhibitions; it manages a mailing list on > artistic activism and is concerned with the spread of Italian and > international hacktivism. > > - OTOLAB - Bertram Niessen > > ///Audiovideo and electronic music > > Otolab is a Milanese group concerned with the audiovisual in live media > art, > live electronics, the DJ-ing and VJ-ing fields. Since 2001 the group has > been making significant attempts to integrate audio and video and set up > site-specific performance. > > - SHOCKART - Gianluca Del Gobbo > > ///Netart and audiovideo > > The Shockart project was born in 1999 on the initiative of the Vernice > cultural association. Shockart has now become a cultural landmark, and it > is > aimed at increasing the value of and spreading digital and web art. This > project is also very close to the Flxer project, a VJ-ing open source > software, which many Italian and European VJ-ing enthusiasts are now > using. > > - ARCNAUT - Teresa De Feo/Miriam Petruzzelli > > ///Interaction design > > Arcnaut is a laboratory of the imaginary. It is devoted to interactive > installations, the visual arts, robots, artistic, video and design > productions. It originated from an idea of Mario Canali's. As a cultural > centre, it is also involved in the promotion of events that combine > technology and philosophy. > > - 48 ORE - Luigi Ghezzi > > ///Tech media > > 48 ORE aims to develop digital writing by means of various kinds of > literary > performances. The project is animated by six characters, and the main > theatre is represented by certain Italian cities. These characters live > and > transcribe their meetings and feelings in real time (48 hours), which > become > real metropolitan short stories. > > - RISONANZAMAGNETICA/INVERNOMUTO-SimoneBertuzzi > > ///Electronic music > > Since 2003 Risonanza Magnetica has operated as an electronic music server > and mail order supplier. Starting from an original sound and rhythm > concept, > RM has become concerned with the most creative hip hop and the most > maddening electronic experiments. Invernomuto, created in 2003, is an > audio-video experimentation group. The group periodically publishes a > magazine called ffww_mag. > > - OGI:NO KNAUSS - Lorenzo Tripodi > > ///Tech media and audiovideo > > Since 1995 Ogi:no knauss has been an independent research group concerned > with communications, expression and making over the human environment. It > is > mainly a laboratory of mutant cinema, the laboratory constantly > researching > new means of expression and ways of communication through performances, > video installations and VJ-ing applications. > > - HK-HACKER KULTURE- Maria Molinari > > ///Hacktivismo > > HK-Hacker Kulture is the first Italian web site devoted to hacker > culture, > philosophy, art, ethics and history. It was created in July 2002 within > the > Dvara.net site. HK contains a great number of data, information, texts, > historical references, projects, fiction and reality. It provides a > modern > and updated retrospective view on the hacker culture and its cyberpunk > beginnings. > > - ANTITESI - Domenico Sciajno > > ///Audiovideo and electronic music > > Antitesi is a self-documentation research and interdisciplinary > development > centre for modern art. Since 1995, it has devised various performing and > promotion events where sound - and sound compared with other arts - plays > the chief role. The latest projects are XS [not_only_sonic_acts] and > Live!iXem, a contest-cum-festival. Sciajno is the creator of Antitesi, > and > in 2003 he started IXem, a virtual group formed by artists who conceive > sound as an essential element in electronic experimentation and reflect > on > sound in relation to other arts. > > - RANDOM - Valentina Tanni > > ///netart e new media art > > Random dal 2001 una webzine che si occupa di new media art e cultura > digitale. Dal 2001 al 2004 Random stata ospitata all'interno del > portale > dell'arte Exibart.com. Dopo qualche mese di pausa, tornato rinnovato, > nella forma e nei contenuti, con un sito tutto suo. Tutti i territori > della > creativit elettronica ci interessano. Tutte le ibridazioni tra > tecnologie e > idee ci stimolano. Artisti, progetti, festival, dischi, film, conferenze, > libri e siti web. Random anche una community di appassionati, > ricercatori, > studiosi e curiosi. Un posto dove condividere idee e conoscenze. > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > DIGICULT activity is constituted by different cultural and communication > initiative, some of them are already in action, some other still at a > projecting step, open to new input and new initiatives born from the > joint > from different entity involved but also from the propositive > participation > of external freelancers, public or private, even international. > > ///EDITING > > Editing activity is focused on the issued of a monthly published e- > magazine > about the themes of digital culture and electronic. A e-mag with the > precise > aim to inform and deepen all the themes connected to culture, arts and > electronic technologies, pointing out the existence of different > realities > and the connections between them. A digital magazine that represent > something virtual made by freelancers, communicators and artists > representative of small or bigger net community. Community as > Artificialia, > AHA, Basebog, Otolab, Invideo, Arcnaut, 48ore are going to look after the > contents of the 8 section: Webart, Netart-Netactivism, VideoArt- > Audiovideo, > Electronic Music, Interaction Design, Robotics e A.I., NewMedia e > Technology&Society. > > Editing activity has also the aim to augment its activity to production > of > every kind of quality content, connected to digital culture and arts, but > based on its internal framework and on the experience of its partners. > Publications, online content, editing activity, journalistic > partnerships, > text translation, autorial activity and ideation of editorial projects > will > be controlled by DIGICULT, together with its external authors. > > ///LIVE EVENTS > > Based on experience and a net of connections and contacts built during > the > past years, spent in contact with the world of national digital culture, > professional structure of DIGICULT has the aim of organize events, > festivals, performances, workshops and seminars linked to the theme fo > culture and digital arts. For example, net-art, multimedia products, > electronic music gig, video art festival, and connection between media > and > impact of new technologies on society. That's why DIGICULT has the > undertaking of connect its activity of communication to a search of > external > sponsorship that can collaborate, to make an easier organization and > production of event and seminars. > > ///CONSULTANCY > > Digicult's professional structure and its net of connections, contacts, > and > professional relationship are available for cultural reality and > communication centre for partnership and consultancy for externalevents, > workshop and seminars. Connections and the net of contacts both artistic > and professional, connected to communication and consultancy make > DIGICULT > available as a partner to support concept, artistic direction and > connections with other national and international cultural reality. > > ///MEDIA PARTNERSHIP > > Digicult activity can be translated as a counselor and a media > partnership > activity for all that professional reality, both public and private, able > to > propose project with the aim to spread digital culture. > > Offering its net of contacts, created from journalistic and counselor > activity in national digital culture, its pack of knowledge, its > culrturaland artistic know-how, its community and also its peculiar > consultancy of sharing culture and minds, DIGICULT is a great partner to > wotk as press agent for promotion of events connected to culture and > digital > arts. > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > Marco Mancuso > Redazione Digicult > -------------------------- > www.digicult.it > www.digicult.it/digimag > www.digicult.it/index_eng > -------------------------- > Largo Murani 4 - Milan > Italy > Tel. + 39-02-26117166 > Mob. +39-340-8371816 > ///apologies for any cross posting/// > > Dear all, > > I would like to introduce myself to the list. I'm Marco Mancuso, new > media > art journalist, curator and critic. I live and work in Milan, Italy and I > would like to introduce you the cultural and editorial project DIGICULT > (http://www.digicult.it) that I founded at the beginning of 2005. It's > the > first Italian web portal about electronic arts and digital culture and > it's > deep involved in the pubblication of the first monthly e-magazine called > DIGIMAG (http://www.digicult.it/digimag) speaking about: netart, > hacktivism, > software art, video art, electronica, audiovideo, artificial > intelligence, > new media, performing art, interaction design. DIGICULT is also the > first > italian > network of almost 30 people and 10 huge italian communities and projects > collaborating to the magazine and the portal at large; some the best > italian > journalists, curators, critics and professionists of the growing and > spreading new media culture in Italy. We would like to be the first > cultural-editorial activist network project in Italy, completely > indipendent, no dipending from any owner, writing and speaking and > discussing and reflecting freely about everything we consider important > today in the world of electronic culture and arts. From September you can > browse DIGICULT also in english at http://www.digicult.it/ index_eng.htm > > You can read here a deep description of the project DIGICULT and the > people > and communities involved > > Peace > mk > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > DIGICULT is a project of promotion and spreading of digital culture and > electronic arts in Italy. It's based on a web portal, daily updated on > themes: > > - Net Art > - Hack Art > - Software Art > - Video Art > - Elettronica > - Audio Video > - Performing Art > - Intelligenza Artificiale > - Interaction Design > - Tech Media > > DIGICULT is the pubblisher of the monthly e-magazine DIGIMAG > about electronic culture and digital arts > > DIGICULT is a professional reality made by different people, artists and > freelancers that have experience in digital culture and electronic arts, > and > also in this border land that is communication through new media. Around > a > bunch of people working at editing process, concept, design and project > ideation, there are some freelancers involved in the italian digital > culture, themselves representative of small or bigger net community. > > ///EDITORIAL STAFF > > - Marco Mancuso - concept, design e coordinamento > > ///COLLABORATORS > > - Riccardo Vescovo - design magazine > > - Luca Pertegato - design portale > > - Luca Restifo - programmazione > > - Arianna D'Angelica - immagini > > ///CONTRIBUTORS > > - Luigi Pagliarini - produz. contenuti-Intelligenza Artificiale > > - Tatiana Bazzichelli - produz. - Hack Art e Net Art > > - Gianluca Del Gobbo - content production - Net Art > > - Bertram Niessen - content production - Audiovideo > > - Teresa De Feo -content production-Interaction Design > > - Miriam Petruzzelli - prod. contenuti - Interaction Design > > - Luigi Ghezzi - content production - Tech Media > > - Giulia Baldi - produzione contenut - Elettronica > > - Simona Brusa - content production-Interaction Design > > - Tiziana Gemin - content production-Interaction Design > > - Alex Dandi - content production - Elettronica > > - Simone Bertuzzi - content production - Elettronica > > - Domenico Quaranta - content production-Software Art > > - Maria Molinari - content production - Hack Art > > - Lorenzo Tripodi - content production - Tech Media > > - Massimo Schiavoni -content production-Performing Art > > - Mariangela Scalzi - prod. contenuti - Interaction Design > > - Monica Ponzini - content production - Video Art > > - Domenico Sciajno - content production - Audiovideo > > - Valentina Tanni - content production - Software art > > - Anna Manteverdi - content production- Performing Art > > - Motor - content production - Intelligenza Artificiale > > - Isabella Depanis - content production - Video Art > > - Beatrice Ferrario - content production - Net Art > > - Regine Debatty - content production - Hack Art > > - Fabio Franchino - content production - Software Art > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > The DIGICULT project is based on the active participation of professional > people who operate in the fields of culture and digital and electronic > arts. > Every professional person is involved in a web ommunity formed by other > professional people, artists or just enthusiasts interested in the > specific > themes treated by DIGICULT project, i.e. web-art, net-art, hacking, > video-art, electronics, audio-video, interaction design, robotics, > Artificial Intelligence, the new media and technology. > > The large number of these communities - with the addition of a DIGICULT > internal community - forms a great number of digital associations, which > are > kept constantly informed by the new monthly issue of DIGIMAG magazine of > every activity concerning live events, news and media partnerships. Every > community is called on to actively participate, also with the key > professional people who are directly involved in the project. > > - ARTIFICIALIA - Luigi Pagliarini > > ///Robotics and Artificial Intelligence > > Artificialia is a cultural association aimed at promoting and protecting > electronic art in Italy through artistic confrontation and far- reaching > cooperation. Artificialia promotes the PEAM (Pescara Electronic Art > Meeting), the yearly meeting of electronic artists. > > - AHA - Tatiana Bazzichelli > > ///Artivism and hacktivism > > AHA, Activism-Hacking-Artivism, is a networking project focused on > hacktivism and experimental net art forms. The project was born in 2001. > AHA > organizes events and collective exhibitions; it manages a mailing list on > artistic activism and is concerned with the spread of Italian and > international hacktivism. > > - OTOLAB - Bertram Niessen > > ///Audiovideo and electronic music > > Otolab is a Milanese group concerned with the audiovisual in live media > art, > live electronics, the DJ-ing and VJ-ing fields. Since 2001 the group has > been making significant attempts to integrate audio and video and set up > site-specific performance. > > - SHOCKART - Gianluca Del Gobbo > > ///Netart and audiovideo > > The Shockart project was born in 1999 on the initiative of the Vernice > cultural association. Shockart has now become a cultural landmark, and it > is > aimed at increasing the value of and spreading digital and web art. This > project is also very close to the Flxer project, a VJ-ing open source > software, which many Italian and European VJ-ing enthusiasts are now > using. > > - ARCNAUT - Teresa De Feo/Miriam Petruzzelli > > ///Interaction design > > Arcnaut is a laboratory of the imaginary. It is devoted to interactive > installations, the visual arts, robots, artistic, video and design > productions. It originated from an idea of Mario Canali's. As a cultural > centre, it is also involved in the promotion of events that combine > technology and philosophy. > > - 48 ORE - Luigi Ghezzi > > ///Tech media > > 48 ORE aims to develop digital writing by means of various kinds of > literary > performances. The project is animated by six characters, and the main > theatre is represented by certain Italian cities. These characters live > and > transcribe their meetings and feelings in real time (48 hours), which > become > real metropolitan short stories. > > - RISONANZAMAGNETICA/INVERNOMUTO-SimoneBertuzzi > > ///Electronic music > > Since 2003 Risonanza Magnetica has operated as an electronic music server > and mail order supplier. Starting from an original sound and rhythm > concept, > RM has become concerned with the most creative hip hop and the most > maddening electronic experiments. Invernomuto, created in 2003, is an > audio-video experimentation group. The group periodically publishes a > magazine called ffww_mag. > > - OGI:NO KNAUSS - Lorenzo Tripodi > > ///Tech media and audiovideo > > Since 1995 Ogi:no knauss has been an independent research group concerned > with communications, expression and making over the human environment. It > is > mainly a laboratory of mutant cinema, the laboratory constantly > researching > new means of expression and ways of communication through performances, > video installations and VJ-ing applications. > > - HK-HACKER KULTURE- Maria Molinari > > ///Hacktivismo > > HK-Hacker Kulture is the first Italian web site devoted to hacker > culture, > philosophy, art, ethics and history. It was created in July 2002 within > the > Dvara.net site. HK contains a great number of data, information, texts, > historical references, projects, fiction and reality. It provides a > modern > and updated retrospective view on the hacker culture and its cyberpunk > beginnings. > > - ANTITESI - Domenico Sciajno > > ///Audiovideo and electronic music > > Antitesi is a self-documentation research and interdisciplinary > development > centre for modern art. Since 1995, it has devised various performing and > promotion events where sound - and sound compared with other arts - plays > the chief role. The latest projects are XS [not_only_sonic_acts] and > Live!iXem, a contest-cum-festival. Sciajno is the creator of Antitesi, > and > in 2003 he started IXem, a virtual group formed by artists who conceive > sound as an essential element in electronic experimentation and reflect > on > sound in relation to other arts. > > - RANDOM - Valentina Tanni > > ///netart e new media art > > Random dal 2001 una webzine che si occupa di new media art e cultura > digitale. Dal 2001 al 2004 Random stata ospitata all'interno del > portale > dell'arte Exibart.com. Dopo qualche mese di pausa, tornato rinnovato, > nella forma e nei contenuti, con un sito tutto suo. Tutti i territori > della > creativit elettronica ci interessano. Tutte le ibridazioni tra > tecnologie e > idee ci stimolano. Artisti, progetti, festival, dischi, film, conferenze, > libri e siti web. Random anche una community di appassionati, > ricercatori, > studiosi e curiosi. Un posto dove condividere idee e conoscenze. > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > DIGICULT activity is constituted by different cultural and communication > initiative, some of them are already in action, some other still at a > projecting step, open to new input and new initiatives born from the > joint > from different entity involved but also from the propositive > participation > of external freelancers, public or private, even international. > > ///EDITING > > Editing activity is focused on the issued of a monthly published e- > magazine > about the themes of digital culture and electronic. A e-mag with the > precise > aim to inform and deepen all the themes connected to culture, arts and > electronic technologies, pointing out the existence of different > realities > and the connections between them. A digital magazine that represent > something virtual made by freelancers, communicators and artists > representative of small or bigger net community. Community as > Artificialia, > AHA, Basebog, Otolab, Invideo, Arcnaut, 48ore are going to look after the > contents of the 8 section: Webart, Netart-Netactivism, VideoArt- > Audiovideo, > Electronic Music, Interaction Design, Robotics e A.I., NewMedia e > Technology&Society. > > Editing activity has also the aim to augment its activity to production > of > every kind of quality content, connected to digital culture and arts, but > based on its internal framework and on the experience of its partners. > Publications, online content, editing activity, journalistic > partnerships, > text translation, autorial activity and ideation of editorial projects > will > be controlled by DIGICULT, together with its external authors. > > ///LIVE EVENTS > > Based on experience and a net of connections and contacts built during > the > past years, spent in contact with the world of national digital culture, > professional structure of DIGICULT has the aim of organize events, > festivals, performances, workshops and seminars linked to the theme fo > culture and digital arts. For example, net-art, multimedia products, > electronic music gig, video art festival, and connection between media > and > impact of new technologies on society. That's why DIGICULT has the > undertaking of connect its activity of communication to a search of > external > sponsorship that can collaborate, to make an easier organization and > production of event and seminars. > > ///CONSULTANCY > > Digicult's professional structure and its net of connections, contacts, > and > professional relationship are available for cultural reality and > communication centre for partnership and consultancy for externalevents, > workshop and seminars. Connections and the net of contacts both artistic > and professional, connected to communication and consultancy make > DIGICULT > available as a partner to support concept, artistic direction and > connections with other national and international cultural reality. > > ///MEDIA PARTNERSHIP > > Digicult activity can be translated as a counselor and a media > partnership > activity for all that professional reality, both public and private, able > to > propose project with the aim to spread digital culture. > > Offering its net of contacts, created from journalistic and counselor > activity in national digital culture, its pack of knowledge, its > culrturaland artistic know-how, its community and also its peculiar > consultancy of sharing culture and minds, DIGICULT is a great partner to > wotk as press agent for promotion of events connected to culture and > digital > arts. > > ////////////////////////////////////////////////////////////////////// > ///////////////////// > > Marco Mancuso > Redazione Digicult > -------------------------- > www.digicult.it > www.digicult.it/digimag > www.digicult.it/index_eng > -------------------------- > Largo Murani 4 - Milan > Italy > Tel. + 39-02-26117166 > Mob. +39-340-8371816 > -- 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, 12 Sep 2005 11:22:00 -0700 message-id: <200509121822.j8cim0fp028291@idx164.idx.net> references: no_parent from: Rhizome.org subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Happy Holidays by Jessica Gomula Just added to the Rhizome ArtBase ... http://rhizome.org/object.rhiz?34821 + Happy Holidays + + Jessica Gomula + Part of an online, working, in progress, and definitely incomplete sketchbook of projects dedicated to the testing and development of interactive new media projects which explore the shifting boundaries of the erotic, as they change legally, culturally, physically, and technologically. This project asks: what happens when Santa Claus and Dr. Ruth bring people holiday presents to enjoy during their playtime together? Watch the video to find out! + + + Biography Jessica Gomula will be joining California State University, Stanislaus as the professor of printmaking and new media in the Fall of 2005. Jessica received a BFA from the Atlanta College of Art in 1996, and her MFA from Illinois State University in 2000. She has since taught new media and web design for Bradley University and Heartland Community College, IL, and has developed web sites and Flash media for a wide range of clients. EDUCATION 2000 - Master of Fine Arts, Illinois State University, Normal, IL 1996 - Bachelor of Fine Arts, Atlanta College of Art, Atlanta, GA SELECTED EXHIBITIONS 2005 - “A Decade of Webdesign,” Stedelijk Museum, Amsterdam, and http://www.designtimeline.org/ - Museum of the Essential and Beyond That: http://arteonline.arq.br/festival/festival.html - Pendu Gallery: http://www.pendugallery.com 2004 - “ArtOMatic 2004,” ArtOMatic, Washington, D.C. - "Snap to Grid," Los Angeles Center for Digital Art, Los Angeles, CA - “100 (11) Instruction Works,” Ikatun.com: http://www.ikatun.com/100-11/php/gallery.php#anchor75 - Transition Media: http://www.transition-media.com - Artists-Union: http://www.artists-union.co.uk - Rhizome.org Artbase: http://rhizome.org/object.rhiz?23124 - FlashKit.com: http://flashkit.com/links/new/more8.php 2003 - "Hot House," Art House, Oak Park, IL www.sito.org/synergy, Individual artwork and on-going collaboration. 2002 - Michigan State University, Lansing, MI - "Pilgrimage: Travel Towards the Sacred," NewYork, NY 2001, 2002 - Bloomington-Normal Short Film Festival, Bloomington, IL 2001 - "Hearts," Group mail art exhibition, Victorville, CA 2000 - "Transformations", University Galleries, Normal, IL, solo exhibit 1999 - "SPRINGfever," Phoenix Gallery, Bloomington, IL 1998 - "Positive Negative," Slocumb Galleries, Johnson City, TN - "New Do," Phoenix Gallery, Bloomington, IL - "10th Annual National Print Exhibition," South Gallery, Jacksonville, FL 1996 - "Printmakers," New Visions Gallery, Atlanta, GA 1995 - "Advanced Printmaking," Rolling Stone Gallery, Atlanta, GA + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 12 Sep 2005 19:53:39 +0100 message-id: references: no_parent from: susana mendes silva subject: RHIZOME_RAW: 1A+1P+1A Susana Mendes Silva+ P=FAblico (Centerfold)+ J=FCrgen Bock Entre as Linhas: O Impulso Aleg=F3rico no Trabalho da Susana Mendes Silva | Between the Lines: The Allegorical Impulse in the Work of Susana Mendes Silva http://www.anamnese.pt/index2.php?projecto=3Dapa or write an email to:Ana Villa (concursoae@correo.cnart.mx) + -> 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 date: Mon, 12 Sep 2005 12:43:16 -0700 message-id: <200509121943.j8cjhgmf006895@idx164.idx.net> references: no_parent from: Lisa Mezzacappa subject: RHIZOME_RAW: packet at New Langton Arts fall 2005 New Langton Arts, San Francisco, presents two Net Art projects this fall as part of packet, an ongoing online exhibition program. Visit http://www.newlangtonarts.org September 2 – October 6 AX/BX (2005) Brent Gustafson Brent Gustafson’s programs AX and BX create new digital artworks by interacting with images from video game start-up screens. Brent Gustafson graduated from St. Norbert College with a BS in Computer Science and Mathematics and a minor in Graphic Design. He is currently working as a New Media Designer at the Walker Art Center, Minneapolis, MN. October 7 – November 3 proto_gabber 3.11 (2005) Peter Luining Peer Luining’s proto_gabber 3.11 is an interactive work in which viewers set bright-colored squares in motion to create patterns of motion and sound. Peter Luining has exhibited worldwide in exhibitions including Sonar 2005 (2005), Barcelona, Spain; (2005), Knapstrup Kulturfabrik, Copenhagen, Denmark; and Korea Webart (2004), at PC Bang, Seoul, South Korea. Luining has also worked as a curator on projects such as Netaffects (2000). Luining lives and works in Amsterdam, Netherlands. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 12 Sep 2005 22:12:13 +0200 message-id: <20050912201237.yglf2093.amsfep12-int.chello.nl@vilt> references: no_parent from: Dirk Vekemans subject: RHIZOME_RAW: =?iso-8859-1?Q?biblio-NA=E2rt? 2 Towers & a Scroll of Books you could Buy greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee Festival from December 6 to 11, 2005. The deadline for the contest is September 30, 2005. For information on the required documents, and in order to complete the entry form visit: http://transitiomx.cenart.gob.mx or write an email to:Ana Villa (concursoae@correo.cnart.mx) + -> 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 date: Mon, 12 Sep 2005 13:15:24 -0700 message-id: <200509122015.j8ckfotd011648@idx164.idx.net> references: no_parent from: Indi McCarthy subject: RHIZOME_RAW: The Beall Center presents Five (5) October 4 ­ December 10, 2005 Meet the Artists Reception: October 1, 6:00-9:00 pm Boutique Vizique Camille Utterback Keiko Takahashi Smart studio, Interactive Institute Christa Sommerer & Laurent Mignonneau Curator Pamela Winfrey, of San Francisco’s Exploratorium, joins forces with the Beall Center to bring together this charming, international celebration of the new media arts. http://beallcenter.uci.edu 949.824.4339 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Leena Saarinen is a new media arts and information technology graduate, and is completing her DA dissertation in computer mediated communication at UIAH, Helsinki. Her MA thesis explored interactive charachters (chatterbots) and virtual communities. She has been experimenting with digital forms of writing and is currently the writer on a major interactive television series, Accidental Lovers. http://mlab.uiah.fi/~lsaarine/ Vicki Smith is a visual artist who has been producing commissioned work and exhibitions for over a decade. She works in a design capacity for both print and web, and has taught second chance education in IT and the web. She has worked collaboratively on mural projects and in the Digital Story Telling medium as a participant and facilitator. Being part of Avatar Body Collision gives her the opportunity to explore the dramamtic process and further interests in theatre, film and stage design. She is currently an ICT professional development project manager for rural schools on the remote West Coast of New Zealand's South Island. Helen Varley Jamieson is a writer and theatre artist, whose work includes writing and directing for the stage and involvement in many online arts communities. She coined the term "cyberformance" in 2000 and experiments in this area with Desktop Theater, Avatar Body Collision and other groups and individuals. http://www.creative-catalyst.com + -> 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 date: Mon, 12 Sep 2005 22:28:34 +0200 message-id: <20050912202831.lctt2178.viefep12-int.chello.at@elektropost.chello.at> references: no_parent from: das ende der nahrungskette (johannes grenzfurthner) subject: RHIZOME_RAW: "ME" Our small tribute to Thomas Knoll and Oliver Sacks. Now with English subtitles. http://www.monochrom.at/me/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 12 Sep 2005 13:46:34 -0700 message-id: references: <069f01c5b7bd$90fe3d10$33405001@marcowwf1hbdmb> from: Jim Andrews subject: RE: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE other interesting italian online publications (besides those already mentioned) that review net art and do other things also: http://www.random-magazine.net and http://www.teknemedia.net 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, 12 Sep 2005 23:11:37 +0200 (CEST) message-id: <20050912211137.6c1f821fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Scsi sbox Sweden, SETI salsa SGML, SM sadistic SHALL screensaver, Semicolons sixth STYLE. 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, 12 Sep 2005 23:22:11 +0200 message-id: references: no_parent from: Alessandro Ludovico subject: Re: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE >I know Neural very well and I love and respect it from a lot of >years, I know how much was important in Italy It not only *was*, but it's still up and running. I never stopped from 1997 (web) and 1993 (print). >when anybody spoke about electronic culture and arts. But, as me and >Alessandro discussed some months ago, our project are very different >and we walk on parallel sides. It's the reason why I call Digicult >a "portal" about electronic arts "in general" with a monthly regular >magazine only on the web. >If you face the 2 projects and you read everything deeply you will >see the main differences as I report completely at the beginning of >my answer, that's way I thing Digicult is new, in Italy at the >moment and I hope for long time I told you that I didn't like your methods. And pretending to be the first, disregarding also many other italian respected efforts like AHA (http://www.ecn.org/aha), Noema (http://www.noemalab.org/), Random (http://www.random-magazine.net ), The Thing.it (http://www.thething.it/), and others (some of them are even helping you) is only convincing me more that I was right. Hope it'll change in the future. -- Alessandro Ludovico Neural.it - http://neural.it/ daily updated news + reviews English.Neural.it - http://english.neural.it/ Neural printed magazine - http://neural.it/n/nultimoe.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 thresholds invites submissions, including but not limited to scholarly works, from all fields. thresholds attempts to publish only original material. Materials should be postmarked by October 31, 2005. TEXT: Manuscripts for review should be no more than 2,500 words. Text must be formatted in accordance with The Chicago Manual of Style. Spelling should follow American convention and quotations must be translated into English. All submissions must be submitted electronically, via e-mail or disk, and accompanied by hard copies of text and images. Text should be saved as Microsoft Word or RTF format, while any accompanying images should be sent as TIFF files with a resolution of at least 300 dpi at 8" x 9" print size. Figures should be numbered clearly in the text. Image captions and credits must be included with submissions. It is the responsibility of the author to secure permissions for image use and pay any reproduction fees. A brief author bio must accompany the text. MEDIA: Media submissions below 8MB can be submitted via e-mail to : thd@mit.edu and by disk. Submissions above 8MB must be sent on disk and/or posted on a server for download. Most common file formats will be accepted. Thresholds reserves the right to request reformatting of works for final publication. It is the responsibility of the author to secure permissions for proprietary media use and pay any reproduction fees. A brief author bio must accompany the work. submissions due: 31 October 2005 Please send materials or correspondence to: Talia Dorsey, Editor thresholds MIT Department of Architecture Room 7-337 77 Massachusetts Ave. Cambridge, MA 02139 USA http://architecture.mit.edu/thresholds/ inquiries: thresh@mit.edu text/image submissions: thresh@mit.edu media submissions (below 8MB): thd@mit.edu + -> 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 date: Mon, 12 Sep 2005 17:26:30 -0400 message-id: references: <069f01c5b7bd$90fe3d10$33405001@marcowwf1hbdmb> from: Pall Thayer subject: Re: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE I still think it's dishonest of you to call your web the first. If you truly respect Neural, then give credit where it's due. There's nothing wrong with second place. Pall On 12.9.2005, at 13:15, Digicult wrote: > Dear Pall > > "It's the first Italian web portal about electronic arts and > digital culture and it's deep involved in the pubblication of the > first monthly e-magazine called Digimag speaking about: netart, > hacktivism, software art, video art, electronica, audiovideo, > artificial intelligence, new media, performing art, interaction > design" > > > I know Neural very well and I love and respect it from a lot of > years, I know how much was important in Italy when anybody spoke > about electronic culture and arts. But, as me and Alessandro > discussed some months ago, our project are very different and we > walk on parallel sides. It's the reason why I call Digicult a > "portal" about electronic arts "in general" with a monthly regular > magazine only on the web. > > If you face the 2 projects and you read everything deeply you will > see the main differences as I report completely at the beginning of > my answer, that's way I thing Digicult is new, in Italy at the > moment and I hope for long time > > I hope you will visit Digicult in the next time and discuss with us > about your feelings > mk > > > > ----- Original Message ----- From: "Pall Thayer" > > To: "Digicult" > Cc: > Sent: Monday, September 12, 2005 6:39 PM > Subject: Re: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL > CULTURE > > > It's always great to see new attention being given to the field but I > wonder why you call DIGICULT "The first Italian web portal about > electronic arts and digital culture" when Neural.it (http:// > www.neural.it) has been around for some years now. > > Pall > > On 12.9.2005, at 10:18, Digicult wrote: > > >> ///apologies for any cross posting/// >> >> Dear all, >> >> I would like to introduce myself to the list. I'm Marco Mancuso, >> new media >> art journalist, curator and critic. I live and work in Milan, >> Italy and I >> would like to introduce you the cultural and editorial project >> DIGICULT >> (http://www.digicult.it) that I founded at the beginning of 2005. >> It's the >> first Italian web portal about electronic arts and digital >> culture and it's >> deep involved in the pubblication of the first monthly e-magazine >> called >> DIGIMAG (http://www.digicult.it/digimag) speaking about: netart, >> hacktivism, >> software art, video art, electronica, audiovideo, artificial >> intelligence, >> new media, performing art, interaction design. DIGICULT is also >> the first >> italian >> network of almost 30 people and 10 huge italian communities and >> projects >> collaborating to the magazine and the portal at large; some the >> best italian >> journalists, curators, critics and professionists of the growing and >> spreading new media culture in Italy. We would like to be the first >> cultural-editorial activist network project in Italy, completely >> indipendent, no dipending from any owner, writing and speaking and >> discussing and reflecting freely about everything we consider >> important >> today in the world of electronic culture and arts. From September >> you can >> browse DIGICULT also in english at http://www.digicult.it/ >> index_eng.htm >> >> You can read here a deep description of the project DIGICULT and >> the people >> and communities involved >> >> Peace >> mk >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> DIGICULT is a project of promotion and spreading of digital >> culture and >> electronic arts in Italy. It's based on a web portal, daily >> updated on >> themes: >> >> - Net Art >> - Hack Art >> - Software Art >> - Video Art >> - Elettronica >> - Audio Video >> - Performing Art >> - Intelligenza Artificiale >> - Interaction Design >> - Tech Media >> >> DIGICULT is the pubblisher of the monthly e-magazine DIGIMAG >> about electronic culture and digital arts >> >> DIGICULT is a professional reality made by different people, >> artists and >> freelancers that have experience in digital culture and >> electronic arts, and >> also in this border land that is communication through new media. >> Around a >> bunch of people working at editing process, concept, design and >> project >> ideation, there are some freelancers involved in the italian digital >> culture, themselves representative of small or bigger net community. >> >> ///EDITORIAL STAFF >> >> - Marco Mancuso - concept, design e coordinamento >> >> ///COLLABORATORS >> >> - Riccardo Vescovo - design magazine >> >> - Luca Pertegato - design portale >> >> - Luca Restifo - programmazione >> >> - Arianna D'Angelica - immagini >> >> ///CONTRIBUTORS >> >> - Luigi Pagliarini - produz. contenuti-Intelligenza Artificiale >> >> - Tatiana Bazzichelli - produz. - Hack Art e Net Art >> >> - Gianluca Del Gobbo - content production - Net Art >> >> - Bertram Niessen - content production - Audiovideo >> >> - Teresa De Feo -content production-Interaction Design >> >> - Miriam Petruzzelli - prod. contenuti - Interaction Design >> >> - Luigi Ghezzi - content production - Tech Media >> >> - Giulia Baldi - produzione contenut - Elettronica >> >> - Simona Brusa - content production-Interaction Design >> >> - Tiziana Gemin - content production-Interaction Design >> >> - Alex Dandi - content production - Elettronica >> >> - Simone Bertuzzi - content production - Elettronica >> >> - Domenico Quaranta - content production-Software Art >> >> - Maria Molinari - content production - Hack Art >> >> - Lorenzo Tripodi - content production - Tech Media >> >> - Massimo Schiavoni -content production-Performing Art >> >> - Mariangela Scalzi - prod. contenuti - Interaction Design >> >> - Monica Ponzini - content production - Video Art >> >> - Domenico Sciajno - content production - Audiovideo >> >> - Valentina Tanni - content production - Software art >> >> - Anna Manteverdi - content production- Performing Art >> >> - Motor - content production - Intelligenza Artificiale >> >> - Isabella Depanis - content production - Video Art >> >> - Beatrice Ferrario - content production - Net Art >> >> - Regine Debatty - content production - Hack Art >> >> - Fabio Franchino - content production - Software Art >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> The DIGICULT project is based on the active participation of >> professional >> people who operate in the fields of culture and digital and >> electronic arts. >> Every professional person is involved in a web ommunity formed by >> other >> professional people, artists or just enthusiasts interested in the >> specific >> themes treated by DIGICULT project, i.e. web-art, net-art, hacking, >> video-art, electronics, audio-video, interaction design, robotics, >> Artificial Intelligence, the new media and technology. >> >> The large number of these communities - with the addition of a >> DIGICULT >> internal community - forms a great number of digital >> associations, which are >> kept constantly informed by the new monthly issue of DIGIMAG >> magazine of >> every activity concerning live events, news and media >> partnerships. Every >> community is called on to actively participate, also with the key >> professional people who are directly involved in the project. >> >> - ARTIFICIALIA - Luigi Pagliarini >> >> ///Robotics and Artificial Intelligence >> >> Artificialia is a cultural association aimed at promoting and >> protecting >> electronic art in Italy through artistic confrontation and far- >> reaching >> cooperation. Artificialia promotes the PEAM (Pescara Electronic Art >> Meeting), the yearly meeting of electronic artists. >> >> - AHA - Tatiana Bazzichelli >> >> ///Artivism and hacktivism >> >> AHA, Activism-Hacking-Artivism, is a networking project focused on >> hacktivism and experimental net art forms. The project was born >> in 2001. AHA >> organizes events and collective exhibitions; it manages a mailing >> list on >> artistic activism and is concerned with the spread of Italian and >> international hacktivism. >> >> - OTOLAB - Bertram Niessen >> >> ///Audiovideo and electronic music >> >> Otolab is a Milanese group concerned with the audiovisual in live >> media art, >> live electronics, the DJ-ing and VJ-ing fields. Since 2001 the >> group has >> been making significant attempts to integrate audio and video and >> set up >> site-specific performance. >> >> - SHOCKART - Gianluca Del Gobbo >> >> ///Netart and audiovideo >> >> The Shockart project was born in 1999 on the initiative of the >> Vernice >> cultural association. Shockart has now become a cultural >> landmark, and it is >> aimed at increasing the value of and spreading digital and web >> art. This >> project is also very close to the Flxer project, a VJ-ing open source >> software, which many Italian and European VJ-ing enthusiasts are >> now using. >> >> - ARCNAUT - Teresa De Feo/Miriam Petruzzelli >> >> ///Interaction design >> >> Arcnaut is a laboratory of the imaginary. It is devoted to >> interactive >> installations, the visual arts, robots, artistic, video and design >> productions. It originated from an idea of Mario Canali's. As a >> cultural >> centre, it is also involved in the promotion of events that combine >> technology and philosophy. >> >> - 48 ORE - Luigi Ghezzi >> >> ///Tech media >> >> 48 ORE aims to develop digital writing by means of various kinds >> of literary >> performances. The project is animated by six characters, and the main >> theatre is represented by certain Italian cities. These >> characters live and >> transcribe their meetings and feelings in real time (48 hours), >> which become >> real metropolitan short stories. >> >> - RISONANZAMAGNETICA/INVERNOMUTO-SimoneBertuzzi >> >> ///Electronic music >> >> Since 2003 Risonanza Magnetica has operated as an electronic >> music server >> and mail order supplier. Starting from an original sound and >> rhythm concept, >> RM has become concerned with the most creative hip hop and the most >> maddening electronic experiments. Invernomuto, created in 2003, is an >> audio-video experimentation group. The group periodically publishes a >> magazine called ffww_mag. >> >> - OGI:NO KNAUSS - Lorenzo Tripodi >> >> ///Tech media and audiovideo >> >> Since 1995 Ogi:no knauss has been an independent research group >> concerned >> with communications, expression and making over the human >> environment. It is >> mainly a laboratory of mutant cinema, the laboratory constantly >> researching >> new means of expression and ways of communication through >> performances, >> video installations and VJ-ing applications. >> >> - HK-HACKER KULTURE- Maria Molinari >> >> ///Hacktivismo >> >> HK-Hacker Kulture is the first Italian web site devoted to hacker >> culture, >> philosophy, art, ethics and history. It was created in July 2002 >> within the >> Dvara.net site. HK contains a great number of data, information, >> texts, >> historical references, projects, fiction and reality. It provides >> a modern >> and updated retrospective view on the hacker culture and its >> cyberpunk >> beginnings. >> >> - ANTITESI - Domenico Sciajno >> >> ///Audiovideo and electronic music >> >> Antitesi is a self-documentation research and interdisciplinary >> development >> centre for modern art. Since 1995, it has devised various >> performing and >> promotion events where sound - and sound compared with other arts >> - plays >> the chief role. The latest projects are XS [not_only_sonic_acts] and >> Live!iXem, a contest-cum-festival. Sciajno is the creator of >> Antitesi, and >> in 2003 he started IXem, a virtual group formed by artists who >> conceive >> sound as an essential element in electronic experimentation and >> reflect on >> sound in relation to other arts. >> >> - RANDOM - Valentina Tanni >> >> ///netart e new media art >> >> Random dal 2001 una webzine che si occupa di new media art e >> cultura >> digitale. Dal 2001 al 2004 Random stata ospitata all'interno del >> portale >> dell'arte Exibart.com. Dopo qualche mese di pausa, tornato >> rinnovato, >> nella forma e nei contenuti, con un sito tutto suo. Tutti i >> territori della >> creativit elettronica ci interessano. Tutte le ibridazioni tra >> tecnologie e >> idee ci stimolano. Artisti, progetti, festival, dischi, film, >> conferenze, >> libri e siti web. Random anche una community di appassionati, >> ricercatori, >> studiosi e curiosi. Un posto dove condividere idee e conoscenze. >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> DIGICULT activity is constituted by different cultural and >> communication >> initiative, some of them are already in action, some other still at a >> projecting step, open to new input and new initiatives born from >> the joint >> from different entity involved but also from the propositive >> participation >> of external freelancers, public or private, even international. >> >> ///EDITING >> >> Editing activity is focused on the issued of a monthly published >> e- magazine >> about the themes of digital culture and electronic. A e-mag with >> the precise >> aim to inform and deepen all the themes connected to culture, arts >> and >> electronic technologies, pointing out the existence of different >> realities >> and the connections between them. A digital magazine that represent >> something virtual made by freelancers, communicators and artists >> representative of small or bigger net community. Community as >> Artificialia, >> AHA, Basebog, Otolab, Invideo, Arcnaut, 48ore are going to look >> after the >> contents of the 8 section: Webart, Netart-Netactivism, VideoArt- >> Audiovideo, >> Electronic Music, Interaction Design, Robotics e A.I., NewMedia e >> Technology&Society. >> >> Editing activity has also the aim to augment its activity to >> production of >> every kind of quality content, connected to digital culture and >> arts, but >> based on its internal framework and on the experience of its >> partners. >> Publications, online content, editing activity, journalistic >> partnerships, >> text translation, autorial activity and ideation of editorial >> projects will >> be controlled by DIGICULT, together with its external authors. >> >> ///LIVE EVENTS >> >> Based on experience and a net of connections and contacts built >> during the >> past years, spent in contact with the world of national digital >> culture, >> professional structure of DIGICULT has the aim of organize events, >> festivals, performances, workshops and seminars linked to the >> theme fo >> culture and digital arts. For example, net-art, multimedia products, >> electronic music gig, video art festival, and connection between >> media and >> impact of new technologies on society. That's why DIGICULT has the >> undertaking of connect its activity of communication to a search >> of external >> sponsorship that can collaborate, to make an easier organization and >> production of event and seminars. >> >> ///CONSULTANCY >> >> Digicult's professional structure and its net of connections, >> contacts, and >> professional relationship are available for cultural reality and >> communication centre for partnership and consultancy for >> externalevents, >> workshop and seminars. Connections and the net of contacts both >> artistic >> and professional, connected to communication and consultancy make >> DIGICULT >> available as a partner to support concept, artistic direction and >> connections with other national and international cultural reality. >> >> ///MEDIA PARTNERSHIP >> >> Digicult activity can be translated as a counselor and a media >> partnership >> activity for all that professional reality, both public and >> private, able to >> propose project with the aim to spread digital culture. >> >> Offering its net of contacts, created from journalistic and counselor >> activity in national digital culture, its pack of knowledge, its >> culrturaland artistic know-how, its community and also its peculiar >> consultancy of sharing culture and minds, DIGICULT is a great >> partner to >> wotk as press agent for promotion of events connected to culture >> and digital >> arts. >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> Marco Mancuso >> Redazione Digicult >> -------------------------- >> www.digicult.it >> www.digicult.it/digimag >> www.digicult.it/index_eng >> -------------------------- >> Largo Murani 4 - Milan >> Italy >> Tel. + 39-02-26117166 >> Mob. +39-340-8371816 >> ///apologies for any cross posting/// >> >> Dear all, >> >> I would like to introduce myself to the list. I'm Marco Mancuso, >> new media >> art journalist, curator and critic. I live and work in Milan, >> Italy and I >> would like to introduce you the cultural and editorial project >> DIGICULT >> (http://www.digicult.it) that I founded at the beginning of 2005. >> It's the >> first Italian web portal about electronic arts and digital >> culture and it's >> deep involved in the pubblication of the first monthly e-magazine >> called >> DIGIMAG (http://www.digicult.it/digimag) speaking about: netart, >> hacktivism, >> software art, video art, electronica, audiovideo, artificial >> intelligence, >> new media, performing art, interaction design. DIGICULT is also >> the first >> italian >> network of almost 30 people and 10 huge italian communities and >> projects >> collaborating to the magazine and the portal at large; some the >> best italian >> journalists, curators, critics and professionists of the growing and >> spreading new media culture in Italy. We would like to be the first >> cultural-editorial activist network project in Italy, completely >> indipendent, no dipending from any owner, writing and speaking and >> discussing and reflecting freely about everything we consider >> important >> today in the world of electronic culture and arts. From September >> you can >> browse DIGICULT also in english at http://www.digicult.it/ >> index_eng.htm >> >> You can read here a deep description of the project DIGICULT and >> the people >> and communities involved >> >> Peace >> mk >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> DIGICULT is a project of promotion and spreading of digital >> culture and >> electronic arts in Italy. It's based on a web portal, daily >> updated on >> themes: >> >> - Net Art >> - Hack Art >> - Software Art >> - Video Art >> - Elettronica >> - Audio Video >> - Performing Art >> - Intelligenza Artificiale >> - Interaction Design >> - Tech Media >> >> DIGICULT is the pubblisher of the monthly e-magazine DIGIMAG >> about electronic culture and digital arts >> >> DIGICULT is a professional reality made by different people, >> artists and >> freelancers that have experience in digital culture and >> electronic arts, and >> also in this border land that is communication through new media. >> Around a >> bunch of people working at editing process, concept, design and >> project >> ideation, there are some freelancers involved in the italian digital >> culture, themselves representative of small or bigger net community. >> >> ///EDITORIAL STAFF >> >> - Marco Mancuso - concept, design e coordinamento >> >> ///COLLABORATORS >> >> - Riccardo Vescovo - design magazine >> >> - Luca Pertegato - design portale >> >> - Luca Restifo - programmazione >> >> - Arianna D'Angelica - immagini >> >> ///CONTRIBUTORS >> >> - Luigi Pagliarini - produz. contenuti-Intelligenza Artificiale >> >> - Tatiana Bazzichelli - produz. - Hack Art e Net Art >> >> - Gianluca Del Gobbo - content production - Net Art >> >> - Bertram Niessen - content production - Audiovideo >> >> - Teresa De Feo -content production-Interaction Design >> >> - Miriam Petruzzelli - prod. contenuti - Interaction Design >> >> - Luigi Ghezzi - content production - Tech Media >> >> - Giulia Baldi - produzione contenut - Elettronica >> >> - Simona Brusa - content production-Interaction Design >> >> - Tiziana Gemin - content production-Interaction Design >> >> - Alex Dandi - content production - Elettronica >> >> - Simone Bertuzzi - content production - Elettronica >> >> - Domenico Quaranta - content production-Software Art >> >> - Maria Molinari - content production - Hack Art >> >> - Lorenzo Tripodi - content production - Tech Media >> >> - Massimo Schiavoni -content production-Performing Art >> >> - Mariangela Scalzi - prod. contenuti - Interaction Design >> >> - Monica Ponzini - content production - Video Art >> >> - Domenico Sciajno - content production - Audiovideo >> >> - Valentina Tanni - content production - Software art >> >> - Anna Manteverdi - content production- Performing Art >> >> - Motor - content production - Intelligenza Artificiale >> >> - Isabella Depanis - content production - Video Art >> >> - Beatrice Ferrario - content production - Net Art >> >> - Regine Debatty - content production - Hack Art >> >> - Fabio Franchino - content production - Software Art >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> The DIGICULT project is based on the active participation of >> professional >> people who operate in the fields of culture and digital and >> electronic arts. >> Every professional person is involved in a web ommunity formed by >> other >> professional people, artists or just enthusiasts interested in the >> specific >> themes treated by DIGICULT project, i.e. web-art, net-art, hacking, >> video-art, electronics, audio-video, interaction design, robotics, >> Artificial Intelligence, the new media and technology. >> >> The large number of these communities - with the addition of a >> DIGICULT >> internal community - forms a great number of digital >> associations, which are >> kept constantly informed by the new monthly issue of DIGIMAG >> magazine of >> every activity concerning live events, news and media >> partnerships. Every >> community is called on to actively participate, also with the key >> professional people who are directly involved in the project. >> >> - ARTIFICIALIA - Luigi Pagliarini >> >> ///Robotics and Artificial Intelligence >> >> Artificialia is a cultural association aimed at promoting and >> protecting >> electronic art in Italy through artistic confrontation and far- >> reaching >> cooperation. Artificialia promotes the PEAM (Pescara Electronic Art >> Meeting), the yearly meeting of electronic artists. >> >> - AHA - Tatiana Bazzichelli >> >> ///Artivism and hacktivism >> >> AHA, Activism-Hacking-Artivism, is a networking project focused on >> hacktivism and experimental net art forms. The project was born >> in 2001. AHA >> organizes events and collective exhibitions; it manages a mailing >> list on >> artistic activism and is concerned with the spread of Italian and >> international hacktivism. >> >> - OTOLAB - Bertram Niessen >> >> ///Audiovideo and electronic music >> >> Otolab is a Milanese group concerned with the audiovisual in live >> media art, >> live electronics, the DJ-ing and VJ-ing fields. Since 2001 the >> group has >> been making significant attempts to integrate audio and video and >> set up >> site-specific performance. >> >> - SHOCKART - Gianluca Del Gobbo >> >> ///Netart and audiovideo >> >> The Shockart project was born in 1999 on the initiative of the >> Vernice >> cultural association. Shockart has now become a cultural >> landmark, and it is >> aimed at increasing the value of and spreading digital and web >> art. This >> project is also very close to the Flxer project, a VJ-ing open source >> software, which many Italian and European VJ-ing enthusiasts are >> now using. >> >> - ARCNAUT - Teresa De Feo/Miriam Petruzzelli >> >> ///Interaction design >> >> Arcnaut is a laboratory of the imaginary. It is devoted to >> interactive >> installations, the visual arts, robots, artistic, video and design >> productions. It originated from an idea of Mario Canali's. As a >> cultural >> centre, it is also involved in the promotion of events that combine >> technology and philosophy. >> >> - 48 ORE - Luigi Ghezzi >> >> ///Tech media >> >> 48 ORE aims to develop digital writing by means of various kinds >> of literary >> performances. The project is animated by six characters, and the main >> theatre is represented by certain Italian cities. These >> characters live and >> transcribe their meetings and feelings in real time (48 hours), >> which become >> real metropolitan short stories. >> >> - RISONANZAMAGNETICA/INVERNOMUTO-SimoneBertuzzi >> >> ///Electronic music >> >> Since 2003 Risonanza Magnetica has operated as an electronic >> music server >> and mail order supplier. Starting from an original sound and >> rhythm concept, >> RM has become concerned with the most creative hip hop and the most >> maddening electronic experiments. Invernomuto, created in 2003, is an >> audio-video experimentation group. The group periodically publishes a >> magazine called ffww_mag. >> >> - OGI:NO KNAUSS - Lorenzo Tripodi >> >> ///Tech media and audiovideo >> >> Since 1995 Ogi:no knauss has been an independent research group >> concerned >> with communications, expression and making over the human >> environment. It is >> mainly a laboratory of mutant cinema, the laboratory constantly >> researching >> new means of expression and ways of communication through >> performances, >> video installations and VJ-ing applications. >> >> - HK-HACKER KULTURE- Maria Molinari >> >> ///Hacktivismo >> >> HK-Hacker Kulture is the first Italian web site devoted to hacker >> culture, >> philosophy, art, ethics and history. It was created in July 2002 >> within the >> Dvara.net site. HK contains a great number of data, information, >> texts, >> historical references, projects, fiction and reality. It provides >> a modern >> and updated retrospective view on the hacker culture and its >> cyberpunk >> beginnings. >> >> - ANTITESI - Domenico Sciajno >> >> ///Audiovideo and electronic music >> >> Antitesi is a self-documentation research and interdisciplinary >> development >> centre for modern art. Since 1995, it has devised various >> performing and >> promotion events where sound - and sound compared with other arts >> - plays >> the chief role. The latest projects are XS [not_only_sonic_acts] and >> Live!iXem, a contest-cum-festival. Sciajno is the creator of >> Antitesi, and >> in 2003 he started IXem, a virtual group formed by artists who >> conceive >> sound as an essential element in electronic experimentation and >> reflect on >> sound in relation to other arts. >> >> - RANDOM - Valentina Tanni >> >> ///netart e new media art >> >> Random dal 2001 una webzine che si occupa di new media art e >> cultura >> digitale. Dal 2001 al 2004 Random stata ospitata all'interno del >> portale >> dell'arte Exibart.com. Dopo qualche mese di pausa, tornato >> rinnovato, >> nella forma e nei contenuti, con un sito tutto suo. Tutti i >> territori della >> creativit elettronica ci interessano. Tutte le ibridazioni tra >> tecnologie e >> idee ci stimolano. Artisti, progetti, festival, dischi, film, >> conferenze, >> libri e siti web. Random anche una community di appassionati, >> ricercatori, >> studiosi e curiosi. Un posto dove condividere idee e conoscenze. >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> DIGICULT activity is constituted by different cultural and >> communication >> initiative, some of them are already in action, some other still at a >> projecting step, open to new input and new initiatives born from >> the joint >> from different entity involved but also from the propositive >> participation >> of external freelancers, public or private, even international. >> >> ///EDITING >> >> Editing activity is focused on the issued of a monthly published >> e- magazine >> about the themes of digital culture and electronic. A e-mag with >> the precise >> aim to inform and deepen all the themes connected to culture, arts >> and >> electronic technologies, pointing out the existence of different >> realities >> and the connections between them. A digital magazine that represent >> something virtual made by freelancers, communicators and artists >> representative of small or bigger net community. Community as >> Artificialia, >> AHA, Basebog, Otolab, Invideo, Arcnaut, 48ore are going to look >> after the >> contents of the 8 section: Webart, Netart-Netactivism, VideoArt- >> Audiovideo, >> Electronic Music, Interaction Design, Robotics e A.I., NewMedia e >> Technology&Society. >> >> Editing activity has also the aim to augment its activity to >> production of >> every kind of quality content, connected to digital culture and >> arts, but >> based on its internal framework and on the experience of its >> partners. >> Publications, online content, editing activity, journalistic >> partnerships, >> text translation, autorial activity and ideation of editorial >> projects will >> be controlled by DIGICULT, together with its external authors. >> >> ///LIVE EVENTS >> >> Based on experience and a net of connections and contacts built >> during the >> past years, spent in contact with the world of national digital >> culture, >> professional structure of DIGICULT has the aim of organize events, >> festivals, performances, workshops and seminars linked to the >> theme fo >> culture and digital arts. For example, net-art, multimedia products, >> electronic music gig, video art festival, and connection between >> media and >> impact of new technologies on society. That's why DIGICULT has the >> undertaking of connect its activity of communication to a search >> of external >> sponsorship that can collaborate, to make an easier organization and >> production of event and seminars. >> >> ///CONSULTANCY >> >> Digicult's professional structure and its net of connections, >> contacts, and >> professional relationship are available for cultural reality and >> communication centre for partnership and consultancy for >> externalevents, >> workshop and seminars. Connections and the net of contacts both >> artistic >> and professional, connected to communication and consultancy make >> DIGICULT >> available as a partner to support concept, artistic direction and >> connections with other national and international cultural reality. >> >> ///MEDIA PARTNERSHIP >> >> Digicult activity can be translated as a counselor and a media >> partnership >> activity for all that professional reality, both public and >> private, able to >> propose project with the aim to spread digital culture. >> >> Offering its net of contacts, created from journalistic and counselor >> activity in national digital culture, its pack of knowledge, its >> culrturaland artistic know-how, its community and also its peculiar >> consultancy of sharing culture and minds, DIGICULT is a great >> partner to >> wotk as press agent for promotion of events connected to culture >> and digital >> arts. >> >> ///////////////////////////////////////////////////////////////////// >> / ///////////////////// >> >> Marco Mancuso >> Redazione Digicult >> -------------------------- >> www.digicult.it >> www.digicult.it/digimag >> www.digicult.it/index_eng >> -------------------------- >> Largo Murani 4 - Milan >> Italy >> Tel. + 39-02-26117166 >> Mob. +39-340-8371816 >> >> > > > > -- > 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 > > -- 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, 12 Sep 2005 23:59:06 +0200 message-id: references: <20050912161955.93080.qmail@web30503.mail.mud.yahoo.com> from: Geert Dekkers subject: Re: RHIZOME_RAW: three small movies Nice. Thank you. And... > Everything is connected.' - V.I.Lenin what a strange thing for Lenin to have said... Geert http://nznl.com On 12-sep-2005, at 18:19, Michael Szpakowski wrote: > Three small movies: > > http://www.somedancersandmusicians.com/Some_QuickTime_Movies/realm.mov > > http://www.somedancersandmusicians.com/Some_QuickTime_Movies/film.mov > > http://www.somedancersandmusicians.com/Some_QuickTime_Movies/ > dandelion_clock.mov > > realm has sound, the others are silent > > realm and film are derived from Prelinger Archive > footage. > > 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: Mon, 12 Sep 2005 18:29:33 -0400 message-id: references: no_parent from: Lauren Cornell subject: RHIZOME_RAW: back up Hello - The Rhizome site went down for a bit there but we're back up now. I hope it didn't inconvenience anyone. (Francis handled it quite calmly by picking up a book. I've never seen him read offline before.) Apparently, there was a power outage in the area of Broadspire, our hosting company, and all of their hosted sites went down for a brief time. -- Lauren To submit your own audiobit, please email a sound file in either .wav or .mp3 to: transmitbit@yahoo.ca www.greatestbits.com - Jeremy Turner - Janne Vanhanen. + -> 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 date: Mon, 12 Sep 2005 18:40:20 -0400 message-id: references: from: Pall Thayer subject: Re: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE Oh scratch the second place thing, well... 7th or 8th place isn't that bad either when you consider how many websites there are :-) On 12.9.2005, at 17:22, Alessandro Ludovico wrote: >> I know Neural very well and I love and respect it from a lot of >> years, I know how much was important in Italy >> > > It not only *was*, but it's still up and running. I never stopped > from 1997 (web) and 1993 (print). > > >> when anybody spoke about electronic culture and arts. But, as me >> and Alessandro discussed some months ago, our project are very >> different and we walk on parallel sides. It's the reason why I >> call Digicult a "portal" about electronic arts "in general" with a >> monthly regular magazine only on the web. >> If you face the 2 projects and you read everything deeply you will >> see the main differences as I report completely at the beginning >> of my answer, that's way I thing Digicult is new, in Italy at the >> moment and I hope for long time >> > > I told you that I didn't like your methods. > And pretending to be the first, disregarding also many other > italian respected efforts like AHA (http://www.ecn.org/aha), Noema > (http://www.noemalab.org/), Random (http://www.random- > magazine.net ), The Thing.it (http://www.thething.it/), and others > (some of them are even helping you) is only convincing me more that > I was right. > > Hope it'll change in the future. > -- > > > Alessandro Ludovico > Neural.it - http://neural.it/ daily updated news + reviews > English.Neural.it - http://english.neural.it/ > Neural printed magazine - http://neural.it/n/nultimoe.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 > > -- 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, 12 Sep 2005 17:24:21 -0700 message-id: <200509130024.j8d0olpe016405@idx164.idx.net> references: no_parent from: Cary Peppermint subject: RHIZOME_RAW: TECHNORGANIC: Mini-festival of New Media Art Technologies and the Environment TECHNORGANIC is a one-night mini-festival celebrating the autumnal equinox through the uncommon merger of new media art technologies with an emphasis on creative figurations of the natural environment. The evening will include live, multimedia performances as well as works in digital video, net-animations, earthwork-installation, and sound-art from artists and students experimenting in this emerging field. TECHNORGANIC will take place at The Pine Lake Environmental Campus of Hartwick College in the upper Catskills approximately 8 miles from the main campus in Oneonta, NY. Vans will provide transportation from Hartwick main campus leaving at 6:30 from the Yager Museum. Driving directions are available at: http://hartwick.edu/x8074.xml 7:00 PM September 22nd, 2005 (Rain Date September 29th) TECHNORGANIC will feature: Infinite-Digital-Musings (in the deep woods) by MTAA Art Associates of Brooklyn, NY. Information Art from Tom Sherman of Nerve Theory. New Media Installation-Earthwork by Terry Slade. Enviro-Digi-Video Actions by David Kinney. Net Animations by Soo Yeun Ahn. Supernatural Performance-video by Torsten Zenas Burns. *LIVE and INTOUCH* Transmedia Performances by Bob Peppermint & Experiganza including renowned middle-eastern percussionist Eric LaPerna. And many more to come… TECHNORGANIC: Mini-festival of New Media Art Technologies and the Environment http://www.ecoarttech.net/technorganic + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > -> 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 > + -> 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 date: Mon, 12 Sep 2005 17:54:39 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: [Rhizome]:::DIGICULT:::ENJOY THE DIGITAL CULTURE I don't know one Canadian site that reviews digital art with the sort of competence and regularity one sees in a half-dozen sites from Italy. 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 and special effects innovator, George Lucas. Widely considered as the "father of digital cinema", Lucas proclaimed himself as a storyteller before anything else. In order to realize the worlds he envisioned he turned to computers as an enabling technology. He calmly stated that he was "not a computer person" and had "no idea what SIGGRAPH people do." He referenced Akira Kurosawa as a filmmaker who triumphs in creating an illusion that fantasy worlds exist and proclaimed the secret to this as "immaculate reality." Lucas's humble moment was when he admitted to the audience, "I don't know how you do this stuff, but it allows me to tell a story so I'm happy you're doing it." On the ground floor of the convention center was the SIGGRAPH Art Gallery: "Threading Time", which featured a wide range of interactive and other digital artworks from artists around the world. On the wall in a red frame was Boredom Research's "Ornamental Bug Garden" a small, animated screen-based ecosystem that reacted as visitors approached. Also interactive was Camille Utterback's "Untitled 5: External Measures Series", a collage of painterly shapes and images that animated according to visitors movements tracked from overhead. On the opposite was John Gerrard's "Watchful Portrait", a 3D portrait that followed the sun's ascent and descent. On the other side of the wall Gerrard's "Saddening Portrait" was another 3D figure who's face gradually saddened over a 100-year period. Perry Hoberman's "Art Under Contract" consisted of a large metal case on the wall with a small, motor controlled shutter door. After each visitor clicked the "agree" button of a simple contract, the door would open exposing the art, but then suddenly shut after the viewing time was over. This project was a good example of a piece of media art controlling its viewing audience. In the "Emerging Technologies" section, projects ranged from new types of interactive displays to tactile control mechanisms for interacting with the screen to more artistic uses of technology. The highlight of the show was Japanese artist Toshio Iwai's (in collaboration with Yamaha) "Tenori-On" a physical interface that allows people to create musical compositions visually by pressing on a dense array of lighted buttons. The instrument's simple, yet elegant output was a nice reminder that the increasing complexity of digital interfaces often clouds basic creativity. Other interesting creative projects included "Exhale: Breath Between Bodies" a series of networked skirts that collected the breath of the wearers and transmitted the data to fans in corresponding skirts. Upstairs from the keynote, art galleries, and other lecture rooms, the Guerrilla Studio was a place where visitors to the event could create projects from various different media. I co-ran a workshop there with Katherine Moriwaki called "DIY Wearable Challenge", co-hosted by the Ludica Gaming Atelier, where we invited conference attendees to create simple wearable projects in a few hours from basic electronics and sensors. The best creations made their way to the cyber fashion show, hosted later on at the event. This type of dynamic creativity was evident in other areas of the studio where visitors could create board games, 3D prints of designs, and even on-the spot motion capture animations. As the conference continued, I managed to attend a few of the panels and presentations. The ISEA 2006 meeting was an organizational meeting and open forum for the upcoming ISEA symposium and media art event in San Jose at the end of 2006. The panel featured curator Steve Dietz, Cynthia Beth Rubin, Peter Anders and others involved with the conference's organization and curation. In addition to speaking about the ISEA event, the panel was also meant to launch "01 San Jose", a new, US based bi-annual media arts festival to take place in San Jose. The prospect of a larger festival occurring in northern California is nice evidence that there is still money left in Silicon Valley. Moving into West Hall B, the "Extreme Fashion" special session included speakers working with fashion and technology from varied disciplines. International Fashion Machines (IFM) founder Maggie Orth began with a presentation about the definition of extreme fashion and how the true fashion technology object includes input, processing and some type of display mechanism. She gave the example of the "Voltaic Jacket" which includes solar panels on its back to harness power to charge portable data devices worn on the body. Orth saw the main roadblocks to wearable technology as 1) No standards of wash ability 2.) Little commercial activity and 3.) lack of good display materials. Professor Thad Starner of Georgia Tech spoke about his "Free Digiter", proximity sensing device can detect simple movements of its wearer and be mapped to control functions such as volume levels on car and portable MP3 players. Dr. Jenny Tillotson spoke about her "Second Skin Dress" which attempts to "create a personal scent bubble around the wearer". This would help to prevent bad moods and add an emotional quality to everyday experience. Elise Co of Minty Monkey showed some of her current work including the "Lumiloop" bracelet that illuminates based on patterns created by its wearer and the UFOS shoes that light up according to specified movements. "Your outfit shouldn't be the technology, this is something that could go with the rest of your stuff" explained Co. Also on the panel was Katherine Moriwaki who spoke about her PHD work into "Social Fashioning" and several of her projects that monitor the environment and attempt to create social relationships between people occupying similar spaces. This session ended as the "SIGGRAPH Cyber Fashion" show began. The show, hosted by wearable tech artist and enthusiast, Isa Gordon of Psymbiote, featured a collection of wearables that resembled everything from a post-Tron utopia to a trip to the Sharper Image. Every model on the floor had a piece of electroluminescent glow wire as standard garb. Some of the highlights included Luisa Paraguai Donati's "Vestis: Affective Bodies" a full body suit with tubes surrounding the wearer that expanded and contracted as personal body space and "comfort zone" was infringed upon. Similarly, Simona Brusa Pasque's "Beauty and the Beast" is a pair of plexiglass shoes that include a stun gun embedded in the toe of one, and an alarm system in the other activated by wearer stamping their feet. Overall there was an interesting mix of clothing that reacted to outside stimuli and those that protected its wearer. As SIGGRPH 2005 came to a close, the conference seemed to be stuck in a continual challenge between how to smoothly integrate the corporate graphics world into the fringe artistic spectrum. This was evident with the chaotic scene at the Cyber Fashion show and the low level of artistic input into the Electronic Theater. The panels seemed more dense with artistic input this year, but the separation between disciplines seemed more evident as crossover participation waned. Perhaps if the new ZeroOne conference in San Jose is successful it will draw the artistic spectrum away from SIGGRAPH and let it regain focus back onto the graphics industry. I guess time will have to be the instigator in that debate. --- Jonah Brucker-Cohen (jonah_at_coin-operated.com) + -> 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 date: Tue, 13 Sep 2005 00:30:03 -0700 message-id: <200509130730.j8d7u39q018635@idx164.idx.net> references: no_parent from: basak senova subject: RHIZOME_RAW: ctrl_alt_del news letter #3 - ctrl_alt_del Boat Tour Updated Information ctrl_alt_del news letter #3 |||||||||||||||||||||||||||||||||||||||||||||||||||||| ctrl_alt_del Boat Tour Updated Information The boat tour will start at 11am on 17th of September. The boarding location is behind Türkpetrol gas station, Kabatas and the name of the boat is Nis. The landing location is Besiktas. Please check the web-site for the map. Reservations recommended via info@nomad-tv.net as the space is limited) Sound-art festival ctrl_alt_del, will take place in the “positionings” section of the 9th International Istanbul Biennial. The project will launch on September 16th, 2005 with an opening night performance in the city at Balans Music hall, then will continue on the Bosphorus, the Golden Horn, Istanbul Technical University’s MIAM studios, laboratories, library and concert hall till September 22nd. The festival’s three-folded conceptual frame - “the city”, “noise” and “open source”- will be worked into performances, a boat tour, sonic mapping, workshops, and presentations. For further information: http://project-ctrl-alt-del.com blog- http://www.nomad-tv.net/ctrl_alt_del http://www.nomad-tv.net ctrl_alt_del coordinates September 16th Opening Night Balans 22:00 Ran Slavin (IL) REC featuring every kid on speed (MK) Paul Devens (NL) DJ Negma (TR) DJ Selim Cenkel (TR) DJ Reuben De Lautour (NZ/TR) (entrance- Balans: 18 YTL = 10 Euro) September 17th Boat Tour Bosphorus and Golden Horn Boarding location: behind Türkpetrol gas station, Kabatas Name of the boat: Nis Landing location: Besiktas (check the map: http:// www.nomad-tv.net or http://www.nomad-tv.net/ctrl_alt_del ) 11:00 Guided tour of sonic mapping and Istanbul Compilation by MIAM Barkın Engin (TR) Erdem Helvacioğlu (TR) Burak Tamer (TR) Tolga Tuzun (TR) Performances at Golden Horn Boris Hegenbart (DE) - Kadir HasUniversitesi, Cibali Uri Katzenstein (IL) & Binya Reches (IL) (boat tour: 20 Euro – Reservations recommended via info@nomad-tv.net as the space is limited) September 19th-20th-21st Presentations ITU-MIAM, Macka Campus 19.09 -13:00 InterSpace presentation by Galia Dimitrova (BG) 19.09 -13:30 REC (TR) presentation 19.09 -16:00 Phillipp Misselwitz (DE) & Klaus Obermeyer (DE) presentation - (in the context of "under.ctrl" project) 19.09 -14:00 Israeli Center for Digital Art, Holon (IL) presentation by Eyal Danon 20.09 -13:00 Sabreen (Palestine) presentation by Wissam Murad & Ibrahim Eid 20.09 -13:30 NOMAD (TR) presentation by Basak Senova & Emre Erkal 20.09 -16:00 Florian Schneider (DE) presentation - (in the context of "under.ctrl" project) 21.09 -13:00 STEIM (NL) presentation by Robert van Heuman 21.09 -16:00 Banu Cennetoglu (TR) presentation - (in the context of "under.ctrl" project - closed session) September 19th-20th-21st Workshops ITU-MIAM, Macka Campus 19-20. 09 -14:00 MIAM Sound analysis and algorithmic composition environment: IRCAM software workshop by Tolga Tuzun (TR) 20.09 -14:00 NOMAD audio-visual workshop on animation by Erhan Muratoglu (TR) 19-20-21.09 -15:00 STEIM LiSa audio-visual workshop by Robert van Heumen (NL) - 3 days 19-20.09 -15:30 InterSpace open source workshop by Petko Dourmana (BG), - 2 days 19-20-21.09 -15:30 Bookstr & Global Heart Me ultra-localized radio broadcast and diffusion strategies workshop by Matthieu Prat (FR) & Tal Hadad (FR) 3 days September 19th-20th-21st Performances ITU-MIAM, Macka Campus Mustafa Kemal Anfisi 20:00 Kerem Aksoy (TR), Deniz Arat (TR), Sakir Oguz Buyukberber (TR/NL), Paul Devens (NL), Robert van Heumen (NL), Reuben de Lautour (NZ/TR), Wissam Murad (Palestine), Ibrahim Eid (Palestine), SFR (Zafer Aracagök) (TR), Ran Slavin (IL), Pieter Snapper (US/TR), Can Turkinan (TR), Murat Yakin (TR), REC Compilation (TR) - Orçun Basturk, Liz Fando, Tonguc Gokalp, Randiman Kakara, Saska, and Open Call Compilation concerts: Muni Monde, Ozdemir Bayrak, Kerem Guzel, Koray Kantarcioğlu, Solar Duo. (All of the presentations, workshops and performances at ITU are free of charge) The 2005 programme for the ctrl_alt_del project has been developed by Başak Şenova, Emre Erkal, Pieter Snapper, Erhan Muratoglu and Paul Devens. Can Karadoğan is responsible for the logistics of ITU activities as the project coordinator and Nuşin Odelli is in charge of editing of the printed material. The project has received support from NOMAD Project Channel, Istanbul Technical University MIAM (Center for Advanced Musical Studies), Goethe Institut, Istanbul, Mondriaan Foundation, Amsterdam, Consulate-General of the Netherlands, MOAB Foundation, Radio Helsinki, Graz , ekw 14.90, Israel National Lottery Council for the Arts, Israeli Center for Digital Art, Holon, STEIM ( Studio for Electro-Instrumental Music), InterSpace, Sofia, Sabreen Studio, Ford Foundation, Kadir Has University, REC Magazine, Balans, Bant Magazine, e-tasarım, Senkron Publishing, and Baska Seyler Music, Art and Organization. |||||||||||||||||||||||||||||||||||||||||||||||||||||| + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 00:48:48 -0700 message-id: <200509130748.j8d7mmrc020248@idx164.idx.net> references: no_parent from: o.blaat subject: RHIZOME_RAW: Call for participation: Share roundtable discussion @Polytechnic Univ Dear artists, designers, engineers, technicians and technologists, You are invited, in person or via audio/video/text conference, to a roundtable discussion of artistic and technological communities hosted by the Integrated Digital Media Institute of Polytechnic University. ## Topics will include: - Interactivity in digital media art - Communities of digital media artists - Tool development in artistic and technological communities As it's an example familiar to many, we will use the Share community (http://share.dj) as a starting point for discussion, which should last about 3 hours. Bring energy bars/drinks if you fear you might flag. ## you will be observed... This roundtable idea was set into motion by Michael Liegl, a sociologist from Ludwig-Maximilian Universität, Germany, who has been studying the experimental music and VJ scene for quite some time now. Michael will present slides and video footage from Share to get us talking. If you'd like to participate remotely, please contact roundtable@share.dj to work out the technical details. For more on the topics we will discuss (and to add your own suggestions to the mix), consult the wiki at http://share.dj/wikis/roundtable/ . Sat. September 17th, 2 pm at the IDMI Lab Polytechnic University Brooklyn Campus 6 Metro Tech Center RH 207 directions: http://share.dj/wikis/roundtable/#DirectionS + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 00:52:23 -0700 message-id: <200509130752.j8d7qnxw020676@idx164.idx.net> references: no_parent from: o.blaat subject: RHIZOME_RAW: Share @Mundial, E. Village NYC - Sun. 9/18 Share is now officially calling this wonderful East Village bar, Mundial, our home! Mundial features a minimal, high-tech lounge, and an outdoor patio in the back, just 4 blocks from our old home at OpenAir. Please bring your own gear/instrument/equipment to join in the visual &/or audio jam before/between/after the featured sets!! also.. bring yr sweetheart, bring yr sweet'n'cozy vibe, bring yr...self! Mundial is conveniently located in the heart of the East Village on E 12th St between Ave A & B (map and directions). Share @ Mundial 505 E 12th St East Village, NYC 212-982-1282 http://mundialnyc.com starting at 6 pm and going until around 12:30 a.m. so please come EARLY!!! no cover and tasty beverages Featured guests this week (_not_in order of appearance): >> It's a special project put together by Ilan Katin, called 'Connect the Dots' featuring: BubblyFish + Glomag Aerostatic I8U (from Montreal!) Chika Ilan Katin ----- Another sets of guests are from Share Montreal: They will perform in 2 sections;'Sketch In' & 'Covalence'. Marie-Hélène Parant Sylvain Cormier Sabina Sariyska Angela Di Lauro --------------------------- 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!! + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 10:00:21 +0200 message-id: <20050913100021.c6962e0f.412f2650@127.0.0.1> references: no_parent from: {vCH} subject: RHIZOME_RAW: =?ISO-8859-1?Q?Call=20for=20proposals=20by=20VideoChannel? VideoChannel http://videochannel.newmediafest.org relaunches a suit of calls for videos 1. theme: gender identity 2. theme: identity of colour 3. theme: totalitarism ****************************** 1. call for videos on theme "gender identity deadline 31 December 2005 ---> In a times when the traditional role of being "male" and "female" in society has lost its meaning, a male expresses his female, and a female her male components of their personality, when sexuality is not reduced to being straight or gay, but countless mixed forms of human existance can be lived, defining oneself in a gender specific context may become an essential question. The call is inviting artists to reflect their own or the subject of male, female, gay, lesbian, transgender etc identity via the medium of video. Details and entry form can be found on NetEX - internal announcements http://weblog.nmartproject.net/index.php?blog=8&cat=54 or http://weblog.nmartproject.net/index.php?blog=3&cat=11 2. call for videos on the theme "identity of colour" deadline 31 December 2005 --> The theme is going down to the essential role and influence of colour on any part of human life. The strong symbolism of the colours expresses itself in language and art, the signal effect of colour is used in advertiosing and design, colour take psychological influence on the unconsciousness, perception and emotion. What would be the world without colour? So what is the identity of colour? Details and entry form can be found on NetEX - internal announcements http://weblog.nmartproject.net/index.php?blog=8&cat=54 or http://weblog.nmartproject.net/index.php?blog=3&cat=11 3. call for videos on the theme "totalitarism" deadline 31 December 2005 As a part of the global networking project [R][R][F]2005--->XP, the view on "totalitarism" may be historically related as well as reflecting "totalitarian" structures nowadays. And while looking closer, one will recognize that traces of totalitarism can be found anywhere in society, politics and culture and everybody's life. But totalitarism can only exist if people let it happen actively or passively. Details and entry form can be found on NetEX - internal announcements http://weblog.nmartproject.net/index.php?blog=8&cat=54 or http://weblog.nmartproject.net/index.php?blog=3&cat=11 ******************************************** VideoChannel is a joint venture between Cinematheque at MediaCentre http://cinematheque.le-musee-divisioniste and [R][R][F] 2005 - global networking project http://rrf2005.newmediafest.org in the framework of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net and is acting basically online, but also offline in cooperation with media festivals and other cultural events worldwide. . info & contact info@nmartproject.net ***************** technical requirements DSL Internet connection Flash7 plug-in cross-bCrowser + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 03:00:49 -0700 message-id: <200509131000.j8da0nes032003@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Exhibition Eduardo Dhelomme Du 2 au 11 octobre 2005, se tiendra l'exposition « Un nouveau souffle Brésilien » présentant des oeuvres inédites du peintre franco-brésilien Eduardo Dhelomme. Tadaam, représentant exclusif de l'artiste en Europe, a choisi Paris pour organiser le retour de l'artiste au 20 rue Richelieu, Paris 1er. Inspirées de ces tableaux, les compositions musicales du collectif « The Sound Session » plongeront le visiteur dans cet univers métissé. L'exposition dévoilera 15 acryliques sur toile inédites, un échantillon de la collection réalisée entre 2001 et 2005. Vous découvrirez alors le métissage atypique de toiles abstraites lyriques, hautes en couleurs. Influencés à la fois par le surréalisme et la peinture gestuelle, ces tableaux d'un nouveau style, aux noms à consonances afro-brésiliennes nous attirent vers leur profondeur. Cet artiste de 83 ans, exposé au Musée d'Art Moderne de Paris en 1962, à la Biennale de Sao Paolo en 1963, au Musée d'Art Contemporain de Rio jusqu'en 1982 pour ses sculptures, a reçu les meilleures critiques brésiliennes dans les années 70. Après 25 ans de silence, Tadaam le remet sur le devant de la scène ! L'exposition se déroulera du 2 au 11 octobre 2005 tous les jours de 10h à 20h30, sur une musique de The Sound Session. Vous trouverez des informations complémentaires sur www.tadaam.com contact@tadaam.com 06.63.42.31.91 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php what's peculiar, is that while these generally escalate from cases of misguided paranoia, where the victims really have no logical link to the killer, but that's what the killer (or president) perceives. However, in many cases, the potential psycho killer, can be diffused by actually listening. The demands may be ridiculous, but allowing these people to feel heard. Often this calms them enough to look at their ideas more rationally. spiralling back down to Earth, rather than escalating and building steam. preventing people from becoming serial killers in the first place, may require an hour of work, rather than 24/7 for years protecting from them. These cases rarely are documented, but one where a worker went from peeing on their mainframe, becoming gradually more reclussive, and collecting guns, could have easily devolved into a spree. All the company did was note his demand for a promotion and explain, there was nothing they could do for him until the job opened up. not an airtight reason, but enough to calm him down for a day. Whereas, the cases that escalate ARE all we hear about. so you have to wonder, if bin Laden really was ultimately behind the 9/11 thing. Was he being ignored for years before? is that the REAL source of the problem? there's a tenant not to listen to crazed terrorists/ kidnappers/bank robbers. probably a good idea, since they've lost logic. but what about listening to people before they get to that point. Mixing up where the profile leaves off and the concrete proof begins, is actually just objective projection, not unlike beleiving horiscopes. in judging and assessing, it's as if many are subscribing to a fortune cookie. "you'll meet a tall dark stranger", which folks interpret any way their subconscious sees fit and swear is proof they are right in identifying what's "good". certainly it is common in art and art criticism. judgement is a ruse. am i arguing for or against anything? not really. (i'd love if people were wiser, but it'd be silly to say who's wise enough or what to do if somebody does or doesn't meet my standard. some people just aren't gonna be very wise.) but these judgemental types aren't making their choices much differently than those they judge. in a culture that emphasizes dictating and defending our dictates, over listening and revising opinions, maybe art itself has become skewed. this culture is proving impractical. our lack of listening skills is coming back in face. i don't know. i don't want to spend all day being a therapist. but maybe if instead of a military, we had a hierarchy of 1/4 as many people and far cheaper equipment, preventing probably several times as much dammage. anybody got any opinions? ___________________ PLASMA STUDII 501(c)(3) non-profit stage * galleries * web POI Box 1086 Cathedral Station New York, NY 10025 http://plasmastudii.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, 13 Sep 2005 14:31:13 +0200 message-id: <80bd928c050913053153870eea@mail.gmail.com> references: no_parent from: Kristofer Paetau subject: RHIZOME_RAW: KIDS AVANTGARDE Part 2: "The Punishment" KIEZ AVANTGARDE KUNSTSCHULE, PART II: "The Punishment" Kiez Avantgarde Kunstschule is a contemporary art project involvingpre-teen children from Soldiner Kiez in Berlin, Germany. During asummer workshop, the artists Ondrej Brody (CZ), Ivars Gravleis (LAT), Kristofer Paetau (FIN) and Avdey Ter-Oganian (RUS) planned to introduce a group of children into the practice of contemporary art... Please have a look at: A web documentation to view at: http://www.paetau.com/downloads/KiezAvantgarde/ThePunishment.html A PDF documentation (0,4 MB) to download at: http://www.paetau.com/downloads/KiezAvantgarde/ThePunishment.pdf View "The Punishment" Quicktime Video (DSL required): http://www.paetau.com/downloads/KiezAvantgarde/ThePunishment.mov Best wishes, Kristofer Paetau -- If you do not want mails anymore, you can unsubscribe automatically bysending 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 throughanother address: Please reply to this mail and write UNSUBSCRIBE inthe mail subject and please indicate some old or alternative e-mailaddresses in order to help us unsubscribe you. Thank you andapologizes 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, 13 Sep 2005 11:12:42 -0500 message-id: <98e63c96934aa3b2b86dbe13a29c5d61@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: legislating creativity http://news.com.com/Legislating+creativity--feds+plan+patent+reform/ 2009-1008_3-5860582.html?tag=alert "...Congress is about to consider a controversial proposal from Rep. Lamar Smith, a Texas Republican, that would grant a patent to the first person to submit the paperwork --a standard that's common outside the United States. The legislation suddenly has become a flash point about everything that's right with the U.S. patent system--and everything that's wrong with it. Technology companies fighting expensive patent cases are hoping the bill will reduce litigation, while open-source advocates say it will do nothing to hinder the rising tide of software patents being issued. Many people feel that the measure will make only modest improvements, if any, to the quality of patents being awarded. Smith's bill, called the Patent Reform Act of 2005, also has drawn the ire of independent inventors, who have said it will unfairly hurt anyone without a battalion of patent lawyers who can race to the Patent and Trademark Office in Alexandria, Va." + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 09:45:57 -0700 message-id: <200509131645.j8dgjvsx018114@idx164.idx.net> references: no_parent from: brad brace subject: RHIZOME_RAW: 12hr update _ |__ __| | /_ |__ \| | | __| | | | (_) | | __/ (__| |_ __ | | | | | | __/ | |/ /_| | | | | _ | | | '_ \ / _ \ | | / /| '_ \| '__| The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<< _ | | | '_ \ / _ \ | | / /| '_ \| '__| -_ | | | |__ ___ | | ) | |__ _ __ You begin to sense the byshadows that stretch from the awe of global dominance. How the intersecting systems help pull us apart, leaving us vague, drained, docile, soft in our inner discourse, willing to be shaped, to be overwhelmed -- easy retreats, half beliefs. Works of art are complex formal interventions within discursive traditions and their myriad filiations. These interventions are defined precisely by their incomparable capacity to trace the dynamics of historical process in paradoxical gestures of simultaneously prognostic and mnemonic temporalities. _ | __ \ (_) | | _| |__) | __ ___ _ ___ ___| |_ |_ ___/ '__/ _ \| |/ _ \/ __| __| |_| _ |_| \___/| |\___|\___|\__| _ _/ | _ |__/ > > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A `round-the-clock posting of sequenced hypermodern imagery from Brad Brace. The hypermodern minimizes the familiar, the known, the recognizable; it suspends identity, relations and history. This discourse, far from determining the locus in which it speaks, is avoiding the ground on which it could find support. It is trying to operate a decentering that leaves no privilege to any center. The 12-hour ISBN JPEG Project ----------------------------- began December 30, 1994 Pointless Hypermodern Imagery... posted/mailed every 12 hours... a spectral, trajective alignment for the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of exclusive events... A post-rhetorical, continuous, apparently random sequence of imagery... genuine gritty, greyscale... corruptable, compact, collectable and compelling convergence. The voluptuousness of the grey imminence: the art of making the other disappear. Continual visual impact; an optical drumming, sculpted in duration, on the endless present of the Net. An extension of the printed ISBN-Book (0-9690745) series... critically unassimilable... imagery is gradually acquired, selected and re-sequenced over time... ineluctable, vertiginous connections. The 12hr dialtone... [ see http://www.eskimo.com/~bbrace/netcom/books.txt ] KEYWORDS: >> Disconnected, disjunctive, distended, de-centered, de-composed, ambiguous, augmented, ambilavent, homogeneous, reckless... >> Multi-faceted, oblique, obsessive, obscure, obdurate... >> Promulgated, personal, permeable, prolonged, polymorphous, provocative, poetic, plural, perverse, potent, prophetic, pathological, pointless... >> Emergent, evolving, eccentric, eclectic, egregious, exciting, entertaining, evasive, entropic, erotic, entrancing, enduring, expansive... Every 12 hours, another!... view them, re-post `em, save `em, trade `em, print `em, even publish them... Here`s how: ~ Set www-links to -> http://www.eskimo.com/~bbrace/12hr.html -> http://bbrace.laughingsquid.net/12hr.html -> http://bbrace.net/12hr.html -> http://noemata.net/12hr/ Look for the 12-hr-icon. Heavy traffic may require you to specify files more than once! Anarchie, Fetch, CuteFTP, TurboGopher... ~ Download from -> ftp.rdrop.com /pub/users/bbrace Download from -> ftp.eskimo.com /u/b/bbrace Download from -> hotline://artlyin.ftr.va.com.au Download from -> ftp://bjornmag:Sobject@kunst.no/12hr/ * Remember to set tenex or binary. Get 12hr.jpeg ~ E-mail -> If you only have access to email, then you can use FTPmail to do essentially the same thing. Send a message with a body of 'help' to the server address nearest you: * ftpmail@ccc.uba.ar ftpmail@cs.uow.edu.au ftpmail@ftp.uni-stuttgart.de ftpmail@ftp.Dartmouth.edu ftpmail@ieunet.ie ftpmail@src.doc.ic.ac.uk ftpmail@archie.inesc.pt ftpmail@ftp.sun.ac.za ftpmail@ftp.sunet.se ftpmail@ftp.luth.se ftpmail@NCTUCCCA.edu.tw ftpmail@oak.oakland.edu ftpmail@sunsite.unc.edu ftpmail@decwrl.dec.com ftpmail@census.gov bitftp@plearn.bitnet bitftp@dearn.bitnet bitftp@vm.gmd.de bitftp@plearn.edu.pl bitftp@pucc.princeton.edu bitftp@pucc.bitnet * * ~ Mirror-sites requested! Archives too! The latest new jpeg will always be named, 12hr.jpeg Average size of images is only 45K. * Perl program to mirror ftp-sites/sub-directories: src.doc.ic.ac.uk:/packages/mirror * ~ Postings to usenet newsgroups: alt.12hr alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc * * Ask your system's news-administrator to carry these groups! (There are also usenet image browsers: TIFNY, PluckIt, Picture Agent, PictureView, Extractor97, NewsRover, Binary News Assistant, EasyNews) ~ This interminable, relentless sequence of imagery began in earnest on December 30, 1994. The basic structure of the project has been over twenty-four years in the making. While the specific sequence of photographs has been presently orchestrated for more than 12 years' worth of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing publication with additional new interjected imagery. Each 12-hour posting is like the turning of a page; providing ample time for reflection, interruption, and assimilation. ~ The sites listed above also contain information on other cultural projects and sources. ~ A very low-volume, moderated mailing list for announcements and occasional commentary related to this project has been established at topica.com /subscribe 12hr-isbn-jpeg -- This project has not received government art-subsidies. Some opportunities still exist for financially assisting the publication of editions of large (33x46") prints; perhaps (Iris giclees) inkjet duotones or extended-black quadtones. Other supporters receive rare copies of the first three web-offset printed ISBN-Books. Contributions and requests for 12hr-email-subscriptions, can also be made at http://bbrace.laughingsquid.net/buy-into.html, or by mailed cheque/check: $5/mo $50/yr. Institutions must pay for any images retained longer than 12 hours. -- ISBN is International Standard Book Number. JPEG and GIF are types of image files. Get the text-file, 'pictures-faq' to learn how to view or translate these images. [http://www.eskimo.com/~bbrace/netcom/pictures-faq.html] -- (c) Credit appreciated. Copyleft 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 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, 13 Sep 2005 23:08:40 +0400 message-id: <062001c5b896$90fad510$a87e77d4@susan> references: no_parent from: 8-926-1835493 subject: RHIZOME_RAW: =?koi8-r?B?8M/Nxd3FzsnFINcgwdLFzsTVIM/UINPPwtPU18XOzsnLwQ==? =EF=D2=C7=C1=CE=C9=DA=C1=C3=C9=D1-=D3=CF=C2=D3=D4=D7=C5=CE=CE=C9=CB =D0=D2=C5=C4=CC=C1=C7=C1=C5=D4 =D7 =D0=D2=D1=CD=D5=C0 =C4=CF=CC=C7=CF=D3=D2=CF=DE=CE=D5=C0 =C1=D2=C5=CE=C4=D5 =D0=CF=CD=C5=DD=C5=CE=C9=C5 =D3=D7=CF=C2=CF=C4=CE=CF=C7=CF =CE=C1=DA=CE=C1=DE=C5=CE=C9=D1 (=CB=D2=CF=CD=C5 =D0=D2=CF=C4=D5=CB=D4=CF=D7=CF=C7=CF =CD=C1=C7=C1=DA=C9=CE=C1) =CE=C1 =F0=C5=D2=CF=D7=D3=CB=CF=CA =D5=CC=C9=C3=C5 (=CD.=FB=CF=D3=D3=C5 =FC=CE=D4=D5=DA=C9=C1=D3=D4=CF=D7, =F0=C5=D2=CF=D7=CF). =EF=C2=DD=C1=D1 =D0=CC=CF=DD=C1=C4=D8 226 =CD. =F0=CF=CD=C5=DD=C5=CE=C9=C5 =D2=C1=D3=D0=CF=CC=CF=D6=C5=CE=CF =CE=C1 =D0=C5=D2=D7=CF=CD =DC=D4=C1=D6=C5 12-=DC=D4=C1=D6=CE=CF=C7=CF =D6=C9=CC=CF=C7=CF =C4=CF=CD=C1 =D7 =C8=CF=D2=CF=DB=C5=CD =D2=C1=CA=CF=CE=C5 =CE=C1 =D0=C5=D2=C5=D3=C5=DE=C5=CE=C9=C9 =F0=C5=D2=CF=D7=D3=CB=CF=CA =D5=CC=C9=C3=D9 =C9 =FA=C5=CC=C5=CE=CF=C7=CF =D0=D2=CF=D3=D0=C5=CB=D4=C1, =C9=CD=C5=C5=D4 14 =CB=CF=CD=CE=C1=D4 =D2=C1=DA=CE=D9=C8 =D2=C1=DA=CD=C5=D2=CF=D7, 2 =D3=C1=CE=D5=DA=CC=C1, 2 =CF=D4=C4=C5=CC=D8=CE=D9=C8 =D7=C8=CF=C4=C1, 4 =D4=C5=CC=C5=C6=CF=CE=C1 =ED=E7=F4=F3 =C9 =CF=D0=D4=C9=CB=CF=D7=CF=CC=CF=CB=CE=CF. =F3=C4=C5=CC=C1=CE =D2=C5=CD=CF=CE=D4, =C7=CF=D4=CF=D7=CF =CB =D2=C1=C2=CF=D4=C5. =E3=C5=CE=C1 - 330 =C4=CF=CC=CC. =DA=C1 =CB=D7 =CD =D7 =C7=CF=C4, =D7=CB=CC=C0=DE=C1=D1 =D7=D3=C5 =D4=C5=CC. =D3=CF=C2=D3=D4=D7=C5=CE=CE=C9=CB=C1 8-926-1835493 P.S. =EF=DE=C5=CE=D8 =D3=C9=CC=D8=CE=CF =C9=DA=D7=C9=CE=D1=C5=CD=D3=D1 =DA=C1 =C2=C5=D3=D0=CF=CB=CF=CA=D3=D4=D7=CF =D0=C5=D2=C5=C4 =D4=C5=CD=C9, =CB=CF=C7=CF =CE=C5 =DA=C1=C9=CE=D4=C5=D2=C5=D3=CF=D7=C1=CC=CF =CE=C1=DB=C5 =D0=D2=C5=C4=CC=CF=D6=C5=CE=C9=C5! =F5=C4=C1=DE=C9 =C9 =D5=D3=D0=C5=C8=C1 =F7=C1=CD =D7 =D7=C1=DB=C9=C8 =CE=C1=DE=C9=CE=C1=CE=C9=D1=C8 =D6=C5=CC=C1=CE=C9=D1=C8 =C9 =D7=C1=DB=C5=CD =C2=C9=DA=CE=C5=D3=C5!!! __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Tue, 13 Sep 2005 22:03:22 +0200 (CEST) message-id: <20050913200322.45f3521fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART Tbs to tabalign The US, Tupperware taketh TCP/IP, the Headmaster of Eton tag telnet, the third TagsOnLeft. 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 The units live off the activity of the user. The more actively the user draws, the more units are spawned. When this activity ceases, the units disappear one at a time until there are only two left. + + + Biography At some point in the eighties he switched on his Commodore computer, thereby putting serious strain on his social life for the next many years, not to mention the family’s phone bill. This event triggered a development from pixelpushing to a serious involvement in any type of technological art. At this point he’s trying to mold and promote this field from all possible vantage points. Working from the assumption that these art forms are an integral and necessary part of art history, he is active within writing, curating, teaching and the production of digital artworks. Explore his own works at http://www.crossover.dk. He is also a founder and co-editor of http://www.artificial.dk, a web magazine which grew out of the now defunct net art site kopenhagen.dk/net.art. He has an MA in Aesthetics and Culture from the University of Aarhus with a thesis on 20th century practices within technological art. He lives and works in Copenhagen, Denmark. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 13:31:27 -0700 message-id: <200509132031.j8dkvryx015753@idx164.idx.net> references: no_parent from: Jonas Lindberg subject: RHIZOME_RAW: New works are commissioned for Portable Gallery Ten creative professionals working with art, music, film and photography are commissioned to show select artwork at the Portable Gallery; www.portable-gallery.com, during 2005/2006. The Portable Gallery agenda is to promote creative democracy: Visitors to the site can submit their own art on-line in the Portable Gallery Open Art-forum. Four of these contributions will headline the Final Show in May 2006. www.portable-gallery.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 Immaculate realities. Yeesh. The book "Lustmord: The Writings and Artifacts of Murderers" ( http://www.amazon.com/exec/obidos/tg/detail/-/096503240X/104-5619644-5198341 ) is mostly pretty boring because all but one of them can't write worth a damn. Sick puppies with rabies. But it contains the writings of Carl Panzram. Writing was the only thing that kept him remotely human. Too bad he didn't start it earlier, when he was a kid. His voice reminds me of the writing of William S. Burroughs. Who also was a killer. That people become serial killers for attention says less about them than it does a society that does indeed pay fascinated attention to them. Murder and mayhem has been a staple of drama for eons. Medea. Oedipus. The Orestiea. Macbeth. Hamlet. But those are all tragedies. The onus is not on violent spectacle but on what it means to be human. And tragedy has also been called "an affair with the gods", ie, these works have strong human and cosmic significance. The moral and human issues are not glossed over in spectacle but are dealt with centrally. "American Psycho" is not a tragedy but a satire. A satire on USAmerica in the Reagan era. It's brilliant. It could as well be set in Canada or Britain etc in many ways, ie, the psychosis is not truly peculiar to the USA, though it may be most dramatically pronounced there. The 'American dream' is metonymic of 'the capitalist dream'. Yes, that people should be permitted their dignity and listened to is much to be desired, I agree. Also, art *can* be humanizing. Metaphor of 'me and you'. There's more than one person who has been on the edge of violence who found their balance in metaphor, in the possibility of the multi-perspectival view of 'me and you'. I had a daydream once of Cain and Abel. The knife was coming down. But there it stayed. Metaphor was there to save the day. He stopped not out of fear of punishment but identification with the other. 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, 13 Sep 2005 18:24:23 -0700 message-id: <200509140124.j8e1onx1011982@idx164.idx.net> references: no_parent from: Troy Innocent subject: RHIZOME_RAW: ::: THIRD ITERATION - Final Call for Papers & Artworks FINAL CALL for Papers & Artworks The Conference Committee has been inundated with a great number of requests to extend the deadline for submission of Papers, Technical/Artist Talks and Artworks. The new and absolute final date for submission is now September 23, 2005. For submissions being posted, please email iterate@csse.monash.edu.au so we can confirm receipt of your material. .......................................................................................................... THIRD ITERATION third international conference on generative systems in the electronic arts November 30th to December 2nd, 2005: Melbourne, Australia THIRD ITERATION is the third international conference on generative systems in the electronic arts. It investigates three major themes – human-computer creativity, generative meaning systems, and the computational sublime. Following on from First Iteration (1999) and Second Iteration (2001), this year’s conference will be held in Melbourne, Australia. For further information please visit the conference web site at http://www.csse.monash.edu.au/~iterate/TI/ or contact us via email at iterate@csse.monash.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 > > Speakers include: > > Alexander Cohen, (founder, Undergroundfilm.org) > Brewster Kahle (digital librarian, Internet Archive) > Jeff Ubois (producer, Archival.tv) > JD Lasica (author, Darknet) > Josh Goldman (CEO, Akimbo) > Kim Spencer (president, Link TV) > Marc Canter (co-founder, Ourmedia.org) > Marc Davis (founding director of Yahoo! Research Labs - Berkeley > (YRL-B)) > Mary Hodder (CEO, Bloqx) > Peter Hirshberg (board member, ICTV) > Peter B. Kaufman (founder, Intelligent Television) > Rick Prelinger (founder, the Prelinger Archive) > Ryan Shaw, (SIMS; YRL-B; unmediated.org) > Scott Kirsner (contributing editor, Release 1.0) > > Registration and Sponsorship > > Thanks to the generosity of the William and Flora Hewlett Foundation, > the Association of Moving Image Archivists' Television Interest Group, > and others, financial contributions by individual participants to > support the conference are voluntary. We ask that all participants > register in advance via e-mail, as below. > > The conference is the first in a series of meetings Archival TV and > Intelligent Television are organizing on this theme in 2005-2006. This > first meeting is taking place at The Hillside Club, one of Berkeley's > oldest cultural institutions. The Hillside Club is wi-fi enabled and > convenient to public transportation. > > Directions: > > By car: From Oakland or the Bay Bridge, take Hwy 80 and exit at > University, make a quick RIGHT under the freeway and onto the frontage > road, and turn RIGHT at the 4RENT sign onto Cedar St. Continue straight > two miles past Shattuck and park. From the Richmond Bridge, take Hwy 80 > and exit LEFT at Gilman, turn RIGHT on San Pablo for a few blocks, and > LEFT on Cedar St. 1.5 miles past Shattuck, and park. > > By foot/bicycle: From downtown Berkeley BART, go north on Shattuck, and > east on Cedar St. This is an easy and safe 15-minute walk. > > To register or for information about speaking or sponsorship, please > contact: > Jeff Ubois > +1 415 850 5431 > conference@archival.tv > http://www.archival.tv/wikiwiki.php?page=930 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 23:31:47 -0700 message-id: <200509140631.j8e6vl7t011300@idx164.idx.net> references: no_parent from: Thomas Petersen subject: RHIZOME_RAW: Artistic Interfaces. Between Instrument and Artwork Originally published at: http://www.artificial.dk Article with images, links etc.: http://www.artificial.dk/articles/artisticinterfaces.htm ARTISTIC INTERFACES. BETWEEN INSTRUMENT AND ARTWORK At three separate venues at Ars Electronica 2005 in Linz, Thomas Petersen found examples of hybrids between artworks and artistic instruments, which explore the relations between sound and vision in physical and virtual space. In this article he offers a few perspectives on what we can learn from these artistic interfaces. CREATIVE INTERACTIVITY REQUIRED Certain types of digital artifacts place themselves firmly in the border zone between instruments for artistic production and artworks. They are 'artistic interfaces' in both senses of the concept. On one hand, they constitute useful interfaces for users to create independent artistic expressions. On the other hand, these tools are artworks in their own right, which offer critical perspectives on the concept of the instrument itself and the dynamics of the creative process. In the field of digital culture the difference between instrument building and art-making can often be quite subtle. In some cases there are not necessarily any structural differences between an interactive artwork and an interactive space for users to produce aesthetic experiences because they can share characteristics as interactivity, interchangeability, transformation, user-controlled graphics and sound etc. Of course many digital pieces are a far cry from resembling tools e.g. genres like hypertext fiction, point-and-click game environments etc. The defining characteristic of the artistic interface is a specific type of interactivity where the common denominator is a large number of reconfigurable elements, the total sum of which create a manipulable space into which the user can project ideas and expressions. This space depends totally on direct creative interaction from the user. Each of the following pieces are frameworks of possibilities and limitations. They do not promise more complex or superior results than conventional or analogue instruments, but constitute specific explorations of the production of aesthetic results within certain boundaries. These pieces are critical approaches to the technologies of creative production and can be considered as complex artistic statements in themselves. DRAWING SCULPTURES OF SOUND An immensely popular work at the Cyberarts exhibition at Ars Electronica was Amit Pitaru's Sonic Wire Sculptor, which received an Honorary Mention in the Interactive Art category. This piece attracted quite a crowd in a stuffy room at the O.K Centrum für Gegenwartskunst. Sonic Wire Sculptor deals with the production of sound by means of three dimensional wire drawings. It explores the correlation between vision and sound as the user literally draws the sound with a pen at a drawing station. The drawings are inserted in a rotating 3d-space as spinning wire sculptures. As this virtual space rotates 360 degrees, the sculpture is interpreted by the computer and transformed into sound according to the initial speeds and positions of the drawings. The vertical axis determines the pitch, notes are indicated by horizontal lines and a metronome can be found at the centre of the stage. The user can save and retrieve the sculptures, stop the rotation and reposition the compositions freely to reconfigure the elements within a new tonal space. The installation of the piece in the exhibition space is based on surround sound so the sound in the physical space reflects the structure of the virtual sculpture. Compared to many other similar projects the piece distinguishes itself by actually being playable as a performance instrument. It can be used as a precise musical instrument by means of the guidelines to achieve specific notes and precise rhythm. A practical implementation into a joint performance setting is definitely conceivable. The piece is a critical approach to the production and representation of sound at the same time. The wire sculptures are an original counterpart to the conventional note system and a dynamic equivalent to graphic notation systems like the ones used by composers like John Cage, Brian Eno etc. A PLAYFUL PHYSICAL SEQUENCER A similar project is Golan Levin's Scrapple: A physical active score table, which was presented at the Ars Electronica Center across the Nibelungen bridge. As with Pitaru's Sonic Wire Sculptor, Levin's piece Scrapple deals with the transformation of shapes into sounds. In this case the piece is based on the configuration of physical objects on a table, transforming them into a musical score. Instead of placing samples in a sequencer or notes on paper, Scrapple adds a physical dimension to computer-generated music. The user has to move and adjust objects to indicate rhythm, tones, melody etc. The visual result quickly ends up as an abstract composition of shapes corresponding to sound. It also adds a bodily aspect forcing the users to move swiftly around the table. The strength of the piece is not so much being a precise musical instrument but rather a very enjoyable toy appealing to the playful interaction between several users at a time. Other projects by Golan Levin touch upon similar aspects. In The Manual Input Sessions, hand gestures, finger movements and other objects are analyzed by custom software generating graphics and sounds. In Yellowtail, virtual worm-like creatures are drawn by the user on a screen and transformed into sound by a scanning mechanism. AUGMENTED TABLE COMPOSITION Going back over the bridge to the 'Interface Culture' exhibition at Kunstuniveristät Linz (Art University of Linz) The reacTable* was exhibited next to a number of experimental interfaces. This particular piece was developed at the Music Technology Group, Pompeu Favra University, Barcelona. The instrument consists of a round table and plastic objects marked with various symbols. Based on these symbols a camera tracks the position and direction of the objects when they are placed on the table. When one of the objects is placed, the particular symbol is recognized and the immediate environment is augmented with graphics indicating the functions of the element. Some of the objects produce sound and other objects modify these sounds. Some events can also affect the general visual appearance of the table. The total sum of events creates a dynamic, tangible interface with virtually unlimited possibilities in the creation and visualization of sound. The visual result is a stunning abstract animation generating buzzing, clicking and humming compositions. The interface allows the composer to handle physical objects to generate digital sound supported by a full range of dynamic visualizations. As opposed to the widespread use of e.g. the laptop as a performance instrument, the strength of reacTable* is its tangibility and involvement of the user's body to manipulate digital sound. reacTable* has a social and telematic dimension as there is the possibility of involving distant participants at a shared table. The piece was used in a collaborative performance between Linz and the ICMC conference in Barcelona Spain. The two tables shared musical components and the composers could affect each other' s components in a shared performance situation. BASIC RESEARCH The range of strategies shows us that the visualization/notation of sound is not an unequivocal project. The correlation between sound and vision is a magnet for pioneering instrument builders, simply because this space can never be definitively charted. Each instrument constitutes an interpretation of the ephemeral nature of sound and a longing to map it. The result is an abundance of complex analyses of aesthetic transformations and some very interesting artistic interfaces. The sheer amount of different strategies of this kind points to the fact that the artistic instrument is under full - scale development these days. These experimental instruments can be regarded as basic research into alternative ways of creating and visualizing music. Because they take place as an experimental practice between art-making and instrument building they can establish interactive spaces which may not have the potential to survive on a commercial market. Certain aspects of these instruments will most likely find their way into commercial production and some of them will maybe become commonplace performance tools - some will not. Whatever their future destinies may be, they are nonetheless important as singular statements and they demonstrate the importance of experimental spaces to develop and test new approaches to artistic tools. http://www.artificial.dk/articles/artisticinterfaces.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, 14 Sep 2005 10:44:29 -0400 message-id: references: <20050913200322.45f3521fd2@mail.isnm.uni-luebeck.de> from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: PLEASE DO NOT SPAM ART I'm curious about emails like this and the people who send them. >Tbs to tabalign The US, >Tupperware taketh TCP/IP, > the Headmaster of Eton tag telnet, > the third TagsOnLeft. > >http://spam.trashconnection.com/ >+ Went to the website, which allows one to put together meaningless words or sentences. I imagine someone who has nothing to say yet wants to appear important, a digital version of people who smear shit on walls in public toilets. M. -- + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 11:32:15 -0400 message-id: <4f5b0d6bbeffcb96645709118fafd484@ikatun.com> references: no_parent from: kanarinka subject: RHIZOME_RAW: (infinitely small) THINGS IN FALL, THE SEASON THINGS IN FALL, THE SEASON News & events from the Institute for Infinitely Small Things, iKatun, and kanarinka _____________________________________________ PROJECT LAUNCH: 12 Inches of Weather www.glowlab.com/lab2/issue.php?project_id=90 A body (human, not planetary) also has weather. These drawings map 12 inches of weather on a human body as it was subjected to short periods of rapid change due to activities of displacement. _____________________________________________ PROJECT LAUNCH: kanarinka studio www.turbulence.org/studios/kanarinka Definitions of psychogeography and microperformance. Fresh for contention. Projects and performances. _____________________________________________ CONFERENCE: Corporate Commands @ Artivistic Conference: Art, Information, Activism http://artivistic.omweb.org September 22-24, Montreal, Canada The Institute for Infinitely Small Things will be conducting expeditions for and performances of Corporate Commands at Artivistic. Email us if you are interested in going on a road-trip. _____________________________________________ CONFERENCE/EXHIBITION: Artwork at The Upgrade! International @ Eyebeam http://www.eyebeam.org/engage/engage.php?page=exhibitions&id=79 September 16-24, New York City, NY Work by the Institute for Infinitely Small Things & iKatun will be on display. Jo-Anne Green & Catherine D'Ignazio will present about The Upgrade! Boston. _____________________________________________ EXHIBITION/FESTIVAL: Glowlab at Art Interactive A nine-week-long psychogeography festival in Central Square, Cambridge, MA. Exhibition Dates: 10/14/05 - 12/11/05 Opening Reception: Friday, October 14th, 6PM - 9PM www.artinteractive.org/shows/glowlab/glowlab_press.html iKatun is pleased to be able to support the Glowlab show at Art Interactive, Cambridge, MA, and to serve as the co-producer of this strange, hybrid festival-exhibition. Other partners for this exhibition include the Berwick Research Institute, Turbulence.org, the Center for Advanced Visual Studies at MIT, the Boston Society of Architects, and Anthem Magazine. _____________________________________________ EVENT: iKatun is a Visiting Artist UC Santa Cruz, History of Theory & Consciousness Program In conjunction with Michael Mandiberg October 26-28, Santa Cruz, California _____________________________________________ EXHIBITION: Psychogeographic Map on Display at Children's Museum, Boston www.turbulence.org/studios/kanarinka November, 2005. Boston, MA. Part of the Satellite Public Art Residency program at the Berwick Research Institute in partnership with Arts in Progress. The Institute for Infinitely Small Things collaborated with youth from Dudley Square to map Corporate Commands in the Dudley neighborhood during Summer, 2005. The results of their research will be on display at the Children's Museum, Boston, in November, 2005. Opening reception & event dates TBA. _____________________________________________ ARTICLE: "Art-Machines, Body-Ovens and Map-Recipes: Entries for a Psychogeographic Dictionary" by kanarinka Forthcoming in Winter 2006 in Art and Mapping: Special Issue of Cartographic Perspectives Editors: Denis Wood and John Krygier kanarinka undefinitively defines things like ovens and mobility. To order a copy, email John Krygier at jbkrygier@owu.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: Wed, 14 Sep 2005 08:44:00 -0700 message-id: <1126712640.43284540f2be2@webmail.namezero.com> references: no_parent from: www@trashconnection.com subject: Re: RHIZOME_RAW: PLEASE DO NOT SPAM ART Dear Miklos at sympatico, when you do not understand the meaning of words or sentences, it does not mean they are meaningless. I like your comparison with the toilet inscriptions. They are sometimes only the way to think about something different than your shit. Don't be nervous about my messages. Do it like me and everyone on this list. Just delete them! msc> I'm curious about emails like this and the people who send them. >>Tbs to tabalign The US, >>Tupperware taketh TCP/IP, >> the Headmaster of Eton tag telnet, >> the third TagsOnLeft. >> >>http://spam.trashconnection.com/ >>+ msc> Went to the website, which allows one to put together meaningless msc> words or sentences. msc> I imagine someone who has nothing to say yet wants to appear important, msc> a digital version of people who smear shit on walls in public toilets. msc> M. -- Roman Minaev 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 artists, the tangible output is going to be secondary to the concept driving it. In other words, if anyone can make anything with the tap of their finger, then the idea of what they make, and the fact that they have articulated it, will be far more important than the process of how it was made. I've read Curt using, specifically, the example of Michael Mandiberg's "After Sherri Levine": Walker Evans takes photographs of share croppers in 1936, Sherri Levine, in 79, takes pictures of the pictures and puts them on line. Mandiberg, in 2001, scans Evans' originals, and puts them on line, then scans Levine's pictures of those pictures and puts them on line, elsewhere. Curt says the work is poor because it couldn't exist without an artists statement- and that, therefore, the artists statement is the piece. The artists statement is always an explanation of history and context. But Mandiberg's artist's statement is a history and a context, of art, and how we re-evaluate art as technology changes our interactions with the world. "After Sherri Levine" makes a point that strikes a nerve; but also crackles the synapses as it makes new connections between ideas. It is not exactly a moving piece of emotional art, a call to arms, a protest piece, or anything of the sort. But it does say something interesting in an interesting way- and saying something interesting is about all any of us with access to the right technology will need to know how to do. Two Cents, -e. ----- Original Message ----- From: To: Sent: Monday, August 08, 2005 3:43 PM Subject: RHIZOME_RAW: Regarding The "Anti-Nike" >A friend of mine just sent me a link to Charlotte's front page rant/spoof >regarding flooding the meme-way with concepts alone instead of "realized" >conceptual art. Although this is obviously a fun/tongue in cheek call to >arms, in many ways I think this is a fundamental critique of "conceptual >art" and a pointed observation of it's fundamental flaws. > > I invite you to continue reading a section of a recent blog from my > website (www.joenolan.com) in which I address the same subject more > directly. > > Thanks and enjoy! > > Joe Nolan > > > I have been finishing up a series of drawings that I hope to include in a > book of poetry that will be available some time this summer (hopefully). > They are "self portraits" and also religious iconography. Those of you who > are familiar with my other my work know that I feel that "All Art is > Martial Art". Which is to say, the elements that create the successful > martial moment are the same ones that create successful art. > > These elements are: 1) confrontation, 2) impact and 3) movement. > > Anyone who is familiar with the visual work I have done in the past knows > that it is my contention that "art" is best employed to express that which > is beyond the bounds of language. In this sense I reject all "conceptual > art" out of hand as an intellectual conceit and an ignorant > miscalculation. > > A concept is an idea. An idea is a collection of words. A collection of > words is most simply (i.e. most elegantly and therefore most beautifully > and therefore most artistically successful)conveyed by...wait for > it...more words! > > Please just write me the essay you are going to have to post in the > gallery anyway to explain your faulty efforts. > > Because of my understanding of "art" as the language that is beyond > language, in my opinion it is most effectively applied to those concerns > that elude our clumsy mouthings: emotions, impulses etc. Being somewhat > over-the-top as an artist and a person I, naturally, tend to push this to > it's logical conclusion and concern myself with the ultimate > "unspeakable": God and man's impulse toward the transcendent. > > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/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, 14 Sep 2005 17:01:56 +0100 message-id: references: no_parent from: Simon Biggs subject: RHIZOME_RAW: Autopoeisis: novelty, meaning and value Sorry for cross-postings An email to draw attention to a new book. Autopoeisis: novelty, meaning and value By Simon Biggs and James Leach 'Autopoeisis: novelty, meaning and value' addresses the value of novelty in contemporary culture and is co-authored from the point of view of two disciplines - fine art and anthropology. Sections of the text have been authored jointly whilst other sections have been authored individually. However, there has been a constant process of question and answer and further joint revision, including regular instances where one author corrects or annotates the text of the other. The result is a format where texts weave around each other thematically, sometimes in sympathy, sometimes in contrast. Complementing the authored texts there are three other components. The first, which initially might appear indistinct from the main textual body, is an auto-generated text. This is a text written not by one of the authors, nor by any other author, but by a machine - a computer programmed to take a previous text by James Leach and to use it as a dictionary for the auto-generation of a new text. The principle objective here is not to try and find or create new meaning out of Leach's original text but rather to explore, by example, the value of novelty when applied to such an extreme that all that determines the nature of a particular text is that it is different and unique, any sense of authorial intent having been removed. Each of the authors has also contributed visual material related to their primary practices. Leach has included a series of photographs taken in the field when undertaking research in Papua New Guinea. A number of these photographs accompanied the earlier text which Biggs has used as source material for the auto-generated text and which Leach discusses here in detail in order to reflect upon his own practice as an anthropologist. Biggs has included a series of quad-tone lithographic images produced via automatic methods (computer generated) from an earlier project Great Wall of China. These images are derived from documentary photographs of various architectural styles from a range of different cultures and historical periods, organised by applying typographic rules to the composition of the image. Born in Australia, 1957, Simon Biggs moved to the UK in 1986.A visual and inter-disciplinary artist, he places the computer and interactive systems at the centre of a practice addressing issues around identity and reality as social constructs. He is Research Professor in Digital Art at Sheffield Hallam University and a Senior Research Fellow at the University of Cambridge. James Leach is Research Fellow at Kings College, Department of Social Anthropology, University of Cambridge. He has undertaken long-term field research on the Rai Coast in Papua New Guinea. Recent work has focused on ownership, including intellectual and cultural property in Papua New Guinea, and knowledge production more widely. He is currently engaged in comparative research on creativity and ownership in inter-disciplinary collaborations in the UK. Autopoeisis: novelty, meaning and value Published 2004 by Artwords Press 65a Rivington St London EC2A 3QQ UK 2004 ISBN 0-9543908-4-9 Available in select bookshops and via Amazon. Simon Biggs simon@littlepig.org.uk http://www.littlepig.org.uk/ Professor, Art and Design Research Centre Sheffield Hallam University, UK http://www.shu.ac.uk/schools/cs/cri/adrc/research2/ + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 18:13:27 +0200 message-id: <43284c27.3040700@o-o.lt> references: <1126712640.43284540f2be2@webmail.namezero.com> from: subject: Re: RHIZOME_RAW: PLEASE DO NOT SPAM ART what do meaning or meaningless mean? pls , examples www@trashconnection.com wrote: > Dear Miklos at sympatico, > > when you do not understand the meaning of words or > sentences, it does not mean they are meaningless. > I like your comparison with the toilet inscriptions. They are > sometimes only the way to think about something different than your shit. > Don't be nervous about my messages. Do it like me and everyone on this > list. Just delete them! > > msc> I'm curious about emails like this and the people who send them. > > > >>>Tbs to tabalign The US, >>>Tupperware taketh TCP/IP, >>> the Headmaster of Eton tag telnet, >>> the third TagsOnLeft. >>> >>>http://spam.trashconnection.com/ >>>+ > > > > msc> Went to the website, which allows one to put together meaningless > msc> words or sentences. > msc> I imagine someone who has nothing to say yet wants to appear important, > msc> a digital version of people who smear shit on walls in public toilets. > > msc> M. > > > > -- > Roman Minaev > 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 > > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 12:45:06 -0400 message-id: references: <1126712640.43284540f2be2@webmail.namezero.com> from: miklos@sympatico.ca subject: Re: RHIZOME_RAW: PLEASE DO NOT SPAM ART >Dear Miklos at sympatico, > >when you do not understand the meaning of words or >sentences, it does not mean they are meaningless. Hi Roman, I didn't say I don't understand them, and it's true that nothing is meaningless in the strict sense of the word, but that's pushing the limits of language tolerance. I understood patterns, found meaning in the urge and drive to communicate even if one has nothing to say, or wants the credit but doesn't want to make the effort. This is an archetype in every culture. (more later). Meaning or lack of, could be defined as a contribution to understanding. The first line ever drawn in the sand in prehistoric times, drew "oohs" and "aahs" of wonder. 1.5 millions of years later, after billions of lines, no one cares unless there's something more, like lines as letters arranged in meaning, or drawn with skill and care as opposed to without skill or care. So meaning and quality have to do with what they contribute. My guess is you're playing with concepts or ideas of disruption. Disruptive in using public space and time for text which begs understanding, or contribute little or nothing constructive to the zegheist; you're disrupting established channels of communication by putting dirt in it. Then it comes to a value judgement; is this a good thing or not? Some consider disruption good for it's own sake, but that's an unreflecting point of view, since good or bad is defined by environment and context. >Do it like me and everyone on this list. Just delete them! So you might be saying it's "bad"; you're placing dirt and grit in the rhizome email tube. Is it necessary or stimulating? That's something I can't judge; you saying "Just delete them!" implies that you think it might be stimulating to someone so others should ignore it. Why it bugs me; let's say I'm going to send you an email saying you won lots of money, and if you reply I will really send you a million dollars. But for two months previously I'll send you meaningless emails that you just get in the habit of deleting. When the important email comes in, you'll delete it like the others, simply out of habit and expectation, and so you'll miss your chance at the prize. Which suggests that clarity is important. Miklos >I like your comparison with the toilet inscriptions. They are >sometimes only the way to think about something different than your shit. >Don't be nervous about my messages. Do it like me and everyone on this >list. Just delete them! > >msc> I'm curious about emails like this and the people who send them. > > >>>Tbs to tabalign The US, >>>Tupperware taketh TCP/IP, >>> the Headmaster of Eton tag telnet, >>> the third TagsOnLeft. >>> >>>http://spam.trashconnection.com/ >>>+ > > >msc> Went to the website, which allows one to put together meaningless >msc> words or sentences. >msc> I imagine someone who has nothing to say yet wants to appear important, >msc> a digital version of people who smear shit on walls in public toilets. > >msc> M. > > > >-- >Roman Minaev >trashconnection.com -- 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 > without an > artists statement- and that, therefore, the artists statement is the > piece. > The artists statement is always an explanation of history and context. > But > Mandiberg's artist's statement is a history and a context, of art, and > how > we re-evaluate art as technology changes our interactions with the > world. > "After Sherri Levine" makes a point that strikes a nerve; but also > crackles > the synapses as it makes new connections between ideas. > > It is not exactly a moving piece of emotional art, a call to arms, a > protest > piece, or anything of the sort. But it does say something interesting > in an > interesting way- and saying something interesting is about all any of > us > with access to the right technology will need to know how to do. > > Two Cents, > -e. > > > ----- Original Message ----- > From: > To: > Sent: Monday, August 08, 2005 3:43 PM > Subject: RHIZOME_RAW: Regarding The "Anti-Nike" > > > >A friend of mine just sent me a link to Charlotte's front page > rant/spoof > >regarding flooding the meme-way with concepts alone instead of > "realized" > >conceptual art. Although this is obviously a fun/tongue in cheek > call to > >arms, in many ways I think this is a fundamental critique of > "conceptual > >art" and a pointed observation of it's fundamental flaws. > > > > I invite you to continue reading a section of a recent blog from my > > website (www.joenolan.com) in which I address the same subject more > > directly. > > > > Thanks and enjoy! > > > > Joe Nolan > > > > > > I have been finishing up a series of drawings that I hope to include > in a > > book of poetry that will be available some time this summer > (hopefully). > > They are "self portraits" and also religious iconography. Those of > you who > > are familiar with my other my work know that I feel that "All Art > is > > Martial Art". Which is to say, the elements that create the > successful > > martial moment are the same ones that create successful art. > > > > These elements are: 1) confrontation, 2) impact and 3) movement. > > > > Anyone who is familiar with the visual work I have done in the past > knows > > that it is my contention that "art" is best employed to express that > which > > is beyond the bounds of language. In this sense I reject all > "conceptual > > art" out of hand as an intellectual conceit and an ignorant > > miscalculation. > > > > A concept is an idea. An idea is a collection of words. A collection > of > > words is most simply (i.e. most elegantly and therefore most > beautifully > > and therefore most artistically successful)conveyed by...wait for > > it...more words! > > > > Please just write me the essay you are going to have to post in the > > gallery anyway to explain your faulty efforts. > > > > Because of my understanding of "art" as the language that is beyond > > language, in my opinion it is most effectively applied to those > concerns > > that elude our clumsy mouthings: emotions, impulses etc. Being > somewhat > > over-the-top as an artist and a person I, naturally, tend to push > this to > > it's logical conclusion and concern myself with the ultimate > > "unspeakable": God and man's impulse toward the transcendent. > > > > + > > -> post: list@rhizome.org > > -> questions: info@rhizome.org > > -> subscribe/unsubscribe: > http://rhizome.org/preferences/subscribe.rhiz > > -> give: http://rhizome.org/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, 14 Sep 2005 10:00:24 -0700 message-id: <200509141700.j8eh0oja025155@idx164.idx.net> references: no_parent from: Daniel Green subject: RHIZOME_RAW: MIKON September show canceled Our September 18 show has been canceled. Our upcoming shows will continue as planned, the next one being in November, 2005. We will keep rhizome posted as to our plans. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/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, 14 Sep 2005 10:53:38 -0700 message-id: <200509141753.j8ehrcup032714@idx164.idx.net> references: no_parent from: Thomas Beard subject: RHIZOME_RAW: Lillian Schwartz: A Beautiful Virus Inside the Machine Lillian Schwartz: A Beautiful Virus Inside the Machine Ocularis at Galapagos Art Space 70 North 6th Street, Brooklyn Sunday, September 18 at 7 PM http://www.ocularis.net Ocularis is proud to host A Beautiful Virus Inside the Machine, Lumen's touring program highlighting the pioneering work of Lillian Schwartz, Consultant in Film and Graphics in the Computer Science Department at Bell Laboratories (New Jersey), 1969—2002.   During the 70s and 80s Schwartz developed a catalogue of visionary techniques for the use of the computer system by artists.  Her formal explorations in abstract animation involved the marriage of film, computers, and music in collaboration with such luminaries as computer programmer Kenneth Knowlton and computer musicians Jean–Claude Risset, Max Mathews, Richard Moore, Mike Noll, Ken Thompson, Rob Pike, John Chambers, David Dobkin, Gershon Kingsley, Emanuel Ghent Salieri, and Joe Olive. Schwartz’s films have been shown and won awards at the Venice Biennale, Zagreb, Cannes, The National Academy of Television Arts and Sciences, and nominated and received Emmy nominations and awards. Her work has been exhibited at, and is owned by, The Museum of Modern Art (New York), The Metropolitan Museum of Art (New York), The Whitney Museum of American Art (New York), The Moderna Museet (Stockholm), Centre Beauborg (Paris), Stedlijk Museum of Art (Amsterdam), and the Grand Palais Museum (Paris). Over the last year Lumen have collaborated with Lillian Schwartz and curator Gregory Kurcewicz to compile a touring package of these important works. The 55 minute program features 11 animations restored to video.   Works to be screened: Pixillation, 1970, 4 mins; Mathoms, 1970, 2 mins 15 secs; Olympiad, 1971, 2 mins 32 secs; UFO's, 1971, 2 mins 32 secs; Enigma, 1972, 4 mins 14 secs; Googolplex, 1972, 5 mins 10 secs; Apotheosis, 1972, 4 mins 17 secs; Mutations, 1972, 6 mins 35 secs; Papillons, 1973, 3 mins 58 secs; Metamorphosis, 1974, 8 mins 10 secs; Alae, 1975, 3 mins 50 secs; Newtonian II, 1978, 5 mins 20 secs   Curated by Gregory Kurcewicz and Lumen. In addition to Lumen's program, the show at Ocularis will also feature The Artist and the Computer, a brief documentary about Schwartz and her work. Total Running Time: 65 mins Lillian Schwartz will be present to answer questions after the screening. Support for this event was provided, in part, by the Experimental Television Center's Presentation Funds program, which is supported by the New York State Council on the Arts. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 11:15:24 -0700 message-id: <200509141815.j8eifo1j003341@idx164.idx.net> references: no_parent from: ellen jantzen subject: RHIZOME_RAW: Mo+th Cover Design Rhizome member Ellen Jantzen was chosen to create the cover art for a new publication, Mo+th. Ellen used an image from her "Artificial Evolution" series. The journal is published by Bombshelter Press and is available on Amazon.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 but that's just enthusiasm about the potential of a new communications technology. I agree; it's potentially exciting. I'm certainly not arguing against the value of concepts. I'm not even arguing against art that traffics in concepts (most art does). e: Conceptual art is a means of breaking out of boxes and exploring different ways of doing things (and a lot of it is deliberately engaged in violating the rules of language itself as a means of exploring the limitation of language itself. An idea is not always, as you say, "a collection of words"). c: in the sixties and seventies conceptual art was a means of breaking out of boxes. now conceptual art has escaped those boxes to become its own box. describing one's concepts without ever implementing them is the next logical means of breaking out of *that* box. Twice the concepts in half the time; and you can spend your free time actually making good art. Instructionists of the web, post forth! e: But I have never really been comfortable with the segregation of "forms" of creative thought. c: I'm even less comfortable with the segregation of concept from craft, as if the former trumps the latter and is totally independent of it. e: Artistry is fast losing its definition as a skill set; technology is going to make sure of it. As that opens up the creative process, ideas are going to grow far more important than the technical execution of an idea. It's not about the quality of the art, it's about the quality of the articulation. c: but what is "quality of articulation" if not "artistry" and craft (unless you're talking about "crafting" an artist statement)? If what you're saying is true, why "articulate" anything at all? Just post instructions. e: (A more practical example is the notion of audio tracking software that allows for an entire genre of popular music to be made by individuals without any idea of how to play an "actual" instrument). As technology accelerates the number of radio producers, musicians, film makers, magazine publishers, and artists, the tangible output is going to be secondary to the concept driving it. In other words, if anyone can make anything with the tap of their finger, then the idea of what they make, and the fact that they have articulated it, will be far more important than the process of how it was made. c: There is still craft in electronic music and hip-hop, otherwise anyone could be Amon Tobin or DJ Spooky. Such music is not accomplished with a mere tap of the finger. It's craft applied to a different aspect of the creative process, but it's sure enough craft. As Brian Eno observed as early as 1975, the recording studio itself is an instrument. e: I've read Curt using, specifically, the example of Michael Mandiberg's "After Sherri Levine": Walker Evans takes photographs of share croppers in 1936, Sherri Levine, in 79, takes pictures of the pictures and puts them on line. Mandiberg, in 2001, scans Evans' originals, and puts them on line, then scans Levine's pictures of those pictures and puts them on line, elsewhere. Curt says the work is poor because it couldn't exist without an artists statement- and that, therefore, the artists statement is the piece. The artists statement is always an explanation of history and context. But Mandiberg's artist's statement is a history and a context, of art, and how we re-evaluate art as technology changes our interactions with the world. "After Sherri Levine" makes a point that strikes a nerve; but also crackles the synapses as it makes new connections between ideas. It is not exactly a moving piece of emotional art, a call to arms, a protest piece, or anything of the sort. But it does say something interesting in an interesting way- and saying something interesting is about all any of us with access to the right technology will need to know how to do. c: i think "After Sherri Levine" is a cheap one-liner. Ba-dum-bum. I think art can do better. Mere technology didn't usher in the promises of a brave new modern world in Le Corbusier's time, and I'm not holding my breath for it to happen in ours (although Wired keeps assuring me it's just around the bend). Luckily, I don't have to wait on technology. Heck, I don't even have to wait on an intern. As a proto-conceptual instructionist, i need only post my concepts. Whether a bot or a human is able to implement them is no longer my concern. Up with the mouth! Long live the mind! Down with the hand! Death to the eye! the love below, HAL 3000 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 20:38:01 +0200 message-id: <43286e09.4030501@o-o.lt> references: from: subject: Re: RHIZOME_RAW: PLEASE DO NOT SPAM ART i found much more interesting to read please do not spam art miklos@sympatico.ca wrote: >> Dear Miklos at sympatico, >> >> when you do not understand the meaning of words or >> sentences, it does not mean they are meaningless. > > > Hi Roman, > > I didn't say I don't understand them, and it's true that nothing is > meaningless in the strict sense of the word, but that's pushing the > limits of language tolerance. I understood patterns, found meaning in > the urge and drive to communicate even if one has nothing to say, or > wants the credit but doesn't want to make the effort. This is an > archetype in every culture. (more later). > > Meaning or lack of, could be defined as a contribution to > understanding. The first line ever drawn in the sand in prehistoric > times, drew "oohs" and "aahs" of wonder. 1.5 millions of years later, > after billions of lines, no one cares unless there's something more, > like lines as letters arranged in meaning, or drawn with skill and care > as opposed to without skill or care. > > So meaning and quality have to do with what they contribute. > > My guess is you're playing with concepts or ideas of disruption. > Disruptive in using public space and time for text which begs > understanding, or contribute little or nothing constructive to the > zegheist; you're disrupting established channels of communication by > putting dirt in it. > > Then it comes to a value judgement; is this a good thing or not? Some > consider disruption good for it's own sake, but that's an unreflecting > point of view, since good or bad is defined by environment and context. > >> Do it like me and everyone on this list. Just delete them! > > > So you might be saying it's "bad"; you're placing dirt and grit in the > rhizome email tube. Is it necessary or stimulating? That's something I > can't judge; you saying "Just delete them!" implies that you think it > might be stimulating to someone so others should ignore it. > > Why it bugs me; let's say I'm going to send you an email saying you won > lots of money, and if you reply I will really send you a million > dollars. But for two months previously I'll send you meaningless emails > that you just get in the habit of deleting. When the important email > comes in, you'll delete it like the others, simply out of habit and > expectation, and so you'll miss your chance at the prize. > > Which suggests that clarity is important. > > Miklos > > >> I like your comparison with the toilet inscriptions. They are >> sometimes only the way to think about something different than your shit. >> Don't be nervous about my messages. Do it like me and everyone on this >> list. Just delete them! >> >> msc> I'm curious about emails like this and the people who send them. >> >> >>>> Tbs to tabalign The US, >>>> Tupperware taketh TCP/IP, >>>> the Headmaster of Eton tag telnet, >>>> the third TagsOnLeft. >>>> >>>> http://spam.trashconnection.com/ >>>> + >> >> >> >> msc> Went to the website, which allows one to put together meaningless >> msc> words or sentences. >> msc> I imagine someone who has nothing to say yet wants to appear >> important, >> msc> a digital version of people who smear shit on walls in public >> toilets. >> >> msc> M. >> >> >> >> -- >> Roman Minaev >> 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, 14 Sep 2005 15:54:39 -0300 message-id: <007101c5b95d$c4186f80$5fa205c9@nomeamigotec> references: no_parent from: Regina Clia Pinto subject: RHIZOME_RAW: 'Two "Ugly" Ducklings' and a call for submissions to "pulses del hambre", a project by Isabel Aranda *YTO* - Chile Dear Rhizomes, I would like to invite you to visit my new work - Two "Ugly" Ducklings - at http://arteonline.arq.br/ducks/ . This work was done to the new Isabel Aranda's project - "pulses del hambre" (press of hunger) - (http://www.pulses.yto.cl ), for which you are all invited to participate. 'Two "Ugly" Ducklings' is a portion of a true history that I will tell you completely in my next electronic artist's book. The ducks have been characters of my last works. They appeared in "Alice in the Wonderbalcony" ( http://arteonline.arq.br/alice/ ) and in "ManyFaces of Eva" ( http://arteonline.arq.br/eva/ ), in this last one through Marcelo Frazo's image. I hope you appreciate to see them again in my new work. There you will know a little bit more of their history. Constructive comments or questions about 'Two "Ugly" Ducklings' will be welcome. All the best, 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 > Hi Eryk, > > Hope you are doing well. > > e: > Whether I ever hear a podcast that blows me > away is almost irrelevant to the benefits of the technology simply > existing. > > c: > but that's just enthusiasm about the potential of a new communications > technology. I agree; it's potentially exciting. I'm certainly not > arguing against the value of concepts. I'm not even arguing against art > that traffics in concepts (most art does). > > e: > Conceptual art is a means of breaking out > of boxes and exploring different ways of doing things (and a lot of it is > deliberately engaged in violating the rules of language itself as a means > of > exploring the limitation of language itself. An idea is not always, as you > say, "a collection of words"). > > c: > in the sixties and seventies conceptual art was a means of breaking out of > boxes. now conceptual art has escaped those boxes to become its own box. > describing one's concepts without ever implementing them is the next > logical means of breaking out of *that* box. Twice the concepts in half > the time; and you can spend your free time actually making good art. > Instructionists of the web, post forth! > > e: > But I have never really been comfortable with the > segregation of "forms" of creative thought. > > c: > I'm even less comfortable with the segregation of concept from craft, as > if the former trumps the latter and is totally independent of it. > > > e: > Artistry is fast losing its definition as a skill set; technology is going > to make sure of it. As that opens up the creative process, ideas are going > to grow far more important than the technical execution of an idea. It's > not > about the quality of the art, it's about the quality of the articulation. > > c: > but what is "quality of articulation" if not "artistry" and craft (unless > you're talking about "crafting" an artist statement)? If what you're > saying is true, why "articulate" anything at all? Just post instructions. > > e: > (A more > practical example is the notion of audio tracking software that allows for > an entire genre of popular music to be made by individuals without any > idea > of how to play an "actual" instrument). As technology accelerates the > number > of radio producers, musicians, film makers, magazine publishers, and > artists, the tangible output is going to be secondary to the concept > driving > it. In other words, if anyone can make anything with the tap of their > finger, then the idea of what they make, and the fact that they have > articulated it, will be far more important than the process of how it was > made. > > c: > There is still craft in electronic music and hip-hop, otherwise anyone > could be Amon Tobin or DJ Spooky. Such music is not accomplished with a > mere tap of the finger. It's craft applied to a different aspect of the > creative process, but it's sure enough craft. As Brian Eno observed as > early as 1975, the recording studio itself is an instrument. > > e: > I've read Curt using, specifically, the example of Michael Mandiberg's > "After Sherri Levine": Walker Evans takes photographs of share croppers in > 1936, Sherri Levine, in 79, takes pictures of the pictures and puts them > on > line. Mandiberg, in 2001, scans Evans' originals, and puts them on line, > then scans Levine's pictures of those pictures and puts them on line, > elsewhere. Curt says the work is poor because it couldn't exist without an > artists statement- and that, therefore, the artists statement is the > piece. > The artists statement is always an explanation of history and context. But > Mandiberg's artist's statement is a history and a context, of art, and how > we re-evaluate art as technology changes our interactions with the world. > "After Sherri Levine" makes a point that strikes a nerve; but also > crackles > the synapses as it makes new connections between ideas. > > It is not exactly a moving piece of emotional art, a call to arms, a > protest > piece, or anything of the sort. But it does say something interesting in > an > interesting way- and saying something interesting is about all any of us > with access to the right technology will need to know how to do. > > c: > i think "After Sherri Levine" is a cheap one-liner. Ba-dum-bum. I think > art can do better. > > > Mere technology didn't usher in the promises of a brave new modern world > in Le Corbusier's time, and I'm not holding my breath for it to happen in > ours (although Wired keeps assuring me it's just around the bend). > Luckily, I don't have to wait on technology. Heck, I don't even have to > wait on an intern. As a proto-conceptual instructionist, i need only post > my concepts. Whether a bot or a human is able to implement them is no > longer my concern. Up with the mouth! Long live the mind! Down with the > hand! Death to the eye! > > the love below, > HAL 3000 > + > -> post: list@rhizome.org > -> questions: info@rhizome.org > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz > -> give: http://rhizome.org/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, 14 Sep 2005 12:58:30 -0700 message-id: <1126727910.432880e6cd4eb@webmail.namezero.com> references: no_parent from: www@trashconnection.com subject: Re: RHIZOME_RAW: PLEASE DO NOT SPAM ART Hello Miklos and Matthew, PLEASE DO NOT SPAM ART is an experimental work with an effort to provoke an art discource, despite the content of messages. Unfortunately you guys don't pay attention to the meaning of spam or finally to the meaning of this kind of art. On the one hand you are accustomed to be tolerant, on the other hand you avoid to be disturbed. This is a very comfortable position as product of the consumer society. You feel confused, when something forces you to confront with appearances, which do not intertain you. I am sorry. -- Roman Minaev 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 In some Baroque-era music there was even allowance for interpretive improvisation within the score. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 22:02:06 +0200 (CEST) message-id: <20050914200206.d900021fd2@mail.isnm.uni-luebeck.de> references: no_parent from: trashconnection subject: RHIZOME_RAW: PLEASE DO NOT SPAM ART U.s.a. unboldmath , UNESCO unapologetically UI, USA ultra USED TO undeletable, Uparrow. 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 > >This is why new media is fascinating to me- even if it is, for example, the concept of blogging, podcasting, etc that excite me for the sake of its possibilities, these do lead to a tangible reframing of ideas about access, distribution, and waking up creative potentials in people that might otherwise rest unstirred. Whether I ever hear a podcast that blows me away is almost irrelevant to the benefits of the technology simply existing. > >How we think about the world, and the words and concepts that we use to describe a world to ourselves, are what define us but is defining at all necessary? does it serve any function that causes or prevents physical dammage? can we still eat and breath without it? of course! furthermore, why defend words with paragraphs? it's a circular proof. if you get something out of the ideas, so be it. who cares where they come from or if we label it "art"? >, probably more than the world itself manages to define us. Conceptual art is a means of breaking out of boxes and exploring different ways of doing things (and a lot of it is deliberately engaged in violating the rules of language itself as a means of exploring the limitation of language itself. An idea is not always, as you say, "a collection of words"). Like any other art, some of it will resonate and some will not. But I have never really been comfortable with the segregation of "forms" of creative thought. If a piece of software comes along that radically changes my way of thinking about the world, it is about the same to me as if a new piece of art comes along that radically changes my way of thinking about the world. If that piece of art is, say, something Jenny Holzer writes with LED lights, I don't believe it is separate from if she said it to me in person. > >Artistry is fast losing its definition as a skill set; technology is going to make sure of it. As that opens up the creative process, ideas are going to grow far more important than the technical execution of an idea. It's not about the quality of the art, it's about the quality of the articulation. Consider, for example, what spellcheck has done for an entire generation of grammatically challenged poets. It isn't very difficult to imagine a computer program that will automatically replace your word with a word that helps your stanza fit into the template of a sestina, for example, and at the click of a button make suggestions for changing it to a ballad. (A more practical example is the notion of audio tracking software that allows for an entire genre of popular music to be made by individuals without any idea of how to play an "actual" instrument). As technology accelerates the number of radio producers, musicians, film makers, magazine publishers, and artists, the tangible output is going to be secondary to the concept driving it. In other words, if anyone can make anything with the tap of their finger, then the idea of what they make, and the fact that they have articulated it, will be far more important than the process of how it was made. > >I've read Curt using, specifically, the example of Michael Mandiberg's "After Sherri Levine": Walker Evans takes photographs of share croppers in 1936, Sherri Levine, in 79, takes pictures of the pictures and puts them on line. Mandiberg, in 2001, scans Evans' originals, and puts them on line, then scans Levine's pictures of those pictures and puts them on line, elsewhere. Curt says the work is poor because it couldn't exist without an artists statement- and that, therefore, the artists statement is the piece. The artists statement is always an explanation of history and context. But Mandiberg's artist's statement is a history and a context, of art, and how we re-evaluate art as technology changes our interactions with the world. "After Sherri Levine" makes a point that strikes a nerve; but also crackles the synapses as it makes new connections between ideas. > >It is not exactly a moving piece of emotional art, a call to arms, a protest piece, or anything of the sort. But it does say something interesting in an interesting way- and saying something interesting is about all any of us with access to the right technology will need to know how to do. > >Two Cents, >-e. > + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 13:34:22 -0700 message-id: references: no_parent from: Jim Andrews subject: Re: RHIZOME_RAW: PLEASE DO NOT SPAM ART is something meaningless when its information measure is maximal, which is to say, when it's completely random? if it is completely random, then intended meaning is not present. though the randomness itself may be intended, and the intention of intended total randomness intended, etc. of course, whether complete randomness is attainable is a moot point. in shannonian information theory, there is the notion of being able to measure the amount of information in a message. but that is not a measure of meaning. it is a measure of the amount of uncertainty present in the message. for instance, consider a message that consists of a million ones. long message, not much information. in fact you already have enough information to reconstruct it with complete certainty. now consider a message that consists of a million random zeros or ones. such messages cannot be compressed with winzip or stuffit or whatever. whereas the first message compresses down to almost nothing. the more a message can be compressed, the less information it contains. ja ps: received work from turkey's ozcan turkmen the other day. he is a programmer-poet. he is working out a notion of "entropic poetry". very interestin stuff. pss: should you happen across the princeton encyclopedia of poetry and poetics, have a look at the article on 'semantics and poetry' by philip wheelright. psss: and here is the original shannon: http://cm.bell-labs.com/cm/ms/what/shannonday/paper.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, 14 Sep 2005 13:35:48 -0700 message-id: <200509142035.j8ekzm74017873@idx164.idx.net> references: no_parent from: Stacy Switzer subject: RHIZOME_RAW: PUBLIC ART OPPORTUNITY, KANSAS CITY, MO SPRINT CENTER, KANSAS CITY, MISSOURI REQUEST FOR QUALIFICATIONS (RFQ) The City of Kansas City, Missouri’s One-Percent-for-Art program is seeking artists or artist collaborations to develop innovative, original artwork for the new Sprint Center in Kansas City. The arena complex will be located between 13th and 15th Streets and Grand and Oak Streets in Downtown Kansas City. Groundbreaking took place this summer and completion is anticipated in fall 2007. Estimated public art budget: $1,325,000 Deadline: Tuesday, October 18, 2005, at 4:00 PM Central Daylight Time To download the complete RFQ go to: www.kcmo.org/pubworks.nsf/web/opportunities?opendocument For further information, contact the Municipal Art Commission at (816) 513-2656 or porter_arneill@kcmo.org, or project consultants Emily Blumenfeld and Meridith McKinley of Via Partnership at (314) 664-5902 or art@viapartnership.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 And I'd say the "talking about it" is what makes a work of art culturally important -- think about how much is said about Michelangelo's David on a daily basis. You might retort that there could be important works that nobody talks about -- that would indeed mean that these works have conceptual, ie unrealised, importance. These works might not be talked about YET. Undiscovered. Or yet to be made. > > It would seem to me that you're advocating language into a > particular corner here, with the idea that since words are the > simplest and most direct form of elucidation we have at our > disposal, then we should use language for that purpose, and art for > purposes that extend beyond our linguistic landscape. I'll say > that's a choice, though it's not a choice I make. I feel that > whatever can be signified can be signified in an endless number of > ways. You can write a play or a song about the same ideas, and > signify them in a whole new way. But to dismantle or draw new > connections between concepts is a real challenge, and this can be > done through a reinvention of them, which is the role art plays in > our brains. > > After all, an art object is still signifying, it's a stand in for > something else, a representation of an emotion or idea or event. But that's the main issue, isn't it? How do we know that art is a representation? Language builds its own reality. Is there something out there, or is it just us, talking? > The idea of conceptual art, to elicit the response from the > thoughts it evokes, instead of from an art object, is essentially > the same thing once it gets behind our eyeballs. Whether it's > flowing to the amygdala or the cerebral cortex depends more on the > ideas within us already that are evoked by the piece, or the idea. > I have had emotional responses to conceptual art; I've had > intellectualized responses to physical art. Both are valid, and > they are not mutually exclusive. > > It's clear you and I make different choices about what interests > us, but I just wanted to step up to the plate and put in a defense > of the conceptual side of things. > > -e. > > > > ----- Original Message ----- From: > To: > Sent: Monday, August 08, 2005 9:04 PM > Subject: RHIZOME_RAW: Re: Re: Regarding The > > > >> I just received an email regarding Charlotte's article, my >> comments and Curt's additional support links. >> >> Please post your comments here as this is what these boards are >> for and it's more fun when we get to share. :) >> >> To put my comments above more succinctly, ideas are ultimately >> only capable of being broken down into smaller groups of words. >> The clearest way to elucidate various word-groups (ideas) is to >> use more words to attempt a further clarification. >> >> That is why I am not creating an animated gif here to explain this >> concept. A visual/sculptural/audio etc. "something" happening >> here would be ridiculous in place of this simple explanation of my >> "concept". >> >> When it comes to those things we can never clearly communicate >> (justice, love, the religious impulse etc) we turn to the arts as >> a higher form of communication than the mundanities of the 1=1 >> reasoning of facts that and the left brained prejudices that the >> advent of language (particularly phonetic alphabets and >> typography) created in our species. >> >> The root of "Philosophy"is "Philos", LOVE! >> >> The Philosophy of an Art that is purely "conceptual" is an >> intellectual mistake. It says more about onanistic ritual-in which >> the "realized" object becomes a fetish-than it does about the >> potency of the artist in his/her ability to move the viewer. >> >> Joe >> >> >> >> >> >> >> >> >> >> >> + >> -> post: list@rhizome.org >> -> questions: info@rhizome.org >> -> subscribe/unsubscribe: http://rhizome.org/preferences/ >> subscribe.rhiz >> -> give: http://rhizome.org/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, 14 Sep 2005 23:35:45 +0200 message-id: references: no_parent from: Geert Dekkers subject: RHIZOME_RAW: nznl.com digest, Sep 08, 2005 - Sep 14, 2005 nznl.com digest Sep 08, 2005 - Sep 14, 2005 Posts 1200 - 1206 http://nznl.com 1200. Sep 08, 2005 PORTRAIT STUDY, 2009, (PORTRAITS OF NZNL.COM WORKER #2, NZNL.COM WORKER #3, NZNL.COM WORKER #4) fireworks file http://nznl.com/geert/pop.php?dag=20050908 1201. Sep 09, 2005 STUDY FOR A NZNL.COM EXHIBITION HALL PORTAL, 2009, MODEL OF THE NZNL.COM EXHIBITION HALL ENTRANCE flash movie http://nznl.com/geert/pop.php?dag=20050909 1202. Sep 10, 2005 STUDY FOR A MOVING BODY, 2009, BODY, MOVING http://nznl.com/geert/pop.php?dag=20050910 1203. Sep 11, 2005 MODEL OF THE NZNL.COM EXHIBITION HALL AT THE CHINATI FOUNDATION SITE, 2009, MANSANA DE CHINATI, MARFA, TEXAS fireworks file http://nznl.com/geert/pop.php?dag=20050911 1204. Sep 12, 2005 HALF-PIPE, 2009, INSTALLATION WITH ABSTRACT PAINTING AND HALF-PIPE fireworks file http://nznl.com/geert/pop.php?dag=20050912 1205. Sep 13, 2005 AN EARLY EXAMPLE OF INTERACTIVE ARCHITECTURE, 2009, SATELLITE VIEW OF THE NZNL.COM EXHIBITION HALL INSTALLED AT THE CHINATI FOUNDATION flash movie http://nznl.com/geert/pop.php?dag=20050913 1206. Sep 14, 2005 PLAN FOR A TEMPORARY NZNL.COM HALL, MARFA, TEXAS, 2009, ACRYLICS AND PLASTER fireworks file http://nznl.com/geert/pop.php?dag=20050914 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 18:01:30 -0400 message-id: <21b0c6f8-aae4-4b97-aad9-529d22440aba@highlala.com> references: no_parent from: Sal Randolph subject: RHIZOME_RAW: whereyouare, an invitation Dear friends, I'd like to invite you to participate in a new project of mine. Whereyouare ( http://whereyouare.org ) is an experiment in the collective documentation of neighborhoods. It harnesses the power of folksonomy tags from a range of sites that host and organize content of different kinds (flickr for photos, vimeo for video, delicious for links, etc.). To contribute, you simply tag your content with a tag that is unique to your neighborhood and the project, and everyone's material is brought together on whereyouare.org. I began this project with the idea of documenting my own neighborhood of Williamsburg, Brooklyn, whose quirky and ephemeral beauties are currently endangered by a wave of new development. Walking my familiar streets I realized that I couldn't possibly be the only person who had this idea - many others must be simultaneously working to capture the flavor of this place, this moment in time. Why not invite collaboration and share our perceptions of place with each other? As with most people, recent events have radically altered my idea of what an endangered or lost neighborhood is, and it seemed right to open the project up for wider use. Everyone is invited to participate by documenting any neighborhood they love. Those with material from neighborhoods which have now been damaged or destroyed by Katrina are especially warmly encouraged to contribute. http://whereyouare.org all the best, Sal http://salrandolph.com :: Whereyoure was created for the new issue of glowlab ( http:// glowlab.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 public space yesterday...." -- there we have it: "discours". There is ihmo a HUGE difference between a Holzer LED work and Jenny mentioning the sentence on her LED work to you in between beers at a party. Her work is a performance, mediated by a medium, made abstract, public. Resonates through a community if it is successful. Is successful because it resonates through. She gets up, distances herself, gets up on stage for everyone to see, she has an audience, is conscious of her audience, wishes to speak, speaks to her audience. There is only one kind of art. Good art. > > Artistry is fast losing its definition as a skill set; technology > is going to make sure of it. As that opens up the creative process, > ideas are going to grow far more important than the technical > execution of an idea. It's not about the quality of the art, it's > about the quality of the articulation. Consider, for example, what > spellcheck has done for an entire generation of grammatically > challenged poets. It isn't very difficult to imagine a computer > program that will automatically replace your word with a word that > helps your stanza fit into the template of a sestina, for example, > and at the click of a button make suggestions for changing it to a > ballad. (A more practical example is the notion of audio tracking > software that allows for an entire genre of popular music to be > made by individuals without any idea of how to play an "actual" > instrument). As technology accelerates the number of radio > producers, musicians, film makers, magazine publishers, and > artists, the tangible output is going to be secondary to the > concept driving it. In other words, if anyone can make anything > with the tap of their finger, then the idea of what they make, and > the fact that they have articulated it, will be far more important > than the process of how it was made. > > I've read Curt using, specifically, the example of Michael > Mandiberg's "After Sherri Levine": Walker Evans takes photographs > of share croppers in 1936, Sherri Levine, in 79, takes pictures of > the pictures and puts them on line. Mandiberg, in 2001, scans > Evans' originals, and puts them on line, then scans Levine's > pictures of those pictures and puts them on line, elsewhere. Curt > says the work is poor because it couldn't exist without an artists > statement- and that, therefore, the artists statement is the piece. > The artists statement is always an explanation of history and > context. But Mandiberg's artist's statement is a history and a > context, of art, and how we re-evaluate art as technology changes > our interactions with the world. "After Sherri Levine" makes a > point that strikes a nerve; but also crackles the synapses as it > makes new connections between ideas. > > It is not exactly a moving piece of emotional art, a call to arms, > a protest piece, or anything of the sort. But it does say something > interesting in an interesting way- and saying something interesting > is about all any of us with access to the right technology will > need to know how to do. > > Two Cents, > -e. > > > ----- Original Message ----- From: > To: > Sent: Monday, August 08, 2005 3:43 PM > Subject: RHIZOME_RAW: Regarding The "Anti-Nike" > > > >> A friend of mine just sent me a link to Charlotte's front page >> rant/spoof regarding flooding the meme-way with concepts alone >> instead of "realized" conceptual art. Although this is obviously >> a fun/tongue in cheek call to arms, in many ways I think this is a >> fundamental critique of "conceptual art" and a pointed observation >> of it's fundamental flaws. >> >> I invite you to continue reading a section of a recent blog from >> my website (www.joenolan.com) in which I address the same subject >> more directly. >> >> Thanks and enjoy! >> >> Joe Nolan >> >> >> I have been finishing up a series of drawings that I hope to >> include in a book of poetry that will be available some time this >> summer (hopefully). They are "self portraits" and also religious >> iconography. Those of you who are familiar with my other my work >> know that I feel that "All Art is Martial Art". Which is to say, >> the elements that create the successful martial moment are the >> same ones that create successful art. >> >> These elements are: 1) confrontation, 2) impact and 3) movement. >> >> Anyone who is familiar with the visual work I have done in the >> past knows that it is my contention that "art" is best employed to >> express that which is beyond the bounds of language. In this sense >> I reject all "conceptual art" out of hand as an intellectual >> conceit and an ignorant miscalculation. >> >> A concept is an idea. An idea is a collection of words. A >> collection of words is most simply (i.e. most elegantly and >> therefore most beautifully and therefore most artistically >> successful)conveyed by...wait for it...more words! >> >> Please just write me the essay you are going to have to post in >> the gallery anyway to explain your faulty efforts. >> >> Because of my understanding of "art" as the language that is >> beyond language, in my opinion it is most effectively applied to >> those concerns that elude our clumsy mouthings: emotions, impulses >> etc. Being somewhat over-the-top as an artist and a person I, >> naturally, tend to push this to it's logical conclusion and >> concern myself with the ultimate "unspeakable": God and man's >> impulse toward the transcendent. >> >> + >> -> post: list@rhizome.org >> -> questions: info@rhizome.org >> -> subscribe/unsubscribe: http://rhizome.org/preferences/ >> subscribe.rhiz >> -> give: http://rhizome.org/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, 14 Sep 2005 15:07:00 -0700 message-id: <23e24a26050914150721d74764@mail.gmail.com> references: <21b0c6f8-aae4-4b97-aad9-529d22440aba@highlala.com> from: Marisa Olson subject: RHIZOME_RAW: Fwd: whereyouare, an invitation ---------- Forwarded message ---------- From: Sal Randolph Date: Sep 14, 2005 3:01 PM Subject: whereyouare, an invitation Dear friends, I'd like to invite you to participate in a new project of mine. Whereyouare ( http://whereyouare.org ) is an experiment in the collective documentation of neighborhoods. It harnesses the power of folksonomy tags from a range of sites that host and organize content of different kinds (flickr for photos, vimeo for video, delicious for links, etc.). To contribute, you simply tag your content with a tag that is unique to your neighborhood and the project, and everyone's material is brought together on whereyouare.org. I began this project with the idea of documenting my own neighborhood of Williamsburg, Brooklyn, whose quirky and ephemeral beauties are currently endangered by a wave of new development. Walking my familiar streets I realized that I couldn't possibly be the only person who had this idea - many others must be simultaneously working to capture the flavor of this place, this moment in time. Why not invite collaboration and share our perceptions of place with each other? As with most people, recent events have radically altered my idea of what an endangered or lost neighborhood is, and it seemed right to open the project up for wider use. Everyone is invited to participate by documenting any neighborhood they love. Those with material from neighborhoods which have now been damaged or destroyed by Katrina are especially warmly encouraged to contribute. http://whereyouare.org all the best, Sal http://salrandolph.com :: Whereyoure was created for the new issue of glowlab ( http:// glowlab.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, 15 Sep 2005 03:49:21 +0200 message-id: <20050915014957.enfp22129.amsfep13-int.chello.nl@vilt> references: from: Dirk Vekemans subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART in shannonian information theory, there is the notion of being able to measure the amount of information in a message. but that is not a measure of meaning. it is a measure of the amount of uncertainty present in the message. for instance, consider a message that consists of a million ones. long message, not much information. in fact you already have enough information to reconstruct it with complete certainty. now consider a message that consists of a million random zeros or ones. such messages cannot be compressed with winzip or stuffit or whatever. whereas the first message compresses down to almost nothing. the more a message can be compressed, the less information it contains. ja ------- "the more a message can be compressed, the less information it contains." Hm. Thank you for that. Apart from the Shannon paper being a bit too compressed for me, or because of that, for this thesis to be true we would need , i think: 1 the message to be a singular isolated event 2 the fictional limits, abstract cases, of a million zero's as a message and a million patternless repetitions of 1 or zero as a message 3.those fictional messages to be confined to that and only that to avoid the possibilities mentioned in point 4. However they can only become messages if they are enlarged by the fact of being messages, that is they happen as a message, which implies they happen somewhere, a place or places including the possibility mentioned in point 4. 4. because only then can you disregard the amount of information that could be and mostly is present in compressions of compressions (of ...) as not contradicting the thesis because in such cases a more compressed message can easily be shown to trigger a higher amount of information to be sent (e. g. exactly a million zeros could be the key to understand a tonload of information encrypted a bit further on (algorhitmic encryption being the key to compression) or, a better example perhaps, more in the spirit of true calculation, the case of a few 1's at exactly those locations where in the receiving end or in decompressioning it it would contain more information than a similarly diversified message, similarly near to the limit of absolute diversification, because it would recursively decompress the compressions it contains. To come back to the matter at hand, however, this particular chain of message events: in 'The Fold', Gilles Deleuze devotes special attention to the Leibniz idea that souls ('monads' in his terms) who are damned are, however pitifull for them, the condition for other souls to be able to increase their zones of clarity. In the Leibniz system this can be so because every monad contains the whole of the universe inside its 'folds' but it only has a limited zone of clarity and a vast region of what is called a 'fuscum subnegrum', its dark zone. A damned soul is eternally damned because it continually choses for the one thing that is its greatest point of desire:its whole universe is directed, pointed to its hatred of God. This ultimate obsession is the only thing that constitutes this soul's zone of clarity and because of the eternal divide of the constant amount of information that is the case in the Leibniz system, these poor souls leave other souls more 'room' for expansion of their zones of clarity. You see how, if interpreted along similar lines, replacing religiously connotated parameters with artistic ones if you feel that is required, Roman is really doing us all a favor by continually sending these messages, their _meaning_ being reduced by their own intent, but perhaps not their amount of information, however obsessive they might be (or how adequate an answer to a entirely different process that is not clear to me), and however futile they might seem with our finger hovering over the delete key from the instant we read PLEASE, how he in fact creates for us a sublime moment of clarity each time we actually press the delete key, bringing perhaps the only true moment of clarity in our seemingly endless consumption of messages loaded with valuable information on the shady starlit fields of our arts. The next moment always sheds a light on the previous, and vica versa. To calculate (subtract, add)information, information is needed. And time. In this context, by the way, Leibniz often stressed the fictional nature of any calculation, which might be surprising to some, coming from this great advocate of the Enlightment. History mostly compresses its leading figures beyond repair for day to day decompression utils. So, to return the favor: the more easily a message can be deleted, the more room we have for decompressing others, hence the more information it contains (virtually). A thesis that might (only) hold for the split second before you hit delete on it. dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee ----- ps: received work from turkey's ozcan turkmen the other day. he is a programmer-poet. he is working out a notion of "entropic poetry". very interestin stuff. ----- Would you have an URL on him, decompressable to less Turkish and more English than what Google shows? + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 14 Sep 2005 22:44:36 -0500 message-id: <3cfca99212ac864ae91267a377a188d1@yahoo.com> references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: Celebrate Constitution Day this Saturday September 17th Begin forwarded message: > > > My Daily Constitution presents: > A Constitution Day Celebration > on Constitution Day, Saturday September 17th, 2005 > > With the Discussion: "What Responsibility does a Government Have to Its > Citizens?" > and Music by Matty D. & Friends (www.mattdemerritt.com). > > Article 1 Section 8.: The Congress Shall have Power To.... > After Hurricane Katrina's devastation and our government's failure to > protect our citizens, My Daily Constitution marks Constitution Day by > raising broader questions about the role of a government and its > citizen > body. > > Discussion led by: > Dr. DAVID L. HORNE, Professor, Pan African Studies, California State > University; Director of the California African American Political > Institute, and Dr. AMIR HUSSAIN, Associate Professor, Department of > Theological Studies, Loyola Marymount University. > > at: KAOS Network in Leimert Park Village > (www.lacitybeat.com/article.php?id=2087&IssueNum=102) > 4343 Leimert Blvd. > Los Angeles, CA 90008 > > 5:00 PM - Discussion > 7:00 PM - Reception 'till 9:00 PM > > Free and Open to the Public - Complimentary Copy of the U.S. > Constitution > For All. > > More info at: > www.mydailyconstitution.org > 310 804.4887 > > My Daily Constitution is an interdisciplinary project bringing together > leading innovators, people, and the U.S. Constitution, creating a space > where an active interpretation of the US Constitution may take place. > MDC > engages in Constitution Cafs (a series of interactive discussions) and > cultural / arts programming. Past Constitution Cafes have been held in > Los > Angeles, New York City, Seattle, and Cincinnati. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Software Courses Waterside 1, The Watershed Media Centre Artist led software courses giving hands on instruction in the tools of contemporary AV invention Jo Hyde =AD Introducing Jitter 2 day course Monday 12 and Wednesday 14 September Yasser Rashid =AD Introducing Processing 2 day course Tuesday 13 and Thursday 15 September Brian O=B9Reilly =AD Strategies for Constructing Moving Images 2 evening course (6pm =AD 9pm) Tuesday 13 and Thursday 15 September =A360/=A340 each, advanced booking necessary for courses, places are limited For more details on these courses and student requirements please see www.sonicartsnetwork.org/connectors ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Artist Masterclasses Cinema 3, The Watershed Media Centre A series of public presentations in which international audio-visual artist s talk about their work and the techniques involved in its production Brian O=B9Reilly =AD Friday 16 September 11am =AD 1pm Andreas Schlegel =AD Saturday 17 September 11am =AD 1pm Kurt Ralske =AD Saturday 17 September 2pm-4pm =A36/=A34 each Booking info for all Watershed events The Watershed Box Office tel: 0117 927 5100 open Mon to Fri from 0900hrs / Sat & Sun from 1000hrs. www.watershed.co.uk www.sonicartsnetwork.org __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Wed, 14 Sep 2005 22:11:27 -0700 message-id: <200509150511.j8f5brp3029145@idx164.idx.net> references: no_parent from: Greg Smith subject: RHIZOME_RAW: vague terrain 24/09 Toronto saturday september 24th - vague terrain presents... granny'ark - vancouver / zora lanson / interdisco naw - noise factory / vague terrain akumu - spider records video / patricia rodriguez - substance communications art bar / the gladstone hotel limited capacity $5 / doors open @ 9pm 1214 queen st. west toronto, canada http://www.vagueterrain.net -- artist information Granny'Ark is the music project of nomadic media artist Michelle Irving. Although officially a resident of Vancouver, Granny'Ark spends the other part of her time at Zora Lanson Label's home base in Berlin. Her first release Resurgo (2004) garnered praise from The Wire, XLR8R, De-Bug, and was featured on the late John Peel's legendary Radio One show. Granny'Ark's music can be described as a blend of explorations in electroacoustic sampling, and musical structures of rhythm and melody. Generally, Granny'Ark attempts to transform sounds into a progressive soundscape that evokes a sense of mood or place in the listener. Sometimes this might mean enticing them to dance. Her music is featured in the internationally acclaimed documentary "The Corporation" and another award winning Canadian documentary "Scared Sacred." In the fall Granny'Ark will be releasing her follow-up EP on Zora Lanson Label as well as a collaborative project with Si Cut.db on Biphop. Granny'Ark's "Three Seas! and One Bottle" EP is available for download at http://www.interdisco.net Neil Wiernik (aka naw) has been extremely busy over the 12 months. The last year has seen the release of two naw albums; “Green Nights, Orange Days” on Noise Factory and “Terrain Vague” on Pertin_nce, as well as an extensive European tour. Neil's production was recently described by The Wire as having "the kind of sharpness and clarity usually lost amid the murk and decay of clicks and cuts and digital delays." Neil recently moved back to Toronto and began working with long-time collaborator Greg Smith in the creation of Vague Terrain, an entity which will promote a series of eclectic electronic music showcases and the website of which will act as a digital arts journal. Akumu is Toronto’s Deane Hughes, composer of atmospheric ambience, shadowy beats and minimal manipulations. Formed as a solo project in 2000, Akumu has released three full-length albums on his own Spider Records imprint. His newest CD, Magmas (2005) was conceived and written in Guatemala, Honduras and Mexico; it is the follow-up to 2004’s Fluxes, an ambient, zero-bpm recording of unflinching minimalism that The Wire says “raises neat hackles across the skin.” For six months, Deane traveled throughout remote locations, making binaural recordings from which he created the drone- and loop-based instruments that form the spine of material on both CDs. Akumu has performed live across Ontario and Quebec, including 2005’s Mutek festival in Montréal, featuring visual projections of original photography, animated collages and 2D/3D digital experiments. His live sets highlight and improvise on Magmas and Fluxes to create an immersive, flowing sound scape of micro-sonics, am! bient drones and low-frequency pulses. More information is available on Akumu at http://spiderrecords.com/ Keeping with our mandate of integrating electronic music with digital art, Vague Terrain will be welcoming back one of our earliest collaborators, video artist Patricia Rodriguez. Formally trained in the visual arts, Patricia is a multidisciplinary specialist, integrating analog and digital technologies. She delights in playing with perception and problem-solving. A keen synaesthete, Patricia enjoys the neurological mixing of the senses. Her love for improvisation translates into performances using movement, sound and light (including video and film), as well as real-time collaborations with musicians and other artists. She has shown her work alongside Richie Hawtin, Monolake, Kit Clayton, Derrick May, Steve Bug, and Damo Suzuki of Can to name a few. She has worked with several collectives including Clonk, Eight, Wabi, Whipit, Die Lux, and Geekend. Patricia is currently the Art Director for Substance Communications. Extensive artist & event information, album reviews and artist links are available at http://www.vagueterrain.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, 14 Sep 2005 22:33:38 -0700 message-id: references: from: Jim Andrews subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART > >is something meaningless when its information measure is > maximal, which is > >to say, when it's completely random? > > > No, because random information can be useful. Meaningful means > useful; meaning is related to and capable of changing aspects of your > personal reality. That someone is now eating a sardine in Papua New > Guinia is probably not meaningful to me, except in so far as I can > use it as an example. It's information but meaningless to me. > Meaning is always related to someone to whom it has meaning. > Miklos Legrady Sounds reasonable. I wonder if the term 'meaning' is used with any precision in AI study of natural language or in contemporary linguistics? It's such a loose goose in common parlance. It has all sorts of meanings. That which is significant. Or useful, as you say. Or that which is under semantic interpretation. Or that which is intended. Or that which was not intended but is nonetheless signified or consequent. There are at least two types of meaning (denotative and connotative). It seems that part of the difficulty of semantics is that meaning is not solely something that arises from interpretation but that texts, for instance, can imply or necessitate some meanings yet be interpretable concerning others. 'enigma n' is an anagram of 'meaning'. ja http://vispo.com/animisms/enigman + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php Art is perceptual, it is contemplative. Concepts may be contemplated. Concepts may be objects of aesthetic regard. Therefore conceptual art is possible. The conceptual art of 1968-72 or so was one of the answers to a more general crisis of representation. But the neo-conceptual and relational art we have to put up with now is not conceptual in any useful sense, and is not an answer to any interesting questions. It is simply the wallpaper of managerial culture. - 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: Thu, 15 Sep 2005 02:14:24 -0700 message-id: references: <20050915014957.enfp22129.amsfep13-int.chello.nl@vilt> from: Jim Andrews subject: RE: RHIZOME_RAW: PLEASE DO NOT SPAM ART > 4. because only then can you disregard the amount of information > that could > be and mostly is present in compressions of compressions (of ...) as not > contradicting the thesis because in such cases a more compressed > message can > easily be shown to trigger a higher amount of information to be > sent (e. g. > exactly a million zeros could be the key to understand a tonload of > information encrypted a bit further on (algorhitmic encryption > being the key > to compression) or, a better example perhaps, more in the spirit of true > calculation, the case of a few 1's at exactly those locations where in the > receiving end or in decompressioning it it would contain more information > than a similarly diversified message, similarly near to the limit of > absolute diversification, because it would recursively decompress the > compressions it contains. Sorry, Dirk, I'm not really following you, but I do know that if you compress a compressed message, you will get something that is much the same size as the compressed message. > To come back to the matter at hand, however, this particular chain of > message events: in 'The Fold', Gilles Deleuze devotes special attention to > the Leibniz idea that souls ('monads' in his terms) who are damned are, > however pitifull for them, the condition for other souls to be able to > increase their zones of clarity. In the Leibniz system this can be so > because every monad contains the whole of the universe inside its 'folds' > but it only has a limited zone of clarity and a vast region of what is > called a 'fuscum subnegrum', its dark zone. A damned soul is eternally > damned because it continually choses for the one thing that is > its greatest > point of desire:its whole universe is directed, pointed to its hatred of > God. This ultimate obsession is the only thing that constitutes > this soul's > zone of clarity and because of the eternal divide of the constant > amount of > information that is the case in the Leibniz system, these poor souls leave > other souls more 'room' for expansion of their zones of clarity. Cool. Leibniz rules, eh? Newton was white bread compared with Leibniz. > ps: received work from turkey's ozcan turkmen the other day. he is a > programmer-poet. he is working out a notion of "entropic poetry". very > interestin stuff. > > ----- > Would you have an URL on him, decompressable to less Turkish and more > English than what Google shows? I do, but I'm not sure it's public yet. I'll check. Such is the thrill of the Internet: to receive notions of entropic poetry from a poet-programmer from Istanbul! Borges might smile. 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 ASKED in a general crisis of representation." > But the neo-conceptual and relational art we have to put up with > now is not conceptual in any useful sense, and is not an answer to > any interesting questions. See? "We" (who's that) should be asking more interesting/vital questions. Instead, "we" are just saving our skin. (And, for the record, yes, that absolutely includes me. Every day.) > > It is simply the wallpaper of managerial culture. > > - 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: Thu, 15 Sep 2005 06:49:59 -0700 message-id: <200509151349.j8fdnxax007677@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Borderlines Project dates : from September 2005 to June 2006 conceived and organized by : Marielle Baldelli and René Guisquet supported by : association "Syndicat Potentiel" (Strasbourg-France) partners : DRAC Alsace-Direction Régionale des Affaires Culturelles d’Alsace, CEAAC-Centre Européen d’Action Artistique Contemporaine, Région Alsace, AFAA-Association Française d’Action Artistique via the french representations in foreign countries (IF Prague, IF Sofia), General Council of Bas-Rhin, Foreign Representations in France (Flemish Delegation, Czech Centre), Strasbourg and Karlsruhe cities, Franco-German Cultural Centre, ESAD-Ecole Supérieure des Arts Décoratifs de Strasbourg, National Art Gallery of Sofia, Muzeum-Ljubljana, Doubner Gallery, Het Achterhuis Gallery, Kunst Op Maat, TAC-Temporary Art Centre, Hélène Fincker Communication, Schützenberger brewery, Madico and Tricoflex Companies. website : http://www.borderlines-fr.com Borderlines consists in the coordination of a series of exhibitions providing emerging artists with the opportunity to meet in various European cities between October 2005 to April 2006. Each exhibition will display together French and foreign artists. In May 2006, the 20 artists will be invited in Strasbourg to work together on the scenography and the setting of the final exhibition. The project associates different cultures under a common project, and different artistic approaches under a common theme (the frontier) with a view to laying down the necessary conditions for the broadening of the possibilities of creation and interpretation of artworks. "We devised and implemented Borderlines in order to invite young artists to accept a challenge on the European scale, and have a go at our differences. We will call it a success if, thanks to our visual production, we enter into a true dialogue." calendar : September 2005 : presentation of the project, Muzeum, Ljubljana - Slovenia « Continental Breakfast, Memory (W)hole » conference October 2005 : Villa Caméline - maison abandonnée, Nice - Fr November 2005 : Art National Gallery, Sofia - Bg January 2006 : Het Achterhuis Gallery, Ghent- Be February 2006 : Orgelfabrik Art Centre, Karlsruhe - De March 2006 : Doubner Gallery, Prague - Cz April 2006 : TAC - Temporary Art Centre, Eindhoven - Nl June 2006 : Final exhibition - Hall des Chars, Strasbourg - Fr contacts : Borderlines Project, 8 boulevard de Lyon, 67000 Strasbourg - France info@borderlines-fr.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, 15 Sep 2005 06:50:22 -0700 message-id: <200509151350.j8fdomfh007759@idx164.idx.net> references: no_parent from: subject: RHIZOME_RAW: Borderlines Project dates : from September 2005 to June 2006 conceived and organized by : Marielle Baldelli and René Guisquet supported by : association "Syndicat Potentiel" (Strasbourg-France) partners : DRAC Alsace-Direction Régionale des Affaires Culturelles d’Alsace, CEAAC-Centre Européen d’Action Artistique Contemporaine, Région Alsace, AFAA-Association Française d’Action Artistique via the french representations in foreign countries (IF Prague, IF Sofia), General Council of Bas-Rhin, Foreign Representations in France (Flemish Delegation, Czech Centre), Strasbourg and Karlsruhe cities, Franco-German Cultural Centre, ESAD-Ecole Supérieure des Arts Décoratifs de Strasbourg, National Art Gallery of Sofia, Muzeum-Ljubljana, Doubner Gallery, Het Achterhuis Gallery, Kunst Op Maat, TAC-Temporary Art Centre, Hélène Fincker Communication, Schützenberger brewery, Madico and Tricoflex Companies. website : http://www.borderlines-fr.com Borderlines consists in the coordination of a series of exhibitions providing emerging artists with the opportunity to meet in various European cities between October 2005 to April 2006. Each exhibition will display together French and foreign artists. In May 2006, the 20 artists will be invited in Strasbourg to work together on the scenography and the setting of the final exhibition. The project associates different cultures under a common project, and different artistic approaches under a common theme (the frontier) with a view to laying down the necessary conditions for the broadening of the possibilities of creation and interpretation of artworks. "We devised and implemented Borderlines in order to invite young artists to accept a challenge on the European scale, and have a go at our differences. We will call it a success if, thanks to our visual production, we enter into a true dialogue." calendar : September 2005 : presentation of the project, Muzeum, Ljubljana - Slovenia « Continental Breakfast, Memory (W)hole » conference October 2005 : Villa Caméline - maison abandonnée, Nice - Fr November 2005 : Art National Gallery, Sofia - Bg January 2006 : Het Achterhuis Gallery, Ghent- Be February 2006 : Orgelfabrik Art Centre, Karlsruhe - De March 2006 : Doubner Gallery, Prague - Cz April 2006 : TAC - Temporary Art Centre, Eindhoven - Nl June 2006 : Final exhibition - Hall des Chars, Strasbourg - Fr contacts : Borderlines Project, 8 boulevard de Lyon, 67000 Strasbourg - France info@borderlines-fr.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 York, a panel of distinguished critics, learned art historians, and respected professors would not define the term. The lecture's theme (Crisis In Aesthetics) was referred to, drawn from, sketched lightly but never clearly defined, as if such a definition was unimportant. There was frustration in the air that evening, a feeling of something almost understood. We sensed each member holding different definitions and assuming the other panelists shared their thoughts, when in fact each panelist was projecting personal disdain; the very concept of aesthetics was unacceptable in the early 1990's. With such accusations, with aesthetics on trial, it seems necessary to review it's history, examine it's parentage, question it value and define its purpose. One audience member suggested dispensing with aesthetics altogether, but that's like hanging first, trial after. This cultural cleansing is already in effect; at an ICP exhibition I found the art work had actually been de-aestheticized. There were photographs from the 1930's by Manuel Alvarez Bravo, Edward Weston, Tina Modotti. The images were framed without matts, in bright grainy wood frames two inches thick. The frames and the photographs competed for attention... The viewer's aesthetic sense was split in two and neutralized, I think intentionally, leaving the work to be read as an illustration of art history; images made in that time period, by these people, following specific ideologies, as we learned in school. There was little desire to look further; the work had been understood within the current cultural belief system. But the content had been trivialized, reduced to a cog in the system. Body art at Exit Art The Endurance show opening Exit Art Gallery New York, 1995 I wanted to talk to her... but felt I shouldn't disturb the privacy of her exhibitionism. She was wearing see-through black pants with bare ass-cheeks. I wondered about the general absence of sex, libido, life energy, the lack of eros in the art world of these times. Art is a field which includes sensuality, thus attractive to those deficient in this vital energy. Unfortunately there's too many of them now. Sheer overcrowding. They've drunk up art's joie de vivre, used it all, left no room for regeneration. Art has gone dry. The Endurance show, Carolee Schneemann, Vito Acconci, Judith Barry, Bob Flanagan et al. There's no pleasure here, only mutilation and that pain which flesh is heir to. Chris Burden photographs of a friend shooting a .22 through his arm. My mind flashes to the William Tell overture. Wherefore these extremes? Lack of pleasure is pain. The audience at times looked pained. Contemporary artists are distinguished by the serene calmness of their self control. Good boys and girls are wanted now. Dependable, since most artists teach. The territory's so competitive the least scandal is grounds for dismissal. Sitting with George and Maggie, something makes me smile as people walk by, but can't put my finger on it. Then it hits; the mood underpinning (undermining) the occasion was "the carrot on a string" syndrome. This was a big show, packed with both unknown and illuminat=EF indiscernible in their art world fashion. The illuminat=EF may find dreamed-of admiration or at least a diversion from boredom, the unknown drawn to possibilities of instant fame and fortune. In the "Tao of Winnie the Poh" it's called the disappearing jar of honey, forever eluding one's grasp. This kind of thing can't be caught directly; the terms "goals and ambition" imply frustration by their very definition. Time's running out. Frustration simmers under every surface, though it would never do to acknowledge it. Body and beauty... Beauty is so undemocratic, I know... But please! It's not the only game in town and to dismiss it would impoverish our lives. Since even those who have that kind of beauty lose it with age, we find security in noting other equally persuasive powers such as personality. Beauty was certainly lacking on the walls though not in the crowd. Beauty is something we sell to the highest bidder and so the buyers and sellers walked side by side. This contrast, which looked so sensible, was as much the body art at Exit Art. March 4, 1995 Sculpture, sex, religion New York, 1995 The Khajuraho temple in Indian is swarmed, draped, covered with sculptures and bas-reliefs of people having sex. "Doing it". Monumental religious pornography. The priest explained; "the illiterate peasants, men and women who farmed the countryside, would see the sculptures and be reminded of their duty to procreate." The visitor was astounded. The priest nodded, "oh yes, people forget!" My first New York show I received a letter from the gallery saying "as we are funded by the National Endowment for the Arts, please no religious images or frontal nudity." Sounded to me like a class assignment. Sex and religion. Touch a sore spot. Our sexual paradigm is Judeo-Christian, John Calvin, Martin Luther, Cromwell. Pleasure was the realm of the devil. I then wondered is atheism a religion? One worships the great "A"? Camille Paglia in the unpublished preface to Sexual Personae writes that "Specialization has made mincemeat of the great body of knowledge. G. Wilson Knight says, "It is easier to communicate with spirits than for one university department to communicate with another." The humanities are dismembered and scattered, with music, art, and literature residing far afield. Literature is chopped into national fiefdoms. English departments are split by recruitment "slots," a triumph of the minim, producing such atrocities as ads for "Opening in nondramatic lit- erature, 1660-1740." What kind of scholar, what kind of teacher could satisfy this sad little mouse-view of culture? American universities are organized on the principle of the nuclear rather than the extended family. Graduate students are grimly trained to be technicians rather than connoisseurs. The old nineteenth-century German style of universal scholarship is gone." This separation reached deep in the psyche, there was a dryness calling for a re-enchantment of the world. The intellectual mind isn't enough. At Schloss Solitude in Stuttgart in a conversation with a respected French artist I said I mistrust the intellect because of it's limitations, and got a shocked look, like the shock I felt at 12 when I realised some people thought fundamentally differently than those of my cultural background. What was this thing about religion and culture? There's a speculation it's important for the mind to live with paradox, to strive intellectually and emotionally beyond the known and possible, the obvious and statistical. May 24, 1995. -- + + +Miklos Legrady + 310 Bathurst st. Toronto ON M5T 2S3 416-203-1846 647-292-1846 + -website; http://www.mikidot.com + --============_-1088520115==_ma=========== New York journal, 1994-95
Reflections from 10 years ago;


NEW YORK JOURNAL 1994-1995

_________________________________________

Chocolate Factory
 New York, 1995

 With my brother in Soho. I live five minutes away on Stanton st. He's staying at Wooster. Broome street warehouses washed by winter sun, cold yellow light on painted brick. We visit one gallery after another. George says it feels like post-apocalyptic times.

 It's 1995. Money's gone, the market crashed, art world's dead, we're sifting through the ashes. We talked of Baldessari, his followers. Of the patronage system.

 Most fine arts producers graduate from similar schools and share similar values, which are reflected in their association, their production, and the systems created thereby. A cultural blindness results from such group judgements.


Aesthetics on Trial
 Crisis In Aesthetics conference
 School of Visual Arts
 New York, 1995

 Aesthetics has a bad name in our time. Treated like a distant uncle who embarrassingly plagues our family gatherings, it's seen as a weakness, leftover from patriarchal times when wives dragged their husbands to the opera, dismissed as the pleasure principle, self indulgence and emotional.

 At present the problem's misunderstood, the players confused. In fact at a discussion presented by the School of Visual Arts in New York, a panel of distinguished critics, learned art historians, and respected professors would not define the term. The lecture's theme (Crisis In Aesthetics) was referred to, drawn from, sketched lightly but never clearly defined, as if such a definition was unimportant.

 There was frustration in the air that evening, a feeling of something almost understood. We sensed each member holding different definitions and assuming the other panelists shared their thoughts, when in fact each panelist was projecting personal disdain; the very concept of aesthetics was unacceptable in the early 1990's.

 With such accusations, with aesthetics on trial, it seems necessary to review it's history, examine it's parentage, question it value and define its purpose. One audience member suggested dispensing with aesthetics altogether, but that's like hanging first, trial after. This cultural cleansing is already in effect; at an ICP exhibition I found the art work had actually been de-aestheticized.

 There were photographs from the 1930's by Manuel Alvarez Bravo, Edward Weston, Tina Modotti. The images were framed without matts, in bright grainy wood frames two inches thick. The frames and the photographs competed for attention... The viewer's aesthetic sense was split in two and neutralized, I think intentionally, leaving the work to be read as an illustration of art history; images made in that time period, by these people, following specific ideologies, as we learned in school.

 There was little desire to look further; the work had been understood within the current cultural belief system. But the content had been trivialized, reduced to a cog in the system.



Body art at Exit Art
 The Endurance show opening
 Exit Art Gallery
 New York, 1995

 I wanted to talk to her... but felt I shouldn't disturb the privacy of her exhibitionism. She was wearing see-through black pants with bare ass-cheeks. I wondered about the general absence of sex, libido, life energy, the lack of eros in the art world of these times.

 Art is a field which includes sensuality, thus attractive to those deficient in this vital energy. Unfortunately there's too many of them now. Sheer overcrowding. They've drunk up art's joie de vivre, used it all, left no room for regeneration. Art has gone dry.

 The Endurance show, Carolee Schneemann, Vito Acconci, Judith Barry, Bob Flanagan et al. There's no pleasure here, only mutilation and that pain which flesh is heir to. Chris Burden photographs of a friend shooting a .22 through his arm. My mind flashes to the William Tell overture. Wherefore these extremes? Lack of pleasure is pain. The audience at times looked pained.

 Contemporary artists are distinguished by the serene calmness of their self control.
Good boys and girls are wanted now. Dependable, since most artists teach.
 The territory's so competitive the least scandal is grounds for dismissal.

 Sitting with George and Maggie, something makes me smile as people walk by, but can't put my finger on it. Then it hits; the mood underpinning (undermining) the occasion was "the carrot on a string" syndrome.

 This was a big show, packed with both unknown and illuminat=EF indiscernible in their art world fashion. The illuminat=EF may find dreamed-of admiration or at least a diversion from boredom, the unknown drawn to possibilities of instant fame and fortune. In the "Tao of Winnie the Poh" it's called the disappearing jar of honey, forever eluding one's grasp. This kind of thing can't be caught directly; the terms "goals and ambition" imply frustration by their very definition. Time's running out. Frustration simmers under every surface, though it would never do to acknowledge it.

 Body and beauty... Beauty is so undemocratic, I know... But please! It's not the only game in town and to dismiss it would impoverish our lives. Since even those who have that kind of beauty lose it with age, we find security in noting other equally persuasive powers such as personality. Beauty was certainly lacking on the walls though not in the crowd. Beauty is something we sell to the highest bidder and so the buyers and sellers walked side by side. This contrast, which looked so sensible, was as much the body art at Exit Art.

 March 4, 1995



Sculpture, sex, religion
 New York, 1995

 The Khajuraho temple in Indian is swarmed, draped, covered with sculptures and bas-reliefs of people having sex. "Doing it". Monumental religious pornography. The priest explained; "the illiterate peasants, men and women who farmed the countryside, would see the sculptures and be reminded of their duty to procreate." The visitor was astounded. The priest nodded, "oh yes, people forget!"

 My first New York show I received a letter from the gallery saying "as we are funded by the National Endowment for the Arts, please no religious images or frontal nudity." Sounded to me like a class assignment. Sex and religion. Touch a sore spot.  Our sexual paradigm is Judeo-Christian, John Calvin, Martin Luther, Cromwell. Pleasure was the realm of the devil.

 I then wondered is atheism a religion? One worships the great "A"? Camille Paglia in the unpublished preface to Sexual Personae writes that "Specialization has made mincemeat of the great body of knowledge. G. Wilson Knight says, "It is easier to communicate with spirits than for one university department to communicate with another." The humanities are dismembered and scattered, with music, art, and literature residing far afield. Literature is chopped into national fiefdoms. English departments are split by recruitment "slots," a triumph of the minim, producing such atrocities as ads for "Opening in nondramatic lit- erature, 1660-1740." What kind of scholar, what kind of teacher could satisfy this sad little mouse-view of culture? American universities are organized on the principle of the nuclear rather than the extended family. Graduate students are grimly trained to be technicians rather than connoisseurs. The old nineteenth-century German style of universal scholarship is gone."

 This separation reached deep in the psyche, there was a dryness calling for a re-enchantment of the world. The intellectual mind isn't enough. At Schloss Solitude in Stuttgart in a conversation with a respected French artist I said I mistrust the intellect because of it's limitations, and got a shocked look, like the shock I felt at 12 when I realised some people thought fundamentally differently than those of my cultural background.

 What was this thing about religion and culture? There's a speculation it's important for the mind to live with paradox, to strive intellectually and emotionally beyond the known and possible, the obvious and statistical.

 May 24, 1995.
--

+
+
+Miklos Legrady
+
310 Bathurst st.
Toronto ON M5T 2S3
416-203-1846
647-292-1846
+
-website;
http://www.mikidot.com
+
__end_of_message_marker__ newsgroups: RHIZOME_RAW date: Thu, 15 Sep 2005 09:01:14 -0500 message-id: references: no_parent from: ryan griffis subject: RHIZOME_RAW: Fwd: [help] katrina: regrowth tee Begin forwarded message: > > If you are looking for ways to contribute to the relief effort this > might interest you. > > New Orleans native Ross Zietz works at skinnyCorp here in Chciago and > asked his boss if he could design a T-shirt to aid relief efforts in > the south through their Threadless.com t-shirt site. The bosses said > hell yeah and told him that for every $10 a person spends on a shirt > their company will donate $20. > > Threadless will donate up to $50,000.00 to relief efforts in New > Orleans. > Buy one now. > Spread the word. > http://www.threadless.com/product/304/Regrowth:_Katrina + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php > join this concept: The "_ This Concept" Project > > "I'm an idea man Chuck, I get ideas, sometimes I get so many ideas > that I can't even fight them off!... Wait a minute! Why don't they > just mix the mayonnaise with the tuna in the can... HOLD THE PHONE! > Why don't they just FEED the tuna fish mayonnaise! Call Starkist!" > - Bill Blazejowski (_Night Shift_) > > "Those who can't do teach. And those who can't teach, teach gym. And, > of course, those who couldn't do anything, I think, were assigned to > our school." > - Alvy Singer (_Annie Hall_) > > ++++++++++ > > PRECEDENCE: > > The Fluxus Performance Workbook: > http://www.performance-research.net/documents/fluxus_workbook_screen.pdf > > ++++++++++ > > CONCEPT: > > Why waste your precious energies "making" conceptual art when you > can simply explain your conceptual art projects in the form of > instructions posted to an art mailing list? Crank out twice the > concepts in half the time! > > In their heyday, performance artists flooded the commodified market > of the art object with implemented concepts, thus critiquing and > "devaluing" the art object. We aim to flood the commodified market > of the implemented concept with unimplemented concepts, thus > critiquing and "devaluing" the implemented concept. (At least, > that's our concept.) > > ++++++++++ > > INSTRUCTIONS: > > Stop making conceptual art. Instead, explain your conceptual art > projects in the form of instructions posted to an art mailing list. > Post lots! Make a series: > http://rhizome.org/thread.rhiz?thread=18111&text=34621 > http://rhizome.org/thread.rhiz?thread=18066&text=34539 > http://rhizome.org/thread.rhiz?thread=17616&text=33617 > http://rhizome.org/thread.rhiz?thread=17569&text=33615 > http://rhizome.org/thread.rhiz?thread=14231&text=27185 > > Always cite some prior art precedence, that way you are more likely > to be taken seriously by people who take ciiting prior art > precedences seriously. Always explain your concept, that way youare > more likely to be taken seriously by people who take explaining > concepts seriously. Finally, list your instructions, just in case > anybody ever wants to "do" it. > > ++++++++++ > > chicken in the breadpan pickin' out dough, > 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: 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 content-type: text/plain; charset="ISO-8859-1" date: Mon, 05 Sep 2005 17:37:27 +0100 from: Sheindal Cohen message-id: subject: RHIZOME_RAW: Vacancy for Senior Curator (Collaboration Programme) at FACT, Liverpool, UK Senior Curator (Collaboration Programme) FACT FOUNDATION FOR ART AND CREATIVE TECHNOLOGY 24-28K (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 inspired, enterprising and imaginative person with a good knowledge of international artists work in film, video and creative technology. You will have a passion for and commitment to collaborative practice, and strong management skills, to build upon the outstanding reputation of FACT's Collaboration Programme. The Senior Curator (Collaboration Programme) will lead on devising, commissioning and implementing a programme of projects bringing together artists, communities and informal education initiatives and delivered across a range of exhibition platforms, including galleries, offsite and online. For more information please contact: Sheindal Cohen Email: recruitment@fact.co.uk Tel: 0151 707 4444 Website: www.fact.co.uk Deadline for applications: 21st September 2005 Interviews in Liverpool: 29th September 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 content-type: text/plain; charset=ISO-8859-2 date: Mon, 5 Sep 2005 09:40:16 -0700 from: Marisa Olson in-reply-to: <2bd02130050905090171a7dae0@mail.gmail.com> message-id: <23e24a260509050940165c5b1f@mail.gmail.com> references: <2bd02130050905090171a7dae0@mail.gmail.com> subject: RHIZOME_RAW: Fwd: vuk net.art show at ica tomorrow [NEW-MEDIA-CURATING] ---------- Forwarded message ----------From: Vuk osi Date: Sep 5, 2005 9:01 AMSubject: [NEW-MEDIA-CURATING] vuk net.art show at ica tomorrowTo: NEW-MEDIA-CURATING@jiscmail.ac.uk Hi list,just a line to tell you of a show I'm doing on Tuesday. I am just about to finish a new project entitled File Extinguisher andthere's also going to be some Projectables from the Heroic Period.Sadly I wll not be there personally since there's no real opening but I'dlike to meet up with those in London on 22nd when I'll be joining some sillySlovenian delegation. Here's the link to the new project (still finishing, will be operationaltomorrow I hope):www.file-extinguisher.com The ICA announcement:http://www.ica.org.uk/index.cfm?articleid=14300There will be some interview at BBC Collective these days:http://www.bbc.co.uk/collective/ If any of you people feel like linking to the new project, call me and I'llmake you a nice banner or something... And how are you? Vuk + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the 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, 13 Sep 2005 18:24:23 -0700 from: Troy Innocent message-id: <200509140124.j8E1ONx1011982@idx164.idx.net> subject: RHIZOME_RAW: ::: THIRD ITERATION - Final Call for Papers & Artworks FINAL CALL for Papers & Artworks The Conference Committee has been inundated with a great number of requests to extend the deadline for submission of Papers, Technical/Artist Talks and Artworks. The new and absolute final date for submission is now September 23, 2005. For submissions being posted, please email iterate@csse.monash.edu.au so we can confirm receipt of your material. .......................................................................................................... THIRD ITERATION third international conference on generative systems in the electronic arts November 30th to December 2nd, 2005: Melbourne, Australia THIRD ITERATION is the third international conference on generative systems in the electronic arts. It investigates three major themes – human-computer creativity, generative meaning systems, and the computational sublime. Following on from First Iteration (1999) and Second Iteration (2001), this year’s conference will be held in Melbourne, Australia. For further information please visit the conference web site at http://www.csse.monash.edu.au/~iterate/TI/ or contact us via email at iterate@csse.monash.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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 05:39:26 -0700 from: message-id: <200509201239.j8KCdQCk027610@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 07:17:18 -0700 from: message-id: <200509201417.j8KEHI0r011664@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 07:59:57 -0700 from: Claire Jervert message-id: <200509201459.j8KExvW0018845@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1; format="flowed" date: Tue, 20 Sep 2005 16:43:04 +0100 from: rob@robmyers.org in-reply-to: <200509201459.j8KExvW0018845@idx164.idx.net> message-id: <20050920164304.e9a8rps9c8o8g0w4@webmail.robmyers.org> references: <200509201459.j8KExvW0018845@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 08:54:05 -0700 from: Jason Van Anden message-id: <200509201554.j8KFs5dH028760@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 11:16:46 -0700 from: brad brace message-id: <200509201816.j8KIGkYP021183@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 11:23:14 -0700 from: curt cloninger message-id: <200509201823.j8KINEO3022734@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 12:32:39 -0700 from: message-id: <200509201932.j8KJWdoC012544@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_00B9_01C5BE2D.006916A0" date: Tue, 20 Sep 2005 21:48:13 +0200 from: "Andrej Tisma" message-id: <00c701c5be1c$4cbaf610$f606f0d5@aart> 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 content-type: text/plain; charset=utf-8 date: Tue, 20 Sep 2005 12:52:58 -0700 from: mike pelletier message-id: <200509201952.j8KJqwZI016288@idx164.idx.net> 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 content-type: text/plain; charset="ISO-8859-1" date: Tue, 20 Sep 2005 16:13:01 -0400 from: Lee Wells in-reply-to: <200509200413.j8K4Dm1o008153@idx164.idx.net> message-id: 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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 17:36:36 -0300 from: giselle beiguelman in-reply-to: message-id: <72319d6a05092013363b914f26@mail.gmail.com> references: <200509200413.j8K4Dm1o008153@idx164.idx.net> 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 content-type: text/plain; charset="iso-8859-1" date: Tue, 20 Sep 2005 23:04:29 +0200 from: "Dirk Vekemans" in-reply-to: message-id: <20050920210456.SICV26124.amsfep14-int.chello.nl@vilt> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Tue, 20 Sep 2005 17:24:12 -0400 from: miklos@sympatico.ca in-reply-to: <72319d6a05092013363b914f26@mail.gmail.com> message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> 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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 18:49:36 -0300 from: giselle beiguelman in-reply-to: message-id: <72319d6a05092014492f47bba8@mail.gmail.com> references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Tue, 20 Sep 2005 22:59:16 +0100 from: Rob Myers in-reply-to: message-id: <70FC974D-B857-4A00-B5EA-8CC315638712@robmyers.org> references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Tue, 20 Sep 2005 18:12:32 -0400 from: miklos@sympatico.ca in-reply-to: <72319d6a05092014492f47bba8@mail.gmail.com> message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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) from: trashconnection message-id: <20050920221746.1062721FD1@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 20 Sep 2005 23:33:22 +0100 from: Rob Myers in-reply-to: message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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 content-type: text/plain; charset="iso-8859-1" date: Tue, 20 Sep 2005 15:34:45 -0700 from: "Jim Andrews" in-reply-to: <72319d6a05092013363b914f26@mail.gmail.com> message-id: 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Tue, 20 Sep 2005 17:49:37 -0500 from: Ryan Griffis in-reply-to: message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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 content-type: text/plain; charset=iso-8859-1 date: Tue, 20 Sep 2005 15:52:15 -0700 (PDT) from: Michael Szpakowski message-id: <20050920225215.23943.qmail@web30514.mail.mud.yahoo.com> 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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 19:53:07 -0300 from: giselle beiguelman in-reply-to: message-id: <72319d6a0509201553503edd46@mail.gmail.com> references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Tue, 20 Sep 2005 23:58:23 +0100 from: Drew Hemment message-id: 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Tue, 20 Sep 2005 19:00:48 -0400 from: miklos@sympatico.ca in-reply-to: message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 20:04:42 -0300 from: giselle beiguelman in-reply-to: message-id: <72319d6a0509201604420904a4@mail.gmail.com> references: <72319d6a05092013363b914f26@mail.gmail.com> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Tue, 20 Sep 2005 19:06:55 -0400 from: miklos@sympatico.ca in-reply-to: message-id: references: 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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 20:28:50 -0300 from: giselle beiguelman in-reply-to: message-id: <72319d6a05092016285711a679@mail.gmail.com> references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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 content-type: text/plain; charset="iso-8859-1" ; format="flowed" date: Tue, 20 Sep 2005 19:31:53 -0400 from: miklos@sympatico.ca in-reply-to: <72319d6a0509201553503edd46@mail.gmail.com> message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> <72319d6a0509201553503edd46@mail.gmail.com> 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 content-type: multipart/alternative; boundary="============_-1084863238==_ma============" date: Tue, 20 Sep 2005 19:34:16 -0400 from: miklos@sympatico.ca in-reply-to: <72319d6a0509201553503edd46@mail.gmail.com> message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> <72319d6a0509201553503edd46@mail.gmail.com> 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 content-type: text/plain; charset="iso-8859-1" date: Tue, 20 Sep 2005 16:38:51 -0700 from: "Jim Andrews" in-reply-to: <72319d6a0509201604420904a4@mail.gmail.com> message-id: 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 content-type: multipart/alternative; boundary="============_-1084862492==_ma============" date: Tue, 20 Sep 2005 19:46:40 -0400 from: miklos@sympatico.ca in-reply-to: message-id: references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 20:46:49 -0300 from: giselle beiguelman in-reply-to: message-id: <72319d6a05092016463b8186bb@mail.gmail.com> references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> <72319d6a0509201553503edd46@mail.gmail.com> 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 from: mrosania@comcast.net message-id: <092020052352.22740.4330A0C900009AE3000058D422092299270E07020E9C019D03@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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 21:25:54 -0300 from: giselle beiguelman in-reply-to: <092020052352.22740.4330A0C900009AE3000058D422092299270E07020E9C019D03@comcast.net> message-id: <72319d6a050920172562d1891e@mail.gmail.com> references: <092020052352.22740.4330A0C900009AE3000058D422092299270E07020E9C019D03@comcast.net> 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 content-type: text/plain; charset=ISO-8859-1 date: Tue, 20 Sep 2005 21:26:22 -0300 from: giselle beiguelman in-reply-to: message-id: <72319d6a050920172658150807@mail.gmail.com> references: <72319d6a0509201604420904a4@mail.gmail.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 20 Sep 2005 20:35:37 -0400 from: billy gomberg in-reply-to: <092020052352.22740.4330A0C900009AE3000058D422092299270E07020E9C019D03@comcast.net> message-id: references: <092020052352.22740.4330A0C900009AE3000058D422092299270E07020E9C019D03@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? > 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 content-type: text/plain; charset=ISO-8859-1 date: Wed, 21 Sep 2005 11:03:35 +1000 from: Komninos Zervos message-id: 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 content-type: multipart/alternative; boundary="----=_NextPart_000_03A2_01C5BE5C.F0AD6010" date: Wed, 21 Sep 2005 03:31:23 +0200 from: "Andrej Tisma" message-id: <03a501c5be4c$2e26bdd0$f606f0d5@aart> 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 content-type: text/plain; charset=US-ASCII date: Wed, 21 Sep 2005 11:40:03 +1000 from: Komninos Zervos message-id: 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 20 Sep 2005 20:24:39 -0700 from: Christina McPhee in-reply-to: message-id: references: 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 from: mrosania@comcast.net message-id: <092120050340.8826.4330D63300057B560000227A22058891160E07020E9C019D03@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 from: mrosania@comcast.net message-id: <092120050346.29039.4330D794000F0C420000716F22007374780E07020E9C019D03@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 content-type: text/plain; charset="US-ASCII" date: Tue, 20 Sep 2005 20:57:23 -0700 from: "Jim Andrews" in-reply-to: message-id: 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 content-type: text/plain;charset=iso-8859-1 date: Tue, 20 Sep 2005 22:31:16 -0700 (PDT) from: hight@34n118w.net message-id: <1490.70.34.254.38.1127280676.squirrel@webmail.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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 21 Sep 2005 07:57:10 +0100 from: Rob Myers in-reply-to: message-id: <26E17333-0BB9-4811-8B56-DEE90B422BE2@robmyers.org> references: <200509200413.j8K4Dm1o008153@idx164.idx.net> <72319d6a05092013363b914f26@mail.gmail.com> <72319d6a05092014492f47bba8@mail.gmail.com> 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 content-type: text/plain; charset=utf-8 date: Wed, 21 Sep 2005 00:19:31 -0700 from: Robert Praxmarer message-id: <200509210719.j8L7JVKK020897@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 21 Sep 2005 00:26:08 -0700 from: Robert Praxmarer message-id: <200509210726.j8L7Q039022316@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 21 Sep 2005 00:26:08 -0700 from: Robert Praxmarer message-id: <200509210726.j8L7Q039022316@idx164.idx.net> 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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to 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: Wed, 21 Sep 2005 00:29:46 -0700 from: Robert Praxmarer message-id: <200509210729.j8L7TkeU023023@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII date: Wed, 21 Sep 2005 18:31:01 +1000 from: Komninos Zervos message-id: 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 content-type: text/plain; charset=US-ASCII date: Wed, 21 Sep 2005 18:55:10 +1000 from: Komninos Zervos message-id: 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 content-type: text/plain; charset="US-ASCII" date: Wed, 21 Sep 2005 03:02:20 -0700 from: "Jim Andrews" in-reply-to: <20050920104332.SQLA1323.amsfep20-int.chello.nl@vilt> message-id: 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 content-type: text/plain; charset="us-ascii" date: Wed, 21 Sep 2005 12:41:47 +0200 from: "Dirk Vekemans" in-reply-to: message-id: <20050921104216.OZCS22129.amsfep13-int.chello.nl@vilt> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_00EA_01C5BEAB.AE271890" date: Wed, 21 Sep 2005 12:55:00 +0200 from: "Dirk Vekemans" in-reply-to: <00c701c5be1c$4cbaf610$f606f0d5@aart> message-id: <20050921105530.JNVV1345.amsfep19-int.chello.nl@vilt> 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 content-type: multipart/alternative; boundary="------------060003040006010004030702" date: Wed, 21 Sep 2005 12:43:28 +0100 from: marc in-reply-to: message-id: <43314760.1070904@furtherfield.org> references: 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 content-type: text/plain; charset=utf-8 date: Wed, 21 Sep 2005 06:24:23 -0700 from: message-id: <200509211324.j8LDONcG010556@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 21 Sep 2005 07:01:37 -0700 from: Teresa Lopez message-id: <200509211401.j8LE1bcZ020300@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII date: Wed, 21 Sep 2005 15:02:19 +0100 from: "Jess Loseby" message-id: <433175FB.17613.E7FF4FC@localhost> 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 content-type: text/plain; charset=iso-8859-1 date: Wed, 21 Sep 2005 07:53:12 -0700 (PDT) from: Michael Szpakowski in-reply-to: <433175FB.17613.E7FF4FC@localhost> message-id: <20050921145312.22170.qmail@web30514.mail.mud.yahoo.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 21 Sep 2005 19:10:23 +0200 from: Geert Dekkers message-id: <322A175C-6FD7-4135-A0F8-4307BBEAF69B@nznl.com> 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 from: "Rhizome.org" message-id: <200509211730.j8LHTxJw000742@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII date: Wed, 21 Sep 2005 19:54:56 +0100 from: "Jess Loseby" in-reply-to: <20050921145312.22170.qmail@web30514.mail.mud.yahoo.com> message-id: <4331BA90.21442.F8BDC0E@localhost> references: <433175FB.17613.E7FF4FC@localhost> 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 content-type: text/plain; charset=utf-8 date: Wed, 21 Sep 2005 12:11:06 -0700 from: message-id: <200509211911.j8LJB6wR013900@idx164.idx.net> 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 $5. As part of AFRICA WIRED two new multi-media installations by the Obadikes, Internet Ikeng and The Uli Suite, will be on view in Eyebeam's exhibition space October 4-8, 12-6pm. This exhibition is open to the public free of charge. 540 W. 21st Street New York, NY 10011 212-937-6581 www.eyebeam.org + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_010B_01C5BEF1.C7510A60" date: Wed, 21 Sep 2005 21:16:48 +0200 from: "manik" message-id: <001301c5bee2$f5b20c60$167689d5@e9o9t1> subject: RHIZOME_RAW: THE ORIGINAL CONCEPT THE ORIGINAL CONCEPT WAS MINE MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0113_01C5BEF2.34555DA0" date: Wed, 21 Sep 2005 21:19:51 +0200 from: "manik" message-id: <001401c5bee2$f6618640$167689d5@e9o9t1> 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 from: "Rhizome.org" message-id: <200509211941.j8LJexJw028380@idx164.idx.net> 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 from: "Rhizome.org" message-id: <200509211941.j8LJfgJw028727@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_007A_01C5BEF5.7329A060" date: Wed, 21 Sep 2005 21:43:05 +0200 from: "manik" message-id: <000601c5bee5$925ec600$197789d5@e9o9t1> 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 from: "Rhizome.org" message-id: <200509211943.j8LJhRJw030055@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_00A3_01C5BEF6.1BE5BB80" date: Wed, 21 Sep 2005 21:47:48 +0200 from: "manik" message-id: <000701c5bee5$92fefda0$197789d5@e9o9t1> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Wed, 21 Sep 2005 16:47:58 -0400 from: miklos@sympatico.ca in-reply-to: message-id: references: <092020052352.22740.4330A0C900009AE3000058D422092299270E07020E9C019D03@com cast.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 21 Sep 2005 21:49:30 +0100 from: Rob Myers message-id: 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Wed, 21 Sep 2005 16:51:49 -0400 from: miklos@sympatico.ca message-id: 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 content-type: text/html; charset=ISO-8859-1 date: Thu, 22 Sep 2005 07:25:49 +1000 from: Komninos Zervos message-id: 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Wed, 21 Sep 2005 18:34:11 -0300 from: roberto echen message-id: <4331D1D3.2040708@rechen.com> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Wed, 21 Sep 2005 18:35:22 -0300 from: roberto echen in-reply-to: <200509211730.j8LHTxJw000742@idx164.idx.net> message-id: <4331D21A.5040308@rechen.com> references: <200509211730.j8LHTxJw000742@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0127_01C5BF08.32D6AAE0" date: Wed, 21 Sep 2005 23:57:18 +0200 from: "manik" message-id: <012a01c5bef7$70481960$197789d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0132_01C5BF08.44F9EAC0" date: Wed, 21 Sep 2005 23:57:48 +0200 from: "manik" message-id: <013501c5bef7$81f5db20$197789d5@e9o9t1> subject: RHIZOME_RAW: Fw: million brilliant ideas ----- Original Message ----- From: manik To: list@rhizome.org Sent: Wednesday, September 21, 2005 9:43 PM Subject: million brilliant ideas I can come up with a million brilliant ideas right here and now... MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0155_01C5BF08.6B2D4660" date: Wed, 21 Sep 2005 23:58:52 +0200 from: "manik" message-id: <015801c5bef7$a82abd60$197789d5@e9o9t1> 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) from: trashconnection message-id: <20050921220402.7500C21FD1@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Thu, 22 Sep 2005 00:05:43 +0100 from: marc in-reply-to: <322A175C-6FD7-4135-A0F8-4307BBEAF69B@nznl.com> message-id: <4331E747.6000209@furtherfield.org> references: <322A175C-6FD7-4135-A0F8-4307BBEAF69B@nznl.com> 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 content-type: text/plain; charset=UTF-8 date: Thu, 22 Sep 2005 09:35:24 +1000 from: Komninos Zervos message-id: 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 content-type: text/plain; charset=utf-8 date: Wed, 21 Sep 2005 16:52:15 -0700 from: Brett Stalbaum message-id: <200509212352.j8LNqFht010964@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Wed, 21 Sep 2005 20:43:20 -0500 from: Kevin Hamilton message-id: <43320C38.6040106@uiuc.edu> 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 content-type: text/plain; charset=US-ASCII date: Thu, 22 Sep 2005 09:16:19 +0100 from: "Jess Loseby" in-reply-to: <72319d6a05092114512938f282@mail.gmail.com> message-id: <43327663.18884.2729B2@localhost> references: <4331BA90.21442.F8BDC0E@localhost> 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 content-type: text/plain;charset=iso-8859-1 date: Thu, 22 Sep 2005 01:39:27 -0700 (PDT) from: hight@34n118w.net message-id: <1119.70.34.254.38.1127378367.squirrel@webmail.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 content-type: text/plain; charset="US-ASCII" date: Thu, 22 Sep 2005 02:46:43 -0700 from: "Jim Andrews" in-reply-to: <43327663.18884.2729B2@localhost> message-id: 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 content-type: text/plain; charset="US-ASCII" date: Thu, 22 Sep 2005 02:46:43 -0700 from: "Jim Andrews" in-reply-to: <43327663.18884.2729B2@localhost> message-id: 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 content-type: text/plain; charset=iso-8859-1 date: Thu, 22 Sep 2005 03:28:54 -0700 (PDT) from: Michael Szpakowski in-reply-to: <4331BA90.21442.F8BDC0E@localhost> message-id: <20050922102854.88374.qmail@web30508.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 04:58:37 -0700 from: David Galbraith message-id: <200509221158.j8MBwbFD030149@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 05:31:49 -0700 from: message-id: <200509221231.j8MCVnRp000938@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 05:34:15 -0700 from: message-id: <200509221234.j8MCYFRk001302@idx164.idx.net> 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 from: message-id: <20050922-13411244-1f34-2@wiss-blade5> 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 content-type: text/plain; charset="UTF-8" date: Thu, 22 Sep 2005 14:48:16 +0200 from: "manik" message-id: <00ea01c5bf73$e8310c80$307689d5@e9o9t1> references: <> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 07:05:43 -0700 from: marcus bastos message-id: <200509221405.j8ME5hED010481@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_010D_01C5BF91.90278780" date: Thu, 22 Sep 2005 16:20:35 +0200 from: "manik" message-id: <011001c5bf80$f245b1a0$307689d5@e9o9t1> subject: RHIZOME_RAW: Original Message > ----- Original Message ----- __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 07:43:13 -0700 from: Thomas Beard message-id: <200509221443.j8MEhD5T013934@idx164.idx.net> 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 content-type: multipart/alternative; boundary="------------040004040604050708070604" date: Thu, 22 Sep 2005 16:46:31 +0100 from: marc message-id: <4332D1D7.9070501@furtherfield.org> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 09:35:30 -0700 from: curt cloninger message-id: <200509221635.j8MGZUOk027401@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_01EB_01C5BFA6.B2764960" date: Thu, 22 Sep 2005 18:51:52 +0200 from: "manik" message-id: <01f001c5bf96$0d920480$307689d5@e9o9t1> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 10:32:55 -0700 from: message-id: <200509221732.j8MHWtwN003174@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 11:27:28 -0700 from: Linda Handler message-id: <200509221827.j8MIRSgG016616@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Thu, 22 Sep 2005 12:59:54 -0700 (PDT) from: Michael Szpakowski in-reply-to: <200509221635.j8MGZUOk027401@idx164.idx.net> message-id: <20050922195955.37678.qmail@web30506.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 13:31:51 -0700 from: message-id: <200509222031.j8MKVpiE029036@idx164.idx.net> subject: RHIZOME_RAW: ASSISTANT PROFESSOR of SCULPTURE, STANFORD UNIVERSITY 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, 2006. Please send a lette! r 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 13:32 from: "carlos katastrofsky" in-reply-to: <015801c5bef7$a82abd60$197789d5@e9o9t1> message-id: references: <> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 14:00:18 -0700 from: message-id: <200509222100.j8ML0IuP032642@idx164.idx.net> 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) from: trashconnection message-id: <20050922212007.6F31C21FD1@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 15:14 from: "carlos katastrofsky" in-reply-to: <00ea01c5bf73$e8310c80$307689d5@e9o9t1> message-id: references: <> 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 content-type: text/html; charset=US-ASCII date: Thu, 22 Sep 2005 23:32:30 +0100 from: "Jess Loseby" in-reply-to: <20050922195955.37678.qmail@web30506.mail.mud.yahoo.com> message-id: <43333F0E.6892.33706E2@localhost> references: <200509221635.j8MGZUOk027401@idx164.idx.net> 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 content-type: multipart/alternative; boundary=Apple-Mail-11-944873108 date: Thu, 22 Sep 2005 18:34:04 -0400 from: Christa Blatchford message-id: <83EBC45C-182E-467F-8391-E14812FE1BBA@eyebeam.org> 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__ __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Fri, 23 Sep 2005 00:35:39 +0200 from: Geert Dekkers in-reply-to: <20050922195955.37678.qmail@web30506.mail.mud.yahoo.com> message-id: <1EDCE29C-F947-4C91-A994-3E589AC57ACD@nznl.com> references: <20050922195955.37678.qmail@web30506.mail.mud.yahoo.com> 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 content-type: text/plain; charset=iso-8859-1 date: Thu, 22 Sep 2005 15:58:17 -0700 (PDT) from: Michael Szpakowski in-reply-to: <43333F0E.6892.33706E2@localhost> message-id: <20050922225817.87229.qmail@web30508.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 16:34:39 -0700 from: Will Pappenheimer message-id: <200509222334.j8MNYdql020043@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 17:44:07 -0700 from: Project X message-id: <200509230044.j8N0i70g027776@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1 date: Thu, 22 Sep 2005 20:56:34 -0400 from: in-reply-to: message-id: references: 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 18:14:50 -0700 from: Robert-Jan Verhagen message-id: <200509230114.j8N1EoAU030426@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 18:18:11 -0700 from: Robert-Jan Verhagen message-id: <200509230118.j8N1IBSD030796@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Thu, 22 Sep 2005 22:23:22 -0500 from: Ryan Griffis message-id: <0abc534e979b64d49abed7204962daa9@gmail.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 22:21:34 -0700 from: Trebor message-id: <200509230521.j8N5LYL8024936@idx164.idx.net> 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 content-type: text/plain; charset=UTF-8; format=flowed date: Fri, 23 Sep 2005 11:14:32 +0200 from: Johannes Auer message-id: <4333C778.7000005@kunsttot.de> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 06:39:34 -0700 from: curt cloninger message-id: <200509231339.j8NDdYsF021951@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 06:48:46 -0700 from: Christiane Paul message-id: <200509231348.j8NDmkw7023050@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 08:49:33 -0700 from: message-id: <200509231549.j8NFnXQs005446@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 09:59:10 -0700 from: message-id: <200509231659.j8NGxA5r021740@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 12:01:36 -0700 from: Claire Jervert message-id: <200509231901.j8NJ1ahS005076@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 12:11:56 -0700 from: Claire Jervert message-id: <200509231911.j8NJBua5006762@idx164.idx.net> 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) from: trashconnection message-id: <20050923210932.C804421FD1@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 14:21:43 -0700 from: Marjan van Mourik message-id: <200509232121.j8NLLhJS031228@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII date: Sat, 24 Sep 2005 00:16:03 +0100 from: "Jess Loseby" message-id: <43349AC3.16604.35A32DA@localhost> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Fri, 23 Sep 2005 21:22:56 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <006a01c5c09e$1f577c00$5fa105c9@NOMEAmigotec> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 19:41:42 -0700 from: Eric Dymond message-id: <200509240241.j8O2fgZp015464@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 20:03:52 -0700 from: Eric Dymond message-id: <200509240303.j8O33qNG017323@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 21:54:42 -0700 from: Eric Dymond message-id: <200509240454.j8O4sgbR027621@idx164.idx.net> 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 content-type: text/plain; charset="ISO-8859-1" date: Sat, 24 Sep 2005 01:05:26 -0400 from: Lee Wells in-reply-to: <200509240303.j8O33qNG017323@idx164.idx.net> message-id: 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 content-type: text/plain; charset=utf-8 date: Fri, 23 Sep 2005 22:18:49 -0700 from: "o.blaat" message-id: <200509240518.j8O5InSk029860@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sat, 24 Sep 2005 00:51:54 -0700 from: message-id: <200509240751.j8O7pset013024@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0154_01C5C10A.90CCC5E0" date: Sat, 24 Sep 2005 13:19:17 +0200 from: "manik" message-id: <000701c5c0fc$86d932c0$e57789d5@e9o9t1> subject: RHIZOME_RAW: CONCEPT AND WORK I LIE ABOUT CONCEPT AND WORK MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0172_01C5C10C.00728280" date: Sat, 24 Sep 2005 13:29:34 +0200 from: "manik" message-id: <000801c5c0fc$877042a0$e57789d5@e9o9t1> 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 content-type: text/plain; charset=utf-8 date: Sat, 24 Sep 2005 09:17:14 -0700 from: Jody Zellen message-id: <200509241617.j8OGHEl8008749@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_Part_14122_10265730.1127579809782" date: Sat, 24 Sep 2005 12:36:49 -0400 from: message-id: 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0055_01C5C145.352BE320" date: Sat, 24 Sep 2005 20:19:03 +0200 from: "manik" message-id: <005801c5c134$73038d80$4e7689d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0060_01C5C145.405D7CE0" date: Sat, 24 Sep 2005 20:19:22 +0200 from: "manik" message-id: <006301c5c134$7d6bbcc0$4e7689d5@e9o9t1> 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Sun, 25 Sep 2005 10:53:03 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050925105242.0587ed00@pop.hotkey.net.au> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sat, 24 Sep 2005 21:45:15 -0400 from: Curt Cloninger message-id: 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 content-type: multipart/alternative; boundary="0-328892538-1127623764=:77928" date: Sat, 24 Sep 2005 21:49:24 -0700 (PDT) from: Jason Nelson message-id: <20050925044924.78366.qmail@web54607.mail.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Sun, 25 Sep 2005 01:04:12 -0700 from: message-id: <200509250804.j8P84C5d029889@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sun, 25 Sep 2005 01:11:01 -0700 from: message-id: <200509250811.j8P8B15J031370@idx164.idx.net> 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 content-type: multipart/alternative; boundary="0-176572970-1127635891=:48241" date: Sun, 25 Sep 2005 01:11:31 -0700 (PDT) from: Jason Nelson message-id: <20050925081131.48978.qmail@web54604.mail.yahoo.com> 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) from: trashconnection message-id: <20050925083005.A3BF121FD0@mail.isnm.uni-luebeck.de> 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) from: trashconnection message-id: <20050925211648.1F65521FD0@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Sun, 25 Sep 2005 17:29:26 -0700 from: jillian mcdonald message-id: <200509260029.j8Q0TQvr002575@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sun, 25 Sep 2005 19:25:51 -0700 from: Gabriel message-id: <200509260225.j8Q2Ppsj011750@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 26 Sep 2005 06:33:28 -0700 from: Brooke Singer message-id: <200509261333.j8QDXS90005769@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Mon, 26 Sep 2005 07:16:07 -0700 (PDT) from: Lewis LaCook message-id: <20050926141608.14648.qmail@web35603.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Mon, 26 Sep 2005 08:06:39 -0700 from: serra message-id: <200509261506.j8QF6dcv023181@idx164.idx.net> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Mon, 26 Sep 2005 12:14:06 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <008701c5c2ac$f24be230$80a305c9@NOMEAmigotec> 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 content-type: multipart/alternative; boundary="----=_Part_4255610_12804291.1127748884285" date: Mon, 26 Sep 2005 08:34:44 -0700 (PDT) from: ken goldberg message-id: <17874953.1127748884291.JavaMail.root@localhost> 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 content-type: text/plain; charset=us-ascii; format=flowed date: Mon, 26 Sep 2005 09:57:05 -0700 from: Brett Stalbaum message-id: <43382861.9040100@ucsd.edu> 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 content-type: text/plain; charset=utf-8 date: Mon, 26 Sep 2005 10:32:12 -0700 from: Ana Carvalho message-id: <200509261732.j8QHWCn4020199@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Mon, 26 Sep 2005 15:27:04 -0400 from: Francis Hwang message-id: <0be88211f07b36942dfad3d64a0b44bc@rhizome.org> 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Tue, 27 Sep 2005 07:41:46 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050927074044.02532d60@pop.hotkey.net.au> 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 content-type: text/plain; charset="iso-8859-1" date: Mon, 26 Sep 2005 21:17:08 -0700 from: "Jim Andrews" message-id: 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 01:56:16 -0700 from: "zanni.org" message-id: <200509270856.j8R8uGZT002989@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Tue, 27 Sep 2005 06:28:36 -0700 (PDT) from: Lewis LaCook message-id: <20050927132836.82990.qmail@web35609.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 07:05:06 -0700 from: Pau Waelder message-id: <200509271405.j8RE56OO021458@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 07:09:51 -0700 from: Marjan van Mourik message-id: <200509271409.j8RE9pU3022428@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 09:24:02 -0700 from: "arc.Naiff" message-id: <200509271624.j8RGO2kh016040@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 10:57:01 -0700 from: Marjan van Mourik message-id: <200509271757.j8RHv1TX032720@idx164.idx.net> 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 content-type: text/plain; charset=windows-1252; format=flowed date: Tue, 27 Sep 2005 19:33:34 +0100 from: =?windows-1252?Q?Marta_Rup=E9rez?= message-id: <4339907E.9000200@fact.co.uk> 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 11:47:53 -0700 from: johannes grenzfurthner message-id: <200509271847.j8RIlr5X009668@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 14:53:54 -0700 from: message-id: <200509272153.j8RLrsE9016114@idx164.idx.net> 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) from: trashconnection message-id: <20050927220018.E14F921FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Tue, 27 Sep 2005 16:20:05 -0700 from: message-id: <200509272320.j8RNK5dl030876@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Tue, 27 Sep 2005 22:17:21 -0500 from: Ryan Griffis message-id: <2712d552bb1a6df945e58ae164a343aa@gmail.com> 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 content-type: multipart/related; boundary="B_3210738977_1506999" date: Wed, 28 Sep 2005 07:56:16 +0100 from: susana mendes silva message-id: subject: RHIZOME_RAW: private t'shirt __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Wed, 28 Sep 2005 03:15:14 -0700 from: Marjan van Mourik message-id: <200509281015.j8SAFE9a003902@idx164.idx.net> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Wed, 28 Sep 2005 09:12:02 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <00b701c5c425$d789e620$4fa705c9@NOMEAmigotec> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Wed, 28 Sep 2005 15:42:13 +0100 from: marc in-reply-to: <00b701c5c425$d789e620$4fa705c9@NOMEAmigotec> message-id: <433AABC5.5060907@furtherfield.org> references: <00b701c5c425$d789e620$4fa705c9@NOMEAmigotec> 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 content-type: text/plain; charset=utf-8 date: Wed, 28 Sep 2005 09:09:36 -0700 from: Mo Johnston message-id: <200509281609.j8SG9aIB018008@idx164.idx.net> 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 content-type: text/plain; charset=UTF-8; format=flowed date: Wed, 28 Sep 2005 18:07:26 +0100 from: marc in-reply-to: <200509281609.j8SG9aIB018008@idx164.idx.net> message-id: <433ACDCE.5080909@furtherfield.org> references: <200509281609.j8SG9aIB018008@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 28 Sep 2005 22:48:38 +0200 from: Geert Dekkers message-id: <5E868631-6CB0-456A-81F4-65C45E7DE599@nznl.com> 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 content-type: text/plain; charset="ISO-8859-1" date: Wed, 28 Sep 2005 22:01:44 +0100 from: susana mendes silva in-reply-to: <20050928105239.49258.qmail@web35006.mail.mud.yahoo.com> message-id: 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Wed, 28 Sep 2005 22:49:54 -0400 from: miklos@sympatico.ca message-id: 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 content-type: text/plain; charset="iso-8859-1" date: Wed, 28 Sep 2005 20:44:59 -0700 from: "Jim Andrews" message-id: 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Thu, 29 Sep 2005 17:12:39 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050929171200.024830a8@pop.hotkey.net.au> 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 content-type: text/plain; charset="ISO-8859-1" date: Thu, 29 Sep 2005 11:19:21 +0200 from: "{artNET}" message-id: <20050929111921.BD19513C.314A0A31@127.0.0.1> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0024_01C5C504.6D868280" date: Thu, 29 Sep 2005 14:45:25 +0200 from: "manik" message-id: <000201c5c4f4$756d7860$c97689d5@e9o9t1> subject: RHIZOME_RAW: ALL PAINTINGS ALL PAINTINGS ARE ACRYLIC ON CANVAS MANIK,SEPTEMBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Thu, 29 Sep 2005 07:47:14 -0700 from: Luís da Silva message-id: <200509291447.j8TElE33012131@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 29 Sep 2005 07:56:20 -0700 from: xavier cahen message-id: <200509291456.j8TEuKxY013359@idx164.idx.net> 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) from: trashconnection message-id: <20050929153428.095EA21FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 29 Sep 2005 12:09:51 -0400 from: Sal Randolph message-id: <9340F89E-6059-4A76-A061-F7329D9116EC@highlala.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 29 Sep 2005 14:42:18 -0700 from: message-id: <200509292142.j8TLgIlS003742@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii" date: Fri, 30 Sep 2005 00:02:08 +0200 from: "Dirk Vekemans" message-id: <20050929220249.KMYO2093.amsfep12-int.chello.nl@vilt> 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 content-type: text/plain; charset=iso-8859-1 date: Thu, 29 Sep 2005 16:08:50 -0700 (PDT) from: Michael Szpakowski message-id: <20050929230850.73995.qmail@web30501.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 29 Sep 2005 17:08:02 -0700 from: Todd Brooks message-id: <200509300008.j8U082sA020512@idx164.idx.net> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Thu, 29 Sep 2005 21:36:48 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <000b01c5c557$0e04f640$eca005c9@NOMEAmigotec> references: <20050929230850.73995.qmail@web30501.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 29 Sep 2005 18:22:30 -0700 from: message-id: <200509300122.j8U1MUI6026693@idx164.idx.net> 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 content-type: TEXT/PLAIN; charset=US-ASCII; format=flowed date: Thu, 29 Sep 2005 23:33:07 -0400 (EDT) from: Alan Sondheim in-reply-to: <20050929230850.73995.qmail@web30501.mail.mud.yahoo.com> message-id: references: <20050929230850.73995.qmail@web30501.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 29 Sep 2005 23:58:17 -0700 from: fernando goncalves message-id: <200509300658.j8U6wHfa028889@idx164.idx.net> 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) from: trashconnection message-id: <20050930080132.B229721FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset="ISO-8859-1" date: Fri, 30 Sep 2005 10:12:49 +0200 from: "{e-art}" message-id: <20050930101249.397CB7EB.8DA5479C@127.0.0.1> 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 content-type: multipart/related; boundary="B_3210919909_2629823" date: Fri, 30 Sep 2005 10:11:49 +0100 from: susana mendes silva message-id: 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 content-type: text/plain; charset=iso-8859-1 date: Fri, 30 Sep 2005 02:12:06 -0700 (PDT) from: Michael Szpakowski in-reply-to: message-id: <20050930091206.96323.qmail@web30514.mail.mud.yahoo.com> 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 content-type: text/plain; charset=iso-8859-1 date: Fri, 30 Sep 2005 02:18:57 -0700 (PDT) from: Michael Szpakowski in-reply-to: <000b01c5c557$0e04f640$eca005c9@NOMEAmigotec> message-id: <20050930091857.36953.qmail@web30507.mail.mud.yahoo.com> 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 content-type: text/plain; charset="iso-8859-1" date: Fri, 30 Sep 2005 02:50:02 -0700 from: "Jim Andrews" message-id: 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 content-type: text/plain; charset=utf-8 date: Fri, 30 Sep 2005 02:54:45 -0700 from: johannes grenzfurthner message-id: <200509300954.j8U9sjaF013261@idx164.idx.net> 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 content-type: text/plain; charset="iso-8859-1" date: Fri, 30 Sep 2005 03:14:29 -0700 from: "Jim Andrews" message-id: 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 content-type: text/plain; charset=utf-8 date: Fri, 30 Sep 2005 07:59:47 -0700 from: message-id: <200509301459.j8UExlkG016456@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 30 Sep 2005 09:31:45 -0700 from: Jorge Luiz Antonio message-id: <200509301631.j8UGVjbf031823@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Fri, 30 Sep 2005 14:27:02 -0400 from: joseph mcelroy message-id: <433D8376.4050400@corporatepa.com> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Fri, 30 Sep 2005 16:01:00 -0400 from: miklos@sympatico.ca in-reply-to: <433D8376.4050400@corporatepa.com> message-id: references: <433D8376.4050400@corporatepa.com> 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 content-type: text/plain; charset=utf-8 date: Fri, 30 Sep 2005 13:34:46 -0700 from: message-id: <200509302034.j8UKYkG8003635@idx164.idx.net> 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) from: trashconnection message-id: <20051001110413.BE84621FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain;charset=iso-8859-1 date: Sat, 1 Oct 2005 11:33:15 -0400 (EDT) from: "Lauren Cornell" message-id: <50148.151.201.31.254.1128180795.squirrel@rhizome.org> 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 content-type: text/plain; charset=utf-8 date: Sat, 1 Oct 2005 09:27:53 -0700 from: message-id: <200510011627.j91GRrfE020294@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sat, 1 Oct 2005 09:29:51 -0700 from: message-id: <200510011629.j91GTpcT020634@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sat, 1 Oct 2005 09:42:38 -0700 from: Marjan van Mourik message-id: <200510011642.j91GgcmG022198@idx164.idx.net> 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 content-type: multipart/alternative; boundary="============_-1083933519==_ma============" date: Sat, 1 Oct 2005 13:49:34 -0400 from: miklos@sympatico.ca message-id: 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 content-type: text/plain; charset=utf-8 date: Sat, 1 Oct 2005 11:14:31 -0700 from: message-id: <200510011814.j91IEV8V031473@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sat, 1 Oct 2005 11:18:54 -0700 from: message-id: <200510011818.j91IIsTY031940@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Sat, 01 Oct 2005 16:37:42 -0400 from: joseph mcelroy in-reply-to: message-id: <433EF396.3030008@corporatepa.com> references: 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 content-type: text/plain; charset=utf-8 date: Sat, 1 Oct 2005 21:49:06 -0700 from: Eric Dymond message-id: <200510020449.j924n6EL029244@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sat, 1 Oct 2005 22:53:04 -0700 from: Eric Dymond message-id: <200510020553.j925r4jq000702@idx164.idx.net> 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) from: trashconnection message-id: <20051002071420.8701A21FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Sun, 2 Oct 2005 13:22:26 +0200 from: nat muller message-id: 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 content-type: text/plain; charset=utf-8 date: Sun, 2 Oct 2005 08:04:02 -0700 from: brad brace message-id: <200510021504.j92F423q022761@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sun, 2 Oct 2005 09:48:59 -0700 from: colm lally message-id: <200510021648.j92GmxXJ000584@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Sun, 2 Oct 2005 13:04:04 -0400 from: doron message-id: <31AE6B1B-74C1-470C-8A60-78BC3D9DA0EF@computerfinearts.com> 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 content-type: text/plain; charset=WINDOWS-1252 date: Sun, 2 Oct 2005 17:55:10 -0300 from: marcus bastos message-id: 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 content-type: text/plain; charset=ISO-8859-1 date: Sun, 2 Oct 2005 23:48:14 -0500 from: Steve Dietz message-id: <85d7931b0510022148p7efc4191x9c7fddca16fd8052@mail.gmail.com> 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 content-type: multipart/alternative; boundary="0-24538269-1128321043=:51951" date: Mon, 3 Oct 2005 16:30:43 +1000 (EST) from: sonya nielsen message-id: <20051003063043.52959.qmail@web33302.mail.mud.yahoo.com> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Mon, 03 Oct 2005 03:44:40 -0300 from: roberto echen message-id: <4340D358.7040004@rechen.com> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 00:57:43 -0700 from: Marjan van Mourik message-id: <200510030757.j937vhqU022608@idx164.idx.net> 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 content-type: text/plain; charset="US-ASCII" date: Mon, 3 Oct 2005 10:40:12 +0200 from: "Anette - Radiator Festival" message-id: 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 content-type: text/plain; charset=iso-8859-1 date: Mon, 3 Oct 2005 06:11:23 -0700 (PDT) from: Lewis LaCook message-id: <20051003131123.77306.qmail@web35607.mail.mud.yahoo.com> 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 content-type: text/plain; charset="ISO-8859-1" date: Mon, 03 Oct 2005 16:20:24 +0200 from: "{soundART}" message-id: <20051003162024.B3098D9E.D12DC01B@127.0.0.1> 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) from: trashconnection message-id: <20051003142452.A34D521FD0@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 08:34:43 -0700 from: message-id: <200510031534.j93FYhTO003151@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 08:35:23 -0700 from: message-id: <200510031535.j93FZN8n003380@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 09:34:31 -0700 from: Julie Rasmussen message-id: <200510031634.j93GYVrr014148@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 09:35:26 -0700 from: Julie Rasmussen message-id: <200510031635.j93GZQcY014342@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Mon, 3 Oct 2005 13:45:32 -0400 from: Francis Hwang message-id: <540d7d7b175260b529c4f0a52d8a39b7@rhizome.org> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 10:53:28 -0700 from: message-id: <200510031753.j93HrS40028694@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0199_01C5C857.CC3FCB50" date: Mon, 3 Oct 2005 20:19:46 +0200 from: "valery.grancher" message-id: <01a101c5c847$0c8ae6b0$0500a8c0@artiste> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 12:34:26 -0700 from: Mo Johnston message-id: <200510031934.j93JYQen009338@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Mon, 3 Oct 2005 15:40:01 -0500 from: denim and diamonds message-id: <9e1fdfd3a00f5dce71c0b8839a695552@conglomco.org> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 13:57:56 -0700 from: message-id: <200510032057.j93Kvu6j021124@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 16:59:25 -0700 from: Jim Whitehead message-id: <200510032359.j93NxPqO012200@idx164.idx.net> 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 content-type: text/html; charset=ISO-8859-1 date: Mon, 3 Oct 2005 20:16:53 -0400 from: NStillman@nyfa.org message-id: 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 20:48:11 -0700 from: Tristan Perich message-id: <200510040348.j943mBtF017036@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 21:21:35 -0700 from: pixelate burns message-id: <200510040421.j944LZxt021448@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 3 Oct 2005 21:39:47 -0700 from: message-id: <200510040439.j944dlCl024489@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Tue, 04 Oct 2005 01:11:47 -0400 from: Pall Thayer message-id: <6A2842AA-1D82-4C12-A3AF-64A4502A614E@alcor.concordia.ca> 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 content-type: text/plain; charset=UTF-8 date: Tue, 4 Oct 2005 10:15:54 +0200 from: Kristofer Paetau message-id: <80bd928c0510040115l3447b1f7idd4daf6a8fae21b0@mail.gmail.com> 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 content-type: text/plain; charset=UTF-8 date: Tue, 4 Oct 2005 10:15:54 +0200 from: Kristofer Paetau message-id: <80bd928c0510040115l3447b1f7idd4daf6a8fae21b0@mail.gmail.com> 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 content-type: text/plain; charset="ISO-8859-1" date: Tue, 04 Oct 2005 10:55:35 +0100 from: Sheindal Cohen message-id: 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 content-type: text/plain; charset=utf-8 date: Tue, 4 Oct 2005 03:00:15 -0700 from: Stephan Hausmeister message-id: <200510041000.j94A0FfK010135@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 4 Oct 2005 06:31:47 -0700 from: message-id: <200510041331.j94DVllF015450@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 4 Oct 2005 06:32:40 -0700 from: message-id: <200510041332.j94DWeU9015688@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 04 Oct 2005 11:04:45 -0400 from: Pall Thayer in-reply-to: <8eadd6950510040425k6a598b5cq3f001b8d56296e41@mail.gmail.com> message-id: references: <6A2842AA-1D82-4C12-A3AF-64A4502A614E@alcor.concordia.ca> <8eadd6950510040425k6a598b5cq3f001b8d56296e41@mail.gmail.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Tue, 04 Oct 2005 11:25:43 -0400 from: Pall Thayer in-reply-to: <8eadd6950510040809v39080640j22fd3e1cae32764d@mail.gmail.com> message-id: <282169B1-9E64-4FE3-BA22-1B0479EC705D@alcor.concordia.ca> references: <6A2842AA-1D82-4C12-A3AF-64A4502A614E@alcor.concordia.ca> <8eadd6950510040425k6a598b5cq3f001b8d56296e41@mail.gmail.com> <8eadd6950510040809v39080640j22fd3e1cae32764d@mail.gmail.com> 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 content-type: text/plain; charset=UTF-8 date: Tue, 4 Oct 2005 11:33:11 -0400 from: NStillman@nyfa.org message-id: 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 content-type: text/plain; charset=windows-1252; format=flowed date: Tue, 04 Oct 2005 16:35:15 +0100 from: marc in-reply-to: <6A2842AA-1D82-4C12-A3AF-64A4502A614E@alcor.concordia.ca> message-id: <4342A133.1050201@furtherfield.org> references: <6A2842AA-1D82-4C12-A3AF-64A4502A614E@alcor.concordia.ca> 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 content-type: text/plain; charset=utf-8 date: Tue, 4 Oct 2005 08:55:39 -0700 from: Georgina Bath message-id: <200510041555.j94FtdkE010706@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_011F_01C5C91B.5D0907A0" date: Tue, 4 Oct 2005 19:39:41 +0200 from: "manik" message-id: <000101c5c97b$d764e040$c87789d5@e9o9t1> 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) from: trashconnection message-id: <20051004181653.D20F721FD1@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Tue, 4 Oct 2005 13:44:23 -0700 from: Jeff Tancil message-id: <200510042044.j94KiNLu004476@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Tue, 4 Oct 2005 16:10:35 -0700 (PDT) from: Michael Szpakowski message-id: <20051004231035.97270.qmail@web30512.mail.mud.yahoo.com> 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 content-type: TEXT/PLAIN; charset=US-ASCII; format=flowed date: Tue, 4 Oct 2005 19:52:15 -0400 (EDT) from: Alan Sondheim in-reply-to: <20051004231035.97270.qmail@web30512.mail.mud.yahoo.com> message-id: references: <20051004231035.97270.qmail@web30512.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Tue, 4 Oct 2005 17:06:48 -0700 from: Susan Robb message-id: <200510050006.j9506mBi003064@idx164.idx.net> 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 content-type: multipart/alternative; boundary="------------050303080507060100060800" date: Wed, 05 Oct 2005 00:19:37 -0300 from: "Andrei R. Thomaz" message-id: <43434649.3010401@gmail.com> 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 content-type: text/plain; charset="ISO-8859-1" date: Wed, 05 Oct 2005 10:09:44 +0200 from: "{NetEX}" message-id: <20051005100944.909A8961.DCEB36EA@127.0.0.1> 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 content-type: text/plain; charset=utf-8 date: Wed, 5 Oct 2005 05:09:37 -0700 from: fernando goncalves message-id: <200510051209.j95C9b2Z028534@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0025_01C5C9BB.5D669B40" date: Wed, 5 Oct 2005 14:45:01 +0200 from: "manik" message-id: <002a01c5c9aa$c3c63fa0$787689d5@e9o9t1> 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 content-type: multipart/alternative; boundary=Apple-Mail-7--108451571 date: Wed, 5 Oct 2005 16:30:03 +0200 from: Geert Dekkers message-id: 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__ __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=iso-8859-1 date: Wed, 5 Oct 2005 08:01:29 -0700 (PDT) from: Lewis LaCook in-reply-to: <282169B1-9E64-4FE3-BA22-1B0479EC705D@alcor.concordia.ca> message-id: <20051005150129.44534.qmail@web35603.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Wed, 5 Oct 2005 08:25:50 -0700 from: message-id: <200510051525.j95FPoXp031179@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_000B_01C5C9D2.8261F4A0" date: Wed, 5 Oct 2005 17:30:41 +0200 from: "manik" message-id: <000e01c5c9c1$cabbbee0$4c7789d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----=_Part_18633_11125437.1128528050433" date: Wed, 5 Oct 2005 12:00:50 -0400 from: message-id: 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 content-type: multipart/alternative; boundary="----=_Part_18753_33403761.1128528557199" date: Wed, 5 Oct 2005 12:09:17 -0400 from: in-reply-to: message-id: references: 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 content-type: multipart/alternative; boundary="B_3211362397_10861905" date: Wed, 05 Oct 2005 13:06:37 -0400 from: Lauren Cornell message-id: 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 content-type: multipart/alternative; boundary="B_3211362867_10889841" date: Wed, 05 Oct 2005 13:14:27 -0400 from: Lauren Cornell message-id: 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 content-type: text/plain; charset=utf-8 date: Wed, 5 Oct 2005 10:59:49 -0700 from: message-id: <200510051759.j95HxnoW031273@idx164.idx.net> 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 content-type: text/plain;charset=iso-8859-1 date: Wed, 5 Oct 2005 11:44:25 -0700 (PDT) from: hight@34n118w.net message-id: <1826.70.34.248.200.1128537865.squirrel@webmail.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 content-type: text/plain; format=flowed date: Wed, 05 Oct 2005 20:40:27 +0000 from: "carla g" message-id: 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 content-type: multipart/alternative; boundary="=====================_829580163==.ALT" date: Thu, 06 Oct 2005 07:37:53 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20051006073727.025a3008@pop.hotkey.net.au> 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 content-type: text/plain; charset=utf-8 date: Wed, 5 Oct 2005 15:09:33 -0700 from: Erik Loyer message-id: <200510052209.j95M9XUA017408@idx164.idx.net> 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 from: "Rhizome.org" message-id: <200510052328.j95NS7Jw032428@idx164.idx.net> 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 from: "Rhizome.org" message-id: <200510052336.j95NaNJw001654@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 5 Oct 2005 18:20:53 -0700 from: Jess Irish message-id: <200510060120.j961KrqK027569@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 5 Oct 2005 20:13:00 -0700 from: Jessica Gomula message-id: <200510060313.j963D0xf019106@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 06 Oct 2005 01:21:17 -0400 from: Pall Thayer in-reply-to: <20051005150129.44534.qmail@web35603.mail.mud.yahoo.com> message-id: references: <20051005150129.44534.qmail@web35603.mail.mud.yahoo.com> 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) from: trashconnection message-id: <20051006074731.5DB6221FD4@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 01:57:32 -0700 from: Kate Southworth message-id: <200510060857.j968vWr3030304@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 03:20:20 -0700 from: message-id: <200510061020.j96AKK7Z011959@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 03:22:07 -0700 from: message-id: <200510061022.j96AM7C4012319@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_Part_13244_32020327.1128598320586" date: Thu, 6 Oct 2005 07:32:00 -0400 from: Jason Van Anden in-reply-to: <8eadd6950510060428h5c70aab5wb719903c79fc405e@mail.gmail.com> message-id: <8eadd6950510060432n5850645dn7f2cd31b58d96d1b@mail.gmail.com> references: <20051005150129.44534.qmail@web35603.mail.mud.yahoo.com> <8eadd6950510060428h5c70aab5wb719903c79fc405e@mail.gmail.com> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 04:57:56 -0700 from: xavier cahen message-id: <200510061157.j96BvuBw032474@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Thu, 06 Oct 2005 08:45:54 -0400 from: Pall Thayer in-reply-to: <8eadd6950510060428h5c70aab5wb719903c79fc405e@mail.gmail.com> message-id: <77C2D30C-67F0-4990-8467-79D5E258D0E0@alcor.concordia.ca> references: <20051005150129.44534.qmail@web35603.mail.mud.yahoo.com> <8eadd6950510060428h5c70aab5wb719903c79fc405e@mail.gmail.com> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Thu, 6 Oct 2005 11:24:36 -0400 from: Francis Hwang in-reply-to: <43434649.3010401@gmail.com> message-id: <41f21016770d0fbb295e9e926b53788d@rhizome.org> references: <43434649.3010401@gmail.com> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0151_01C5CA9B.A3A0E760" date: Thu, 6 Oct 2005 17:30:26 +0200 from: "manik" message-id: <015401c5ca8b$0958b300$347689d5@e9o9t1> subject: RHIZOME_RAW: SHAME MANIK MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0162_01C5CA9D.57E615A0" date: Thu, 6 Oct 2005 17:42:38 +0200 from: "manik" message-id: <016501c5ca8c$c1f7c580$347689d5@e9o9t1> subject: RHIZOME_RAW: AGAIN&AGAIN YOU RAPE ME AGAIN&AGAIN MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 08:49:05 -0700 from: Jonas Lindberg message-id: <200510061549.j96Fn5q1021786@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 09:45:11 -0700 from: Marjan van Mourik message-id: <200510061645.j96GjBGq031024@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 10:55:49 -0700 from: message-id: <200510061755.j96HtnVr013066@idx164.idx.net> 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: $210 (for 3 weeks) CONTACT: Michie Kobayakawa, Rhizome Lee EMAIL: subbody@hotmail.com WEBSITE: www.subbody.net + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0181_01C5CAB6.6FE0F6C0" date: Thu, 6 Oct 2005 20:42:15 +0200 from: "manik" message-id: <018601c5caa5$d2d7cda0$347689d5@e9o9t1> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 12:20:43 -0700 from: Deborah Hession message-id: <200510061920.j96JKh74026678@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_01B2_01C5CABF.81CBAB60" date: Thu, 6 Oct 2005 21:47:11 +0200 from: "manik" message-id: <01b501c5caae$c11c3a20$347689d5@e9o9t1> 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 content-type: text/plain; charset=utf-8 date: Thu, 6 Oct 2005 13:58:18 -0700 from: Marlon Barrios solano message-id: <200510062058.j96KwISQ010516@idx164.idx.net> 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 content-type: text/plain; charset="ISO-8859-1" date: Sun, 30 Oct 2005 11:09:47 +0100 from: "{video05}" message-id: <20051030110947.5C6C56E3.820B4274@127.0.0.1> 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=iso-8859-1 date: Thu, 6 Oct 2005 23:37:38 +0200 from: LeLE Luchetti message-id: <712737389.20051006233738@sinred.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 22 Sep 2005 04:58:37 -0700 from: David Galbraith message-id: <200509221158.j8MBwbFD030149@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Thu, 29 Sep 2005 17:12:39 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20050929171200.024830a8@pop.hotkey.net.au> 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 content-type: multipart/alternative; boundary="B_3211362867_10889841" date: Wed, 05 Oct 2005 13:14:27 -0400 from: Lauren Cornell message-id: 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Fri, 7 Oct 2005 00:48:06 -0500 from: Ryan Griffis message-id: 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 content-type: multipart/alternative; boundary="----=_NextPart_000_000A_01C5CB34.AE6ACD20" date: Fri, 7 Oct 2005 11:45:57 +0200 from: "manik" message-id: <000d01c5cb24$0be2c7c0$907789d5@e9o9t1> 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 content-type: multipart/alternative; boundary="B_3211527316_146024" date: Fri, 07 Oct 2005 10:55:15 +0100 from: David Rogerson message-id: 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Fri, 7 Oct 2005 12:06:29 +0200 from: Antoine Schmitt in-reply-to: <200510050142.j951gYb5019364@idx164.idx.net> message-id: references: <200510050142.j951gYb5019364@idx164.idx.net> 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) from: trashconnection message-id: <20051007103702.CBCC621FD0@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Fri, 7 Oct 2005 03:45:03 -0700 from: message-id: <200510071045.j97Aj3Gt001731@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii" date: Fri, 7 Oct 2005 04:51:31 -0700 from: "Jim Andrews" in-reply-to: message-id: 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 content-type: text/plain; charset=iso-8859-1 date: Fri, 7 Oct 2005 07:33:55 -0700 (PDT) from: Lewis LaCook message-id: <20051007143355.4659.qmail@web35614.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Fri, 7 Oct 2005 10:00:30 -0700 from: Mark Tribe message-id: <200510071700.j97H0UgC030664@idx164.idx.net> 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 content-type: multipart/alternative; boundary="============_-1083415527==_ma============" date: Fri, 7 Oct 2005 13:42:47 -0400 from: miklos@sympatico.ca in-reply-to: <000d01c5cb24$0be2c7c0$907789d5@e9o9t1> message-id: references: <000d01c5cb24$0be2c7c0$907789d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----_=_NextPart_001_01C5CB68.BE2672A9" date: Fri, 7 Oct 2005 13:58:37 -0400 from: message-id: <2EE57C99754F6A4885B97C18BE34265D01732064@MILLEREXCH.whitneyny.whitney.org> 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 content-type: text/plain; charset=utf-8 date: Fri, 7 Oct 2005 11:53:36 -0700 from: domenico olivero message-id: <200510071853.j97Ira0Z016265@idx164.idx.net> 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 content-type: text/plain;charset=iso-8859-1 date: Fri, 7 Oct 2005 12:55:06 -0700 (PDT) from: "Marisa Olson" message-id: <50233.69.237.69.120.1128714906.squirrel@rhizome.org> 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 content-type: text/plain;charset=iso-8859-1 date: Fri, 7 Oct 2005 13:21:40 -0700 (PDT) from: "Marisa Olson" message-id: <50437.69.237.69.120.1128716500.squirrel@rhizome.org> 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 content-type: text/plain; charset="US-ASCII" date: Fri, 07 Oct 2005 13:44:53 -0700 from: Ceci in-reply-to: <20051007174243.14620.qmail@web33315.mail.mud.yahoo.com> message-id: 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 from: "Rhizome.org" message-id: <200510072211.j97MBs6G016886@idx164.idx.net> 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 from: "Rhizome.org" message-id: <200510072214.j97MEc6G017432@idx164.idx.net> 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 from: "Rhizome.org" message-id: <200510072216.j97MGT6G017771@idx164.idx.net> 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 from: "Rhizome.org" message-id: <200510072218.j97MIY6G018146@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_00DF_01C5CBF2.873EEF60" date: Sat, 8 Oct 2005 10:24:56 +0200 from: "manik" message-id: <00e201c5cbe1$c4b05de0$1a7789d5@e9o9t1> references: <000d01c5cb24$0be2c7c0$907789d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0005_01C5CBFF.FBEADF60" date: Sat, 8 Oct 2005 12:01:15 +0200 from: "manik" message-id: <000801c5cbef$563d3000$097689d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_001C_01C5CC14.1336D520" date: Sat, 8 Oct 2005 14:25:04 +0200 from: "manik" message-id: <000201c5cc0b$7890f6c0$257689d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_001C_01C5CC14.1336D520" date: Sat, 8 Oct 2005 14:25:04 +0200 from: "manik" message-id: <000201c5cc0b$7890f6c0$257689d5@e9o9t1> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0025_01C5CC0F.DD2A2670" date: Sat, 8 Oct 2005 13:54:55 -0300 from: =?iso-8859-1?Q?Regina_C=E9lia_Pinto?= message-id: <002a01c5cc29$04bd08b0$36a305c9@NOMEAmigotec> 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 content-type: text/plain; charset=utf-8 date: Sat, 8 Oct 2005 09:59:25 -0700 from: Mario Cavalli message-id: <200510081659.j98GxPIa018988@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sat, 8 Oct 2005 14:28:00 -0400 from: Archive Registrar message-id: 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 content-type: text/plain; charset=utf-8 date: Sat, 8 Oct 2005 12:07:31 -0700 from: message-id: <200510081907.j98J7Vp9007295@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----_=_NextPart_001_01C5CC55.32355BDC" date: Sat, 8 Oct 2005 18:11:13 -0400 from: message-id: <2EE57C99754F6A4885B97C18BE34265D01732071@MILLEREXCH.whitneyny.whitney.org> 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 content-type: text/plain; charset=utf-8 date: Sat, 8 Oct 2005 16:20:55 -0700 from: void void message-id: <200510082320.j98NKtU4020833@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sat, 08 Oct 2005 21:29:15 -0400 from: Pall Thayer in-reply-to: message-id: <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> references: <200510050142.j951gYb5019364@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Sun, 09 Oct 2005 12:11:53 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20051009121114.07ccac00@pop.hotkey.net.au> 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 content-type: text/plain; charset=us-ascii; format=flowed date: Sat, 08 Oct 2005 23:25:32 -0700 from: Brett Stalbaum message-id: <4348B7DC.4000707@ucsd.edu> 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 content-type: text/plain; charset="ISO-8859-1" date: Sun, 09 Oct 2005 10:34:09 +0200 from: tamara lai message-id: 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Sun, 09 Oct 2005 18:44:23 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20051009184407.024d5188@pop.hotkey.net.au> 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 content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Sun, 9 Oct 2005 11:34:53 +0200 from: nat muller message-id: <940c5f0061fe022f7533451d435b814f@xs4all.nl> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sun, 9 Oct 2005 12:11:05 +0200 from: Antoine Schmitt in-reply-to: <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> message-id: references: <200510050142.j951gYb5019364@idx164.idx.net> <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> 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 content-type: text/plain; charset="us-ascii" ; format="flowed" date: Sun, 9 Oct 2005 12:11:05 +0200 from: Antoine Schmitt in-reply-to: <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> message-id: references: <200510050142.j951gYb5019364@idx164.idx.net> <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> 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 + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to 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_006F_01C5CCCC.582A77A0" date: Sun, 9 Oct 2005 12:24:07 +0200 from: "manik" message-id: <007401c5ccbb$b7fba480$d87789d5@e9o9t1> subject: RHIZOME_RAW: BUT I DON'T BUT I DON'T AGREE WITH YOU MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_009E_01C5CCD5.07EE8660" date: Sun, 9 Oct 2005 13:26:18 +0200 from: "manik" message-id: <000201c5ccc7$7b2c82c0$257789d5@e9o9t1> subject: RHIZOME_RAW: IRONIC CONCEPTUAL ART CAN MANIK AUTONOMOUSLY EMERGE IRONIC CONCEPTUAL ART MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0019_01C5CCA5.463A8E80" date: Sun, 9 Oct 2005 07:44:26 -0400 from: "patrick lichty" in-reply-to: <007401c5ccbb$b7fba480$d87789d5@e9o9t1> message-id: <001801c5ccc6$cd49bd80$ea8f4047@ATHENA> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_000C_01C5CCAA.1E5C01A0" date: Sun, 9 Oct 2005 08:19:07 -0400 from: "patrick lichty" in-reply-to: <000201c5ccc7$7b2c82c0$257789d5@e9o9t1> message-id: <000b01c5cccb$a56da1a0$ea8f4047@ATHENA> subject: RHIZOME_RAW: THE CRITIC MANIK MIGHT BE ABLE TO AUTONOMOUSLY EMERGE IRONIC CONCEPTUAL ART. PATRICK LICHTY,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sun, 09 Oct 2005 08:46:18 -0400 from: Pall Thayer in-reply-to: <4348B7DC.4000707@ucsd.edu> message-id: <2D924014-9220-45DE-B6AA-B9DB582C6F30@alcor.concordia.ca> references: <4348B7DC.4000707@ucsd.edu> subject: Re: RHIZOME_RAW: Darpa Grand Challenge: accidental art? (Indiana Robotic Navigation) On 9.10.2005, at 02:25, Brett Stalbaum wrote: > the Spirit of Christianity, by Indiana Robotic Navigation, went > through a gate on the qualifying course, made a hard right turn and > ran directly into a wall." Religion makes lots of "hard right turns" and frequently runs into walls. -- Pall Thayer p_thay@alcor.concordia.ca http://www.this.is/pallit + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: multipart/alternative; boundary="----=_NextPart_000_0003_01C5CCB4.80DDB440" date: Sun, 9 Oct 2005 09:33:27 -0400 from: "patrick lichty" in-reply-to: <000b01c5cccb$a56da1a0$ea8f4047@ATHENA> message-id: <000201c5ccd6$07ef5440$ea8f4047@ATHENA> subject: RHIZOME_RAW: IRONY VS. IRONY IRONY <-> IRONY PATRICK LICHTY,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset="ISO-8859-1" date: Sun, 09 Oct 2005 13:51:51 -0400 from: Lee Wells in-reply-to: <200510081456.AA2197618952@nerdtronica.com> message-id: 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 content-type: text/plain; charset=us-ascii; format=flowed date: Sun, 09 Oct 2005 16:33:39 -0700 from: Brett Stalbaum in-reply-to: <2D924014-9220-45DE-B6AA-B9DB582C6F30@alcor.concordia.ca> message-id: <4349A8D3.1050500@ucsd.edu> references: <4348B7DC.4000707@ucsd.edu> <2D924014-9220-45DE-B6AA-B9DB582C6F30@alcor.concordia.ca> 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 content-type: text/plain; charset=US-ASCII date: Sun, 9 Oct 2005 20:44:51 -0400 from: Robert Spahr in-reply-to: <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> message-id: <20051009204451.63884b24@localhost> references: <200510050142.j951gYb5019364@idx164.idx.net> <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Sun, 9 Oct 2005 20:56:40 -0600 from: "abe linkoln" message-id: <01f001c5cd46$3e947a50$e3a40818@VUK> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 00:12:12 -0700 from: message-id: <200510100712.j9A7CCcV002399@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 00:20:54 -0700 from: message-id: <200510100720.j9A7KsGo004474@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 00:23:15 -0700 from: Marjan van Mourik message-id: <200510100723.j9A7NFiQ005134@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 00:28:32 -0700 from: Marjan van Mourik message-id: <200510100728.j9A7SW8f006408@idx164.idx.net> 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 content-type: multipart/alternative; boundary=Apple-Mail-8-302039764 date: Mon, 10 Oct 2005 10:31:35 +0200 from: Geert Dekkers in-reply-to: <6A2842AA-1D82-4C12-A3AF-64A4502A614E@alcor.concordia.ca> message-id: references: <6A2842AA-1D82-4C12-A3AF-64A4502A614E@alcor.concordia.ca> 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__ __end_of_message_marker__ newsgroups: RHIZOME_RAW date: Mon, 10 Oct 2005 10:45:30 +0200 (CEST) from: trashconnection message-id: <20051010084530.E0AF721FD0@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=ISO-8859-1; format="flowed" date: Mon, 10 Oct 2005 10:18:58 +0100 from: rob@robmyers.org in-reply-to: <20051009204451.63884b24@localhost> message-id: <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> references: <200510050142.j951gYb5019364@idx164.idx.net> <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> <20051009204451.63884b24@localhost> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 03:00:03 -0700 from: Raul BB message-id: <200510101000.j9AA03XL031639@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 04:55:29 -0700 from: message-id: <200510101155.j9ABtTdn008018@idx164.idx.net> 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 content-type: text/plain; charset="iso-8859-1" date: Mon, 10 Oct 2005 05:15:21 -0700 from: "Jim Andrews" in-reply-to: <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> message-id: 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 content-type: multipart/alternative; boundary="----=_NextPart_000_00A4_01C5CDA6.708421E0" date: Mon, 10 Oct 2005 14:25:18 +0200 from: "manik" message-id: <000201c5cd97$5e2d25a0$427689d5@e9o9t1> 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 content-type: multipart/alternative; boundary="------------080402060304090300060808" date: Mon, 10 Oct 2005 14:14:28 +0100 from: marc in-reply-to: <000201c5cd97$5e2d25a0$427689d5@e9o9t1> message-id: <434A6934.3090404@furtherfield.org> references: <000201c5cd97$5e2d25a0$427689d5@e9o9t1> 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 content-type: multipart/alternative; boundary="------------080402060304090300060808" date: Mon, 10 Oct 2005 14:14:28 +0100 from: marc in-reply-to: <000201c5cd97$5e2d25a0$427689d5@e9o9t1> message-id: <434A6934.3090404@furtherfield.org> references: <000201c5cd97$5e2d25a0$427689d5@e9o9t1> 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 content-type: text/plain; charset=ISO-8859-1; format="flowed" date: Mon, 10 Oct 2005 14:25:48 +0100 from: rob@robmyers.org in-reply-to: message-id: <20051010142548.qt6htwr9s8w4kwwo@webmail.robmyers.org> references: 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 content-type: multipart/alternative; boundary="----=_NextPart_000_000C_01C5CDAF.96E6B4C0" date: Mon, 10 Oct 2005 15:30:48 +0200 from: "manik" message-id: <001301c5cd9e$fc416c40$427689d5@e9o9t1> references: <000201c5ccd6$07ef5440$ea8f4047@ATHENA> 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 content-type: multipart/alternative; boundary="0-1002873553-1128952061=:78232" date: Mon, 10 Oct 2005 06:47:41 -0700 (PDT) from: Michael Szpakowski in-reply-to: <434A6934.3090404@furtherfield.org> message-id: <20051010134741.49372.qmail@web30014.mail.mud.yahoo.com> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_003B_01C5CDB6.78812A40" date: Mon, 10 Oct 2005 16:20:03 +0200 from: "manik" message-id: <003e01c5cda5$d6870d00$427689d5@e9o9t1> subject: RHIZOME_RAW: PRICE LIST MANIK'S PRICE LIST FOR ART CERTIFICATE: MASTERPIECE-99,90$ ORIGINAL ART PIECE-49.90$ ART PIECE-19,90$ SPECIAL CATEGORY-200$ Contact:MANIK@PTT.YU __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Mon, 10 Oct 2005 16:47:58 +0200 from: Geert Dekkers in-reply-to: <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> message-id: references: <200510050142.j951gYb5019364@idx164.idx.net> <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> <20051009204451.63884b24@localhost> <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0873_01C5CDBC.28F3A8D0" date: Mon, 10 Oct 2005 17:00:47 +0200 from: "valentina tanni" message-id: <087601c5cdab$65a41140$0201a8c0@VALENTINA> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Mon, 10 Oct 2005 11:55:49 -0400 from: Pall Thayer in-reply-to: message-id: <63A9F55C-EEC3-429C-A698-0A48396AD889@alcor.concordia.ca> references: <200510050142.j951gYb5019364@idx164.idx.net> <6E5C6971-A744-44CB-ACCB-F998CFB07048@alcor.concordia.ca> <20051009204451.63884b24@localhost> <20051010101858.2rgfj1mzcckwk4kc@webmail.robmyers.org> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 11:04:07 -0700 from: Ryan Ringer message-id: <200510101804.j9AI47JX010306@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Mon, 10 Oct 2005 11:29:35 -0700 (PDT) from: Lewis LaCook message-id: <20051010182935.14342.qmail@web35613.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 12:04:03 -0700 from: Stephan Hausmeister message-id: <200510101904.j9AJ430Z017833@idx164.idx.net> 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 content-type: text/plain; charset=UTF-8; delsp=yes; format=flowed date: Mon, 10 Oct 2005 15:39:35 -0400 from: Sal Randolph message-id: 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 16:47:36 -0700 from: gail rubini message-id: <200510102347.j9ANlaxG028939@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 17:26:35 -0700 from: Irena message-id: <200510110026.j9B0QZWp000786@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 17:27:29 -0700 from: Irena message-id: <200510110027.j9B0RTGK000933@idx164.idx.net> 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 content-type: text/plain; charset="us-ascii" date: Mon, 10 Oct 2005 18:12:45 -0700 from: "Jim Andrews" in-reply-to: <63A9F55C-EEC3-429C-A698-0A48396AD889@alcor.concordia.ca> message-id: 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 22:01:12 -0700 from: Greg Smith message-id: <200510110501.j9B51C9B003907@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 10 Oct 2005 22:02:01 -0700 from: Anne Preston message-id: <200510110502.j9B521lJ004090@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0105_01C5CE7D.8020E340" date: Tue, 11 Oct 2005 16:04:46 +0200 from: "manik" message-id: <010801c5ce6c$dd2b00e0$b47689d5@e9o9t1> subject: RHIZOME_RAW: &GREEN INTENTION &GREEN INTENTION&GREEN CONTEND MANIK,OCTOBER 2005 __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Tue, 11 Oct 2005 07:45:35 -0700 from: kurt message-id: <200510111445.j9BEjZlD005512@idx164.idx.net> 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 content-type: text/plain; charset="iso-8859-1" date: Tue, 11 Oct 2005 12:01:24 -0400 from: =?iso-8859-1?Q?Andr=E9ane_Leclerc?= message-id: <641A525B0A2A2540B1DD0A3DE660241C014DCF11@exchange.terra-incognita.net> 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 content-type: multipart/alternative; boundary="----=_Part_249221_660480.1129050029070" date: Tue, 11 Oct 2005 10:00:29 -0700 (PDT) from: ken goldberg message-id: <4764489.1129050029078.JavaMail.root@localhost> 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 content-type: text/plain; charset=utf-8 date: Tue, 11 Oct 2005 10:54:28 -0700 from: pasquet olivier message-id: <200510111754.j9BHsSQd029919@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 11 Oct 2005 10:59:14 -0700 from: pasquet olivier message-id: <200510111759.j9BHxE7W030773@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 11 Oct 2005 11:04:37 -0700 from: pasquet olivier message-id: <200510111804.j9BI4bfB031608@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 11 Oct 2005 11:08:09 -0700 from: pasquet olivier message-id: <200510111808.j9BI89uf032072@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 11 Oct 2005 11:15:45 -0700 from: pasquet olivier message-id: <200510111815.j9BIFjO8000731@idx164.idx.net> 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 content-type: text/plain; charset="US-ASCII" date: Tue, 11 Oct 2005 15:06:43 -0700 from: Ceci message-id: 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 content-type: text/plain; charset=utf-8 date: Tue, 11 Oct 2005 22:21:13 -0700 from: maria miranda message-id: <200510120521.j9C5LDGp021699@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 12 Oct 2005 01:28:00 -0700 from: mark kellogg message-id: <200510120828.j9C8S0FA008767@idx164.idx.net> 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) from: trashconnection message-id: <20051012093551.4B28021FD2@mail.isnm.uni-luebeck.de> 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 content-type: multipart/alternative; boundary="------------030105020203000905070907" date: Wed, 12 Oct 2005 10:06:53 -0400 from: Jo-Anne Green message-id: <434D187D.5090309@turbulence.org> organization: New Radio and Performing Arts, Inc. 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 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Wed, 12 Oct 2005 17:49:10 +0200 from: Geert Dekkers message-id: <85989457-76AE-49C5-BFF0-539B362497C1@nznl.com> 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 content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Wed, 12 Oct 2005 12:00:58 -0400 from: Amy Hitchcoff message-id: <0D83ADD8-666C-436C-AF75-DE36B8EBA879@anothercupdevelopment.org> references: <4F7DFC10-BA5A-4F69-84BB-E70DF7ADD279@anothercupdevelopment.org> 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 content-type: text/plain; charset=utf-8 date: Wed, 12 Oct 2005 09:40:28 -0700 from: michelle handelman message-id: <200510121640.j9CGeSAP021213@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 12 Oct 2005 11:38:40 -0700 from: Gobira Gobira message-id: <200510121838.j9CIce76017133@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 12 Oct 2005 12:09:53 -0700 from: Pauline Jennings message-id: <200510121909.j9CJ9ruW025280@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 12 Oct 2005 13:07:44 -0700 from: message-id: <200510122007.j9CK7ilr009308@idx164.idx.net> 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 content-type: multipart/alternative; boundary="B_3211984728_3710541" date: Wed, 12 Oct 2005 17:58:47 -0400 from: Lauren Cornell message-id: 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 content-type: text/plain; charset="ISO-8859-1" date: Wed, 12 Oct 2005 16:52:55 -0700 from: Ceci message-id: 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 content-type: text/plain; charset=utf-8 date: Thu, 13 Oct 2005 03:16:18 -0700 from: xavier cahen message-id: <200510131016.j9DAGINc002695@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 13 Oct 2005 05:33:57 -0700 from: message-id: <200510131233.j9DCXvM2018055@idx164.idx.net> 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) from: trashconnection message-id: <20051013133446.8E74B21FD2@mail.isnm.uni-luebeck.de> 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 content-type: multipart/alternative; boundary="----=_NextPart_000_0080_01C5D03D.E950DB60" date: Thu, 13 Oct 2005 21:34:37 +0200 from: "jimpunk" message-id: <008501c5d02d$268715a0$0200a8c0@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 content-type: text/plain; charset=utf-8 date: Thu, 13 Oct 2005 14:19:42 -0700 from: brad brace message-id: <200510132119.j9DLJgfG017438@idx164.idx.net> 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 content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Fri, 14 Oct 2005 01:42:10 +0200 from: nathaniel stern message-id: <27D7F6C2-4642-459A-B960-C1506F23A0E0@hektor.net> 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) from: trashconnection message-id: <20051014080713.1C2D521FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Fri, 14 Oct 2005 10:50:16 -0500 from: Ryan Griffis message-id: <7ec1d8cacdfbd52bf60a31048103cef7@gmail.com> 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 content-type: TEXT/PLAIN; charset=US-ASCII date: Fri, 14 Oct 2005 08:53:08 -0700 (PDT) from: { brad brace } message-id: 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Fri, 14 Oct 2005 14:31:14 -0500 from: Pradip_Malde message-id: <4BBAB196-29B6-45BA-B2A4-C1EB8C7C2ED7@sewanee.edu> 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 content-type: text/plain; charset="US-ASCII" date: Fri, 14 Oct 2005 12:57:47 -0700 from: Ceci message-id: 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 content-type: text/plain; charset=utf-8 date: Fri, 14 Oct 2005 13:07:54 -0700 from: message-id: <200510142007.j9EK7sJQ016240@idx164.idx.net> 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 content-type: multipart/alternative; boundary="----=_Part_181_25776986.1129328516340" date: Fri, 14 Oct 2005 18:21:56 -0400 from: in-reply-to: message-id: references: subject: RHIZOME_RAW: Fwd: Postcard from the Edge VOLUNTEERS still NEEDED!!!!!!! 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Thomaz" message-id: <43507A51.8070204@gmail.com> 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 content-type: text/plain; charset=utf-8 date: Fri, 14 Oct 2005 21:28:11 -0700 from: Soil Media Suite message-id: <200510150428.j9F4SBcX017747@idx164.idx.net> 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) from: trashconnection message-id: <20051015101200.7D2AD21FD2@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Sat, 15 Oct 2005 03:57:04 -0700 from: Luís da Silva message-id: <200510151057.j9FAv4jS024826@idx164.idx.net> 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 content-type: text/plain; charset=UTF-8; format=flowed date: Sat, 15 Oct 2005 14:07:59 +0100 from: marc in-reply-to: <200510142007.j9EK7sJQ016240@idx164.idx.net> message-id: <4350FF2F.8030503@furtherfield.org> references: <200510142007.j9EK7sJQ016240@idx164.idx.net> 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 content-type: text/plain; charset="iso-8859-1" date: Sat, 15 Oct 2005 16:36:42 +0200 from: 220hex message-id: <200510151636.44307.gif@220hex.org> organization: 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 content-type: TEXT/PLAIN; charset=US-ASCII date: Sat, 15 Oct 2005 09:23:55 -0700 (PDT) from: { brad brace } message-id: 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 content-type: text/plain; charset=iso-8859-1 date: Sat, 15 Oct 2005 19:05:39 +0200 (CEST) from: Jacques SERRANO message-id: <20051015170540.3528.qmail@web26803.mail.ukl.yahoo.com> 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 content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed date: Sat, 15 Oct 2005 13:32:55 -0400 from: Pall Thayer message-id: <53BBA722-F6D8-4A92-80B0-B2185A73B4D5@alcor.concordia.ca> 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 content-type: text/plain; charset=utf-8 date: Sat, 15 Oct 2005 12:29:59 -0700 from: marcin ramocki message-id: <200510151929.j9FJTxOr009628@idx164.idx.net> 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 content-type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed date: Sat, 15 Oct 2005 12:31:43 -0700 from: adam overton message-id: 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 content-type: text/plain; charset="us-ascii"; format=flowed date: Sun, 16 Oct 2005 07:35:34 +1000 from: "_dream.thick[ener]_" message-id: <6.0.1.1.1.20051016073511.05f4ea88@pop.hotkey.net.au> 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 from: iuu message-id: 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 content-type: text/plain; charset=utf-8 date: Sat, 15 Oct 2005 20:45:16 -0700 from: Eric Dymond message-id: <200510160345.j9G3jG68027144@idx164.idx.net> 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 content-type: text/plain; charset=ISO-8859-15 date: Sun, 16 Oct 2005 12:41:51 +0200 from: LeLE Luchetti message-id: <1433371475.20051016124151@sinred.net> 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 content-type: text/plain; charset=utf-8 date: Sun, 16 Oct 2005 05:43:51 -0700 from: demaraval may message-id: <200510161243.j9GChpOE016170@idx164.idx.net> 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) from: trashconnection message-id: <20051016144526.0755021FD1@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Sun, 16 Oct 2005 11:24:08 -0700 from: message-id: <200510161824.j9GIO8tU014203@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Sun, 16 Oct 2005 11:30:08 -0700 from: message-id: <200510161830.j9GIU8it014712@idx164.idx.net> 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 content-type: text/plain; charset=UTF-8 date: Sun, 16 Oct 2005 20:59:06 +0200 from: Kristofer Paetau message-id: <80bd928c0510161159k462c4609s86d081a5bdfcff12@mail.gmail.com> 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 content-type: text/plain; charset=UTF-8 date: Sun, 16 Oct 2005 20:59:06 +0200 from: Kristofer Paetau message-id: <80bd928c0510161159k462c4609s86d081a5bdfcff12@mail.gmail.com> 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 content-type: text/plain; charset=utf-8 date: Sun, 16 Oct 2005 13:22:40 -0700 from: message-id: <200510162022.j9GKMe55025625@idx164.idx.net> 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 content-type: text/plain; charset="iso-8859-1" date: Sun, 16 Oct 2005 14:53:17 -0700 from: "Jim Andrews" message-id: 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Sun, 16 Oct 2005 21:31:31 -0200 from: "Regina Pinto" message-id: <000b01c5d2a9$be74d180$3ca205c9@regina> 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 content-type: text/plain; charset=utf-8 date: Sun, 16 Oct 2005 16:50:40 -0700 from: Ryan Ringer message-id: <200510162350.j9GNoeds014478@idx164.idx.net> 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 content-type: multipart/alternative; boundary="0-883391921-1129508039=:55126" date: Mon, 17 Oct 2005 10:13:59 +1000 (EST) from: sonya nielsen message-id: <20051017001359.56461.qmail@web33311.mail.mud.yahoo.com> 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 content-type: multipart/alternative; boundary="0-507082643-1129508064=:611" date: Mon, 17 Oct 2005 10:14:24 +1000 (EST) from: sonya nielsen message-id: <20051017001424.1092.qmail@web33301.mail.mud.yahoo.com> 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 content-type: multipart/alternative; boundary="0-287281990-1129508370=:16942" date: Mon, 17 Oct 2005 10:19:30 +1000 (EST) from: sonya nielsen message-id: <20051017001930.17266.qmail@web33305.mail.mud.yahoo.com> 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 content-type: text/plain; charset=utf-8 date: Sun, 16 Oct 2005 23:41:31 -0700 from: sachiko hayashi message-id: <200510170641.j9H6fVLZ020679@idx164.idx.net> 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) from: trashconnection message-id: <20051017073241.3755B21FD0@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Mon, 17 Oct 2005 02:43:50 -0700 from: Marjan van Mourik message-id: <200510170943.j9H9horS005028@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 17 Oct 2005 05:40:35 -0700 from: rich white message-id: <200510171240.j9HCeZJw022395@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 17 Oct 2005 07:39:14 -0700 from: Jennifer Estaris message-id: <200510171439.j9HEdEZE010013@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 17 Oct 2005 09:29:35 -0700 from: "zanni.org" message-id: <200510171629.j9HGTZuk029275@idx164.idx.net> 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 content-type: TEXT/PLAIN; charset=US-ASCII date: Mon, 17 Oct 2005 09:34:33 -0700 (PDT) from: { brad brace } message-id: 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 content-type: text/plain; charset=utf-8 date: Mon, 17 Oct 2005 12:41:28 -0700 from: Trebor message-id: <200510171941.j9HJfS6c024140@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 17 Oct 2005 13:28:31 -0700 from: Heather Wagner message-id: <200510172028.j9HKSV1t030459@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Mon, 17 Oct 2005 14:24:13 -0700 from: message-id: <200510172124.j9HLODgd004675@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Mon, 17 Oct 2005 20:06:20 -0400 from: "marc.garrett@furtherfield.org" message-id: <380-22005102180620718@M2W114.mail2web.com> 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 content-type: multipart/alternative; boundary="============_-1082516709==_ma============" date: Mon, 17 Oct 2005 23:23:01 -0400 from: Jonah Brucker-Cohen message-id: 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 content-type: text/plain;charset=iso-8859-1 date: Tue, 18 Oct 2005 07:29:12 -0700 (PDT) from: ceci@rhizome.org message-id: <4751.216.220.116.171.1129645752.squirrel@www.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 content-type: TEXT/PLAIN; charset=US-ASCII date: Tue, 18 Oct 2005 08:02:58 -0700 (PDT) from: { brad brace } message-id: 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 08:48:16 -0700 from: message-id: <200510181548.j9IFmGGe012208@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 08:57:17 -0700 from: Gabriel message-id: <200510181557.j9IFvHfP014088@idx164.idx.net> 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 content-type: text/plain; charset=US-ASCII; format=flowed date: Tue, 18 Oct 2005 14:15:08 -0400 from: doron message-id: <6714D73A-ECE3-48B9-B9E8-04BF78D5431E@computerfinearts.com> 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 11:18:19 -0700 from: message-id: <200510181818.j9IIIJ0G007834@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 11:27:56 -0700 from: Christopher Moore message-id: <200510181827.j9IIRu70009928@idx164.idx.net> 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 from: Defne ayas message-id: <200510181848.j9IImR8M013922@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 11:51:23 -0700 from: Defne ayas message-id: <200510181851.j9IIpNVA014593@idx164.idx.net> 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 content-type: text/plain; charset=WINDOWS-1252; format=flowed date: Tue, 18 Oct 2005 13:52:09 -0500 from: Ryan Griffis message-id: <2ca140cab40c8d57531d09fb324ddd4d@gmail.com> 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 12:22:36 -0700 from: message-id: <200510181922.j9IJMafg020125@idx164.idx.net> 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 content-type: text/plain;charset=iso-8859-1 date: Tue, 18 Oct 2005 13:05:33 -0700 (PDT) from: ceci@rhizome.org message-id: <51643.216.220.116.171.1129665933.squirrel@www.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 content-type: text/plain;charset=iso-8859-1 date: Tue, 18 Oct 2005 13:05:33 -0700 (PDT) from: ceci@rhizome.org message-id: <51643.216.220.116.171.1129665933.squirrel@www.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 content-type: multipart/alternative; boundary="----=_NextPart_000_0084_01C5D437.E3488E40" date: Tue, 18 Oct 2005 23:01:32 +0200 from: "Dirk Vekemans" message-id: <20051018210200.7C9EE38152@asia.telenet-ops.be> organization: ViLT 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) from: trashconnection message-id: <20051018231134.3668621FD0@mail.isnm.uni-luebeck.de> 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 16:51:56 -0700 from: message-id: <200510182351.j9INpu0E000330@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Tue, 18 Oct 2005 17:35:34 -0700 from: message-id: <200510190035.j9J0ZYAO009311@idx164.idx.net> 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 content-type: text/plain; charset=iso-8859-1 date: Tue, 18 Oct 2005 18:08:58 -0700 (PDT) from: Wayne Ashley message-id: <20051019010858.24075.qmail@web31804.mail.mud.yahoo.com> 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 content-type: text/plain; charset=ISO-8859-1; format=flowed date: Tue, 18 Oct 2005 21:01:19 -0500 from: Ryan Griffis message-id: <12637604e93e8d7f5927f22fc25e2573@gmail.com> 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 02:26:47 -0700 from: message-id: <200510190926.j9J9QlTT010437@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 06:01:18 -0700 from: David Smith message-id: <200510191301.j9JD1Igp012791@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 07:02:00 -0700 from: David Smith message-id: <200510191402.j9JE20mV027084@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 07:44:43 -0700 from: message-id: <200510191444.j9JEihLN007153@idx164.idx.net> 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 content-type: TEXT/PLAIN; charset=US-ASCII date: Wed, 19 Oct 2005 08:56:19 -0700 (PDT) from: { brad brace } message-id: 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 09:29:13 -0700 from: Nita Sturiale message-id: <200510191629.j9JGTDFR027971@idx164.idx.net> 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 content-type: multipart/alternative; boundary=Apple-Mail-2--1038593585 date: Wed, 19 Oct 2005 18:39:05 +0200 from: Geert Dekkers message-id: <03BC9490-3801-4AB6-A18E-CAD57CD78109@nznl.com> 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__ __end_of_message_marker__ newsgroups: RHIZOME_RAW content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 09:56:20 -0700 from: Gregory Scranton message-id: <200510191656.j9JGuK1L002199@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 12:10:16 -0700 from: Julie Harrison message-id: <200510191910.j9JJAGa8002876@idx164.idx.net> 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 content-type: text/plain; charset="US-ASCII" date: Wed, 19 Oct 2005 15:45:59 -0400 from: Lauren Cornell message-id: 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 content-type: multipart/mixed; boundary="B_3212606038_1078406" date: Wed, 19 Oct 2005 22:33:57 +0100 from: susana mendes silva message-id: 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 17:24:37 -0700 from: Jane Marsching message-id: <200510200024.j9K0ObfL004968@idx164.idx.net> 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 content-type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original date: Wed, 19 Oct 2005 21:15:20 -0600 from: "abe linkoln" message-id: <004401c5d524$82469590$e3a40818@VUK> 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 content-type: text/plain; charset=utf-8 date: Wed, 19 Oct 2005 20:19:53 -0700 from: Darrin Martin message-id: <200510200319.j9K3JrNp004179@idx164.idx.net> 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 from: 9 message-id: 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 content-type: text/plain; charset=utf-8 date: Thu, 20 Oct 2005 06:19:59 -0700 from: "G.H. Hovagimyan" message-id: <200510201319.j9KDJxiK002767@idx164.idx.net> 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) 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: Thu, 20 Oct 2005 11:16:59 -0700 from: jillian mcdonald message-id: <200510201816.j9KIGxtb021653@idx164.idx.net> 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 content-type: text/plain; charset="US-ASCII" date: Thu, 20 Oct 2005 15:03:34 -0400 from: Thomas Beard message-id: 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 content-type: text/plain; charset=utf-8 date: Thu, 20 Oct 2005 20:38:02 -0700 from: Eric Dymond message-id: <200510210338.j9L3c2KD026104@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 20 Oct 2005 21:50:52 -0700 from: Eric Dymond message-id: <200510210450.j9L4oqT0015719@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Thu, 20 Oct 2005 22:05:29 -0700 from: Kenneth Jones message-id: <200510210505.j9L55TkR019523@idx164.idx.net> 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 content-type: text/plain; charset=utf-8 date: Fri, 21 Oct 2005 05:15:09 -0700 from: Jason Van Anden message-id: <200510211215.j9LCF96E029384@idx164.idx.net> subject: RHIZOME_RAW: Robotic Couple Seeks Same Hola Earthlings, I am pleased to report that Neil and Iona are up and running at vertexList in Williamsburg (Brooklyn, NY, USA). The opening is this Saturday night, October 22nd from 7-10pm. Who are Neil and Iona? Neil and Iona are a pair of cybernetic improvisational performance artists who freely express their feelings with those they come into contact with - in other words, human-scale emotive entities, or robotic sculptures who probabilistically react to each other and their audience. Info about Neil and Iona can be found here: http://www.smileproject.com Details about the exhibit can be found here: http://www.vertexlist.net Jason Van Anden www.smileproject.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: Fri, 21 Oct 2005 09:10:01 -0700 from: message-id: <200510211610.j9LGA1ib022496@idx164.idx.net> subject: RHIZOME_RAW: HALLOWEEN HARKNESS HARKNESS audiovisual salon music: LASEREYE STINGRAY. featuring ryan sovereign of mazing vids and will bec. i saw them at the tussle show last summer, where their rhythmic drones and pulsing electronics obliterated any need for a dj to ever play between bands at a rock show again... visuals: JOSH THORSON multi-talented filmmaker and artist, obsessed with "interplantetary craft." more information at www.joshuathorson.com performance: COLLECTIVE OPERA guerilla sound installation from new, boundary-blurring group. more information at www.collectiveopera.com plus CASA DE SCARY haunted house exhibit up at project robot. frights courtesy of kayrock, glasshouse, saviour scraps, live with animals, mighty robot, dollhaus and much more... MONDAY NIGHT OCTOBER 24 9 PM until around midnight kool aid drinks project robot at monster island metropolitan and kent (entrance on river) plus less than two weeks until...TRANSPARENT PROCESSES at THE KITCHEN. lovid, gibson+recoder, ray sweeten, and i love you will penetrate yer mind on wednesday, november 9. thekitchen.org for more info. and...just announced...'23 REASONS' art rock video jukebox gets another screening at MONKEYTOWN in williamsburg. let yer friends know...november 18th and 19th they can eat fennel salad with ex models and persian lamb chops with antony and the johnsons. + -> post: list@rhizome.org -> questions: info@rhizome.org -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz -> give: http://rhizome.org/support + Subscribers to Rhizome are subject to the terms set out in the Membership Agreement available online at http://rhizome.org/info/29.php __end_of_message_marker__